(Jeff Wall's photographic depiction of the Invisible Man's apartment with 1,369 lights.)I have spent the last eight hours (with three breaks for food) reading, writing, talking, hearing, and thinking about the AP Literature and Composition course and exam.
With my remaining ounces of teacherly strength I am writing to prod those of you who have not posted, emailed, and/or sent two responses to Invisible Man to do so immediately. If you are having a problem email me! I can be flexible but I need you to care enough and to be adult enough to engage me in a dialogue about the work. I know IM is a tough novel. I know it's the summer. But I also know that work done now will pay off later, especially work done with this particular novel because it is so rich in the sort of literary techniques (literary playfulness, I prefer) that the AP folks value highly.
I hope you're enjoying Wide Sargasso Sea. If you find yourself unsure about what exactly is happening, you should not be alarmed. We can help each other put it together. Don't get hung up on clarifying every aspect of plot and setting. Make sure you are noting Rhys' use of literary techniques (repeated motifs, contrasting images, shifts in perspective, unreliable narrators, etc.) to develop some ideas about identity (the relationship between self and others, identity and place, pleasure and power, helplessness and control, etc.) If it helps clarify somethings start with the contrast between the identities of Antoinette and her husband. (Think about one as a representation of uncertainty about one's identity and the other as a representation of certainty.) Then consider how each's experiences and environments led to each's identity. Consider also the implications for one's life and interaction with others of uncertainty and certainty about one's self. Identify particular scenes that highlight the contrasting identities. Identify particular motifs and images that speak to the contrast. Think about how the language each uses and the structure of the novel helps the novel convey ideas about the self and its relationship with its surroundings. Email me with questions about WSS.
If you can talk about those things you're in good shape for Monday (July 21). We'll meet in 2207, start at eight am, and end before lunch. (No changes there.) Everyone should email me with a quick note telling me that you'll be there on Monday (or why you can absolutely not be there).
We'll start by looking at your Invisible Man responses--what can we learn from them? how else might Invisible Man be able to help us with the AP course and exam?--then we'll delve into Wide Sargasso Sea with a combination of lecture, whole group discussion, small group discussion, and individual work focused on helping you write strong responses to the novel and improve your ability to read, take notes on, think about, discuss, and write about the third work of the summer, a play called Translations.
I look forward to seeing you again on Monday (July 21). Now it's time for me to make my way to the dining hall. (It's like being in college again.)
With my remaining ounces of teacherly strength I am writing to prod those of you who have not posted, emailed, and/or sent two responses to Invisible Man to do so immediately. If you are having a problem email me! I can be flexible but I need you to care enough and to be adult enough to engage me in a dialogue about the work. I know IM is a tough novel. I know it's the summer. But I also know that work done now will pay off later, especially work done with this particular novel because it is so rich in the sort of literary techniques (literary playfulness, I prefer) that the AP folks value highly.
I hope you're enjoying Wide Sargasso Sea. If you find yourself unsure about what exactly is happening, you should not be alarmed. We can help each other put it together. Don't get hung up on clarifying every aspect of plot and setting. Make sure you are noting Rhys' use of literary techniques (repeated motifs, contrasting images, shifts in perspective, unreliable narrators, etc.) to develop some ideas about identity (the relationship between self and others, identity and place, pleasure and power, helplessness and control, etc.) If it helps clarify somethings start with the contrast between the identities of Antoinette and her husband. (Think about one as a representation of uncertainty about one's identity and the other as a representation of certainty.) Then consider how each's experiences and environments led to each's identity. Consider also the implications for one's life and interaction with others of uncertainty and certainty about one's self. Identify particular scenes that highlight the contrasting identities. Identify particular motifs and images that speak to the contrast. Think about how the language each uses and the structure of the novel helps the novel convey ideas about the self and its relationship with its surroundings. Email me with questions about WSS.
If you can talk about those things you're in good shape for Monday (July 21). We'll meet in 2207, start at eight am, and end before lunch. (No changes there.) Everyone should email me with a quick note telling me that you'll be there on Monday (or why you can absolutely not be there).
We'll start by looking at your Invisible Man responses--what can we learn from them? how else might Invisible Man be able to help us with the AP course and exam?--then we'll delve into Wide Sargasso Sea with a combination of lecture, whole group discussion, small group discussion, and individual work focused on helping you write strong responses to the novel and improve your ability to read, take notes on, think about, discuss, and write about the third work of the summer, a play called Translations.
I look forward to seeing you again on Monday (July 21). Now it's time for me to make my way to the dining hall. (It's like being in college again.)
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