A Novel in Poetry Answer the Following Questions After You Have Finished Your Book

Total Page:16

File Type:pdf, Size:1020Kb

A Novel in Poetry Answer the Following Questions After You Have Finished Your Book PUTTING IT ALL TOGETHER Whitehall-Yearling High School A Novel in Poetry Answer the following questions after you have finished your book. If the author of your book asked you to create a poem related to the themes of the novel that could be displayed on a page directly before the story begins, what type of What lessons do you think the author poem would you create? Write a draft of wanted readers of his/her novel to learn your poem below – using any poetic style from the book? Summer Reading you choose. Packet 2015 Honors Students will receive separate reading assignments and guidelines Incoming freshman will read Of Mice and Men, by James Steinbeck. Incoming sophomores will read Fahrenheit 451, by Ray Bradbury. Incoming juniors will read The Great Gatsby, by F. Scott Fitzgerald or The Secret Life of Bees, Who was your favorite/least favorite character in the story? Why? by Sue Monk Kidd. Incoming seniors will read Little Bee, by Chris Cleaveor or Same Kind of Different as Me, by Ron Hall. Name:_____________________________ Book Title: _________________________ Would you recommend this book to others? Why or why not? Author:____________________________ Before reading, examine your While you are reading In the space below, brainstorm summer reading book. your book, what scenes characteristics about one of the main make you feel… characters that you are able to discover How long do you think it will take throughout the course of the book. you to read this book? How will you make sure you get through it? SHOCKED ANGRY In your opinion, does the book’s cover draw you in? Why or why not? HAPPY HOPEFUL List three bits of information you are able to gather about the book just by reading the front or back covers. MUSICALLY Reason Why: SPEAKING… LITERARY TERM CONNECTION If you were asked to create a soundtrack for the movie version of the Recently you received a call from a book you read, what five songs would you include on the album? List their big-time Hollywood producer who’s titles, the artist who sings them, and a Name one conflict that occurs in the brief explanation as to why you’re looking to make your book into a including them below. book. movie. She wants your input into #1: which actors/actresses to cast in the top three leading roles. Who would you suggest, and why? #2: Part #1 Character: Who is the protagonist in the book? Actor/Actress: Reason Why: #3: Part #2 Character: Who is the antagonist? Actor/Actress: #4: Reason Why: Part #3 Character: In your opinion, what is the climax of the novel? #5: Actor/Actress: What is the author’s tone/mood? If the author of your novel was considering writing a The publisher of the novel is getting sequel to the book you just ready to re-release the book, but read, what advice would you Using one of the major events in your dislikes the current book cover. He give him/her as to what to novel, compose a note that one of the has asked you to sketch a new one do in the next book? What characters in your book could have written for him in the space below. suggestions do you have to another character. Write your note in regarding plot development, typical letter format, with a date, greeting, fates of characters, etc.? body of the letter, and a closing. List at least three ideas below. MY IDEA .
Recommended publications
  • The Gothic Novel and the Lingering Appeal of Romance
    The Gothic Novel and the Lingering Appeal of Romance While the origins of most literary genres are lost, either in scholarly controversy or the dark backward and abysm of time, those of the Gothic novel present an admirable clarity. Beneath the papier-mâché machicolations of Strawberry Hill, the antiquarian and aesthete Horace Walpole, inspired by a nightmare involving ‘a giant hand in armour,’ created at white heat the tale published Christmas 1764 as The Castle of Otranto. Not one but two genres were thus begun. The one established first was the historical romance, which derived from elements in both Otranto and an earlier romance by Thomas Leland, Longsword, Earl of Salisbury (1762). This form was pioneered by William Hutchinson's The Hermitage (1772), and developed by Clara Reeve (in The Champion of Virtue, 1777, retitled 1778 The Old English Baron) and Sophia Lee in The Recess (1783B85); it reached something like canonical status with the medieval romances of Walter Scott. The second, the Gothic tale of supernatural terror, was slower to erupt. The Otranto seed has time to travel to Germany and bear fruit there in the Räuber- und Ritter-romane before being reengrafted onto its native English soil. It was not until the last decade of the eighteenth century that the Gothic became a major force in English fiction, so much so that tales set in Italian castles and Spanish monasteries began to crowd out those set in London houses and Hampshire mansions. The Mysteries of Udolpho (1794), by Ann Radcliffe, and The Monk (1796), by Matthew G. Lewis, spawned numberless imitators in a craze whose original impetus carried it into the next century.
    [Show full text]
  • The Power of Short Stories, Novellas and Novels in Today's World
    International Journal of Language and Literature June 2016, Vol. 4, No. 1, pp. 21-35 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). 2015. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v4n1a3 URL: https://doi.org/10.15640/ijll.v4n1a3 The Power of Short Stories, Novellas and Novels in Today’s World Suhair Al Alami1 Abstract The current paper highlights the significant role literature can play within EFL contexts. Focusing mainly on short stories, novellas and novels, the paper seeks to discuss five points. These are: main elements of a short story/novella/novel, specifications of a short story/novella/novel-based course, points for instructors to consider whilst dealing with a short story/novella/novel within EFL contexts, recommended approaches which instructors may employ in the EFL classroom whilst discussing a short story/novella/novel, and language assessment of EFL learners using a short story/novella/novel-based course. Having discussed the aforementioned points, the current paper proceeds to present a number of recommendations for EFL teaching practitioners to consider. Keywords: Short Stories; Novellas; Novels Abbreviation: EFL (English as a Foreign Language) 1. Introduction In an increasingly demanding and competitive world, students need to embrace the four Cs: communication, collaboration, critical thinking, and creativity. Best practices in the twenty-first century education, therefore, require practical tools that facilitate student engagement, develop life skills, and build upon a solid foundation of research whilst supporting higher-level thinking. With the four Cs in mind, the current paper highlights the significant role literature can play within EFL contexts.
    [Show full text]
  • Poetry Vocabulary
    Poetry Vocabulary Alliteration: Definition: •The repetition of consonant sounds in words that are close together. •Example: •Peter Piper picked a peck of pickled peppers. How many pickled peppers did Peter Piper pick? Assonance: Definition: •The repetition of vowel sounds in words that are close together. •Example: •And so, all the night-tide, I lie down by the side Of my darling, my darling, my life and my bride. -Edgar Allen Poe, from “Annabel Lee” Ballad: Definition: •A song or songlike poem that tells a story. •Examples: •“The Dying Cowboy” • “The Cremation of Sam McGee” Cinquain: Definition: • A five-line poem in which each line follows a rule. 1. A word for the subject of the poem. 2. Two words that describe it. 3. Three words that show action. 4. Four words that show feeling. 5. The subject word again-or another word for it. End rhyme: Definition: • Rhymes at the ends of lines. • Example: – “I have to speak-I must-I should -I ought… I’d tell you how I love you if I thought The world would end tomorrow afternoon. But short of that…well, it might be too soon.” The end rhymes are ought, thought and afternoon, soon. Epic: Definition: • A long narrative poem that is written in heightened language and tells stories of the deeds of a heroic character who embodies that values of a society. • Example: – “Casey at the Bat” – “Beowulf” Figurative language: Definition: • An expressive use of language. • Example: – Simile – Metaphor Form: Definition: • The structure and organization of a poem. Free verse: Definition: • Poetry without a regular meter or rhyme scheme.
    [Show full text]
  • Henryson's Fables: "The Subtell Dyte of Poetry" Gregory Kratzmann
    Studies in Scottish Literature Volume 20 | Issue 1 Article 6 1985 Henryson's Fables: "the subtell dyte of poetry" Gregory Kratzmann Follow this and additional works at: https://scholarcommons.sc.edu/ssl Part of the English Language and Literature Commons Recommended Citation Kratzmann, Gregory (1985) "Henryson's Fables: "the subtell dyte of poetry"," Studies in Scottish Literature: Vol. 20: Iss. 1. Available at: https://scholarcommons.sc.edu/ssl/vol20/iss1/6 This Article is brought to you by the Scottish Literature Collections at Scholar Commons. It has been accepted for inclusion in Studies in Scottish Literature by an authorized editor of Scholar Commons. For more information, please contact [email protected]. Gregory Kratzmann Henryson's Fables: "the subtell dyte of poetry" Henryson's Fables were once discussed almost exclusively as documents of social realism, or as humorous poems which at their best might be designated "Chaucerian." In an important article in 1962, Denton Fox urged "that it might be helpful to look at the Fables from a more severely literary viewpoint, and to examine them as poems"; further, he pleaded the necessity to examine the poems "as wholes," that is, as fables consisting of two carefully related parts, story and moralization.1 Although there has been some stimulating criticism of the Fables during the past twenty years, commentary has been neither as prolific nor as wide-ranging as that directed at The Testament of Cresseid, and there is room for more discussion of those two closely-related critical issues raised in Fox's article. This essay has two concerns.
    [Show full text]
  • Westmoreland Arts & Heritage Festival 2021 Poetry & Short Story Contest
    47th Westmoreland Arts & Heritage Festival 2021 Poetry & Short Story Contest July 1, 2, 3, & 4 Postmark Deadline: April 16, 2021 Eligibility Rules Only previously unpublished works will be considered. All work Please send two (2) copies of each entry. All entries must be typed on must be original, not having been entered in any previous Poetry 8 1/2” x 11” paper. & Short Story Contest sponsored by the Westmoreland Arts & Short Stories - Stories are to be double spaced and typed on one side Heritage Festival. Poems and short stories must be 4,000 words or of the paper only. Do not staple or connect pages. Include page less. Each author may enter one story; each poet may enter two number and title of story in the top right corner of each page. Include poems. All genres will be accepted. a cover sheet that shows your full name, address, title of story, and number of words. Entry Fee Poems - Do not put your name on the poem(s). Include page number Poetry entry fee is $10 for up to two (2) poems. Short Story entry and title of poem in the top right corner of each page. Include a cover fee is $10 for one (1) short story. Submit an entry in both sheet that shows your full name, address, title of poem, and number categories for a $20 entry fee. International entries must use of words. PayPal. All other entries may pay by check, made payable to WAHF No short story or poem will be returned. Winning entries may be or by credit card (Visa, MasterCard, or Discover).
    [Show full text]
  • GOTHIC FICTION Introduction by Peter Otto
    GOTHIC FICTION Introduction by Peter Otto 1 The Sadleir-Black Collection 2 2 The Microfilm Collection 7 3 Gothic Origins 11 4 Gothic Revolutions 15 5 The Northanger Novels 20 6 Radcliffe and her Imitators 23 7 Lewis and her Followers 27 8 Terror and Horror Gothic 31 9 Gothic Echoes / Gothic Labyrinths 33 © Peter Otto and Adam Matthew Publications Ltd. Published in Gothic Fiction: A Guide, by Peter Otto, Marie Mulvey-Roberts and Alison Milbank, Marlborough, Wilt.: Adam Matthew Publications, 2003, pp. 11-57. Available from http://www.ampltd.co.uk/digital_guides/gothic_fiction/Contents.aspx Deposited to the University of Melbourne ePrints Repository with permission of Adam Matthew Publications - http://eprints.unimelb.edu.au All rights reserved. Unauthorised Reproduction Prohibited. 1. The Sadleir-Black Collection It was not long before the lust for Gothic Romance took complete possession of me. Some instinct – for which I can only be thankful – told me not to stray into 'Sensibility', 'Pastoral', or 'Epistolary' novels of the period 1770-1820, but to stick to Gothic Novels and Tales of Terror. Michael Sadleir, XIX Century Fiction It seems appropriate that the Sadleir-Black collection of Gothic fictions, a genre peppered with illicit passions, should be described by its progenitor as the fruit of lust. Michael Sadleir (1888-1957), the person who cultivated this passion, was a noted bibliographer, book collector, publisher and creative writer. Educated at Rugby and Balliol College, Oxford, Sadleir joined the office of the publishers Constable and Company in 1912, becoming Director in 1920. He published seven reasonably successful novels; important biographical studies of Trollope, Edward and Rosina Bulwer, and Lady Blessington; and a number of ground-breaking bibliographical works, most significantly Excursions in Victorian Bibliography (1922) and XIX Century Fiction (1951).
    [Show full text]
  • THE TRENDS of STREAM of CONSCIOUSNESS TECHNIQUE in WILLIAM FAULKNER S NOVEL the SOUND and the FURY'' Chitra Yashwant Ga
    AMIERJ Volume–VII, Issues– VII ISSN–2278-5655 Oct - Nov 2018 THE TRENDS OF STREAM OF CONSCIOUSNESS TECHNIQUE IN WILLIAM FAULKNER S NOVEL THE SOUND AND THE FURY’’ Chitra Yashwant Gaidhani Assistant Professor in English, G. E. Society RNC Arts, JDB Commerce and NSC Science College, Nashik Road, Tal. & Dist. Nashik, Maharashtra, India. Abstract: The term "Stream-of-Consciousness" signifies to a technique of narration. Prior to the twentieth century. In this technique an author would simply tell the reader what one of the characters was thinking? Stream-of-consciousness is a technique whereby the author writes as though inside the minds of the characters. Since the ordinary person's mind jumps from one event to another, stream-of- consciousness tries to capture this phenomenon in William Faulkner’s novel The Sound and Fury. This style of narration is also associate with the Modern novelist and story writers of the 20th century. The Sound and the Fury is a broadly significant work of literature. William Faulkner use of this technique Sound and Fury is probably the most successful and outstanding use that we have had. Faulkner has been admired for his ability to recreate the thought process of the human mind. In addition, it is viewed as crucial development in the stream-of-consciousness literary technique. According encyclopedia, in 1998, the Modern Library ranked The Sound and the Fury sixth on its list of the 100 best English-language novels of the 20th century. The present research focuses on stream of consciousness technique used by William Faulkner’s novel “The Sound and Fury”.
    [Show full text]
  • Concrete Poetry Workbook
    SUMMER LEARNING CHALLENGE: READ WEEK 2: SHAPE ADVENTURE CONCRETE POETRY WORKBOOK To earn this week's READ Badge, use words to create shapes by crafting your own concrete poems. This fun activity guide will help you get started! WWW.SSF.NET/KIDS Concrete Poetry A concrete poem is also called a shape poem, because the words of the poem take the shape of the poem's subject. Concrete poems do not have to rhyme or follow any other poetic word pattern. The most important thing is that the words create a matching picture. Examples There are two ways to create concrete poetry. The first is called outline form. In this form, the words of the poem are used to outline or to fill in the shape of that object. Here are two examples: The second is to write in drawing form. In this form, the poet uses the words of the poem to create a scene. Here are two examples: Drawing Activity Experiment with these words, writing them in a way that portrays their meanings: Roller Coaster Explode Wavy Crowded Shrinking Poetry Worksheet Let's use an ice cream cone for inspiration. Take a look at this outline: Think of words that represent this image to you, and write them in the box below. You can describe feelings, objects, or activities. Circle your favorite words (the words you want to use in your poem). Write a Poem Using the words you just brainstormed, write your poem here. Don't try to make it into a shape yet; just focus on writing the words! _________________________________________________________ _________________________________________________________
    [Show full text]
  • A MEDIUM for MODERNISM: BRITISH POETRY and AMERICAN AUDIENCES April 1997-August 1997
    A MEDIUM FOR MODERNISM: BRITISH POETRY AND AMERICAN AUDIENCES April 1997-August 1997 CASE 1 1. Photograph of Harriet Monroe. 1914. Archival Photographic Files Harriet Monroe (1860-1936) was born in Chicago and pursued a career as a journalist, art critic, and poet. In 1889 she wrote the verse for the opening of the Auditorium Theater, and in 1893 she was commissioned to compose the dedicatory ode for the World’s Columbian Exposition. Monroe’s difficulties finding publishers and readers for her work led her to establish Poetry: A Magazine of Verse to publish and encourage appreciation for the best new writing. 2. Joan Fitzgerald (b. 1930). Bronze head of Ezra Pound. Venice, 1963. On Loan from Richard G. Stern This portrait head was made from life by the American artist Joan Fitzgerald in the winter and spring of 1963. Pound was then living in Venice, where Fitzgerald had moved to take advantage of a foundry which cast her work. Fitzgerald made another, somewhat more abstract, head of Pound, which is in the National Portrait Gallery in Washington, D.C. Pound preferred this version, now in the collection of Richard G. Stern. Pound’s last years were lived in the political shadows cast by his indictment for treason because of the broadcasts he made from Italy during the war years. Pound was returned to the United States in 1945; he was declared unfit to stand trial on grounds of insanity and confined to St. Elizabeth’s Hospital for thirteen years. Stern’s novel Stitch (1965) contains a fictional account of some of these events.
    [Show full text]
  • Poetry, Novel, Children's Picture Book, and Memoir Writing Project Faqs for 2020
    Poetry, Novel, Children’s Picture Book, and Memoir Writing Project FAQs for 2020 How much do I need to have spent writing already? ​If you’re considering one of the year-long writing projects, you ought to have spent countless hours working on your craft. Though there’s no clear definition of what “countless hours” means, the best qualified candidates will likely have written many short stories, poems, picture books, or creative nonfiction pieces, given writing a novel, poetry collection, picture book, or memoir serious consideration and/or effort, and of course have spent years of their life reading. HOWEVER, there are those rare exceptions of writers who have not spent years honing their craft who would still be a good fit for this endeavor. If you have questions about your ability, please contact the teaching artist or The Loft for advice. How much commitment is required?​ ​By far the most important quality of the prospective student is this: How hard are you willing to work? If the answer to this question is: As hard as I have to in order to finish a collection of poetry, a novel, several picture books, or a memoir in the next year, then you’re probably a good candidate. How will the variances in abilities in the class be accounted for? What if I’m by far the best or worst writer to sign up, won’t that put me at an advantage or disadvantage?​ ​As in any writing workshop environment, there are going to be students who are further advanced or more naturally gifted than others.
    [Show full text]
  • Gender Represented in the Gothic Novel
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 22, Issue 11, Ver. 3 (November. 2017) PP 73-77 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org Gender Represented In the Gothic Novel Asmat Nabi Contractual lecturer Department of English Govt Degree College For Women Baramulla. Corresponding Author: Asmat Nabi Abstract: The genre of Gothic became one of the most popular of the late 18th and early 19th century, and the novel usually regarded as the first Gothic novel is Horace Walpole's The Castle of Otranto, first published in 1764.1 The first great practitioner of the Gothic novel, as well as the most popular novelist of the eighteenth century in England, was Ann Radcliffe.2 She added suspense, painted evocative landscapes and moods or atmosphere, portrayed increasingly complex, fascinatingly-horrifying, evil villains, and focused on the heroine and her struggle with the male tyrant. Her work The Italian (1797) have the ability to thrill and enthrall readers. Inspired by Radcliffe, a more sensational type of Gothic romance, exploiting horror and violence, flourished in Germany and was introduced to England by Matthew Gregory Lewis with The Monk (1796). The novel follows the lust- driven monk Ambrosio from one abominable act to another - rape, incest, matricide, burial alive - to his death and well-deserved damnation. The different schools, which are Female Gothic represented by Radcliffe and Male Gothic represented by Lewis, are distinguished by some critics as novel of terror and novel of horror. Sometimes this same distinction is tied to gender, with female equated with terror Gothic, and with male being equated with horror Gothic because both female and male writers can produce female and male Gothic.
    [Show full text]
  • From Poe to Rimbaud: a Comparative View of Symbolist Poetry
    ARTS & HUMANITIES From Poe to Rimbaud: A Comparative View of Symbolist Poetry William Pietrykowski*, Dr. Elizabeth Renker Department of English Though geographically isolated from each other in the latter half of the Nineteenth Century, Walt Whitman, Edgar Allan Poe, and their French contemporaries, Charles Baudelaire, and Arthur Rimbaud, worked analogously to revolutionize poetic representation. Baudelaire and Rimbaud worked in the Symbolist tradition, while Whitman and Poe stood together in the United States as revolutionary poetic thinkers. While French civilization created the social and artistic contexts for Symbolism, French Symbolists probably appropriated much of their formally artistic ideas from Poe and Whitman. Most critics agree Poe was most likely more influential to the formation of Symbolist thought, while Whitman’s force is a bit unclear. Aligning Baudelaire and Poe, as analogous artists, and Whitman and Rimbaud, From Poe to Rimbaud, a Comparative View of Symbolist Poetry will defend American importance in the formation and development of French Symbolist poetry. Introduction Between the 1850’s and the 1870’s, an early Symbolist aesthetic emerged in the French literary and artistic scenes. Charles Baudelaire, considered by many the father of French Symbolism, defines modern art in “L’Art Philosophique” (1869) as “[Creating] a magic containing at once the object and the subject, the outside world of the artist and the artist himself” (qtd by Erkkila 56). This definition, as indicative of the way Symbolists viewed aesthetics, suggests that Symbolist art takes into account three main factors: the artist’s external world, the artist’s internal world, and a less tangible but important “magic” which bonds the two.
    [Show full text]