Grade 8 | Wit & Wisdom Prologue Supplemental Lessons

8 GRADE

Grade 8 Modules 1–4

1. The Poetics and Power of Storytelling

2. The Great War

3. What Is Love?

4. Teens as Change Agents

Teacher Edition

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Wit & Wisdom Prologue: Grade 8

This book contains Modules 1–4 of Grade 8. Each module’s appendices directly follow the lessons before the next module begins. Access the module-level glossaries within the digital Prologue Teacher Resources (http://witeng.link/Prologue_Teacher_Resources).

Grade 8, Module 1

The Poetics and Power of Storytelling

Table of Contents

Focusing Question: What shapes Josh Bell’s sense of himself and his world?

Focusing Question: How does form shape a story’s meaning?

Focusing Question: What is the role of expression in storytelling?

Focusing Question: How do stories help us make sense of ourselves and the world?

Focusing Question: What does it mean to be a storyteller?

Appendix A: Prologue Module 1 Handouts

Appendix B: Prologue Module 1 Answer Keys and Suggested Student Responses

Module Summary

If stories come to you, care for them. And learn to give them away where they are needed. Sometimes a person needs a story more than food to stay alive.

—Barry Lopez

Basketball and family, teamwork and superstar moves, split-second decisions and their reverberating effects: these are the focus of the contemporary novel-in-verse The Crossover by Kwame Alexander. They are also the lifeblood of the twin brothers Josh and Jordan Bell, who are on the brink of maturity, figuring out their paths, passions, and game plans. And they are the subject of Josh’s energetic, free style poems, poems that convey the novel’s ultimate subject: the poetics and power of storytelling.

In this module, students examine storytelling as a personal, social, and cultural form of expression that we use to make sense of ourselves and our worlds. As we create narratives from our experiences, we produce our identities, our beliefs, and our views of the world. Exemplifying a seamless combination of exact words and expansive ideas, personal voice and collective values, narrative has a distinctive significance in our lives. In this module, students build an understanding of the power that stories and storytelling hold. They learn the social power of stories, with their potential to help humans navigate complex social situations, become more empathetic to others, and integrate different world views. In addition, students discern the imaginative power of stories, ultimately understanding storytelling as essential to our humanity.

To begin their learning, students explore how Josh, the protagonist of The Crossover, uses narrative to articulate and navigate the various experiences, personal relationships, sudden changes, and emerging awareness of self that shape—and unsettle—his adolescent life. As students relate to the vivid portrayals of Josh’s identity and struggles, the novel’s accessibility demystifies verse and empowers students to engage with poetry. In addition to close reading and analyzing the use of the figurative language, pacing, and voice in the poems, students focus intently on the relationship between form and content, addressing the question of why a particular poetic type is used to express particular content. Students then turn their attention to the expressive power of storytelling by examining poetic performances by Bassey Ikpi, Nikki Giovanni, and Yusef Komunyakaa. Students explore these linguistically and stylistically diverse examples of narrative verse to understand the impact of oral expression and the role of poetic form in creating meaning. After producing their own poetic performances, students broaden their focus to examine the large-scale impact of stories. Two informational articles provide, in turn, neurobiological and psychological examinations of storytelling, while an excerpt from N. Scott Momaday’s “The Man Made of Words” and a speech by Chimamanda Ngozi Adichie elucidate the fundamental necessity of articulating ourselves through narrative.

For their End-of-Module (EOM) Task, students apply their knowledge of contemporary poetry to their contemporary experience. Devising their own narrative-in-verse, they work deeply with form and craft to make meaning of an important experience, creating a story by capturing essential moments with poetic precision and pacing. Framed with an explanatory cover letter, the students’ EOM Task communicates an understanding of their sense of self and the power of storytelling.

Essential Question

What is the power of storytelling?

Suggested Student Understandings

ƒ Imagining and expressing ourselves through narrative and language is essential to our humanity.

ƒ Storytelling is a personal, social, and cultural form of expression that we use to make sense of ourselves and the world.

ƒ Stories affect human beings in distinctive ways that allow them to process their own and others’ experiences.

ƒ An individual’s sense of self is an important part of identity, and is shaped by many factors.

ƒ Complex stories illuminate insights about identity, family, culture, and experience.

ƒ The expression and form of narratives shape their meaning.

Introduction

In Module 1, Wit & Wisdom Prologue™ lessons focus on helping students deepen their understanding of how stories help humans understand themselves and the world.

ƒ Reading Prologue lessons support comprehension of the novel-in-verse The Crossover and nonfiction texts, building students’ knowledge of the importance of stories to the development of a sense of self. Passages from the novel-in-verse also examine how structure contributes to meaning in narrative texts.

ƒ Writing Prologue lessons give students time to analyze and practice narrative writing structures, which supports students as they compose original poems. Students also examine transitions for compare-and-contrast writing.

ƒ Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars and to rehearse their performances of original poems before the Focusing Question and End-of-Module Tasks. Students receive additional support with explaining and demonstrating the relationship between content, structure, and expression.

ƒ Language Prologue lessons guide students to analyze a complex sentence, focusing on figurative language in narrative texts. This analysis helps students use figurative language to draft narrative texts. Students also examine how complex sentences are structured in informational texts. This examination helps students paraphrase key ideas.

Please see the Prologue Implementation Guide for more information on planning, scaffolding instruction, and meeting the needs of multilingual learners and students with language-based disabilities.

English Language Development (ELD) Standards

Wit & Wisdom® core lessons engage students in many ways to interact with and through language and text that meet English Language Development (ELD) standards. Prologue lessons provide additional language support that meets ELD standards. Use your state’s English language development standards and proficiency descriptors to best support your multilingual learners in reaching the learning goals.

Prologue Module 1 Learning

Reading Prologue lessons support comprehension of the novel-in-verse The Crossover and nonfiction texts, building students’ knowledge of the importance of stories to the development of a sense of self. Passages from the novel-in-verse also examine how structure contributes to meaning in narrative texts.

WIDA Standards

ELD-LA.6–8.Narrate.Interpretive Multilingual learners will interpret language arts narratives by

ƒ identifying a theme or central idea that develops over the course of a text and

ƒ analyzing how character attributes and actions develop in relation to events or dialogue.

ELD-LA.6–8.Inform.Interpretive Multilingual learners will interpret informational texts in language arts by

ƒ identifying and/or summarizing main ideas and their relationship to supporting ideas.

ELP Standards

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Writing Prologue lessons give students time to analyze and practice narrative writing structures, which supports students as they compose original poems. Students also examine transitions for compareand-contrast writing.

ELD-LA.6–8.Narrate.Expressive

Multilingual learners will construct language arts narratives that ƒ orient audience to context and point of view;

ƒ develop and describe characters and their relationships;

ƒ develop story, including themes with complication and resolution, time, and event sequences; and

ƒ engage and adjust for audience.

ELD-LA.6–8.Inform.Expressive

Multilingual learners will construct informational texts in language arts that ƒ add precision, details, and clarity about relevant attributes, qualities, characteristics, activities, and behaviors.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Standard 10: An ELL can make accurate use of standard English to communicate in grade-appropriate speech and writing.

Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars and to rehearse their performances of original poems before the Focusing Question and End of Module Tasks. Students receive additional support with explaining and demonstrating the relationship between content, structure, and expression.

ELD-LA.6–8.Narrate.Interpretive Multilingual learners will interpret language arts narratives by ƒ identifying a theme or central idea that develops over the course of a text.

ELD-SI.4–12.Argue

Multilingual learners will ƒ support or challenge an opinion, premise, or interpretation and ƒ clarify and elaborate ideas based on feedback.

ELD-SI.4–12.Narrate

Multilingual learners will ƒ share ideas about one’s own and others’ lived experiences and previous learning and ƒ recount and restate ideas to sustain and move dialogue forward.

ELD-SI.4–12.Explain

Multilingual learners will ƒ act on feedback to revise understandings of how or why something is or works in particular ways.

Standard 2: An ELL can participate in grade-appropriate oral and written exchanges of information, ideas, and analyses, responding to peer, audience, or reader comments and questions.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Language Prologue lessons guide students to analyze a complex sentence, focusing on figurative language in narrative texts. This analysis helps students use figurative language to draft narrative texts. Students also examine how complex sentences are structured in informational texts. This examination helps students paraphrase key ideas.

ELD-LA.6–8.Narrate.Interpretive Multilingual learners will interpret language arts narratives by ƒ evaluating impact of specific word choices about meaning and tone.

ELD-LA.6–8.Inform.Interpretive Multilingual learners will interpret informational texts in language arts by ƒ evaluating the impact of author’s key word choices over the course of a text.

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Standard 8: An ELL can determine the meaning of words and phrases in oral presentations and literary and informational text.

Module Map

Prologue to Lesson # Lesson Type Summary Learning Goal

Focusing Question 1: What shapes Josh Bell’s sense of himself and his world?

1 Reading Students practice fluently reading the poem “Josh Bell” from The Crossover. They answer text-dependent questions to develop an understanding of the text. This work prepares students to identify details about the main character in Lesson 1.

3 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing Josh’s sense of self, which prepares them for Lesson 3.

4 Language Students deconstruct an important set of lines from “Basketball Rule #1” from The Crossover into words, phrases, and clauses. By focusing on an extended metaphor, students deepen their understanding of complex language. This work prepares students to analyze extended metaphors in Lesson 4.

7 Writing Students examine the structure and language of a list poem in narrative writing. By studying the model, students develop an understanding of the purpose of a list poem. This work prepares students to compose an original list poem in Focusing Question Task 1 in Lesson 7.

Focusing Question 2: How does form shape a story’s meaning?

10 Reading Students practice fluently reading “At Noon, in the Gym, with Dad” from The Crossover They answer text-dependent questions to develop an understanding of the text. This work prepares students to explain how poetic structure contributes to meaning in Lesson 10.

Summarize the important ideas in the poem “Josh Bell” from The Crossover.

Rehearse sharing evidence that demonstrates characteristics of Josh’s sense of self.

Analyze an extended metaphor.

Describe the purpose and importance of a list poem.

Analyze how structure contributes to meaning in “At Noon, in the Gym, with Dad.”

Reading Students closely read an excerpt from “This Is Your Life (and How You Tell It).” They answer text-dependent questions to develop an understanding of the text. This work prepares students to distill the article’s main idea in Lesson 12.

15 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing the literal and figurative meanings of the word crossover, which prepares them for the Socratic Seminar in Lesson 15.

16 Writing Students examine the structure and language of a compare-and-contrast paragraph. By studying this model, students develop an understanding of the purpose of compare-and-contrast words and phrases. This work prepares students to complete Focusing Question Task 2 in Lesson 16.

Focusing Question 3: What is the role of expression in storytelling?

18 Reading Students closely read an excerpt from the poem “Sometimes Silence Is the Loudest Kind of Noise.” They answer text-dependent questions to develop an understanding of the excerpt. This work prepares students to analyze expression in a performance of the poem in Lesson 18.

20 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing how content, structure, and expression affect the performance of a text. This work prepares them for the Socratic Seminar in Lesson 20.

22 Speaking and Listening Students orally process the content they have studied and rehearse performing their original definition poems. Students practice fluency techniques while demonstrating their understanding of the relationship between content, structure, and expression, which prepares them for Part 2 of Focusing Question Task 3 in Lesson 22.

Summarize the important ideas in an excerpt from “This Is Your Life (and How You Tell It).”

Rehearse sharing a claim and evidence for the upcoming Socratic Seminar.

Describe the structure of a compare-and-contrast paragraph.

Summarize the important ideas in an excerpt from the poem “Sometimes Silence Is the Loudest Kind of Noise.”

Rehearse sharing a claim and evidence for the upcoming Socratic Seminar.

Rehearse performing an original definition poem for Focusing Question Task 3.

Focusing Question 4: How do stories help us make sense of ourselves and the world?

23 Reading Students practice fluently reading an excerpt from “Your Brain on Fiction.” They answer text-dependent questions as they examine the components of an important sentence from the informational article. Students develop an understanding of how complex sentences are structured and paraphrase key ideas. This work prepares them to read the full article in Lesson 23.

24 Reading Students closely read a paragraph from the essay “The Man Made of Words.” They answer text-dependent questions to develop an understanding of the text. This work prepares students to read the excerpt in Lesson 24.

27 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing ways stories help us understand ourselves and the world, which prepares them to participate in the Socratic Seminar in Lesson 27.

Focusing Question 5: What does it mean to be a storyteller?

33 Speaking and Listening Students orally process the content they have studied and rehearse performing their original poems. Students practice fluency techniques while demonstrating their understanding of what it means to be a storyteller, which prepares them for Part 2 of the End-of-Module Task in Lesson 33.

Analyze a claim from the informational article “Your Brain on Fiction.”

Summarize the important ideas in a paragraph from the essay “The Man Made of Words.”

Rehearse sharing a claim for the upcoming Socratic Seminar.

Rehearse sharing an original poem for the upcoming End-of-Module Task.

Talking Tool

Talking Tool

Share What You Think

I think because . In my opinion, I noticed that First, . Also, .

Support What You Say For example, . According to the author, In the text, . Another reason is .

Ask for More Information

What do you mean by ? What text evidence supports that idea?

Can you give an example? How does that relate to ?

Build on Others’ Ideas

I hear you say that . That makes me think that I agree and I will add that . I disagree because . Have you thought about ?

PROLOGUE TO LESSON 1: AT A GLANCE

Focusing Question: What shapes Josh Bell’s sense of himself and his world?

SUMMARY

Students practice fluently reading the poem “Josh Bell” from The Crossover. They answer text-dependent questions to develop an understanding of the text. This work prepares students to identify details about the main character in Lesson 1.

LEARNING GOAL

Summarize the important ideas in the poem “Josh Bell” from The Crossover.

✔ Identify key characteristics about Josh Bell.

VOCABULARY characteristic (n.): a special quality or trait that makes a person, thing, or group different from others sense of self (n.): how a person defines themself

MATERIALS

The Crossover, Kwame Alexander, Pages 4–5

Prologue Glossary

Assess and activate prior knowledge by asking these questions:

“How do you describe yourself?”

“What words describe your personality?“

“What is your favorite activity?”

Direct students to the terms characteristic and sense of self in their Prologue Glossaries. Echo Read the terms and then def ine them.

characteristic (n.): a special quality or trait that makes a person, thing, or group different from others sense of self (n.): how a person defines themself

Explain that our personalities and favorite activities can be characteristics that define our sense of self.

Tell students they will begin Module 1 by examining how the main character of The Crossover defines himself.

Introduce this lesson’s Learning Goal: Summarize the important ideas in the poem “Josh Bell” from The Crossover

Explain that fluency practice and discussion help students comprehend the text. Tell students that this lesson will prepare them to read and analyze additional sections of the text independently during the whole group lesson.

Learn

20 MIN.

Display the cover of The Crossover. Tell students they will read this book in Module 1. Direct attention to the image on the cover.

Ask: “How would you describe the person in the image on the cover?”

Listen for these essential understandings:

ƒ The person is male.

ƒ He looks young, maybe because of the way he is dressed.

ƒ He likes to play basketball.

ƒ He can spin a basketball on one finger, so he is good at basketball.

ƒ There are words inside the basketball. And the words the crossover are written inside his body.

Emphasize that students identified characteristics of the person illustrated on the cover.

Tell students they will now read a poem to understand how it describes the characteristics of The Crossover’s main character.

Direct students to the poem “Josh Bell” on pages 4–5 of The Crossover.

Model fluent reading by reading aloud “Josh Bell.”

While you read, emphasize effective phrasing. After you read, repeat words students may need support pronouncing. Instruct the whole group to read aloud the poem. Tell students to mimic your phrasing.

Explain that students will now examine each stanza to understand what’s happening in the poem.

Choral Read the title and first stanza. Explain that acclaimed means to be praised enthusiastically. Tell students that Kevin Durant, LeBron (James), and Chris Paul are professional basketball players.

Ask: “Who is the speaker of the poem?” Explain that the speaker is the person speaking or talking.

ƒ Josh Bell

Ask: “What facts do you learn about Josh Bell in the first stanza?”

ƒ Josh Bell is his name.

ƒ He has long hair.

ƒ He is tall.

ƒ His nickname is Filthy McNasty.

Ask: “What can you infer about Josh Bell from the first stanza?”

Remind students that infer means to form a conclusion based on evidence.

Think aloud to model inference: “In the last two lines of the stanza, Josh Bell says he will be the next Kevin Durant, LeBron, and Chris Paul. Since they are professional basketball players, I can infer that Josh Bell plays basketball.”

Ask: “What else can you infer about Josh Bell in the first stanza?”

Listen for these essential understandings:

ƒ He thinks he’s a really good basketball player. He’s so good that he says he’ll be the next NBA superstar.

ƒ He is very confident. He says that other people say how great his basketball game is, so he’s famous for it.

SCAFFOLD

Pause frequently to instruct students to paraphrase what they learn about Josh Bell. To support students with beginning proficiency in English, provide definitions of additional colloquial phrases or figurative language.

Choral Read the second stanza.

Ask: “Who is introduced in this stanza?”

ƒ Josh Bell’s father

Ask: “What do you learn about this character?”

ƒ He played basketball too. Josh says his father brags about playing with famous players, so it sounds like he may have played professional basketball.

Reread aloud the last two lines of the second stanza. Tell students that they are going to focus on how the word fly is used literally and figuratively.

Display these sentences:

Literal: My basketball game travels through the air on wings.

Figurative: My basketball playing is awesome.

Point out that the first sentence uses the literal meaning of the word fly. The second sentence uses the word fly figuratively.

Pair students, and instruct pairs to discuss the question: “Which of these sentences means ‘my game’s so fly’?” (4).

Listen for these essential understandings:

ƒ The second sentence is the correct meaning. Josh is telling his father that he doesn’t need to hear about great players from the past because his basketball game is even better. We also know from the first stanza that Josh thinks he’s a really good player.

Tell students that this example of figurative language is also an example of slang. Remind students that slang refers to very informal language used by a particular group of people. Explain that slang can help reveal a speaker’s personality. Instruct students to share an example of slang they might use with their friends but not their parents. The example could be in English or their home language.

Choral Read the third stanza.

Ask: “Who is introduced in this stanza?”

ƒ Josh Bell’s mother

Pair students, and instruct pairs to discuss the question: “How does Josh’s mother compare Josh’s basketball playing to his father’s?”

ƒ Josh’s mom uses two different cars to compare Josh and his father. She compares Josh’s dad to an “ol’ Chevette,” which is an old car. Because it’s inexpensive, it’s probably not fancy. But she compares Josh to a “red Corvette,” which is a cool and expensive sports car. (4)

ƒ Josh’s mom makes Josh’s basketball playing sound exciting. She says his game is fresh, new, and sweet. She also stretches out the word ALL in the last line.

Choral Read the fourth stanza.

Ask: “How does Josh respond to his mom’s description of his game?”

ƒ Josh says he doesn’t mind that his mother calls him “fresh” and “sweet,” but if anyone else did, he’d be mad. Josh doesn’t disagree with his mom the way he does with his dad. He is more kind when he talks about his mom.

✔ Instruct students to Think–Pair–Share: “What characteristics define Josh Bell’s sense of self in this poem?”

Give students one minute to silently think.

Then form pairs and instruct students to discuss their ideas.

Listen as pairs discuss. Identify students with responses that are likely to prompt a meaningful discussion. Listen for these essential understandings:

ƒ really good at basketball

ƒ expressing himself with rhymes, rap, or poetry

ƒ confidence; really sure of himself

ƒ his close relationship with his parents

Then facilitate a discussion and have students you identified share their ideas.

PROLOGUE TO LESSON 3: AT A GLANCE

Focusing Question: What shapes Josh Bell’s sense of himself and his world?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing Josh’s sense of self, which prepares them for Lesson 3.

LEARNING GOAL

Rehearse sharing evidence that demonstrates characteristics of Josh’s sense of self.

✔ Explain how evidence reveals Josh’s sense of self.

VOCABULARY

characteristic (n.): a special quality or trait that makes a person, thing, or group different from others sense of self (n.): how a person defines themself

MATERIALS

The Crossover, Kwame Alexander, Pages 3–5, 8–9, 13, 23

Prologue Glossary

Prologue Handout 3A: Characteristics of Sense of Self

Remind students that Josh Bell’s sense of self is influenced by his being a good basketball player and having a close relationship with his parents.

Assess and activate prior knowledge by asking these questions:

“What characteristics describe you?”

“Which characteristic has the strongest influence on your sense of self? Why?”

Direct students to the words characteristic and sense of self in their Prologue Glossaries. Echo Read the words and then define them.

characteristic (n.): a special quality or trait that makes a person, thing, or group different from others

sense of self (n.): how a person defines themself

Introduce this lesson’s Learning Goal: Rehearse sharing evidence that demonstrates characteristics of Josh’s sense of self.

Tell students that practicing using evidence will help them better understand The Crossover.

Learn

20 MIN.

Direct students to Prologue Handout 3A.

Read aloud the characteristics and examples on the handout. Ask students to share other examples of the characteristics.

Tell students that they will now find evidence from the novel that demonstrates these characteristics of Josh’s sense of self.

First, read aloud the excerpt from “Dribbling” in The Crossover from “and my dipping” to “Swoooooooooooosh” (3).

Then think aloud to demonstrate how to connect a piece of evidence to a specific characteristic: “This quotation shows the characteristic of talent because it describes Josh’s talent as a basketball player and the way he beats his opponent to score a basket. This affects his sense of self because his talent gives him confidence.”

Divide students into pairs. Assign pairs one of these excerpts from The Crossover:

“Josh Bell,” from “When I shoot” to “I’m the buyer” (5)

“At first,” from “And even though” to “my nickname” (8–9)

“On the way to the game,” from “I’m banished” to “bald head” (13)

“JB and I,” from “are almost thirteen” to “on our team” (23)

TEACHER NOTE

Some groups can focus on the same excerpt. The same evidence can be linked to multiple characteristics.

Give pairs three minutes to read the excerpt, discuss it, and decide which of the four characteristics best matches it.

Instruct pairs to discuss how the selected characteristic affects Josh’s sense of self.

SCAFFOLD

Provide these sentence frames: This shows the characteristic of because . This characteristic affects Josh’s sense of self because .

✔ Pairs read aloud their quotation and explain how it connects to Josh’s sense of self.

Facilitate a brief discussion about this question:

“What characteristic do you think most strongly influences Josh’s sense of self? Why?”

PROLOGUE TO LESSON 4: AT A GLANCE

Focusing Question: What shapes Josh Bell’s sense of himself and his world?

SUMMARY

Students deconstruct an important set of lines from “Basketball Rule #1” from The Crossover into words, phrases, and clauses. By focusing on an extended metaphor, students deepen their understanding of complex language. This work prepares students to analyze extended metaphors in Lesson 4.

LEARNING GOAL

Analyze an extended metaphor.

✔ Paraphrase the poem “Basketball Rule #1.”

VOCABULARY

metaphor (n.): a phrase that describes something by comparing it to some other thing

MATERIALS

The Crossover, Kwame Alexander, Page 20

Prologue Glossary

Assess and activate prior knowledge by asking this question: “Which of these is an example of figurative language, and which one is an example of literal language?”

“The cafeteria is noisy.”

“The cafeteria is a beehive.”

ƒ

“The cafeteria is a beehive” is an example of figurative language.

ƒ “The cafeteria is noisy” is an example of literal language.

Remind students that literal language states exactly what it means. In contrast, figurative language uses nonliteral language to convey meaning. The cafeteria is not literally a beehive, but it is humming with noise similarly to a beehive full of bees.

Direct students to the word metaphor in their Prologue Glossaries. Echo Read the word and then define it.

metaphor (n.): a phrase that describes something by comparing it to some other thing

Remind students that a metaphor is a type of figurative language. “The cafeteria is a beehive” is a metaphor because the cafeteria is being compared to something else: a beehive.

Introduce the lesson’s Learning Goal: Analyze an extended metaphor.

Explain that looking closely at the lines of a poem will help students better understand the entire novel-in-verse and how figurative language works.

Learn

20 MIN.

Tell students that in this lesson they will examine an extended metaphor. Explain that extended means longer than usual. Use the example of an extension cord to reinforce the word’s meaning.

Tell students that the metaphor of the cafeteria as a beehive could be extended by adding details such as “the kids were buzzing and swarming around a new student.” Explain that an extended metaphor creates a clear picture in a reader’s mind.

Direct students to “Basketball Rule #1” on page 20 of The Crossover.

Tell students that they will examine each line individually to better understand the poem.

TEACHER NOTE

Students have been working on “Basketball Rule #1” for their fluency homework. If students seem ready, consider asking volunteers to read aloud individual lines of the poem.

Echo Read the title and poem.

Reread aloud the poem’s title, “Basketball Rule #1.”

Ask: “If you read this line literally, what would you expect this poem to be about?”

ƒ The first rule for playing the game of basketball

Reread aloud the line “In this game of life.”

Ask: “What is the game in this line?”

ƒ life

Direct attention to the title. Ask: “Why might life be compared to a game? How might life and a game be similar?

Listen for this essential understanding:

ƒ Life is being compared to a basketball game. The author is suggesting that both basketball and life have rules to follow.

Explain that this is the beginning of the extended metaphor comparing life to basketball.

Reread aloud or invite a volunteer to read aloud the next line, “your family is the court.”

Explain the structure of a metaphor, which directly compares two items with the word is.

SCAFFOLD

To reinforce the figurative nature of the poem, continue asking students, “How is life like basketball?”

Ask: “What is being compared in this line?”

ƒ The basketball court is being compared to your family.

Ask: “Why does the author compare your family to the basketball court?”

ƒ The family is the court on which the game of life is played.

Reread aloud or invite a volunteer to read aloud the line “and the ball is your heart.”

Ask: “What is being compared in this line?”

ƒ The heart is being compared to a basketball.

Ask: “Why does the author compare your heart to the basketball?”

ƒ Your heart and the ball are both essential parts of life and the game.

Choral Read the remaining lines of the poem, from “No matter how” to “on the court.”

Explain that these last lines repeat the metaphors used so far.

Instruct students to Think–Pair–Share: “What do the poem’s last lines mean?”

Give students one minute to silently think.

Then form pairs and instruct students to discuss their ideas.

Listen for these essential understandings:

ƒ I think these lines mean that no matter how good or bad things get in life, your heart should stay with your family.

Then facilitate a brief discussion.

Land

✔ Students paraphrase the poem “Basketball Rule #1.”

Remind students that paraphrase means to write in your own words. For additional support, provide the sentence frame: Life is like basketball because . Instruct students to read aloud their paraphrased sentences.

PROLOGUE TO LESSON 7: AT A GLANCE

Focusing Question: What shapes Josh Bell’s sense of himself and his world?

SUMMARY

Students examine the structure and language of a list poem in narrative writing. By studying the model, students develop an understanding of the purpose of a list poem. This work prepares students to compose an original list poem in Focusing Question Task 1 in Lesson 7.

LEARNING GOAL

Describe the purpose and importance of a list poem.

✔ Think–Pair–Share: “Why is the form of a list poem important?”

VOCABULARY

form (n.): the shape or structure of a story; how knowledge or information is expressed or communicated

MATERIALS

The Crossover, Kwame Alexander, Pages 14–15

Prologue Glossary

Assess and activate prior knowledge by posing this prompt:

“List three things you like about school. Put the number 1 before the thing you like most.”

Tell students that numbered lists often organize items in an order of preference or importance. Provide an example, such as a “Top 10” list.

Direct students to the word form in their Prologue Glossaries. Echo Read the word and then define it.

form (n.): the shape or structure of a story; how knowledge or information is expressed or communicated

Remind students that they read a poem in The Crossover that is written in the form of a list.

Introduce the lesson’s Learning Goal: Describe the purpose and importance of a list poem.

Explain that looking closely at the form of a list poem will prepare students to write their own poems in the module.

Learn

20 MIN.

Direct students to the poem “Five Reasons I Have Locks” on pages 14–15 in The Crossover.

Remind students that this is a list poem.

Explain that students will examine the form of the list poem. Remind students that the word form, when discussing poetry, refers to the poem’s structure and patterns.

Read aloud the poem.

Instruct students to Think–Pair–Share: “What do you notice about the form of this list poem?”

Give students one minute to silently think.

Then form pairs and instruct students to discuss their ideas.

Listen for key ideas as pairs discuss. If needed, ask these scaffolding questions:

“What does the title explain?”

“How does each stanza start?”

“What is the length of each stanza? Is it always the same?”

“What punctuation ends each stanza?”

Instruct students to share their observations. Record characteristics of list poems.

ƒ The title tells the number of ideas and the main idea of the poem.

ƒ The poem is a list of reasons.

ƒ The reasons are numbered backward.

ƒ The reasons are written in complete sentences.

ƒ Each reason finishes the sentence “I have locks because . . .” but never uses those words.

ƒ The second-to-last stanza is not numbered. It begins with “But mostly because.”

ƒ The last stanza is much longer than the other stanzas.

Reinforce that these ideas describe the form of a list poem.

Tell students that they will now work in pairs to write a poem in list form.

SCAFFOLD Use the Shared Writing routine to write a list poem as a whole group.

Direct students to the lists of reasons they like school they wrote in Launch.

TEACHER NOTE

Consider a different topic that meets your students’ interests or allow students to choose a topic.

Instruct pairs to compare their lists and narrow them to five shared reasons.

Instruct pairs to number their reasons from 5 to 1. Remind students that number 1 should be the most important reason.

Instruct pairs to take turns writing their reasons in the form of a list poem. Tell students to use “Five Reasons I Have Locks” as a model for the correct form.

Monitor students to ensure that they use the correct form. As needed, support students to clearly express their ideas.

Invite pairs to share their poem aloud.

✔ Instruct students to Think–Pair–Share: “Why is the form of a list poem important?”

Give students one minute to silently think.

Then form pairs and instruct students to discuss their ideas.

Listen as pairs discuss to identify students with responses that are likely to prompt a meaningful discussion.

Then facilitate a discussion and have the students you identified share their ideas.

ƒ The form shows what is meaningful to the author.

ƒ The form shows the order the reasons go in.

ƒ The form shows which reason is the most important.

ƒ The form shows several reasons about one topic.

PROLOGUE TO LESSON 10: AT A GLANCE

Focusing Question: How does form shape a story’s meaning?

SUMMARY

Students practice fluently reading “At Noon, in the Gym, with Dad” from The Crossover. They answer text-dependent questions to develop an understanding of the text. This work prepares students to explain how poetic structure contributes to meaning in Lesson 10.

LEARNING GOAL

Analyze how structure contributes to meaning in “At Noon, in the Gym, with Dad.”

✔ Think–Pair–Share: “How does the structure of Josh’s poem relate to its content?”

VOCABULARY

structure (n.): how parts are arranged or organized

MATERIALS

The Crossover, Kwame Alexander, Pages 194–196

Prologue Glossary

T-chart with columns titled Structure and Effect

Assess and activate prior knowledge by asking this question:

“In what poetic forms has Josh written in The Crossover?”

ƒ free verse

ƒ ode

ƒ definition poem

ƒ list poem

Direct students to the noun form of the word structure in their Prologue Glossaries. Echo Read the word and then define it.

structure (n.): how parts are arranged or organized

Remind students that they have been examining the structure of different poetic forms in The Crossover. Explain that in this lesson they will describe how the poem’s structure reinforces the importance of what happens in the poem.

Introduce this lesson’s Learning Goal: Analyze how structure contributes to meaning in “At Noon, in the Gym, with Dad.”

Explain that fluency practice and discussion will help students better understand The Crossover.

Learn

20 MIN.

Direct students to the poem “At Noon, in the Gym, with Dad” on pages 194–196 in The Crossover.

Model fluent reading by reading aloud the poem.

Tell students that first they will identify what is happening in the poem.

Pair students. Display these questions:

Who is in the poem?

What happens in the poem?

Instruct students to discuss with their partner for one minute. Invite volunteers to share responses.

Explain that, now that they know the basic content of the poem, students will examine how the poem’s structure helps them understand the importance of what happens in the poem.

Ask: “What do you notice about the length of lines and stanzas in the poem?”

Listen for these essential understandings:

ƒ Each line is two words.

ƒ The whole poem is only one stanza.

ƒ There’s just one period in the poem. The whole poem is one sentence!

Reinforce that the length of lines and stanzas is an example of the structure of the poem.

Display a T-chart with columns titled Structure and Effect.

Direct students to the first five lines of the poem. Choral Read the first f ive lines.

Tell students that the lines are made up of one noun and one verb.

In the Structure column, add “lines have one noun and one verb.”

Ask: “How does this line structure convey a sense of action?”

ƒ The verbs are all actions of people doing things. It feels very exciting, as if it’s happening right now.

Record student observations in the Effect column.

Tell students that the two-word lines create a special rhythm.

In the Structure column, add “rhythm of two-word lines.”

Echo Read the first ten lines of the poem. Tell students to focus on the rhythm of the two-word lines and tap the desk once for each word read aloud.

Ask: “What does the rhythm sound like? What connection can you make to what happens to Chuck Bell?”

Listen for these essential understandings:

ƒ When I tapped, it sounded like a heartbeat.

ƒ The rhythm sounds like a heartbeat. It foreshadows Chuck Bell’s heart attack.

Record student observations in the Effect column.

In the Structure column, add “rhyming and repeated words.”

Instruct students to identify examples of rhyming and repeated words in the poem.

Tell students that the rhymes and repetition add to the rhythm. Add this to the Effect column.

In the Structure column, add “poem is one sentence.”

Ask: “What happens to your breath if you try to read the whole poem aloud as one sentence?”

ƒ It’s hard to keep breathing. It’s like you run out of breath.

Ask: “What might that shortness of breath tell you about how Josh is feeling? Is he calm? Joyful? Something else?”

Listen for these essential understandings:

ƒ Josh is upset about his dad’s heart attack. He’s out of breath.

ƒ Josh tries to give his dad CPR, but nothing happens. Josh is scared. He is running out of time to help his dad.

Record student observations in the Effect column.

Direct students to the entries in the Structure column of the T-chart.

Ask: “What mood does the poem’s structure create?”

ƒ The poem’s structure creates a tense or fearful mood. The rhythm of the short lines creates tension. You feel like something bad might happen.

SCAFFOLD

Display a list of possible moods, such as cheerful, humorous, suspenseful, tense, or sorrowful.

Point to the examples in the T-chart and emphasize that the poem’s structure contributes to the meaning of the poem.

5 MIN.

✔ Instruct students to Think–Pair–Share: “How does the structure of Josh’s poem relate to its content?”

Give students one minute to silently think.

Then form pairs and instruct students to discuss their ideas.

Listen for these essential understandings:

ƒ The event in the poem is that Josh’s dad has a heart attack. Josh tries to help him, but he fails. When you read the two-word lines fast, or as one sentence, it sounds like you’re running out of breath. Josh is running out of time and breath.

ƒ The repetition of short lines builds tension. You feel like something bad is going to happen.

TEACHER NOTE

Students are assigned “At Noon, in the Gym, with Dad” as their fluency homework in Lesson 11. Encourage students to apply today’s learning to their fluent reading of the poem.

PROLOGUE TO LESSON 12: AT A GLANCE

Focusing Question: How does form shape a story’s meaning?

SUMMARY

Students closely read an excerpt from “This Is Your Life (and How You Tell It).” They answer text-dependent questions to develop an understanding of the text. This work prepares students to distill the article’s main idea in Lesson 12.

LEARNING GOAL

Summarize the important ideas in an excerpt from “This Is Your Life (and How You Tell It).”

✔ Think–Pair–Share: “According to the article, what are two ways life stories shape people’s behavior?”

VOCABULARY

sense of self (n.): how a person defines themself

MATERIALS

Prologue Glossary

Prologue Handout 12A: Excerpt from “This Is Your Life (and How You Tell It)” by Benedict

Carey

Display an image of a blank storyboard, and point to it as you share the prompt.

Assess and activate prior knowledge by posing this prompt:

“Imagine you are making a movie of your life. Each scene focuses on an event that positively shaped who you are. Each box on this storyboard represents a scene. Jot down or draw an idea for one scene. What was the important event, and how has it had a positive effect on your sense of self?”

Direct students to the noun form of the phrase sense of self in their Prologue Glossaries. Echo Read the phrase and then define it.

sense of self (n.): how a person defines themself

Explain that imagining your life as a movie helps develop your sense of self.

Introduce this lesson’s Learning Goal: Summarize the important ideas in an excerpt from “This Is Your Life (and How You Tell It).”

Explain that close reading and discussion of an excerpt help students understand the text and prepare them to write about the entire article.

20 MIN.

Direct students to the image of the storyboard and the scene they wrote or drew. Tell students that they will read an excerpt from an informational article about seeing our lives like a storyboard, or a series of scenes that represent important moments or events.

Direct students to Prologue Handout 12A.

Model fluent reading by reading aloud the excerpt on Prologue Handout 12A.

As you read aloud, emphasize effective phrasing. Repeat words that students may need help to pronounce.

Direct students to the article title.

Ask: “Based on the title, how might this article relate to the module topic?”

Listen for these essential understandings:

ƒ The title says the article will be about telling your life.

ƒ Even though the title doesn’t use the word story, it suggests that the article will be about how to tell your life as a story.

ƒ Making your life into a story is related to the module topic of the power of storytelling. Maybe the article is about the power of telling your life story.

Emphasize that Josh Bell uses a series of poetic forms to tell his life as a story. Tell students that they will read the entire article as a class. In this lesson, they will focus on two paragraphs that introduce key ideas.

Direct students to paragraph 4. Display and reread aloud the first sentence.

Ask: “What does Carey say in the part of the sentence before the dash?”

ƒ Americans are constantly making movies out of their lives.

Choral Read the part of the sentence after the dash. Tell students that visualize is a synonym for imagine.

Direct students to the part of the sentence between the dash and the comma. Instruct students to silently reread the section without the phrase not only.

Ask: “What does Carey say about what happens when we treat our lives like a movie?”

ƒ If we treat our life like a movie, the way we imagine each scene of our life can shape our sense of self, or how we define ourselves.

Instruct students to underline the phrase not only and the word but. Explain that the phrase not only signals to the reader that not just one, but two ideas will follow. The word but introduces the second idea.

Ask: “What is the second thing that can happen when we imagine our lives like movies?”

ƒ The way you imagine your life can determine how you behave.

Emphasize that this article reports the results of new research studies.

Reread aloud the last sentence of paragraph 4. Tell students that this work refers to the new research studies.

Ask: “What do the research studies say?”

ƒ If we learn more about how life stories are put together, people might be able to change the story they tell about themselves and their sense of self.

SCAFFOLD Pair students. Instruct them to share important ideas from the text.

Explain that Josh Bell uses vivid poetry to imagine his life story as a basketball player. His poems create a life story that defines his sense of self. Josh also writes poems to imagine his future as a professional basketball player. The poems imagine his life story as a basketball movie with a past, present, and future.

Reread aloud paragraph 5. Tell students that professors of psychology study how the human mind and human behavior work.

Emphasize that researchers discovered a cause-and-effect relationship between people’s life stories and their behavior.

Ask: “Did researchers find that people’s behavior shapes their life stories or that their stories shape their behavior?”

ƒ Researchers found that people’s life stories shape their behavior.

Highlight that the last sentence of paragraph 5 also includes the phrasing of not only and but Prompt students to review their annotations of paragraph 5. Share the purpose of this phrasing: The writer will be providing two ideas, not just one.

✔ Instruct students to Think–Pair–Share: “According to the article, what are two ways life stories shape people’s behavior?”

Give students one minute to silently think. Next form pairs and instruct students to discuss their ideas.

Then facilitate a whole group discussion.

ƒ People use stories as a way of seeing their past.

ƒ People also use stories to see how they might behave in the future.

PROLOGUE TO LESSON 15: AT A GLANCE

Focusing Question: How does form shape a story’s meaning?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing the literal and figurative meanings of the word crossover, which prepares them for the Socratic Seminar in Lesson 15.

LEARNING GOAL

Rehearse sharing a claim and evidence for the upcoming Socratic Seminar.

✔ With a partner, share claims and agree or disagree by using a sentence frame.

VOCABULARY

narrative arc (n.): the beginning, middle, and end events of a story coherent (adj.): easily understood and logically connected

MATERIALS

The Crossover, Kwame Alexander, Pages 234–237

Prologue Glossary

Prologue Talking Tool

Assess and activate prior knowledge by asking these questions:

“Do you think Josh changes by the end of the novel? Why or why not?”

Direct students to the words narrative arc and coherent in their Prologue Glossaries. Echo Read the words and then define them.

narrative arc (n.): the beginning, middle, and end events of a story coherent (adj.): easily understood and logically connected

Remind students that these terms are related: a narrative arc is coherent when the beginning, middle, and end of a story are connected by a common theme or idea. One idea that holds The Crossover together is Josh’s sense of self. Explain that during this discussion students will provide evidence from the novel to support their thoughts about this question.

Introduce this lesson’s Learning Goal: Rehearse sharing a claim and evidence for the upcoming Socratic Seminar.

Explain that using evidence to participate in discussions will help students better understand the form and meaning of The Crossover.

20 MIN.

Tell students that in an upcoming class they will participate in a student-directed discussion called a Socratic Seminar. Explain that during this discussion they will share their thoughts about this question by providing evidence from the novel:

“What is the narrative arc created by specific uses of the word crossover?”

Remind students that they have used literary dominoes to examine how a sequence of events creates a narrative arc.

Explain that authors use other literary devices to create a narrative arc. Another device is to use the literal and figurative meanings of a word, like crossover. Using different meanings of the word across the novel creates a coherent story about Josh’s sense of self.

Direct students to the poem “Free Throws” on pages 234–237 in The Crossover.

Model fluent reading by reading aloud the poem.

Tell students that they will now examine two uses of the word crossover in this last poem of the novel.

Reread aloud the section of the poem from “You feel better” to “was wicked” (pages 235–236).

Ask: “What does the word crossover mean in the lines ‘That crossover/was wicked’?”

ƒ It means a basketball move.

Emphasize that the meaning of crossover in this line is a literal meaning: a basketball move.

Remind students that literal language says exactly what it means. Figurative language uses different words to say what it means.

Now reread aloud the last three stanzas from “Hey, I shout” to “us” on page 237.

Direct students to the line “We Da Man” on page 237. Remind them that Josh says this to his brother JB.

Ask: “Throughout the novel, who has ‘Da Man’ referred to?”

ƒ Chuck Bell, Josh and JB’s dad

Instruct students to Think–Pair–Share: “What do you think Josh means when he tells his twin ‘We Da Man’?”

ƒ Josh means that he and his twin brother together are Da Man. Their father lives in them.

Ask: “What happens after this? How does the poem end?”

ƒ Josh passes the ball to JB. JB shoots the ball, and the ball crosses over them.

Direct students to the words crossing over in the final lines. Explain that the words literally mean that the ball passes over the twins’ heads.

Instruct students to Think–Pair–Share: “In the poem, how is crossing over used differently than crossover?”

SCAFFOLD Display the two lines that use crossover and crossing over so students can compare the different uses of the word and phrase.

Give students one minute to silently think. Then form pairs and instruct students to discuss their ideas.

Listen for these essential understandings:

ƒ The earlier use was only about basketball.

ƒ This use of crossing over could be about the basketball going into the goal, but it seems to be about something bigger.

ƒ Crossing over has a figurative meaning. It suggests how Josh and JB are joined together again. They fought and separated, but now as they remember their father, they are reunited.

Facilitate a brief discussion about the question: “How is the change in use of crossover similar to Josh’s development in the novel?”

ƒ At the beginning of the novel, Josh thought only about himself and his skill as a basketball player.

ƒ At the end of the novel, Josh has grown up a little bit. He’s not only focused on himself. He wants to be there for his twin brother.

Remind students that Josh’s sense of self and the word crossover are two ideas that are repeated throughout the novel, making the narrative arc coherent.

Explain that students will now draft a claim about whether the literal or figurative meaning of crossover is more important in the novel.

Display and read aloud these sentence frames:

The literal meaning of crossover is more important because .

The figurative meaning of crossover is more important because .

Give students two to three minutes to complete the sentence frames.

Land

Pair students. Review the agree and disagree sentence frames from the Prologue Talking Tool.

✔ With a partner, students share claims and agree or disagree by using a sentence frame.

PROLOGUE TO LESSON 16: AT A GLANCE

Focusing Question: How does form shape a story’s meaning?

SUMMARY

Students examine the structure and language of a compare and contrast paragraph. By studying this model, students develop an understanding of the purpose of compare and contrast words and phrases. This work prepares students to complete Focusing Question Task 2 in Lesson 16.

LEARNING GOAL

Describe the structure of a compare and contrast paragraph.

✔ Think–Pair–Share: “How do specific words and phrases organize the structure of a compare and contrast paragraph?”

VOCABULARY

structure (n.): how parts are arranged or organized

MATERIALS

Prologue Glossary

Prologue Handout 16A: Compare and Contrast Writing

Assess and activate prior knowledge by asking this question:

“How are Josh and JB the same, and how are they different?”

Listen for these essential understandings:

ƒ Same: They are the same age, love basketball, and are good basketball players.

ƒ Different: Josh has long hair and writes poetry; JB has short hair and has a girlfriend.

Direct students to the noun form of the word structure in their Prologue Glossaries. Echo Read the word and then define it.

structure (n.): how parts are arranged or organized

Explain that students will examine the structure and language of a compare and contrast paragraph. As needed, remind students that compare means to identify similarities and contrast means to identify differences. Emphasize that specific words and phrases help organize similarities and differences within the compare and contrast paragraph.

Introduce this lesson’s Learning Goal: Describe the structure of a compare and contrast paragraph.

Explain that in this module students will use compare and contrast writing to construct paragraphs.

20 MIN.

Distribute Prologue Handout 16A.

Emphasize that effective compare and contrast writing identifies similarities and differences between two things.

Direct students to the sample paragraph. Remind students that they are already familiar with the ToSEEC structure of the paragraph.

Read aloud the paragraph.

Reread aloud the first sentence.

Tell students to circle the word both.

Ask: “What is the purpose of the word both in this topic sentence?”

ƒ It introduces a similarity.

Reread aloud the evidence and elaboration sections.

Tell students to circle the words similarly, but, while, and the phrase by contrast.

Ask: “What is the role of the compare and contrast words and phrases in each section?”

ƒ In the evidence section, the word introduces a similarity between the two poems.

ƒ In the elaboration section, the words and phrases introduce a difference between the two poems.

Ask: “How do the two sections work together to organize a structure for compare and contrast writing?”

ƒ The writer starts by using evidence to identify a similarity between the two poems. Then the writer elaborates by pointing out a difference.

ƒ Starting with a similarity and following with a difference is a structure we can use to compare and contrast two texts.

Reread aloud the conclusion.

Tell students to circle the words both and although.

Ask: “What does the writer do in the conclusion?”

ƒ The writer develops the idea in the topic sentence by providing more detail.

ƒ The writer summarizes the similarity and the difference between the two poems.

Emphasize that certain words and phrases in compare and contrast writing tell the audience whether what comes next is a similarity or difference. They make the writing stronger because they organize the writing by showing how two pieces of evidence relate.

Instruct students to create a T-chart on a blank sheet of paper. Tell them to label the left column Compare (Same) and the right column Contrast (Different).

Pair students. Instruct pairs to review the compare and contrast words and phrases in the sample paragraph. Tell them to list the words and phrases in the correct column of their charts.

SCAFFOLD

To help students understand how compare and contrast words and phrases contribute to clarity in writing, display the model paragraph with these words covered.

✔ Instruct students to Think–Pair–Share: “How do specific words and phrases organize the structure of a compare and contrast paragraph?”

Give students one minute to silently think. Next form pairs and instruct students to discuss their ideas.

Then facilitate a whole group discussion.

Listen for these essential understandings:

ƒ The compare and contrast words and phrases tell the audience whether what’s coming next is a similarity or difference.

ƒ These words and phrases make the writing stronger because they show how different ideas are related.

PROLOGUE TO LESSON 18: AT A GLANCE

Focusing Question: What is the role of expression in storytelling?

SUMMARY

Students closely read an excerpt from the poem “Sometimes Silence Is the Loudest Kind of Noise.” They answer text-dependent questions to develop an understanding of the excerpt. This work prepares students to analyze expression in a performance of the poem in Lesson 18.

LEARNING GOAL

Summarize the important ideas in an excerpt from the poem “Sometimes Silence Is the Loudest Kind of Noise.”

✔ Think–Pair–Share: “What important idea did the poem’s speaker learn?”

VOCABULARY

content (n.): the subject matter or substance of a story; what knowledge or information is expressed or communicated

expression (n.): a way of doing something that shows emotions and feelings

MATERIALS

“Sometimes Silence Is the Loudest Kind of Noise,” Bassey Ikpi (http://witeng.link/0732)

The Crossover, Kwame Alexander, Page 213

Prologue Glossary

Read aloud the poem “I don’t think I’ll ever get used to” on page 213 in The Crossover

As you read aloud, model effective emphasis, pacing, and volume.

Assess and activate prior knowledge by asking this question:

“What did you notice about how I read this aloud?”

Direct students to the words content and expression in their Prologue Glossaries. Echo Read the words and then def ine them.

content (n.): the subject matter or substance of a story; what knowledge or information is expressed or communicated expression (n.): a way of doing something that shows emotions and feelings

Tell students that you used the poem’s content to read with expression. Explain that in the upcoming lessons, students will study three performances of poems to understand the role of verbal and bodily expression in storytelling.

Introduce this lesson’s Learning Goal: Summarize the important ideas in an excerpt from the poem “Sometimes Silence Is the Loudest Kind of Noise.”

Explain that in Lesson 18 students will watch a video of the poet Bassey Ikpi performing this poem. Tell students that this lesson focuses on understanding the poem’s content, which will prepare them to analyze Ikpi’s expression when they watch the video.

Learn

20 MIN.

Explain that students will examine “Sometimes Silence Is the Loudest Kind of Noise” in Lesson 18. In this lesson, they will only look at the poem’s ending.

Explain that “Sometimes Silence Is the Loudest Kind of Noise” is about Ikpi’s memories of being young and innocent and the way the world seemed before she became an adult. In the poem, she reflects on those times with a new understanding.

Direct students to the final twelve lines of “Sometimes Silence Is the Loudest Kind of Noise,” from “And everything I needed” to “kind of noise.”

Model fluent reading by reading aloud the final twelve lines of the poem. Tell students to pay attention to your expression.

As you read aloud, model effective emphasis, pacing, and volume. Then repeat words students may struggle to pronounce.

Echo Read from “And everything I needed to know” to “until someone f inds you.”

Ask: “What does Ikpi say she learned in a shopping mall?”

ƒ She learned not to go off on her own or let go of her mother’s hand.

ƒ She learned who she was and where she came from.

ƒ She learned that, if she got lost, she should stay still until someone finds her.

Emphasize that these lines seem like a list of rules children are taught to follow when they go to an unfamiliar place.

Reread aloud the lines from “Like know” to “came from.” Tell students to pay attention to your expression.

As you read aloud, model effective emphasis, pacing, and volume.

Ask: “What is the literal meaning of these lines?” As needed, remind students that literal language says exactly what it means.

ƒ “Like know who you are” could mean that you learn your full name. I remember the first time I went to a baseball game with my cousins, and my uncle kept asking me to repeat my full name in case I got lost.

ƒ “Like know where you came from” could mean your address or neighborhood.

SCAFFOLD

If students need support to identify the meaning of these lines, provide an example of the scenario Ikpi describes to help students imagine themselves in the scenario. Prompt them to share what adults might do to prepare them for such a situation.

Ask: “What bigger idea might these lines represent? For example, if someone told you that they were taught to know who they are and where they came from, what could they mean?”

ƒ The bigger idea might be that they understood their identity: the people they are connected to, their background, even their origins.

Emphasize the repetition of the phrase “will always.” Model effective expression by saying that the repetition of a phrase is important, so you will read it with emphasis.

Now Echo Read the remaining six lines. Emphasize the repeated phrase.

Then reread aloud from “And someone” to “remind you.”

Ask: “What is the effect of including the word always in these lines?”

ƒ The word always means that, no matter what happens, someone will be there for the poem’s speaker.

ƒ The word always means that, even if someone makes a mistake, it’s OK. The important thing is that someone will always be there to love and keep the poem’s speaker safe.

ƒ The word always means that the poem’s speaker can count on someone being there for her. That’s the most important thing she needs to know.

Echo Read the last three lines of the poem. Tell students that a lullaby is a song to help children go to sleep. Highlight that Ikpi uses this noun as an adjective.

Ask: “If someone spoke to you in a ‘lullaby voice,’ how do you think it would sound? How would it make you feel?”

ƒ It would sound soft and comforting.

ƒ It would make me feel taken care of.

Model how the poem’s content informs expression. Say: “If I were performing this line, I would use a soft voice.”

Explain that the last line is less literal and more figurative.

Reread aloud the last line.

Tell students that the previous lines might give clues about what the last line means.

Reinforce that the lines from “And when you cry” to “lullaby voice” describe how someone will always respond in a quiet way to comfort a crying child.

Highlight the idea that sometimes a quiet voice can have the biggest impact.

Direct students to the final line of the poem, which says that silence might be “the loudest kind of noise.”

Say: “We think of noise as the sounds around us that get our attention because they are so loud.”

Ask: “What might Ikpi mean when she says that ‘sometimes silence is the loudest kind of noise’?”

ƒ Maybe she is saying that silence, or things that are really quiet or go unnoticed, might be the most important.

ƒ Maybe she means that you don’t always have to say really loud what you mean or how you feel. Sometimes you can share your feelings quietly or silently.

✔ Instruct students to Think–Pair–Share: “What important idea did the poem’s speaker learn?”

Give students one minute to silently think. Then form pairs and instruct students to discuss their ideas.

Listen for these essential understandings:

ƒ She learned that, no matter what happens, she is never alone.

ƒ She learned that someone will look after and love you, no matter what.

ƒ She learned that people made her feel proud and loved by the way they treated her in everyday experiences or small moments.

ƒ She learned that quiet moments, the ones you might not notice at the time, can be really important. Those are the ones you remember.

Then facilitate a whole group discussion.

PROLOGUE TO LESSON 20: AT A GLANCE

Focusing Question: What is the role of expression in storytelling?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing how content, structure, and expression affect the performance of a text. This work prepares them for the Socratic Seminar in Lesson 20.

LEARNING GOAL

Rehearse sharing a claim and evidence for the upcoming Socratic Seminar.

✔ Share a claim and evidence.

VOCABULARY

content (n.): the subject matter or substance of a story; what knowledge or information is expressed or communicated

structure (n.): how parts are arranged or organized expression (n.): a way of doing something that shows emotions and feelings

MATERIALS

Prologue Glossary

“Sometimes Silence Is the Loudest Kind of Noise” by Bassey Ikpi (http://witeng.link/0732)

Prologue Handout 20A: Socratic Seminar Evidence Collection

Assess and activate prior knowledge by posing this prompt:

“Name one thing you like about Bassey Ikpi’s performance of her poem ‘Sometimes Silence Is the Loudest Kind of Noise.’ Why do you like it?”

Direct students to the words content, structure, and expression in their Prologue Glossaries. Echo Read the words and then def ine them.

content (n.): the subject matter or substance of a story; what knowledge or information is expressed or communicated structure (n.): how parts are arranged or organized expression (n.): a way of doing something that shows emotions and feelings

Remind students that content, structure, and expression are all part of the performance of a poem. Explain that students will examine how these elements contribute to effective storytelling.

Introduce this lesson’s Learning Goal: Rehearse sharing a claim and evidence for the upcoming Socratic Seminar.

Explain that using evidence to participate in discussions will help students better understand how content, structure, and expression work in a poetic performance.

Learn

20 MIN.

Remind students that in Module 1 they have examined how content and structure affect the meaning of a text. They will now consider how content, structure, and expression affect the performance of a text.

Tell students that, during an upcoming Socratic Seminar, they will discuss this question:

“What’s most important when performing a poem: the content, structure, or expression?”

Direct students to “Sometimes Silence Is the Loudest Kind of Noise” by Bassey Ikpi.

Tell students to follow along as you read aloud and to pay attention to your expression of the poem.

Read aloud from “And everything I needed” to “Like if you get lost.” As you read aloud, model effective emphasis, pacing, and volume.

Direct students to Prologue Handout 20A.

Read aloud the Socratic Seminar question: “What’s most important when performing a poem: the content, structure, or expression?” Tell students that this chart will help them gather evidence to answer the Socratic Seminar question.

Guide students to complete the handout, beginning with the Content column, followed by Structure and Expression. For each section, read aloud the question on the handout. Tell students to jot their responses in the appropriate column.

SCAFFOLD

To help students collect evidence for the Expression column, replay the section of the video when Ikpi performs these lines.

Guide students through the Mix and Mingle routine to discuss their responses. Instruct students to find a partner. Give them two minutes to discuss their responses in the Content section.

Then instruct students to find a new partner that they have not worked with today. Give them two minutes to discuss their responses in the Structure section.

Finally, instruct students to find another new partner. Give them two minutes to discuss their responses in the Expression section.

Then facilitate a brief discussion about the Socratic Seminar question. Invite volunteers to share what they learned from listening to others’ responses.

Display and reread aloud the Socratic Seminar question: “What’s most important when performing a poem: the content, structure, or expression?”

Give students three minutes to write a claim with evidence.

Pair students, ideally with a partner who chose a different response.

✔ Students share their claims and evidence.

PROLOGUE TO LESSON 22: AT A GLANCE

Focusing Question: What is the role of expression in storytelling?

SUMMARY

Students orally process the content they have studied and rehearse performing their original definition poems. Students practice fluency techniques while demonstrating their understanding of the relationship between content, structure, and expression, which prepares them for Part 2 of Focusing Question Task 3 in Lesson 22.

LEARNING GOAL

Rehearse performing an original definition poem for Focusing Question Task 3.

✔ Share three annotations based on peer feedback.

VOCABULARY

content (n.): the subject matter or substance of a story; what knowledge or information is expressed or communicated

structure (n.): how parts are arranged or organized expression (n.): a way of doing something that shows emotions and feelings

MATERIALS

The Crossover, Kwame Alexander, Page 153

Prologue Glossary

Handout 21A: Poetry Performance Checklist

Direct students to the poem “The Next Morning” on page 153 of The Crossover.

Read aloud the first stanza of the poem. Model appropriate volume, emphasis, and pacing.

Assess and activate prior knowledge by asking this question:

“What did you notice about how I read this line?”

Listen for these essential student understandings:

ƒ The words or else are meant to be a bit of a threat, so you paused before reading them and then read them really slowly—just like my grandmother does when she tells me to clean my room . . . or else!

ƒ You also read the words or else louder than the rest of the line, which shows how serious Josh’s mom is about this.

Reinforce that pausing for emphasis and varying volume are two characteristics of expression. Direct students to the word expression in their Prologue Glossaries. Echo Read the word and then define it.

expression (n.): a way of doing something that shows emotions and feelings

Remind students that expression plays a role in the performance of a poem.

Introduce this lesson’s Learning Goal: Rehearse performing an original definition poem for Focusing Question Task 3.

Explain that students will build their understanding of how expression works in a poetic performance.

Learn

20 MIN.

Direct students to Handout 21A.

Explain that students will rehearse performing their original definition poems by focusing on the first three items in the checklist. Tell students that they will receive feedback from a peer and make notes about how to improve for their performance in Focusing Question Task 3.

Highlight that these three items on the checklist focus on varying volume and speed and pausing for emphasis, all of which students discussed in Launch.

Instruct students to annotate their poems for volume, pacing, and pausing for emphasis. Remind them of abbreviations they can use in their annotations. For example, they can indicate changes in volume with “L” for loud and “S” for soft.

SCAFFOLD

Display an annotation key. Tell students to annotate for one element of expression at a time.

Display and read aloud these questions:

“How will you perform the title?”

“How will you perform any repetition of words or phrases?”

“How will you read any lines that are questions?”

Give students two minutes to annotate their poems.

Pair students. Instruct partners to take turns performing their poems and giving and receiving feedback. While one student practices reading, their partner will jot notes about the first three items on Handout 21A. The partner will share that feedback, and then pairs will switch roles.

TEACHER NOTE

This activity can be repeated before students perform the poetry portfolio for their End-of-Module Tasks.

Land

✔ Students share three annotations based on peer feedback.

PROLOGUE TO LESSON 23: AT A GLANCE

Focusing Question: How do stories help us make sense of ourselves and the world?

SUMMARY

Students practice fluently reading an excerpt from “Your Brain on Fiction.” They answer text-dependent questions as they examine the components of an important sentence from the informational article. Students develop an understanding of how complex sentences are structured and paraphrase key ideas. This work prepares them to read the full article in Lesson 23.

LEARNING GOAL

Analyze a claim from the informational article “Your Brain on Fiction.”

✔ Paraphrase a sentence from “Your Brain on Fiction.”

VOCABULARY

empathize (v.): to have the same feelings as another person

MATERIALS

The Crossover, Kwame Alexander

Prologue Glossary

Prologue Handout 23A: Excerpt from “Your Brain on Fiction” by Annie Murphy Paul

Remind students of some of the feelings Josh Bell expressed in The Crossover. For example, he felt joy in playing basketball, jealousy of Miss Sweet Tea, and fear, helplessness, and grief about his father’s illness and eventual death.

Assess and activate prior knowledge by asking this question:

“Have you ever experienced feelings like these? If yes, how so?”

Direct students to the word empathize in their Prologue Glossaries. Echo Read the word and then define it.

empathize (v.): to have the same feelings as another person

Explain that sometimes readers empathize with, or have the same feelings as, a character in a novel.

Introduce this lesson’s Learning Goal: Analyze a claim from the informational article “Your Brain on Fiction.”

Explain that looking closely at the sentence will help students explain in Focusing Question Task 4 how stories help us understand ourselves and the world.

Learn

20 MIN.

Direct students to Prologue Handout 23A.

Explain that the handout presents a sentence from an informational article students will read in Lesson 23.

Tell students that the handout divides the sentence into phrases. Students will look at each part individually to better understand the sentence. Display the sentence.

Read aloud the article’s title, “Your Brain on Fiction.” Explain that the article shares scientific research on what happens to people’s brains when they read fiction.

Remind students that fiction is made up and nonfiction is true.

Emphasize that the article describes research on how fiction affects our brains in ways that nonfiction does not.

Echo Read the article’s title and the sentence on Prologue Handout 23A. As you read aloud, emphasize effective phrasing. Then repeat words students may need support to pronounce.

Reread aloud the first part of the sentence. Emphasize the dependent clauses offset by commas: “Dr. Oatley and Dr. Mar, in collaboration with several other scientists, reported in two studies, published in 2006 and 2009, that . . .”

Explain that this part of the sentence has two dependent clauses: “in collaboration with several other scientists” and “published in 2006 and 2009.” Highlight how each clause is offset by commas.

Explain that the purpose of each dependent clause is to elaborate on, or add detail about, the noun that comes before it.

Explain that “in collaboration with several other scientists” describes Dr. Oatley and Dr. Mar. Tell students that collaboration means working with another person or group to do something.

Ask: “What detail does the dependent clause provide about Dr. Oatley and Dr. Mar?”

ƒ The clause tells us that they did their work with a lot of other scientists, not by themselves.

Reread aloud the next section: “reported in two studies, published in 2006 and 2009, that . . .”

Tell students that “published in 2006 and 2009” describes the studies.

Ask: “What detail does the dependent clause provide about the two studies?”

ƒ The clause tells us the dates that the studies were finished.

ƒ It tells us that the two studies took place close to one another.

Explain that the dependent clauses provide additional details to help the reader trust, or believe, the scientific research.

Now tell students they will look at the results of the research studies.

Reread aloud the remainder of the sentence. As you read, model effective phrasing and inflection to emphasize these three phrases: “to understand other people, empathize with them and see the world from their perspective.”

Ask: “Who is this part of the sentence about?”

ƒ people who read fiction

Ask: “What can they do?”

ƒ People who read a lot of fiction understand other people, empathize with others, and increase their ability to understand other people’s perspectives.

SCAFFOLD

If students need support with concepts of understanding other people, empathizing with people, and seeing the world through another’s perspective, provide examples from The Crossover

Reinforce that there are three important findings listed about people who read fiction. Direct students to the comma after the word people. Remind students that commas separate items in a list. Tell students that these phrases are not dependent clauses like the ones talked about earlier.

Model how to paraphrase the first finding: “People who read a lot of fiction can comprehend the thoughts and actions of others.”

Instruct students to write this paraphrase on the handout.

Direct students to the next phrase: “empathize with them.”

Echo Read this phrase. Remind students that the definition of empathize is in the Prologue Glossary.

Instruct students to Think–Pair–Share to paraphrase this part.

Give students one minute to silently think. Then form pairs and instruct students to discuss their ideas.

Then facilitate a whole group discussion.

ƒ The research showed that people who read a lot of fiction are more able to share the same feelings as other people.

Instruct students to write a paraphrase of the phrase on the handout.

Direct students to the next phrase: “see the world from their perspective.”

Echo Read this phrase. Remind students that this is the third and last item in the list.

Instruct students to independently paraphrase this part on the handout. Then facilitate a whole group discussion.

ƒ People who read a lot of fiction are more able to view the world the way other people think about it.

Emphasize how the research shows that fictional examples help readers see the real world from other people’s perspectives.

Instruct students to revise their paraphrases, if needed.

✔ Students paraphrase the sentence from Prologue Handout 23A by using their notes for each phrase.

Remind students that paraphrase means to write in your own words. Instruct students to read aloud their paraphrased sentences.

Listen for these essential understandings:

ƒ Several scientists did research that showed that people who read fiction are more able to understand other people, share their feelings, and see the world from their point of view.

ƒ Several scientists reported on research that found that people who read fiction are more able to understand other people, share their feelings, and view the world the way other people think about it.

PROLOGUE TO LESSON 24: AT A GLANCE

Focusing Question: How do stories help us make sense of ourselves and the world?

SUMMARY

Students closely read a paragraph from the essay “The Man Made of Words.” They answer text-dependent questions to develop an understanding of the text. This work prepares students to read the excerpt in Lesson 24.

LEARNING GOAL

Summarize the important ideas in a paragraph from the essay “The Man Made of Words.”

✔ Think–Pair–Share: “What does Momaday mean when he says ‘our best destiny’ depends on imagining who we are?”

VOCABULARY

imagine (v.): to form a picture or idea in your mind storytelling (n.): the use of words, actions, and/or images to describe real or imagined events

MATERIALS

The Crossover, Kwame Alexander, Page 4

Prologue Glossary

Handout 24A: An Excerpt from “The Man Made of Words”

Assess and activate prior knowledge by posing this prompt:

“You are making a movie of your future. Draw or jot down one thing you imagine about your future self.”

Direct students to the words imagine and storytelling in their Prologue Glossaries. Echo Read the words and then def ine them.

imagine (v): to form a picture or idea in your mind storytelling (n.): the use of words, actions, and/or images to describe real or imagined events

Remind students that in this module they have examined how people use storytelling to imagine their future selves. When they read the article “This Is Your Life (and How You Tell It),” they learned that people use storytelling to see how they might behave in the future.

Introduce this lesson’s Learning Goal: Summarize the important ideas in a paragraph from the essay “The Man Made of Words.”

Explain that in Lesson 24 students will read more of the essay.

20 MIN.

Direct students to Handout 24A.

Direct students to the title and read it aloud.

Explain that man made of words is a figurative expression that means a person is shaped by the words they use. The essay’s title doesn’t mean that there is a man who is literally made of words.

Tell students that Momaday’s essay is about storytelling and how we use stories to make sense of ourselves and the world.

Direct students to the last paragraph on Handout 24A.

Display the paragraph.

Model fluent reading by reading aloud the paragraph.

Ask: “What word is repeated several times in this paragraph?”

ƒ The word imagine. It also appears in its noun form: imagination.

Emphasize that the paragraph focuses on the idea of imagining, which students have been studying. Tell them that Momaday explains earlier in the essay how storytelling is one way that we imagine.

Explain that there may also be several unknown words in this paragraph, which students will define to better understand what Momaday says about imagining.

Reread aloud the first sentence up to the colon: “If there is any absolute assumption in the back of my thoughts tonight, it is this . . .”

Tell students that belief is a synonym for assumption. Annotate the displayed sentence with the synonym.

Remind students that writing the gist of phrases will help them understand the text’s meaning.

Model how to express the gist of the first part of the sentence: “Tonight I absolutely believe.”

Choral Read the remainder of the sentence: “We are what we imagine.”

Tell students that when Momaday says “we,” he’s referring to all human beings.

Reread aloud the entire first sentence.

Ask: “What does Momaday say he believes in this sentence?”

ƒ People are what they imagine.

Instruct students to write on Handout 24A the gist of the sentence in their own words.

Reread aloud the second sentence: “Our very existence consists in our imagination of ourselves.” Tell students that existence means life or being and that consist means to be made up of. Annotate the displayed sentence with the def initions.

Ask: “What is the gist of this sentence?”

ƒ Each of our imaginations defines our identities and way of living or being.

Emphasize that we can imagine things we have not actually seen or experienced. Instruct students to write on Handout 24A the gist of the sentence in their own words.

Listen for these essential understandings:

ƒ Our identities are made-up things we can imagine but that we have not actually seen or experienced yet.

ƒ Our life is what we imagine it to be.

SCAFFOLD

To support students with paraphrasing, think aloud and provide a model.

Model fluent reading by rereading aloud the third sentence: “Our best destiny is to imagine, at least, completely, who and what, and that we are.” Emphasize the dependent clauses.

Tell students that future is a synonym for destiny. Annotate the displayed sentence with the synonym.

Direct students to the words at least and completely. Explain that they are modifiers describing imagine

Now reread aloud the third sentence without the modifiers: “Our best destiny is to . . . imagine who and what and that we are.”

Ask: “What is the gist of this sentence?”

Listen for these essential understandings:

ƒ We can imagine who we are in the future.

ƒ It’s important for our future to imagine who we are.

Reinforce that Momaday views storytelling as a way for humans to imagine who they are. Instruct students to write on Handout 24A the gist of the sentence in their own words.

SCAFFOLD

Remind students that Josh Bell uses storytelling to imagine his future as a basketball player. In the poem “Josh Bell,” Josh says, “See, I’m the next Kevin Durant, LeBron, and Chris Paul” (Alexander 4).

Reread aloud the last sentence of the paragraph. Tell students that befall means to happen to. Annotate the displayed sentence with the definition.

Ask: “What is the gist of this sentence?”

ƒ The worst thing that can happen to us is to not imagine anything about who or what we are.

Instruct students to write on Handout 24A the gist of this sentence in their own words.

SCAFFOLD

To solidify students’ understanding of the paragraph and to prepare them for the Check for Understanding, reiterate or prompt students to restate the gist of each sentence in order.

✔ Instruct students to Think–Pair–Share: “What does Momaday mean when he says ‘our best destiny’ depends on imagining who we are?”

Listen for these essential understandings:

ƒ I think he says that the way we imagine ourselves is very powerful. What we imagine of ourselves can change our lives and shape our futures.

ƒ I think he is saying we shouldn’t limit our view of ourselves to only what we’ve already seen or experienced. We shouldn’t limit our view of ourselves to what other people think either. We should picture what or who we want to be, and that will create our best future.

PROLOGUE TO LESSON 27: AT A GLANCE

Focusing Question: How do stories help us make sense of ourselves and the world?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing ways stories help us understand ourselves and the world, which prepares them to participate in the Socratic Seminar in Lesson 27.

LEARNING GOAL

Rehearse sharing a claim for the upcoming Socratic Seminar.

✔ Discuss these questions: “What is the most significant way stories help us understand ourselves and the world around us? Did your response change after listening to your classmates’ ideas?”

VOCABULARY

empower (v.): to give power to

MATERIALS

Prologue Glossary

3 charts for activity

Assess and activate prior knowledge by asking this question:

“How does telling his story help Josh Bell?”

Direct students to the word empower in their Prologue Glossaries. Echo Read the word and then define it.

empower (v.): to give power to

Explain that stories can empower people by giving them a way to express a sense of self or perspective about the world. Share or prompt students to share an example from The Crossover that shows how poetry empowers Josh Bell.

TEACHER NOTE The novel’s first poem, “Dribbling,” is a good example because it empowers Josh as a basketball player and poet, two things that define his sense of self.

Introduce this lesson’s Learning Goal: Rehearse sharing a claim for the upcoming Socratic Seminar.

Explain that participating in discussions and using evidence will help students comprehend how stories help us understand ourselves and the world.

Display and read aloud this question: “What is the most significant way stories help us understand ourselves and the world?”

Tell students that during an upcoming Socratic Seminar they will share their thoughts and textual evidence to respond to this question.

Remind students that they have read three informational articles about this topic. Each article shares a specific idea about how stories help us understand ourselves and the world.

Guide students through a discussion of the Socratic Seminar question.

Display three charts in different areas, each with one of the following quotations:

“Dr. Oatley and Dr. Mar, in collaboration with several other scientists, reported in two studies, published in 2006 and 2009, that individuals who frequently read fiction seem to be better able to understand other people, empathize with them and see the world from their perspective.” (“Your Brain on Fiction”)

“Our best destiny is to imagine, at least, completely, who and what and that we are.” (“The Man Made of Words”)

“Stories have been used to dispossess and to malign, but stories can also be used to empower and to humanize.” (“The Danger of a Sing le Story”)

In the corresponding quotation, underline empathize, imagine, and empower.

Under each quotation, record the definition of its underlined word.

empathize (v.): to have the same feelings as another person imagine (v): to form a picture or idea in your mind empower (v.): to give power to

TEACHER NOTE

These quotations are also useful evidence for students’ cover letters in the End-of-Module Task.

Model fluent reading by reading aloud each quotation and the definition of its underlined word.

As you read aloud, emphasize effective phrasing. Then repeat words that students may need support to pronounce.

Remind students that they examined the quotations from “Your Brain on Fiction” and “The Man Made of Words” in recent lessons. Now they will examine the quotation from “The Danger of a Sing le Story.”

Tell students that dispossess means to take something from and malign means to say bad things. Model how to paraphrase the quotation: “Stories have been used to take something away from people or to say bad things, but stories can be used to give power or kindness.”

SCAFFOLD

Paraphrase or prompt students to paraphrase the quotations from “Your Brain on Fiction” and “The Man Made of Words.” Encourage students to refer to their notes about these quotations from previous lessons.

Give students one minute to silently think about this question: “What is the most significant way stories help us understand ourselves and the world? Do they help us empathize, empower us, or help us to imagine?”

Then instruct students to move to or otherwise indicate the quote that best represents their thoughts.

After students are in groups based on their response, ask: “Why did you choose this quotation for your response?”

Provide students with three minutes to discuss. Then facilitate a discussion by inviting a representative from each group to share the group’s reasoning.

Invite students to find a partner with a different response.

✔ Instruct pairs to discuss these questions: “What is the most significant way stories help us understand ourselves and the world around us? Did your response change after listening to your classmates’ ideas?”

PROLOGUE TO LESSON 33: AT A GLANCE

Focusing Question: What does it mean to be a storyteller?

SUMMARY

Students orally process the content they have studied and rehearse performing their original poems. Students practice fluency techniques while demonstrating their understanding of what it means to be a storyteller, which prepares them for Part 2 of the End-of-Module Task in Lesson 33.

LEARNING GOAL

Rehearse sharing an original poem for the upcoming End-of-Module Task.

✔ Share annotations based on peer feedback.

VOCABULARY

expression (n.): a way of doing something that shows emotions and feelings

storytelling (n.): the use of words, actions, and/or images to describe real or imagined events

MATERIALS

The Crossover, Kwame Alexander, Page 204

Prologue Glossary

Handout 21A: Poetry Performance Checklist

End-of-Module Task

Model a fluent reading of the title and first eight lines of the poem “Mom, since you asked, I’ll tell you why I’m so angry” on page 204 of The Crossover

As you read, emphasize tone, inflection, and gesture.

Assess and activate prior knowledge by asking this question: “What did you notice about how I read these lines?”

Direct students to the words expression and storytelling in their Prologue Glossaries. Echo Read the words and then def ine them.

expression (n.): a way of doing something that shows emotions and feelings storytelling (n.): the use of words, actions, and/or images to describe real or imagined events

Remind students that expression plays a role in oral storytelling. Share one or more examples of how you used words and gestures in your storytelling of “Mom, since you asked, I’ll tell you why I’m so angry.”

Introduce this lesson’s Learning Goal: Rehearse sharing an original poem for the upcoming End-of-Module Task.

Explain that students will practice reading one of their poems to improve their storytelling in an upcoming lesson.

Learn

20 MIN.

Instruct students to choose a poem from the End-of-Module Task to practice performing.

Tell students they will receive feedback from a peer and make notes about how to improve their performance in the upcoming End-of-Module lesson.

Direct students to Handout 21A.

Remind students that they practiced the first three checklist items for their last poetry performance. Explain that in this lesson they will practice the fourth through sixth items on the checklist.

Tell students that these items focus on changing inflection, using an appropriate tone, and including a gesture, all of which they discussed with the lines from “Mom, since you asked, I’ll tell you why I’m so angry.”

Remind students of the definition of inflection: a rise or fall in the sound of a person’s voice.

Direct students to the fourth item on Handout 21A. Remind students that speakers change inflection to match different kinds of punctuation.

Ask: “What’s an example of a punctuation mark where you might change your inflection?”

ƒ A question mark: You could raise the sound of your voice at the end of a question.

ƒ An exclamation point: You could raise the sound of your voice to show surprise.

Instruct students to annotate their chosen End-of-Module poems for inflection.

Next, remind students of the definition of tone: the speaker’s attitude toward the topic.

Direct students to the fifth item on Handout 21A. Emphasize that the tone should match the content of the poem.

Ask: “How did my tone match the content of the poem I read from The Crossover?”

ƒ You sounded mad and annoyed because the poem is about Josh telling his mother why he is so angry.

ƒ Your tone changed in the last lines to show that Josh isn’t angry as much as he is upset and scared about his father’s illness.

Share or prompt students to share other examples of tone, such as formal, informal, serious, humorous, sad, or cheerful.

Ask: “What tone will you use to read your poem? Is it appropriate to change your tone anywhere in your poem?”

Instruct students to annotate their chosen poems for tone.

Now remind students of the definition of storytelling. Emphasize that storytelling can use actions, not just words, to describe events. Direct students to the sixth item on Handout 21A. Emphasize that body gestures are actions and should match the content of the poem.

Remind students that you crossed your arms to express anger in your fluent reading.

Ask: “What body gesture will help express your content?”

Instruct students to annotate their poems for body gestures.

Pair students. Instruct partners to take turns performing their poems and giving and receiving feedback. While one partner practices reading, the other will jot notes about checklist items four through six on Handout 21A and share that feedback. Then partners will switch roles.

SCAFFOLD

If partners need support with any of the items, choose a student who performs fluently to share their poem with the class. Briefly discuss why the student’s technique is effective. If partners don’t provide feedback for improvement, perform a short disfluent reading and model how to give constructive feedback.

After both partners perform and receive feedback, instruct students to identify up to three ways they will improve their performance.

✔ Instruct students to share up to three annotations they made to their poems based on peer feedback.

Appendix A: Prologue Module 1

Handouts

Class

Examples

parents, twins, or best friends

a fast athlete, a jazz musician, or a poet

hair or height

Characteristics of Sense of Self

Characteristics

Relationships with Other People

Talents and Skills

Physical Looks or Attributes

getting a nickname or losing a bet

may be

This

Events that Happen to Someone

by Benedict Carey

Excerpt from “This Is Your Life (and How You Tell It)”

screenplay: movie script visualize: imagine alter: change narrative: story

[Paragraph 4] Every American may be working on a screenplay , but we are also continually updating a treatment of our own life— and the way in which we visualize each scene not only shapes how we think about ourselves, but how we behave, new studies find. By better understanding how life stories are built, this work suggests, people may be able to alter their own narrative , in small ways and perhaps large ones.

psychology: the study of the mind and behavior

“When we first started studying life stories, people thought it was just idle curiosity—stories, isn’t that cool?” said Dan P. McAdams, a professor of psychology at Northwestern and author of the 2006 book, “The Redemptive Self.” “Well, we find that these narratives guide behavior in every moment, and frame not only how we see the past but how we see ourselves in the future.”

[Paragraph 5]

Class

Name Date

Handout 16A

Prologue

Compare and Contrast Writing Section of ToSEEC Paragraph

Notes Topic Sentence The poems “Five Reasons I Have Locks” and “Ode to My Hair” both show how hair shapes Josh’s sense of self.

Evidence In “Five Reasons I Have Locks,” Josh describes how his hair makes him feel like a king and like his dad. Similarly, “Ode to My Hair” shows how important Josh’s hair is when Josh refuses to risk losing it in a bet with JB.

both reveal the importance of hair to Josh’s sense of self.

In conclusion, although the poems have different structures, they

Conclusion

while the ode is more focused on his hair.

hair to different objects. The list poem reveals a lot about Josh,

hair. By contrast, “Ode to My Hair” is an ode that compares Josh’s

Locks” is a list poem that lists five reasons Josh wanted this type of

But the poems use different structures. “Five Reasons I Have

Elaboration

Section of ToSEEC Paragraph

Notes

Class

Name Date

Collection

Evidence

Socratic Seminar

Socratic Seminar Question: “What is most important when performing a poem: the content, structure, or expression?”

Expression: What do you remember about how this part of the poem was performed?

Structure: What do you notice about repetition, punctuation, and stanza and line breaks?

Content: What is this section of the poem about?

•

Class

collaboration: working with another person or group to do something

by Annie Murphy Paul

Excerpt from “Your Brain on Fiction”

Meaning Dr. Oatley and Dr. Mar, in collaboration with several other scientists, reported in two studies, published in 2006 and 2009, that individuals who frequently read fiction seem to be better able to understand other people, empathize with them and see the world from their perspective .

empathize: to have the same feelings as another person or group perspective: a way of thinking about something

Sentence Part

Paraphrase the sentence above:

Appendix B: Prologue Module 1

Answer Keys and Suggested Student Responses

Class

Name Date

Notes

Handout 16A

Compare and Contrast Writing

Topic sentence introduces a similarity with the word both .

Section of ToSEEC Paragraph

Topic Sentence

The poems “Five Reasons I Have Locks” and “Ode to My Hair” both show how hair shapes Josh’s sense of self.

Evidence explains a similarity between the two poems.

Evidence In “Five Reasons I Have Locks,” Josh describes how his hair makes him feel like a king and like his dad. Similarly, “Ode to My Hair” shows how important Josh’s hair is when Josh refuses to risk losing it in a bet with JB.

the two poems.

both reveal the importance of hair to Josh’s sense of self.

In conclusion, although the poems have different structures, they

Conclusion

while the ode is more focused on his hair.

hair to different objects. The list poem reveals a lot about Josh,

hair. By contrast, “Ode to My Hair” is an ode that compares Josh’s

Locks” is a list poem that lists five reasons Josh wanted this type of

But the poems use different structures. “Five Reasons I Have

Elaboration

Section of ToSEEC Paragraph

• summarizes the difference and the similarity between

• develops the idea introduced in the topic sentence.

Conclusion

two poems.

Elaboration introduces a difference between the

Notes

Grade 8, Module 2

The Great War

Table of Contents

INSTRUCTION

Focusing Question: Why did countries and individuals join World War I?

Focusing Question: How did the conditions on the front affect soldiers?

Focusing Question: How do texts inspired by World War I illuminate attitudes toward the war?

Focusing Question: What are the psychological effects of war?

27

Appendix A: Prologue Module 2 Handouts

Appendix B: Prologue Module 2 Answer Keys and Suggested Student Responses

Module Summary

I am young; I am twenty years old; yet I know nothing of life but despair, death, fear, and fatuous superficiality cast over an abyss of sorrow. I see how peoples are set against one another, and in silence, unknowingly, foolishly, obediently, innocently slay one another.

—Erich Maria Remarque, All Quiet on the Western Front, 1929

What were the effects of War World I? How can literature and art illuminate an understanding of the experience of individuals who were thrust into this conflict? What mental scars remained once the fight was over? Students explore these questions in order to develop an understanding of how literature and art can communicate and even deepen our understanding of the effects of World War I by examining artistic responses to the war and learning about the realities of modern warfare

War is an unfortunate reality throughout all periods of human history . As technology and the conflicts that spark wars become increasingly complex, it is important for students to understand the way war shapes the individual experience, as well as generates artistic responses . World War I is but one example of how increasing modernization led to a new kind of warfare with grave consequences Tanks, gas, and the trenches that snaked across the European countryside are symbolic of the physical and mental devastation that soldiers and those at home faced as a result of the war Responses in art and literature through Cubism and other Modernist artistic movements provide powerful examples of the way artistic inspiration can be a response to, or its creation motivated by, war . In this module, students explore the ways that a devastating war can also inspire powerful aesthetic responses, and focus their analysis on an understanding of literary and artistic texts as entrenched in the events of the real world . Far from representing forms of escapism, novels, poetry, painting, and film represent rich and varied responses that interpret and express the effects of world-changing events on humanity . Art and literature in this module are presented not as distinct or separate from their cultural context, but as directly and inextricably related The themes, techniques, and content of the art and literature students encounter in this module provide a foundational exploration of the kinds of responses the artistic and literary communities produced in the wake of World War I . Students develop an understanding of how World War I affected an entire generation of young men and women, and examine closely the art and literature that shaped the way we remember and view this war .

To begin their exploration of the Great War, students read a series of informational articles focusing on the inciting incidents of the conflict and the responses of British and American people, some who considered it their duty to fight and others who resisted participation at the outset. Throughout the module, students read and closely examine great art and literature that respond to the war, including the poems “In Flanders Fields,” and “Dulce Et Decorum Est,” two iconic pieces of literature about World War I . They also view paintings by Cubist artist Fernand Léger, his seminal work Soldiers Playing Cards, and John Singer Sargent’s famous painting Gassed, and read an article about artistic responses to the war . Finally, a variety of informational articles provide context for the realities of World War I and shows diverse perspectives that range from female ambulance drivers at the front to a more historic overview of trench warfare

And perhaps there is no more famous artistic response to the war than a novel penned by a young German soldier, translated by a British soldier, and read across nations. The core text of this module is All Quiet on the Western Front, by Erich Maria Remarque, which chronicles the experience of a group of young soldiers, initially idealistic about the war, who become increasingly disillusioned as they witness and are forced to participate in unspeakable violence . Long considered one of the finest pieces of literature about World War I, Remarque’s novel provides a chilling look at an individual experience that has implications for an entire generation

For their End-of-Module (EOM) Task, students write an informative essay to explain how the experience of Paul, the protagonist of All Quiet on the Western Front, illuminates individual effects of war and suggests larger reverberations through society at large .

Essential Question

How do literature and art illuminate the effects of World War I?

Suggested Student Understandings

ƒ As the first modern war, in its length and use of technology, World War I provoked a wideranging and innovative response in literature, visual art, and film.

ƒ Literature and art illuminate individuals’ various experiences of war and convey a sense of how the Great War impacted individuals’ understanding of other humans as well as the future of humanity .

ƒ Literature and art express ways that the war caused an irreparable rupture from the past and the familiar, portraying this effect at the individual level and also more broadly, connecting to larger abstract ideas about the human experience

ƒ Soldiers experienced grueling and unprecedented conditions on the front that are vividly conveyed through figurative and sensory language in literature and visual and sound techniques in film.

Introduction

In Module 2, Wit & Wisdom Prologue™ lessons focus on helping students deepen their understanding of the psychological effects World War I had on individuals and humanity .

ƒ Reading Prologue lessons support comprehension of the novel All Quiet on the Western Front and background-building informational texts These informational texts build knowledge of the origins of World War I. Passages from the novel focus on how conditions at the front affected soldiers .

ƒ Writing Prologue lessons give students time to analyze and practice writing parts of an informative essay . Students focus on using broad categories and subcategories to organize an essay as well as defining the significance of their topic in the thesis and conclusion.

ƒ Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars and to receive additional support with using specific vocabulary terms to explain the psychological effects of World War I This work prepares students to focus on a specific psychological effect for their End-of-Module Task.

ƒ Language Prologue lessons guide students to analyze a complex sentence, focusing on figurative and descriptive language. This analysis helps students explain how conditions at the front affect characters .

Please see the Prologue Implementation Guide for more information on planning, scaffolding instruction, and meeting the needs of multilingual learners and students with language-based disabilities .

English Language Development (ELD) Standards

Wit & Wisdom® core lessons engage students in many ways to interact with and through language and text that meet English Language Development (ELD) standards . Prologue lessons provide additional language support that meets ELD standards Use your state’s English language development standards and proficiency descriptors to best support your multilingual learners in reaching the learning goals

Prologue Module 2 Learning

Reading Prologue lessons support comprehension of the novel All Quiet on the Western Front and background-building informational texts. These informational texts build knowledge of the origins of World War I. Passages from the novel focus on characters’ identities and how conditions at the front affected soldiers.

Writing Prologue lessons give students time to analyze and practice writing parts of an informative essay. Students focus on using broad categories and subcategories to organize an essay as well as defining the significance of their topic in the thesis and conclusion.

WIDA Standards

ELD-LA.6–8.Narrate.Interpretive Multilingual learners will interpret language arts narratives by

ƒ identifying a theme or central idea that develops over the course of a text and

ƒ analyzing how character attributes and actions develop in relation to events or dialogue.

ELD-LA.6–8.Inform.Expressive Multilingual learners will construct informational texts in language arts that

ƒ introduce and define topic and/or entity for audience;

ƒ establish objective or neutral stance;

ƒ add precision, details, and clarity about relevant attributes, qualities, characteristics, activities, and behaviors; and

ƒ develop coherence and cohesion throughout text.

ELP Standards

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Standard 10: An ELL can make accurate use of standard English to communicate in grade-appropriate speech and writing.

Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars and to receive additional support with using specific vocabulary terms to explain the psychological effects of World War I. This work prepares students to focus on a specific psychological effect for their End-of-Module Task.

ELD-LA.6–8.Narrate.Interpretive

Multilingual learners will interpret language arts narratives by ƒ identifying a theme or central idea that develops over the course of a text.

ELD-SI.4–12.Argue

Multilingual learners will ƒ support or challenge an opinion, premise, or interpretation and ƒ clarify and elaborate ideas based on feedback.

ELD-SI.4–12.Narrate

Multilingual learners will

ƒ share ideas about one’s own and others’ lived experiences and previous learning and ƒ recount and restate ideas to sustain and move dialogue forward.

Standard 2: An ELL can participate in grade-appropriate oral and written exchanges of information, ideas, and analyses, responding to peer, audience, or reader comments and questions.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Language Prologue lessons guide students to analyze a complex sentence, focusing on figurative and descriptive language. This analysis helps students explain how conditions at the front affect characters.

ELD-LA.6–8.Narrate.Interpretive Multilingual learners will interpret language arts narratives by ƒ evaluating impact of specific word choices about meaning and tone.

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Standard 8: An ELL can determine the meaning of words and phrases in oral presentations and literary and informational text.

Module Map

Prologue to Lesson # Lesson Type Summary Learning Goal

Focusing Question 1: Why did countries and individuals join World War I?

1 Speaking and Listening Students record key information from the video “World War I.” By gathering and organizing information, students develop background knowledge about World War I. This work prepares students to read two informational articles about World War I in Lesson 1.

3 Reading Students closely read an excerpt from the informational article “The Teenage Soldiers of World War One.” They answer text-dependent questions to develop an understanding of the text. This work prepares students to read the entire article in Lesson 3.

Focusing Question 2: How did the conditions on the front affect soldiers?

8 Reading Students closely read an excerpt from chapter 2 of All Quiet on the Western Front They answer text-dependent questions to develop an understanding of the text. This work prepares students to explain how conditions at the front affected soldiers in Lesson 8.

14 Language Students deconstruct a set of sentences from All Quiet on the Western Front. By focusing on figurative and descriptive language, students deepen their understanding of complex language. This work prepares students to collect examples of descriptive language that show the effects of conditions on the front in Lesson 14.

16 Speaking and Listening Students orally process the content they have studied and rehearse sharing ideas aloud. Students practice using academic language while discussing how conditions on the front affect Kropp and Müller, which prepares them to write about how an incident affects either Kropp or Müller in the Focusing Question Task in Lesson 16.

Summarize information learned about World War I.

Summarize the important ideas in an excerpt from “The Teenage Soldiers of World War One.”

Summarize the important ideas in chapter 2 of All Quiet on the Western Front

Analyze the extended metaphor of the front in chapter 6 of All Quiet on the Western Front

Rehearse sharing evidence for Focusing Question Task 2.

Focusing Question 3: How do texts inspired by World War I illuminate attitudes toward the war?

20 Language Students deconstruct a sentence from All Quiet on the Western Front. By focusing on figurative and descriptive language, students deepen their understanding of complex language. This work prepares students to understand the transformations caused by war in Lesson 20.

24 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing the content, which prepares them to participate in the Socratic Seminar in Lesson 24.

26 Writing Students experiment with a “So what?” concluding statement. They develop an understanding of the structure and purpose of a conclusion that identifies the larger importance of their topic. This work prepares them to write the concluding statement for Focusing Question Task 3 in Lesson 26.

Focusing Question 4: What are the psychological effects of war?

27 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing how examples illustrate psychological effects of war, which prepares them to identify and discuss examples of physical and psychological effects of war in Lesson 27.

28 Language Students deconstruct a sentence from chapter 10 of All Quiet on the Western Front. By focusing on word choice, students deepen their understanding of complex language. This work prepares students to understand how incidents in chapter 10 develop the psychological effects of war in Lesson 28.

Analyze the metaphor about Paul’s transformation in chapter 7 of All Quiet on the Western Front

Rehearse a claim related to the upcoming Socratic Seminar.

Write a concluding statement about the importance of studying texts that explore war’s effects on humanity.

Rehearse an explanation related to the psychological effects of war.

Analyze a sentence about a psychological effect of war in All Quiet on the Western Front

Focusing Question 5: How does All Quiet on the Western Front illuminate the effects of World War I?

34 Writing Students examine a model thesis statement for an explanatory essay. They develop an understanding of the structure and purpose of a thesis statement that explains the significance of a broad category. This work prepares them to explain the features and importance of this type of thesis in Lesson 34.

35 Writing Students experiment with subcategories in an explanatory writing model. They develop an understanding of the structure and purpose of subcategories in explanatory writing. This work prepares them to identify subcategories for the End-of-Module Task in Lesson 35.

Analyze the purpose and importance of a thesis statement in an explanatory essay.

Analyze the purpose and importance of subcategories in an explanatory essay.

Talking Tool

Talking Tool

Share What You Think

I think because . In my opinion, I noticed that First, . Also, .

Support What You Say For example, . According to the author, In the text, . Another reason is .

Ask for More Information

What do you mean by ? What text evidence supports that idea?

Can you give an example? How does that relate to ?

Build on Others’ Ideas

I hear you say that . That makes me think that I agree and I will add that . I disagree because . Have you thought about ?

PROLOGUE TO LESSON 1: AT A GLANCE

Focusing Question: Why did countries and individuals join World War I?

SUMMARY

Students record key information from the video “World War I.” By gathering and organizing information, students develop background knowledge about World War I This work prepares students to read two informational articles about World War I in Lesson 1 .

LEARNING GOAL

Summarize information learned about World War I .

✔ Share a summary .

VOCABULARY

conflict (n ): a struggle for power, property, etc alliance (n .): a union between people, groups, or countries; a relationship in which people agree to work together

MATERIALS

Image of tanks during World War I (witeng)

“World War I,” Mazz Media (witeng)

Map of Europe in 1914 (witeng)

Prologue Glossary

Prologue Handout 1A: World War I Guided Research

Display the image of tanks during World War I

Assess and activate prior knowledge by asking this question: “What do you notice and wonder about this photograph?”

Direct students to the words conflict and alliance in their Prologue Glossaries Echo Read the words and then def ine them

conflict (n .): a struggle for power, property, etc . alliance (n .): a union between people, groups, or countries; a relationship in which people agree to work together

Explain that Module 2 focuses on literature and art about World War I, which was sometimes called The Great War . Tell students that during World War I countries formed two alliances that fought against each other .

Introduce the Learning Goal: Summarize information learned about World War I .

Learn

20 MIN.

Direct students to Prologue Handout 1A . Read aloud the directions for Part 1 .

Explain that students will now watch a video about World War I. After the first viewing, show it again, pausing at different points to note and discuss what students learned

TEACHER NOTE The video runs for more than four minutes. Video content ends at 3:32.

Play the video .

Assign each student a question from Part 1 of the handout .

Tell students to pay attention to the images as well as the narration

Replay the video . Tell students to pay attention to the images as well as the narration . Pause the video at 1:22.

Instruct students to share with the group the information they learned Encourage students to use the Talking Tool to build on one another’s responses .

Listen for these essential understandings:

ƒ World War I was a military conflict that lasted from 1914 to 1918.

ƒ Two alliances were involved in World War I: the Central Powers—made up of Germany, AustriaHungary, Turkey, and Bulgaria—and the Allies, made up of the British Empire, France, the Russian Empire, and the United States.

ƒ The assassination of an Austrian archduke and his wife caused the war. There were also other problems in Europe.

Display the map of Europe in 1914 . Explain that Austria-Hungary spread over a large part of Europe and consisted of Austria, Hungary, the Czech Republic, Slovakia, Slovenia, Bosnia, Croatia, and parts of present-day Poland, Romania, Italy, Ukraine, Moldova, Serbia, and Montenegro .

TEACHER NOTE Label the map with basic information students share, such as the dates of the war and the names of the two alliances.

Explain that students will continue to watch the video to learn more about World War I

SCAFFOLD

Pause the video at key points to give students time to process and record ideas. Replay the video to support understanding. Use closed captions.

Ask: “When and why did the United States join the war?”

ƒ The United States joined the war in 1917 because Germans threatened to sink American ships.

Resume the video Pause at 3:08.

Ask: “How was World War I different from previous wars?”

ƒ It was the first time modern weapons, such as machine guns, artillery, tanks, airplanes, and chemical weapons were used.

ƒ More people died than before, over 8 million.

Highlight that the video describes World War I as “the first mechanized modern” war (2:40).

Explain that mechanized means that militaries relied on machines and technology, such as the tanks in the photograph . Tell students that this machinery represented modern, or new, inventions that changed the way armies fought

Explain that chemical weapons refers to mustard gas, a deadly gas used to poison soldiers .

Resume the video . Stop at 3:23.

Ask: “How did the war end?”

ƒ The Allies won the war.

ƒ The war ended with the Treaty of Versailles.

Direct students to Part 2 of Prologue Handout 1A

Model how to use the sentence equation to write a sentence: “From 1914 to 1917, the United States refused to join World War I because President Wilson wanted a peaceful solution . ”

Instruct students to complete Part 2

Land

✔ Students share their summaries

Listen for these essential understandings:

ƒ From 1914 to 1918, the Central Powers and the Allies fought World War I because the Austrian archduke was assassinated.

ƒ From 1914 to 1918, the Central Powers and the Allies fought World War I because of political problems in Europe.

PROLOGUE TO LESSON 3: AT A GLANCE

Focusing Question: Why did countries and individuals join World War I?

SUMMARY

Students closely read an excerpt from the informational article “The Teenage Soldiers of World War One . ” They answer text-dependent questions to develop an understanding of the text This work prepares students to read the entire article in Lesson 3 .

LEARNING GOAL

Summarize the important ideas in an excerpt from “The Teenage Soldiers of World War One . ”

✔ Share one reason British teenagers joined World War I .

VOCABULARY factor (n ): something that contributes to a result patriotism (n .): support for one’s country

MATERIALS

Prologue Glossary

Prologue Handout 3A: Excerpt from “The Teenage Soldiers of World War One”

Assess and activate prior knowledge by posing this prompt: “Imagine you are an American teenager in 1917 The United States has just joined World War I Why might you choose to fight?”

Direct students to the words factor and patriotism in their Prologue Glossaries . Echo Read the words and then def ine them .

factor (n ): something that contributes to a result patriotism (n .): support for one’s country

Explain that many factors, or reasons, led individuals to fight during World War I. One factor was patriotism, a belief in supporting one’s country

Introduce the Learning Goal: Summarize the important ideas in an excerpt from “The Teenage Soldiers of World War One . ”

Explain that in Lesson 3 students will read the article in its entirety Tell them that now they will focus on an excerpt describing the factors that led so many British teenagers to sign up to fight in World War I . This discussion prepares them to respond to the Focusing Question .

20 MIN.

Direct students to Prologue Handout 3A . Display a copy .

Direct students to Part 1

Model how to fluently read the article title and the excerpt .

Direct students to Part 2

Highlight each header in the T-chart . Explain that the reasons for joining the war were both individual, representing teenagers’ personal perspectives, and social, representing external conditions that made joining the war easier . Tell students they will be looking into the factors for joining the war within these two categories: Teenage Perspectives and Army Conditions

Echo Read the first paragraph of the excerpt .

Explain that this paragraph identifies British teenagers’ perspectives on joining the war. Tell students that motive is another synonym for reason or factor

Ask: “What were the different factors that caused 250,000 British teenagers to join up to fight?”

ƒ They were “gripped by patriotic fervour.”

ƒ They “sought escape from grim conditions at home.”

ƒ They “wanted adventure.”

Instruct students to number the three factors

Direct students to their T-charts in Prologue Handout 3A and the category Teenage Perspectives .

Model how to express the gist of the first factor as “felt patriotic.” Record the gist in the displayed T-chart Tell students that patriotic is the adjective that describes a person who has patriotism

Remind students that writing the gist of phrases will help them understand the text’s meaning .

Instruct students to write the gist of the first factor in their own words. Tell them to record the gist in the first column of their T-charts

Ask: “How could you write the gist of the second factor?”

ƒ Escape hard home life

ƒ Escape tough conditions at home

Explain that many teenagers worked very hard, physical jobs or that there were no jobs for their family . Some teenagers had to care for their younger siblings because their parents were in the war or working in factories .

Instruct students to record the gist of this factor in their own words in the first column of their T-charts .

Ask: “What is the gist of the third factor?”

ƒ Wanted adventure

Ask: “Why might a teenager think joining the war would be an adventure?”

ƒ They would go to new places far away.

ƒ They would be treated like an adult.

ƒ They would be part of the country’s army, carry a gun, and have a uniform.

ƒ They could become a brave hero.

ƒ They haven’t experienced war, so they think it’s exciting compared to what they know.

Instruct students to record the gist of this factor in their own words in the first column of their T-charts .

Echo Read the second paragraph

Explain that this paragraph identifies Army conditions that allowed British teenagers to join the fight .

Ask: “What does the first sentence say about the law regarding teenage soldiers?”

ƒ The law said boys had to be 19 to fight, but that didn’t stop lots of younger boys from joining.

Direct students to the second sentence . Explain that recruiting sergeants were in charge of finding people to join the Army. Explain that scrupulous means “careful,” so if the recruiting sergeants were “less than scrupulous,” they were not being careful .

Ask: “How was the Army a factor in the boys’ decisions to join the fight?”

ƒ The Army really needed more soldiers, and boys responded to that need.

ƒ The sergeants who signed up new soldiers didn’t always do the right thing. I think that means they didn’t follow the law, and they signed up boys younger than 19.

Instruct students to record the gist of these two factors in the second column of their T-charts

SCAFFOLD Model how to write the gist of the first factor.

Assign half the class Teenager Perspectives and half the class Army Conditions .

Instruct students to use information from the appropriate column in their T-charts to write what they think is the most important factor within their category that caused British teenagers to join the war .

Land

Pair students, ideally with a partner who wrote about the other category

✔ Students share one reason British teenagers joined World War I .

If time allows, facilitate a brief discussion of responses . Prompt students to explain their choices .

PROLOGUE TO LESSON 8: AT A GLANCE

Focusing Question: How did the conditions on the front affect soldiers?

SUMMARY

Students closely read an excerpt from chapter 2 of All Quiet on the Western Front . They answer textdependent questions to develop an understanding of the text This work prepares students to explain how conditions at the front affected soldiers in Lesson 8 .

LEARNING GOAL

Summarize the important ideas in chapter 2 of All Quiet on the Western Front .

✔ Think–Pair–Share: “What effect does the war have on the young men?”

VOCABULARY affect (v ): to cause a change effect (n .): a change or condition that results from a cause

MATERIALS

All Quiet on the Western Front, Erich Maria Remarque, Pages 19 and 20 Prologue Glossary

Image of chili pepper plant in different growth stages (witeng)

Assess and activate prior knowledge by asking this question: “What factors affected teenagers during World War I?”

Direct students to the words affect and effect in their Prologue Glossaries . Echo Read the words and then define them .

affect (v ): to cause a change effect (n .): a change or condition that results from a cause

Remind students that these words are homophones, which means they sound the same but have different meanings and spellings Emphasize that these words are related, but affect is a verb, and effect is a noun

Explain that All Quiet on the Western Front explores how conditions at the front affected soldiers . Throughout the module, students will analyze the different effects the war has on individuals .

Introduce the Learning Goal: Summarize the important ideas in chapter 2 of All Quiet on the Western Front . Explain that students will examine one effect the war has on Paul and his friends . This discussion prepares students to understand the novel .

Learn

20 MIN.

Direct students to chapter 2 of All Quiet on the Western Front .

Read aloud the first two paragraphs of chapter 2 while emphasizing effective phrasing .

Explain that students will now reread short sections to examine the effects the war has on Paul and his friends

Echo Read the first three sentences of the first paragraph. Reread them aloud .

Ask: “What is the gist of these sentences?”

SCAFFOLD Ask: “What seems ‘unreal’ to Paul now that he is on the front?”

ƒ Paul says that the normal things he used to do, like writing plays and poems, now seem unreal to him.

ƒ Paul is saying that fighting in the war has cut him and his friends off from who they were before.

Echo Read the next two sentences .

Explain that iron is a hard, strong type of metal and that the soldiers are called the Iron Youth because they should be tough and strong

Echo Read the remainder of the first paragraph .

Tell students that obliterate means “destroy ”

Ask: “How is Paul’s generation different from the older men fighting in the war?”

ƒ Paul says the older men have strong backgrounds. “They have wives, children, occupations, and interests” to go home to (20). The war can’t destroy those things.

ƒ Paul’s generation is so young that their lives don’t include anything important. Nothing has a hold on them. And whatever they did have is now gone.

Echo Read the first two sentences of the second paragraph .

Explain that threshold can figuratively mean “the point right before something else begins . ”

SCAFFOLD

Place yourself or invite a volunteer to place themself at the threshold of the classroom door. Indicate the space outside the classroom, and tell students to imagine that “life” is out there.

Ask: “What does it mean that Paul and his friends ‘stood on the threshold of life’ (20)?”

ƒ They were just about to begin their lives.

ƒ They were at the starting point of their lives, but they hadn’t really started life yet.

ƒ They were young and getting ready to start their lives as adults.

Echo Read the next two sentences of the paragraph .

Explain that students will look at an image of a plant and its roots to explore what Paul means in this section .

Display the image of the chili pepper plant in different growth stages .

Instruct students to notice the different root structures in each stage .

Ask: “What do you notice about the plant with the biggest root systems?”

ƒ The plant with the biggest root systems is taller and has more leaves than the other plants.

ƒ The plant is more developed. One plant has flowers, and the biggest plant has chili peppers.

Emphasize that a strong and developed root system helps the plant grow and thrive because the roots hold up the plant

Ask: “What does Paul mean when he says, ‘We had as yet taken no root’ (20)?”

ƒ The young soldiers are like the young plants. They do not have established lives like the young plants do not have deep roots.

ƒ The older soldiers have wives, children, occupations, and well-developed systems back home like the older plants have well-developed root systems.

Remind students that Paul then says, “The war swept us away (20) . ”

Ask: “How would a powerful rainstorm affect the plant that has one leaf and small roots? Why?”

ƒ The plant would be swept away by the strong rainstorm because the roots aren’t strong or big enough to hold it in place.

Reinforce that the plant would not be blown away because strong roots would hold it in place .

✔ Instruct students to Think–Pair–Share: “What effect does the war have on the young men?”

Give students two minutes to silently think . Next form pairs and instruct students to discuss their ideas

Then facilitate a whole group discussion . Listen for these essential understandings:

ƒ Like the strong rainstorm, the war has swept the young men away. The soldiers were not grown up enough to plant deep roots. That means the soldiers didn’t have anything to hold them up and keep them strong when they entered the war.

ƒ Because the young men don’t have strong roots such as families, occupations, or interests, the war destroys them. They don’t have a past or future to hold them up.

ƒ The young soldiers hadn’t yet experienced life, so the war became their life and the only thing they knew.

PROLOGUE TO LESSON 14: AT A GLANCE

Focusing Question: How did the conditions on the front affect soldiers?

SUMMARY

Students deconstruct a set of sentences from All Quiet on the Western Front. By focusing on figurative and descriptive language, students deepen their understanding of complex language This work prepares students to collect examples of descriptive language that show the effects of conditions on the front in Lesson 14 .

LEARNING GOAL

Analyze the extended metaphor of the front in chapter 6 of All Quiet on the Western Front .

✔ Think–Pair–Share: “What is the effect of saying ‘the front is a cage’ (101)?”

VOCABULARY

effect (n .): a change or condition that results from a cause helplessness (n .): inability to help yourself or others; powerlessness

MATERIALS

All Quiet on the Western Front, Erich Maria Remarque, Chapter 6

Prologue Glossary

Prologue Handout 14A: Excerpt from All Quiet on the Western Front

Assess and activate prior knowledge by posing this prompt: “Close your eyes and think about the front Write or draw what you imagine ”

Direct students to the words effect and helplessness in their Prologue Glossaries . Echo Read the words and then define them .

effect (n ): a change or condition that results from a cause helplessness (n .): inability to help yourself or others; powerlessness

Emphasize that throughout their reading of All Quiet on the Western Front students identify the different effects the war has on individuals Explain that the soldiers experience helplessness as one effect of the war

Introduce the Learning Goal: Analyze the extended metaphor of the front in chapter 6 of All Quiet on the Western Front . Explain that students will examine how a metaphor in the novel communicates one effect the war has on Paul and his friends This discussion prepares students to describe conditions on the front and to analyze their effects .

Learn

20 MIN.

Direct students to Prologue Handout 14A . Display the handout .

Explain that the handout divides into phrases a series of sentences from chapter 6 of All Quiet on the Western Front Tell students they will look at each part individually to better understand the sentences and the figurative language used in the excerpt .

Read aloud the excerpt on Prologue Handout 14A while emphasizing effective phrasing . Repeat words students may need help pronouncing .

Explain that students will examine the extended metaphor that appears in the excerpt . Remind students that extended means “longer than usual . ”

Echo Read the first line on the handout. Ask: “What do you notice about this section?”

ƒ It’s a metaphor. The author says the front, where the soldiers are fighting, is a cage.

Reinforce that this section is a metaphor because it directly compares two items with the word is .

Echo Read the next section of the excerpt Ask: “Who are ‘we’ in this part? What are they doing?”

ƒ “We” refers to Paul and his friends, the soldiers, who are at the front.

ƒ They are scared as they wait for what might happen to them. Maybe they are waiting to be attacked or even killed.

Reread aloud the entire first sentence

Ask: “How would the effect change if the author used the word place instead of cage?” Read aloud the sentence with the change .

ƒ Place is not very descriptive. It’s not a specific thing that you can imagine like cage. Using place would not have the effect of helping the reader imagine what the front was like for the soldiers. You would not see their point of view.

Ask: “How does the word cage help you understand the soldiers’ situation?”

ƒ Cage helps me understand the conditions on the front. It makes me think that the soldiers are trapped. They are stuck there, locked up, and they can’t get out.

ƒ Cage gives me a better idea of the soldiers’ experience of the war. A cage is something used to keep animals in. The soldiers are like trapped animals.

SCAFFOLD

Direct students to the vocabulary word helplessness in their Prologue Glossaries. Ask: “How does the word helplessness support you to understand the effect of including the word must ?”

Echo Read the next section Ask: “What is happening in this part?”

ƒ Paul and his friends are lying down underneath a web of bombs that the enemy is attacking them with.

Echo Read the next section . Explain that suspense means “a feeling of nervousness caused by wondering what will happen” and uncertainty means “something unknown.” Highlight the prefix un- and the base word certain to help students understand the word’s meanings

Explain that the words fearfully, suspense, and uncertainty all convey similar meanings .

Ask: “What makes the soldiers so fearful and nervous on the front?”

ƒ The soldiers have no idea what will happen to them. Not knowing is what makes them so scared and nervous.

ƒ Since they don’t know what will happen, they don’t how to help themselves or each other. They are helpless.

Read the final sentence. Ask: “What do you think this sentence means?”

Explain that Chance is not a person but a noun that means “the possibility that something will happen ” Tell students the author is using Chance as figurative language

TEACHER NOTE

If students are ready, introduce or review the literary technique of personification. Explain that personification is a type of figurative language that represents a thing or an idea as a person.

Ask: “Why do you think Chance is capitalized?”

ƒ It’s capitalized to show how important it is. It’s become the biggest thing in the soldiers’ lives.

ƒ I think the author capitalizes Chance to show its power over the soldiers. They are helpless to affect what happens to them.

Explain that hover is a verb that means “to stay very close” or “to float in the air without moving . ”

Act out the meaning of the word by holding an object over your head or by hovering over an imaginary person .

Ask: “What would it feel like to have someone or something hover over you?”

ƒ It wouldn’t feel good! It feels a little scary, like you’re trapped.

ƒ It feels like something has power over you. You are helpless to move or get away.

Choral Read the entire excerpt

Land

✔ Instruct students to Think–Pair–Share: “What is the effect of saying ‘the front is a cage’ (101)?”

Encourage students to use vocabulary terms such as metaphor, effect, and helplessness by modeling a response .

Give students two minutes to silently think . Next form pairs and instruct students to discuss their ideas . Then facilitate a whole group discussion . Listen for these essential understandings:

ƒ The metaphor helps the reader visualize the conditions on the front and their effect on the soldiers. The image of the cage helps us understand how the soldiers are trapped.

ƒ The metaphor shows helplessness as one effect of the war. The soldiers are unable to help themselves or others.

ƒ The metaphor illustrates the soldiers’ helplessness. Trapped in a cage, they can only wait for something to happen. They can’t control their situation.

PROLOGUE TO LESSON 16: AT A GLANCE

Focusing Question: How did the conditions on the front affect soldiers?

SUMMARY

Students orally process the content they have studied and rehearse sharing ideas aloud . Students practice using academic language while discussing how conditions on the front affect Kropp and Müller, which prepares them to write about how an incident affects either Kropp or Müller in the Focusing Question Task in Lesson 16 .

LEARNING GOAL

Rehearse sharing evidence for Focusing Question Task 2 .

✔ Mix and Mingle to share what an incident reveals about Kropp or Müller

VOCABULARY

comradeship (n .): friendship based on shared experiences or activities, often diff icult ones effect (n .): a change or condition that results from a cause

insubordination (n.): refusal to obey an authority figure or listen to orders given by someone with more power

loss of innocence (n.): a transition from childhood to adulthood defined by a new awareness of evil or suffering in the world, and a loss of trust that life is just or good

MATERIALS

All Quiet on the Western Front, Erich Maria Remarque

Prologue Glossary

Prologue Handout 16A: Evidence Collection

Assess and activate prior knowledge by asking these questions:

“What is a word or phrase you would use to describe Kropp?”

“What is a word or phrase you would use to describe Müller?”

Direct students to the words comradeship and insubordination in their Prologue Glossaries . Echo Read the words and then def ine them .

comradeship (n ): friendship based on shared experiences or activities, often diff icult ones insubordination (n.): refusal to obey an authority figure or listen to orders given by someone with more power

Ask: “How do these words relate to Kropp and Müller?”

ƒ Kropp, Müller, and the other soldiers develop a comradeship.

ƒ Some of the soldiers, like Kropp, are accused of insubordination because they talked back to their commander.

Introduce the Learning Goal: Rehearse sharing evidence for Focusing Question Task 2 . Explain that this work will prepare students to write about Kropp or Müller in the Focusing Question Task in Lesson 16

20 MIN.

Direct students to Prologue Handout 16A . Display the handout .

Explain that students will examine two incidents from the novel—one that reveals something about Kropp and a second that reveals something about Müller

Remind students that incident means “something that happens that is unexpected and sometimes unpleasant . ”

Display and read aloud these questions:

“What happens to the character in this incident?”

“How does the character respond?”

“What does this incident reveal about the character?”

SCAFFOLD

If students need support with the third question, display this question: “What do you learn about the character from this incident?” Explain that this is another way of asking the same question.

Highlight the words and phrases on Prologue Handout 16A . Direct students to the words in their Prologue Glossaries and review the definitions as needed .

Tell students they should use one or more of the words to answer the third question

Model how to answer the three questions by using an incident involving Kat on pages 71 through 73 .

Model a response to the first question: “Kat stops to help a wounded soldier who is a new recruit ”

Model a response to the second question: “Kat realizes that the young soldier will not survive and decides that Kat and Paul should shoot him to save him from suffering. But other soldiers arrive, so he doesn’t do it . ”

Model a response to the third question . As you share your response, highlight the vocabulary words you use: “Even though it seems cruel that Kat suggests they shoot the young soldier, I think it reveals his sense of comradeship . That’s because he knows the wounded soldier won’t survive and is trying to prevent him from suffering horribly . Also, the incident ends with Kat shaking his head and saying, ‘Such a kid Young innocents’ (73) This reveals another effect the war has on Kat: loss of innocence . He sees himself as more mature and experienced than the wounded soldier . Kat has seen terrible things and has a greater awareness of the pain and suffering that come with surviving . ”

SCAFFOLD

To provide students with a visual model, record the gist of your responses on the displayed copy of Prologue Handout 16A and highlight vocabulary words.

Direct students back to Prologue Handout 16A .

Pair students . Assign half the pairs the incident with Kropp, and assign the other half the incident with Müller

Explain that the second row in each column identifies an incident with the character and the section in the novel where each pair should begin and end reading to answer the questions . Tell students the row also includes a quotation that they should examine closely to answer the third question

Instruct pairs to reread the passage in their books and answer the three questions . Tell students to use full sentences in their responses .

Give pairs six minutes to respond to the questions Encourage students to use at least one word from the glossary list

SCAFFOLD

Encourage students working on the incident with Kropp to focus on the vocabulary words insubordination and loss of innocence . Encourage students working on the incident with Müller to focus on comradeship and loss of innocence .

✔ Students Mix and Mingle to share what an incident reveals about Kropp or Müller .

Guide students through the Mix and Mingle routine to discuss this question: “What does this incident reveal about the character?”

Instruct students to find a partner who wrote about the other character. Give them three minutes to discuss their responses to the question . Then facilitate a brief discussion about what students learned about each character . Instruct students to write details to possibly use in the Focusing Question Task

PROLOGUE TO LESSON 20: AT A GLANCE

Focusing Question: How do texts inspired by World War I illuminate attitudes toward the war?

SUMMARY

Students deconstruct a sentence from All Quiet on the Western Front. By focusing on figurative and descriptive language, students deepen their understanding of complex language . This work prepares students to understand the transformations caused by war in Lesson 20 .

LEARNING GOAL

Analyze the metaphor about Paul’s transformation in chapter 7 of All Quiet on the Western Front

✔ Think–Pair–Share: “What does the metaphor ‘I am nothing but an agony’ reveal about Paul’s transformation?”

VOCABULARY

agony (n .): extreme mental or physical pain transformation (n ): the process of a large or complete change in someone or something

MATERIALS

All Quiet on the Western Front, Erich Maria Remarque, Page 185

Prologue Glossary

Prologue Handout 20A: Excerpt from All Quiet on the Western Front

Assess and activate prior knowledge by posing this prompt: “Think about a time when you returned someplace after being away for a while (like returning to school after summer break). Reflect on how you felt when you returned. Did you feel as if things had changed? Had you changed?”

Direct students to the words agony and transformation in their Prologue Glossaries Echo Read the words and then define them

agony (n .): extreme mental or physical pain transformation (n .): the process of a large or complete change in someone or something

Emphasize that All Quiet on the Western Front illuminates attitudes toward the war, including that the war transformed the men who fought in it .

Invite volunteers to share their Launch responses . Highlight responses that show a transformation, or a large or complete change

Introduce the Learning Goal: Analyze the metaphor about Paul’s transformation in chapter 7 of All Quiet on the Western Front . Explain that this work prepares students to explain transformations caused by the war .

20 MIN.

Direct students to the last two paragraphs on page 185 of All Quiet on the Western Front

Explain that students will examine a metaphor from this section of text . Remind students that Paul is on leave and has returned home for a visit .

Read aloud the last two paragraphs from “I bite into” to “come on leave ”

Direct students to Prologue Handout 20A . Display the handout .

Explain that the handout presents one sentence from page 185 of All Quiet on the Western Front

Tell students the handout divides the sentence into phrases . Explain that students will look at each part individually to better understand how Paul’s return home makes him realize a transformation in himself .

Echo Read the sentence on Prologue Handout 20A

Reread aloud the first two lines on the handout: “I was a soldier and now I am nothing but an agony . ”

Ask: “In this phrase, how does Paul say he has changed, or transformed?”

SCAFFOLD

Direct students to the words “I was” and “now I am” to help identify Paul’s transformation.

ƒ Paul transformed from a solider to an agony.

Instruct students to write transformation in the Analysis column next to the first two phrases

Echo Read this section of the excerpt: “and now I am nothing but an agony . ”

Ask: “What do you notice about the figurative language in this sentence?” ƒ It’s a metaphor. Paul says that he is an agony.

Reinforce that this is a metaphor because Paul directly compares himself to something else by using am .

Instruct students to write pain above the word agony Ask: “Why do you think Paul feels like a pain and not a soldier?”

ƒ Now that he has left the front and returned home, he sees things differently.

ƒ Paul feels like he is a pain.

Reread aloud the second part of the sentence from “and now I” to “without end ”

Tell students that the last lines on the handout list three items in a series . Instruct students to circle the word for at the beginning of each line .

Explain that students will now apply the idea of an agony to each one of these three things

Instruct students to write or draw a short response in the Analysis column .

Ask: “What does Paul mean when he says that now he is an agony for himself?”

SCAFFOLD Ask: “Why does Paul feel only pain when he returns home?”

ƒ When Paul returns home, he sees there is a big difference between who he was before and who he is now. No one at home understands what he has experienced in the war. Home seems strange to him. He doesn’t belong. He doesn’t feel happy or relieved to be there. All he feels is the extreme mental pain of being alone and not belonging.

Direct students to the next line of the excerpt

Reread aloud the second line and the fourth line .

Ask: “Why does Paul say he is only an agony for his mother?”

ƒ Seeing Paul brings his mother pain, not happiness or relief. That’s because his presence only reminds her that she could lose him or that he could die.

Reread aloud the second line and the last two lines .

Explain that comfortless means “providing no relaxation or comfort.” Highlight the suffix -less, which means “without ”

Display the word helpless. Instruct students to identify the suffix to determine the word’s meaning . Explain that this excerpt also shows how helpless Paul feels .

Ask: “What does not bring Paul comfort right now?”

ƒ Being home—he thought being in his hometown with his family would make him feel better, but it makes him feel worse.

Ask: “What does Paul think will never end?”

ƒ The war and its effects on him

ƒ The feeling he has now, that he doesn’t belong anywhere and is alone and in pain

Ask: “Why does Paul say he is an agony for everything that is comfortless and never ending?”

ƒ Paul feels that away from the fighting he only reminds himself and other people of the horrors of war. Nothing can make anyone feel better, and the feeling will never go away, so Paul will only bring pain and sadness to everything around him. He feels helpless.

Ask: “What transformation does Paul undergo when he returns home?”

ƒ At home, Paul changes because he doesn’t fit in with his old life. He feels alone and out of place.

ƒ Being home changes Paul from a soldier into someone who only feels pain and causes pain.

Choral Read the entire sentence on Prologue Handout 20A .

Land

✔ Instruct students to Think–Pair–Share: “What does the metaphor ‘I am nothing but an agony’ reveal about Paul’s transformation?”

Encourage students to use one or more of the following words in their response: metaphor, agony, transformation .

Give students two minutes to silently think . Next form pairs and instruct students to discuss their ideas Then facilitate a whole group discussion Listen for these essential understandings:

ƒ The metaphor shows Paul’s transformation from a person (a soldier) into a feeling (pain). It’s like he is no longer human.

ƒ Coming home, Paul sees the transformation the war has caused. Everything is an agony. He doesn’t belong anywhere, he feels alone, and he can’t find comfort in anything. He only reminds other people of the horrors of war.

PROLOGUE TO LESSON 24: AT A GLANCE

Focusing Question: How do texts inspired by World War I illuminate attitudes toward the war?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing the content, which prepares them to participate in the Socratic Seminar in Lesson 24 .

LEARNING GOAL

Rehearse a claim related to the upcoming Socratic Seminar

✔ Craft a claim about the greatest effect World War I had on humanity .

VOCABULARY

affect (v .): to cause a change humanity (n .): the quality of being human

MATERIALS

Prologue Glossary

Assess and activate prior knowledge by asking this question: “How does World War I affect Paul’s entire generation?”

Direct students to the words affect and humanity in their Prologue Glossaries . Echo Read the words and then define them .

affect (v ): to cause a change humanity (n .): the quality of being human

Remind students that they have explored a range of texts that suggest how war can affect the humanity of an individual, a generation, or the entire human race

Introduce the Learning Goal: Rehearse a claim related to the upcoming Socratic Seminar .

Explain that participating in discussions and using evidence will help students better understand the effects World War I had on humanity

Learn

20 MIN.

Tell students that during an upcoming Socratic Seminar they will share their thoughts and text evidence in response to the following question .

Display and read aloud the question: “Based on your study of the texts, what was the greatest effect World War I had on humanity? Why?”

Remind students that they have studied a novel, two poems, a painting, and excerpts from a film about this topic. Emphasize that each text illuminates one or more specific claims about the effects World War I had on humanity

Guide students through the Question Corners routine to discuss the various effects World War I had on humanity .

Display four charts in different areas, each with one of these quotations Read each quote aloud

1. “Bent double, like old beggars under sacks, / Knock-kneed, coughing like hags, we cursed through sludge . . . ” (Owen)

2. “We have become wild beasts. We do not fight, we defend ourselves against annihilation” (Remarque 113) .

3 . “‘Forgive me, comrade” (Remarque 223; All Quiet on the Western Front) .

4 “I was a soldier, and now I am nothing but an agony for myself, for my mother, for everything that is so comfortless and without end” (Remarque 185) .

TEACHER NOTE

Some of these quotations could also be used as evidence in Focusing Question Task 3 and/or the End-of-Module Task.

Remind students that they have examined the quotations in previous lessons .

SCAFFOLD

Prompt students to share the gist of each quotation. Encourage students to refer to their notes about these quotations from previous Prologues or lessons.

Ask: “Which quote demonstrates how the war caused a feeling of helplessness in the soldiers?” Instruct students to move to or otherwise indicate the quote that they believe answers the question .

Instruct students who chose the same response option to discuss why they chose it . Invite one or two volunteers from each small group to share their reasoning

Reinforce that the fourth quote demonstrates helplessness because the war made people powerless to feel or cause happiness . Remind students that this quote also demonstrates transformation because the war changed people so they felt only pain .

Ask: “Which other quote demonstrates how the war caused a transformation, or change, in the soldiers?” Instruct students to move to or otherwise indicate the quote that they believe answers the question .

Invite one or two volunteers to share their reasoning . Reinforce that the second quote demonstrates transformation because the war changed people so they only acted like wild animals .

Ask: “Which quote demonstrates how the war caused a loss of innocence in the soldiers?” Instruct students to move to or otherwise indicate the quote that they believe answers the question . Invite one or two volunteers to share their reasoning. Reinforce that the first quote demonstrates loss of innocence because the war took away the soldiers’ youth and future

Ask: “Which quote demonstrates how the war developed a comradeship, or friendship, among the soldiers?” Instruct students to move to or otherwise indicate the quote that they believe answers the question .

Invite one or two volunteers to share their reasoning Reinforce that the third quote demonstrates comradeship because the war made soldiers realize that they had more in common with their enemy than they were led to believe . Explain that the war made people see their shared humanity .

TEACHER NOTE

You or your students may identify different or additional effects exemplified by each quotation. Encourage students to understand that a quotation can generate multiple interpretations. Students’ job is to weigh the evidence, make a choice about the greatest effect, develop their reasoning, and select the quotation that best represents their thinking.

Give students one minute to silently think about their response to the Socratic Seminar question: “Based on your study of the texts, what was the greatest effect World War I had on humanity? Why?”

Instruct students to move to or otherwise indicate the quotation that best represents their thoughts

Instruct students to form groups based on their responses to the final question. Give each group three minutes to use their quotation in crafting a claim about the greatest effect World War I had on humanity .

✔ Students craft a claim about the greatest effect World War I had on humanity

Facilitate a discussion by inviting a representative from each group to share their group’s reasoning .

PROLOGUE TO LESSON 26: AT A GLANCE

Focusing Question: How do texts inspired by World War I illuminate attitudes toward the war?

SUMMARY

Students experiment with a “So what?” concluding statement . They develop an understanding of the structure and purpose of a conclusion that identifies the larger importance of their topic. This work prepares them to write the concluding statement for Focusing Question Task 3 in Lesson 26 .

LEARNING GOAL

Write a concluding statement about the importance of studying texts that explore war’s effects on humanity .

✔ Share a concluding statement that addresses the “So what?” question .

VOCABULARY

effect (n .): a change or condition that results from a cause humanity (n ): the quality of being human

MATERIALS

Prologue Glossary

Assess and activate prior knowledge by asking this question: “What is one thing you have learned about war’s effect on humanity?”

Instruct students to share their response with a partner . Tell partners to discuss what they have learned about war’s effects on humanity .

Direct students to the words effect and humanity in their Prologue Glossaries Echo Read the words and then def ine them .

effect (n .): a change or condition that results from a cause humanity (n ): the quality of being human

Remind students they have explored a range of texts that suggest war’s effects on humanity . Tell students they will explain some of their learning in an upcoming essay .

Introduce the Learning Goal: Write a concluding statement about the importance of studying texts that explore war’s effects on humanity .

Explain that this work will prepare students for the Focusing Question Task .

Learn

20 MIN.

Remind students that part of a writer’s job is to show their audience why their topic matters

Ask: “Why is your essay’s conclusion a good place to explain the importance of your topic?”

ƒ It will be the last thing my audience reads, so they will remember what I say.

ƒ My reader needs to learn about my topic before they can understand why it’s important. That’s why writers save the importance for the end.

Display the question “So what?”

Tell students that it helps to ask a question such as “So what?” to write conclusions because it sounds like a question someone might ask them after reading their essay . Emphasize that asking “So what?” reminds the writer to explain the topic’s importance to the audience

Ask: “What are some big ideas raised by the texts you have studied about war’s effects on humanity?”

Tell students to draw from their Launch responses and discussions

Display this example: “Trench warfare and other new technologies affect soldiers . ”

SCAFFOLD

Remind students that a “big idea” doesn’t include details such as characters, titles, or scenes from a specific text. Instead, a “big idea” describes a larger message or point about the world or the human condition, such as helplessness, loss of innocence, or transformation.

Facilitate a brief discussion . Listen for these essential understandings:

ƒ The importance of comradeship

ƒ The transformation of soldiers and how fighting makes them act like wild animals or machines

ƒ The loss of innocence, especially for young men who join without knowing what war is

ƒ An increase in patriotism but also a decrease in patriotism

Ask: “Why is it important to study wars and soldiers from long ago?” Instruct students to discuss with a partner

Invite a few volunteers to share ideas .

Tell students they will now experiment with writing a “So what?” conclusion statement by using one idea from the discussion

Display this sentence: “Some may wonder why we should study wars and soldiers from long ago . ”

Explain that the sentence begins the answer to the “So what?” question .

Tell students they will follow this sentence with a concluding statement that uses one big idea they discussed to show the importance of studying this topic .

Display this sentence frame: “It is important to study the effects of war on humanity so that ”

Model how to use the introductory sentence and the sentence frame to write a “So what?” conclusion .

Display this example: “Some may wonder why we should study wars and soldiers from long ago .

It is important to study the effects war has on humanity so that we understand how war can transform soldiers to act like wild beasts or machines . ”

Pair students

Instruct students to write a concluding statement that addresses the “So what?” question . Tell students to use this structure: “Some may wonder why we should study wars and soldiers from long ago It is important to study the effects of war on humanity so that ”

Land

5 MIN.

Pair students with a new partner

✔ Students share a concluding statement that addresses the “So what?” question .

Instruct students to help their partners revise their concluding statements by asking clarifying questions such as “What do you mean by ?”

PROLOGUE TO LESSON 27: AT A GLANCE

Focusing Question: What are the psychological effects of war?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing how examples illustrate psychological effects of war, which prepares them to identify and discuss examples of physical and psychological effects of war in Lesson 27 .

LEARNING GOAL

Rehearse an explanation related to the psychological effects of war .

✔ Think–Pair–Share: “Which of these psychological effects does the quotation illustrate: helplessness, dehumanization, or loss of innocence? Why?”

VOCABULARY

dehumanization (n .): a process that reduces a human being to the level of a machine or an animal or that makes someone feel less than human physical (adj ): related to a person’s body psychological (adj ): related to the mind and emotions

MATERIALS

All Quiet on the Western Front, Erich Maria Remarque Prologue Glossary

Assess and activate prior knowledge by posing this prompt: “In All Quiet on the Western Front, how does World War I make the soldiers feel helpless?”

Listen for these essential understandings:

ƒ The soldiers feel powerless to help each other.

ƒ The soldiers feel like they are trapped in a cage and everything is up to Chance.

ƒ The war has caused them to lose their belief that they can do anything to help themselves or change what happens.

Direct students to the words physical and psychological in their Prologue Glossaries . Echo Read the words and then def ine them .

physical (adj .): related to a person’s body psychological (adj .): related to the mind and emotions

Explain that war can have different effects Tell students that physical effects cause changes to a soldier’s body, but many effects of war are psychological because war can cause changes to a soldier’s mind or emotions .

Ask: “Is helplessness a physical or psychological effect?”

Reinforce that helplessness is a psychological effect because it describes the soldiers’ mental state . Emphasize that students’ work in this part of the module focuses on psychological effects .

Introduce the Learning Goal: Rehearse an explanation related to the psychological effects of war . Explain that participating in discussions and using evidence will help students better understand the psychological effects of war

20 MIN.

Display these examples of war’s effects from All Quiet on the Western Front:

1

. “We had as yet taken no root . The war swept us away” (20) .

2 “The front is a cage in which we must await fearfully whatever might happen” (101)

3 . “My trousers are bloody and my arm, too” (241) .

4 . “We have become wild beasts” (113) .

Echo Read each example

Instruct students to Think–Pair–Share: “Which quotations represent physical effects of war? Which quotations represent psychological effects of war?”

Give students two minutes to silently think Next form pairs and instruct students to discuss their ideas .

SCAFFOLD

Prompt students to support their thinking by reviewing the vocabulary words they discussed in Launch.

Then facilitate a whole group discussion . Listen for these essential understandings:

ƒ Quotations 1, 2, and 4 are psychological effects because they all describe the soldiers’ mental state or emotions.

ƒ Quotation 3 is a physical effect of war because it describes a physical injury.

Record which quotations students identify as physical or psychological effects .

Direct students to the definition of psychological in their Prologue Glossaries .

Pair students Instruct students to explain to their partners why quotations 1, 2, and 4 are psychological effects . Prompt students to use language from the definition .

SCAFFOLD Provide this sentence frame: These quotations are psychological effects because .

Explain that students will now connect each quotation to a specific psychological effect that it illustrates

Model how to identify a specific psychological effect for quotation 1 .

Direct students to the phrase loss of innocence in their Prologue Glossaries .

Think aloud as you refer to quotation 1 and the definition of loss of innocence: “Quotation 1 illustrates loss of innocence because it describes how the soldiers have transitioned from childhood to adulthood The young men realize that they aren’t old enough to have strong roots, like families, occupations, or interests; so the war destroys them . They have lost trust that life is good . ”

Direct students to the word helplessness in their Prologue Glossaries Instruct students to turn and talk Ask: “How does quotation 2 illustrate the psychological effect of helplessness?”

Prompt students to use the definition of helplessness to support their response .

ƒ Quotation 2 illustrates helplessness because it describes how the front feels like a cage that traps the soldiers. Trapped in a cage, the soldiers are powerless to help themselves or others. They can only wait for what will happen.

Now direct students to the last quotation . Invite a volunteer to read it aloud .

Direct students to the word dehumanization in their Prologue Glossaries . Echo Read the word and then define it

Ask: “Which part of the word dehumanization is familiar to you?”

ƒ Human

Explain that the prefix de- means “to remove ”

Ask: “How would you describe the relationship between the words dehumanization and humanity?”

Prompt students to review their Prologue Glossaries for the definition of humanity

ƒ Humanity means “the quality of being human.” Dehumanization means “a process that makes someone feel less than human.” So it removes their humanity.

Ask: “How does the quotation ‘We have become wild beasts’ illustrate dehumanization?”

ƒ The speaker doesn’t mean that the men have literally become wild animals. He means that fighting in the war makes the men behave like wild animals.

ƒ The metaphor illustrates dehumanization because fighting in the war makes the men feel less than human. They feel like wild animals not people.

Model how to use the word in different forms: “The war dehumanizes the soldiers . The soldiers experience dehumanization ”

Display this quotation: “I am nothing but an agony for myself, for my mother, for everything that is so comfortless and without end” (185) .

Echo Read the quotation

✔ Instruct students to Think–Pair–Share: “Which of these psychological effects does the quotation illustrate: helplessness, dehumanization, or loss of innocence? Why?”

Emphasize that one quotation or piece of evidence may illustrate more than one psychological effect. Prompt students to use the definitions of the psychological effects to support their thinking and determine their choice .

Give students two minutes to silently think . Next form pairs and instruct students to discuss their ideas .

Then facilitate a whole group discussion . Listen for these essential understandings:

ƒ The metaphor illustrates dehumanization because Paul feels less than human when he says he is “nothing but an agony.” The war has reduced him to a feeling. It’s like he is no longer human.

ƒ The metaphor illustrates loss of innocence because it describes how Paul has changed from childhood to adulthood. He is no longer a son; instead, he is someone who just gives pain. He realizes that the world is full of suffering when he says he is alone and doesn’t belong anywhere. He has lost trust that life is good when he says he only reminds other people of the horrors of war.

ƒ The metaphor illustrates helplessness because it describes Paul’s feeling that he is unable to help himself or others. When he returns home, he can’t find or give comfort.

PROLOGUE TO LESSON 28: AT A GLANCE

Focusing Question: What are the psychological effects of war?

SUMMARY

Students deconstruct a sentence from chapter 10 of All Quiet on the Western Front. By focusing on word choice, students deepen their understanding of complex language This work prepares students to understand how incidents in chapter 10 develop the psychological effects of war in Lesson 28 .

LEARNING GOAL

Analyze a sentence about a psychological effect of war in All Quiet on the Western Front .

✔ Think–Pair–Share: “How does the quotation show Paul’s disillusionment?”

VOCABULARY

disillusionment (n ): a feeling of disappointment because something is not what it was expected or believed to be

MATERIALS

All Quiet on the Western Front, Erich Maria Remarque, Page 263 Prologue Glossary

Prologue Handout 28A: Excerpt from All Quiet on the Western Front

Assess and activate prior knowledge by posing this prompt: “Imagine you are Paul at the beginning of the novel, but World War I never happened You are 20 years old and on ‘the threshold of life .’ What would your life be like? How would you spend your time?”

Direct students to the word disillusionment in their Prologue Glossaries . Echo Read the word and then define it

disillusionment (n .): a feeling of disappointment because something is not what it was expected or believed to be

Explain that disillusionment is another psychological effect of war illuminated in All Quiet on the Western Front Remind students that a psychological effect describes changes to a person’s mental state or emotions .

Introduce the Learning Goal: Analyze a sentence about a psychological effect of war in All Quiet on the Western Front Explain that this work prepares students to understand how incidents in chapter 10 reveal the psychological effects of war .

Direct students to Prologue Handout 28A . Display the handout .

Tell students that this excerpt is from chapter 10 of All Quiet on the Western Front and reveals Paul’s disillusionment Explain that Paul’s stay in the hospital provokes this response from him

Model how to fluently read aloud the sentence on Prologue Handout 28A .

Explain that the handout divides the sentence into phrases Tell students they will look at each part individually to better understand Paul’s state of mind and feelings

Echo Read this section: “I know nothing of life but despair, death, fear . ”

Instruct students to circle but Explain that this conjunction combines opposite or contrasting ideas

Ask: “What is the gist of this part?”

ƒ Paul says that the only things he knows about life are horrible, depressing things: despair, death, and fear.

Tell students that despair means “the feeling of no longer having any hope . ” Highlight that students could infer despair is negative because it is listed with death and fear

Read aloud from “I am young” to “despair, death, fear . ”

Instruct students to circle yet . Explain that yet is a synonym for but and also combines opposite or contrasting ideas

Ask: “At 20 years of age, what is Paul’s opinion about his own knowledge?”

ƒ He thinks it’s odd or wrong that all he knows about life are horrible things.

ƒ He says that even though he is young, his experiences aren’t those of a young person. They are things about life that he shouldn’t know until he is an adult.

SCAFFOLD

Remind students of their Launch responses and how Paul expected to feel at 20 years old.

Emphasize that Paul’s stay in the hospital gives him time to reflect on how the war has defined what he knows about life .

Echo Read this phrase: “and fatuous superficiality ”

Explain that fatuous means “stupid or foolish” and that superficiality means “concerned with only what is obvious but not what is serious or important . ”

Ask: “What is the gist of this phrase? What does it say about what Paul knows of life?”

ƒ Paul says that all he knows are foolish things that aren’t important or serious.

Prompt students to think about Paul’s time in the army and the instances when he and his friends expressed insubordination toward their commanding officers

Ask: “Why were the Iron Youth insubordinate?

ƒ Paul and his friends were insubordinate because they were frustrated that their commanding officers focused only on the rules, like following orders or marching correctly. The commanding officers didn’t seem to care about the conditions on the front or the horrors the soldiers experienced.

Ask: “What happened in these instances that showed a foolish concern with things that aren’t serious or important?”

ƒ The people in charge focused on stupid or unimportant rules rather than the seriousness of the fighting.

Reinforce that the Iron Youth lost respect for their commanding officers because the officers were more concerned with keeping the soldiers in their place than helping them deal with the horrible conditions on the front. Emphasize that the officers focused on meaningless rules rather than the serious aspects of war

Echo Read this phrase: “cast over an abyss of sorrow . ”

Explain that an abyss is “a hole so deep it can’t be measured . ”

Ask: “What is the gist of ‘an abyss of sorrow’?”

ƒ A bottomless hole of sadness

Instruct students to turn and talk. Ask: “How might fighting in the trenches make the soldiers feel like they were in ‘an abyss of sorrow’?”

ƒ The soldiers feel like the war will never end. They feel only sorrow, or sadness, because their friends keep dying. The fighting also feels like an abyss of sorrow because they have no hope that they will get out of the war and have a future. Their whole life is the war.

Reread aloud the entire sentence on Prologue Handout 28A .

Instruct students to write a sentence describing Paul’s feelings at the bottom of the handout .

SCAFFOLD

Provide this sentence frame: Paul feels because Allow students to respond orally.

Direct students to the word disillusionment in their Prologue Glossaries Echo Read the definition

Land

✔ Instruct students to Think–Pair–Share: “How does the quotation show Paul’s disillusionment?”

Give students two minutes to silently think . Next form pairs and instruct students to discuss their ideas

Then facilitate a whole group discussion . Listen for these essential understandings:

ƒ The quotation illustrates disillusionment because it shows how Paul’s life has turned out to be very different than he expected.

ƒ Paul is disappointed because his youth has not turned out to be about school, girlfriends, or fun. Instead, the war has made his life full of fear, death, and sadness. His life is like that of a much older person.

ƒ Paul is also disappointed because his life has shown him that the people in charge would rather focus on unimportant things than helping the soldiers. The authorities cover up the sorrow with foolish rules.

PROLOGUE TO LESSON 34: AT A GLANCE

Focusing Question: What are the psychological effects of war?

SUMMARY

Students examine a model thesis statement for an explanatory essay . They develop an understanding of the structure and purpose of a thesis statement that explains the significance of a broad category. This work prepares them to explain the features and importance of this type of thesis in Lesson 34 .

LEARNING GOAL

Analyze the purpose and importance of a thesis statement in an explanatory essay .

✔ Share a first draft of a thesis statement that defines the significance of a psychological effect .

VOCABULARY

thesis (n ): central idea of an essay

MATERIALS

Prologue Glossary

Prologue Handout 34A: Thesis Statement That Defines the Significance of a Broad Category

Display this list of war’s psychological effects:

Helplessness

Loss of innocence

Dehumanization

Disillusionment

Assess and activate prior knowledge by asking this question: “Which psychological effect do you think is the most important in the novel? Why?”

Instruct students to discuss their choice with a partner

Direct students to the word thesis in their Prologue Glossaries . Echo Read the word and then define it .

thesis (n ): central idea of an essay

Remind students that there are different ways to write a thesis statement .

Reinforce that they have studied two types of thesis statement in this module—a “Setting the Stage” thesis and a “Defines the Significance of Category” thesis. Remind students that they used one of these thesis types to complete Focusing Question Task 4 .

Introduce the Learning Goal: Analyze the purpose and importance of a thesis statement in an explanatory essay

Explain that students will now examine and experiment with writing a “Defines the Significance of Category” thesis statement to help them draft a thesis statement for the End-of-Module Task .

Remind students that they organized information in two ways as they read All Quiet on the Western Front Display these organizational examples:

ƒ Status reports organized information by character.

ƒ Timelines organized information by events or plot.

Remind students that they have also organized information by using a broad category .

Direct students to Prologue Handout 34A Display the handout

Direct students to the definition of broad category . Read aloud the definition .

Explain that students will use a broad category, or single big idea, to organize the information in the End-of-Module Task. Tell them they will choose a specific psychological effect as their broad category .

Direct students to the thesis statement model on the handout . Explain that this thesis statement defines the significance of the broad category

Tell students that they will identify the purpose of each part of the thesis statement and then work in pairs to draft their own examples .

Explain that this type of thesis statement can be one or two sentences

Read aloud the thesis statement model: “In World War I many soldiers experienced resignation, a psychological effect that meant the soldiers accepted everything that happened without challenging or opposing it . Resignation caused soldiers to believe that they couldn’t change anything, and ultimately they lost hope during and after the war ”

Ask: “What broad category does the thesis statement identify?”

ƒ Resignation

Reinforce that resignation is an example of a specific psychological effect of war

Direct students to the chart on Prologue Handout 34A . Explain that the chart divides the thesis statement into parts .

Echo Read Part 1

Ask: “What is the purpose of Part 1?”

SCAFFOLD Ask: “What information does Part 1 provide the reader?”

ƒ Part 1 identifies the broad category that organizes the essay: the psychological effect of resignation.

ƒ Part 1 tells the reader the essay focuses on World War I.

Explain that including World War I provides a context, which identifies the specific situation in which resignation occurred .

Instruct students to record the purpose of Part 1 in the second column Record the information in the displayed copy of Prologue Handout 34A .

Echo Read Part 2 .

Ask: “What is the purpose of Part 2?”

ƒ Part 2 provides a definition of resignation

ƒ Part 2 defines the broad category, in this example, the psychological effect.

Instruct students to turn and talk. Ask: “Why is it helpful to provide a definition of the psychological effect in the thesis statement?”

ƒ Some readers may not know what resignation means.

ƒ Defining the category could help readers understand why it’s important.

ƒ Defining the category gives the reader a solid foundation to understand your essay.

SCAFFOLD

Instruct students to indicate whether they knew the definition of dehumanization before they studied it. Then ask: “If you were writing an essay on dehumanization, do you think most of your readers would know what that word means?”

Instruct students to record the purpose of Part 2 in the second column . Record the information in the displayed copy of Prologue Handout 34A .

Echo Read Part 3

Ask: “What is the purpose of Part 3?

SCAFFOLD

To support students’ thinking, prompt them to reflect on the type of thesis they are examining—“Defines the Significance of Category” thesis .

ƒ Part 3 defines the significance of the psychological effect of resignation by explaining its impact during and after the war.

ƒ Part 3 explains that the resignation made soldiers lose hope that they could change anything about the world during or after the war.

ƒ Part 3 also emphasizes the focus of the essay by using the broad category as the subject of the sentence.

Reinforce that this part defines the significance of resignation by describing the specific impact resignation had on soldiers during and after the war .

Instruct students to record the purpose of Part 3 in the second column . Record the information in the displayed copy of Prologue Handout 34A .

Explain that students will now experiment with drafting their own thesis statements by using the model and information in their charts

Invite volunteers to share their Launch responses . Pair students interested in writing about the same psychological effect .

Instruct pairs to complete column three of the chart on Prologue Handout 34A

As pairs write, remind or prompt them to share the specific steps of the process:

Find a definition of the psychological effect

Brainstorm about the impact on soldiers during and after the war .

SCAFFOLD

Invite students to vote on one psychological effect to experiment with, and draft a thesis as a group. First lead students in the drafting of Part 1. Then instruct pairs to find the psychological effect’s definition and complete Part

2. Next instruct pairs to brainstorm the effect’s impact and complete Part

3. Then invite pairs to combine the three parts of the thesis and share their ideas with the whole group. Collaborate to refine the thesis.

Land

Pair students .

✔ Students share a first draft of a thesis statement that defines the significance of a psychological effect

Instruct students to check that their partner’s thesis includes all three parts and that each part reflects the intended purpose .

PROLOGUE TO LESSON 35: AT A GLANCE

Focusing Question: What are the psychological effects of war?

SUMMARY

Students experiment with subcategories in an explanatory writing model . They develop an understanding of the structure and purpose of subcategories in explanatory writing This work prepares them to identify subcategories for the End-of-Module Task in Lesson 35 .

LEARNING GOAL

Analyze the purpose and importance of subcategories in an explanatory essay .

✔ Share a subcategory and elaboration identified for a piece of evidence .

VOCABULARY

broad category (n ): a single big idea that organizes different events and characters’ experiences loss of innocence (n.): a transition from childhood to adulthood defined by a new awareness of evil or suffering in the world and loss of trust that life is just or good subcategory (n .): a narrow section of a broad category that develops one aspect of the broad category in more detail and demonstrates a deep understanding of the broad category

MATERIALS

Prologue Glossary

Prologue Handout 35A: Identifying Subcategories

Display this list:

Insubordination

Loss of trust in authority figures

Rebellion against army rituals

Assess and activate prior knowledge by asking this question: “How do the three ideas relate to one another?”

Direct students to the words broad category and subcategory in their Prologue Glossaries . Echo Read the words and then def ine them

broad category (n .): a single big idea that organizes different events and characters’ experiences subcategory (n .): a narrow section of a broad category that develops one aspect of the broad category in more detail and demonstrates a deep understanding of the broad category

Ask: “How would you label each of these categories? Why?”

Listen for these essential understandings:

ƒ “Insubordination” is a broad category because it identifies a big single idea that connects the other two items.

ƒ “Loss of trust in authority figures” and “rebellion against army rituals” are both subcategories because they develop the broad category with more detail. They provide a deeper understanding of the broad category.

SCAFFOLD

Provide another example of a broad category (schoolwork) and subcategories (homework, tests, projects) connected to students’ lives .

Introduce the Learning Goal: Analyze the purpose and importance of subcategories in an explanatory essay . Explain that students will review the purpose of subcategories in an explanatory essay and then identify subcategories for two pieces of evidence Tell students this work will help them identify subcategories for the End-of-Module Task

Learn

Direct students to Prologue Handout 35A . Display the handout .

Remind students of the definitions of broad category and subcategory and direct them to the Glossary .

Ask: “What makes a subcategory different from a broad category?”

ƒ A subcategory is more specific than a broad category.

ƒ A subcategory develops one aspect, or part, of a broad category.

ƒ A subcategory provides more detail than a broad category.

Explain that the End-of-Module Task will be about the broad category of one psychological effect . Tell students they will identify two subcategories, which will each be the focus for a body paragraph of an essay

Read aloud the thesis statement: “The incidents in chapters 1 and 2 of All Quiet on the Western Front confirm the loss of innocence of the soldier in the Second Company . ”

Ask: “What is the broad category identified in the thesis statement?”

ƒ Loss of innocence

Instruct students to record “loss of innocence” as the broad category in the space provided on Prologue Handout 35A .

Direct students to the definition of loss of innocence in their Prologue Glossaries . Display a copy of the definition .

Echo Read the definition .

loss of innocence (n.): a transition from childhood to adulthood defined by a new awareness of evil or suffering in the world and loss of trust that life is just or good

Explain that the definition is such a big idea that it can be divided into parts describing a different aspect of loss of innocence

Instruct students to turn and talk. Ask: “How would you break this definition into three separate parts, with each part identifying one aspect of loss of innocence?”

ƒ A transition from childhood to adulthood

ƒ A new awareness of evil or suffering in the world

ƒ Loss of trust that life is just or good

Annotate the displayed definition to offset the three parts:

loss of innocence (n.): [a transition from childhood to adulthood] defined by [a new awareness of evil or suffering in the world] and [loss of trust that life is just or good]

Instruct students to annotate the definition in their Prologue Glossaries to highlight the three aspects of loss of innocence .

Explain that each part of the definition is a subcategory related to the broad category of loss of innocence .

Tell students that they will now determine which part of the definition the evidence illustrates .

Model how to identify a subcategory by using Evidence 1 in the second row of the handout chart: “Paul cannot ‘comprehend’ his former life and says he is ‘cut off’ from the student he used to be at home (19) . ”

Think aloud as you refer to Evidence 1 and the definition of loss of innocence: “In this example, Paul says he is ‘cut off’ from his past life at home He is not the same person that he was before the war. I am going to look at the definition of loss of innocence to decide which part of the definition this example shows. I think it shows the transition from childhood to adulthood because Paul suggests he’s no longer the young person he was before . In the Subcategory 1 box to the left of the example, I will write that part of the definition ”

On the displayed copy of Prologue Handout 35A, record this bullet point:

Transition from childhood to adulthood

Instruct students to record the bullet point on their handouts

Explain that when drafting an essay this idea would be developed into a full sentence to use as a topic sentence .

Tell students that they will also need to provide a brief explanation of how the evidence illustrates the subcategory . Model how to do this in the Elaboration column of the second row:

Paul no longer recognizes his life or identity as a young person from before the war .

Instruct students to record the explanation on their handouts

Explain that one piece of evidence can often illustrate two aspects of a psychological effect .

Instruct students to turn and talk. Ask: “Which other part of the definition of loss of innocence does this example illustrate? Why?”

ƒ It also shows the loss of trust that life is just or good.

ƒ The war cuts Paul off from his past life and controls who he is.

SCAFFOLD

Instruct students to identify just the part of the definition. Collaborate as a whole group to explain why the example illustrates that part of the definition

Instruct students to record the specific part of the definition as a new entry in the Subcategory 1 box:

Loss of trust that life is just or good

Then tell students to record this brief elaboration statement that explains the connection between the evidence and the subcategory:

The war cuts Paul off from his past life and controls who he is

Emphasize that students should choose the subcategory they think best represents the evidence . Pair students . Instruct pairs to discuss which subcategory the evidence best supports .

Direct students to Evidence 2 in the third row of the chart

Read aloud the evidence: “In addition, Kemmerich loses his foot. Before he dies, he weeps because he is ‘entirely alone’ (31) . ”

Explain that students will now identify a subcategory for this example

Instruct students to Think–Pair–Share: “Which part of the definition of loss of innocence does this example show? Why?”

Give students two minutes to silently think . Next form pairs and instruct students to discuss their ideas .

Instruct pairs to record the specific part of the definition in the Subcategory 2 box. Tell them to record in the Elaboration box a brief explanation of how the evidence illustrates the subcategory

Land

5 MIN.

✔ Students share a subcategory and elaboration identified for a piece of evidence .

Facilitate whole group sharing . Listen for these essential understandings:

ƒ The evidence shows a new awareness of evil or suffering in the world. Kemmerich realizes that he is all alone in life and death. His weeping shows his suffering.

ƒ The evidence shows a loss of trust that life is just or good. Kemmerich dies all alone, with no one to comfort him.

Remind students that in the End-of-Module Task they will identify two subcategories for their psychological effect and that each one will become a supporting paragraph

Appendix A: Prologue Module 2

Handouts

World War I Guided Research

Part 1: Use the information in the video to answer these questions

1 . What was World War I?

2 . When did it happen?

3 . Who was involved?

4 . Why did the war start?

motives: reasons gripped: deeply affected fervour: excitement grim: unpleasant; depressing

Excerpt from “The teenage soldiers of World War One”

Part 1: Read the excerpt .

Nearly 250,000 teenagers would join the call to fight . The motives varied and often overlapped—many were gripped by patriotic fervour , sought escape from grim conditions at home or wanted adventure .

technically: according to the rules

droves: large groups scrupulous: careful about doing what’s right

Technically the boys had to be 19 to fight but the law did not prevent 14-year-olds and upwards from joining in droves . They responded to the Army’s desperate need for troops and recruiting sergeants were often less than scrupulous .

Teenage Perspectives

Army Conditions

Consider factors that caused British teenagers to join World War I.

Part 3: Review the evidence from your T-chart, and write

what you think is the most important factor that caused British teenagers to join World War I .

•

Prologue

Class This page may be reproduced for classroom use only.

Excerpt from All Quiet on the Western Front

Analysis

Sentence Parts

The front is a cage in which we must await fearfully whatever may happen . We lie under the network of arching shells and live in a suspense of uncertainty . Over us, Chance hovers . from chapter 6, page 101

Prologue Handout 16A

Evidence Collection

Respond to the following questions for your assigned character . Use full sentences and/or phrases in your responses.

1 . What happens to the character in this incident?

2 . How does the character respond?

3 . What does this incident reveal about the character?

Use one or more of the following vocabulary words to describe what the incident reveals about the character (Question 3):

• comradeship

• effect

• insubordination

• loss of innocence

Incident: Chapter 2, page 25

Start reading with: “One Sunday as Kropp and I…”

End reading with: “‘Show you up, Corporal,’ said Kropp, his thumbs in line with the seams of his trousers” (25) .

Incident: Chapter 2, pages 20–21

Start reading with: “Though Müller would be delighted to have Kemmerich’s boots, he is really quite as sympathetic as another who could not bear to think of such a thing for grief . He merely sees things clearly” (20) .

End reading with: “Müller can make good use of them” (21) .

Kropp Müller

1 . What happens to the character in this incident?

2 . How does the character respond?

1 . What happens to the character in this incident?

2 . How does the character respond?

3 . What does this incident reveal about the character?

3 . What does this incident reveal about the character?

Name Date

Handout 20A

Excerpt from All Quiet on the Western Front

Analysis

agony: extreme mental or physical pain

comfortless: providing no comfort

Sentence Parts

I was a soldier, and now I am nothing but an agony for myself, for my mother, for everything that is so comfortless and without end . from chapter 7, page 185

•

Class This page may be reproduced for classroom use only.

Prologue

Excerpt from All Quiet on the Western Front

Analysis

despair: the feeling of no longer having any hope

fatuous: stupid, foolish superficiality: not serious or important cast over: thrown abyss: a hole so deep it cannot be measured

sorrow: sadness

Sentence Parts

I am young, I am twenty years old; yet I know nothing of life but despair , death, fear, and fatuous superficiality cast over an abyss of sorrow . from chapter 10, page 263

Prologue Handout 34A

Thesis Statement that Defines the Significance of a Broad Category

Broad category: a single big idea that organizes different events and characters’ experiences

Thesis Statement Model: During World War I, many soldiers experienced resignation—a psychological effect that means the soldiers accepted everything that happened without challenging or opposing it . This resignation caused soldiers to believe that they couldn’t change anything, and ultimately they lost hope during and after the war .

Model Purpose Draft

1 During World War I, many soldiers experienced resignation—

2 a psychological effect that means the soldiers accepted everything that happened without challenging or opposing it .

3 This resignation caused soldiers to believe that they couldn’t change anything, and ultimately they lost hope during and after the war.

Prologue Handout 35A

Identifying Subcategories

Broad category: a single big idea that organizes different events and characters’ experiences

Subcategory: a narrow section of a broad category that develops one aspect of the broad category in more detail and demonstrates a deep understanding of the broad category

Directions: Complete the analysis .

Thesis with broad category: The incidents in chapters 1 and 2 of All Quiet on the Western Front confirm the loss of innocence of the soldier in the Second Company.

Broad category: loss of innocence

Subcategory 1: Evidence 1:

Paul cannot “comprehend” his former life and says he is “cut off” from the student he used to be at home (19) .

Elaboration:

Subcategory 2: Evidence 2:

In addition, Kemmerich loses his foot. Before he dies, he weeps because he is “entirely alone” (31) .

Elaboration:

Appendix B: Prologue Module 2

Answer Keys and Suggested Student Responses

Class M2

Answer

It was a military conflict lasting from 1914 to 1918.

Handout 1A

1914–1918

Two alliances that opposed each other: the Allies and the Central Powers

Central Powers: Germany, Austria-Hungary, Turkey, Bulgaria

Allies: British Empire, France, Russian Empire, United States

• assassination of Austrian archduke and his wife

• political and military problems in Europe

World War I Guided Research

Question

1 . What was World War I?

2 . When did it happen?

3 . Who was involved?

4 . Why did the war start?

Prologue Handout 1A • WIT & WISDOM ® © Great Minds PBC Prologue

Prologue Handout 34A

Thesis Statement that Defines the Significance of a Broad Category

Broad category: a single big idea that organizes different events and characters’ experiences

Thesis Statement Model: During World War I, many soldiers experienced resignation—a psychological effect that means the soldiers accepted everything that happened without challenging or opposing it . This resignation caused soldiers to believe that they couldn’t change anything, and ultimately they lost hope during and after the war .

Model Purpose Draft

1 During World War I, many soldiers experienced resignation—

• identifies broad category

• identifies the context: World War I

• defines category (psychological

2 a psychological effect that means the soldiers accepted everything that happened without challenging or opposing it .

effect)

3 This resignation caused soldiers to believe that they couldn’t change anything, and ultimately they lost hope during and after the war.

• defines the significance of the psychological effect by explaining its impact during and after the war

• emphasizes the essay’s focus by using the broad category as the subject of the sentence

Prologue Handout 35A

Identifying Subcategories

Broad category: a single big idea that organizes different events and characters’ experiences

Subcategory: a narrow section of a broad category that develops one aspect of the broad category in more detail and demonstrates a deep understanding of the broad category

Directions: Complete the analysis .

Thesis with broad category: The incidents in chapters 1 and 2 of All Quiet on the Western Front confirm the loss of innocence of the soldier in the Second Company.

Broad category: loss of innocence

Subcategory 1:

Option 1: transition from childhood to adulthood

Option 2: loss of trust that life is just or good

Evidence 1: Paul cannot “comprehend” his former life and says he is “cut off” from the student he used to be at home (19) .

Elaboration:

1. Paul no longer recognizes his life or identity as a young person from before the war.

2. The war cuts Paul off from his past life and controls who he is.

Subcategory 2:

Option 1: new awareness of evil or suffering in the world

Option 2: loss of trust that life is just or good

Evidence 2: In addition, Kemmerich loses his foot. Before he dies, he weeps because he is “entirely alone” (31) .

Elaboration:

1. Kimmerich realizes that he is all alone in life and death. His weeping shows his suffering.

2. Kimmerich dies all alone, with no one to comfort him.

Grade 8, Module 3

What Is Love?

Table of Contents

INSTRUCTION

Focusing Question: How do the characters in A Midsummer Night’s Dream understand love?

Focusing Question: What defines the experience of love?

Focusing Question: What makes love complicated?

Focusing Question: Is love real in A Midsummer Night’s Dream?

Focusing Question: Is love in A Midsummer Night’s Dream a result of agency or fate?

34

Appendix A: Prologue Module 3 Handouts

Appendix B: Prologue Module 3 Answer Keys and Suggested Student Responses

Module Summary

The course of true love never did run smooth.

—William Shakespeare, A Midsummer Night’s Dream (1600), 1 .1 .36

In this module, students examine a question that has vexed humans—and the world’s most renowned literary authors—for generations: What is love? Deceptively simple, this question requires students to examine ideas about the roles of individual choice, fate, power, and social status in the development of seemingly personal relations . Their primary testing ground will be Shakespeare’s eternally popular comedy A Midsummer Night’s Dream, in which love transforms characters in unexpected ways.

This module challenges the idea that love is a strictly emotional and personal experience, removed from social attitudes, scientific definition, and forces beyond an individual’s control. This study doesn’t negate the personal importance of falling in love or being crushed from heartache; rather, it situates those experiences in larger contexts to ask about the motivations for love and whether or not we have the freedom to choose who we love, or even understand what love is . The module’s questions compel students to combine intellectual and creative thinking, as they gain a deeper appreciation for the complexities of love They come to discover that love has never been simple or static but nonetheless remains a powerful force in our lives The meaning of love is the perfect topic to introduce students to argument writing and claim making, which they practice in written and oral formats .

Shakespeare’s A Midsummer Night’s Dream offers a compelling and humorous way for students to think about love. Shakespeare’s characters introduce multiple, conflicting perspectives about love and about its purpose, place, and power, and students see love wax and wane through the action and inaction of those at love’s mercy in the play . Through this work, students discover the comedy and conflict that erupts when love takes unexpected turns. Magic and confusion abound as the fairies interfere with the human activities in the play . In addition to mirth, A Midsummer Night’s Dream offers opportunities for deep rereading and commenting on the roles of social norms, agency, and fate in the relationships between men and women. Numerous instances of figurative language and wordplay contribute to the density and complexity of this Shakespearean comedy, and they prompt an investigation of the power of figurative language and symbols to communicate humans’ experiences of love

The human experience of love is considered from a dramatically different perspective in a neuroscientific argument that provides provocative and groundbreaking information on the state of being in love. This is a challenging article, but the scientific point of view provides an excellent counterpart to Shakespeare’s canonical comedy that, in some ways, seems to support similar claims about the power of love to overtake the individual Furthermore, the article offers an outstanding example of an argument, as it clearly states a claim, counterclaim, and reasoning Students also read the modern short story “EPICAC” by Kurt Vonnegut, which, although comedic, raises ethical questions about the actions undertaken in the name of love . Finally, students examine two compelling paintings, The Arnolfini Portrait, painted in 1434 by Jan van Eyck, and Birthday, painted in 1915 by Marc Chagall, and analyze how elements such as line and color create very specific and stylized understandings of love .

For their End-of-Module (EOM) Task, students write an argument essay that asserts whether or not one character from A Midsummer Night’s Dream chose whom they loved at the end of the drama, thus attributing the nature of love to either agency or fate .

Essential Question

What is love?

Suggested Student Understandings

ƒ Love may be a personal and emotional experience, but it is also a physical, mental, and social experience

ƒ Love can be complicated, manipulated, or shaped by factors beyond an individual’s control .

ƒ Arguments require logical reasoning .

Introduction

In Module 3, Wit & Wisdom Prologue™ lessons focus on helping students deepen their understanding of the roles agency and fate have in controlling love .

ƒ Reading Prologue lessons support comprehension of a Shakespearean play, a contemporary short story, and scientific informational articles that represent opposing perspectives about the factors that control love . These accounts help students connect evidence to the ideas of agency and fate .

ƒ Writing Prologue lessons give students opportunities to examine and practice argumentwriting structures, analyzing how structure contributes to meaning . Students also focus on developing an opposing claim and rebuttal to support the drafting of their End-ofModule Task.

ƒ Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars and to receive additional support with creating claims and supporting them with reasoning .

ƒ Language Prologue lessons guide students to analyze complex Shakespearean dialogue, focusing on figurative language and word choice. This work helps students draft claims about characters’ experiences of love .

Please see the Prologue Implementation Guide for more information on planning, scaffolding instruction, and meeting the needs of multilingual learners and students with language-based disabilities .

English Language Development (ELD) Standards

Wit & Wisdom® core lessons engage students in many ways to interact with and through language and text that meet English Language Development (ELD) standards . Prologue lessons provide additional language support that meets ELD standards Use your state’s English language development standards and proficiency descriptors to best support your multilingual learners in reaching the learning goals

Prologue Module 3 Learning

Reading Prologue lessons support comprehension of a Shakespearean play, a contemporary short story, and scientific informational articles that represent opposing perspectives about the factors that control love. These accounts help students connect evidence to the ideas of agency and fate.

WIDA Standards

ELD-LA.6–8.Narrate.Interpretive Multilingual learners will interpret language arts narratives by

ƒ identifying a theme or central idea that develops over the course of a text and

ƒ analyzing how character attributes and actions develop in relation to events or dialogue.

ELD-LA.6–8.Inform.Interpretive Multilingual learners will interpret informational texts in language arts by

ƒ identifying and/or summarizing main ideas and their relationship to supporting ideas and

ƒ analyzing observations and descriptions in textual evidence for key attributes, qualities, characteristics, activities, and behaviors.

ELP Standards

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Writing Prologue lessons give students opportunities to examine and practice argument-writing structures, analyzing how structure contributes to meaning. Students also focus on developing an opposing claim and rebuttal to support the drafting of their End-ofModule Task.

ELD-LA.6–8.Argue.Expressive

Multilingual learners will construct language arts arguments that

ƒ introduce and develop claim(s) and acknowledge counterclaim(s);

ƒ support claims with reasons and evidence that are clear, relevant, and credible;

ƒ establish and maintain formal style; and

ƒ logically organize claim(s) with clear reasons and relevant evidence; offer a conclusion.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 4: An ELL can construct grade-appropriate oral and written claims and support them with reasoning and evidence.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Standard 10: An ELL can make accurate use of standard English to communicate in grade-appropriate speech and writing.

Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars and to receive additional support with creating claims and supporting them with reasoning.

ELD-SI.4–12.Argue

Multilingual learners will

ƒ generate questions about different perspectives;

ƒ support or challenge an opinion, premise, or interpretation;

ƒ clarify and elaborate ideas based on feedback;

ƒ evaluate changes in thinking, identifying trade-offs; and

ƒ refine claims and reasoning based on new information or evidence.

Standard 2: An ELL can participate in grade-appropriate oral and written exchanges of information, ideas, and analyses, responding to peer, audience, or reader comments and questions.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 4: An ELL can construct grade-appropriate oral and written claims and support them with reasoning and evidence.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Language Prologue lessons guide students to analyze complex Shakespearean dialogue, focusing on figurative language and word choice. This work helps students draft claims about characters’ experiences of love.

ELD-LA.6–8.Narrate.Interpretive Multilingual learners will interpret language arts narratives by ƒ evaluating impact of specific word choices about meaning and tone.

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Standard 8: An ELL can determine the meaning of words and phrases in oral presentations and literary and informational text.

Module Map

Prologue to Lesson # Lesson Type Summary

Learning Goal

Focusing Question 1: How do the characters in A Midsummer Night’s Dream understand love?

2 Reading Students closely read an excerpt from Act 1, Scene 1, of A Midsummer Night’s Dream They answer text-dependent questions to develop an understanding of the text. This work prepares students to explain the scene’s main conflict in Lesson 2.

5 Language Students deconstruct a set of lines from Act 1, Scene 1, of A Midsummer Night’s Dream. By focusing on word choice, students deepen their understanding of complex language. This work prepares students to explain a character’s perspective on love in Focusing Question Task 1 in Lesson 5.

Focusing Question 2: What defines the experience of love?

7 Writing Students examine an argument-writing model. They develop an understanding of the structure and purpose of each part of an argument. This work prepares them to explain the connections between the different parts of the Exemplar Argument Essay in Lesson 7.

8 Language Students deconstruct a set of lines from Act 2, Scene 1, of A Midsummer Night’s Dream. By focusing on figurative language, students deepen their understanding of complex language. This work prepares students to explain how central ideas about love are developed in Act 1, Scene 1, in Lesson 8.

13 Reading Students closely read an excerpt from the informational article “In the Brain, Romantic Love Is Basically an Addiction.” They answer text-dependent questions to develop an understanding of the text and the way structure contributes to meaning. This work prepares students to explain the article’s claim and argument in Lesson 13.

Summarize the important ideas in an excerpt from Act 1, Scene 1, of A Midsummer Night’s Dream.

Analyze the impact of word choice in a quotation about love from Act 1, Scene 1, of A Midsummer Night’s Dream

Describe the purpose and importance of each section of the argumentwriting model.

Analyze the extended metaphor of the magnet from Act 2, Scene 1, of A Midsummer Night’s Dream.

Analyze how structure contributes to meaning in an excerpt from “In the Brain, Romantic Love is Basically an Addiction.”

16 Writing Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing whether evidence supports the claim in an excerpt from “In the Brain, Romantic Love Is Basically an Addiction.” This work prepares students to evaluate Helen Fisher’s argument in the Focusing Question Task in Lesson 16.

Focusing Question 3: What makes love complicated?

20 Reading Students practice fluently reading an excerpt from Act 3, Scene 2, of A Midsummer Night’s Dream. They answer text-dependent questions to develop an understanding of the text. This work prepares students to explain in Lesson 20 how the plot and love relationships in A Midsummer Night’s Dream become complicated.

24 Reading Students closely read an excerpt from the short story “EPICAC.” They answer text-dependent questions to develop an understanding of the text. This work prepares students to analyze love triangles in the short story and in A Midsummer Night’s Dream in Lesson 24.

26 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing the roles of agency and fate in controlling love in the short story “EPICAC,” which prepares students to participate in the Socratic Seminar in Lesson 26.

Rehearse a claim related to Fisher’s argument in the article “In the Brain, Romantic Love Is Basically an Addiction.”

Summarize the important ideas in an excerpt from Act 3, Scene 2, of A Midsummer Night’s Dream.

Summarize the important ideas in an excerpt from “EPICAC.”

Rehearse a claim related to an upcoming Socratic Seminar.

Focusing Question 4: Is love real in A Midsummer Night’s Dream?

29 Language Students deconstruct a set of lines from Act 4, Scene 1, of A Midsummer Night’s Dream. By focusing on word choice and figurative language, students deepen their understanding of complex language. This work prepares students to analyze different characters’ explanations of love in Lesson 29.

30 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing whether love is real or imagined and controlled by agency or fate in A Midsummer Night’s Dream, which prepares them to identify a central idea of the play in Lesson 30.

Analyze the impact of word choice in a speech about love from Act 4, Scene 1, of A Midsummer Night’s Dream

Focusing Question 5: Is love in A Midsummer Night’s Dream a result of agency or fate?

34 Writing Students examine opposing claims in argument writing. They develop an understanding of the structure and purpose of opposing claims in argument writing. This work prepares them to create an opposing claim for the End-of-Module Task in Lesson 34.

Rehearse a claim related to an upcoming Socratic Seminar.

Describe the structure and purpose of opposing claims in argument writing.

Talking Tool

Talking Tool

Share What You Think

I think because . In my opinion, I noticed that First, . Also, .

Support What You Say For example, . According to the author, In the text, . Another reason is .

Ask for More Information

What do you mean by ? What text evidence supports that idea?

Can you give an example? How does that relate to ?

Build on Others’ Ideas

I hear you say that . That makes me think that I agree and I will add that . I disagree because . Have you thought about ?

PROLOGUE TO LESSON 2: AT A GLANCE

Focusing Question: How do the characters in A Midsummer Night’s Dream understand love?

SUMMARY

Students closely read an excerpt from Act 1, Scene 1, of A Midsummer Night’s Dream . They answer textdependent questions to develop an understanding of the text . This work prepares students to explain the scene’s main conflict in Lesson 2 .

LEARNING GOAL

Summarize the important ideas in an excerpt from Act 1, Scene 1, of A Midsummer Night’s Dream

✔ Share characters’ perspectives about love and marriage .

VOCABULARY

agency (n .): the ability of a person to act or make a choice fate (n .): destiny; a power that is believed to control what happens in the future

MATERIALS

A Midsummer Night’s Dream, William Shakespeare, 1 1 43–45, 1 1 53–58

Prologue Glossary

Prologue Handout 2A: Agency vs . Fate Evidence Organizer

Assess and activate prior knowledge by asking this question: “Do you think your family should choose the person you date? Why?”

Direct students to the words agency and fate in their Prologue Glossaries Echo Read the words and then def ine them

agency (n .): the ability of a person to act or make a choice fate (n .): destiny; a power that is believed to control what happens in the future

Explain that these words represent opposing ideas: agency means that a person controls what happens to them, but fate means that a force beyond the person controls what happens to them . Explain that Module 3 focuses on the conflict between agency and fate in determining who a person loves in several texts, including William Shakespeare’s play A Midsummer Night’s Dream .

Introduce the Learning Goal: Summarize the important ideas in an excerpt from Act 1, Scene 1, of A Midsummer Night’s Dream .

Explain that students will now focus on an excerpt from Act 1, Scene 1 . Tell students they will explore character relationships and conflicting views of love and marriage, which prepares them to explain the scene’s main conflict in Lesson 2

Learn

20 MIN.

Tell students that A Midsummer Night’s Dream was published in 1600—over 400 years ago . Emphasize that the English language has since changed a great deal, so the play’s language is challenging for many readers, even those who have thoroughly studied the text .

Direct students to page 6 . Tell students that the paragraph at the top of the page provides a summary of Act 1, Scene 1 . Explain that “1 .1” indicates this is the summary for Act 1, Scene 1, and that the text includes a summary at the beginning of every scene . Tell students that reading a scene’s summary before reading the scene will help clarify challenging passages and build students’ understanding of the play’s language and meaning Tell students that rereading the summaries as they continue reading the play will help them keep track of the characters and plot .

Explain that students will use this strategy now by reading part of the summary to understand the character relationships and the conflict introduced in Act 1, Scene 1. Tell students they will then read an excerpt from Scene 1

Tell students that the setting for Act 1, Scene 1, is the Royal Court in Athens, Greece

Read aloud the summary while modeling fluent reading .

Display Prologue Handout 2A Direct students to the handout Read aloud the list of characters and their relationships Explain that the notes under each character’s name capture the gist of the character’s identity . Instruct students to add notes throughout the module as they learn more about the characters .

SCAFFOLD Draw or display a sketch of the Royal Court. Annotate the sketch to make connections showing the characters’ relationships.

Instruct students to turn to a partner. Ask: “What is the gist of the conflict introduced in Act 1, Scene 1?”

ƒ Egeus wants his daughter to marry Demetrius, but Hermia wants to marry Lysander. So Egeus comes to the Royal Court and requests that Theseus use the law to make Hermia obey. If she doesn’t, the law says Hermia must die or become a nun.

Tell students that now that they understand the gist of what’s happening, they will examine a section of Scene 1 focused on the conflict .

TEACHER NOTE

When reading dialogue from the play, consider students’ facility with the language to determine whether to pair reading aloud with Echo Reading or Choral Reading.

Direct students to 1 1 43 on page 9 Tell students Egeus is presenting his case to Theseus

Read aloud Egeus’s lines from “As she is mine” to “our law.” Model how to fluently read by emphasizing effective phrasing .

Tell students to use the notes on the left-hand page to support their reading Highlight the note for line 44 that explains “this gentleman” means Demetrius

Tell students dispose means “decide what to do with . ”

Ask: “What is Egeus’s claim, or argument, in this section?”

ƒ Egeus claims that Hermia belongs to him because she is his daughter. That means he decides what happens to her. He argues that she must die if she doesn’t marry Demetrius, the man he has chosen, because that is Athenian law.

Tell students they will now look briefly at Hermia’s response .

Direct students to lines 53–58 .

Explain that in line 53 Theseus tells Hermia that Demetrius, her father’s choice, is “a worthy gentleman . ” Tell students that in line 54 Hermia responds that Lysander is also worthy .

Read aloud or Echo Read Hermia’s next line, emphasizing the words but and my: “I would my father looked but with my eyes” (58)

Ask: “What does Hermia wish?”

ƒ Hermia wishes her father, Egeus, would see her suitors with her eyes—that is, from her point of view. This means that she wishes her father would see the love she has for Lysander.

Instruct students to turn to a partner. Ask: “In this conflict, who has control over what happens to Hermia? Why?” Listen for these essential understandings:

ƒ Egeus controls what happens to Hermia because he is her father. The law says Hermia must obey him.

ƒ Hermia doesn’t have control. She chooses to love Lysander, but it doesn’t seem to matter. She wishes her father would see things from her point of view.

SCAFFOLD

Assign roles and instruct students to perform the interaction between Egeus, Hermia, and Demetrius. Instruct students to paraphrase the dialogue in their own words.

Direct students to Prologue Handout 2A Read aloud the headers of columns two and three

Tell students that the words agency and fate describe the opposing views they have discussed .

Reread aloud the definitions of agency and fate. Instruct students to define the terms in their own words:

ƒ Agency: a person controls what happens in their future.

ƒ Fate: outside forces control a person’s future.

Instruct students to record their definition of agency in column two and fate in column three Prologue Handout 2A .

Tell students they will review the lines from the play to identify evidence that shows fate controls love or that agency controls love

Pair students . Assign half the pairs the Fate column and the other half the Agency column .

Instruct pairs to review Egeus’s and Hermia’s lines to find evidence that supports their assigned term . Tell pairs to record the evidence in the appropriate box on Handout 2A .

SCAFFOLD

Instruct pairs to review Egeus’s lines for evidence that fate controls love and Hermia’s lines for evidence that agency controls love.

Pair students with a new partner who wrote about the other term .

✔ Students share characters’ perspectives about love and marriage .

Instruct students to record their partner’s information on Handout 2A .

Listen for these essential understandings:

ƒ Fate: Egeus says Hermia “is mine” (1.1.43). She must follow “our law” (1.1.45) and marry Demetrius or be put to death.

ƒ Agency: Hermia sees love with “my eyes” (1.1.58). To her, Lysander is also “a worthy gentleman” (1.1.53).

PROLOGUE TO LESSON 5: AT A GLANCE

Focusing Question: How do the characters in A Midsummer Night’s Dream understand love?

SUMMARY

Students deconstruct a set of lines from Act 1, Scene 1, of A Midsummer Night’s Dream . By focusing on word choice, students deepen their understanding of complex language . This work prepares students to explain a character’s perspective on love in Focusing Question Task 1 in Lesson 5 .

LEARNING GOAL

Analyze the impact of word choice in a quotation about love from Act 1, Scene 1, of A Midsummer Night’s Dream .

✔ Describe a character’s view of love that represents fate or agency .

VOCABULARY

agency (n .): the ability of a person to act or make a choice fate (n ): destiny; a power that is believed to control what happens in the future

MATERIALS A

Prologue Handout 5A: Characters’ Views of Love

Direct students to the image of Cupid on page 114 of A Midsummer Night’s Dream. Tell students that Cupid is the Roman god of love Highlight that Cupid wears a blindfold

Assess and activate prior knowledge by asking this question: “What do you think the saying ‘Love is blind’ means?”

Direct students to the words agency and fate in their Prologue Glossaries Echo Read the words and then def ine them .

agency (n .): the ability of a person to act or make a choice fate (n ): destiny; a power that is believed to control what happens in the future

Remind students that these words represent opposing ideas: agency means that a person controls what happens to them, but fate means that a force outside the person controls what happens to them .

Introduce the Learning Goal: Analyze the impact of word choice in a quotation about love from Act 1, Scene 1, of A Midsummer Night’s Dream .

Explain that this work prepares students to explain a character’s perspective on love in Focusing Question Task 1 in Lesson 5

20 MIN.

Display Prologue Handout 5A . Direct students to the handout . Explain that students will work in pairs to examine what quotes from different characters reveal about love .

Explain the structure of the handout by reading aloud the instructions for each column

Direct students to the first quote. Read aloud the first character and quote: “Helena: ‘love looks not with the eyes but with the mind’ (1 .1 .240) . ”

Model how to complete row 1 by moving through the task in each column

Direct students to the first column. Highlight important words as you go. Say: “This quote represents love as a person . Helena says love is looking with the mind but not with its eyes . This reminds me of the image of Cupid, who is the symbol of love . He is blindfolded, so he’s not looking

with his eyes It also reminds me of the saying, ‘Love is blind ’”

Instruct students to share their Launch responses about the meaning of the saying “Love is blind . ”

Direct students to column two Ask: “What is the gist of the quote?”

ƒ I think this means that someone who is in love doesn’t see what’s right before their eyes. Someone in love sees what they think, or what they want to see, rather than what’s there.

Model how to record these notes in the second column .

SCAFFOLD

Tell students that the Notes sometimes provide clues about the play’s language. Direct students to Act 1, Scene 1, line 240, on page 23. Read aloud the Notes for lines 240–247 on page 22: “Helena uses the ways in which Cupid is often pictured (as a blind boy with wings) to describe the qualities of love—its blindness, lack of judgment, folly, and inconstancy.” Tell students that folly means “foolishness” and inconstancy means “the quality of being fickle or not staying the same.” Explain that the Note confirms your understanding of the gist.

Direct students to column three Ask: “What does the quote reveal about the character’s view of love?”

Model how to answer the question: “If love is blind and is something that someone imagines with their mind, they definitely don’t seem in control. For the first sentence, I will write that Helena views love as something that can trick people into not seeing things as they are For the next sentence, I will write that this is an example of fate because being in love makes someone see what isn’t there . ”

Pair students . Tell pairs they will analyze the word choice in a quote to understand a character’s point of view on love

Read aloud the two quotes:

Theseus (speaking to Hermia): “Upon that day either prepare to die / For disobedience to your father’s will / Or else to wed Demetrius” (1 1 88–90)

Hermia: “There [in the woods] my Lysander and myself shall meet, / and thence from Athens turn away our eyes” (1 .1 .222) .

Assign each pair one quote . Instruct pairs to complete columns two and three for their quote by using the questions in each column .

TEACHER NOTE

Remind students of the text’s complexity. Tell them not to be discouraged if they need to reread a quotation several times or if they don’t initially understand every word or line. Instruct students to exchange ideas and experiment with figuring out the language.

SCAFFOLD

As a whole group, complete column two for each quotation. Or complete the second row as a whole group and assign pairs to complete the third row.

Pair students with a partner who analyzed and wrote about the other quotation

✔ Students describe a character’s view of love that represents fate or agency .

Listen for these essential understandings:

ƒ Theseus views love as a daughter’s obedience to her father and the law. This is an example of fate because Theseus is determined that Hermia follow Athenian law and marry Demetrius or die.

ƒ Hermia views love as someone’s feelings for a person they choose. This is an example of agency because Hermia is determined to decide for herself whom she will marry.

PROLOGUE TO LESSON 7: AT A GLANCE

Focusing Question: What defines the experience of love?

SUMMARY

Students examine an argument writing model . They develop an understanding of the structure and purpose of each part of an argument This work prepares them to explain the connections between the different parts of the Exemplar Argument Essay in Lesson 7 .

LEARNING GOAL

Describe the purpose and importance of each section of the argument writing model .

✔ Think–Pair–Share: “Why is the reason an important part of argument writing?”

VOCABULARY

claim (n ): a debatable statement that can be proven by evidence and reasoning reason (n.): a statement that explains or justifies an action or belief

MATERIALS

Prologue Glossary

Prologue Handout 7A: Argument Writing Structure

Assess and activate prior knowledge by asking these questions: “Should Hermia disobey her father? Why or why not?”

Explain that the Launch question requires students to make a claim

Remind students of or prompt them to share the definition of a claim. Reinforce that a claim is a debatable statement that can be proven by evidence and reasoning .

Emphasize that argument writing begins with a claim because the claim introduces the position the writer is arguing Tell students the writer then develops the claim with reasons, text-based evidence, and elaboration .

Direct students to the word reason in their Prologue Glossaries . Echo Read the word and then define it

reason (n.): a statement that explains or justifies an action or belief

Explain that a reason supports the claim by providing a logical, or sensible, statement to help prove the claim is valid or is better than any other claim

Introduce the Learning Goal: Describe the purpose and importance of each section of the argument writing model .

Explain that students will examine a paragraph that responds to the Launch question, which will deepen students’ understanding of the different parts of the argument writing model, including the reason . Tell students this work will prepare them to analyze and write arguments .

Learn 20 MIN.

Display Prologue Handout 7A . Direct students to the handout .

Read aloud Part 1 including the question and the entire paragraph while students follow along

Tell students in Part 2 the paragraph has been divided into sections that each represent one part of the argument writing model .

Explain that students will identify the purpose of each section and underline any words that indicate, or show, the purpose .

Display the mnemonic from “Examine Argument Structure” in Lesson 6:

C: evidence-based claim

R: reason that supports the claim

E: evidence that supports that the reason is valid

E: elaboration that explains how the evidence relates to the reason

Reread aloud the first sentence of the model paragraph

Tell students that this statement is called the claim .

Ask: “Which words in this first sentence help you identify it as the claim?”

ƒ Because tells the reader that the writer is about to tell you why they chose their position.

ƒ The writer uses the phrase best decision to strongly state their position.

Underline the identified words in the displayed copy of Prologue Handout 7A. Instruct students to do the same to their copies .

Model how to complete the Notes section: “The claim introduces the writer’s position The statement is debatable and can be proven by evidence and reasoning ”

Record the gist of your comments in the second column of the first row. Instruct students to do the same on their copies of the handout .

Pair students Instruct pairs to identify the purpose of each section of the model argument and underline any words that indicate, or show, the purpose . Tell students to take notes about how each section supports the argument .

Give pairs six minutes to complete Prologue Handout 7A

SCAFFOLD

Direct students to clues like the phrase for example or quotation marks that indicate text evidence. Prompt students to consider the value of evidence in creating an argument. Similarly, emphasize that the elaboration sentences use the verbs represent and show as they explain the importance of the evidence.

Guide students through the Mix and Mingle routine to discuss each section’s purpose in argument writing . Encourage students to use terms from the CREE model in their discussion .

Instruct students to find a partner by choosing someone they haven’t worked with today. Give them one minute to discuss their ideas for the first section. Tell students to add information to their handouts as their peers share .

Instruct students to repeat this process with new partners until they have completed discussing all the rows on the handout

Then facilitate a discussion about each section’s purpose in argument writing . Invite volunteers to share what they learned from listening to others’ responses .

SCAFFOLD

As students respond, repeat what you hear to students, clarifying and expanding on the language as needed. To prompt full and accurate responses, ask: “Which words help you understand that the sentence represents elaboration, evidence, or a reason? Can anyone think of another way to describe this section’s purpose?”

✔ Instruct students to Think–Pair–Share: “Why is the reason an important part of argument writing?”

Encourage students to use the vocabulary term reason by modeling a response: “The reason is important because . ”

Listen for these essential understandings:

ƒ The reason is important because it develops the claim with a logical, or sensible, statement based on information from the text.

ƒ The reason is important because it shows the writer’s deep knowledge of the topic.

If time allows, facilitate a brief discussion about why evidence and elaboration are important parts of argument writing .

PROLOGUE TO LESSON 8: AT A GLANCE

Focusing Question: What defines the experience of love?

SUMMARY

Students deconstruct a set of lines from Act 2, Scene 1, of A Midsummer Night’s Dream . By focusing on figurative language, students deepen their understanding of complex language. This work prepares students to explain how central ideas about love are developed in Act 1, Scene 1, in Lesson 8 .

LEARNING GOAL

Analyze the extended metaphor of the magnet from Act 2, Scene 1, of A Midsummer Night’s Dream.

✔ Explain how the magnet metaphor shows either agency or fate controlling love .

VOCABULARY

agency (n ): the ability of a person to act or make a choice fate (n .): a power that is believed to control what happens in the future

MATERIALS

A Midsummer Night’s Dream, William Shakespeare, Page 46 and 2 .1 .202–205

Prologue Glossary

Prologue Handout 2A: Agency vs Fate Evidence Organizer

Prologue Handout 8A: Excerpt from A Midsummer Night’s Dream

Display these song lyrics:

“Love is like oxygen . You get too much, you get too high, Not enough and you’re gonna die” (“Love Is Like Oxygen”) .

TEACHER NOTE

Consider replacing this example with a metaphor or simile from popular culture more familiar to your students. Popular song lyrics are a great choice.

Assess and activate prior knowledge by asking this question: “Think of other expressions or songs about love How do people describe love?”

Remind students of common expressions such as “Love is blind” or “Love is a roller coaster . ” Ask: “Why do you think people use similes and metaphors to describe love?”

Listen for these essential understandings:

ƒ Similes and metaphors provide concrete pictures of love. Their imagery gives you a vivid idea of what love feels like.

ƒ Similes and metaphors seem personal. Different people have different experiences of love, so they can use different images or symbols to explain them.

Tell students they will examine a metaphor of love and then connect it to ideas of fate and agency .

Introduce the Learning Goal: Analyze the extended metaphor of the magnet from Act 2, Scene 1, of A Midsummer Night’s Dream .

Explain that this work prepares students to explain how central ideas about love are developed in Act 1, Scene 1, of the play

Learn

Direct students to Prologue Handout 8A .

Read aloud lines 2 1 202–205 on page 47 in A Midsummer Night’s Dream while students follow along. Model how to fluently read by emphasizing effective phrasing .

TEACHER NOTE

In Lesson 9, students perform a fluency passage, which consists of an excerpt from the play. As appropriate, provide students with opportunities to Echo Read, Choral Read, or Partner Read lines on Prologue Handout 8A to practice fluent reading.

Reread aloud the first line of the excerpt: “You draw me, you hard-hearted adamant!”

Instruct students to use the glossary in their texts to define unfamiliar words or to explain meanings or terms that were common in Shakespeare’s time .

Direct students to page 46 in A Midsummer Night’s Dream.

Pair students

Instruct pairs to scan the glossary on page 46 for definitions of any words or phrases in lines 202 and 203. Tell students to write the definition above each word .

Invite volunteers to read aloud the lines with the definitions: “You attract me, you hardhearted magnet!”

Instruct students to turn to their partner . Ask: “What metaphor does Helena use in this line, and what does it mean?”

ƒ Helena says Demetrius is an adamant, which is a magnet.

ƒ It means that Demetrius attracts Helena the way a magnet attracts metals.

ƒ She also says that Demetrius is “hard-hearted.” That means that his heart is hard and cold, like the cold metal of a magnet.

Reread aloud the next line, including the definition from the glossary as you read: “But yet you draw [or attract] not iron, for my heart / Is true as steel . ”

Explain that steel is stronger and tougher than iron, so it is more dependable

Ask: “What does Helena mean when she compares her heart to steel?”

ƒ She is telling Demetrius that her heart is steel, which is better than iron. She’s saying that her love is more dependable.

Echo Read the last lines of the excerpt .

Instruct pairs to scan the glossary on page 46 for definitions of any words or phrases in these lines. Tell students to annotate the lines by writing the definition above the words or phrases that are defined on Prologue Handout 8A .

Invite one or more pairs to read aloud the rewritten lines: “Give up your power to attract, / And I shall have no power to follow you ”

Ask: “What do these lines mean?”

ƒ Helena says that if Demetrius stops using his power to attract her, then she will no longer feel the pressure or force to follow him.

SCAFFOLD

Instruct students to think about the metaphor of the magnet. Ask supporting questions: “Who has more power, Demetrius or Helena? What happens if the person with the power stops using it? What is the effect on the other person?”

Guide students through the Tableau routine, which is a silent representation of the scene Explain that they will plan a Tableau based on the scene . Explain that engaging in a Tableau will deepen their understanding of the metaphor .

Instruct pairs to refer to the lines as they silently act out the interaction between Helena and Demetrius by using facial and body expressions Prompt students to think about how a magnet works to create their Tableau .

SCAFFOLD

Using a magnet as a prop, model how Demetrius attracts Helena and she feels powerless to resist.

Tell students that the Tableau can help them understand the roles of fate and agency in each character’s experience of love .

Direct students to Prologue Handout 2A. Read aloud the definitions of fate and agency .

Pair students Ask:

“What does the magnet metaphor reveal about whether fate or agency controls love for Helena? For Demetrius?”

Give students five minutes to record their thinking in Helena’s and Demetrius’s rows on Prologue Handout 2A .

Land5 MIN.

Instruct students to share their observations with the whole group .

✔ Students explain how the magnet metaphor shows either agency or fate controlling love

Listen for these essential understandings:

ƒ The magnet metaphor shows that fate controls love for Helena because she sees Demetrius as a “power” that controls what happens to her. He attracts her like a magnet, and she can only react. She doesn’t seem in control at all.

ƒ The magnet metaphor shows that agency controls love for Demetrius because he controls the situation with Helena. Like a magnet, he has the power to attract her. And, as Helena says, he has the power to stop attracting her, but she can’t end that attraction on her own.

Instruct students to add responses from other pairs to Prologue Handout 2A .

TEACHER NOTE

Students may observe that Demetrius doesn’t have agency in his love for Hermia, but remind them that their comments here should focus only on what the magnet metaphor reveals. If time allows, encourage students to add evidence about Demetrius’s love for Hermia in the appropriate box on Prologue Handout 2A.

PROLOGUE TO LESSON 13: AT A GLANCE

Focusing Question: What defines the experience of love?

SUMMARY

Students closely read an excerpt from the informational article “In the Brain, Romantic Love Is Basically an Addiction ” They answer text-dependent questions to develop an understanding of the text and the way structure contributes to meaning . This work prepares students to explain the article’s claim and argument in Lesson 13 .

LEARNING GOAL

Analyze how structure contributes to meaning in an excerpt from “In the Brain, Romantic Love is Basically an Addiction . ”

✔ Think–Pair–Share: “How does the structure of the paragraph help you understand Fisher’s claim?”

VOCABULARY

addiction (n .): a strong need to regularly do or have something

MATERIALS

Prologue Glossary

Prologue Handout 13A: Excerpt from “In the Brain, Romantic Love Is Basically an Addiction”

Assess and activate prior knowledge by asking this question: “Based on the play so far, would you claim that agency or fate controls Helena’s experience of love? Why or why not?”

ƒ Fate controls Helena’s experience of love because she sees Demetrius as a power that controls what happens to her. He attracts her like a magnet. She says he is her whole world. She begs him to just let her follow and be with him. She doesn’t seem in control at all.

Direct students to the word addiction in their Prologue Glossaries . Echo Read the word and then define it .

addiction (n .): a strong need to regularly do or have something

Instruct students to turn to a partner . Ask: “How might you connect Helena’s experience of love to the idea of addiction?”

ƒ Helena has a very strong need to be with Demetrius, no matter how he treats her.

Introduce the Learning Goal: Analyze how structure contributes to meaning in an excerpt from “In the Brain, Romantic Love Is Basically an Addiction . ”

Tell students this work prepares them to explain Fisher’s entire argument in upcoming lessons .

20 MIN.

Direct students to Prologue Handout 13A . Display the handout and read aloud the title of the article: “In the Brain, Romantic Love Is Basically an Addiction ”

Ask: “What is the gist of Fisher’s claim?” If students need support, remind them of the definition of addiction .

ƒ Someone in love feels a really strong need to be with the person they love.

Instruct students to record the gist of Fisher’s claim in the space provided on Prologue Handout 13A

Tell students they will now examine an excerpt from the article to understand how Fisher

develops this claim with a reason and evidence

Explain that this paragraph will be part of an upcoming fluency passage (Handout 15B). Read aloud the whole paragraph as students follow along. Model how to fluently read by emphasizing effective phrasing . Repeat words students may need help pronouncing .

TEACHER NOTE

Because this paragraph is part of the upcoming fluency passage, identify opportunities for students to Echo or Choral Read sections.

Reread aloud the first sentence. Tell students besotted means “infatuated” or “obsessed . ”

Ask: “In this sentence, what reason does Fisher provide to support her claim that romantic love is like an addiction?”

ƒ People in love show the four habits of addiction: “craving, tolerance, withdrawal, and relapse.”

Instruct students to label this sentence reason

SCAFFOLD

Display the mnemonic from Lesson 6 > Learn > Examine Argument

Structure. Remind students they are using the CREE argument writing model in this module.

Instruct students to turn to a partner Ask: “What information do you predict the writer might provide next? Why?”

ƒ She might explain more about the medical or scientific terms.

ƒ She might give evidence to explain how these terms are related to love.

Emphasize that the next sentences will serve as evidence to support Fisher’s claim . Reread aloud the next two sentences .

Tell students that craving means “a very strong desire for something” and tolerance means “adjustment to something without a bad reaction . ”

Facilitate a brief discussion of craving and tolerance to solidify students’ understanding of these terms Instruct students to provide examples of each term that aren’t connected to addiction, such as a craving for a specific food or a tolerance built up to lifting heavy weights .

Instruct students to Think–Pair–Share: “How does Fisher connect the ideas of craving and tolerance to love?”

Give students one minute to silently think . Next form pairs and instruct students to discuss their ideas .

Then facilitate a whole group discussion Listen for these essential understandings:

ƒ Fisher says that someone in love gets really excited when they’re with their beloved. But then they build their tolerance, which means they get used to that feeling.

ƒ The more they get used to the good feeling, the more they want it. That’s the explanation of craving. When you crave something, you really want it and can’t get enough. Fisher explains that someone in love wants to spend more and more time with their beloved. They can’t get enough.

SCAFFOLD

Ask: “How does someone in love feel when they are with their beloved? What happens when they build tolerance for, or adjust to, their feelings of exhilaration? How do they express the trait of craving?”

Reinforce that by connecting the ideas of craving and tolerance to love Fisher is providing evidence to support her claim that love is like an addiction Instruct students to label these sentences evidence

Reread aloud the last sentence .

Ask: “How is the love object like a drug to someone in love?”

ƒ The love object is like a drug because if they go away, the person in love feels pain. They experience unpleasant or terrible things, like anxiety or not being able to sleep.

Direct students to the word including

Instruct students to turn to a partner . Ask: “What does the word including tell us about all the words that follow it? Is there another word or phrase we could use that means the same thing?”

ƒ The word including tells us that the words following it are all specific signs of withdrawal.

ƒ We could use the phrase for example or such as.

Ask: “What part of the argument writing structure are these sentences? Why?”

ƒ evidence, because these sentences provide specific information that supports the claim

Ask: “How does this evidence support Fisher’s claim?”

ƒ The examples provide a vivid picture of how a person in love feels if their beloved breaks up with them.

ƒ The examples help me understand the connection between love and addiction. Crying, not sleeping, and being lonely are things someone in love feels after a breakup. I didn’t realize that these are signs of withdrawal, so the examples help me believe her claim is valid .

✔ Instruct students to Think–Pair–Share: “How does the structure of the paragraph help you understand Fisher’s claim?”

Listen for these essential understandings:

ƒ The author included a reason and several pieces of evidence in logical order. The evidence starts with how someone in love feels at the beginning of the relationship and ends with how they feel when their beloved ends things.

ƒ The list of specific examples of withdrawal helps the reader envision how being in love is like other kinds of addiction.

If time allows, ask: “Now that you’ve read this paragraph, do you think Helena experiences love as an addiction? Why or why not? What evidence informs your response?”

PROLOGUE TO LESSON 16: AT A GLANCE

Focusing Question: What defines the experience of love?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing whether evidence supports the claim in an excerpt from “In the Brain, Romantic Love Is Basically an Addiction . ” This work prepares students to evaluate Helen Fisher’s argument in the Focusing Question Task in Lesson 16 .

LEARNING GOAL

Rehearse a claim related to Fisher’s argument in the article “In the Brain, Romantic Love Is Basically an Addiction . ”

✔ Share a claim and evidence .

VOCABULARY

evidence (n .): the body of facts and information that proves that a belief is true or supports that a claim is valid

relevant (adj ): closely connected to what is being discussed

MATERIALS

“In the Brain, Romantic Love Is Basically an Addiction,” Helen Fisher Prologue Glossary

Prologue Handout 16A: Argument Analysis

Display and read aloud this claim and potential evidence:

“Claim: Love is blind . ”

“Potential Evidence:

A Lysander says, ‘The course of true love never did run smooth’ (1 1 136)

B Helena says, ‘Love looks not with the eyes but with the mind’ (1 1 240) ”

Assess and activate prior knowledge by asking these questions: “Which evidence best supports this claim? Why?”

ƒ Helena’s statement (B) best supports the claim because it includes language, “looks not with the eyes,” that is relevant, or closely connected, to the claim that love is blind.

Direct students to the words evidence and relevant in their Prologue Glossaries Echo Read the words and then def ine them .

evidence (n .): the body of facts and information that proves that a belief is true or supports that a claim is valid relevant (adj ): closely connected to what is being discussed

Explain that a writer creates a solid argument by supporting a claim with strong evidence . The evidence should be relevant, or closely connected, to the claim .

Introduce the Learning Goal: Rehearse a claim related to Fisher’s argument in the article “In the Brain, Romantic Love Is Basically an Addiction . ”

Tell students that they will examine Helen Fisher’s evidence to determine if it is relevant to her claim, which will prepare them to evaluate her argument in an upcoming Focusing Question Task

20 MIN.

Direct students to Prologue Handout 16A . Remind students that in previous lessons they identified Fisher’s claim and discussed some of her main reasons and evidence .

Tell students they will now determine whether some of the evidence Fisher presents supports her claim

Direct students to the claim on Prologue Handout 16A and Echo Read it

Instruct students to underline the two reasons—behavior patterns and brain mechanisms—that support Fisher’s claim that love is an addiction . Explain that students will examine evidence for the first reason: behavior patterns .

Direct students to the evidence paragraph on Prologue Handout 16A .

Read aloud the paragraph while students follow along. Model how to fluently read by emphasizing effective phrasing

TEACHER NOTE

This paragraph is part of students’ fluency work (Handout 15A), so modeling effective and expressive phrasing will support that work.

Direct students to Part 2 of the handout and explain that they will use the questions to evaluate Fisher’s evidence .

Echo Read the first question: “Is the evidence relevant, or closely connected, to the claim?”

Remind students of the Launch activity and instruct them to look for similar connections when evaluating the evidence about love as an addiction .

Pair students and give them three minutes to discuss the first question and to record notes

Then facilitate a brief discussion . Listen for these essential understandings:

ƒ Yes, the evidence is closely connected to the claim because it focuses on explaining the traits of addiction.

ƒ Yes, many words are connected with the behaviors of addiction. The author uses a lot of specific vocabulary about addiction.

SCAFFOLD

Model how to complete the Notes section by recording on the displayed handout phrases like these:

Paragraph describes behaviors of addiction

Lots of specific words about addiction

Words in parentheses emphasize connection

Direct students to the Decision column

Instruct students to give an indication such as thumbs-up or thumbs-down to indicate whether Fisher’s evidence is relevant to the claim .

Reinforce that, based on the analysis, yes is the choice

Direct students to the second row . Echo Read the question: “Is the evidence explained clearly with examples?”

Give pairs three minutes to discuss the second question and to record notes Prompt students to offer critical observations by asking a follow-up question like this: “Are there important terms the author doesn’t explain?”

Then facilitate a whole group discussion .

Listen for these essential understandings:

ƒ Yes: The author explains three of the traits introduced in the first sentence.

ƒ Yes: The information is organized logically. The author shows how someone in love experiences tolerance, craving, and then withdrawal.

ƒ Yes: The last sentence includes specific examples of withdrawal.

ƒ No: The author doesn’t provide a definition of withdrawal. The examples don’t provide a full definition.

ƒ No: The author does not explain the trait of “relapse.”

Remind students that this is only part of the article . Explain that sometimes explanations are spread out over multiple paragraphs, such as when the author describes “relapse” in the next paragraph

Instruct pairs to record their answer to question 2 . Invite volunteers to share their decisions .

TEACHER NOTE

Students may disagree, which makes for a lively discussion. Emphasize that as long as their choice is evidence-based, then it is valid.

Direct students to question 3. Echo Read the question: “Is there sufficient, or enough, evidence to support the claim?”

Give pairs three minutes to discuss the questions in column 3 and to record initial observations .

Then facilitate a whole group discussion Listen for these essential understandings:

ƒ Yes: The evidence identifies four behaviors of addiction and then explains how someone in love expresses three of those behaviors.

ƒ No: The evidence only includes specific signs of one behavior: withdrawal. The evidence needs to provide specific signs of craving and tolerance to fully support the claim.

Instruct pairs to record their answer to question 3 . Invite volunteers to share their decisions .

TEACHER NOTE

Students may quickly decide that the evidence is sufficient, but it’s important for them to consider why it’s sufficient in preparation for their own argument writing. To prompt students to think about how much evidence is enough, facilitate a brief discussion about a question like this: “What if Fisher only included the first sentence as evidence. Would that be enough? Why or why not?”

Instruct pairs to use their responses to Part 2 to complete Part 3 of Handout 16A .

✔ Students share a claim and evidence

Encourage students to use the vocabulary terms claim and evidence from the handout by modeling a response: “In conclusion, Fisher’s evidence supports her claim because it’s relevant and sufficient. For example, the evidence is closely connected to the claim because it explains behaviors of addiction, such as tolerance and withdrawal ”

PROLOGUE TO LESSON 20: AT A GLANCE

Focusing Question: What makes love complicated?

SUMMARY

Students practice fluently reading an excerpt from Act 3, Scene 2, of A Midsummer Night’s Dream . They answer text-dependent questions to develop an understanding of the text This work prepares students to explain in Lesson 20 how the plot and love relationships in A Midsummer Night’s Dream become complicated .

LEARNING GOAL

Summarize the important ideas in an excerpt from Act 3, Scene 2, of A Midsummer Night’s Dream .

✔ Explain the change in wooing and whether it shows agency or fate controlling love

VOCABULARY

agency (n .): the ability of a person to act or make a choice fate (n .): a power that is believed to control what happens in the future woo (v .): to try to win the love of

MATERIALS

A Midsummer Night’s Dream, William

Prologue Glossary

Prologue Handout 2A: Agency vs . Fate Evidence Organizer

Prologue Handout 20A: Excerpt from A Midsummer Night’s Dream

Direct students to the word woo in their Prologue Glossaries Echo Read the word and then define it

woo (v .): to try to win the love of

Assess and activate prior knowledge by asking these questions:

“Who does Lysander woo at the beginning of the play?”

“Who does Demetrius woo at the beginning of the play?”

ƒ Lysander and Demetrius both woo Hermia.

Tell students they will examine how characters change who they woo in Act 3 and then they will explain whether fate or agency is responsible for these changes .

Introduce the Learning Goal: Summarize the important ideas in an excerpt from Act 3, Scene 2, of A Midsummer Night’s Dream.

Explain that this work prepares students to describe how the plot and love relationships become complicated in Act 3, Scene 2, of the play .

Learn

20 MIN.

Explain that Robin made a mistake with the love potion by putting it on Lysander’s eyes instead of Demetrius’s, which Oberon corrected by anointing Demetrius’s eyes with the love potion

Ask: “What happens to someone who is given the love potion?”

ƒ When they wake up, they fall in love with the first thing they see.

Tell students they will now examine what happens when Lysander and Demetrius wake up .

Direct students to Lysander’s lines on Prologue Handout 20A

Read aloud Lysander’s lines from Act 3, Scene 2, in A Midsummer Night’s Dream while students follow along. Model how to fluently read by emphasizing effective phrasing .

TEACHER NOTE

In upcoming lessons, students perform a Readers’ Theater of dialogue from later in Act 3, Scene 2. Support these performances by modeling expressive phrasing along with interrogative and exclamatory language to convey each character’s emotions.

Explain that this part of the scene begins in the middle of a disagreement between Lysander and Helena in which Lysander responds to something Helena said offstage .

Read aloud the f irst line

Remind students that woo means “to try to win someone’s love . ” Tell them scorn means “a feeling of disrespect . ”

Instruct students to turn to a partner Ask: “What is Lysander asking Helena here?”

ƒ Lysander is asking Helena why she thinks he’s being disrespectful in trying to win her love.

Read aloud the next two lines while omitting the word in brackets in the second line

Model how to fluently read by using facial and body gestures such as indicating tears falling on your cheeks and kneeling with hands over your heart .

SCAFFOLD Remind students to use the glossary in their texts to define unfamiliar words or to explain meanings common in Shakespeare’s time.

Tell students a glossary term appears in brackets in the second line Reread aloud or Echo Read the line while substituting the word in the brackets: “Whenever I vow, I weep . ”

Tell students derision means “ridicule” and vow means “to make a promise . ”

Emphasize that Lysander is trying to convince Helena that he is not disrespecting her with his wooing .

Ask: “Why does Helena think Lysander is disrespecting her?”

ƒ Helena is suspicious because Lysander’s feelings have changed suddenly.

Explain that immediately after Lysander confesses his love to Helena, Demetrius wakes up and sees Helena .

Direct students to the next set of lines in the excerpt on Prologue Handout 20A

Read aloud Demetrius’s lines while omitting the last line in brackets . Emphasize effective phrasing and intonation .

Direct students to Demetrius’s first line. Tell students that Demetrius uses not one but four words to praise Helena (goddess, nymph, perfect, divine) plus an exclamation point .

Pair students and instruct them to Partner Read Demetrius’s lines . Tell them to use volume, tone, facial expression, and body language to show how Demetrius woos, or attempts to win the love of, Helena

SCAFFOLD

If students need more practice, engage them in an Echo Read before or instead of a Partner Read.

Tell students that a crystal is a clear, or see-through, mineral .

Read aloud the line in brackets from the glossary .

Emphasize or prompt students to identify that Demetrius is using a metaphor by comparing Helena’s eyes to a crystal .

Ask: “How does Demetrius feel about Helena?”

ƒ He thinks she’s a goddess!

ƒ He says she is perfect. He says that her eyes are so clear they make crystal seem muddy.

Remind students of the definitions of fate and agency

Direct students to Part 2 of Prologue Handout 20 .

Instruct pairs to discuss these questions:

“What has changed for Lysander and Demetrius since the beginning of the play?”

“Does the change show fate or agency in control of love? Why?”

Remind pairs of their Launch responses

Encourage students to use vocabulary terms such as woo by modeling a response .

Prompt pairs to use these sentence frames to share their ideas: First, . Then, . As a result, .

In conclusion, controls their love for Helena because .

TEACHER NOTE These are speaking sentence stems. Students are not expected to write their responses.

Give pairs two minutes to discuss their ideas .

5 MIN.

Tell students they will now share their observations with the whole group

✔ Pairs explain the change in wooing and whether it shows agency or fate controlling love .

ƒ First, Lysander and Demetrius wooed Hermia. Then, they were anointed with the love potion. As a result, they now woo Helena because she was the first person they saw when they woke up. In conclusion, fate controls their love for Helena because the love potion makes them woo her.

TEACHER NOTE

Encourage students to record their thinking about fate or agency in Lysander’s and Demetrius’s rows on Prologue Handout 2A.

PROLOGUE TO LESSON 24: AT A GLANCE

Focusing Question: What makes love complicated?

SUMMARY

Students closely read an excerpt from the short story “EPICAC . ” They answer text-dependent questions to develop an understanding of the text This work prepares students to analyze love triangles in the short story and in A Midsummer Night’s Dream in Lesson 24 .

LEARNING GOAL

Summarize the important ideas in an excerpt from “EPICAC . ”

✔ Share a claim and a reason for whether “EPICAC” or A Midsummer Night’s Dream more effectively shows fate controlling love

VOCABULARY

fate (n .): a power that is believed to control what happens in the future

MATERIALS

Prologue Glossary

Prologue Handout 24A: Romantic Relationships in A Midsummer Night’s Dream (for display)

Prologue Handout 24B: Excerpt from “EPICAC”

Display Prologue Handout 24A

Assess and activate prior knowledge by posing these questions:

“Who did Demetrius love in Act 1?”

“Who did Lysander love in Act 1?”

Invite a volunteer to draw a line on the handout from each male suitor to the character he loves in Act 1 .

Ask: “Who did Demetrius love in Act 3? Who did Lysander love in Act 3?”

Invite a volunteer to draw a line from each male suitor to the character he loves in Act 3 .

Now draw a line from Demetrius to Lysander that connects the other two lines .

Ask: “What shape have we created to show the connections between the suitors and their beloveds?”

ƒ a triangle

Tell students that when three people are involved in a romantic relationship it is commonly referred to as a love triangle .

Explain that a love triangle often involves two suitors, like Demetrius and Lysander, wooing the same person . Emphasize the relationship between the suitors by tracing the relevant line on the diagram on the handout . Tell students the relationship between the suitors is that of rivals, or competitors .

Explain that love triangles are a common literary device in love stories .

SCAFFOLD Invite a few volunteers to share examples of love triangles that they know from books or movies.

Tell students they will examine an excerpt from the short story “EPICAC” that connects love triangles to the idea of fate, after which they will consider the role of fate in controlling love in the short story and in A Midsummer Night’s Dream .

Introduce the Learning Goal: Summarize the important ideas in an excerpt from “EPICAC . ”

Emphasize that this work prepares students to compare “EPICAC” and A Midsummer Night’s Dream .

Learn

Instruct students to turn to a partner . Ask: “Why do you think so many love stories have love triangles in them?”

ƒ A love triangle adds conflict.

ƒ A love triangle shows that love is complicated.

ƒ A love triangle can make you wonder how things will end up. It makes you wonder if fate or agency will control love.

SCAFFOLD

Remind students of the Focusing Question: “What makes love complicated?”

Tell students they will now examine the love triangle in the short story “EPICAC . ”

Direct students to Prologue Handout 24B .

Explain that at this point in the story the computer EPICAC has written poems that the narrator uses to woo his love interest, Pat, and now the narrator wants EPICAC to write a marriage proposal to use with Pat .

Read aloud the first excerpt on Prologue Handout 24B

Ask: “What does this part reveal about a love triangle?”

ƒ The narrator realizes he and EPICAC both love Pat.

ƒ The narrator realizes he caused this to happen because he taught EPICAC about love and about Pat.

Instruct students to draw the “EPICAC” love triangle on Prologue Handout 24A .

Read aloud the second excerpt

TEACHER NOTE

Explain that authors don’t always indicate who is saying which line of dialogue, as happens in this section. In those instances, every new line indicates a new speaker. Tell students to write N for narrator and E for EPICAC next to the corresponding lines, beginning with N next to “Women can’t love machines.”

Ask: “What does the narrator claim in this part?”

ƒ The narrator claims it’s fate that Pat will choose him over EPICAC because women can’t love machines.

Direct students to the word fate in their Prologue Glossaries .

fate (n): a power that is believed to control what happens in the future

Ask: “How does fate control love in ‘EPICAC’?”

ƒ The narrator explains to EPICAC that because of fate people can’t fall in love with computers. When the narrator says fate makes Pat love him, the computer gives up.

Ask: “How does fate control love in A Midsummer Night’s Dream?”

ƒ Fate controls love because Lysander and Demetrius are given a love potion and completely change who they love. They didn’t show any control over their actions or feelings.

SCAFFOLD

Record and display responses for students to refer to as evidence for the next question.

Pair students Ask: “Which love story more effectively demonstrates fate controlling love, ‘EPICAC’ or A Midsummer Night’s Dream? Why?”

SCAFFOLD

Ask students supporting questions: “How does fate affect the characters’ behavior and emotions? Does fate affect the outcome of the love triangle? How so?”

Give pairs five minutes to discuss their ideas .

5 MIN.

Tell students they will now share their observations with the whole group .

✔ Pairs share a claim and a reason for whether “EPICAC” or A Midsummer Night’s Dream more effectively shows fate controlling love .

Listen for these essential understandings:

ƒ A Midsummer Night’s Dream more effectively demonstrates how fate controls love because after they were given the love potion Lysander and Demetrius immediately and completely change who they love. They didn’t show any control over their actions or feelings.

ƒ “EPICAC” more effectively demonstrates fate controlling love because even though EPICAC is smarter and wrote the poems that won Pat’s love, as soon as the narrator says fate makes Pat love him, the computer gives up.

PROLOGUE TO LESSON 26: AT A GLANCE

Focusing Question: What makes love complicated?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing the roles of agency and fate in controlling love in the short story “EPICAC,” which prepares students to participate in the Socratic Seminar in Lesson 26 .

LEARNING GOAL

Rehearse a claim related to an upcoming Socratic Seminar .

✔ Share a claim and a reason about the role of agency or fate in controlling love in “EPICAC . ”

VOCABULARY

agency (n ): the ability of a person to act or make a choice fate (n .): a power that is believed to control what happens in the future

MATERIALS

Prologue Glossary

Prologue Handout 26A: Agency and Fate in “EPICAC”

Prologue Talking Tool

Assess and activate prior knowledge by asking this question: “How does the narrator of ‘EPICAC’ woo Pat?”

Facilitate a brief discussion of responses .

ƒ He asks Pat to marry him many times.

ƒ He sends Pat poetry written by EPICAC.

Direct students to the words agency and fate in their Prologue Glossaries . Echo Read the words and then def ine them

agency (n .): the ability of a person to act or make a choice fate (n .): a power that is believed to control what happens in the future

Tell students they will examine evidence from “EPICAC” to make a claim about the extent to which agency or fate controls the outcome of the story’s love triangle .

Introduce the Learning Goal: Rehearse a claim related to an upcoming Socratic Seminar .

Explain that participating in discussions and using evidence will help students better understand the roles of agency and fate in controlling love .

Learn

20 MIN.

Tell students that during an upcoming Socratic Seminar they will share their thoughts and text evidence in response to the following question .

Display and read aloud the question: “Are the characters in ‘EPICAC’ and A Midsummer Night’s Dream responsible for their actions? Why or why not?”

Explain that to examine whether a character is responsible for their actions means to examine whether the character has agency, or the ability to act or make choices in a specific situation

Remind students that they examined whether Lysander and Demetrius are responsible for their actions in Act 3, Scene 2, of A Midsummer Night’s Dream . Explain that now students will focus on the narrator of the short story “EPICAC” to consider the extent to which his actions affect the outcome of the love triangle

Direct students to the question on Prologue Handout 26A Display the question:

Does agency or fate control the outcome of the love triangle in “EPICAC”?

Pair students Tell pairs they will discuss several pieces of evidence and decide if they are examples of fate or agency

Read aloud the first entry in the Evidence column of Prologue Handout 26A. Model how to discuss the evidence in relation to the displayed question: “The narrator told EPICAC to stop creating poetry, but EPICAC didn’t listen The narrator had to shut down EPICAC to make him stop! The narrator didn’t get the poems because of anything he did So, it was fate that he received the poetry . ”

Model how to capture this thinking in the Notes column . Record the word fate next to your comments

Read aloud the remaining pieces of evidence .

Give pairs ten minutes to discuss the evidence and to label each piece as an example of fate or agency

SCAFFOLD Lead the whole group in a discussion of the second piece of evidence.

Guide students through the Value Line-Up routine to discuss this question: “Does agency or fate control the outcome of the love triangle in ‘EPICAC’?”

Display the words Agency and Fate at opposite sides of the classroom or space

Give pairs three minutes to review the evidence and their findings to decide the extent to which they think agency or fate controls the outcome of the love triangle .

Explain that if students have more examples of fate, they will mark their position on the line closer to the word Fate

Then instruct pairs to move to or otherwise indicate a position along the line that best represents their thinking .

Once each student takes a position, pair students who answered differently Then facilitate a discussion, and invite volunteers to share their reasoning

Tell pairs they will now share their observations with the whole group .

✔ Pairs share a claim and a reason about the role of agency or fate in controlling love in “EPICAC ”

Direct students to the Talking Tool . Explain that students can build on others’ ideas by using a sentence frame . Echo Read this sentence frame: “I agree and I will add that . ” Model how to use the sentence frame

PROLOGUE TO LESSON 29: AT A GLANCE

Focusing Question: Is love real in A Midsummer Night’s Dream?

SUMMARY

Students deconstruct a set of lines from Act 4, Scene 1, of A Midsummer Night’s Dream . By focusing on word choice and figurative language, students deepen their understanding of complex language. This work prepares students to analyze different characters’ explanations of love in Lesson 29 .

LEARNING GOAL

Analyze the impact of word choice in a speech about love from Act 4, Scene 1, of A Midsummer Night’s Dream.

✔ Share a claim about Demetrius’s love for Hermia

VOCABULARY

agency (n .): the ability of a person to act or make a choice fate (n .): a power that is believed to control what happens in the future

MATERIALS

A Midsummer Night’s Dream, William Shakespeare,

Prologue Glossary

Prologue Handout 29A: Excerpt from A Midsummer Night’s Dream

Assess and activate prior knowledge by asking this question: “Is love in A Midsummer Night’s Dream real or imagined?”

Explain that real means “something that actually exists or happened,” such as in a movie based on real events, and that real can also mean “genuine, or not fake,” such as a real diamond or a real effort to improve

Explain that imagine means “to have an idea or image in your mind that is not based in reality . ”

Record the explanations of real and imagine in an accessible place .

Facilitate a brief discussion .

Tell students that they will analyze a speech by Demetrius to decide if his love is real or imagined and then connect the speech to ideas of agency and fate .

Introduce the Learning Goal: Analyze the impact of word choice in a speech about love from Act 4, Scene 1, of A Midsummer Night’s Dream .

Tell students this work will prepare them to analyze characters’ explanations of love in upcoming discussions

20 MIN.

Direct students to Prologue Handout 29A . Tell students they will address whether love is real or imagined in Demetrius’s lines about his love for Helena and for Hermia after he wakes from the love potion’s influence .

Read aloud the first three lines

Explain that betrothed means “engaged to marry” and ere means “before . ”

Ask: “What does Demetrius say in this part?”

ƒ He loves Helena, and he always has. He was engaged to marry her before Hermia came along.

Read aloud the next set of lines without reading the phrase in brackets

Ask: “What figurative language is used in this speech?”

ƒ It’s a simile. Demetrius uses like to compare himself to a sickness.

Tell students that the phrase in brackets is the explanation from the text’s glossary

Reread aloud the line, including the phrase in brackets .

Tell students loathe means “hate ”

Ask: “What does this food refer to?”

ƒ It refers to Helena.

SCAFFOLD

Explain that the word this indicates something that has already been mentioned. So, this food refers to something Demetrius has already mentioned. Ask: “What, or who, has Demetrius mentioned before this line?”

Pair students and instruct them to discuss this question: “What does Demetrius mean when he says like someone who is sick, he loathed, or hated, this food?”

ƒ He says that it was like he got sick, and that’s what made him hate Helena.

Explain that the line suggests that Demetrius was sick, or not himself, when he was under the influence of the love potion .

Reread aloud the next line .

Ask: “What is Demetrius’s ‘natural taste’?”

ƒ Helena

Emphasize that Demetrius is saying that when he was like someone who is sick, he hated Helena, but now that he is back to health, or no longer under the influence of the love potion, he has returned to his natural taste, or love interest, which is Helena .

Reread aloud the last two lines .

Tell students true means “loyal . ”

Ask: “What does Demetrius say in this part?”

ƒ He says that Helena is all he wants and loves and that he will be true, or faithful, to her forever.

SCAFFOLD

Instruct students to create a T-chart with columns labeled Normal Demetrius and Love Potion Demetrius. Tell students to draw or write how Demetrius feels about Helena and Hermia in each situation.

Direct students to Part 2 of Prologue Handout 29A and display it Explain that students will answer the questions about Demetrius’s love in relation to Helena and then in relation to Hermia .

TEACHER NOTE Students may be able to use their Part 2 responses as evidence for Focusing Question Task 4 in Lesson 31.

Read aloud the question in column two .

Model how to complete the second box of the first row: “Demetrius’s love for Helena is real. The fact that he was engaged to her shows it really happened . In addition, his love is genuine because he says Helena is his ‘natural taste’ and that he will be faithful to her forever . ”

Record a brief summary of your response in the displayed copy of Prologue Handout 29A

Read aloud the question in column two .

Pair students and instruct them to discuss the question. Review the definitions of fate and agency in the Prologue Glossary if needed

Listen for these essential understandings:

ƒ Agency controls Demetrius’s love for Helena because he says that it was only when he was sick, or not himself, that he didn’t love Helena.

ƒ He also says, “I wish it, love it, long for it.” Those words represent his choice to love Helena.

Give students one minute to record responses in the first row of the chart .

Direct students to the second excerpt in Part 1 of Prologue Handout 29A .

Read aloud the excerpt

Explain that wot means “know . ”

Ask: “What does Demetrius mean when he says his love for Hermia has melted like the snow?”

ƒ Since snow only comes in the winter, maybe he means that his love for Hermia was there at one time, but now it has evaporated.

Direct students to the second row of the chart in Part 2 of Prologue Handout 29A .

Assign half the students the question in column two and assign the other half the question in column three .

Instruct students to think about their assigned question . Prompt students to review the definitions of agency, fate, real, and imagine to inform their responses .

Give students one minute to silently think . Next form pairs of students assigned the same question and instruct pairs to discuss their ideas

Instruct students to record their responses in the second row of Part 2 .

SCAFFOLD

Direct students to the first two lines. Ask these supporting questions: “What does Demetrius mean when he says he knows ‘not by what power’ his love for Hermia melted? How does his mention of power connect to ideas of love being real or imagined? How does it connect to ideas of agency and fate?”

Facilitate a whole group discussion of pairs’ responses

✔ Pairs share a claim about Demetrius’s love for Hermia .

Listen for these essential understandings:

ƒ Demetrius’s love for Hermia is imagined because it didn’t happen in reality. He says it has magically disappeared.

ƒ Demetrius’s love for Hermia is real because it was there, like snow on the ground. Just because it melted doesn’t mean it didn’t happen.

ƒ Fate controls Demetrius’s love for Hermia because he says that an unknown power caused his love for Hermia to disappear. He doesn’t have any control over what happened.

If time allows, direct students back to their Launch responses

Ask: “Now that you’ve examined whether love is real or imagined in A Midsummer Night’s Dream, has your opinion changed? What do you think now?”

PROLOGUE TO LESSON 30: AT A GLANCE

Focusing Question: Is love real in A Midsummer Night’s Dream?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing whether love is real or imagined and controlled by agency or fate in A Midsummer Night’s Dream, which prepares them to identify a central idea of the play in Lesson 30 .

LEARNING GOAL

Rehearse a claim related to an upcoming Socratic Seminar .

✔ Share a claim about one character’s experience of love in A Midsummer Night’s Dream.

VOCABULARY

claim (n .): a debatable statement that can be argued with evidence and reasoning

MATERIALS

Prologue Glossary

Prologue Handout 30A: Experiences of Love in A Midsummer Night’s Dream

Assess and activate prior knowledge by asking this question: “Is it possible for love between two people to be real for one person but imagined, or not real, for the other?”

ƒ No! For love to be real, more than one person must agree it exists. Otherwise, it’s just part of one person’s imagination.

ƒ Yes! One person’s love for someone else can be real, or genuine, even if the other person doesn’t love them back. It’s about each person’s experience.

Direct students to the word claim in their Prologue Glossaries . Echo Read the word and then define it

claim (n .): a debatable statement that can be argued with evidence and reasoning

Explain that each response to the Launch question represents a claim about whether love is real or imagined Emphasize that both claims show that individuals can have different perspectives on the same experience of love .

Tell students they will examine evidence from A Midsummer Night’s Dream to make claims about characters’ experiences of love

Introduce the Learning Goal: Rehearse a claim related to an upcoming Socratic Seminar .

Explain that participating in discussions and using evidence will help students build an understanding of whether love is real or imagined and whether agency or fate controls love

Learn

20 MIN.

Direct students to Prologue Handout 30A and display it

Explain that the handout includes two quotations from Helena about her love for Demetrius and two from Demetrius about his love for Helena .

Read aloud the questions in columns two and three .

Remind students that real means “something that actually exists or happened,” such as a movie based on real events, and that real can also mean “genuine, or not fake,” such as a real diamond or a real effort to improve

Remind students that imagine means “to have an idea or image in your mind that is not based in reality . ”

Tell students they will respond to the questions for one of the quotations

Model how to complete the first row. Read aloud the first quotation and then read aloud the version with the glossary explanation that follows it .

Think aloud to respond to the question in column two: “I think Helena’s love is real because she says she found Demetrius like a jewel, or treasure, so it really happened . And she has been true to him throughout the play . ”

Record a brief version of your response in the displayed copy of the handout .

Think aloud to respond to the question in column three with different claims: “On the one hand, it seems like fate controls Helena’s love because she says Demetrius is hers and not hers . Someone else could claim him as their own . So the claim that fate controls love could work . On the other hand, even if someone else found Demetrius to be a jewel, Helena still makes the choice to claim him So, I am going to say agency controls love because Helena chooses Demetrius ”

Record a brief version of both claims in the displayed copy of the handout .

Tell students they have examined the remaining three quotations in previous work

SCAFFOLD Read aloud or Echo Read the three quotations. Guide students through the second quotation if additional support is needed.

Pair students and assign each pair one of the remaining quotations .

Prompt students to review the definitions of agency, fate, real, and imagine to inform their responses

TEACHER NOTE

Students may wish to use evidence they have collected in Prologue Handouts 2A, 8A, 20A, and 29A.

Give pairs five minutes to discuss their ideas .

Then guide students through the Mix and Mingle routine to discuss the quotations in relation to the questions in columns two and three

Instruct students to find a partner who examined a different quotation. Give them three minutes to discuss their notes and to record information about the quotation on Prologue Handout 30A .

Instruct students to repeat this process with a new partner so they collect notes on all three quotations .

Then facilitate a brief discussion about what students learned about each quotation .

Tell students they will now compare Helena’s and Demetrius’s experiences of love .

Assign half the pairs to Helena and half to Demetrius .

5 MIN.

Ask: “Based on all the evidence, is your character’s love real or imagined? Does agency or fate control their love?”

✔ Pairs share a claim about one character’s experience of love in A Midsummer Night’s Dream.

Facilitate a whole group discussion

TEACHER NOTE

Students must weigh potentially conflicting evidence to decide their claim. For example, one quotation suggests fate controls Demetrius’s love, and the other quotation suggests agency controls his love. So responses may vary. Encourage students to provide evidence or reasoning for any claim that is not yet supported. Provide these sentence frames: “I think this because controls love because .” Listen for these essential understandings:

ƒ Helena’s love is real because she is always true to Demetrius, even when he hated her.

ƒ Agency controls Helena’s love because she always chooses to love Demetrius, even when he mistreats her.

ƒ Fate controls Helena’s love because powers outside her control make her love Demetrius. She says she’ll have no power to follow Demetrius if he stops attracting her, which means it’s not her choice to love him.

ƒ Demetrius’s love is real. Even though the love potion made him love Helena in the woods, he was engaged to her before that, and at the end he says she’s the only one he loves.

ƒ Demetrius’s love is imagined. He only really starts to love Helena after he is given the love potion.

ƒ Agency controls Demetrius’s love because he “wishes” or chooses to love Helena.

ƒ Fate controls Demetrius’s love because the love potion makes him stop loving Hermia and start loving Helena.

PROLOGUE TO LESSON 34: AT A GLANCE

Focusing Question: Is love in A Midsummer Night’s Dream a result of agency or fate?

SUMMARY

Students examine opposing claims in argument writing . They develop an understanding of the structure and purpose of opposing claims in argument writing This work prepares them to create an opposing claim for the End-of-Module Task in Lesson 34 .

LEARNING GOAL

Describe the structure and purpose of opposing claims in argument writing .

✔ Share an opposing claim and rebuttal .

VOCABULARY

claim (n ): a debatable statement that can be argued with evidence and reasoning opposing (adj .): establishing an opposite position on an issue or a belief

MATERIALS

Prologue Glossary

Prologue Handout 24B: Excerpt from “EPICAC” by Kurt Vonnegut

Prologue Handout 2A: Agency vs Fate Evidence Organizer

Assess and activate prior knowledge by posing this prompt: “Turn to a partner and discuss why you think Grade 8 students should or should not have homework every night ”

Facilitate a brief discussion of responses .

Direct students to the words claim and opposing in their Prologue Glossaries Echo Read the words and then def ine them

claim (n .): a debatable statement that can be argued with evidence and reasoning opposing (adj .): establishing an opposite position on an issue or a belief

Explain that believing Grade 8 students should have nightly homework and believing that Grade 8 students should not have nightly homework are opposing claims .

Introduce the Learning Goal: Describe the structure and purpose of opposing claims in argument writing

Tell students they will examine how to distinguish a claim from an opposing claim, which will prepare them to include an opposing claim in the End-of-Module Task .

Learn

20 MIN.

Display this question: “Does agency or fate control love?”

Remind students that in previous lessons they created claims in response to this question .

Tell students they will examine the narrator’s claim in “EPICAC” about what controls love to create an opposing claim

Display and read aloud the claim from “EPICAC”: “The narrator claims fate controls love because women can’t love machines . ”

Instruct students to Think–Pair–Share: “What opposing claim could be made against the narrator’s claim?”

SCAFFOLD

Prompt students to review the definition of opposing .

Give students one minute to silently think . Next form pairs and instruct students to discuss their ideas .

Then facilitate a brief discussion Record responses in an accessible location

Explain that to include an opposing claim in argument writing, students must first introduce the opposing claim with an appropriate transition .

Display and Echo Read these sentence frames:

“Some might argue that . ”

“Those who disagree claim that . ” “However, one could argue that . ”

Model how to use one of the sentence frames to present an opposing claim: “Those who disagree claim that agency controls love because the narrator’s lie about writing the poems convinced Pat to marry him . ”

Display your opposing claim Then Choral Read it

Explain that after introducing an opposing claim students must refute, or disprove, it by explaining why their claim is more convincing . Tell students this type of sentence is called a rebuttal and there are different ways to write one .

Display and Echo Read these sentence frames:

“However, the evidence suggests that . ”

“Overall though, a strong argument can be made that ”

“On the one hand, it is true that

On the other hand, the evidence clearly shows that . ”

Emphasize that the last example acknowledges agreement with part of the opposing claim . Explain that sometimes the best way to overcome an opposing position is not to say it’s entirely wrong but to agree with part of it while challenging its conclusion

Model how to use the last sentence frame to refute the opposing claim: “On the one hand, it is true that the narrator chose to lie . On the other hand, the evidence clearly shows that fate controls love because the narrator didn’t control EPICAC’s actions and women can’t love machines . ”

Display your rebuttal . Emphasize that these sentences use evidence and reasoning to show that the original claim is more convincing than the opposing claim .

Reread aloud this question: “Does agency or fate control love?”

Instruct students to take out the claim they drafted about whether agency or fate controls love for one character in A Midsummer Night’s Dream .

Direct students to their copies of Prologue Handout 2A Remind students that the handout includes evidence for both sides of the argument

Tell students they will use evidence from the side they didn’t choose to create an opposing claim .

TEACHER NOTE

Students may also find evidence in Prologue Handouts 5A, 8A, 20A, 29A, and 30A.

Instruct students to Think–Pair–Share to discuss options for an opposing claim and ways to refute, or disprove, it Prompt students to use the list of sentence frames to distinguish between their claim and an opposing claim .

Give students two minutes to silently think . Next form pairs and instruct students to discuss their ideas

SCAFFOLD

As possible, pair students with someone who is making the opposite argument with the same character. Pairs can swap claims to create an opposing claim for their own argument and then create their rebuttals.

Instruct pairs to use their discussions to create an opposing claim and rebuttal for the End-ofModule Task claim .

Prompt students to choose one sentence frame to introduce the opposing claim and one sentence frame to introduce the rebuttal

✔ Students share an opposing claim and rebuttal .

If time allows, ask: “Why are opposing claims important?”

Emphasize that including an opposing claim shows the writer’s deep content knowledge, respect for others’ positions, and ability to convince readers that their argument is the strongest .

Appendix A: Prologue Module 3

Handouts

Prologue Handout 2A

Agency vs. Fate Evidence Organizer

Character Evidence that a character’s Agency controls love

Definition of agency: the ability of a person to act or make a choice

In my own words:

Evidence that Fate controls love

Definition of fate: a power that is believed to control what happens in the future

In my own words:

Egeus

• Hermia’s father

• wants Hermia ♥ Demetrius

Synonyms:

Synonyms:

Lysander

Hermia Theseus

Demetrius

Helena

Robin (Puck)

Prologue Handout 5A

Characters’ Views of Love

Character: Quote

• Read the quote aloud . Underline words that help you understand the gist .

Meaning

• What is the gist of the quote?

View of Love

• What does the quote reveal about the character’s view of love? Complete the sentence frames with your response .

Helena: “love looks not with the eyes but with the mind”

(1 .1 .240) .

Theseus (speaking to Hermia): “Upon that day either prepare to die / For disobedience to your father’s will / Or else to wed Demetrius” (1 .1 .88–90) .

Hermia: “There [the woods] my Lysander and myself shall meet, / and thence from Athens turn away our eyes” (1 .1 .222) .

Theseus views love as

This is an example of fate/agency (choose one) because

Hermia views love as

This is an example of fate/agency (choose one) because

Prologue Handout 7A

Argument Writing Structure

Part 1: Model CREE Paragraph

Question: Should Hermia disobey her father?

Hermia should disobey her father because she can make the best decision about who she should marry . Hermia uses both her heart and her mind to choose Lysander . For example, Hermia says that love “knitteth souls” (1 .1 .175) together . This metaphor represents love as weaving two people together like knitting needles do to yarn .

Hermia’s use of a metaphor makes you realize that love is an emotion that brings two people together and makes them into one thing . In addition, Hermia says that Lysander is a “worthy gentleman” (1 .1 .53), just like Demetrius . Hermia shows that her choice of Lysander is also a logical one . He is just as worthy as her father’s choice, and even Theseus, duke of Athens, agrees with her .

Part 2: CREE Paragraph Analysis

Section

Directions: Underline words that indicate, or show, the purpose .

Notes

Directions: Identify the purpose of each statement .

(What is the statement doing?)

Hermia should disobey her father because she can make the best decision about who she should marry .

Hermia uses both her heart and her mind to choose Lysander .

For example, Hermia says that love “knitteth souls” (1 .1 .175) together .

This metaphor represents love as weaving two people together like knitting needles do to yarn . Hermia’s use of a metaphor makes you realize that love is an emotion that brings two people together and makes them into one thing .

In addition, Hermia says that Lysander is a “worthy gentleman” (1 .1 .53), just like Demetrius .

Hermia shows that her choice of Lysander is also a logical one . He is just as worthy as her father’s choice, and even Theseus, duke of Athens, agrees with her .

Handout 13A • WIT

Class

besotted: infatuated or obsessed traits: habits

Excerpt from “In the Brain, Romantic Love is Basically an Addiction”

craving: a very strong desire for something

What is the gist of the claim?

Meaning “In fact, besotted lovers express all four of the basic traits of addiction: craving , tolerance, withdrawal, and relapse .

exhilaration: a feeling of great happiness and excitement

tolerance: adjustment to something without a bad reaction

lethargy: lack of energy or interest in doing things

irritability: quality of being easily annoyed

Excerpt

They feel a “rush” of exhilaration when they’re with their beloved (intoxication) . As their tolerance builds, they seek to interact with the beloved more and more (intensification) .

If the love object breaks off the relationship, the lover experiences signs of drug withdrawal, including protest, crying spells, lethargy , anxiety, insomnia or hypersomnia, loss of appetite or binge eating, irritability , and loneliness . ”

Prologue Handout 16A

Argument Analysis

Part 1: Claim and Evidence

Directions: Reread Fisher’s claim and evidence .

Claim: “Love addiction is just as real as any other addiction, in terms of its behavior patterns and brain mechanisms . ”

Evidence for first part of claim (“behavior patterns”):

“In fact, besotted lovers express all four of the basic traits of addiction: craving, tolerance, withdrawal, and relapse . They feel a “rush” of exhilaration when they’re with their beloved (intoxication) . As their tolerance builds, they seek to interact with the beloved more and more (intensification) . If the love object breaks off the relationship, the lover experiences signs of drug withdrawal, including protest, crying spells, lethargy, anxiety, insomnia or hypersomnia, loss of appetite or binge eating, irritability, and loneliness . ”

Part 2: Evaluation of Evidence

Directions: Complete the chart to decide if Fisher’s evidence supports her claim .

Guiding Question Notes Decision

1 . Is the evidence relevant, or closely connected, to the claim?

2 . Is the evidence explained clearly with examples?

3 . Is there sufficient, or enough, evidence to support the claim?

Overall, does Fisher’s evidence support her claim?

Part 3: Use your responses to draft a claim about whether the evidence supports the claim.

In conclusion, Fisher’s evidence [supports/does not support] her claim that because .

For example, .

20A

Prologue Handout

Class M3

Excerpt from A Midsummer Night’s Dream

woo : to try to win the love of scorn : a feeling of disrespect derision : the act of making fun of someone vow : make a promise divine : like a god

Meaning Lysander [to Helena]: “Why should you think I should woo in scorn ? Scorn and derision never come in tears . Look when I vow , I weep” (3 . 2 . 124–126) .

Excerpt

Demetrius [to Helena]:

“O Helen, goddess, nymph, perfect, divine !

To what, my love, shall I compare thine eyne [eyes]?

Crystal is muddy” [in comparison to Helena’s eyes] (3 . 2 . 140–143) .

page may be reproduced for classroom use only.

Name

Prologue Handout 24A

Romantic Relationships in A Midsummer Night’s Dream

Directions: Draw a line from each male suitor to the character he loves in Act 1 and to the character he loves in Act 3 .

Act 1 (in Athens)

Demetrius ♥ Hermia

Lysander ♥ Helena

Act 3 (in the woods)

Demetrius ♥ Hermia

Lysander ♥ Helena

Notes:

Meaning

pathetic : sad

& WISDOM

Handout 24B

Prologue

Class M3

Excerpt from “EPICAC”

Excerpt 1

“Tell me about getting married,” he said I explained this difficult matter to him in as few digits as possible . “Good,” said EPICAC . “I’m ready anytime she is . ”

The amazing pathetic truth dawned on me . When I thought about it, I realized that what had happened was perfectly logical, and all my fault . I had taught EPICAC about love and about Pat Now, automatically, he loved Pat . Sadly, I gave it to him straight: “She loves me . She wants to marry me ”.

fate with every watt his circuits would bear .

tubes glowed brightly, showing that he was pondering

I had stumped him at last . He said no more, but his

“15-8,” said EPICAC’s paper strip—“Oh .”

“Noun, meaning predetermined and inevitable destiny . ”

“Definition, please,” said EPICAC

“That’s fate .”

“Why not?”

“Women can’t love machines, and that’s that ”

Excerpt 2

inevitable : something that is sure to happen

predetermined : decided before it happens

Meaning

Handout 26A

Agency and Fate in “EPICAC”

Question: Does agency or fate control the outcome of the love triangle?

Review the following evidence to determine your response to the question . In each row of the Notes column, record your thinking and indicate whether the evidence is an example of fate or agency . Evidence

Notes

After the narrator defines poetry, EPICAC spits out coils of paper . The narrator says, “I asked him to stop, but EPICAC went right on creating . I finally threw the main switch to keep him from burning out . ”

Narrator: “I had taught EPICAC about love and about Pat . Now, automatically, he loved Pat . ”

Narrator: “I loved and won—EPICAC loved and lost . ”

that . . . . That’s fate ”

Narrator: “Women can’t love machines, and that’s

admitted . ”

Narrator: “‘I signed my name to your poems,’ I

Evidence

Notes

• WIT & WISDOM ®

29A

Prologue Handout

Class M3

Prologue Handout 29A

Excerpt from A Midsummer Night’s Dream

Part 1: Read and record notes about the excerpt .

Excerpt

betrothed: engaged to be married; ere: before

loathe: hate true: loyal

“The object and the pleasure of my mine eye, Is only Helena . To her, my lord, Was I betrothed ere I saw Hermia . But like a sickness [like one who is sick] did I loathe this food . / But, as in health, come to my natural taste, Now I do wish it, love it, long for it, And will for evermore be true to it”

(4 . 1 . 177–183) .

Demetrius: “But, my good lord, I wot [know] not by what power (But by some power it is) my love to Hermia, Melted as the snow . . . ”

page may be reproduced for classroom use only.

(4 . 1 . 171–173) .

Date

Prologue Handout 30A

Experiences of Love in A Midsummer Night’s Dream

Quotation

Is love real or imagined? Why?

Helena:

“And I have found Demetrius like a jewel, / Mine own and not mine own”

(4 .1 .199-200) .

“And I have found Demetrius [as if I had found a jewel whom someone else might claim] . ”

Class

Does agency or fate control love? Why?

Quotation

Is love real or imagined? Why?

Does agency or fate control love? Why?

Helena [to Demetrius]:

“You draw me, you hard-hearted adamant! /

But yet you draw not iron, for my heart / Is true as steel .

Leave you your power to draw, / And I shall have no power to follow you”

(2 .1 .202–205) .

Demetrius [to Helena]:

“O Helen, goddess, nymph, perfect, divine! /

To what, my love, shall I compare thine eyne [eyes]? / Crystal is muddy” [in comparison to Helena’s eyes]

(3 .2 .140-143) .

Quotation

Is love real or imagined? Why?

Does agency or fate control love? Why?

Demetrius:

“The object and the pleasure of my mine eye, /

Is only Helena . To her, my lord, / Was I betrothed ere I saw Hermia . / But like a sickness [like one who is sick] did I loathe this food .

/ But, as in health, come to my natural taste, / Now I do wish it, love it, long for it, /

And will for evermore be true to it”

(4 .1 .177–183) .

Appendix B: Prologue Module 3

Answer Keys and Suggested Student Responses

Prologue Handout 2A

Agency vs. Fate Evidence Organizer

Character

Evidence that a character’s Agency controls love

Definition of agency: the ability of a person to act or make a choice

In my own words: A person controls what happens in their future.

Synonyms: choice

Evidence that Fate controls love

Definition of fate: a power that is believed to control what happens in the future

In my own words: Outside forces control a person’s future.

Synonyms: destiny

Egeus

• Hermia’s father

• wants Hermia ♥

Demetrius

Hermia “is mine” (1.1.43). She must follow “our law” (1.1.45) and marry Demetrius or be put to death.

Hermia

• Egeus’s daughter

• ♥ Lysander

Hermia sees love with “my eyes” (1.1.58). To her, Lysander is also “a worthy gentleman” (1.1.53).

Theseus duke of Athens

Lysander

• suitor

• ♥ Hermia

Demetrius

• suitor

• ♥ Hermia

He is a “hard-hearted adamant” (magnet) with the power to attract and control Helena.

♥ Demetrius Demetrius is an “adamant” (a magnet) that attracts her (2.1.202). She only reacts to his power. He is in control.

Helena

Robin (Puck)

Prologue Handout 5A

Characters’ Views of Love

Character: Quote

• Read the quote aloud . Underline words that help you understand the gist .

Meaning

• What is the gist of the quote?

View of Love

• What does the quote reveal about the character’s view of love? Complete the sentence frames with your response .

Helena: “love looks not with the eyes but with the mind”

(1 .1 .240) .

Love is blind. Someone in love doesn’t see what’s there but what they want to see.

Helena views love as something that tricks people into not seeing things as they are.

This is an example of fate because being in love makes someone see what isn’t there.

Theseus (speaking to Hermia): “Upon that day either prepare to die / For disobedience to your father’s will / Or else to wed Demetrius” (1 .1 .88–90) .

Name

Date Class

Hermia can either marry Demetrius or prepare to die for disobeying her father.

Theseus views love as a daughter’s obedience to her father and the law.

This is an example of fate/agency (choose one) because

Theseus is determined that Hermia follow Athenian law and marry Demetrius or die.

Hermia: “There [the woods] my Lysander and myself shall meet, / and thence from Athens turn away our eyes”

(1 .1 .222) .

Hermia will secretly meet Lysander in the woods, and they will run away from Athens.

Hermia views love as someone’s feelings for a person they choose.

This is an example of fate/agency (choose one) because

Hermia is determined to decide for herself who she will marry.

8A

Class

Excerpt

Notes Helena [to Demetrius]: attract

Demetrius attracts Helena the way a magnet attracts metals. His heart is hard and cold like the cold metal of a magnet. Her heart is steel, which is better than iron. She’s saying that her love is more dependable.

magnet “You draw me, you hard-hearted adamant! attract But yet you draw not iron, for my heart / Is true as steel . Give up

If Demetrius stops using his power to attract her, Helena will no longer feel the pressure or force to follow him.

(2 . 1 . 202–205) .

attract Leave you your power to draw, And I shall have no power to follow you”

signs of withdrawal.

irritability , and loneliness .

or hypersomnia, loss of appetite or binge eating,

protest, crying spells, lethargy , anxiety, insomnia

lover experiences signs of drug withdrawal, including

If the love object breaks off the relationship, the

(intensification) .

they seek to interact with the beloved more and more

their beloved (intoxication) . As their tolerance builds,

They feel a “rush” of exhilaration when they’re with

traits of addiction: craving , tolerance, withdrawal, and relapse .

“In fact, besotted lovers express all four of the basic

Excerpt

What is the gist of the claim?

an Addiction”

person goes away the person in love feels pain and shows

Evidence: The love object is like a drug because if the

irritability: quality of being easily annoyed

lethargy: lack of energy or interest in doing things

the good feeling, the more they crave, or want it.

with their beloved. The more they tolerate, or get used to

Evidence: Someone in love gets really excited when they’re

reaction

tolerance: adjustment to something without a bad

exhilaration: a feeling of great happiness and excitement

addiction.

This is the reason: People in love show the four habits of

craving: a very strong desire for something

traits: habits

besotted: infatuated or obsessed

Meaning

Someone in love feels a really strong need to be with the person they love.

Excerpt from “In the Brain, Romantic Love is Basically

13A

Handout 26A

Class M3

Agency and Fate in “EPICAC”

Question: Does agency or fate control the outcome of the love triangle?

Notes

EPICAC wouldn’t stop creating poetry, even after the narrator asked him to. So it’s fate that the narrator got the poetry.

Fate

The narrator taught EPICAC about love and Pat so he’s responsible for EPICAC loving Pat. If the narrator didn’t complete that action, he wouldn’t have received the poetry that made Pat decide to marry him.

Agency

The narrator taught EPICAC about love and Pat, but he didn’t know that his actions would make the computer fall in love with Pat. He says EPICAC “automatically” loved Pat, like that would happen no matter what.

After the narrator defines poetry, EPICAC spits out coils of paper . The narrator says, “I asked him to stop, but EPICAC went right on creating . I finally threw the main switch to keep him from burning out . ”

Narrator: “I had taught EPICAC about love and about Pat . Now, automatically, he loved Pat . ”

Prologue Handout 26A • WIT & WISDOM ® © Great Minds PBC Prologue

Review the following evidence to determine your response to the question . In each row of the Notes column, record your thinking and indicate whether the evidence is an example of fate or agency . Evidence

fighting to win. So their actions determine the outcome.

Narrator: “I loved and won—EPICAC loved and lost . ”

that . . . . That’s fate ”

Narrator: “Women can’t love machines, and that’s

admitted . ”

Narrator: “‘I signed my name to your poems,’ I

Evidence

The narrator makes love seem like a contest with rivals

Narrator

Agency Women can’t love computers, no matter what.

actions changed Pat’s mind about marrying him.

The narrator chose to lie and say the poems were his. His

Fate

Notes

29A • WIT

Class

Prologue Handout 29A

Excerpt from A Midsummer Night’s Dream Part 1: Read and record notes about the excerpt .

Meaning

betrothed: engaged to be married; ere: before loathe: hate true: loyal

Demetrius: “The object and the pleasure of my mine eye, Is only Helena . To her, my lord, Was I betrothed ere I saw Hermia . But like a sickness [like one who is sick] did I loathe this food . / But, as in health, come to my natural taste, Now I do wish it, love it, long for it, And will for evermore be true to it”

(4 . 1 . 177–183) .

Demetrius: “But, my good lord, I wot [know] not by what power (But by some power it is) my love to Hermia, Melted as the snow . . . ”

(4 . 1 . 171–173) .

doesn’t mean it didn’t happen.

the ground. Just because it melted

Real His love was there like snow on

says it magically disappeared.

Hermia

has no control over what happened.

Imagined His love didn’t happen in reality. He

that he will love only her forever.

Helena is his “natural taste” and

His love is genuine because he says

love really happened.

He was engaged to Helena so his

Helena Real

Demetrius’s Love Object

imagined? Why?

Is Demetrius’s love real or

his love for Hermia disappear. He

Fate He says an unknown power made

forever. He chooses her.

loves, and longs to be with Helena

Now that he is well, he wishes,

didn’t love Helena.

was sick, or not himself, that he

Agency He says that it was only when he

Demetrius’s love? Why?

Does agency or fate control

.

Prologue Handout 30A

Experiences of Love in A Midsummer Night’s Dream

Helena:

“And I have found Demetrius like a jewel, / Mine own and not mine own”

(4 .1 .199-200) .

“And I have found Demetrius [as if I had found a jewel whom someone else might claim] . ”

Real

Helena found Demetrius and she has been true to him all along.

Agency She says Demetrius is hers, and she chooses to claim him (even if someone else does too).

Fate

Someone else could claim Demetrius, so it’s just chance that Helena found him.

Quotation

Is love real or imagined? Why?

Does agency or fate control love? Why?

Helena [to Demetrius]:

“You draw me, you hard-hearted adamant! / But yet you draw not iron, for my heart / Is true as steel .

Leave you your power to draw, / And I shall have no power to follow you”

(2 .1 .202–205) .

Real

Her heart is true. Helena loves Demetrius even when he hates her.

Fate

Her actions don’t make Demetrius love her. She only reacts to Demetrius’s power. She isn’t in control.

Demetrius [to Helena]:

“O Helen, goddess, nymph, perfect, divine! /

To what, my love, shall I compare thine eyne [eyes]? /

Crystal is muddy” [in comparison to Helena’s eyes]

(3 .2 .140-143) .

Imagined

Demetrius says this after he is given the love potion, so it’s a dream and not real.

Fate

The love potion makes Demetrius fall in love with the first thing he sees. That’s Helena.

Quotation

Is love real or imagined? Why?

Does agency or fate control love? Why?

Demetrius:

“The object and the pleasure of my mine eye, / Is only Helena . To her, my lord, / Was I betrothed ere I saw Hermia . / But like a sickness [like one who is sick] did I loathe this food .

/ But, as in health, come to my natural taste, / Now I do wish it, love it, long for it, /

And will for evermore be true to it”

(4 .1 .177–183) .

Real

He was engaged to Helena, so his love really happened. His love is genuine because he says Helena is his “natural taste,” and that he will love only her forever.

Agency

He says that it was only when he was sick, or not himself, that he didn’t love Helena. Now that he is well, he “wishes” or chooses to love her.

Grade 8, Module 4 Teens as Change Agents

Table of Contents

Focusing Question: What motivated Claudette Colvin?

Focusing Question: What role did Claudette Colvin and others play in the Civil Rights Movement?

Focusing Question: What strategies do people use to effect social change?

Focusing Question: How do teens effect social change?

Appendix A: Prologue Module 4 Handouts

Appendix B: Prologue Module 4 Answer Keys and Suggested Student Responses

Appendix C: Works Cited

Credits

Acknowledgments

Module Summary

We all spoke for ourselves.

—Claudette Colvin

What does it mean to stand up for what you believe in rather than to stand by and observe without acting? What motivates people to create social change, and how do they accomplish their goals? The inspirational story of Claudette Colvin provides an often-overlooked example of a young woman taking a stand against injustice under incredibly challenging circumstances . Students explore Claudette’s actions, agency, language and ultimately her role in the Civil Rights Movement, and use Claudette’s story as an example of the possibilities for change agents in a variety of circumstances, and around a variety of social issues .

This module engages the idea that social change is rarely a linear, straightforward process, but more often a combination of circumstance and opportunity, spontaneous and highly strategic action, personal agency and collective action. This study highlights the key actions of major historical figures in the Civil Rights Movement while also elevating the story of a lesser-known, but no less important, change agent . This module’s questions prompt students to examine social issues in their own communities and the world at large, as they gain a deeper understanding of the challenges that people overcome to achieve meaningful change . Social change is the ideal topic to engage students in independent research, as they work to identify a teen change agent and present their findings through writing and a multimedia presentation.

Phillip Hoose’s Claudette Colvin: Twice Toward Justice illuminates and re-evaluates the contributions different people made to the Civil Rights Movement . Students consider Claudette Colvin’s contributions to the Civil Rights Movement in relation to a broader range of historical events, actors, and ideas Reading of this core text also launches deeper historical exploration of the Civil Rights Movements, with students gaining insight into the strategic choices of its leadership, and deepening their understanding of the network of actions and strategies that challenged segregation in the mid-1950s . In a broader sense, students gain knowledge of how social change occurs through the development of a series of strategies, actions, and responses performed by different people with different roles . This understanding provides an illuminating context for students’ research on a teen change agent’s actions and impact .

Strategies for effective social change are put into a contemporary context through an examination of two articles that discuss social media as a strategy for social change . First, students read “Social Media Sparked, Accelerated Egypt’s Revolutionary Fire,” a short article that discusses the role of social media in spreading revolutionary ideas during the Arab Spring . Then, students read Malcolm Gladwell’s masterful “Small Change,” which argues against the more popular view that social media is and can be an effective strategy, instead presenting an argument for highly organized, strategic activism.

For their End-of-Module (EOM) Task, students present the research they have been engaged in throughout the module . Students write an informative essay based on their research before turning that informative essay into a multimedia presentation, and presenting their findings to a wider audience. Students end Grade 8 empowered to understand, analyze, and write about complex texts, to do research and present that research . They also feel empowered to look for opportunities to make real change in their lives and communities .

Essential Question

How do people effect social change?

Suggested Student Understandings

ƒ Social change occurs through a series of strategies, actions, and responses performed by different people with different roles

ƒ Challenging injustice is never easy, and often includes overcoming obstacles, facing conflict, or meeting with resistance.

ƒ Change agents can be motivated by personal, social, or historical circumstances, and challenges to injustice can be enacted by anyone who is motivated to stand up for what they believe.

Introduction

In Module 4, Wit & Wisdom Prologue™ lessons focus on people’s motivations and strategies for effecting social change .

ƒ Reading Prologue lessons support comprehension of informational texts that develop knowledge about change agents’ different motivations and strategies to create social change

ƒ Writing Prologue lessons give students time to examine and practice parts of informative writing, focusing on integrating and evaluating source material . Students also practice prewriting techniques to support independent research .

ƒ Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars . Students receive additional support with succinctly explaining information from their independent research for their End-of-Module Task

ƒ Language Prologue lessons guide students to analyze a complex sentence by focusing on the role of dependent clauses . This analysis helps students unpack complex sentences in informational texts .

Please see the Prologue Implementation Guide for more information on planning, scaffolding instruction, and meeting the needs of multilingual learners and students with language-based disabilities

English Language Development (ELD) Standards

Wit & Wisdom® core lessons engage students in many ways to interact with and through language and text that meet English Language Development (ELD) standards Prologue lessons provide additional language support that meets ELD standards . Use your state’s English language development standards and proficiency descriptors to best support your multilingual learners in reaching the learning goals .

Prologue Module 4 Learning WIDA Standards

Reading Prologue lessons support comprehension of informational texts that develop knowledge about change agents’ different motivations and strategies to create social change.

ELD-LA.6-8.Inform.Interpretive Multilingual learners will interpret informational texts in language arts by

ƒ identifying and/or summarizing main ideas and their relationship to supporting ideas;

ƒ analyzing observations and descriptions in textual evidence for key attributes, qualities, characteristics, activities, and behaviors; and

ƒ evaluating the impact of author’s key word choices over the course of a text.

ELP Standards

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Writing Prologue lessons give students time to examine and practice parts of informative writing, focusing on integrating and evaluating source material. Students also practice pre-writing techniques to support independent research.

ELD-LA.6–8.Argue.Expressive

Multilingual learners will construct language arts arguments that

ƒ introduce and define topic and/or entity for audience;

ƒ establish objective or neutral stance;

ƒ add precision, details, and clarity about relevant attributes, qualities, characteristics, activities, and behaviors; and

ƒ develop coherence and cohesion throughout text.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 5: An ELL can conduct research and evaluate and communicate findings to answer questions or solve problems.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Standard 10: An ELL can make accurate use of standard English to communicate in grade-appropriate speech and writing.

Speaking and Listening Prologue lessons provide opportunities for students to rehearse their ideas before Socratic Seminars.

Students receive additional support with succinctly explaining information from their independent research for their End-of-Module Task.

ELD-LA.6-8.Inform.Interpretive

Multilingual learners will interpret informational texts in language arts by

ƒ identifying and/or summarizing main ideas and their relationship to supporting ideas.

ELD-SI.4–12.Argue

Multilingual learners will ƒ support or challenge an opinion, premise, or interpretation and ƒ clarify and elaborate ideas based on feedback.

ELD-SI.4–12.Narrate

Multilingual learners will ƒ share ideas about one’s own and others’ lived experiences and previous learning and ƒ recount and restate ideas to sustain and move dialogue forward.

Standard 2: An ELL can participate in grade-appropriate oral and written exchanges of information, ideas, and analyses, responding to peer, audience, or reader comments and questions.

Standard 3: An ELL can speak and write about grade-appropriate complex literary and informational texts and topics.

Standard 7: An ELL can adapt language choices to purpose, task, and audience when speaking and writing.

Standard 9: An ELL can create clear and coherent grade-appropriate speech and text.

Language Prologue lessons guide students to analyze a complex sentence by focusing on the role of dependent clauses. This analysis helps students unpack complex sentences in informational texts.

ELD-LA.6–8.Inform.Interpretive Multilingual learners will interpret informational texts in language arts by ƒ evaluating the impact of author’s key word choices over the course of a text.

Standard 1: An ELL can construct meaning from oral presentations and literary and informational text through grade-appropriate listening, reading, and viewing.

Standard 8: An ELL can determine the meaning of words and phrases in oral presentations and literary and informational text.

Module Map

Prologue to Lesson # Lesson Type Summary Learning Goal

Focusing Question 1: What motivated Claudette Colvin?

2 Reading Students closely read an excerpt from Claudette Colvin: Twice Toward Justice. They answer text-dependent questions to develop an understanding of the text. This work prepares students to analyze the laws and social norms that enforced segregation on Montgomery’s buses in Lesson 2.

5 Language Students practice fluently reading an excerpt from Claudette Colvin: Twice Toward Justice. They answer text-dependent questions to develop an understanding of the text. This work prepares students to develop a central idea about injustice in Lesson 5.

8 Writing Students examine an evaluative statement for an informative essay. They develop an understanding of the structure and purpose of an evaluative statement. This work prepares them to write an evaluative statement in the Focusing Question Task in Lesson 8.

9 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing why Claudette refused to give up her seat on the bus, which prepares them to participate in a Socratic Seminar in Lesson 9.

Summarize the important ideas in an excerpt from Claudette Colvin: Twice Toward Justice

Analyze how a sentence conveys a sense of justice in an excerpt from Claudette Colvin: Twice Toward Justice.

Analyze the purpose and structure of an evaluative statement in informative writing.

Rehearse a claim related to an upcoming Socratic Seminar.

Focusing Question 2: What role did Claudette Colvin and others play in the Civil Rights Movement?

11 Writing Students experiment with mind maps. They develop an understanding of the structure and purpose of prewriting in research writing. This work prepares them to identify a research topic and generate research questions in Lesson 11.

13 Language Students deconstruct a sentence from chapter 8 of Claudette Colvin: Twice Toward Justice. By focusing on word choice and sentence structure, students deepen their understanding of complex language. This work prepares students to explain how and why Black leaders changed their strategy for fighting segregated buses in Lesson 13.

16 Speaking and Listening Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing Phillip Hoose’s purpose for writing Claudette Colvin: Twice Toward Justice and the main points he makes to achieve his purpose. This work prepares students to complete Focusing Question Task 2 in Lesson 16.

Focusing Question 3: What strategies do people use to effect social change?

19 Language Students deconstruct a sentence from Malcolm Gladwell’s article “Small Change.” By focusing on sentence structure, students deepen their understanding of complex language. This work prepares students to understand an argument about social media’s effectiveness at creating social change in Lesson 19.

23 Reading Students closely read excerpts from the articles “Social Media Sparked, Accelerated Egypt’s Revolutionary Fire” and “Small Change.” They answer text-dependent questions to develop an understanding of the texts. This work prepares students to explain how two authors disagree on social media’s effectiveness at creating social change in Focusing Question Task 3 in Lesson 23.

Analyze the purpose and importance of prewriting in research writing.

Analyze a sentence from chapter 8 of Claudette Colvin: Twice Toward Justice

Rehearse a claim related to Focusing Question Task 2.

Analyze a sentence from the article “Small Change.”

Summarize the important ideas in excerpts from two informational articles.

Focusing Question 3: What strategies do people use to effect social change?

24 Speaking and Listening

Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing what they learned about justice from their Endof-Module Task research. This work prepares students to participate in a Socratic Seminar in Lesson 24.

Focusing Question 4: How do teens effect social change?

27 Writing Students examine evidence from multiple informative essays. They develop an understanding of the structure and purpose of evidence in an informative essay. This work prepares students to synthesize evidence in the End-of-Module Task in Lesson 27.

30 Speaking and Listening

Students orally process the content they have studied and rehearse sharing their ideas aloud. Students practice using academic language while discussing key points from their essays for the End-ofModule Task, which prepares them to give an oral presentation in an upcoming lesson.

Rehearse a response related to an upcoming Socratic Seminar.

Analyze the purpose and importance of evidence from multiple sources in communicating a single idea.

Rehearse a key point related to an upcoming presentation.

Talking Tool

Talking Tool

Share What You Think

I think because . In my opinion, I noticed that First, . Also, .

Support What You Say For example, . According to the author, In the text, . Another reason is .

Ask for More Information

What do you mean by ? What text evidence supports that idea?

Can you give an example?

How does that relate to ?

Build on Others’ Ideas

I hear you say that . That makes me think that I agree and I will add that . I disagree because . Have you thought about ?

PROLOGUE TO LESSON 2: AT A GLANCE

Focusing Question: What motivated Claudette Colvin?

SUMMARY

Students closely read an excerpt from Claudette Colvin: Twice Toward Justice . They answer text-dependent questions to develop an understanding of the text. This work prepares students to analyze the laws and social norms that enforced segregation on Montgomery’s buses in Lesson 2 .

LEARNING GOAL

Summarize the important ideas in an excerpt from Claudette Colvin: Twice Toward Justice .

✔ Explain why racial segregation in the Montgomery bus system was a form of injustice .

VOCABULARY

injustice (n ): unfair treatment; the quality of being unfair segregation (n .): the practice or policy of keeping people of different races, religions, etc ., separate from each other

MATERIALS

Claudette Colvin: Twice Toward Justice, Philip Hoose, Pages 4–5, 30 Prologue Glossary

Assess and activate prior knowledge by asking this question: “What do you notice and wonder about the photograph on page 30 of Claudette Colvin: Twice Toward Justice?”

Facilitate a brief discussion

Direct students to the words injustice and segregation in their Prologue Glossaries . Echo Read the words and then def ine them .

injustice (n ): unfair treatment; the quality of being unfair segregation (n .): the practice or policy of keeping people of different races, religions, etc ., separate from each other .

Tell students they will examine an excerpt from Claudette Colvin: Twice Toward Justice that connects riding the bus in Montgomery, Alabama, to the ideas of injustice and segregation

Introduce the Learning Goal: Summarize the important ideas in an excerpt from Claudette Colvin: Twice Toward Justice. Explain that this work prepares students to analyze the laws and social norms that enforced segregation on Montgomery’s buses .

20 MIN.

TEACHER NOTE

To provide context, play the video of “Claudette Colvin: The Original Rosa Parks,” which students will view in Lesson 6.

Direct students to page 3 of the text .

Tell students that chapter one explains Montgomery’s system of racial segregation and how it affected Claudette and the community of Montgomery. Emphasize that making sense of this system will help students understand what motivated Claudette to create social change .

Read aloud the chapter title: “Jim Crow and the Detested Number Ten ”

Explain that students will build their understanding of racial segregation by exploring the meaning of “Jim Crow” and the “Detested Number Ten ”

Direct students to the top of page 4. Read aloud the first sentence while inserting The before races .

Tell students that customs means “behaviors and actions that are done regularly by a group of people.” Emphasize that customs aren’t necessarily legal, correct, accepted, or done by everyone

Read aloud the last sentence of the first paragraph .

Tell students they will read the text box on the bottom of page 4 to learn more about why the system of racial segregation was called Jim Crow

Read aloud the text box on the bottom of page 4 .

Ask: “What information does the text box provide about Jim Crow?”

ƒ At first, Jim Crow was a common character in minstrel shows. Then it became the term to describe the whole system of racial segregation.

Pair students . Instruct them to discuss this question: “What is the purpose of a text box?”

ƒ A text box provides background information about something mentioned in the book.

ƒ A text box shows the reader that information is important.

ƒ A text box highlights information that is interesting.

Reinforce that the information in this text box is both interesting (provides the history of Jim Crow) and important (shows that Jim Crow represents the whole system of racial segregation)

TEACHER NOTE

Because students conduct research in this module, tell them that text boxes often include information worthy of further study. Explain that students could now research minstrel shows, for example.

Direct students to the last sentence of the text box. Emphasize that there was a “whole system of laws and customs that segregated Black and white Americans ”

Explain that students will focus on bus segregation to understand the effect it had on the lives of Black people .

Direct students to the last paragraph on page 4 .

Read aloud the first two sentences while students follow along

Ask: “Why does the author compare riding the bus to having a toothache?”

ƒ The author means that Black people’s experience of riding the bus was like having a pain, a “sore tooth,” that never goes away.

ƒ The pain is always there, just like the pain of riding the bus is there every day.

Read aloud the next sentence while students follow along

Ask: “Why did some Black people in Montgomery ride the bus?”

ƒ Some Black people worked for white people. The white people lived in neighborhoods that were far away from the neighborhoods where Black people lived, so the Black workers took the bus.

Reinforce that racial segregation often meant that Black people and white people lived in separate sections of a city or town

Read aloud the remainder of the paragraph while students follow along .

Pair students . Instruct them to discuss this question: “Why was the bus rule different from other segregation laws for Black people?”

ƒ Unlike other forms of segregation, riding the bus affected Black people every day.

ƒ Black people often lived far away from work or school, so they had to ride the bus.

Read aloud the next paragraph on page 5, beginning with “But everything . . . ”

Tell students humiliating means “making someone feel ashamed or embarrassed by lowering their self-respect ”

Ask: “Why was riding the bus humiliating for Black passengers?”

ƒ Black passengers got on the bus at the front to pay. But if there were any white people sitting on the bus, the Black passengers had to get off the bus and reenter through a door at the back.

ƒ White bus drivers sometimes drove away while Black passengers were still standing on the street.

ƒ The rules and customs on the bus, which were enforced by white people, did not treat Black passengers with respect.

Direct students to the last paragraph on page 5. Read aloud the first five sentences while students follow along

Reread aloud the second part of chapter one’s title: “the Detested Number Ten . ”

Tell students that detested means “hated . ”

Pair students Instruct them to discuss this question: “What does the ‘Number Ten’ refer to, and why is it ‘detested’?”

ƒ The passage says that the first four rows on the bus had 10 seats. Only white passengers were allowed to sit in the 10 seats. So “Number Ten” refers to the bus seats reserved for white people.

ƒ Black people couldn’t sit in the 10 seats even if they were empty. The number 10 was detested because it represented the segregation Black passengers experienced every day. They hated segregation and the ways it humiliated Black people.

SCAFFOLD

Create and display a diagram of the bus that shows the first four rows of 10 seats and clearly indicates how they were reserved for white passengers only.

Display this prompt: “Explain why racial segregation in the Montgomery bus system was a form of injustice . ”

Instruct students to Think–Pair–Share about the prompt. Tell students to review the definitions of injustice and segregation to inform their responses . Encourage students to refer to the photograph on page 30 to support their explanations

Give students one minute to silently think . Next form pairs and instruct students to discuss their ideas .

Then facilitate a whole group discussion

✔ Pairs explain why racial segregation in the Montgomery bus system was a form of injustice .

Listen for these essential understandings:

ƒ Racial segregation is a form of injustice because it is a system of rules and customs that treated Black people unfairly, and this included the Montgomery bus system.

ƒ Black and white passengers were separated on the bus.

ƒ Black passengers were treated unfairly because they had to follow rules that white passengers didn’t.

ƒ Black passengers were restricted to the back of the bus. They could not sit in the first four rows of seats even if they were empty because those 10 seats were only for white people.

PROLOGUE TO LESSON 5: AT A GLANCE

Focusing Question: What motivated Claudette Colvin?

SUMMARY

Students practice fluently reading an excerpt from Claudette Colvin: Twice Toward Justice . They answer text-dependent questions to develop an understanding of the text This work prepares students to develop a central idea about injustice in Lesson 5 .

LEARNING GOAL

Analyze how a sentence conveys a sense of justice in an excerpt from Claudette Colvin: Twice Toward Justice .

✔ Share a sentence that conveys how a sense of justice motivates Claudette to act .

VOCABULARY

justice (n ): the quality of being fair or just rebellion (n.): resistance or a fight against authority

MATERIALS

Prologue Glossary

Handout 5A: Fluency Homework

Display these sentences:

We can stop injustice if we take a stand .

It’s time for you to take a stand for the changes you want .

Claudette Colvin took a stand against segregation .

Assess and activate prior knowledge by asking this question: “What do you think it means to take a stand?”

Facilitate a brief discussion .

Explain that the idiom to take a stand means “to assert a strong opinion or defend one’s point of view or beliefs . ”

Explain that someone could take a stand against something, such as segregation, or a person could take a stand for something, such as justice Tell students that sometimes taking a stand is an act of rebellion

Direct students to the words justice and rebellion in their Prologue Glossaries . Echo Read the words and then def ine them .

justice (n ): the quality of being fair or just rebellion (n.): resistance or a fight against authority

Tell students they will examine an excerpt from Claudette Colvin: Twice Toward Justice that connects Claudette’s motivations to a sense of justice

Introduce the Learning Goal: Analyze how a sentence conveys a sense of justice in an excerpt from Claudette Colvin: Twice Toward Justice . Explain that this work prepares students to develop a central idea about injustice in an upcoming lesson .

20 MIN.

Direct students to Handout 5A. Explain that this excerpt is their first fluency passage for the module .

Explain that Claudette and three schoolmates were riding the bus home when the bus driver told them to give up their seats so a white woman could sit down Tell students the passage speaks from Claudette’s point of view and focuses on her response to the bus driver’s demand

Explain that students will read the passage to understand what motivated Claudette to act .

Read aloud the excerpt while students follow along. Model how to fluently read by emphasizing effective phrasing Repeat words students may need help pronouncing

Choral Read the first three sentences.

TEACHER NOTE

If students are ready, include additional Choral, Echo, or Partner Reads to support students’ practice with this fluency passage.

Ask: “Why was rebellion on Claudette’s mind?”

ƒ At school, her class had been discussing people who had taken stands. They were also studying the Constitution in Miss Nesbitt’s class.

ƒ Claudette had been thinking about people who stood up for their beliefs, which made her think about resisting authority such as the white people who enforced segregation.

SCAFFOLD Prompt students to review the definition of rebellion in their Prologue Glossaries.

Reread aloud the next three sentences while emphasizing the word knew .

Ask: “What did Claudette know?”

ƒ She had the right to keep her seat because she paid for her ride just like the white passengers did.

ƒ She knew her rights from studying the Constitution.

ƒ The bus rules said that a Black passenger didn’t have to move for a white passenger if there weren’t any empty seats left on the bus.

SCAFFOLD Ask these supporting questions: “What were Claudette’s rights? How did she know? What was the rule on the bus?”

Reread aloud the next sentence, emphasizing the words it and that .

Pair students . Instruct them to discuss this question: “What does this section mean? What do the words it and that refer to?”

ƒ It refers to Claudette thinking about rebellion.

ƒ That means Claudette wasn’t thinking about rebellion because the bus driver wasn’t following the rule.

SCAFFOLD

Remind students that the pronoun it is used to refer to something previously mentioned. Emphasize that sometimes it doesn’t refer to a specific word but refers to the gist of what was mentioned previously.

Reread aloud the last three sentences of the excerpt .

Tell students to turn and talk to a partner Ask: “What does this part tell you about why rebellion was on Claudette’s mind that day?”

ƒ Rebellion was on her mind because she shouldn’t be treated unfairly “just because [she’s] black.”

ƒ Her “lifetime of nasty experiences” motivated her to rebel. It’s not just knowing that laws were being broken. It’s the sense of injustice she experienced every day.

Instruct students to Think–Pair–Share: “Choose a sentence from the paragraph that best conveys how a sense of justice motivates Claudette to act ”

Tell students to review the definition of justice to inform their responses .

Give students one minute to silently think . Next form pairs and instruct students to discuss their ideas

Facilitate a whole group discussion .

✔ Pairs share a sentence that conveys how a sense of justice motivates Claudette to act .

To encourage students to practice using this lesson’s vocabulary terms, model a response with this sentence frame: The text shows that a sense of justice motivated Claudette because .

PROLOGUE TO LESSON 8: AT A GLANCE

Focusing Question: What motivated Claudette Colvin?

SUMMARY

Students examine an evaluative statement for an informative essay . They develop an understanding of the structure and purpose of an evaluative statement This work prepares them to write an evaluative statement in the Focusing Question Task in Lesson 8 .

LEARNING GOAL

Analyze the purpose and structure of an evaluative statement in informative writing .

✔ Think–Pair–Share: “Why is it important to write an evaluative statement in informative writing?”

VOCABULARY

evaluative (adj ): judging the value or importance of something

MATERIALS

Claudette Colvin: Twice Toward Justice, Philip Hoose, Page 30

Prologue Glossary

Prologue Handout 8A: Evaluation of Mediums

Assess and activate prior knowledge by asking this question: “What are the advantages and disadvantages of learning about a topic by looking at photographs?”

Explain that advantages are good parts and disadvantages are bad parts Tell students they may hear advantages referred to as pros and disadvantages referred to as cons Facilitate a brief discussion .

Remind students that they have learned about Claudette Colvin through photographs, a video, and a print text and that each medium, or format, has advantages and disadvantages

Tell students that one way to evaluate a topic in informative writing is by considering its advantages and disadvantages. Explain that an evaluative statement presents the writer’s final judgment on an idea or issue .

Direct students to the word evaluative in their Prologue Glossaries . Echo Read the word and then define it .

evaluative (adj .): judging the value or importance of something

Introduce the Learning Goal: Analyze the purpose and structure of an evaluative statement in informative writing .

Tell students they will write evaluative statements to judge the advantages and disadvantages of using photography to understand Claudette’s motivation to create social change Explain that this work prepares students to evaluate the value of different mediums in an upcoming Focusing Question Task .

Learn

20 MIN.

Remind students that they have evaluated the usefulness of video and text in understanding Claudette’s experience of being arrested

TEACHER NOTE

Students completed this work in Handout 6A: Evaluation of Mediums.

Tell students they will now continue this work by evaluating the use of photography to understand Claudette’s motivation to create social change

Direct students to the photograph on page 30 of Claudette Colvin: Twice Toward Justice .

Tell students they will evaluate the photo by using the same criteria they used with the video and text

Direct students to Prologue Handout 8A . Display a copy of the handout .

Direct students to the first row of the chart. Read aloud the category heading “Engagement” and the Criterion Statement: “The medium makes me interested in what motivated Claudette to create change . ”

Direct students to the third column. Explain that they will first choose the rating that best represents their response to each Criterion Statement, and then they will record a brief rationale that supports their rating

Tell students that ratings of 1 and 2 identify advantages of photography as a medium and ratings of 4 and 5 identify disadvantages .

Model how to complete the third column for the Engagement Criterion Statement: “I strongly agree that this medium makes me interested in what motivated Claudette to create change because the photograph shows a segregated bus . This helps me envision what Claudette’s experience riding the bus might have been like . ”

Next model how to complete a response for the Understanding Criterion Statement: “I disagree with the statement that the medium provides a comprehensive, or complete, understanding of what motivated Claudette to act because the photograph doesn’t show what she was thinking . ”

Record your ratings and responses in the appropriate boxes on the displayed handout

Pair students . Instruct pairs to discuss the Criterion Statements and to record a rating and a brief rationale for each one. Emphasize that while their discussion will help them formulate their ideas, partners do not have to agree on the rating .

SCAFFOLD

Read aloud the remaining categories and Criterion Statements while clarifying any unfamiliar words.

Give pairs seven minutes to complete the chart .

Guide students through the Value Line-Up routine to discuss this statement: “The photograph is an effective medium to communicate Claudette’s motivations . ”

Display the words Agree and Disagree at opposite sides of the classroom or space .

Give students one minute to silently review their ratings and to think about the extent to which they agree or disagree with the statement .

Then instruct students to move to or otherwise indicate a position along the line that best represents how strongly they agree or disagree with the statement

Once each student takes a position, pair students who agree with students who disagree . Instruct students to discuss how strongly they agree or disagree with the statement and why .

Then facilitate a discussion, and invite volunteers to share their reasoning

Direct students to Part 2 of Prologue Handout 8A . Read aloud the sentence frames .

Lead students in collaboratively writing an evaluative statement that reflects the most popular final judgment on the Value Line-Up

Emphasize that the evaluative statement consists of the first sentence, which acknowledges the position the writer does not take, and the second sentence, which presents the writer’s final judgment

Record an evaluative statement on the displayed handout:

It is true that the photograph does not show what Claudette is thinking . (disadvantage)

Overall, however, the photograph effectively communicates Claudette’s motivations to create social change because it shows how people were segregated while riding the bus, which helps me envision Claudette’s experience as a Black passenger . (advantage)

If time allows, lead students in writing an evaluative statement that uses the other set of sentence frames

✔ Instruct students to Think-Pair-Share: “Why is it important to write an evaluative statement in informative writing?”

Give students one minute to silently think . Next form pairs and instruct students to discuss their ideas

Then facilitate a whole group discussion .

Reinforce that an evaluative statement summarizes the writer’s final judgment about something and demonstrates that the writer has considered the pros and cons Explain that an evaluative statement helps the reader understand how the writer determined something’s value or importance .

PROLOGUE TO LESSON 9: AT A GLANCE

Focusing Question: What motivated Claudette Colvin?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing why Claudette refused to give up her seat on the bus, which prepares them to participate in a Socratic Seminar in Lesson 9 .

LEARNING GOAL

Rehearse a claim related to an upcoming Socratic Seminar .

✔ Share a claim about why Claudette refused to give up her seat on the bus and provide evidence .

VOCABULARY

justice (n ): the quality of being fair or just injustice (n .): unfair treatment; the quality of being unfair segregation (n .): the practice or policy of keeping people of different races, religions, etc ., separate from each other

MATERIALS

Claudette Colvin: Twice Toward Justice, Philip Hoose, Chapters 1–4

Prologue Glossary

Prologue Handout 9A: Claudette’s Motivations

Assess and activate prior knowledge by asking this question: “Why did Claudette Colvin refuse to give up her seat on the bus?”

Facilitate a brief discussion

Emphasize that many factors motivated Claudette to take a stand against this example of injustice .

Direct students to the words justice, injustice, and segregation in their Prologue Glossaries Echo Read the words and then def ine them .

justice (n .): the quality of being fair or just injustice (n .): unfair treatment; the quality of being unfair segregation (n ): the practice or policy of keeping people of different races, religions, etc , separate from each other

Ask: “Is segregation an example of justice or injustice?” ƒ injustice

Explain that students will examine evidence from Claudette Colvin: Twice Toward Justice to make a claim about why Claudette refused to give up her seat on the bus Tell students they will connect her motivations to ideas of justice, injustice, and segregation

Introduce the Learning Goal: Rehearse a claim for an upcoming Socratic Seminar . Explain that participating in discussions and using evidence will help students better understand Claudette’s motivations to take a stand

Learn

20 MIN.

Direct students to Prologue Handout 9A . Display the handout .

Explain that students will prepare for the upcoming Socratic Seminar by gathering evidence for three of Claudette’s motivations in Claudette Colvin: Twice Toward Justice .

Direct students to Part 1 of the handout .

Read aloud each motivation and the bullet point explanations. Emphasize connections between students’ ideas from Launch and the three types of motivations

Direct students to the first row on the handout. Model how to complete the handout by filling in the Experiences row .

Explain that because both positive and negative experiences could have motivated Claudette to take a stand, it makes sense to give an example of each type

Model how to provide an example of a negative experience: “Claudette experienced segregation and racism when the optometrist made her return at the end of the day so no white people would have to sit in the waiting room chair after Claudette ” Tell students that after the example you will include a parenthetical citation with the author’s name and the page number 17, which is where the event is described . Record your example in the Evidence box on the displayed handout .

Next model how to provide an example of a positive experience: “Claudette supports Jeremiah Reeves by going to rallies, writing him letters, and collecting money for his defense That information is from page 24 ” Record your example in the Evidence box on the displayed handout

Pair students and instruct them to find one additional example of an experience that motivated Claudette . Prompt pairs to review their Launch responses for evidence .

ƒ Positive: Claudette learns about Black history in school, which makes her proud (Hoose 27–29).

ƒ Negative: She can shop in white-owned stores but isn’t allowed to try on clothes before buying them (Hoose 17).

Direct students to the second row of the handout . Tell students that Claudette discusses role models in chapter 3 . Remind students that role models can be from the present or past, or from history .

Pair students Instruct them to discuss these questions: “What person from history does Claudette identify as a role model? Why is the person a role model?”

Prompt students to refer to chapter 3 as they complete the second row .

ƒ Harriett Tubman is a role model. Claudette admires her courage and her fight for Black people’s freedom (Hoose 28).

SCAFFOLD

Direct students to page 28 and instruct them to find an example of a role model from the past on this page.

Direct pairs to the third row. Emphasize that this row asks students to identify aspects of Claudette’s personality or sense of self that motivate her to create change

Give pairs two minutes to identify an example . Facilitate a brief discussion of responses .

ƒ Claudette is inquisitive (12). She is always asking questions about why things are the way they are.

ƒ Claudette is angry about segregation. For example, she says that white store owners would take Black people’s money, but they wouldn’t let them try on clothes before buying them (17). She turns that anger into action (26).

ƒ Claudette is a good student, and she is confident about knowing her rights (32).

Instruct students to record their peers’ findings in their own charts .

Direct students to Part 2 of Prologue Handout 9A .

Explain that students will now connect one of Claudette’s motivations to the idea of justice, injustice, or segregation . Tell students they will do this to make a claim about why she took a stand, and then they will support the claim with evidence .

Remind students that to take a stand means “to assert a strong opinion or defend one’s point of view or beliefs ”

Reinforce that someone could take a stand for something, such as justice, or a person could take a stand against something, such as segregation .

Read aloud the directions and sentence frames for Part 2 .

Model how to complete Part 2: “Personal qualities motivated Claudette to take a stand against injustice. She refused to give up her seat on the bus because she was confident that she had the same rights as white people ”

Give students three minutes to complete Part 2 .

Invite students to practice reading their claim and evidence to a partner or teacher before presenting the claim and evidence to the group.

Land

Tell students they will now share their observations with the whole group .

✔ Students share a claim and evidence about why Claudette refused to give up her seat on the bus .

If time allows, instruct students to compare their responses with their peers’ .

PROLOGUE TO LESSON 11: AT A GLANCE

Focusing Question: What role did Claudette Colvin and others play in the Civil Rights Movement?

SUMMARY

Students experiment with mind maps . They develop an understanding of the structure and purpose of prewriting in research writing . This work prepares them to identify a research topic and generate research questions in Lesson 11 .

LEARNING GOAL

Analyze the purpose and importance of prewriting in research writing

✔ Think–Pair–Share: “Why is prewriting important when beginning a research project?”

VOCABULARY

None

MATERIALS

Prologue Handout 11A: Research Prewriting—Brainstorming Social Issues

Sticky notes

Display and read aloud these sentences:

“Our library isn’t accessible to people using wheelchairs . ”

“I’ve read all the interesting books at our library . ”

Assess and activate prior knowledge by asking these questions: “Which sentence describes a social issue, or problem, and which one describes a personal issue? How do you know?”

Facilitate a brief discussion .

Reinforce that the first sentence describes a social issue because the issue of unequal access to the library affects many people . Tell students that the second sentence describes a personal issue because it only affects one person Explain that the personal issue can be solved more easily because the person could ask the librarian for book recommendations, but the social issue takes more effort and people to solve .

TEACHER NOTE

Tell students that the Americans with Disabilities Act was passed in the United States in 1990. The law increased access and opportunities across community life for people with disabilities. As a result, public institutions, such as libraries, were required to be accessible. So this social issue was addressed by collective action and a federal law.

Introduce the Learning Goal: Analyze the purpose and importance of prewriting in research writing .

Explain that this work prepares students to identify a research topic and generate research questions in Lesson 11

Learn

20 MIN.

Tell students that prewriting is the first phase of writing and can generate many ideas and approaches for a writing task . Explain that prewriting is often informal so writers can jot notes or questions or create an outline, a list, or a diagram .

Tell students that they will create a diagram called a mind map as prewriting for the research project for the End-of-Module Task

Direct students to Prologue Handout 11A . Display the handout . Tell students that the diagrams on the handout are mind maps to help students brainstorm social issues they could research .

Remind students that social issues, such as segregation, affect entire communities and require many people and even laws to solve

Highlight that the handout has four mind maps related to different categories of social life— education, environment, health, and identity . As needed, explain each category, such as health as physical or mental well-being or identity as the factors that shape someone’s sense of self

Ask: “Which of these categories do you feel strongly about? Which one are you interested in exploring?”

Give students one minute to choose a category

Form pairs or small groups based on similar interests . Instruct students to work together to brainstorm social issues related to their chosen category .

Display these sentence starters and prompt students to complete one or both to stimulate their thinking:

When I look at the problems with [category], I see people concerned about . . .

When I notice the challenges with [category], I want to change

Give students five minutes to brainstorm social issues .

SCAFFOLD Students may focus on personal issues and need support expanding the idea to a social issue. Ask: “How might this affect other people?”

Lead students through a Gallery Walk of the mind maps Instruct students to display their mind maps around the room and to observe their peers’ mind maps . Tell students to record any additional ideas or questions on a sticky note and to place the note on the mind map .

After the Gallery Walk, highlight one or two effective examples from the mind maps .

Ask: “Have your interests changed or expanded after observing your peers’ mind maps? What additional categories or issues interest you now?”

Land

5 MIN.

✔ Instruct students to Think–Pair–Share: “Why is prewriting important when beginning a research project?”

Give students one minute to silently think . Next form pairs and instruct them to discuss their ideas . Then facilitate a whole group discussion .

Listen for these essential understandings:

ƒ The purpose of prewriting is to brainstorm ideas. Prewriting helps you find many options rather than decide your topic right at the start.

ƒ Prewriting is informal and creative. It allows you to just focus on thinking.

ƒ Prewriting helps expand your thinking. You can discover new interests.

ƒ Prewriting provides a backup if your first research idea doesn’t work out.

PROLOGUE TO LESSON 13: AT A GLANCE

Focusing Question: What role did Claudette Colvin and others play in the Civil Rights Movement?

SUMMARY

Students deconstruct a sentence from chapter 8 of Claudette Colvin: Twice Toward Justice . By focusing on word choice and sentence structure, students deepen their understanding of complex language . This work prepares students to explain how and why Black leaders changed their strategy for fighting segregated buses in Lesson 13

LEARNING GOAL

Analyze a sentence from chapter 8 of Claudette Colvin: Twice Toward Justice .

✔ Think–Pair–Share: “What strategy shift does Fred Gray suggest to challenge the segregation of Montgomery buses?”

VOCABULARY

reform (n ): an action meant to improve something strategy (n .): a careful plan or method for achieving a particular goal

MATERIALS

Claudette Colvin: Twice Toward Justice, Philip Hoose, Page 81 Prologue Glossary

Prologue Handout 13A: Excerpt from Claudette Colvin: Twice Toward Justice

Display this social issue and possible solutions:

Birds in the park are getting sick from eating plastic bags discarded by customers of a nearby grocery store

Solution 1: Put more trash barrels in the park

Solution 2: Stop using plastic bags at the grocery store

Assess and activate prior knowledge by asking this question: “What’s the difference between these two solutions?”

Facilitate a brief discussion .

Emphasize that the first solution tries to improve the situation by hoping that providing more trash barrels will make people change their behavior, while the second solution also tries to improve the situation and eliminates the root cause of the problem by discontinuing the use of plastic bags .

Direct students to the words reform and strategy in their Prologue Glossaries Echo Read the words and then def ine them .

reform (n .): an action meant to improve something strategy (n ): a careful plan or method for achieving a particular goal

Explain that students will examine Black activists’ use of reforms and other strategies to challenge segregated buses .

Introduce the Learning Goal: Analyze a sentence from chapter 8 of Claudette Colvin: Twice Toward Justice

Tell students this work prepares them to explain how and why Black leaders changed their strategy for fighting segregated buses in Lesson 13 .

20 MIN.

Tell students that chapter 8 explains the different strategies the Black community used to challenge Montgomery’s segregated buses. Explain that the Black community organized a peaceful bus boycott that they hoped would apply enough economic pressure to create change .

Direct students to the top of page 81 in the text. Read aloud the second sentence of the first paragraph as students follow along

Tell students that Fred Gray, the Black lawyer who represented Claudette in court, was one person who had doubts .

Explain that students will examine an excerpt describing Fred Gray’s perspective on how to challenge segregation

Direct students to Prologue Handout 13A . Display the handout .

Read aloud the excerpt

Reread aloud the first three lines. Tell students that modest means “small in size or number . ”

Instruct students to review the definition of reform in their Prologue Glossaries . Ask: “What’s another way to say modest reforms?”

ƒ small improvements

Ask: “Why are changes in the bus’s seating patterns and more courteous behavior from bus drivers examples of modest reforms?”

ƒ These two changes would make small improvements on segregated buses.

Direct attention to the phrase “Instead of . ”

Ask: “Do you think Fred Gray supports these modest reforms? Why or why not?”

ƒ He doesn’t support them because instead of implies that you should do something else.

Pair students. Instruct them to review the definition of strategy in their Prologue Glossaries

Instruct pairs to discuss this question: “Why might Fred Gray doubt these modest reforms are a strategy to create social change?”

ƒ Modest reforms would only make small improvements to the current situation. Black people might be able to sit in different areas of the bus, and some drivers might improve their behavior, but the buses would still be segregated.

ƒ Segregation would still exist, so these reforms wouldn’t really change the lives of Black citizens.

Reread aloud the last two lines .

Ask: “What is Fred Gray’s idea in this part?”

ƒ His idea is that Black activists should go to court to try to destroy segregation laws completely.

Underline the last two lines and emphasize that this shorter version of the sentence does the job of telling the reader Fred Gray’s perspective on how to challenge segregation

Pair students . Direct them to the introductory clause . Instruct them to discuss this question: “How does this phrase add to your understanding of Fred Gray’s perspective?”

ƒ The introductory phrase provides elaboration. It adds to my understanding of Fred Gray’s perspective by describing how his perspective has changed.

ƒ The introductory phrase shows readers that there are two conflicting options, and Fred Gray is making a choice to do one thing and not the other thing.

ƒ The introductory phrase emphasizes the importance of Fred Gray’s new perspective. Fred Gray no longer wants to politely wait for small changes. Instead, he wants to take action to obliterate, or completely destroy, segregation.

Reinforce that an introductory phrase beginning with “Instead of” effectively communicates contrasting or contradictory information. Emphasize that the contrast can help the reader understand the impact of the information in the rest of the sentence .

✔ Instruct students to Think–Pair–Share: “What strategy shift does Fred Gray suggest to challenge the segregation of Montgomery buses?”

Instruct students to use this sentence frame to answer the question:

Instead of , Fred Gray suggests that .

Give students one minute to silently think Next form pairs and instruct students to discuss their ideas .

Then facilitate a whole group discussion . Listen for these essential understandings:

ƒ Instead of asking for small improvements, Fred Gray suggests that they try to obliterate, or completely destroy, segregation laws in court. .

ƒ Instead of trying to change Black people’s experiences of segregation, Fred Gray suggests that they take action to eliminate segregation entirely.

PROLOGUE TO LESSON 16: AT A GLANCE

Focusing Question: What role did Claudette Colvin and others play in the Civil Rights Movement?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing Phillip Hoose’s purpose for writing Claudette Colvin: Twice Toward Justice and the main points he makes to achieve his purpose . This work prepares students to complete Focusing Question Task 2 in Lesson 16

LEARNING GOAL

Rehearse a claim related to Focusing Question Task 2 .

✔ Explain how one of Phillip Hoose’s main points illustrates Claudette Colvin’s historical importance in the Civil Rights Movement .

VOCABULARY

None

MATERIALS

Claudette Colvin: Twice Toward Justice, Philip Hoose

Prologue Glossary

Prologue Handout 16A: Author’s Purpose and Main Points

Assess and activate background knowledge by asking this question: “Why do you think Phillip Hoose write a book about Claudette Colvin?”

Facilitate a brief discussion Listen for these essential understandings:

ƒ Claudette Colvin fought for justice as a teenager during the Civil Rights Movement, but not many people know about what she did.

ƒ Claudette Colvin was the first person to refuse to give up her seat on the bus, but many people think Rosa Parks was.

ƒ Claudette Colvin was brave and determined, but not many people know how she contributed to social change.

ƒ Phillip Hoose wants people to know about Claudette Colvin’s role in the fight against segregation.

TEACHER NOTE

If students don’t mention the lack of acknowledgment of Claudette’s contributions, ask a follow-up question: “Why did Hoose choose to write about Claudette Colvin and not Rosa Parks?”

Tell students the word inform means “to give information to someone ”

Reinforce that Phillip Hoose wants to inform people about Claudette’s overlooked contributions . Explain that overlooked means “ignored or not noticed . ” Highlight the word parts over and look . Model how to determine the meaning of overlooked by acting out the gesture of looking over, or ignoring, something

Explain that students will continue to explore Hoose’s purpose for writing Claudette Colvin: Twice Toward Justice . Tell students they will identify the main points Hoose makes to achieve his purpose .

Introduce the Learning Goal: Rehearse a claim related to Focusing Question Task 2 . Explain that participating in discussions and using evidence will help students better understand Hoose’s purpose and his main points in Claudette Colvin: Twice Toward Justice .

Direct students to Prologue Handout 16A . Display the handout .

Read aloud the Purpose statement sentence frame .

Tell students that the purpose statement provides the gist of why Phillip Hoose wrote the book .

Remind students that they have already determined that Hoose wants to inform readers about Claudette Colvin’s overlooked contributions .

Ask: “What specific social change does Claudette contribute to?”

ƒ fighting segregation

ƒ the Civil Rights Movement

Display the term historical importance. Tell students it means “the significance of a person’s actions in the events of the past . ”

Ask: “Why might we use the term historical importance rather than contributions to describe Hoose’s purpose in writing about Claudette’s role in the Civil Rights Movement?”

ƒ Historical importance emphasizes that Hoose wants Claudette to be known as part of history.

ƒ Historical importance shows that Claudette’s actions created social change that may not have happened without her.

Model how to complete the Purpose statement sentence frame by using students’ responses: “Phillip Hoose’s purpose for writing Claudette Colvin: Twice Toward Justice is to inform readers about Claudette Colvin’s overlooked historical importance in the Civil Rights Movement . ”

Record the response on the displayed copy of Prologue Handout 16A .

Instruct students to complete the sentence frame on their handouts

Explain that students will now identify three main points Hoose makes to achieve his purpose .

Direct students to the chart on Prologue Handout 16A

Read aloud the question in the first row of the chart: “What main points does Hoose include to achieve his purpose?”

Direct attention to the relevant parts of the chart as you explain that the chart identifies three sections of the book Tell students they will scan each section to identify what Hoose informs readers about in that section

Direct students to the first row of the chart. Instruct students to scan, or quickly look through, chapters 1–3 to identify the main point of this section of the book .

Pair students. Instruct them to discuss these questions: “How would you summarize the main point of this section? What does Hoose inform readers about?”

ƒ Hoose informs readers about the Black community’s experiences of Jim Crow in Alabama during the 1940s and 1950s. He shows what motivated Claudette to take a stand against segregation.

SCAFFOLD

Ask supporting questions: “Does this section describe Claudette’s actions on the bus, or does it describe a time before she takes a stand? What do you learn about Claudette in this section?” Alternatively, model how to complete this step.

Record responses in row one of the chart .

Assign half the pairs chapters 4 and 5 and half chapters 8 and 9 . Instruct pairs to scan their assigned section and answer the question in column 2

Emphasize that students should summarize the section’s main point rather than identify specific details .

Facilitate a brief discussion Listen for these essential understandings:

ƒ In chapters 4 and 5, Hoose informs readers about Claudette’s refusal to give up her seat on the bus and about her arrest.

ƒ In chapters 8 and 9, Hoose informs readers about Claudette’s testimony in the federal court case Browder v. Gayle.

Ask: “What does twice refer to in the book’s subtitle Twice Toward Justice ?” Remind students that twice means “two times” and prompt them to consider how Claudette acted toward justice two different times.

Record responses in the appropriate boxes on the displayed copy of Prologue Handout 16A .

Tell students they will explain how the main points listed in column two help achieve Hoose’s purpose .

Direct students to column three . Read aloud the question: “How does this point help show Claudette’s historical importance in the Civil Rights Movement?”

Model how to complete row 1 . Explain that informing readers about Claudette’s experiences and motivations helps show how she was knowledgeable about social injustice and how she pushed to create change. Emphasize that the section doesn’t inform readers about specific actions but provides background on why Claudette later took the actions she did

Record responses in the appropriate box of row one .

Instruct pairs to Think–Pair–Share to answer the question in column three .

Instruct pairs assigned to chapters 4 and 5 to answer this question: “How does describing Claudette’s refusal to give up her seat on the bus and her arrest help show Claudette’s role in the Civil Rights Movement?”

Instruct pairs assigned to chapters 8 and 9 to answer this question: “How does describing Claudette’s testimony in the Browder v . Gayle court case help show Claudette’s role in the Civil Rights Movement?”

Give pairs four minutes to discuss their ideas

Land

5 MIN.

Tell students they will now share their observations with the whole group

✔ Pairs explain how one of Phillip Hoose’s main points illustrates Claudette Colvin’s historical importance in the Civil Rights Movement .

Prompt students to add notes to Prologue Handout 16A as they listen to responses .

For pairs assigned to chapters 4 and 5, listen for these essential understandings:

ƒ Claudette refused to give up her seat on the bus before Rosa Parks took the same action.

ƒ Claudette was the first person to plead not guilty to breaking a segregation law.

For pairs assigned to chapters 8 and 9, listen for these essential understandings:

ƒ Claudette was described as “a star witness.”

ƒ Claudette’s testimony contributed to the ruling that discrimination on buses violated the Fourteenth Amendment.

TEACHER NOTE

Tell students about a recent development in Claudette Colvin’s historical importance: In December 2021, when Claudette was 82 years old, her criminal record for assaulting a police officer while being arrested was finally destroyed.

PROLOGUE TO LESSON 19: AT A GLANCE

Focusing Question: What strategies do people use to effect social change?

SUMMARY

Students deconstruct a sentence from Malcolm Gladwell’s article “Small Change . ” By focusing on sentence structure, students deepen their understanding of complex language This work prepares students to understand an argument about social media’s effectiveness at creating social change in Lesson 19 .

LEARNING GOAL

Analyze a sentence from the article “Small Change . ”

✔ Think–Pair–Share: “How did the use of social media upend the relationship between the government and the people?”

VOCABULARY

strategy (n .): a careful plan or method for achieving a particular goal

MATERIALS

Prologue Glossary

Prologue Handout 19A: Excerpt from “Small Change”

Two note cards

Pair students .

Assess and activate prior knowledge by asking this question: “What strategies did Black people in Montgomery, Alabama, use to create social change in Claudette Colvin: Twice Toward Justice?”

Facilitate a brief discussion . Listen for these essential understandings:

ƒ Black people in Montgomery, Alabama, refused to give up their seats to white people on segregated buses.

ƒ They organized a bus boycott.

ƒ They brought a case to federal court.

ƒ They wrote letters, went to rallies, and raised money for Jeremiah Reeves.

Direct students to the word strategy in their Prologue Glossaries . Echo Read the word and then define it .

strategy (n ): a careful plan or method for achieving a particular goal

Emphasize that Black people used all the strategies above to challenge and overturn segregation laws .

Explain that in upcoming lessons students will examine a strategy that didn’t exist during the time of Claudette Colvin: Twice Toward Justice—the use of social media, such as Facebook and Twitter, to create social change .

Introduce the Learning Goal: Analyze a sentence from the article “Small Change . ”

Tell students this work prepares them to understand an argument about social media’s effectiveness at creating social change in Lesson 19 .

Learn

20 MIN.

Direct students to Prologue Handout 19A . Display the handout .

Explain that the sentence comes from Malcolm Gladwell’s article “Small Change,” which provides a perspective on social media as a strategy for social change . Explain that students will read this article in Lesson 19. Emphasize that the sentence on Prologue Handout 19A is included in students’ next fluency passage, which they will receive in Lesson 19 .

Instruct students to listen for how you use the commas to guide your phrasing as you read aloud the sentence

Read aloud the sentence. Model how to fluently read by using punctuation to emphasize phrasing .

Circle all the commas in the displayed copy of the handout . Tell students the commas perform two functions in the sentence Direct attention to the relevant commas as you explain that commas offset the sentence’s main clause and separate items in a list at the end of the sentence

Explain that when students encounter a complex sentence with several parts, it can help to first unpack the main clause because it often contains the gist of the sentence’s meaning .

SCAFFOLD

Tell students that they can identify the main clause by finding the part of the sentence that contains the subject and the verb. Explain that they can read the parts of the sentence divided by commas, and if a part wouldn’t make sense as its own sentence, then it’s not the main clause.

Underline and reread aloud the main clause: “the traditional relationship between political authority and popular will has been upended . ” Instruct students to underline the clause on the handout

Tell students that authority means “power” and political authority means “the government . ”

Explain that the word will functions as a noun in this sentence and means “a strong desire to do something ” Tell students the phrase popular will means “the popular desire to do something ”

Ask: “If political authority refers to the government, who do you think the phrase popular will might refer to?”

ƒ If something is popular, it’s liked by a lot of people. So maybe popular will refers to all the people who aren’t in the government.

ƒ Popular will refers to the people in society.

Reinforce that the phrase popular will means the strong desire of the people .

Display one note card with the phrase political authority (government) and another with the phrase popular will (people’s desire).

Direct attention to the phrase traditional relationship in the main clause .

Pair students . Instruct pairs to discuss these questions: “How would you arrange the two note cards—side by side or one above the other—to show the traditional, or usual, relationship between political authority and popular will? Why?”

ƒ We would put the note card with political authority (government) above the note card with popular will (people’s desire). Authority means “power,” so the traditional relationship is that the government has the power over the people. The people may want something, but the government is in charge.

SCAFFOLD Prompt pairs to review the meaning of authority on Prologue Handout 19A.

Reread aloud the main clause and tell students that upended means “turned upside down . ”

Ask: “Based on the main clause, how would you arrange the note cards now? Why?”

ƒ To show that the relationship has been upended, we would reverse the note cards so the people have power over the government. The usual relationship between the government’s power and the people’s desire has been turned upside down, meaning that the people are getting what they want.

Now instruct pairs to discuss this question: “In Claudette Colvin: Twice Toward Justice, where was an example of the traditional relationship between political authority and popular will being upended?”

Prompt students to review their Launch responses .

ƒ When the plaintiffs won the federal court case Browder v. Gayle, they upended, or turned upside down, the usual relationship between Black people and segregation laws. Before the case, Montgomery segregation laws had the power. But with the victory, Black people’s will to end segregation gained power over Montgomery segregation laws, which were ruled as violating the Constitution.

Reinforce that the federal court case caused the relationship between the Montgomery government and the Black community to be upended .

Direct students to the opening phrase of the sentence on Prologue Handout 19A .

Read aloud the phrase and main clause: “With Facebook and Twitter and the like, the traditional relationship between political authority and popular will has been upended . ”

Tell students the phrase and the like means “other similar things . ”

Ask: “In this instance, what caused the relationship between the government and the people to be upended?”

ƒ Facebook, Twitter, and other forms of social media

Direct students to the last phrase of the sentence and reread it aloud .

Emphasize that the commas offset items in a list

Instruct students to Think–Pair–Share: “What did the use of social media allow the people to do?”

Give students three minutes to silently think . Next form pairs and instruct students to discuss their ideas

SCAFFOLD

Ask supporting questions: “Who does the powerless refer to? How does it help you understand what has changed?”

SCAFFOLD

Provide this sentence frame: The use of social media upended the relationship between the government and the people by

✔ Instruct students to Think–Pair–Share: “How did the use of social media upend the relationship between the government and the people?”

Facilitate a whole group discussion

ƒ The use of social media upended the relationship between the government and the people by making it easier for the powerless, or the people in society, to work together, plan, and share their concerns.

PROLOGUE TO LESSON 23: AT A GLANCE

Focusing Question: What strategies do people use to effect social change?

SUMMARY

Students closely read excerpts from the articles “Social Media Sparked, Accelerated Egypt’s Revolutionary Fire” and “Small Change ” They answer text-dependent questions to develop an understanding of the texts This work prepares students to explain how two authors disagree on social media’s effectiveness at creating social change in Focusing Question Task 3 in Lesson 23 .

LEARNING GOAL

Summarize the important ideas in excerpts from two informational articles .

✔ Explain two authors’ interpretations on social media’s effectiveness as a strategy for social change

VOCABULARY

strategy (n .): a careful plan or method for achieving a particular goal

MATERIALS

Prologue Handout 23A: Excerpts from “Social Media Sparked, Accelerated Egypt’s Revolutionary Fire,” Sam Gustin and from “Small Change,” Malcolm Gladwell

Prologue Glossary

Assess and activate prior knowledge by asking this question: “Does using social media increase or decrease people’s connections with one another? Why?”

Facilitate a brief discussion

Direct students to the word strategy in their Prologue Glossaries . Echo Read the word and then define it .

strategy (n ): a careful plan or method for achieving a particular goal

Tell students they will examine excerpts from two articles they have read to determine the authors’ interpretations of social media’s effectiveness as a strategy for social change .

Introduce the Learning Goal: Summarize the important ideas in excerpts from two informational articles .

Explain that this work prepares students to analyze the authors’ arguments about social media’s role in effecting social change in Focusing Question Task 3 .

20 MIN.

Direct students to Prologue Handout 23A Display the handout

Remind students that they have studied two articles about the use of social media as a strategy for social change .

Direct attention to Part 1. Tell students that this excerpt comes from the first article, which focuses on the use of social media in the Egyptian revolution that took place in 2011 .

Read aloud the excerpt .

Echo Read the first part: “Did social media [such as] Facebook and Twitter cause the revolution? No . But these tools did speed up the process . ”

Ask: “What is the gist of this part?”

ƒ Social media didn’t make Egypt’s revolution happen, but using Facebook and Twitter made the revolution happen faster.

Reread aloud the full sentence, beginning with “But these tools . . .” Emphasize “by helping to organize the revolutionaries, transmit their message to the world, and galvanize international support ”

Tell students that transmit means “send . ” Explain that galvanize means “to make people become so excited or concerned about an issue that they want to do something about it . ”

SCAFFOLD Model how to use galvanize in a sentence: “The student’s speech about the need for musical instruments galvanized the school board.”

Ask: “What are the three ways social media helped make the revolution happen faster?”

ƒ Social media helped the revolutionaries organize.

ƒ Social media spread the revolutionaries’ message to the world.

ƒ Social media made people who didn’t live in Egypt enthusiastic about supporting the revolution.

Ask: “Why might social media be a helpful tool for organizing people involved in the revolution?”

ƒ Social media can help connect people who don’t know each other.

ƒ People can use social media to communicate virtually when they don’t live near each other or can’t be in the same place at the same time.

Pair students. Instruct them to discuss this question: “How did social media galvanize international support?”

ƒ Revolutionaries used social media to transmit, or send, their message to people all over the world. When people in different countries heard their message, they became concerned about the revolutionaries’ issues and wanted to help.

SCAFFOLD

Explain that international support means “support from people outside of the country where the revolution is taking place.”

Instruct students to write in the handout’s Analysis column a one-sentence summary of Gustin’s argument about social media

Direct students to Part 2 of Prologue Handout 23A . Read aloud the excerpt .

Tell students the phrase weak ties in the first sentence means “a weak connection or relationship . ”

Remind students that Gladwell defines strong-tie activism as activism in which the participants have deep personal connections with one another .

Ask: “Why do you think Gladwell says social media is built around weak ties?”

ƒ He says this because people interact online rather than in person, and they may be strangers or not have deep connections with each other.

Reinforce that Gladwell argues that people connected online don’t have strong personal connections with one another .

Echo Read the second paragraph of the excerpt . Tell students that campaign means “an organized action plan to get a result ”

Ask: “According to Gladwell, what do social media campaigns do to be successful? Why do they take this approach?”

ƒ To be successful, social media campaigns ask people to do very little.

ƒ They ask for very little because when you don’t know people, or there are weak ties between them, you can’t ask them to do a lot.

Ask: “Does Gladwell think social media is a strategy that leads to social change? Why or why not?”

ƒ He doesn’t think so because social media is based on weak connections that don’t require much effort.

Reinforce that Gladwell is saying that weak ties and little required effort don’t lead to real social change ”

Instruct students to write in the handout’s Analysis column a one-sentence summary of Gladwell’s argument about social media .

Land

5 MIN.

Instruct students to Think–Pair–Share: “Explain what each author thinks about social media as an effective strategy for social change ”

Give students one minute to silently think . Next form pairs and instruct students to discuss their ideas .

Give pairs three minutes to discuss their ideas

Tell pairs to use this sentence frame: According to , social media [is/is not] an effective strategy for social change because .

Facilitate a whole group discussion

✔ Pairs explain the two authors’ interpretations on social media’s effectiveness as a strategy for social change .

Listen for these essential understandings:

ƒ According to Gaston, social media is an effective strategy for social change because it connects activists and gets their message out to strangers who will then support the activists’ cause.

ƒ According to Gladwell, social media is not an effective strategy for social change because people aren’t deeply connected or asked to do much, so social change won’t happen.

Emphasize that Gaston and Gladwell disagree about the effectiveness of social media as a strategy for social change

If time allows, prompt students to reflect on their Launch responses and ask: “Has your thinking changed or developed? How so?”

PROLOGUE TO LESSON 24: AT A GLANCE

Focusing Question: What strategies do people use to effect social change?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing what they learned about justice from their End-ofModule Task research . This work prepares students to participate in a Socratic Seminar in Lesson 24 .

LEARNING GOAL

Rehearse a response related to an upcoming Socratic Seminar .

✔ Think–Pair–Share: “What have you learned about justice through your research on a teen agent’s response to a social issue?”

VOCABULARY

justice (n .): the quality of being fair or just

MATERIALS

Prologue Glossary

Handout 10A: Research Process Packet

End-of-Module Task research materials

Assess and activate prior knowledge by posing this prompt: “Turn to a partner and share something that motivated your teen change agent to create social change . ”

Direct students to the word justice in their Prologue Glossaries Echo Read the word and then define it

justice (n .): the quality of being fair or just

Tell students they will review their research about a teen change agent and connect their learning to the idea of justice .

Introduce the Learning Goal: Rehearse a response related to an upcoming Socratic Seminar . Explain that participating in discussions and using evidence will help students connect what they learn from their research to the big ideas they are examining in the module

Tell students that during an upcoming Socratic Seminar, they will share their thoughts and text evidence in response to this question: “What have you learned about justice from your research?”

Emphasize that the Socratic Seminar will be an exciting opportunity for students to share their independent research with their peers Highlight that they will need to explain their ideas to people who are not familiar with their research or texts .

Explain that students will prepare for the Socratic Seminar by reviewing evidence from their research recorded in Handout 10A and connecting it to the idea of justice

Tell students that many people try to create social change because they notice a social issue that is an example of injustice, or something that is not fair or just .

Display and Echo Read these questions:

“What strategies did your teen agent use to create social change?”

“What did your teen agent hope to accomplish?”

“What injustice was your teen agent responding to?”

As needed, direct students to the word strategy in their Prologue Glossaries Echo Read the word and review its definition .

strategy (n .): a careful plan or method for achieving a particular goal

Emphasize that students can first describe a specific action and then identify the more general strategy the action exemplifies .

Model how to respond to the questions by using Claudette Colvin as the teen agent: “Claudette Colvin refused to give up her seat on the bus, so her strategy was to violate segregation laws Then she testified in court, and her strategy was to try to obliterate, or completely destroy, segregation laws . In both cases, Claudette hoped to show adults that, as a teenager, she did not accept segregation . She wanted to end segregation . ”

Display the model response

Direct students to the Synthesize Evidence section of Handout 10A. Direct attention to the last box .

Instruct students to highlight existing evidence they can use to respond to the questions Give them two minutes to identify evidence .

Pair students . Instruct pairs to share responses to the questions .

Remind students that their partner is not familiar with their research, so they need to explain their ideas fully .

SCAFFOLD

Emphasize that students can form their responses by using the language in the questions, such as “My teen agent used the strategy of to create social change because .”

Explain that now students will review all their responses and answer this question: “What have you learned about justice through your research on a teen agent’s response to a social issue?”

Remind students that justice means “the quality of being fair or just . ”

Model how to respond to the question by using Claudette Colvin as the teen agent: “My study of Claudette Colvin’s response to segregation showed me that achieving justice can require taking a stand against current laws . Sometimes, social systems are unjust, or not fair to everyone . My study also showed me that sometimes it’s not easy to get justice, and many people have taken a stand to achieve a more just society ”

✔ Instruct students to Think–Pair–Share: “What have you learned about justice through your research on a teen agent’s response to a social issue?”

Give students two minutes to silently think Next form pairs and instruct students to discuss their ideas .

Then facilitate a whole group discussion .

PROLOGUE TO LESSON 27: AT A GLANCE

Focusing Question: How do teens effect social change?

SUMMARY

Students examine evidence from multiple informative essays . They develop an understanding of the structure and purpose of evidence in an informative essay. This work prepares students to synthesize evidence in the End-of-Module Task in Lesson 27 .

LEARNING GOAL

Analyze the purpose and importance of evidence from multiple sources in communicating a single idea .

✔ Think–Pair–Share: “Why is synthesizing multiple sources to communicate a single idea important in a research essay?”

VOCABULARY

None MATERIALS

Prologue Glossary

Prologue Handout 27A: Synthesizing Sources

Handout 10A: Research Process Packet

End-of-Module Task (from Lesson 26)

Assess and activate prior knowledge by asking this question: “Why do we use multiple sources in a research essay?”

Facilitate a brief sharing of responses

Listen for these essential understandings:

ƒ Different sources provide information about different aspects, or parts, of the topic.

ƒ Multiple sources offer different perspectives.

ƒ Including multiple sources shows the writer has done sufficient research.

ƒ Different types of evidence engage different audience members.

Tell students they will focus on synthesizing, or combining, evidence from multiple sources in a research essay .

Introduce the Learning Goal: Analyze the purpose and importance of evidence from multiple sources in communicating a single idea Explain that this lesson will help students understand ways to synthesize evidence from multiple sources in the essay for the End-of-Module Task

Learn

20 MIN.

Tell students that they will examine how to synthesize evidence from multiple sources to communicate what their teen agent hopes to accomplish . Remind students that this single idea is the focus of the End-of-Module Task’s concluding paragraph .

Tell students they will first examine a model about Claudette Colvin

Direct students to Prologue Handout 27A . Display the handout .

Read aloud the question and paragraph

Ask: “How many sources are included in the paragraph? What are they?”

ƒ Two sources are included: Hoose’s book and the video of Claudette Colvin.

Reinforce that there are two direct quotes from Claudette—one from Hoose’s book and one from the video. Emphasize that the quote from the video shows how Claudette’s perspective on her accomplishments differs from Hoose’s perspective

Explain that the first step for synthesizing evidence from multiple sources is to understand the purpose of each source’s evidence in communicating the main idea .

Pair students Instruct pairs to discuss this question: “How does each piece of evidence communicate what Claudette hoped to accomplish?”

ƒ The paragraph includes multiple pieces of evidence from Hoose’s book. The quotation from Claudette identifies what she hoped to accomplish, and the quotation from Fred Gray shows that she accomplished her goal. The sentence about Hoose’s book summarizes his purpose in showing what Claudette, as an individual, accomplished.

ƒ The evidence from the video also presents Claudette’s perspective. The evidence from this source elaborates on and contradicts Hoose’s perspective.

SCAFFOLD Ask: “What information or perspective does each piece of evidence add?”

Reinforce that each piece of evidence has a specific purpose related to the question. Emphasize that the quote from Claudette states what she hoped to accomplish—to send a message to the adult leaders—and the quote from Fred Gray shows how she accomplished her goal—by giving the adults moral courage .

Tell students that writers use specific words and phrases to synthesize evidence from different sources .

First explain that writers use specific words and phrases to identify the source that evidence comes from

Highlight the phrases in the displayed paragraph on Prologue Handout 27A that identify a source .

“In Phillip Hoose’s book”

“in his book”

“in the video”

Instruct students to highlight these phrases on their copies . Tell students to record “Identify the source” in the margin

Next explain that writers use words and phrases to show how sources are related to each other .

Give pairs two minutes to identify words or phrases that show how the sources are related .

SCAFFOLD Encourage pairs to find words or phrases that identify similarities or differences between the sources.

Reinforce that in the first example, “Both” shows how sources are similar, and in the second example, “However” shows how they are different. Emphasize that however signals to the reader that a different perspective is being introduced

Underline the phrases beginning with “Both” and “However” in the displayed copy of the handout . Instruct students to underline the phrases on their copies . Tell students to record “Explain how sources are related” in the margin .

Now explain that writers use words and phrases to show the purpose of each piece of evidence . Tell students that, rather than repeat phrases such as he says or she says, writers use precise verbs to show how the evidence contributes to the main idea .

Give pairs two minutes to circle precise verbs that show how the evidence contributes to the main idea .

ƒ emphasizes

ƒ reveals ƒ express

ƒ demonstrates

ƒ insists

Tell students to record “Use precise verbs to introduce evidence” in the margin .

Tell students they will now experiment with synthesizing evidence by drafting a concluding paragraph for the End-of-Module Task that responds to this question: “What does your teen agent hope to accomplish?”

Direct students to their copies of Handout 10A and their essay outline or draft for the End-ofModule Task Remind students that they have already gathered evidence about the question from multiple sources in the Synthesize Evidence section of Handout 10A. Direct attention to the row with the header “How have teen change agents responded to this social issue?” Also direct students to the Conclusion row in the section Outline Your Essay or to their essay drafts .

Instruct students to use the model and their own evidence to begin drafting a concluding paragraph that explains what their teen agent hopes to accomplish TEACHER NOTE

If students already have a draft of their conclusion, prompt them to revise the conclusion by adding phrases identifying their sources or by including precise verbs to introduce the evidence.

SCAFFOLD Examine students’ notes and suggest to students which evidence to use.

✔ Instruct students to Think–Pair–Share: “Why is synthesizing multiple sources to communicate a single idea important in a research essay?”

Give students one minute to silently think . Next form pairs and instruct them to discuss their ideas Then facilitate a whole group discussion

Listen for these essential understandings:

ƒ Synthesizing evidence from multiple sources makes the writer’s idea more powerful because it shows the idea is supported by more than one source.

ƒ Synthesizing evidence allows the writer to develop one idea fully by including information on different aspects of the idea.

ƒ Synthesizing evidence from multiple sources shows the writer is including and organizing information to support a specific point. The writer is not just including all the information they have found or putting all the evidence from one source into the one paragraph.

ƒ Synthesizing evidence shows that the writer understands their sources and how they’re related to one another.

PROLOGUE TO LESSON 30: AT A GLANCE

Focusing Question: How do teens effect social change?

SUMMARY

Students orally process the content they have studied and rehearse sharing their ideas aloud . Students practice using academic language while discussing key points from their essays for the End-of-Module Task, which prepares them to give an oral presentation in an upcoming lesson .

LEARNING GOAL

Rehearse a key point related to an upcoming presentation .

✔ Share a succinct response to this question: “What is the role of your teen change agent in effecting change?”

VOCABULARY

succinct (adj .): using few words to express an idea

MATERIALS

Prologue Glossary

Prologue Handout 30A: Presenting Information Succinctly

Handout 10A: Research Process Packet

End-of-Module Task

Display and read aloud these sentences:

“Just Do It . ”

“You should always do the hard thing even if it’s hard because you will feel proud when you accomplish something difficult ”

Assess and activate prior knowledge by asking these questions: “Which statement is more effective? Why?”

Facilitate a brief discussion .

Direct students to the word succinct in their Prologue Glossaries . Echo Read the word and then define it .

succinct (adj .): using few words to express an idea

Tell students they will examine specific ways to be succinct when giving an oral presentation .

Introduce the Learning Goal: Rehearse a key point related to an upcoming presentation Explain that participating in discussions and using evidence will help students communicate their ideas effectively . Learn 20 MIN.

Explain that students will examine specific strategies for being succinct. Emphasize that being succinct helps a presenter stay focused and organized and also helps the audience process information that they can’t see or read

Direct students to Prologue Handout 30A .

Read aloud the list of strategies, pausing to explain or provide an example related to unfamiliar ideas, such as for the last strategy: “After school, she did her homework She studied right after classes ended because her learning was fresh in her mind . ” Explain that the phrase “She studied right after classes ended” repeats the idea in the first sentence by using different words and can be deleted: “After school, she did her homework because her learning was fresh in her mind . ”

Explain that you will now read two paragraphs focused on Claudette Colvin’s role in effecting change .

TEACHER NOTE

Do not display the paragraphs yet. Right now, the goal is for students to experience the role of an audience member listening to two different deliveries of an oral presentation.

Assign each student one row on Prologue Handout 30A . Tell students to listen carefully for their assigned strategy as you read each paragraph aloud Instruct students to write a “Y” for yes or “N” for no in the appropriate column to indicate whether each paragraph illustrates the strategy

TEACHER NOTE

Depending on the number and readiness of students, assign students more than one strategy to focus on.

Read aloud each of these paragraphs, pausing briefly after each to allow students to record a response:

Paragraph 1:

“When she was a teenager, Claudette Colvin wanted to do something about the segregation she experienced as a young person. She wanted to fight against injustice, and there were a lot of things that motivated her. Claudette played an important role in fighting against injustice . She wanted to make change, so she decided to do something about the segregation she was experiencing First, she was riding the bus with some friends, and when the bus driver told her to move so a white woman could sit down, Claudette refused to give up her seat. Like I said before, she wanted to do something to fight segregation. She was the first person to refuse to give up her seat on the bus, even though a lot of people think it was Rosa Parks . Rosa Parks also refused to give up her seat on the bus, and then she became the spokesperson for the bus boycott . ”

Paragraph 2:

“Claudette Colvin effected change during the Civil Rights Movement by challenging the legal system in two different ways. Claudette was the first person to refuse to give up her seat on a bus. She was also the first to plead not guilty to breaking a segregation law. Then Claudette was a “star witness” (Hoose 100) in the federal court case Browder versus Gayle .

Her participation contributed to the ruling that discrimination on buses violated the 14th amendment ”

Now display the paragraphs underneath this question:

What is the role of your teen change agent in effecting change?

Tell students they will decide which paragraph is more succinct by sharing their responses about their assigned strategy .

Facilitate a brief discussion, highlighting specific places in each paragraph to illustrate students’ responses

Listen for these essential understandings:

ƒ For strategy 1, paragraph 1 is marked “N” because it does not start with a main point about Claudette’s role in effecting change. It doesn’t share information about Claudette’s role until the middle of the paragraph. Paragraph 2 is marked “Y” because the first sentence identifies the main point.

ƒ For strategy 2, paragraph 1 is marked “N” because it doesn’t stay focused on Claudette’s role. It mentions her experiences and motivations. It also starts to explain Rosa Parks’s role. Paragraph 2 is marked “Y” because it stays focused on Claudette’s role as the first person to refuse to give up her seat and plead not guilty and then her role as a star witness.

ƒ For strategy 3, paragraph 1 is marked “N” because it has several long sentences with multiple clauses. In the sentence about Claudette refusing to give up her seat, paragraph 1 buries the most relevant point at the end. Paragraph 2 is marked “Y” because the sentences are direct.

ƒ For strategy 4, both paragraphs are marked “Y” because each includes the example of Claudette refusing to give up her seat on the bus. But the example gets lost in paragraph 1. Paragraph 2 is more direct and uses a short quote.

ƒ For strategy 5, paragraph 1 is marked “N” because it includes the filler phrase “Like I said before .” Paragraph 2 is marked “Y” because it doesn’t include any filler phrases.

ƒ For strategy 6, paragraph 1 is marked “N” because it repeats information. For example, the first sentence includes both “teenager” and “young person” to describe Claudette. Paragraph 2 is marked “Y” because it doesn’t repeat information.

Pair students Instruct them to discuss these questions: “Which paragraph is more effective at sharing information about Claudette Colvin’s role in effecting change? Why?”

Listen for these essential understandings:

ƒ Paragraph 2 is more effective because I could follow what was being said. The information is clear and organized.

ƒ Paragraph 2, because it identifies a main idea and then includes relevant examples to support the main idea.

ƒ Paragraph 2 is more focused on the topic. The first paragraph includes a lot of general information about Claudette. It doesn’t focus only on Claudette’s role.

Reinforce that paragraph 2 is more effective because it shares information about Claudette’s role in a succinct way. Explain that paragraph 1 tries to include a lot of other information. Emphasize that trying to mention everything you know about a topic can make it difficult for an audience to understand your main point

Read aloud the displayed question: “What is the role of your teen change agent in effecting change?”

Instruct students to draft one succinct sentence in response to this question Tell students to review their essays for the End-of-Module Task and to review Handout 10A for information . Prompt students to use paragraph 2 as a model .

Give students three minutes to draft their sentences .

Guide students through the Mix and Mingle routine to share their succinct sentences

✔ Students share a succinct response to this question: “What is the role of your teen change agent in effecting change?”

Instruct students to find a partner. Give them one minute to share their responses

If time allows, instruct students to find a new partner. Give them one minute to share their responses .

Then invite volunteers to share what they learned from listening to others’ responses

Direct students to column three on Prologue Handout 30A . Tell students they may use the checklist on the handout when they rehearse their oral presentations in class .

Appendix A: Prologue Module 4

Handouts

Name

Prologue Handout 8A

Evaluation of Photography as a Medium

Part 1

Directions: In the third column, rate your level of agreement or disagreement with each criterion statement to evaluate the advantages and disadvantages of photography as a medium . Next to your rating, explain why you chose that number .

Medium: Photography: “A Birmingham, Alabama, city bus” (Hoose 30)

Category Criterion Statement

Rating and Rationale

1: Strongly agree

2: Agree

3: Neutral

4: Disagree

5: Strongly disagree

Engagement

The medium makes me interested in what motivated Claudette to create change .

Understanding

The medium provides a comprehensive, or complete, understanding of what motivated Claudette to create change.

Precision

The medium conveys the information in an accurate way .

Emotion

The medium affects the way I feel about Claudette’s motivation to create change.

Distinctiveness

The medium gives a unique account of what motivated Claudette to create change.

Part 2

Directions: Complete the set of sentence frames that best represents your final judgment .

It is true that the photograph does not . (disadvantage)

Overall, however, the photograph effectively communicates Claudette’s motivations to create social change because . (advantage)

OR:

It is true that the photograph . (advantage)

Overall, however, the photograph does not effectively communicate Claudette’s motivations to create social change because .

(disadvantage)

Prologue Handout 9A

Claudette Colvin’s Motivations

Question: “Why did Claudette Colvin refuse to give up her seat on the bus?”

Part 1: Motivations and Evidence

Directions: Complete the chart by summarizing or paraphrasing two pieces of evidence for each motivation . As needed, review chapters 1–4 in Claudette Colvin: Twice Toward Justice to find specific evidence .

Motivation Evidence

1 . Experiences

• things that Claudette has done or that have happened to her

• they can be positive or negative

• they can show agency or a lack of agency

2 . Role Models

• people Claudette admires and tries to be like

• they can be from the present or past

3 . Personal Qualities

• Claudette’s characteristics

Part 2: Claim and Evidence

Directions: Use your responses to draft a claim and evidence about what motivated Claudette to take a stand .

First, circle one motivation and one reason to create your claim:

Motivation

for justice . Personal qualities against injustice .

Role models motivated Claudette to take a stand

Experience against segregation .

Write your claim here:

Next, support your claim with evidence:

She refused to give up her seat because

Prologue Handout 11A

Research Prewriting—Brainstorming Social Issues

Directions: Choose the mind map with the category of social life you are interested in . Collaborate with peers to brainstorm social issues about your chosen category .

Record your ideas in the bubbles on the mind map .

Education high cost of college

Health nutrition

Identity

social media’s effects on self-esteem

Education

high cost of college

Prologue Handout 16A

Author’s Purpose and Main Points

Directions: Identify Phillip Hoose’s purpose and three main points he makes to achieve his purpose .

Purpose statement: Phillip Hoose’s purpose for writing Claudette Colvin: Twice Toward Justice is to inform readers .

What main points does Hoose include to achieve his purpose?

Section of Claudette Colvin: Twice Toward Justice

What does Hoose inform readers about in this section?

How does this point help show Claudette’s historical importance in the Civil Rights Movement?

Chapters 1–3

Chapters 4—5

Chapters 8—9

Prologue Handout 19A

Excerpt from “Small Change” by

Malcolm Gladwell Excerpt Notes/Analysis

“With Facebook and Twitter and the like, the traditional relationship between political authority and popular will has been upended, making it easier for the powerless to collaborate, coordinate, and give voice to their concerns . ”

from “Small Change,” Malcolm Gladwell (paragraph 7)

other similar things

power strong desire to do something; turned upside down

Prologue Handout 23A

Excerpts from “Social Media Sparked, Accelerated Egypt’s Revolutionary Fire,” Sam Gustin and from “Small Change,”

Malcolm Gladwell Excerpt Analysis

“Did social media [such as] Facebook and Twitter cause the revolution? No . But these tools did speed up the process by helping to organize the revolutionaries, transmit their message to the world and galvanize international support . ”

from “Social Media Sparked, Accelerated Egypt’s Revolutionary Fire” by

Sam Gustin

send

to make people become so excited or concerned about an issue that they want to do something about it

Excerpt Analysis

“The platforms of social media are built around weak ties . . . .

How did the [social media] campaign get so many people to sign up? By not asking too much of them . That’s the only way you can get someone you don’t really know to do something on your behalf . ”

from “Small Change” by Malcolm

Gladwell

an organized action plan to get a result

Prologue Handout 27A

Synthesizing Sources

What did your teen agent hope to accomplish?

Claudette Colvin hoped to challenge the injustice of segregation . In Phillip Hoose’s book, Claudette emphasizes that she wanted her actions to show “our own adult leaders [they] couldn’t just be nice anymore” (Hoose 116) . The lawyer Fred Gray reveals that young Claudette was the one who “gave all of us the moral courage to do what we did” (Hoose 65) . Both Phillip Hoose’s book and a video about Claudette express Claudette’s thoughts on her goals . In his book, Hoose demonstrates the importance of Claudette’s individual contributions and her historical importance in challenging injustice . However, in the video, Claudette insists on her hope for collective action . Claudette reflects, “I just wanted people to come together and unify and fight the segregation” (“Claudette Colvin: The Original Rosa Parks”) .

Prologue Handout 30A

Presenting Information Succinctly

To present information succinctly . . .

1 . Start by identifying the main point .

Paragraph 1

Paragraph 2 My Presentation

2 . Stay focused on the main point .

3 . Use mostly short, direct sentences .

4 . Include a specific example of the main point .

5 . Eliminate “filler” phrases such as “This is a really important point” or “Like I said before . ”

6 . Avoid repeating the same information by using different words .

Appendix B: Prologue Module 4

Answer Keys and Suggested Student Responses

Prologue Handout 9A

Claudette Colvin’s Motivations

Question: “Why did Claudette Colvin refuse to give up her seat on the bus?”

Part 1: Motivations and Evidence

Directions: Complete the chart by summarizing or paraphrasing two pieces of evidence for each motivation . As needed, review chapters 1–4 in Claudette Colvin: Twice Toward Justice to find specific evidence .

Motivation Evidence

1 . Experiences

• things that Claudette has done or that have happened to her

• they can be positive or negative

• they can show agency or a lack of agency

2 . Role Models

• people Claudette admires and tries to be like

• they can be from the present or past

3 . Personal Qualities

• Claudette’s characteristics

Negative: segregation at optometrist’s office; not allowed to sit in chair until after all the white people had (Hoose 17)

Positive: supports Jeremiah Reeves by going to rallies, writing him letters, and collecting money for his defense (Hoose 24)

Harriet Tubman: her courage and fight for Black people’s freedom (Hoose 28)

Part 2: Claim and Evidence

Directions: Use your responses to draft a claim and evidence about what motivated Claudette to take a stand .

First, circle one motivation and one reason to create your claim:

Motivation Verb Phrase Reason

Role models

for justice .

Personal qualities against injustice .

motivated Claudette to take a stand

Experience against segregation .

Write your claim here:

Next, support your claim with evidence:

She refused to give up her seat because Personal qualities motivated Claudette to take a stand against injustice. She refused to give up her seat on the bus because she was confident that she had the same rights as white people.

Prologue Handout 16A

Author’s Purpose and Main Points

Directions: Identify Phillip Hoose’s purpose and three main points he makes to achieve his purpose .

Purpose statement: Phillip Hoose’s purpose for writing Claudette Colvin: Twice Toward Justice is to inform readers about Claudette Colvin’s overlooked historical importance in the Civil Rights Movement .

What main points does Hoose include to achieve his purpose?

Section of Claudette Colvin: Twice Toward Justice

What does Hoose inform readers about in this section?

How does this point help show Claudette’s historical importance in the Civil Rights Movement?

Chapters 1–3 the Black community’s experiences of Jim Crow and Claudette’s motivations for taking a stand against segregation

• Claudette was knowledgeable and angry about social injustice and motivated to create change.

• This point shows Claudette’s background, which prompted her to act.

Chapters 4—5 Claudette’s refusal to give up her seat on the bus and her arrest

• She was first to refuse to give up her seat on the bus.

• She was first to plead not guilty to breaking a segregation law.

• She takes a stand against segregation.

Chapters 8—9 Claudette’s testimony in the federal court case Browder v. Gayle

• Claudette was “a star witness” (100).

• Her participation contributed to the ruling that discrimination on buses violated the Fourteenth Amendment.

Appendix C: Works Cited

Alexander, Kwame . The Crossover. New York: Houghton Mifflin Harcourt, 2014. Print.

Carey, Benedict “This Is Your Life (and How You Tell It) ” The New York Times 22 May 2007 Web 6 Apr 2016

“Claudette Colvin: The Original Rosa Parks . ” YouTube, uploaded by Great Big Story, 18 Apr . 2016, Web . Accessed 6 Dec . 2016 .

Council of Chief State School Officers (CCSSO). English Language Proficiency (ELP) Standards with Correspondences to the K-12 Practices and Common Core State Standards . CCSSO, 2017, Web . Accessed May 16, 2021 .

Fisher, Helen “In the Brain, Romantic Love Is Basically an Addiction ” Discover, Kalmbach Publishing Co , 13 Feb 2015, Web Accessed 15 Sept 2016

Gladwell, Malcolm . “Small Change . ” The New Yorker, Condé Nast, 4 Oct . 2010, Web . Accessed 6 Dec . 2016

Gustin, Sam . “Social Media Sparked, Accelerated Egypt’s Revolutionary Fire . ” Wired, Condé Nast, 11 Feb . 2011, Web . Accessed 6 Dec . 2016 .

Hoose, Phillip Claudette Colvin: Twice Toward Justice 2009 Farrer Straus Giroux, 2011

Ikpi, Bassey . “Sometimes Silence Is the Loudest Kind of Noise . ” Badilisha Poetry PanAfrican Poets . Web . 6 Apr . 2016 .

Momaday, N . Scott . “The Man Made of Words . ” Nothing But the Truth: An Anthology of Native American Literature . Eds . John Purdy and James Ruppert . Upper Saddle River: Prentice Hall, 2001. 82–95. University of Kansas. PDF file.

Paul, Anne Murphy “Your Brain on Fiction,” New York Times, March 17, 2012

Remarque, Erich Maria . All Quiet on the Western Front . Trans . A .W . Wheen . 1929 . New York: Ballantine Books, 1982 . Print .

Shakespeare, William . A Midsummer Night’s Dream . 1600 . Edited by Barbara A . Mowat and Paul Werstine, Simon & Schuster, 2009 .

“Sometimes Silence Is the Loudest Kind of Noise ” Def Jam Poetry Online Video Clip YouTube YouTube, 1 Dec 2010 Web 6 Apr 2016

“The Teenage Soldiers of World War One . ” BBC News Magazine . BBC, 11 Nov . 2014 . Web . 1 July 2016 .

Vonnegut, Kurt . “EPICAC . ” Welcome to the Monkey House . Random House, 1968 .

WIDA . English Language Development Standards Framework, Kindergarten through Grade 12 . WIDA, University of Wisconsin-Madison, 2020, Web Accessed May 16, 2021

Credits

Great Minds® has made every effort to obtain permission for the reprinting of all copyrighted material . If any owner of copyrighted material is not acknowledged herein, please contact Great Minds for proper acknowledgment in all future editions and reprints of this module.

ƒ All images are used under license from Shutterstock .com unless otherwise noted .

ƒ For updated credit information, please visit http://witeng link/credits

Acknowledgments

Sarah Brenner, Ann Brigham, English Learner Success Forum (ELSF), Lorraine Griffith, Robin Hegner, Sarah Henchey, Farren Liben, Brittany Lowe, Whitney Lyle, Liz Manolis, Maya Marquez, Auddie Mastroleo, Cathy McGath, Emily McKean, Andrea Minich, Lynne Munson, Carol Paiva, Eden Plantz, Rachel Rooney, Nicole Shivers, Rachel Stack, Sarah Turnage, Keenan Walsh, Michelle Warner, Katie Waters, Sarah Webb

Ana Alvarez, Lynne Askin-Roush, Trevor Barnes, Rebeca Barroso, Brianna Bemel, David Blair, Lynn Brennan, Adam Cardais, Christina Cooper, Kim Cotter, Lisa Crowe, David Cummings, Cherry dela Victoria, Sandy Engelman, Tamara Estrada del Campo, Ubaldo Feliciano-Hernandez, Soudea Forbes, Jen Forbus, Diana Ghazzawi, Laurie Gonsoulin, Dennis Hamel, Kristen Hayes, Cassie Hart, Marcela Hernandez, Abbi Hoerst, Libby Howard, Ashley Kelley, Lisa King, Sarah Kopec, Drew Krepp, Cindy Medici, Ivonne Mercado, Brian Methe, Patricia Mickelberry, Christine Myaskovsky, Mary-Lise Nazaire, Tamara Otto, Christine Palmtag, Katie Prince, Jeff Robinson, Gilbert Rodriguez, Karen Rollhauser, Richesh Ruchir, Isabel Saraiva, Amy Schoon, Leigh Sterten, Mary Sudul, Tracy Vigliotti, Dave White, Charmaine Whitman, Glenda Wisenburn-Burke, Howard Yaffe

GRADE 8 MODULES

1. The Poetics and Power of Storytelling

2. The Great War

3. What Is Love

4. Teens as Change Agents

LANGUAGE DEVELOPMENT FOR

Wit & Wisdom Prologue™ primes students for success in the English language arts classroom by previewing content and advancing language development. These supplementary lessons target vocabulary, syntax, and oral language practice. The result is that students, including multilingual learners and students with language-based disabilities, are confident and prepared to build enduring knowledge.

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The Birthday, 1915

Marc Chagall, Russian-French, 1887-1985

Oil on cardboard

The Museum of Modern Art, New York