The Chrysalids: Life on the Fringes Summary This unit, centred around John Wyndham’s The Chrysalids, focuses on developing analytic and creative reading skills, as well as reader-response skills. Students will be encouraged to use The Chrysalids as an anchor for an exploration of prejudice, normalizing, social injustice, dystopia, intolerance, science, and technology. By drawing connections between texts and the real world, students will develop an understanding of how texts reflect on our world (this is particularly true for science fiction and speculative fiction) and will be encouraged to think more deeply about social justice. Outcomes GCOs 1: Students will be expected to speak and listen to explore, extend, clarify, and reflect on their thoughts, ideas, feelings, and experiences. 2: Students will be expected to communicate information and ideas effectively and clearly, and to respond personally and critically 4: Students will be expected to select, read, and view with understanding a range of literature, information, media, and visual texts 6: Students will be expected to respond personally to a range of texts 7: Students will be expected to respond critically to a range of texts, applying their understanding of language, form, and genre 8: Students will be expected to use writing and other ways of representing to explore, clarify, and reflect on their thoughts, feelings, experiences, and learnings; and to use their imagination 9: Students will be expected to create texts collaboratively and independently, using a variety of forms for a range of audiences and purposes 10: Students will be expected to use a range of strategies to develop effective writing and other ways of representing and to enhance their clarity, precision, and effectiveness SCOs 1.1 Examine others’ ideas to clarify and further their comprehension 1.2 Develop ideas by asking relevant questions and responding thoughtfully 1.4 Listen critically to analyze and evaluate to formulate and refine opinions and ideas 2.3: Ask and respond to questions, including those related to complex texts and tasks 4.1: Read a wide variety of print texts recognizing the relevance to their lives and community 4.2: Read a wide variety of media and visual texts, focusing on the structure, genre, style, and cultural diversity 6.1: Recognize and articulate information from texts that trigger personal responses 6.2: Make connections between the ideas and information presented in texts and their own experiences 6.2: Make connections among the themes, issues, and ideas expressed in texts 6.4: Demonstrate a willingness to explore multiple perspectives 6.6: Articulate feelings about ambiguities in complex texts to clarify their understanding English 11 Advanced, R. Wheadon 1 7.2: Recognize how artful language and structures of genre and text can influence the reader or viewer 7.5: Analyze the merits of language, ideas, and other characteristics of texts and genres 7.7: Explore ways texts reveal and produce ideologies, identities, and positions 7.8: Reflect on their responses to texts, considering their own and others’ social and cultural contexts 8.1: Use writing and other ways of representing to: explore, interpret, and reflect on their own experiences with a range of texts and issues; monitor their language and learning processes and strategies; record and assess their language and learning achievements; express their feelings, and reflect on experiences that have shaped their ideas, values, and attitudes 8.3: Make informed choices of language and techniques to enhance imaginative writing and other ways of representing 9.2: Create coherent structures in writing and media production: make informed choices of form, style, and content for audience and purposes; use effective strategies to engage the reader or viewer 10.1: Apply a variety of writing and representation strategies to construct increasingly complex texts 10.4: Demonstrate a commitment to crafting a range of writing and other representations Time Frame 3.5-4.5 weeks (18-22 days) Outline Introduction 2 classes Setting & Apocalypse 1-1.5 classes Chapters 1, 2, 3: Close Reading 2 classes Chapters 4, 5: Affiliation & Empathy 2 classes Chapters 6, 7, 8: Injustice & Complacency 2-2.5 classes Chapters 9, 10, 11: “What makes a man a man?” 3 classes In-class Essay 1 class Chapter 12 & “The Valedictorian” 2 classes Chapters 13, 14, 15: Life on the Fringes 1.5 classes Chapters 16, 17: “The essential quality of living” 2 classes Conclusion & Portfolios 2-3 classes TOTAL: 20-22 classes Assessment 1. In-Class Essay: Students will generate a list of good essay questions/prompts alongside the teacher and will, on the day of the essay, be given two or three to choose from. The essay is entirely open book and students will be encouraged to draw connections to other texts (films, books, short stories, video games, current events, documentaries). 2. Writing Prompts/Tasks: Every day or every other day. These are informal assessments that should hit up multiple intelligences and multiple modes of expression, and for which students can solicit feedback and input. English 11 Advanced, R. Wheadon 2 3. Portfolio: Contains self-selected prompts, in-class essay, and culminating performance task/ project (can be selected from variety of options… See attached hand-out). 4. Reading Groups: Students will discuss writing prompts/certain themes of each chapter in groups (informal assessment) 5. Socratic Circles: At the end of the novel study, we will have several days of Socratic Circles. Students will, throughout, be encouraged to start researching real-world parallels to the themes in The Chrysalids and other texts we have discussed. Students will select complex issues and two accompanying positions, delving into the issue in their discussion as well as defending their choice of topic/research. (See attached hand-out) Texts After: Nineteen Stories of Apocalypse and Dystopia. Eds. Ellen Datlow and Terri Windling. New York: Hyperion, 2012. Anthology. Bulliet, Richard W. et al. The Earth and Its Peoples: A Global History. 5th ed. Boston: Cengage, 2011. Print. Collins, Suzanne. The Hunger Games. New York: Scholastic, 2008. Print. Harden, Blaine. Escape from Camp 14. London: Pan, 2012. Jemisin, N.K. “The Valedictorian.” After: Nineteen Stories of Apocalypse and Dystopia. Eds. Ellen Datlow and Terri Windling. New York: Hyperion, 2012. 45-63. “John Wyndham.” The Guardian. 22 July 2008. Web. <http://www.guardian.co.uk/books/2008/jun/ 10/johnwyndham> LeGuin, Ursula. “The Ones Who Walk Away From Omelas.” <http://harelbarzilai.org/words/ omelas.txt> Olson, Carol Booth. The Reading/Writing Connection: Strategies for Teaching and Learning in the Secondary Classroom (3rd ed.). Boston: Pearson, 2011. Roberts, C. “Checklist for Personal Values.” <http://www.selfcounseling.com/help/ personalsuccess/personalvalues.html> Scalzi, John. Fuzzy Nation. New York: Tor, 2011. Kobo. Star Trek: The Next Generation. “The Measure of a Man.” Season Two, Episode 9. Netflix. X-Men. 2000. DVD. X-Men 2. 2003. DVD. The Walking Dead. Prod. Frank Darabont. AMC, 2010-2013. Netflix. Wyndham, John. The Chrysalids. English 11 Advanced, R. Wheadon 3 The Chrysalids: Introduction Summary This lesson introduces students to science fiction and dystopian/post- apocalyptic literature. In addition, it ensures that we all start on the same page: we will review important terms and concepts, and review what the unit will look like (its assessment as well). Objectives Students will leave this lesson with an understanding of what they expect a speculative novel to look like. They will make predictions about The Chrysalids based on the cover(s), a description of the novel, and what they know about the premise. Outcomes Met SCOs 7.2: Recognize how artful language and structures of genre and text can influence the reader or viewer 7.5: Analyze the merits of language, ideas, and other characteristics of texts and genres 7.7: Explore ways texts reveal and produce ideologies, identities, and positions Materials Bring in all dystopian/post-apocalyptic books from home for manipulative purposes. Covers can be examined, etc. Pre-Work Have definitions of terms from After ready Make PPT on Wyndham/the Cold War Write up reading group descriptions Plan Warm-Up (1 class) 1. Hand out the portfolio description. Write the timeline on the board for discussion. Is this reasonable? Is the essay at a good time for them? Remind students that they will need to keep everything they complete (writing prompts, etc.) for their reflective portfolio. 2. Assign students to their reading groups (if this isn’t done already). Ensure each group has a hand-out and explain that they will be in charge of facilitating small group discussion and then contributing to larger class discussion. They should come to class with ideas/ questions/important passages to discuss. English 11 Advanced, R. Wheadon 4 3. Put the terms “dystopian” and “post-apocalyptic” on the board. Have students brainstorm words linked to either term, novels/television series/movies that may be either dystopian or post-apocalyptic. 4. Using student-generated terms, create a definition. Put up the definition from the foreword to After. Why do they think this type of literature is so popular right now? What is the point of writing speculative fiction? 3. Break students into groups. Each group will be assigned a dystopian/ apocalyptic novel/movie to look up on their phones or on the computers. They will briefly describe the text to their classmates as well as explaining the historical period and/or the message (Wikipedia should help them here). Good examples include: The Hunger Games, The Walking Dead, 1984, Brave New World, Resident Evil series, The Matrix, Portal series, Fallout series, Bioshock, V for Vendetta. Why was this novel written/movie or game created/? What is its purpose? What is its central anxiety? Main Act (0.75 classes) 1. Info-dump: John Wyndham and the Cold War; tensions of the time, Wyndham’s contemporaries. (See PPT for more) 2. Writing Prompt: There is a global nuclear war. Vast stretches of land are left blackened and lifeless; cities are hollowed husks, empty except for the irradiated creatures that crawl through abandoned buildings. In remote areas, small communities survive, but each day is a battle for life. There is no electricity. You find one of these communities two hundred years after the fall-out. What are the cultural guidelines? How has surviving a disaster changed this group of people? Explain as though to someone from the pre-war past what this new world is like. Think of The Hunger Games or The Walking Dead for help, if needed. 3. Once students have completed their predictions, put several covers for The Chrysalids up on the board. Have students think about their writing prompt responses in relation to the name of the novel, its description, and the cover. They can write an additional paragraph detailing how (and if) their perceptions have changed. Conclusion (0.25 class) 1. For Eng 11A students, we will foreground the cognitive strategies we’re using in this lesson. By using The Reading/Writing Connection, we’ll take a look at the strategies we tend to use unconsciously. Assessment Informal assessment: Students will generate ideas in small groups and student engagement can be monitored in this way. Students will also respond to writing prompts and will be encouraged to draw connections between the novel and other cultural products. Everything students produce will be moving toward the reflective portfolio. Adaptations None. English 11 Advanced, R. Wheadon 5 Extensions If the lesson wraps up early, we can begin reading aloud. Research/ Resources “Introduction.” Terri Windling and Ellen Datlow. After: Nineteen Stories of Apocalypse and Dystopia. New York: Hyperion, 2012. ix-xi. Olson, Carol Booth. The Reading/Writing Connection: Strategies for Teaching and Learning in the Secondary Classroom (3rd ed.). Boston: Pearson, 2011. English 11 Advanced, R. Wheadon 6 The Chrysalids: Setting and Apocalypse Summary This lesson examines the impact that setting and the way setting is represented in creating dystopian and post-apocalyptic literature/ cultural products. By using multiple media types, we will draw parallels and come to better understand generic conventions. Objectives Students should leave the lesson with a greater appreciation for the generic conventions of post-apocalyptic/dystopian literature and film. They should be able to mobilize these strategies in creative writing. Outcomes Met SCOs 7.2: Recognize how artful language and structures of genre and text can influence the reader or viewer 7.5: Analyze the merits of language, ideas, and other characteristics of texts and genres 8.1: Use writing and other ways of representing to: explore, interpret, and reflect on their own experiences with a range of texts and issues; monitor their language and learning processes and strategies; record and assess their language and learning achievements; express their feelings, and reflect on experiences that have shaped their ideas, values, and attitudes 8.3: Make informed choices of language and techniques to enhance imaginative writing and other ways of representing 9.2: Create coherent structures in writing and media production: make informed choices of form, style, and content for audience and purposes; use effective strategies to engage the reader or viewer 10.4: Demonstrate a commitment to crafting a range of writing and other representations Materials DVD player, computer, projector, Netflix. Pre-Work Cue up videos Select sections to read from multiple dystopian/post-apocalyptic texts Plan Warm-Up (0.25 classes) 1. Writing Prompt: How is setting related to tone across texts? What are the specific implications for speculative (and especially post-apocalyptic/ dystopian literature/film)? In other words, is setting essential to post- apocalyptic/dystopian literature or could the same stories take place elsewhere or be accessed in different ways? English 11 Advanced, R. Wheadon 7 Main Act (0.5 classes) 1. Show the first clip from The Walking Dead (Season One, Episode One -- from beginning to opening credits -- 4:30). Discuss the setting, how tone is generated, if the setting plants the seeds for thematic development. Then switch to the opening to The Road (first three minutes). How is this different? What similarities can we notice? (There’s a similar silence in the desolate landscape; we get a sense of how things used to be… Immediate sympathy is generated for each lead character). 2. Read the introduction of “The Hunger Games” (p. 3-6). Have students analyze setting again. How does Collins construct a sense of space? How does she make us feel about Katniss right away? Compare this to the first five minutes of the film version. How do these differ? Do we get a better sense of setting in the film or the book? Conclusion (0.25 class) 1. Have students generate a list of important traits shared by “The Hunger Games,” The Walking Dead, and The Road. 2. Writing Prompt: Pick one of the following words and generate a piece of flash fiction (dystopian/post-apocalyptic … can use a pre-existing universe such as The Walking Dead or The Hunger Games or 1984) that uses setting to create empathy/affiliation based on the word: Isolation, destruction, control, loss, fear, pain Assessment Informal. Monitor student engagement and how they translate discussion to creative writing. Collect creative writing pieces at the end of the class to give feedback on. Adaptations None. Extensions Students will work on flash fiction if lesson runs short. Research/ Resources Bridging English. p. 131. The Walking Dead. Season One, Episode One. Netflix. The Road. Netflix. The Hunger Games. Print. --. Netflix. English 11 Advanced, R. Wheadon 8 The Chrysalids: Chapters 1, 2, & 3 -- Close Reading Summary This lesson explores the culture of Waknuk and asks students to determine whether the society is dystopian or simply post- apocalyptic. Connections are drawn between the culture of Waknuk and prejudicial structures in our own culture. How does creating a norm impact those outside of the norm? Objectives Students will discuss the novel’s opening and how it compares to their pre-reading exercises. They will begin to draw meaningful connections to the real world and ponder why the novel may have been written/ what it’s saying. How does Wyndham use setting? What do we think about David? Outcomes Met SCOs 1.2: Ask discerning questions to explore ideas and information 2.3: Ask and respond to questions, including those related to complex texts and tasks 4.1: Read a wide variety of print texts recognizing the relevance to their lives and community 7.2: Recognize how artful language and structures of genre and text can influence the reader or viewer 7.7: Explore ways texts reveal and produce ideologies, identities, and positions 7.8: Reflect on their responses to texts, considering their own and others’ social and cultural contexts Materials Paper, art supplies, chart paper. Pre-Work Review chapters Choose a section with which you can model close reading (especially related to setting) Plan Warm-Up (0.5 classes) 1. Facilitate a class discussion about the beginning of The Chrysalids: How does Wyndham use setting? What is the tone of the book in the firs three chapters? How does it relate to The Hunger Games and The Walking Dead? What about other dystopian/post-apocalyptic texts the students are familiar with? English 11 Advanced, R. Wheadon 9 Main Act (1 class) 1. In their reading groups, students will discuss the three chapters, pulling out significant scenes/quotations and discussion thematically. 2. Larger group discussion: Each group will identify one important question/idea/passage they discussed and we will unpack it as a class (model close reading of a passage). Conclusion (0.5 class) 1. Read the beginning of Chapter 4 aloud (in order to provoke interest). Assessment Informal assessment: Monitor student discussion, what they bring forward for group discussion. Adaptations None. Extensions The lesson concludes by reading Chapter 4 aloud and thus an extension should not be necessary. Research/ Resources N/A English 11 Advanced, R. Wheadon 10 The Chrysalids: Chapter 4 & 5 -- Affiliation & Empathy Summary This lesson will examine some of the cognitive strategies that good readers employ without thinking (drafting, etc.) from Reading/Writing Connection (Olson). It then foregrounds a discussion of the customs, conventions, and norms of Waknuk. Objectives Students should leave this lesson with a greater sense of who the characters are and a larger personal investment in at least one character, or at least an understanding of the role of affiliation. Students should also be starting to take more control over the reading/thinking processes. Outcomes Met 4.1: Read a wide variety of print texts recognizing the relevance to their lives and community 6.2: Make connections between the ideas and information presented in texts and their own experiences 6.2: Make connections among the themes, issues, and ideas expressed in texts Materials Chart paper, post-it notes, markers. Pre-Work Review Olson and prepare notes on discussion of affiliation Plan Warm-Up (0.5 classes) 1. Writing Prompt (choice): Think of at least one real world issue that The Chrysalids could be seen as addressing allegorically (can be anachronistic) OR Choose the passage you found most interesting or important and analyze it, explaining your reaction. Link the first prompt to upcoming Socratic Circles. Main Act (1 classes) 1. In reading groups, have students create body biographies for characters that examine that character in depth (try to ensure different groups choose different characters; good choices would be David, Uncle Axel, and Joseph Strorm). In their reading groups, have students either trace someone’s body or draw a body on chart paper. Students should then determine the most important character traits/relationships/quotations (basing this on textual evidence) and should consider the following: English 11 Advanced, R. Wheadon 11 Placement: Careful placement of drawings and quotations (i.e., important relationship information could go near the heart; what drives characters or their actions may be placed near the spine). Symbols: What objects in the story are most often associated with your character? Do any represent ideas or themes within the text? (For example, a light bulb near the character’s head shows that they are creative or good at problem solving.) Reflection: How is your character perceived by others? How does this differ from how they see themselves? Evolution: Has your character undergone any changes, either physical or emotional, throughout the story? (The picture may be divided in half or printed twice, for "before" and "after" versions.) 2. If some groups have the same character, compare and contrast once this is complete. Conclusion (0.5 class) 1. Discuss affiliation (see Olson) and its importance to the reading experience. Facilitate a discussion about books they’re read in which they felt connected to a character, and encourage students to think about which characters they relate to the most in The Chrysalids. 2. Connect this to our discussion about setting. In what way can setting influence how we feel about a character? Why do we empathize with Katniss? Rick? The sympathetic character in this hostile world. Assessment Informal: Monitor student progress as they create body biographies & reading groups. Adaptations None. Extensions Extra time could be devoted to developing and extending initial thoughts re: Socratic Circles and research. Research/ Resources Olson, Carol Booth. The Reading/Writing Connection: Strategies for Teaching and Learning in the Secondary Classroom (3rd ed.). Boston: Pearson, 2011. English 11 Advanced, R. Wheadon 12 The Chrysalids: Chapter 6, 7, 8 -- Injustice and Complacency Summary This lesson questions David’s initial desire to run away from the society he deems as unjust. Does running away solve the problem or does it just let things continue out of sight? What about staying? By interrogating the difficult position those living in an unjust society face, and by connecting The Chrysalids to Ursula K. LeGuin’s “The Ones Who Walk Away From Omelas,” we will begin to examine the ethical quandary all of us will face, as we all participate in problematic social structures -- often without thinking about the implications of our actions or inaction. Objectives Students should leave this lesson with a deeper understanding of injustice and the ethical murkiness surrounding living in an unjust society. They should begin to connect The Chrysalids to outside texts/ issues. Outcomes Met 1.2: Ask discerning questions to explore ideas and information 2.3: Ask and respond to questions, including those related to complex texts and tasks 4.1: Read a wide variety of print texts recognizing the relevance to their lives and community 6.2: Make connections between the ideas and information presented in texts and their own experiences 6.2: Make connections among the themes, issues, and ideas expressed in texts 6.4: Demonstrate a willingness to explore multiple perspectives 6.6: Articulate feelings about ambiguities in complex texts to clarify their understanding 7.8: Reflect on their responses to texts, considering their own and others’ social and cultural contexts Materials Chart paper for pro/con organization. Pre-Work Ensure there are copies of “Omelas” for distribution. Plan Warm-Up (0.5 classes) 1. Read “The Ones Who Walk Away From Omelas” aloud. Have students underline important parts or parts that resonate as it is read aloud. How does this society parallel the society in The Chrysalids? What do both stories say about us? What does “Omelas” advocate? Ask students to keep track of questions/reactions to the story to share with class. English 11 Advanced, R. Wheadon 13 Main Act (1.5 classes) 1. Break into groups and ask: What do we do when we see injustice? David wants to run away; some people leave Omelas because they cannot participate in injustice. Is leaving productive? Have students, in their groups, either argue for or against the necessity for leaving/ withdrawing. 2. As a class, draw up lists detailing the problems with staying or going, as well as the virtues to each. Facilitate a class discussion on the difficulty of this position -- of being a member of an unjust society. How do we become non-complacent? Conclusion (0.25 class) 1. Writing Prompt: Compare “Omelas” with The Chrysalids. How do the messages of these texts compare? Which one has more merit (ethically, philosophically, stylistically)? Assessment Informal assessment: Monitor student discussion to see if students are successfully making connections between “Omelas” and the novel, and then to the outside world. Gather student response to final writing prompt to read and respond. Adaptations None. Extensions Read the introduction to Camp 14. Recap Shin’s life; he had to leave North Korea, but not lives nearby and works as an activist. Is this a good compromise? Tie the question to real life. Research/ Resources Harden, Blaine. Escape from Camp 14. STUDENTS SHOULD GENERATE LIST OF ESSAY QUESTIONS English 11 Advanced, R. Wheadon 14 The Chrysalids: Chapters 9, 10, 11 -- “What makes a man a man?” Summary This question gets at some of the unasked questions from the previous lesson: namely, what does it mean to be human? Is humanity in our DNA? Do questions of sapience come into play? How do cultural values impact who we ascribe humanity to and who (or what) we do not? Objectives Students should leave this lesson with an understanding of the way in which culture impact how we think of others. They should grasp some of the deeper currents running through the novel. Students should extend their practice of drawing connections between texts (developing intertextual analysis skills). Outcomes Met SCOs 1.2: Ask discerning questions to explore ideas and information 4.2: Read a wide variety of media and visual texts, focusing on the structure, genre, style, and cultural diversity 6.1: Recognize and articulate information from texts that trigger personal responses 6.2: Make connections between the ideas and information presented in texts and their own experiences 6.2: Make connections among the themes, issues, and ideas expressed in texts 6.4: Demonstrate a willingness to explore multiple perspectives 7.8: Reflect on their responses to texts, considering their own and others’ social and cultural contexts Materials Access to projector and computer, Netflix and DVD player. Pre-Work Prepare articles/ideas beforehand (photocopy) Prep movie clips/video clips Plan Warm-Up (0.5 classes) 1. Show clips from X-Men movies. In their reading groups, ask students to connect what they’ve watched with The Chrysalids and with contemporary or historical prejudices. These will be shared with the class. 2. Students will, in their reading groups, discuss the most pertinent passages from this week’s reading. They will then share them as a class and bring in other texts as appropriate, demonstrating close reading skills and an understanding of intertextual connections. English 11 Advanced, R. Wheadon 15 Main Act (1 classes) 1. If this hasn’t already happened, highlight the two passages from the text that lay out how different groups perceive humanity. Compare and contrast, drawing parallels to our cultures/views/social psyche. Highlight connection to Socratic Circles again. 2. Distribute articles on AI, dolphins, etc. Have groups construct a set of criteria for determining whether a being is human or not/whether it merits certain rights/freedoms or not. For/Against chart may be useful. 3. Show Star Trek clip re: Data’s sentience. Ask their verdict. Conclusion (0.5 class) 1. Writing Prompt: Humanity is… Then pass to a partner and have them comment, critique, evaluate, respond. Assessment Informal. Monitor student discussion/engagement. Adaptations None. Extensions Research/ Resources “Measure of a Man.” Star Trek: The Next Generation. Fuzzy Nation. Dolphins as non-human persons. English 11 Advanced, R. Wheadon 16 The Chrysalids: Chapter 12 & “The Valedictorian” Summary This lesson considers the choice of leaving an unjust society and venturing into the unknown. It returns to the question from the last lesson: what does it mean to be true to who you are? At what cost? Objectives Students will leave this class with a deeper appreciation of intertextual connections and with a clearer picture of what they value (flexibility, survival, adventure, being true to one’s self). Students will reflect on their own values and generate affiliation with the characters (to better understand why they make the choices they do) Outcomes Met SCOs 1.1 Examine others’ ideas to clarify and further their comprehension 1.2 Develop ideas by asking relevant questions and responding thoughtfully 1.4 Listen critically to analyze and evaluate to formulate and refine opinions and ideas 2.3: Ask and respond to questions, including those related to complex texts and tasks 4.1: Read a wide variety of print texts recognizing the relevance to their lives and community 6.2: Make connections between the ideas and information presented in texts and their own experiences 6.2: Make connections among the themes, issues, and ideas expressed in texts 6.6: Articulate feelings about ambiguities in complex texts to clarify their understanding 7.2: Recognize how artful language and structures of genre and text can influence the reader or viewer 7.5: Analyze the merits of language, ideas, and other characteristics of texts and genres 7.7: Explore ways texts reveal and produce ideologies, identities, and positions Materials None Pre-Work Prepare value checklists Prepare rubric for debate evaluation Prepare debate rules for distribution Plan English 11 Advanced, R. Wheadon 17 Warm-Up (0.5 classes) 1. Read “The Valedictorian.” Main Act (1.5 classes) 1. In small groups, tease out the dilemma at the heart of the short story; compare to The Chrysalids & David/Rosalind/Petra's flight. Can be organized graphically, but doesn’t need to be. 2. Debate: Split the class into two parts. They will debate the merits of Zinhle's choice in "Valedictorian" (before she makes it; they could give voice to her thoughts). 3. How does this question change once David et al. are discovered? What choices do they still have to make? (Obviously, not leaving isn't one of them; but how they go about leaving MAY BE) Conclusion (0.5) 1. Have students individually complete a value checklist. What do they value? What matters most to them? They will narrow their choices from 10-15 to 5 and then to 2. How do their values impact their choices? What would they do if they were in Zinhle’s position? Assessment Formal: Students will receive points for speaking/listening during the debate on the following scale: 1.1 Examine others’ ideas to clarify and further their comprehension 1.2 Develop ideas by asking relevant questions and responding thoughtfully 1.4 Listen critically to analyze and evaluate to formulate and refine opinions and ideas Adaptations None. Extensions Should be unnecessary. Research/ Resources “The Valedictorian” by N.K. Jemisin. Roberts, C. “Checklist for Personal Values.” English 11 Advanced, R. Wheadon 18 Personal Value Checklist !"#$ &' ()*" + ,*-.# /01"222 lrom thls llst of vulues (both work und µersonul), select the ten to ffteen thut ure most lmµortunt to youus guldes for how to behuve, or us comµonents of u vulued wuy of llfe. leel free to udd uny vulues of your own to thls llst. 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Now lmuglne you cun only huve fve. Cross oñ the remulnders. Lllmlnute others untll you huve 05-6 "40. English 11 Advanced, R. Wheadon 19 The Chrysalids: Chapters 13, 14, 15: Life on the Fringes Summary This lesson examines how those forced to the Fringes create their own norms, values, cultures, how they come to perceive themselves in the scheme of things. It will interrogate what we value, as individuals and as cultures, and how this impacts the choices we make and how we live our lives. Objectives Students will be asked to consider their initial predictions about the shape of the world 200 years after nuclear disaster; they will then build on the previous lesson’s connection to personal values and develop, in groups, their own projected communities, thinking about how their values intersect with or differ from the values of the communities in The Chrysalids. Outcomes Met SCOs 6.1: Recognize and articulate information from texts that trigger personal responses 6.2: Make connections between the ideas and information presented in texts and their own experiences 6.2: Make connections among the themes, issues, and ideas expressed in texts 7.7: Explore ways texts reveal and produce ideologies, identities, and positions 7.8: Reflect on their responses to texts, considering their own and others’ social and cultural contexts Materials Chart paper. Pre-Work Prepare list of differing values of each space (for reference during class discussion) Plan Warm-Up (0.25 classes) 1. Writing Prompt: Identify the most important passage out of the three chapters. Why is it important? What does it mean to you? How does it relate to your personal values? English 11 Advanced, R. Wheadon 20 Main Act (1 classes) 1. Students will, in their groups, revisit their initial predictions about what communities might look like 200 years after nuclear disaster. Does this vision show what they value? Does it show something of their outlook on life? 2. Facilitate a quick discussion about how values shape communities. Include sections from Divergent (Veronica Roth). 3. Students will then develop a community and culture for David’s world that reflect what they value -- what institutions, what types of life, what personal and political values. If they value education, how would that manifest itself in day-to-day life? If they consider health care crucial, what would that look like? Or if they consider the purity of the human form essential, might they guard against mutants? How? Remind them to name their communities, articulate social values/norms, think about what institutions exist, what social positions accrue prestige… 4. Once groups have developed their communities, they can share with the class. Facilitate a discussion on how their imagined communities reflect on or react to their own society’s values. Conclusion (0.25 class) 1. Writing Prompt: Choose one community from the novel and assess its values/norms in comparison to your own OR Life on the Fringes means… Assessment Informal. Monitor student discussion and contribution. Adaptations None. Extensions Any free time will be devoted to reading The Chrysalids. Research/ Resources None. English 11 Advanced, R. Wheadon 21 The Chrysalids: Chapters 16, 17: “The essential quality of living” Summary This lesson examines the role of change in our conception of humanity: Is change our one constant? When we stop changing, we stop growing -- and things become fixed, dark, prejudiced. It also revisits the idea of dystopia: how do we know something is dystopian? Can anything ever be utopian? Objectives Students should leave with a sense of how differing values impact the shape of communities, and how no social group is perfect. They should also continue their thought about what makes us human/how we construct and understand personhood/humanity. Outcomes Met SCOs 1.2: Ask discerning questions to explore ideas and information 2.3: Ask and respond to questions, including those related to complex texts and tasks 6.1: Recognize and articulate information from texts that trigger personal responses 6.2: Make connections between the ideas and information presented in texts and their own experiences 6.2: Make connections among the themes, issues, and ideas expressed in texts 6.4: Demonstrate a willingness to explore multiple perspectives 6.6: Articulate feelings about ambiguities in complex texts to clarify their understanding 7.5: Analyze the merits of language, ideas, and other characteristics of texts and genres 7.7: Explore ways texts reveal and produce ideologies, identities, and positions Materials None Pre-Work Prepare page references Plan Warm-Up (0.75 classes) 1. Group prompt: Assign each group one of the two passages on change in these chapters. Have them do a close reading and analysis, then evaluating the merit of the statement -- both stylistically (is this heavy-handed? do we believe this is what Wyndham thinks or is it just the appropriate response of either the Fringes or Sealand to the world?) and philosophically. English 11 Advanced, R. Wheadon 22 Main Act (1 classes) 1. Revisit our original descriptions of dystopia/post-apocalyptic lit. In their reading groups, have students discuss the three societies we see and analyze. Point them to pages 145-146 for more about Sealand. 2. Class discussion: Can there ever be a utopia? Think about "Omelas" again (maybe revisit passage about believability); Le Guin suggests that we find Omelas more believable when there is a dark secret. Is that human nature, to need some sort of darkness in order to believe something? Facilitate discussion. Conclusion (0.25 class) 1. Writing Prompt: Using what little we know of Sealand (see opening of the novel), write a description of David et al. arriving. Be conscious of how you describe setting. If you think Sealand is a dystopia, drop in subtle hints; if you think it is only flawed, think about how David, Rosalind, or Petra might perceive these flaws… Would they be unsettled, oblivious, heart-broken, suspicious? Assessment Collect creative writing as formative assessment. Return with feedback. Adaptations None. Extensions Any free time will be devoted to portfolio work. Research/ Resources Revisit the introduction to After (Windling and Datlow). English 11 Advanced, R. Wheadon 23 The Chrysalids: Portfolios & Conclusion Summary Wrap up of themes and presentations of favourite pieces from portfolios and/or culminating pieces (can be done in small groups or for entire class). We also revisit a key question: why speculative fiction? Why The Chrysalids? How have their perceptions changed (if at all)? Objectives Students will have time to curate their portfolios and to develop a reflective perspective on the unit, genre, and their reading/writing/ thinking processes. Outcomes Met SCOs 7.2: Recognize how artful language and structures of genre and text can influence the reader or viewer 7.5: Analyze the merits of language, ideas, and other characteristics of texts and genres 7.8: Reflect on their responses to texts, considering their own and others’ social and cultural contexts 8.1: Use writing and other ways of representing to: explore, interpret, and reflect on their own experiences with a range of texts and issues; monitor their language and learning processes and strategies; record and assess their language and learning achievements; express their feelings, and reflect on experiences that have shaped their ideas, values, and attitudes 8.3: Make informed choices of language and techniques to enhance imaginative writing and other ways of representing 9.2: Create coherent structures in writing and media production: make informed choices of form, style, and content for audience and purposes; use effective strategies to engage the reader or viewer 10.1: Apply a variety of writing and representation strategies to construct increasingly complex texts 10.4: Demonstrate a commitment to crafting a range of writing and other representations Materials Paper, markers, computer equipment, any items required to make the portfolio. Pre-Work Remind students of the portfolio requirements Prepare self-assessment rubric Prepare exit slips Plan English 11 Advanced, R. Wheadon 24 Warm-Up (0.5 classes) 1. Pose the question: Why do we read speculative fiction? What is the most important message in The Chrysalids? What about “Omelas”? “The Valedictorian?” Students will discuss in small groups. One individual will be the note-taker and we will develop a list of ideas central to the novel/genre to put up on the board. Main Act (1.5 classes) 1. Students will have some time to work on portfolios, but most of our class time will be spent workshopping their papers in small groups. Conclusion (1 class) 1. Students will each present the piece that meant the most to them. They will also finish exit slips and self-assessment. Assessment Assessment is largely informal; however, student portfolios will also be assessed at the end of the unit. See rubric after the portfolio description. Adaptations Adapted portfolio requirements for IPP. Extensions If students finish up early, they will be able to continue work on their Socratic Circles. Research/ Resources None. English 11 Advanced, R. Wheadon 25 The Chrysalids: Reflective Portfolio Outcomes 6: Students will be expected to respond personally to a range of texts 7: Students will be expected to respond critically to a range of texts, applying their understanding of language, form, and genre 8: Students will be expected to use writing and other ways of representing to explore, clarify, and reflect on their thoughts, feelings, experiences, and learnings; and to use their imagination 9: Students will be expected to create texts collaboratively and independently, using a variety of forms for a range of audiences and purposes 10: Students will be expected to use a range of strategies to develop effective writing and other ways of representing and to enhance their clarity, precision, and effectiveness Throughout the unit, you will be responding to writing and/or learning prompts that are meant to help you map the way in which you respond to The Chrysalids and the other texts we will be using throughout. These prompts could involve predicting themes or plot events by gathering information and hypothesizing; you may be asked to respond to an ethical issue or to articulate how you feel about a particular character. At the end of the unit, you will be asked to select seven of your best pieces -- that is, things you have produced that either show how you’ve grown as a learner/reader/thinker or the pieces you’re most proud of -- in addition to creating one culminating piece from the attached grid. You will also include your in-class essay, which you will be encouraged to return to and expand upon. There will be class time allotted to workshopping this essay with your reading group members. Be sure to keep all of your writing prompt responses and any other things -- maps, character sheets, comics -- you produce during this unit. You’ll need them later! The purpose of this portfolio is for you to start thinking about how you learn, your strengths and weaknesses, and for you to take ownership of your own learning/reading/thinking processes. English 11 Advanced, R. Wheadon 26 Analytical Practical Creative Review: Write a review of one of the texts we have read during this unit. Your review should evaluate the text on its merits (stylistically, philosophically) and suggest texts to read/films to see in lieu of or in addition to the one you review. Visitor’s Guide to Waknuk: Your best friend is going on an expedition to Waknuk. What does he or she need to know to fit it? To survive? Can alternatively be written as a travel guide for a rather unlikely tourist destination. Short Story/Poem: Respond, either in a short story or poem, to The Chrysalids, “The Valedictorian,” “The Ones Who Walk Away From Omelas,” or one of the themes we have discussed in this unit. Graphic Organizer: Develop a visual organizer that: a) traces the history of David’s culture from Tribulation until the book’s end; b) sorts characters by character traits; or c) compares/ contrasts the definitions of human within the novel. Wild Card: Is there something you’re dying to try out (rock opera, book review, comic adaptation)? Come and see me with a brief written proposal (2-3 sentences) describing what you would like to do and why you’d like to do it, and we’ll have a chat! Letter Home: Write a letter from the perspective of David, Rosalind, or Petra after the novel’s conclusion. What do they want the people of Waknuk to know? How does the writer feel about how things have played out? Cover Design: You’re in charge of the cover design of the latest edition of The Chrysalids. Consider important themes, symbols, and the current publishing industry and craft a new cover. Include cover blurbs and an explanation. Movie Pitch (with storyboard): Write a pitch for selling the film rights to The Chrysalids. Include a short storyboard for an important (and exciting!) theme or casting suggestions. Should be able to be recited in no more than one minute. Scripting: Script a scene from the novel for the stage or for film. Act it out with a peer. Should include stage direction, set instructions, character descriptions, and so on. Be able to justify why you chose this particular scene. English 11 Advanced, R. Wheadon 27 The Chrysalids: Socratic Circles 1hroughout thls unlt, you wlll be encouruged to µull out themes und ldeus from !"# %"&'()*+,( und the other texts we uddress und connect those ldeus to reulworld lssues. Cver the course of the novel study, you should select u comµlex lssue thut lnterests you und begln reseurchlng the wrltlng und thlnklng thut hus been done on the toµlc. 8y the end of the unlt, you should huve two µleces (news urtlcles, vldeos, documentury cllµs, blog entrles, etc.) thut relute to, comµllcute, or exµund uµon the blg ldeus we've dlscussed throughout. Cnce we huve comµleted studylng the novel, we'll begln Socrutlc Clrcles. Luch duy we'll huve un 755#8 9789-# und un 0."#8 9789-#, the lndlvlduuls ln the lnner clrcle wlll euch tuke u turn us the fucllltutor. 3)# :*97-7"*"08 leuds the grouµ dlscusslon µertulnlng to the reseurch he or she hus brought to cluss. lt ls the lnner clrcle's job to reud the reseurch comµleted by the other members of the lnner clrcle, euch member should ulso come to cluss wlth ldeus, questlons, undjor lmµortunt µussuges. ln short, you should be µreµured to delve lnto u comµlex dlscusslon. vhen µreµurlng to uct us fucllltutor, ensure thut your lnner clrcle hus uccess to your reseurch und µreµure u llst of oµenended questlons thut wlll µrovoke dlscusslon. Remember: the µurµose of u Socrutlc Clrcle ls not to come to un unswer, but to exµlore comµlex ldeus. An excellent wuy to uµµrouch thls goul would be to lnclude reseurch µleces wlth oµµoslng vlews. vhlle the lnner clrcle dlscusses un lssue, the outer clrcle wlll keeµ truck of who ls sµeuklng und the µolnts thut the lnner clrcle ls muklng. vhen dlscusslon wlnds down, the outer clrcle members wlll usk u questlon of the lnner clrcle, meunt to clurlfy, deeµen, or exµund. Cne goul of Socrutlc Clrcles ls to understund the ldeus und thoughts of others through usklng questlons und llstenlng to unswers. 1hls meuns thut µurtlclµunts must µructlce how to ugree und dlsugree. Purtlclµunts must be uble to dlsugree wlthout belng dlsugreeuble. ln order to do so, the µurtlclµunts cun use the followlng suggested wuys of resµondlng us u wuy of frumlng thelr thoughts before they sµeuk. Sµeuklng und resµondlng ln u culm, colluborutlve munner ls essentlul to good dlscusslon und dlulogue. ¡) l ugree wlth__________ becuuse, but l wunt to udd unother reuson why l thlnk _________ ls true. (Clve unother reuson.) z) l dlsugree wlth __________ becuuse . . . ¸) l'm not sure why ___________ suld . . . Cun you reword your comments to helµ me understund? µ) l understund your µolnt, __________, but l wunt to uddjdlsugreejglve unother slde . . . ¸) 1hls ls whut l thlnk you ure suylng. . . ls thut correct? English 11 Advanced, R. Wheadon 28 The Chrysalids: Reading Groups Membeis: ___________________________________________________________________ In youi ieading gioup, you will be iesponding io and discussing wiiiing and iasl piompis, peifoiming close ieadings of passages fiom !"# %"&'()*+,(, and discussing ile novel in deiail. Youi gioup membeis seive as ile coie of youi expeiience of ile novel: iogeilei, you will develop infoimed opinions on ile iexis and ideas we examine. We will fiequenily begin class wiil gioup woil: you slould always come io class wiil ile appiopiiaie ieadings compleied and wiil seveial quesiions, ideas, oi impoiiani passages] quoiaiions ilai you would lile io discuss. Please wiiie youi discussion poinis down eiilei on a piece of papei oi on a cue caid (you can gei ilese fiom me). I will occasionally colleci ilese in oidei io gauge ile exieni io wlicl you'ie conneciing wiil ile iexi(s). Ai ile end of ile unii, you will be compleiing peei evaluaiions. Remembei: ile moie you coniiibuie io discussion by biinging in ideas, quesiioning youi gioup membeis, and engaging wiil ile maieiial, ile beiiei youi expeiience will be! Peei Assessmeni: i. Assign eacl gioup membei a numbei, including youiself :. Give eacl gioup membei a scoie foi eacl caiegoiy oui of fve: i (nevei), : (iaiely), ¸ (someiimes), ( (ofien), ¸ (always) !"#$ % & ' ( Read ile novel and came piepaied io discuss ii (wiil quesiions]ideas]passages ieady) Coniiibuied meaningfully io discussion in a way ilai demonsiiaied insigli and made discussion moie complex Lisiened caiefully and iespecifully and, wlen dißeiing viewpoinis aiose, voiced disagieemeni consiiuciively Raised inieiesiing quesiions aboui ile iexi(s) and engaged meaningfully wiil ile quesiions iaised TOTAL: English 11 Advanced, R. Wheadon 29