On Monday I proposed a deal: If you keep a detailed (definition of “detailed” below) reading journal for our current work, one that includes as much or more information than an average essay, and turn it in at the end of the reading, you do not have to write a paper.

My hypothesis: A few of you would decide to just write the paper, as you are familiar with that routine and comfortable with your writing process; most of you would write down a few words you don’t know, perhaps a summary of the reading, a few questions, and be through with it; and a few would run with the idea, draw character maps, look up outside information, learn new words, come to class with questions about weird sentences and quote interesting passages.

The bell curve, right? Shame on me; I should have known better.

The past few days in class have blown me away. Nearly all of you have come to class with questions about the reading (or viewing, in Brit Lit), words you’re not sure about, connections you’ve made with outside works, points I’ve missed, and interpretations I hadn’t considered. You all seem to be enjoying the readings more (even though you have to write as you go), and understanding them in more depth. I’ve practically thrown out all my prepared questions for the past few days; yours are much better. I can’t wait to sit down with your journals at the end.

While I wrote this on the board, here is the list of things to look for or record in your journal:

• Questions about the work. We read so we can learn. If we don’t have questions, we need to read more difficult material.
• Figurative language: metaphors are always important, but so are all of the other words we reviewed at the beginning of the year. Check your handout.
• Words you don’t understand. If they might be vital for you to understand a passage, look them up immediately. Otherwise, look them up afterward. ((Ninjawords.com is great for this. Simply put all of the words, separated by commas, into the search box, and you’ll have a list of definitions. For the truly adventurous, try this online etymology dictionary for where it came from and related words.))
• Interesting passages with citations—this does two things:
• Helps you keep track of the important parts of the story, so when someone asks “When did the character do this?” you can quickly save the day. Also helpful when writing papers…
• Helps you develop as a writer. Writing down cool sentences (not copy-and-pasting them) helps you get a feel for the language (and grammar, and punctuation) and helps you remember quotable lines.
• Connections with other works, ideas, philosophies, medical conditions, etc. The great thing about English classes is that we can write about anything. Do Hamlet’s actions match the symptoms of a medical condition mentioned in the ICD-9? What about Meursault’s? How closely does the plot of The Lion King sync with Hamlet? etc. Go nuts with this one; the crazier the comparison (if solid), the better the paper.
• Sketches, drawings, diagrams. I don’t draw much in my own journal, but if you are a visual person, go nuts! The only person who needs to be able to understand your journal is you.
• For all of the above: write down your reactions. I can’t emphasize this enough: write down your reactions. If a character does something hilarious, crazy, confusing, terrifying, completely out-of-character, make note of it. If it reminds you of something, write it down. Books are meant to be interacted with, not simply absorbed.

You will turn in your journals the day after we finish the work. I will read them over that night, and return them to you the next day. I will not write in them, but simply give you advice on organization, some things you should focus on, etc. (I might steal some ideas for my own journal, too. Hope you don’t mind.)

If your journal is detailed enough (covers the entire work, or Act III through the end of Hamlet), you will be excused from the final essay. If you chose not to create a journal, or it seems a bit sparse (or is simply a list of quotations without your reactions), I will ask you to write the paper.

We will be creating reading journals for every reading assignment from here on out. For our next unit, I’ll show you how to write most of your essay in your journal before we even finish the novel.

Send me an email if you have questions, or post them below.

This is going to be an amazing year.

Here’s the full text. Search for “Pyrrhus” within the page (usually ctrl+F); the story begins at the first mention of Pyrrhus.

Your assignment is as follows:

• Explain why Shakespeare chose this particular story for the actor to recount. Do as much research as necessary in order to support your claim.
• A rough draft of your explanation is due tomorrow.

You can catch up on your reading here.

Our main goal with this play is to gain a better understanding of Shakespearean language, snag a few allusions, and take an in-depth look into the motivations of each character. The first two are happy side-effects of the last. There are two questions we should keep in mind as we watch:

1. At what point does Hamlet’s sanity become questionable?

2. Why doesn’t Hamlet kill Claudius right away?

Of course, as with all questions worth asking, our initial attempts will raise more questions than answers, and will become more complex as we look deeper into the story. This is a good thing.

We’ll have a quick quiz tomorrow over the action so far. This will do several things for us:

• Help me see how you are understanding the story as individuals.
• Help you organize your thoughts about the play so far (you may use your notes; this quiz could be a good resource for you when you begin writing—a very rough draft of sorts).
• Help me check on how your writing is progressing. (Hint: it will not be fill-in-the-blank.)
• Help you decide whether the in-class discussions are sufficient for you to understand the play. You may decide to track down a copy to study from on your own (we have a few in the classroom, or you can use the link at the top of this post) if you have trouble answering the questions.

We begin Hamlet tomorrow. I realize that the name Shakespeare strikes fear (or ironic eye-rolling) in the hearts (or faces?) of many-a high school junior. For those few, I offer a cheat sheet.

More to come.

All:

The format for any essay in my class (and the works cited page) can be found here. How to head your paper is over here.

Read through chapter 20 for Monday. (See the reading schedule for the rest of the week here.)

Third Hour:

Use the following prompt to guide your first essay over the novel. While we have not finished the book, you should have more than enough information to support your claims.

The following quotation comes from John Donne’s “Meditation #17”:

No man is an island, entire of itself; every man is a piece of the continent, a part of the main. If a clod be washed away by the sea, Europe is the less, as well as if a promontory were, as well as if a manor of thy friend’s or of thine own were: any man’s death diminishes me, because I am involved in mankind, and therefore never send to know for whom the bell tolls; it tolls for thee.

In your paper, create and support an argument about how theme of About a Boy compares or contrasts with the theme of John Donne’s “Meditation #17.” Remember that the actions and thoughts of the characters contribute to the theme of the book, so your support will primarily come from the characters’ thoughts and actions.

Put another way, you should do the following:

1. Decide what you believe Donne’s message is in “Meditation #17.”
   1. Write it down so you can reference it as you begin writing your paper.
   2. Remember the short paper you wrote over Donne’s piece? That might help here…
2. Read through your notes over the book, and skim through previous chapters.
   1. Which characters interact like Donne says he does?
   2. Which do not?
   3. Mark passages that answer these questions.
3. If a character changes his or her actions over time, definitely mark the passages that show this.
4. Create an outline.
   1. Write your overall explanation of the characters’ actions in relation to “Meditation #17” at the top. (This would be your thesis.)
   2. Group together similar (or contrasting) scenes together in your outline. (These would be your paragraphs; include as many paragraphs as necessary to make your point.)
5. Use your outline to write a rough draft.
6. Type it.
7. Be proud.
8. Bring it to class Monday.

This may seem like an awful lot, but break it down into manageable parts. For example, do #1-4 Saturday morning and #4-5 Sunday afternoon, and edit it as you type it Sunday night.

Fifth Hour:

Follow the format guidelines at the top of this page; bring your rough drafts to class Monday.

As always, email or post questions below.