due Th/F Sep 21/22: Camus paragraph.revised

submit new draft of Camus Paragraph to TURNITIN (Camus paragraph.revised) before next class (Th/F Sep 21/22), and be sure to update acknowledgment-footer to include most recent help from partners and any other sources

Advertisements

agenda T/W Sep 19/20: review and refine Camus paragraph

learning goal: Which one of the five criteria from the “Content Writing Rubric” needs the most work in my current draft of the Camus Paragraph?

rushed early draft, confusing deadline for next draft, some struggle with story’s content, challenging nature of assigned question, first “minor grade” assignment, introduction to idea of “11-part paragraph,” etc.

therefore, need time to address these challenges–as whole class and with reading partners

and time to revise, and submit new draft to TURNITIN before next class (Th/F Sep 21/22), and to update acknowledgment-footer to include most recent help from partners and any other sources

assignment reminder: refuge poem (Wed/Thu Sep 27/28)

Remember that your original refuge poem is due to TURNITIN before the next poetry day begins.

_____________________

As you compose your poem, consider this paragraph from Eavan Boland’s introduction to her book, After Every War: Twentieth Century Women Poets:

The problem with human catastrophe is that it can be remembered all too well.  But it is much harder to re-imagine it.  What brings it from the domain of fact to the realm of feeling is often just a detail.   A cup, a shoe, an open window, a village roof with missing slates.  Once we see it, we recognize it.  That could have been me, we suddenly think.  I could have been there.  That moment of private truth, simply because it cuts history down to size, has a rare value. (3)

Although you are not necessarily writing about catastrophe, this passage suggests ways to bring alive the speaker or characters of your poem.  Notice how much value Boland sees in “just a detail.”

Enjoy your writing.  Start early enough that you have time to play with lines, ideas, and details.  Give the poem time to simmer on the stove, rather than flash-frying it at the last minute.

agenda W/Th Sep 13/14: Camus

learning goal: how does a particular detail in Camus’s “The Guest” affect your thinking about the overall story?

 

review gordimer model–with Content Writing Rubric

review 11-part paragraph structure (notice 11 part, not 11 sentence)

start writing camus paragraph (using focus view), finish reading story (if needed)

submit current writing to TRNTN by end of class (Camus paragraph.class start)–unless your reading time means you have not yet started writing (D block excepted)

 

before next class,  submit complete paragraph to TRNTN (Camus paragraph.complete)  Be very sure to acknowledge any help you receive from another person or source.  That’s what the acknowledgment footer is for.

 

due Fri/Mon Sep 15/18: refuge poem to TRNTN

10H refuge poem.15Sep17

Explanation of outline above:

Before the next Poetry Day (Fri/Mon Sep 15/18), submit an ORIGINAL POEM to TURNITIN, which means a poem that has not been written before–by you, or by anyone else.

Use at least twenty lines.  This is a minimum not a maximum.  If the poem is working, feel free to write more.

The SPEAKER of the poem–i.e., the voice we hear in this poem–might be you, or it might be someone else.  You are the poet, the author, the writer, but someone else can be the voice, the speaker in the poem.

The general subject of the poem is REFUGE.  Consider where–physically, mentally, spiritually–someone might find refuge.  As you think about who will be the speaker of the poem, consider cities, regions, or countries from which people are fleeing.  These people are seeking refuge.  For example, consider Houston, south Florida, South Sudan, Syria, or Afghanistan.  These are just some places where you speaker lives, or has lived.

As you work on this poem, try to use at least one of the POETIC TOOLS introduced on Poetry Days so far: ars poetica, alliteration, run-on line, hyperbole, symbol, concrete imagery, metaphor, internal rhyme.  You don’t have to use all or a lot of them.  Go ahead and write the poem, and see if any of these naturally appear in your early draft(s).  If they don’t explore how one of them might.

agenda T/W Sep 5/6: POETRY DAY–Where is my Refuge?

learning goalssymbol, concrete imagery, metaphor, internal rhyme, alliteration

for those who want: time to share their new poems (due to TRNTN by start of this class)

Show Canvas Page entitled “Poetry Day,” and its links to updated google docs

read, study and discuss the day’s poems (mark examples of the day’s poetic tools in the these poems)

bird house