TEACHING YOUNG ADULT FICTION FOCUSING on ISSUES of RACE and ETHNICITY the HATE U GIVE by ANGIE THOMAS

TEACHING YOUNG ADULT FICTION FOCUSING ON ISSUES OF RACE AND ETHNICITY THE HATE U GIVE by ANGIE THOMAS

Word count: 8,668

Lies Pieters Student number: 00970326

Supervisor(s): Prof. Dr. Gert Buelens

A dissertation submitted to Ghent University in partial fulfilment of the requirements for the degree of Master of Teaching in Languages (English - German)

Academic year: 2019 – 2020, Master of Teaching

PREAMBLE

This thesis was written during the COVID-19 pandemic. It was originally aimed at constructing a lesson plan around the young adult novel The Hate U Give by Angie Thomas. The pandemic did not have any impact on the writing of this thesis.

This preamble has been agreed to by both the student and the promotor.

PREFACE

This dissertation was written in order to obtain the degree of Master of Teaching in Languages. It is aimed at teachers of English as a Second Language. The young adult novel The Hate U Give by Angie Thomas is discussed throughout this work. The lesson activities constructed around the story are suited for pupils aged sixteen and upwards.

I would like to express my sincere gratitude to Prof. Dr. Gert Buelens, without whom I could not have completed this thesis. Special thanks to my dear friends Eva Verbeke and Timothy Huygens who gave me the idea of writing a case study on The Hate U Give and who were so kind as to proofread it. I am also very grateful to my housemate, Bie Delodder, my fellow students and my friends and family for their unconditional support.

“Sometimes you can do everything right and things will still go wrong. The key is to never stop doing right.” Angie Thomas Author of The Hate U Give

TABLE OF CONTENTS

ABSTRACT ...... 7

ABSTRACT (NL): ...... 7

1. INTRODUCTION ...... 8

2. LITERATURE ...... 9 2.1. RACE AND ETHNICITY IN YOUNG ADULT LITERATURE ...... 9 2.2. TEACHING YOUNG ADULT LITERATURE ...... 10 2.2.1. GLOBAL LITERATURE ...... 11 2.2.2. YOUNG ADULT LITERATURE ON RACE AND ETHNICITY ...... 14 2.2.3. TEACHING THE HATE U GIVE...... 15

3. LESSON MATERIAL ON THE HATE U GIVE ...... 19 3.1. Pre-Reading Activities...... 20 3.1.1. Starter ...... 20 3.1.2. Book Cover ...... 21 3.1.3. Themes and Organizations ...... 23 3.2. While-Reading Activities ...... 25 3.2.1. Intertextuality ...... 25 3.2.2. Racism ...... 27 3.2.3. Media ...... 30 3.3. Post-Reading Activities ...... 31 3.3.1. The main character: Starr ...... 31 3.3.2. Character Analysis ...... 32 3.3.3. Reflection ...... 32

4. DISCUSSION ...... 34

5. CONCLUSION ...... 35

Appendix A ...... 36 Lesson Plan Pre-Reading Activities ...... 36

Appendix B...... 42 Transcript: Clint Smith – How to raise a black son in America ...... 42

Appendix C ...... 44 Transcript: Angie Thomas - Tupac Inspired Angie Thomas's New Book ...... 44

Appendix D ...... 45 Transcript: Black Issues Forum – Matters of Race ...... 45

Appendix E ...... 47 Lyrics to The Fresh Prince of Bel-Air – Theme Song ...... 47

Appendix F ...... 49 First Encounters with Racism ...... 49

BIBLIOGRAPHY ...... 51

ABSTRACT

This dissertation offers various teaching approaches constructed around the young adult novel The Hate U Give by Angie Thomas. The literature selected tackles delicate subjects, such as race and ethnicity, that can also be found within the novel. The presence of such subjects in young adult literature is briefly discussed, after which attention is paid to how one teaches global literature in general and The Hate U Give in particular to young adults learning English as a second language. Based on the information found in the literature and through the knowledge acquired by the writer during the Master of Teaching in Languages, comprehensive lesson material for The Hate U Give is constructed. The offered lesson activities may be useful to teachers planning to work with the novel, as well as to those looking for new lesson material. The lesson material can either be regarded as a whole or as individual tasks.

ABSTRACT (NL):

Deze thesis biedt verschillende lesmogelijkheden rond het boek The Hate U Give van de Amerikaanse auteur Angie Thomas. De geselecteerde literatuur benadert verschillende onderwerpen uit het boek, waaronder ras en etniciteit. Hun aanwezigheid in jongerenliteratuur wordt besproken, waarna de focus gelegd wordt op hoe leerkrachten global literature in het algemeen en The Hate U Give in het bijzonder kunnen aanbrengen in hun lessen. De geselecteerde informatie uit de geraadpleegde literatuur en de kennis van de auteur, vergaard in de educatieve masteropleiding in de talen leidden tot een uitgebreid lessenpakket rond The Hate U Give. De lesactiviteiten worden ter beschikking gesteld aan leerkrachten die met het boek aan de slag willen gaan, maar ook aan hen die op zoek zijn naar nieuw lesmateriaal. Leerkrachten kunnen het lessenplan in zijn geheel overnemen of er individuele opdrachten uit selecteren.

1. INTRODUCTION Throughout my teacher training studies, I often wondered how I would address more controversial and difficult topics such as sexual identity, race, ethnicity, grievance, and many more in my future classrooms. Some of these themes I, as a white 29-year-old Belgian woman, have never had to and will most likely never personally struggle with. Despite the lack of personal experience, I want to be able to constructively discuss such topics with secondary school pupils who study English as a second language.

The objective of this study is twofold. Firstly, it aims at providing efficient and constructive lesson ideas, focusing on issues of identity, race and racism mentioned in the novel. It offers a framework to implement the young adult novel The Hate U Give by Angie Thomas (2017) in the last year of secondary education. Secondly and more implicitly, it wants to increase the attention to authors of colour and multicultural novels in the literature curriculum and to bring inclusiveness to it (Borsheim-Black, 2012). Through the explicit discussion of topics such as race and racism within the classroom, the pupils’ learning expands, resulting in more efficient lessons. The study draws on Ching’s (2005) perspective, who states that if you do not include discussions of power issues as well as ones of harmony in the curriculum, you should not attempt at teaching young adults multicultural and global literature at all.

The lesson activities mentioned in this thesis allow (trainee) teachers to critically reflect on some of the aforementioned themes and, more specifically, to increase their knowledge on social justice activism (Riley, 2009). In order to achieve this, teachers should allow themselves the time to learn together with their pupils as well, provided that they have significant prior knowledge. Jacqueline Woodson beautifully describes it as follows: “My hope is that those who write about the tears and the laughter and the language in my grandmother’s house have first sat down at the table with us and dipped the bread of their own experience into our stew” (as cited by Ching, 2005, p. 129).

2. LITERATURE Much of the literature found and discussed below focuses on teaching young adult literature to pupils in American educational institutions. Even though this study is set in Flanders, a small part of a Western European country that did not live through the same history as the United States, the sources are very much relevant to this area as well. Flanders has a multicultural society, with 548.910 citizens with a foreign nationality in 2017 (SID, 2018). This number amounts to 8,4% of the entire Flemish population. The following chapters focus on how Flemish secondary education institutions should deal with the presence of multicultural literature in their curricula.

2.1. RACE AND ETHNICITY IN YOUNG ADULT LITERATURE In order to know how to address the at times rather complex content of the novel The Hate U Give, not in terms of language but in terms of cultural references, it is important to draw attention to how topics such as race and ethnicity generally are being dealt with in young adult literature. In the next section, young adult literature is considered to be aimed at twelve- to eighteen-year olds (Bean et al., 2014).

Firstly, it is important to question whether one should address such complex topics in young adult fiction and classroom environments at all, or whether it should be restricted to adults only. This study advocates the first assumption. As Tenorio (2007) says, it would be ethically incorrect for adults to assume that young adults, and even children, have no notions of issues of race and power. Children become aware of these issues at a young age already, through television, discussions and situations at home and/or through communicating with their peers. Therefore, teachers and educational institutions should not turn a blind eye to these experiences but should instead educate themselves as much as possible in order to make concepts such as discrimination and inequity explicit. They should be aware of the presence of and have notions of the struggles that come with power and privilege prior to discussing these with young adults (Jackson & Boutte, 2009). Furthermore, teachers should make their pupils conscious of the fact that some groups are too often considered less important than other privileged, dominant groups (Kumashiro, 2000).

The broad concept of privilege is defined as “the unearned and often unrecognized advantages, benefits or rights conferred upon people in a dominant group (…)” (Anti-Bias Education, 2020).

Secondly, it is emphasized that race is not limited to certain population groups but is defined as a characteristic of all individuals. As Spiegler (2017) says: “Everyone has a racial identity”. Each individual encounters the concept of race, be it explicitly or implicitly, through the presence of privilege, discrimination, racism, etc.

2.2. TEACHING YOUNG ADULT LITERATURE An important motivation for this thesis is the latest PISA (Programme for International Student Assessment) study, conducted by the Organisation for Economic Co-Operation and Development (OECD). The results indicate that 1 in 5 Flemish pupils does not achieve the reading skills reference level (De Meyer et al., 2019). The study also shows that Flemish pupils like to read the least out of all the participating countries, with an average index score of -0,61. Sullivan & Brown (as cited by De Meyer et al., 2019) conclude that pupils who enjoy reading, will read more and will thus improve their reading skills. Furthermore, according to Glenn et al. (2009), young adults can be motivated into reading more and actually enjoying it, even outside of the classroom. Young adults will be more open towards reading when their teachers, parents and/or peers give positive reasons for doing it, explicitly promote reading as being relevant and offer real content. This shows that teaching literature has a positive impact on young adults and should be encouraged. Additionally, a novel discussion allows pupils to improve all their language skills (reading, writing, listening and speaking), offering the teacher a range of possible learning activities and opportunities (Glenn et al., 2009). In chapter 3, a variety of such activities regarding the novel The Hate U Give (Thomas, 2017) is offered.

2.2.1. GLOBAL LITERATURE Global literature goes beyond multicultural literature since it does not exclude international works, i.e. works created in other countries or regions or by other ethnicities (Bean et al., 2014). It is essential to address global literature in today’s education to make the pupils aware of the world they live in (Glenn, 2012).

Bean et al. (2014) emphasize the importance of being aware of the differences between young adults, resulting from their different financial status, living environment and race. Even within homogenic educational environments, pupils form a diverse group of young adults. Therefore, following Bean et al. (2014), young adults are viewed as heterogenic rather than homogenic individuals. Reading about successful young adults from various ethnicities prevents certain stereotypes from arising within the school or even abolishes them. Because of this, pupils should be (made) aware of the diversity of society, whether or not they are living in a diverse one themselves.

Global young adult fiction is used in educational contexts to make pupils aware of other cultures, religions, gender roles, sexual preferences, etc. It also offers them a supportive mirror when they are going through or relate to the same emotions as one of the (main) characters. Bishop uttered in 1992 already that pupils and teachers can benefit from discussing novels with characters of colour. These benefits range from giving pupils of colour a clear “sense of belonging, improved self-concept, a transmission of the values of the home culture, a sense of their own history” (Bishop, 1992, p. 20). Of course, pupils that come from “the dominant groups” (Riley, 2009, p. 13) also benefit from these novel discussions. They get to indulge in a culture different from their own (Riley, 2009; Glenn, 2012; and others). Furthermore, the importance of offering educational room to develop the latter is confirmed in the Flemish attainment targets:

− Community education1: Through the attainment targets, pupils become more open- minded and increase their empathy and curiosity towards other cultures and critical thinking. − Catholic education2: One of the specific attainment targets is to recognize and add nuance to stereotypes regarding the own and other culture and cultural expressions. English as a Second Language courses support the development of intercultural competence. Because of this and through their language skills, pupils can meet individuals from other cultures with respect and unprejudiced.

One of the main responsibilities of teachers addressing young adult fiction, is teaching pupils how to read critically. This is achieved through a prominent teaching orientation defined by Bean et al. (2014), cultural criticism. The orientation is set next to reader response and cultural heritage. Through this approach, readers learn how to critically examine any cultural references mentioned in a literary work. The literary work should always be read closely, and some paragraphs even multiple times. The International Reading Association (IRA), the National Reading Conference (NRC) and the National Council for Teachers of English (NCTE) agree to these views. They also mention the importance of offering pupils varied and at times optional literary material, based on the pupils’ personal lives and interests (as cited by Bean et al., 2014). The above-mentioned scholars point out that those who know how to read critically will have an advantage over those who did not, be it in their social or academic life.

Following Kumashiro (2000), we advise teachers not to restrict their lesson content to the representations of otherness within the literary works. The teacher’s own and/or privileged culture and identity, and the difficulties resulting from them should not be forgotten. It is important that pupils know how to express their own reality and understand how others see this reality. Therefore, teachers have to bear in mind the personalities and backgrounds of their

1 Retrieved from the Flemish Educational Curriculum 2014/014. 2 Retrieved from the Flemish Educational Curriculum D/2014/7841/003.

individual pupils. These individuals all bring their own critical views to the classroom and will use these views to form personal perspectives on the literary work’s content (Megarry, 2004). As Kumashiro (2000) summarizes, teachers should take into account both the position and situation of the dominant as well as the oppressed groups. They should address the meaning and existence of white supremacy to offer pupils the possibility to understand what it defines and how it links to racism, even in today’s society (Johnson & Neville, 2018).

Apart from the reality in which the teacher and their pupils find themselves, attention should also be paid to the author’s reality, such as their background, culture and views. When selecting literary works to be taught in secondary classrooms, the focus should be on offering works by authentic authors, such as Angie Thomas. Borsheim-Black (2012) defines authentic authors as those that identify themselves with the culture mentioned in the work. Too often, pupils are offered novels that claim to be multicultural and raising awareness of race and racism while having been written by white authors: To Kill a Mockingbird by Harper Lee, to name the most popular one. The novel The Hate U Give discussed in this thesis tells the story of the life of African Americans, written from the perspective of an African American author (Thomas, 2017). It shows the struggles and positive aspects of being (part of) a black family and community. According to Jackson & Boutte (2009), this depiction should be a key element in African American literature, specifically aimed at young adults. Once these criteria are met, this type of literature can finally serve “as a way of teaching and as a way of knowing” (Bishop, 2007, p. 23).

2.2.2. YOUNG ADULT LITERATURE ON RACE AND ETHNICITY Taking the selected novel into account, this study focuses on how literary works on race and ethnicity should be tackled. Glenn’s (2012) views on how trainee teachers in particular should do this are shared and expanded to all teachers in general. Even the most experienced teachers can have difficulty finding the right tone, material and teaching methods regarding racism. As Bean et al. (2014) state, it is vital for teachers to realize that they cannot know everything about all cultures and all cultural-related topics. However, this is not necessarily a negative aspect. Their limitations will offer them the great opportunity to expand their knowledge at the same moment as their pupils (Bean et al., 2014; Anti-Bias Education, 2020). This co-learning process will help create an even more positive teacher-pupil relationship in which the pupils will view their teacher as simply human. Glenn (2012) advises teachers to treat young adult fiction as a guideline for their lesson plans, as it will help facilitate any discussions. In the context of The Hate U Give, young adult fiction allows the pupils to explore themes such as racism, police brutality, activism and many more, based on the events taking place within as well as beyond the novel. These discussions will also make teachers aware of the diversity of their future classrooms. Glenn says: The distance between fiction and reality reduces the risks often associated with conversations around race in the classroom (…) and affords preservice [i.e. trainee] teachers space in which to respond to racism and its dominant ideology by calling into question normative depictions of everyday living that ignore or discount structural barriers to equality faced by people of colour. (Glenn, 2012, p. 329) The literary texts will assist the teacher in illustrating the effect power and injustice have on individuals and their communities. They will serve as an additional tool for the teacher to create a positive and safe learning environment in which more complicated themes are presented, and the diversity of their class group is embraced. Pupils that think highly of and are very much interested in matters of justice and fairness, will be drawn to novels such as The Hate U Give even more so than their peers (Stevenson, 2017).

2.2.3. TEACHING THE HATE U GIVE It is important to address young adult novels such as The Hate U Give in secondary school curricula for numerous reasons, some of which have already been addressed in the previous sections. On top of those, it is important for pupils to understand how people of colour and other ethnicities are often stereotypically depicted (Jackson & Boutte, 2009). This is important for all pupils, not only those who are familiar with multicultural environments, communities and/or classrooms. Secondly, by explicitly discussing these stereotypes and addressing alternative literary works in which (differences among) ethnicities are positively represented, pupils broaden their world views (Glenn, 2012).

Angie Thomas based the story of her first novel, The Hate U Give, on a number of fatal shootings involving young black victims versus white authorities in the United States. For example, there was the shooting of Oscar Grant in 2009 and the similar murder of Trayvon Martin in 2012. A neighbourhood watch member, George Zimmerman, followed Martin as he considered him to be a threat, which eventually led to Martin’s death. Zimmerman later claimed that Martin was acting suspicious in his “hooded sweatshirt” (Owen, 2019, p. 235). In the novel, Martin and Grant’s stories are told through Khalil, the longtime friend of the main character, Starr. Khalil is shot by a policeman after the latter stops his car. When going back to the patrol car to verify Khalil’s ID, he assumes Khalil is reaching for his gun when in fact, he merely wants to make sure Starr is okay (Thomas, 2017, p. 27). It is stereotypes such as these that will be explicitly mentioned and discussed within the classroom in order to broaden the pupils’ knowledge of the at times very different reality some young adults find themselves in. It is up to the teacher to determine beforehand whether pupils might have and recognise personal connections to the characters, what is specific about the author’s language and what type of issues and conclusions can be drawn from the novel. Similar questions will be discussed during the actual learning activities.

An important and crucial step for teachers to take, is to form their own understandings of how race and racism are presented in the novel. Through these understandings, they will be able to guide and motivate their pupils throughout the selected lesson activities. The ultimate goal of this

phase is for the pupils to express their own feelings with regards to the characters mentioned, whether or not they are different from their own personalities. As Jackson & Boutte (2009) state, the reader of the novel almost turns into the main character. The reader becomes part of the world mentioned in the novel and experiences both the struggles and the wins of the main character. This defines what Hamilton (1993) calls Liberation Literature, a literary category The Hate U Give proves to be part of through the main character Starr. Teachers should think and question pupils about “what it means to be a young Black person and how the characters challenged or lived up to the social expectations” (Glenn, 2012, p. 338) that were placed upon them by others. The Hate U Give entails numerous examples, such as Starr’s two identities and the particular parenting methods of the Carter family, that will be discussed in chapter 3.

During the analysis of the novel, certain events, organisations and institutions mentioned in the story are elaborated on. Most of them will already be presented in a pre-reading activity. An example of this is the presence of the media. Teachers should make pupils aware of any influence the media may have on the public’s opinion. Following Riley (2009) and Saeed (2007), the media is known to inform the public on certain events in their own, at times deceiving, ways. Through their publishing, they assist the public in forming opinions. In the novel, Thomas shows this through different aspects such as the continuous presence of the news crews; the main character, Starr, who feels forced into attending a live interview to change the public’s views; and one of Starr’s supposedly best friends, Hailey, who follows the media in claiming that Khalil “was probably gonna end up dead anyway. (…) He was a drug dealer and a gangbanger (…). Someone was gonna kill him eventually” (Thomas, 2017, p. 337). A second important and obvious actor in the novel is the police force. The presence of the police is threefold. The reader notices police references in the character of the policeman who shot Khalil, in the police forces trying to stop the riots in Garden Heights, and in the character of Starr’s Uncle Carlos. An important conclusion to be drawn from the novel is that the bad guy throughout the story is not the individual police officer. Instead, it is the presence of racism represented by the failing court system, the police officer’s actions, etc. (Owen, 2019).

Like Bean et al. (2014), we consider the use of intertextuality an asset, especially when teaching English as a second language to struggling readers. In this sense, literature is not limited to written work but is supplemented with documentaries, television, music, film, and other sources. In 2018, the motion picture The Hate U Give by George Tillman Jr. was released. The film stays close to Angie Thomas’ storyline and can be equally used as lesson material. In the lesson activities mentioned as of chapter 3, the film is referred to as an efficient asset. The film can be used to elaborate on certain scenes and events in a visual manner. While this study primarily focuses on constructing lesson material regarding the novel, it does not discard the existence of the film. Further comparative studies could be constructed on the novel and the book and on teaching the concept of film analysis. The novel includes some intertextual references to other young adult interests as well. For example, Starr and her two late best friends, Khalil and Natasha, used to pretend to be the fictional character Harry Potter3 and his two best friends (Thomas, 2017). This memory of Starr’s childhood is of great importance to young adult Starr. In the film, she has kept her and Natasha’s wands together ever since she witnessed Natasha being shot. After Khalil too passes away, she lays his wand next to theirs. As if to say: “We are all together again”. Another teen favourite is the TV show The Fresh Prince of Bel-Air4. The show officially ended over 10 years ago but still receives plenty of screen time worldwide. Even if the pupils do not know this TV show yet, they will most likely enjoy getting to know it through the novel. Starr connects with the main character, Will Smith, as they are both black teenagers attending a rich and predominantly white school. She says: “I think I know every episode word for word. Yeah (sic) it’s hilarious, but it’s also like seeing parts of my life on screen. I even relate to the theme song” (Thomas, 2017, p. 38). Starr is jealous of Will, who does not seem to struggle with showing his true identity at all times, even within the school walls: “I just wish I could be myself at Williamson like Will was himself in Bel-Air” (p. 39).

3 Seven fictional novels by J.K. Rowling, 1997-2007. 4 American TV show by Borowitz & Borowitz, 1990-1996.

Based on the literature discussed in the previous sections, multiple lesson activities for The Hate U Give were constructed. Chapter 3 consists of various lesson activities that can either be used as a whole or as valuable separate tasks and discussion topics.

3. LESSON MATERIAL ON THE HATE U GIVE Our target audience consists of all pupils in the last year of Flemish general and technical secondary education. They are sixteen to eighteen years old and have at least two hours of English every week. The lesson material focuses on what the previous chapter has put forward as key elements for a novel discussion focusing on race and ethnicity: the representation of the novel, the message of the author, the cultural references, the character representation, etc. Through these elements, the pupils experience the importance of the novel’s content instead of feeling forced to read yet another novel merely for the sake of reading (Booth, 2008).

Filkins’ (2020) lesson structure offers an initial framework to which other published and personal ideas on valuable lesson activities are added. Filkins divides his lesson plan on The Hate U Give into eight different sessions: S1: introduction of the novel and research topics S2, S3: research, notetaking, presentation preparation S4: reading the novel and sharing background knowledge S5, S6, S7: linking other texts to The Hate U Give S8: synthesizing and reflecting The focus will be on sessions 1 through 4 and session 8. Sessions 5 through 7 will be left out as they would increase the risk of overwhelming the pupils with rather extensive reading material. Pupils in English as a Second Language courses with various English competences will benefit most from the selected sessions mentioned above. In what follows, the lesson content based on the four sessions is reduced to three parts as pre-reading (S1-3), while-reading (S4), and post-reading activities (S8), following the PPP (Presentation – Practice – Product) deductive teaching methodology. As has been stated before, these activities can either be seen as a whole, or selected and reviewed as standalone, individual activities. The list of possible lesson activities mentioned below should be considered non-exhaustive.

3.1. Pre-Reading Activities Before reading the novel, a number of relevant themes are discussed in order to prepare the pupils for the novel discussion. The following pre-reading activities are listed chronologically. A structured lesson plan for these activities can be found in Appendix A, based on the lesson plan format compiled by Ghent University. The lesson objectives mentioned are drawn from the Flemish curricula.

3.1.1. Starter In April 2020, the Flemish publisher Pelckmans launched lesson material regarding The Hate U Give by Angie Thomas. What is provided as a while-reading activity, is used here as a starter of the complete lesson plan. In 2015, the African American poet and educator Clint Smith held a Ted Talk on his own childhood, growing up in America. Pelckmans offers a short version of the video (with optional subtitles), while the full video can be accessed through YouTube5 and ted.com6. The transcript of the video can be found in Appendix B. In this study’s lesson plan, the teacher uses the Ted Talk as an introduction to the novel The Hate U Give, without mentioning the novel. The pupils’ task is to listen to the video and jot down keywords on Clint Smith’s childhood. Afterwards, the keywords are discussed. How do the pupils feel about this video? What are the differences and similarities between Smith’s and their childhood? The teacher links Clint Smith to the novel without giving away too much detail. The novel they will get acquainted with soon enough deals with the same struggles that Clint Smith mentions in his Ted Talk.

5 https://www.youtube.com/watch?v=MMkJol1fvHI 6 https://www.ted.com/talks/clint_smith_how_to_raise_a_black_son_in_america

3.1.2. Book Cover Of course, the novel itself is physically shown to the pupils. The information on the cover is examined and discussed. Three different parts are closely looked at: the front cover, the spine and the back cover. Depending on the edition of the book, the following details are covered: • Front cover: a picture of a black young woman, the title, the author, a review by John Green and a New York Times Bestseller mention. • Spine: the title, the acronym of the title and the publisher. • Back cover: a quote, a summary, a review, ISBN, a hashtag and the publisher’s website.

The front cover allows the pupils to construct expectations of the storyline without having read anything about it yet. Who do they think John Green could be? What does it mean to be mentioned on The New York Times Bestseller list? How do they feel about the picture of the young woman? Do they know the author? Have they heard of her before? Through these questions, the pupils form a first impression of the novel. The author, Angie Thomas, will be discussed more thoroughly in a later lesson phase.

The first paragraph on the back cover offers the pupils a great opportunity to practise expressing their own opinion in English: What’s the point of having a voice if you’re gonna be silent in those moments you shouldn’t be? What does this sentence mean to them? Is there a point in being silent in those moments? What do they think the novel could be about?

After a brief discussion, the next paragraph is read:

Sixteen-year-old Starr lives in two worlds: the poor neighbourhood where she was born and raised and the posh high school in the suburbs. The uneasy balance between them is shattered when Starr is the only witness to the fatal shooting of her unarmed best friend, Khalil, by a police officer. Now what Starr says could destroy her community. It could also get her killed. This second paragraph familiarizes the pupils with two important characters, Starr and Khalil, who are around the same age as they are. Most likely, this will stimulate their interest in the novel. How do they feel about the novel now? Did they have to adjust their expectations of what the storyline would entail? What do they feel it will be about? It would be interesting to have them write down their impressions. This way, they can go back to them after they have read the novel to draw a comparison. Did they experience a change in the course of the novel, were their expectations met, were they surprised, etc. Similar questions will be addressed during the last post-reading activity, following proposals of scholars such as Booth (2008), Stewart (2008) and Bean et al. (2014). An interesting digital tool on which the pupils can effectively store their thoughts is Mentimeter. Using this tool, they digitally register their answers to the previously mentioned questions. Mentimeter turns their answers into a word cloud that is later discussed. After having read the novel, the pupils go back to Mentimeter to enter their thoughts on the same questions. At this point, the class group compares both word clouds and discusses any changes (Spiegler, 2017).

Finally, the spine of the book is shown. What do the pupils see? Why, do they think, would the acronym of the title be mentioned? Can the pupils come up with any references it may have? Someone may know the meaning of the noun ‘thug’: “a man who acts violently, especially to commit a crime” (Thug, n.d.). If not, the pupils look up the meaning in an online explanatory dictionary. Synonyms can be offered to expand the pupils’ English vocabulary knowledge: goon, toughie, etc. (Cambridge Dictionary, 2020). The second meaning of the acronym, the intertextual reference (Bean et al., 2014) to American rapper Tupac Shakur’s life mantra, is explained in the following chapter of this thesis.

After having discussed the book cover, the teacher goes back to one of the subjects mentioned previously: the novel’s author, Angie Thomas. The pupils watch a short video clip presenting Thomas (Epic Reads, 2017). Through this video, they get acquainted with the author and the inspiration behind the novel (see Appendix C). Thomas mentions various interesting themes and individuals such as activism, music, police brutality, Oscar Grant, Tupac, etc. These form the basis of the next lesson phase: themes and organizations.

3.1.3. Themes and Organizations After having looked at the physical appearance of the book more closely, the main themes and organizations mentioned in the book and in the previously shown video clip are presented. Following Filkins (2020), this lesson phase consists of a group activity. The pupils are divided into smaller groups and pick a theme of their interest, around which they will construct a presentation. Possible themes are Oscar Grant and police brutality (mentioned in the previous section) as well as Angie Thomas, THUG LIFE, Black Lives Matter, racism and the role of the media. The pupils are expected to hold an informal presentation of approximately 5 minutes, in which they share their findings with their fellow pupils. Through the use of exemplary questions, they are given a clear and helpful structure that they can implement into their presentation.

The pupils are also offered useful material and (online) sources to guide them in the right direction. The teacher hands the Oscar Grant group a picture and the name of Trayvon Martin, who has been mentioned in this thesis before. The pupils have already become acquainted with the name Oscar Grant through Angie Thomas’ video clip. During the group work they will investigate what exactly happened to them. Racism is a rather difficult and broad topic that requires the necessary caution. America’s largest public media enterprise PBS offers a great interview between PBS reporter Natalie Bullock and the segment producers of the PBS documentary Matters of Race, John Valadez and Malinda Campbell (Black Issues Forum, 2017). Part of the interview is offered as an information tool. For this lesson plan, four parts were selected (see Appendix D). The pupils are encouraged to add personal thoughts and experiences concerning the topic.

The group discussing the role of the media is provided with a number of headlines, each referring to a lethal shooting incident (Shear, 2018). The group is asked to draw a conclusion on the person(s) mentioned in the headline. What do they think happened? They also receive (part of) the actual features and discuss how fitting the headline is to the true story. How do they feel about the tone, is the reader pushed into a certain direction, etc. Lastly, they rewrite the headlines in a more neutral way. The group working on THUG LIFE is expected to link the utterance to the American rapper Tupac. As they have already heard about this individual in the video clip of Epic Reads (2017), the connection should not be too hard to find. As is explained by Thomas in the video, Thug Life is a backronym for The Hate U Give Little Infants Fucks Everyone, meaning that “how the urban Black community is treated by society will negatively impact everyone in society” (Watson et al., 2017, p. 81). THUG LIFE was also the name of Tupac’s hip-hop group in the 1990s. Natbony (2020) suggests talking about real-world implications of police brutality and gun violence. In accordance with this source, the teacher provides some pupils with news articles on both topics. The history of gun violence in general is to be discussed prior to reading the novel, in order for the pupils to connect to certain normalities in the novel. Several characters own a gun and are not afraid to use it. This particular group work could lead to a discussion on gun ownership, broadening the pupils’ knowledge on gun legislation in the US (in comparison to their own culture).

The primary goal of these presentations is to familiarize the pupils with the novel’s content, prior to reading it. Therefore, the pupils are not expected to link the topics to the actual novel. How their findings connect to the story is discussed during certain while-reading and post-reading activities. Secondly, through the presentations the teacher encourages the pupils to speak English. The presentations are considered informal because the focus is on sharing information and findings, with sufficient room for interaction. The pupils do not need to practise their presentation beforehand.

3.2. While-Reading Activities Teachers can choose whether to do some of the following activities while or after having read the novel. The time to be spent on the individual tasks depends highly on the personal interest of the pupils and the teacher in certain topics, the competence level of the pupils as well as on the available lesson time. Because of this, a lesson plan as in Appendix A has not been constructed for any while-reading activities. These variables will also affect the pupils’ reading time and place. In some groups, the pupils will be asked to read certain chapters at home, whereas other groups may focus primarily on reading in the classroom. In this thesis, pupils are asked to read certain chapters in preparation for the lesson. Some parts will be reread during the lesson, after or during which the while-reading activity will be offered. The novel consists of 438 pages, divided into 26 chapters. The pupils will have to read an average of 73 pages before each lesson. This results in 6 lessons focusing on the content of the novel. Of course, the novel discussion can be spread over several weeks in order not to lose the pupils’ motivation and so as to give them enough time to prepare the chapters at home.

3.2.1. Intertextuality In the following, intertextual references (Bean et al., 2014) throughout the novel are closely examined. Most young adults will find it easy to connect with each reference since they are mainly targeted at a young adult audience.

The Fresh Prince of Bel-Air As was mentioned before, Starr identifies with the main character of the American TV show The Fresh Prince of Bel-Air. Thomas refers to the show multiple times in the first few chapters. On page 38 in the novel, Starr explains how the theme song (Appendix E) of this show is a representation of her own life: A couple of gang members who were up to no good made trouble in my neighborhood and killed Natasha. My parents got scared, and although they didn’t send me to my aunt and uncle in a rich neighborhood, they sent me too a bougie private school. (Thomas, 2017, p. 38)

The video clip7 and the lyrics visualize Starr’s feelings in a comprehensible way. The pupils are introduced to the TV show and discuss the similarities between main characters Will and Starr. In chapter 4, Starr explains her style as follows: I sling my backpack over my shoulder. As usual it matches my J’s, the blue-and-black Elevens like Jordan wore in Space Jam. I worked at the store a month to buy them. I hate dressing like everybody else, but The Fresh Prince taught me something. See, Will always wore his school uniform jacket inside out so he could be different. I can’t wear my uniform inside out, but I can make sure my sneakers are always dope and my backpack always matches them. (Thomas, 2017, p. 74)

As an informal while-reading speaking exercise, the pupils are asked whether they also identify with any film, series or novel character. If necessary, and if considered useful, the teacher starts the assignment by giving their own famous identity match.

Harry Potter In the novel, Thomas, through the character of Starr’s father Maverick, considers Harry Potter to be a gang story. Daddy claims the Hogwarts houses are really gangs. They have their own colors, their own hideouts, and they are always riding for each other, like gangs. Harry, Ron, and Hermione never snitch on one another, just like gangbangers. Death Eaters even have matching tattoos. And look at Voldemort. They’re scared to say his name. Really, that “He Who Must Not Be Named” stuff is like giving him a street name. That’s some gangbanging shit right there. (Thomas, 2017, pp. 165-166)

During this short activity, the pupils list characteristics of a gang based on what Maverick says and on what they have read earlier on in the novel regarding the King Lords (the story’s gang).

7 https://www.youtube.com/watch?v=hBe0VCso0qs: Fresh Prince of Bel-Air Intro.

THUG LIFE The Tupac reference has already been addressed multiple times. The pupils are familiar with the rapper and the (b)acronym THUG LIFE. During this short while-reading activity, they get to know Maverick’s take on this. They repeat what they have learned before reading the novel and add their own interpretation of the following conversation between Maverick and Starr. The objective is to help the pupils understand both the deeper meaning of the acronym as well as to grasp the importance of these particular paragraphs. It is because of this scene that Starr realizes she cannot remain silent about what happened to Khalil. I see the fight in his eyes. I matter more to him than a movement. I’m his baby, and I’ll always be his baby, and if being silent means I’m safe, he’s all for it. This is bigger than me and Khalil though. This is about Us, with a capital U; everybody who looks like us, feels like us, and is experiencing this pain with us despite not knowing me or Khalil. My silence isn’t helping Us. Daddy fixes his gaze on the road again. He nods. “Yeah. Can’t be silent.” (Thomas, 2017, p. 170)

3.2.2. Racism As has been stated before, racism is a rather broad topic and may be discussed at length. The pupils discuss how racism is depicted within the novel and how it is relevant in today’s society. During the writing of this thesis, African American George Floyd was killed in police custody, emphasizing the relevance of this lesson phase. Among other activities, they read about incidents regarding police violence and the negative portraying of young black men (Johnson & Neville, 2018). These activities can either be dealt with while reading or after having completed the novel.

Racism and Young Adults The pupils are given an article in the online edition of The New York Times regarding young adults’ first encounters with racism (The New York Times, 2017). The story of 16-year-old Riley Lockett (see Appendix F) is very similar to the way Starr was raised. He explains how his mother taught him to act around the police, the same way Starr’s father taught his children. By discussing Lockett’s

experiences, it will be easier for the pupils to completely grasp the parenting methods of Starr’s father, Maverick. In chapter 5, Starr and her two brothers Sekani and Seven are on their way to a Chinese restaurant to pick up food for their mom. As they stop at a red light, they notice a police car next to them. The atmosphere in the car immediately shifts. The siblings are instantly nervous and want this to be over as soon as possible. “Greedy butt,” Seven says, and Sekani kicks the back of his seat. Seven laughs. “Okay, okay! Ma asked me to bring some food to the clinic anyway. I’ll get you something too.” He looks at Sekani in the rear-view mirror. “Is that cool ---” Seven freezes. He turns Chris’s mix off and slows down. “What you turn the music off for?” Sekani asks. “Shut up,” Seven hisses. We stop at a red light. A Riverton Hills patrol car pulls up beside us. Seven straightens up and stares ahead, barely blinking and gripping the steering wheel. His eyes move a little like he wants to look at the cop car. He swallows hard. “C’mon light,” he prays. “C’mon.” I stare ahead and pray for the light to change too. It finally turns green, and Seven lets the patrol car go first. His shoulders don’t relax until we get on the freeway. Mine neither. (Thomas, 2017, p. 89)

Police Force This topic links back to the previous one. The young adults mentioned in the novel and the article have been taught how (not) to act around police officers. At a very young age, they have been made aware of the fact that police officers tend to react differently to black people. The policeman in the novel, named One-Fifteen because of his police badge, shot Khalil after having jumped to the incorrect conclusion. Even though he acted poorly and is to blame for Khalil’s death, his character is not the symbolization of racism within The Hate U Give (Owen, 2019). The presence of racism and injustice is shown throughout the novel: through the police officers interviewing Starr after the incident (pp. 97-105), through the decision of the court system not to find the police officer guilty of his charges (p. 382), through the police crews aggressively trying to stop the peaceful demonstration in name of Khalil (pp. 402-408), and through the following incident (pp. 190-191):

A familiar whoop-whoop sound alarms us. Oh God. The patrol car with flashing lights cruises down the street. It stops next to Daddy and Mr. Lewis. Two officers get out. One black, one white. Their hands linger too close to the guns at their waists. No, no, no. Maverick and Mr. Lewis are talking to each other in front of their shops. They are good friends but are having a friendly argument about Mr. Lewis’ safety. The pupils share how they feel about this short paragraph. Do they think Starr is justified in feeling scared? Is it normal for police officers to stop when they see two people arguing in public?

The next part is read: (…) “To me it looks like this young man was harassing you, sir,” the black one says, still looking at Daddy. He hasn’t looked at Mr. Lewis yet. I wonder if it’s because Mr. Lewis isn’t wearing an NWA T-shirt. Or because there aren’t tattoos all on his arms. Or because he’s not wearing somewhat baggy jeans and a backwards cap. The teacher points out that Starr attributes the police officer’s attitude towards her father to the latter’s physical appearance. Some pupils may find it strange that a black police officer is so offensive towards a black man talking to another black man. At this point, it does not seem to be an act of racism but one of stereotyping.

The group moves on to the following paragraph: “You got some ID on you?” the black cop asks Daddy. (…) Daddy’s hand slowly goes to his back pocket, and I look from his hands to theirs, watching to see if they’re gonna make a move for their guns.” (…) The black officer takes the wallet and opens it. “Oh,” he says. “Maverick Carter”. He exchanges a look with his partner. Both of them look at me. My heart stops. They’ve realized I’m the witness. (…) The black officer looks at him. “Get on the ground, hands behind your back.” “But ----” “On the ground, face-down!” he yells. “Now!” The pupils discuss the police officers’ sudden actions. Why does Maverick have to get down on the ground? Why do they see him as a threat? What is important to realize here is that the police officers are colleagues of One-Fifteen. They clearly have One-Fifteen’s back and go about it the wrong way. They are seeking revenge for Starr

having damaged the police force’s reputation and are willing to harm Maverick. It is not until they realize that the whole neighbourhood is watching them that they let him go.

Name Culture A brief discussion is held on how names can identify one’s culture and/or background and whether or not this should be an indication of such individual characteristics. This refers to the section in the novel in which the main character’s boyfriend, Chris, categorizes certain names as being typically black: “Okay. Why do some black people give their kids odd names? I mean, look at you guys’ names. They’re not normal.” “My name normal,” DeVante says, all puffed-up sounding. “I don’t know what you talking about.” “Man, you named after a dude from Jodeci,” Seven says. “And you named after a number! What’s your middle name? Eight?” “Anyway, Chris,” Seven says, “DeVante’s got a point. What makes his name or our names any less normal than yours? Who or what defines ‘normal’ to you? If my pops were here, he’d say you’ve fallen into the trap of the white standard.” (…) “Right. It’s about perspective,” says Seven. “Plus, most of the names white people think are unusual actually have meanings in various African languages.” “And let’s be real, some white people give their kids ‘uncommon’ names too,” I say. “That’s not limited to black people. Just ‘cause it doesn’t have a De- or a La- on the front doesn’t make it okay.” (Thomas, 2017, pp. 395-396) This paragraph shows how easily, as unintentional as it often may be, one expresses themselves in a somewhat racist manner.

3.2.3. Media This reading activity can be linked to the pre-reading group work on the role of the media. During this exercise, the pupils read the part about the riots in Garden Heights at the end of the novel (p. 402 ff.). The teacher explains how the riots are used as a protest, “an expression of power in response to a legacy of powerlessness” (Ching, 2005, p. 129). The pupils are then asked to write headlines on what they have read, bearing in mind the information they discussed before reading the novel. Afterwards, they share and discuss their headlines.

3.3. Post-Reading Activities The following post-reading activities mainly focus on the characters of The Hate U Give.

3.3.1. The main character: Starr Spending sufficient lesson time on the analysis of the two different personalities of the main character, Starr, is necessary. They represent what it means for her to find her own identity within two opposite cultures. There is a “Williamson Starr” and a “Black community Starr” (Thomas, 2017, pp. 73-74). Starr’s peers in both worlds have certain expectations and perceptions towards the identity of the real Starr (Owen, 2019). Following Johnson and Neville (2018), a creative post- reading activity is to have the pupils create a visual comparison of the two Starrs. On the one hand, you have a black female adolescent, living with her family in a low-income neighbourhood where violence and riots take place on a weekly, if not daily, basis. On the other hand, the same physical person attends a predominantly white school in a white and rather rich neighbourhood and adjusts her speech accordingly: I just have to be normal Starr at normal Williamson and have a normal day. That means flipping the switch in my brain so I’m Williamson Starr. Williamson Starr doesn’t use slang – if a rapper would say it, she doesn’t say it, even if her white friends do. Slang makes them cool. Slang makes her “hood.” Williamson Starr holds her tongue when people piss her off so nobody will think she’s the “angry black girl.” Williamson Starr is approachable. No stank- eyes, side-eyes, none of that. Williamson Starr is nonconfrontational. Basically, Williamson Starr doesn’t give anyone a reason to call her ghetto. I can’t stand myself for doing it, but I do it anyway. (Thomas, 2017, pp. 73-74) How, if at all, do these two worlds collide? This is where the previously mentioned boyfriend Chris comes in. He seems to be the glue bringing the two very different worlds together.

The analysis of Starr’s identities can be addressed in several ways and offers a great differentiation opportunity. The pupils can work either in pairs or individually. A short list of formats is offered, from which they can choose one: writing an essay, making and explaining a drawing, making a video (in which they explain or act out the identities), giving a live performance (in which they

explain or act out the identities). Regardless of the tool chosen, the goal of the activity remains the same: to explain the two identities’ similarities and differences.

3.3.2. Character Analysis Thomas’ novel not only touches the complicated existence of white supremacy and racism but also gives hope through characters focusing on equality and social progress (Johnson & Neville, 2018). Therefore, it is important to go beyond discussing the main character and to focus on other individuals mentioned in the novel as well. Shear (2018) offers a creative activity to discuss the various characters mentioned in the novel. In this activity, the pupils create an identity map on a character of their choice. They can do this individually or in pairs. The teacher provides the pupils with useful questions on which they base their map, such as: What sequence of events is relevant to the character? How does your character interpret those events? What power does your character possess or lack? How does that impact their interpretation of events? How does your character see themselves and their identity? Is your character’s personal construction of their identity shared by other characters? Why (not)? (Shear, 2018) The pupils construct, introduce and explain their identity maps. To conclude this task, the teacher shows how George Tillman Jr. chose to cast some of the characters in the motion picture based on the novel. To what extent does his interpretation of the characters meet their expectations?

3.3.3. Reflection During this last post-reading activity, the teacher refers to the pre-reading group work. The pupils go back to their initial groups and connect their previous findings with what the novel taught them. Can they link their topic (Oscar Grant, police brutality, THUG LIFE, Black Lives Matter, racism, the role of the media) to any events or individuals mentioned in the novel? The members of the group that researched the author join any of the other groups for this activity. The lesson objective is to

teach pupils how to reflect on what they have read or seen and draw connections to previous findings.

4. DISCUSSION The novel The Hate U Give by Angie Thomas offers an interesting framework for a versatile lesson plan. The complex and delicate subjects addressed in the novel may offer the pupils as well as the teacher some challenging lesson content. However, this does not mean that they should refrain from discussing the novel. These challenges offer all participants the great opportunity to expand their knowledge at the same time and place (Bean et al., 2014; Anti-Bias Education, 2020).

This study’s aim was to offer teachers of English as a Second Language a comprehensive and useful lesson plan on The Hate U Give. Due to the limitations in length of this work, some topics have not been dealt with in detail. For example, an extension of this work may focus more on the different organizations that were dealt with in the pre-reading phase of the lesson plan. These studies could focus on their existence, meaning and purpose (e.g. the Black Lives Matter movement). Additionally, lesson plans such as Appendix A could be compiled for while- and post-reading activities. Flemish trainee teachers use this structure as a guideline for their personally developed internship lessons. Even though international teachers may not immediately and thoroughly understand the structured lesson plan inserted in this study, the learners’ and teacher’s activities and time indications are considered universally applicable.

Finally, future literary studies and further didactic studies could focus entirely on the comparison between the novel by Angie Thomas and the motion picture by George Tillman Jr. Through a comparative study, the visual representation of Starr’s life would be examined. Furthermore, additional attention could be paid to the specific vocabulary and grammar used in Williamson and Garden Heights.

5. CONCLUSION This dissertation shows the versatility of The Hate U Give by Angie Thomas. The novel is suitable as lesson material in English as a Second Language courses and can be implemented in various ways. Teachers can offer it as a whole or as an additional source to other topics such as intertextuality, activism, racism and police brutality.

Through the discussion of the novel, pupils become familiar with the other and otherness (Kumashiro, 2000). They expand their world views by discussing and understanding stereotypes as well as positive representations regarding people of colour and other ethnicities (Jackson & Boutte 2009, Glenn 2012). The young adult references mentioned in the novel, e.g. Harry Potter, The Fresh Prince of Bel-Air, etc., make these rather complex topics easier to grasp.

This dissertation is further aimed at motivating pupils to read The Hate U Give and to enjoy it to the fullest. Consequently, it would like to see a positive change in their reading skills. Through the authentic topics mentioned above, the teacher will be able to offer their pupils real content that they can relate to. Thus, this will increase the chance of a more open attitude towards the reading material (Glenn, 2009).

The lesson activities listed and explained in this study can be copied and adapted to the level of the pupils. They are to be considered non-exhaustive and can be adapted by the user. Some lesson activities are offered as pre-reading tasks and form the basis of sequent while- and post-reading assignments. However, most activities can be selected and omitted according to the teacher’s preference. The entire lesson plan focuses on all four language skills: reading, writing, listening and speaking.

Appendix A Lesson Plan Pre-Reading Activities T = teacher Ps = pupils BB = blackboard

The handouts mentioned in the lesson plan are hypothetical handouts and have not been created.

I. lesson objectives II. TEACHING AND LEARNING PROCESS III. EVALUATION (PER LESSON PHASE) Lesson Timing Lesson content Learners’ activities & teacher’s activities: Media objectives per phase Starter 5’ Listening Skills: T tells Ps they will be watching a Ted Talk. Ps have to listen to the Computer How did the video make Ps comprehend Ted Talk Ted Talk video and jot down keywords on the speaker’s childhood. T Beamer you feel? the Ted Talk by shows Ps Clint Smith’s Ted Talk: How to raise a black son in BB Can you write down one of Clint Smith. 10’ Writing Skills: America? your keywords? Ps can select discussion Keywords (https://www.ted.com/talks/clint_smith_how_to_raise_a_black How many of you wrote relevant _son_in_america?language=en). Ps listen. Afterwards, T asks down the same keyword? keywords to the Speaking Skills: how the Ps feel about the video. T gives three Ps pieces of chalk. Ted Talk. Discussion One by one, they write down a keyword on the BB. When they Ps can correct are finished, they give their piece of chalk to another P of their incorrectly choice. T and Ps discuss the words and correct them (i.e. spelled nouns. spelling) if needed. Ps can express T tells Ps that Clint Smith’s childhood can be linked to the novel their opinion in The Hate U Give by Angie Thomas. In the following lessons, they English. will become acquainted with the novel.

I. lesson objectives II. TEACHING AND LEARNING PROCESS III. EVALUATION (PER LESSON PHASE) Lesson Timing Lesson content Learners’ activities & teacher’s activities: Media objectives per phase Presentation 5’ T shows Ps the book The Hate U Give (in front of the class and Book Do not forget to write Ps can select Presentation projected). T gives Ps a handout with pictures of the book cover. Beamer down important relevant of the novel T tells Ps that they will examine the book cover and will have to Handout information. If you need information. Handout write what they think is important on their handout. T gives Ps BB any help regarding spelling, Ps can write hints when T expects them to write something down. T will also your classmates and I are down relevant write down important words on the BB. here to help. information in English. 10’ Speaking, T asks Ps what they see on the front cover. Ps share what they Book What do you see on the Ps know who listening and see: a picture of a black young woman, the title, the name Angie Beamer front cover? Who could this the author of writing skills: Thomas, a review by a John Green, a New York Times Bestseller Handout person be? Who do you The Hate U Give discussion of mention. T asks Ps additional questions: BB think is the author? What is is. the front cover Who could John Green be? (an author) this mention by John Green Ps know what is What is this mention called? (a review) called? Does anyone know usually Who could Angie Thomas be? (the author) Have they ever heard The New York Times? Does mentioned on a of her? anyone know the bestseller book cover. What does it mean to be mentioned on The New York Times list? What is a bestseller? Ps know what a Bestseller list? What is a bestseller? review is. Ps understand the importance of The New York Bestseller list. Ps can share 10’ Speaking, The class moves on to the back cover. T reads the first paragraph Book Listen to the following their personal reading, aloud. Ps listen. T asks Ps what this sentence means to them. Do Beamer paragraph. What does this thoughts in listening and Ps think there is a point in being silent when you should actually Handout mean to you? When should English. writing skills: BB you be silent? When do you

I. lesson objectives II. TEACHING AND LEARNING PROCESS III. EVALUATION (PER LESSON PHASE) Lesson Timing Lesson content Learners’ activities & teacher’s activities: Media objectives per phase Ps can link discussion of speak up? What are the first things that come to mind when think you should speak up previously the back cover thinking of the possible content of this novel? instead? What are your discussed T reads the second paragraph aloud. Ps listen. T asks Ps who the expectations for this novel? information to a two characters mentioned are. How can they link the first Which characters do we new paragraph. paragraph to this one? Who should or shouldn’t be silent? (Starr) already know at this point? Did the Ps’ expectations of the novel’s content change? How? Ps Which one do you think share their thoughts. should (not) remain silent? What are your expectations now?

Ps know the 5’ Speaking, T and Ps go to the side panel of the cover. T explains that this Book What do you see on the meaning of the listening and part is called the spine. Ps tell each other what they see: the Beamer spine? What does thug noun thug. Ps writing skills: title, THUG and Walker Books. T and Ps discuss the noun THUG. Handout mean? What does it stand are able to use discussion of Do they know what this word means? If not, they are allowed to BB for? What does Walker an online the spine look up the meaning in an online explanatory dictionary. T asks Books refer to? What does explanatory Ps whether anyone notices anything else about THUG. Ps tell T it a publisher do? dictionary. T is also an abbreviation for The Hate U Give (= the title of the know what the book). Who or what is Walker Books? T explains that an author abbreviation needs a publisher if they want their work to become available for THUG stands others. for.

I. lesson objectives II. TEACHING AND LEARNING PROCESS III. EVALUATION (PER LESSON PHASE) Lesson Timing Lesson content Learners’ activities & teacher’s activities: Media objectives per phase Practice 5’ Writing skills: Ps go to menti.com and fill in a code given by the T. Ps enter Beamer What are your thoughts Ps know how word cloud keywords (thoughts, feelings) regarding the story they are (Mentime- and feelings regarding the the digital tool Mentimeter expecting to read. T shows Ps the word cloud that was made, ter) novel we are about to Mentimeter based on their thoughts. T explains that after they have read the read? What does the word works. novel, they will be asked to share their thoughts through this cloud tell us about the Ps can enter tool again. This way, their change of thoughts will be visually entire group’s thoughts? keywords in shown. English. T informs Ps about their next lesson. They will talk about some important events mentioned in the novel.

Presentation 5’-7’ Listening skills, T asks Ps who the author of the novel is again (Angie Thomas). T Beamer Who is the author of The Ps can draw writing skills: shows Ps a video presenting Angie Thomas YouTube Hate U Give? What are the important Video Angie (https://www.youtube.com/watch?v=H6ufAb82GJ0). On their Handout themes and individuals information Thomas handout, Ps write down any themes and individuals that Angie BB mentioned by Angie from a listening Thomas mentions in the video: Oscar Grant, Tupac, music, police Thomas? Do you know exercise. brutality, etc. If needed, T shows the video a second time. T and Oscar Grant? Tupac? Ps discuss the Ps’ answers. What’s your favourite music? Do you know anything about police brutality? Ps can follow 10’ Listening skills: T tells Ps they will be working in smaller groups today. Each Beamer English explanation of group will work on a specific theme or organisation relevant to Exemplary instructions. the group work the novel: Angie Thomas, THUG LIFE, Black Lives Matter, racism, question Ps can ask the role of the media, Oscar Grant, police brutality. T explains Topic questions in that through these themes and organisations, they will get to informa- English. know more about the novel’s content. T projects the structure of tion

I. lesson objectives II. TEACHING AND LEARNING PROCESS III. EVALUATION (PER LESSON PHASE) Lesson Timing Lesson content Learners’ activities & teacher’s activities: Media objectives per phase the group work. Ps will give an informal presentation of BB What is the goal of this approximately 5 minutes explaining their topic/individual. Each Random presentation? What do you group member has to participate in the presentation. Each group Group have to do? What are the will be given exemplary questions to help them find important Generator different steps of this group information. T also tells Ps they will have until the end of this work? lesson to look up relevant information. In the next lesson, they will get an extra 10 minutes to finalize their work before presenting their topic. Finally, T tells Ps they will have to hand in their preparations at the end of the lesson, so T can bring them to the next lesson. This way, they can’t forget their preparations Ps can work at home. T asks Ps if they understand what is expected. Ps ask together and questions. T tells Ps she will divide them into groups and will pick a show them where each group is to be seated. T tells Ps they will Who is your group’s representative. have to appoint one person to come forward and draw a representative? theme/individual. T randomly divides the pupils into smaller groups by using an online tool (e.g. ClassDojo). Ps take place What is your group’s topic? after which one P of each group comes forward to draw a topic. T writes down the relevant topic next to each group.

Practice 30’ Reading, Ps read the provided information on their drawn topic and look Internet How is it going? What is Ps can work listening, for additional information. Ps discuss the information found Printed your strategy? What have together on a speaking skills: within their groups and create a relevant presentation. T is out you already found about given topic. group work available for any further questions. informa- your topic? How much time Ps can create an tion do you think you still need? English T asks Ps to hand in their preparations. T promises Ps to bring presentation. their preparations to the next lesson.

I. lesson objectives II. TEACHING AND LEARNING PROCESS III. EVALUATION (PER LESSON PHASE) Lesson Timing Lesson content Learners’ activities & teacher’s activities: Media objectives per phase

Product 10’ Reading, Ps get 10 more minutes to finalize their presentations. T tells Ps Internet Are you ready? Which Ps can give listening, their time is up. T explains that Ps who are listening to the Printed group would like to go English speaking skills: presentations are expected to listen carefully to their fellow out first? presentations. group work pupils. After each presentation, they can ask each other informa- Ps can ask questions. T will ask questions as well, not only to the presenting tion questions on a group. It is important that everyone understands the different Beamer discussed topic. themes and organisations in order to understand the novel. Ps can answer 40’ Depending on the size of the class group, the remaining 40 Internet How do you feel about your questions on a minutes are reserved for the presentations. Ps present their Printed topic? What did you find discussed topic. topic and ask each other questions. Any uncertainties or out out about …? How unclarities are further explained. informa- important do you think … tion is? Beamer

Appendix B Transcript: Clint Smith – How to raise a black son in America

Growing up, I didn't always understand why my parents made me follow the rules that they did. Like, why did I really have to mow the lawn? Why was homework really that important? Why couldn't I put jelly beans in my oatmeal? My childhood was abound with questions like this. Normal things about being a kid and realizing that sometimes, it was best to listen to my parents even when I didn't exactly understand why. And it's not that they didn't want me to think critically. Their parenting always sought to reconcile the tension between having my siblings and I understand the realities of the world, while ensuring that we never accepted the status quo as inevitable. I came to realize that this, in and of itself, was a very purposeful form of education. One of my favorite educators, Brazilian author and scholar Paulo Freire, speaks quite explicitly about the need for education to be used as a tool for critical awakening and shared humanity. In his most famous book, "Pedagogy of the Oppressed," he states, "No one can be authentically human while he prevents others from being so." I've been thinking a lot about this lately, this idea of humanity, and specifically, who in this world is afforded the privilege of being perceived as fully human. Over the course of the past several months, the world has watched as unarmed black men, and women, have had their lives taken at the hands of police and vigilante. These events and all that has transpired after them have brought me back to my own childhood and the decisions that my parents made about raising a black boy in America that growing up, I didn't always understand in the way that I do now. I think of how hard it must have been, how profoundly unfair it must have felt for them to feel like they had to strip away parts of my childhood just so that I could come home at night. For example, I think of how one night, when I was around 12 years old, on an overnight field trip to another city, my friends and I bought Super Soakers and turned the hotel parking lot into our own water-filled battle zone. We hid behind cars, running through the darkness that lay between the streetlights, boundless laughter ubiquitous across the pavement. But within 10 minutes, my father came outside, grabbed me by my forearm and led me into our room with an unfamiliar grip. Before I could say anything, tell him how foolish he had made me look in front of my friends, he derided me for being so naive. Looked me in the eye, fear consuming his face, and said, "Son, I'm sorry, but you can't act the same as your white friends. You can't pretend to shoot guns. You can't run around in the dark. You can't hide behind anything other than your own teeth."

I know now how scared he must have been, how easily I could have fallen into the empty of the night, that some man would mistake this water for a good reason to wash all of this away. These are the sorts of messages I've been inundated with my entire life: Always keep your hands where they can see them, don't move too quickly, take off your hood when the sun goes down. My parents raised me and my siblings in an armor of advice, an ocean of alarm bells so someone wouldn't steal the breath from our lungs, so that they wouldn't make a memory of this skin. So that we could be kids, not casket or concrete. And it's not because they thought it would make us better than anyone else it's simply because they wanted to keep us alive. All of my black friends were raised with the same message, the talk, given to us when we became old enough to be mistaken for a nail ready to be hammered to the ground, when people made our melanin synonymous with something to be feared. But what does it do to a child to grow up knowing that you cannot simply be a child? That the whims of adolescence are too dangerous for your breath, that you cannot simply be curious, that you are not afforded the luxury of making a mistake, that someone's implicit bias might be the reason you don't wake up in the morning. But this cannot be what defines us. Because we have parents who raised us to understand that our bodies weren't meant for the backside of a bullet, but for flying kites and jumping rope, and laughing until our stomachs burst. We had teachers who taught us how to raise our hands in class, and not just to signal surrender, and that the only thing we should give up is the idea that we aren't worthy of this world. So, when we say that black lives matter, it's not because others don't, it's simply because we must affirm that we are worthy of existing without fear, when so many things tell us we are not. I want to live in a world where my son will not be presumed guilty the moment he is born, where a toy in his hand isn't mistaken for anything other than a toy. And I refuse to accept that we can't build this world into something new, some place where a child's name doesn't have to be written on a t-shirt, or a tombstone, where the value of someone's life isn't determined by anything other than the fact that they had lungs, a place where every single one of us can breathe. Thank you. (Smith, 2015)

Appendix C Transcript: Angie Thomas - Tupac Inspired Angie Thomas's New Book

Hi, I’m Angie Thomas and I’m here to discuss the inspiration behind my novel The Hate U Give. The Hate U Give is about 16-year-old Starr who witnesses the murder of her best friend Khalil by a cop and he was unarmed at the time. And the book is about a young girl who finds her voice and finds her activism. I was inspired to write the novel in 2010 right after the Oscar Grant case. Oscar was a young man who was killed by police. And at the time I remember wondering: What would happen if that took place in my neighborhood? How would we react? And all of these cases started coming out and it just fueled me, and it fueled my frustration and my anger but it also… I wanted to find a way to find hope. And I wanted to show the human side of all of these cases. I look at books as being a form of activism, because a lot of times they’ll show us a side of the world that we may not have known about. And so that’s how the novel The Hate U Give came about. Tupac is a huge influence in the book. The title itself, The Hate U Give, actually comes from the tattoo everyone knows him for, the THUG LIFE across his stomach. It actually stood for The Hate U Give Little Infants F* Everyone. THUG LIFE. And since we didn’t want a long title, we just went with The Hate U Give. Tupac was, is, definitely my favorite rapper and I say that because he wasn’t just a rapper. He was a(n) activist in his own way. And I related to that because he used music as a form of activism. Tupac had this poem called The Rose That Grew from Concrete. It’s a metaphor for young people who grow up in bad circumstances but they’re still roses, you know. And so, I tried to make Starr and Seven and all the kids in the book… They are roses and concrete to me. They are kids who are growing up in bad circumstances and bad situations, but they are still roses. They are still good there, they are still shining, they are still something to be in awe of. And so, I feel like that was a big influence in the book. And it’s one of those minor things that people may not notice but in a way is huge to me. And I hope that if nothing else it will help people who may not understand our feelings during these cases, I hope that it will help them understand. I even more so hope that it will help young people who are angry and who are sad and frustrated when this happens, I hope it gives them a voice and helps them to see their own feeling in paper and see that they are not alone in feeling like that. I want to give them hope in a sense. (Epic Reads, 2017)

Appendix D Transcript: Black Issues Forum – Matters of Race

8’48”-10’30” Natalie Bullock (N.B.): Given the fact that race is such a difficult thing that we continue to struggle with, John, tell me, how easy or difficult was it to get people to talk about it and talk openly and honestly, especially in Siler city?

John Valadez (J.V.): It’s both really hard and really easy. It’s really hard in the sense that to talk about race is one of those issues that if you begin a conversation in the wrong way, you could get punched in the nose, basically, or worse. It’s easy in the sense that it’s something that people think about every day. It’s something that is fundamental in shaping our lives, in creating opportunities for us and in limiting who we are. I think it’s something that people really want to talk about and it’s something, more importantly, that they need to talk about.

13’15”-14’05” Malinda Campbell (M.C.): First of all, I think, something we realized and have also experienced ourselves is that it takes a lot of courage to talk. Not only about race but our personal experience with race and our personal experience with hatred and confronting our own issues about talking about this. I hope that when people see this, they won’t only see isolated incidents of hatred but that they will see how many unheard voices are now having the courage to really take these issues to the forefront of their lives and their community. I hope the people will talk about it and I hope that it will give them the courage to open up in the same way.

20’18”-20’48” J.V.: What is the vision that you have of the future? What kind of town do you want to have in the 21st century? Is it just sort of an extension of the segregated past? Is that what you would like to see? Separate communities that have a shared geography but no sense of common identity? Is that the vision you would like to see articulated, or is it something different? And I think the thing that I pull away from this is that it is about choices.

23’05”-24’05” N.B.: What should we take from the fact that we have this sort of (…) new minority group coming into our cities and our towns. The conversation about race isn’t just of black and white anymore. Talk a little bit about that, particularly in relation to the divide.

M.C.: Right, I mean, I think in a deep sense it never really was just about black and white. However, not only is it now opening up everybody’s minds to the fact that there are so many different types of people here in America, but I think it’s also focusing our attention on power issues and issues of minority and majority in general. A lot of what we are talking about with the hope for the future and this new vision of society and everything being a choice that is also I think to a large extend dependent upon everybody having access to helping shape that new community. So, I think one of the things that comes to mind is about power and access to leadership rules to getting involved into having your voice heard. So, I think that’s something that opens up, you know, we do have a history of limiting race talk to black-white issues. I think now it’s about those issues, and everything else. (Black Issues Forum, 2017)

Appendix E Lyrics to The Fresh Prince of Bel-Air – Theme Song

Now this is a story all about how My life got flipped-turned upside down And I’d like to take a minute Just sit right there I’ll tell you how I became the prince of a town called Bel-Air

In West Philadelphia born and raised On the playground was where I spent most of my days Chillin’ out, maxin’, relaxin’ all cool And all shooting some b-ball outside of the school When a couple of guys who were up to no good Started making trouble in my neighborhood I got in one little fight and my mom got scared She said: “You’re moving with your auntie and uncle in Bel-Air”

I begged and I pleaded with her day after day But she packed my suitcase and sent me on my way She gave me a kiss and then she gave me my ticket I put my Walkman on and said “I might as well kick it”

First class, yo, this is bad Drinking orange juice out of a champagne glass Is this what the people of Bel-Air living like? Hmm, this might be alright

But what I hear they’re prissy, bourgeois and all that Is this the type of place that they just send this cool cat? I don’t think so

I’ll see when I get there I hope they’re prepared for the prince of Bel-Air

Well the plane landed and when I came out There was a dude who looked like cop standing there with my name out I ain’t trying to get arrested yet I just got here I sprang with the quickness like lightning, disappeared

I whistled for a cab and when it came near The license plate said “Fresh” and it had dice in the mirror If anything, I could say that this cab was rare But I thought, “Nah, forget it” “Yo, home to Bel-Air”

I pulled up to the house about 7 or 8 And I yelled to the cabbie “Yo home smell ya later” I looked at my kingdom I was finally there To sit on my throne as the Prince of Bel-Air (DJ Jazzy Jeff & The Fresh Prince, 1990)

Appendix F First Encounters with Racism Followed by a Police Officer

Riley Lockett, 16, Youth Radio Oakland, Calif. Black About two months ago, I was walking to the BART station from school, sipping on soda and listening to a podcast when I noticed a blue uniform following me like a shadow. It was a white police officer. He scanned me as if he were the Terminator, trying to see if I posed a threat. I had never been stopped by a cop before. But I wasn’t scared or even nervous. I was prepared. My mother was always gearing me up for something: a good education, future job security and, most of all, institutionalized racism. Every time we passed a police car, she would drill my sister and me on what to do if and when a police officer stops us. We would begrudgingly repeat what our superior said: “Maintain eye contact, stand straight, speak when spoken to, no sudden movements.” As children, we never understood why she grilled us like that. Then, when I was 12, Trayvon Martin was killed. Even though it wasn’t a cop who killed him, I started to comprehend what she was preparing us for. Although we live in a quiet suburb of Oakland, we are in a city where a police officer is usually seen as more of a threat than a friend. As a young black man, I know an officer of the law can shoot me no matter where I am — and maybe especially in the middle of Orinda, the mostly white city where I was being stopped for the first time. So, as the cop was questioning me, I decided to practice what my mom preached. “Is there a problem, officer?” I asked in my most articulate, mature, but nonviolent voice.

“No. What’s your name?” “Riley Lockett.” “How old are you?” “Sixteen.” “Where do [you] go to school?” “Orinda Academy, just up the hill. But I live in Oakland.” “Do you have ID?” “Yes, here you go.” I felt like I was performing a one-man show I’ve been rehearsing my whole life. He eyed my ID, then looked through me while handing it back. He turned on his radio and mumbled some breaker-breaker nonsense into it, and in a few seconds[,] he got a few squawks back. “You’re free to go,” he said to me in a tone that made it sound like his mind was on something else. I felt bold enough to ask, “What was the problem, officer?” “Oh, some guy robbed a convenience store a couple streets over,” he told me. “He fled in this direction, and you matched the description.” I’ve never had to face the color of my skin in anything but a mirror. So as far as police interactions go, I’d say my first one went pretty well. I know there will be plenty more as I get older. Having to spend my childhood rehearsing for the day a police officer would pull me over may sound scary. And I’m aware it’s not something parents of all races feel the need to teach their kids. But the day it actually happened, I was grateful, at least, that my mom made sure I was ready. (The New York Times 2017)

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