AP English 12: Summer Assignment Instructor: Kate Hanlon E-mail: [email protected] Worth: 100 points Due: August 29, 2017 Welcome! I look forward to sharing an engaging, stimulating, and challenging academic experience over the next school year. Overview: The purpose of this summer assignment is to expand your reading history to include works of literary merit. Many students write about these books for the exam in May. In addition, reading the works of disparate authors in different genres over the summer should give you a taste of our studies throughout the school year. **I highly recommend you buy a copy of each book your read over the summer. You should be able to find used copies of these works at Powell’s or another local bookstore for a reasonable price. Find a copy of the work that has large margins because you will be writing in your book. However, you may check out books from the library; if you do, you will need to take copious notes in a notebook, instead of annotating the actual text. TASK: READING------- ANNOTATING-------SHORT ASSIGNMENT-------POETRY #1: READING Choose and read two texts (one play, one novel), a “classic” and a “contemporary” (list below) . FICTION DRAMA CLASSIC CONTEMPORARY CLASSIC CONTEMPORARY Jane Austen (not Kingsley Amos Joy Kogawa Aeschylus Edward Albee Persuasion) Rudolfo Anaya Margaret Laurence William Congreve Amiri Baraka Charlotte Brontë Margaret Atwood Bernard Malamud Oliver Goldsmith Samuel Beckett Emily Brontë James Baldwin Katherine Mansfield Henrik Ibsen Anton Chekhov Kate Chopin Saul Bellow Bobbie Ann Mason Ben Jonson Lorraine Hansberry Colette Raymond Carver Carson McCullers Moliére Lillian Hellman Stephen Crane Willa Cather Toni Morrison(not William Shakespeare David Henry Hwang Charles Dickens (not Sandra Cisneros Beloved, or Sula) (not Hamlet, King Lear) David Mamet Tale of Two Cities) John Cheever Bharati Mukherkee Richard B. Sheridan Arthur Miller George Eliot Anita Desai Vladimir Nabokov Sophocles Sean O’Casey Henry Fielding Ralph Ellison Flannery O’Connor Oscar Wilde Eugene O’Neill Thomas Hardy Louise Erdrich Cynthia Ozick Harold Pinter Nathaniel Hawthorne William Faulkner Katherine A. Porter Luigi Pirandello Henry James F. Scott Fitzgerald Jean Rhys George Bernard Shaw D.H. Lawrence Ford Maddox Ford John Updike Sam Shepard Herman Melville E.M. Forster Luisa Valenzuela Tom Stoppard Leo Tolstoy Zora Neale Hurston Alice Walker Luis Valdez Mark Twain Kazuo Ishiguro Evelyn Waugh Tennessee Williams Edith Wharton James Joyce Cormac McCarthy August Wilson Maxine H. Kingston John Edgar Wideman Gabriel G. Márquez Virginia Woolf Ernest Hemingway Richard Wright Jeanette Winterson #2: ANNOTATIONS Read each work actively. By actively, I mean keep a running conversation with the author by using a pen to mark the work. Highlight and underline significant passages, write detailed paraphrases, jot down intuitive reactions, and record acutely interpretive notes in the margins. If you feel strongly against marking the book, feel free to take notes in a notebook. However, make sure all pages #’s/quotes are clearly identified. How many annotations? A general estimate might be every ten pages in a work of fiction and every 5 pages in a work of drama. When composing these notes, focus on three major aspects of the work: 1. the style or the way the work is written • diction [word choice] • syntax [phrase & sentence structures] • structure [arrangement of ideas & images within the whole work] • details [facts, observations, and incidents] • imagery [language used to communicate all sensory experience: visual, auditory, olfactory, gustatory, tactile, kinesthetic, organic] • tone [speaker’s attitude, emotional coloring, or moral view toward a subject] • figurative language [personification, simile, metaphor, symbol, irony] 2. the elements in the work setting character descriptions [physical & psychological; motivations-goals] importance of title & epigraph conflict (s) important words, phrases, sentences, and passages motifs: repeated objects, images, words, or ideas 3. the themes or the major ideas presented in the work subjects the author addresses & statements a author makes about those subjects questions the author poses & possible answers or lack of answers #3: SHORT ASSIGNMENT: MAJOR WORKS DATA SHEET X2 FILL OUT ONE OF THESE SHEETS FOR EACH OF THE TEXTS YOU READ OVER THE SUMMER, FOR A TOTAL OF TWO SHEETS. SEE SAMPLE SHEET ATTACHED IF YOU HAVE QUESTIONS. #4: POETRY: Read FOUR (4) poems (attached to this document) and apply TPS-FASTT annotations. See sample sheet attached if you have questions. The Author to Her Book Thou ill-formed offspring of my feeble brain, Who after birth did’st by my side remain, Til snatched from thence by friends, less wise than true, Who thee abroad exposed to public view; 5 Made thee in rags, halting, to the press to trudge, Where errors were not lessened, all may judge. At thy return my blushing was not small, My rambling brat (in print) should mother call, I cast thee by as one unfit for light, 10 Thy visage was so irksome in my sight; Yet being mine own, at length affection would Thy blemishes amend, if so I could. I washed thy face, but more defects I saw, And rubbing off a spot, still made a flaw. 15 I stretched thy joints to make thee even feet, Yet still thou run’st more hobbling than is meet; In better dress to trim thee was my mind, But nought save homespun cloth in the house I find. In this array, ‘mongst vulgars may’st thou roam; 20 In critics’ hands beware thou dost not come; And take thy way where yet thou are not known. If for thy Father asked, say thou had’st none; And for thy Mother, she alas is poor, Which caused her thus to send thee out of door. (1678) “The Possessive” by Sharon Olds My daughter—as if I owned her—that girl with the hair wispy as a frayed bellpull has been to the barber, that knife grinder, and had the edge of her hair sharpened. Each strand now cuts both ways. The blade of new bangs hangs over her red-brown eyes like carbon steel. All the little spliced ropes are sliced. The curtain of dark paper-cuts veils the face that started from next to nothing in my body— My body. My daughter. I’ll have to find another word. In her bright helmet she looks at me as if across a great distance. Distant fires can be glimpsed in the resin light of her eyes: the watch fires of an enemy, a while before the war starts. Sonnet 130 My mistress’ eyes are nothing like the sun; Coral is far more red than her lips’ red; If snow be white, why then her breasts are dun; If hairs be wires, black wires grow on her head. I have seen roses damasked, red and white, But no such roses see I in her cheeks; And in some perfumes is there more delight Than in the breath that from my mistress reeks. I love to hear her speak, yet well I know That music hath a far more pleasing sound; I grant I never saw a goddess go; My mistress when she walks treads on the ground. And yet, by heaven, I think my love as rare As any she belied with false compare. William Shakespeare, 1564 - 1616 the Cambridge ladies who live in furnished souls the Cambridge ladies who live in furnished souls are unbeautiful and have comfortable minds (also, with the church's protestant blessings daughters,unscented shapeless spirited) they believe in Christ and Longfellow, both dead, are invariably interested in so many things— at the present writing one still finds delighted fingers knitting for the is it Poles? perhaps. While permanent faces coyly bandy scandal of Mrs. N and Professor D .... the Cambridge ladies do not care, above Cambridge if sometimes in its box of sky lavender and cornerless, the moon rattles like a fragment of angry candy by e.e.cummings Name Major Works Data Sheet Significance of opening scene or chapters Title: __________________________________ Author: ________________________________ Date of Publication: ______________________ Genre: ________________________________ List the major topics that this text addresses: Significance of closing scene or chapters Description of the author’s style: An example that demonstrates the style: Memorable Moments Moment Significance Characters Name Role in the story Significance Adjectives Settings Setting(s):List all significant settings Significance Thematic Concerns Themes – Please list three How author addresses each theme Name Major Works Data Sheet Significance of opening scene or chapters Title: __________________________________ Author: ________________________________ Date of Publication: ______________________ Genre: ________________________________ List the major topics that this text addresses: Significance of closing scene or chapters Description of the author’s style: An example that demonstrates the style: Memorable Moments Moment Significance Characters Name Role in the story Significance Adjectives Settings Setting(s): List all significant settings Significance Thematic Concerns Themes – Please list three How author addresses each theme The TPS-FASTT or “Types Fast” Method AP English When faced with the sometimes daunting task of analyzing a poem, you will need to keep all of the following points in mind or risk a significant misreading: Title Examine the title before reading the poem. Sometimes the title will give you a clue about the content of the poem. In some cases, the title will give you crucial information that will help you understand a major idea within the poem. For example, in Anne Bradstreet’s poem “An Author to Her Book,” the title helps you understand the controlling metaphor. Paraphrase Paraphrase the literal action within the poem. At this point, resist the urge to jump to interpretation. A failure to understand what happens literally inevitably leads to an interpretive misunderstanding. For example, John Donne’s poem “A Valediction: Forbidding Mourning” is about a man who is leaving for a long trip, but if it is read as a poem about a man dying, then a misreading of the poem as a whole is inevitable.