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
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
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.
learning goal: where do you find examples of the day’s terms in today’s poems by these African and Caribbean authors
review terms from previous poetry days: alliteration, run-on line, hyperbole, symbol, concrete imagery, metaphor, internal rhyme
read and enjoy today’s poems
learning goal: how does a particular detail in Camus’s “The Guest” affect your thinking about the overall story?
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.
Before the Mon/Tue class, finish reading Camus’s “The Guest.” During the reading, or after, write brief notes on the “Questions for studying” sheet, in order to help you think about what kind of person Daru or the Arab is.
A digital copy of the story is available here.
learning goal: how do yo know what you know about either Daru or the Arab in Camus’s short story “The Guest”?
whole group reading and discussion of first two pages
individual reading of rest of story (with brief notes added while reading)
follow-up paragraph TBA
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.
learning goals: symbol, 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)