Monday, October 31, 2016

Mon. Oct. 31, 2016: Essay Assignment

Today, you were presented with an essay assignment. It is due at the end of the day on Wednesday. I have pasted the instructions below.
I also discussed sentence types. We covered simple, complex (: ; ,) passive and active. Use Fit to Print to find out about these if you weren't here.

Essay Assignment: Canadian Themes

We have just finished our study of the first half of a unit which is based on Canadian literature and common themes present in these texts. More specifically, we have just finished reading and analyzing a few different short stories and poems from Canadian authors. For this essay, you will be expected to choose an essay topic from the choices below, develop a thesis , provide examples to support your thesis (and main points) and quotations from the short stories to strengthen your arguments.

Essay Topics: Choose only ONE of the following:

a.       Within the literature we have studied, there are many Canadian themes. What are the most important themes that you can identify in the short stories? Using these themes, explain their presence and relevance in THREE of the texts that we have studied. Please use examples and quotations (if possible) to support your thesis statement.
OR
b.      In the short story “The Painted Door,” the author attempts to use external symbols to play pivotal roles in supporting the emotions or the characters. Does he achieve this goal?
OR
c.       Often, the setting plays an important role in Canadian Literature. What effect does the setting have in the texts we have studied? Explain the role the setting plays in THREE of the texts we have studied using examples and quotations (if possible) to support your thesis statement.
OR
d.      Often, relationships play and important role in Canadian literature. What effect do relationships have in the texts we have studied? Explain the role relationships play in THREE of the texts we have studied using examples and quotations (if possible) to support your thesis statement.

Requirements:
·         Your essay must be formal in nature (no “I,” or “we,” types of pronouns; no contractions, no clichés or slang, proper tone for the audience).
·         Your essay must be five paragraphs in length.
·         Your essay must use quotations effectively. If you do so, it will improve your overall mark. Aim for using three.
·         Your essay must follow proper MLA format as indicated in class, your MLA resource (the “MLA Booklet” or Fit to Print), and proper computer set up steps (use Fit to Print or your “Computer Usage Steps” sheet).
·          

Essay Marking Criteria:
Content: Thought and Detail:          10 marks
Organization:                                     5 marks
Sentence Structure:                            5 marks
Vocabulary:                                        5 marks
Mechanics:                                         5 marks

Friday, October 28, 2016

Fri. Oct. 28, 2016: Discussion of the Short Stories

Today, we viewed the following youtube videos. You can search and find them.
"Marry Gasmas" from "Corner Gas, Part I (3:39-3:56). I wanted you to see Oskar when he was a grouch.

The painted door - best short documentary (24:01 minutes)

We viewed these and examined the differences and the reasons for them.

We then watched Lamp at Noon Documentary (type that in 4:49  minutes)

I then provided the following notes on the similarities of themes between these three stories

Themes Present in Ross’ Short Stories
When reading from the perspective of one author, some theme patterns should emerge.
Similarities
1.      Weather
a.       All take place in “darker” months (using process of elimination, we can see that non are in spring due to the water situations in all; we can also see from the crops that it would not be spring but later on).
b.      All involve storms of some sort: thunder, dust, or snow.
c.       In all stories, the weather is personified negatively, as something evil and “out to get” the characters, or at least destroy their livelihood.

2.      Geography
a.       All take place on the prairies
b.      All take place in the 1930s
c.       All take place in farm houses
d.      All take place in rural settings

3.      Relationships
a.       All involve married couples in conflict
b.      All involve a man who wants to stay where he is
c.       All involve a woman who wants to leave where she is
d.      All involve a man who is either physically or emotionally distant
e.       All involve a woman who is not totally in control of her emotions
f.        All involve a man who does not want to be subjugated
g.       All involve a woman who wants, but does not have, any control over her situation
h.       All involve social isolation and miscommunication



Thursday, October 27, 2016

Thurs. Oct. 27, 2016: Catch-up and Novel Study

Today, the students were given time to work on their independent novel study. Those who haven't finished the active readings/questions for this unit used the time to catch-up. The deadline for readings and questions for this unit is tomorrow.

Wednesday, October 26, 2016

Wed. Oct. 26, 2016: Work Class; Short Stories

Today, the students worked on completing the questions given yesterday. I also put the handout "The Elements of a Short Story" in all of their portfolios as a refresher on short story terms.

Everything is due tomorrow (the active readings and questions). Refer back in this blog if you are missing readings or questions as they are pasted there or ways to get them are present (get them on the computer).

Tuesday, October 25, 2016

Tues. Oct. 25, 2016: Questions for the Short Stories

Today, I provided the students with questions for both "The Painted Door" and "Lamp at Noon." These are to be submitted for Thursdays class in order to get credit.

I am pasting the questions for both stories below:

“The Painted Door” Questions One

INSTRUCTIONS: On a separate sheet of paper answer these questions neatly and fully. They can be done in pairs. The answers also must be developed fully (with as much detail/supporting evidence as possible). If you do not understand a question, look up the words that you are having difficulty understanding.

1.         What are two types of conflict present in this story? Explain and give examples of where it is seen or where it shifts.

2.         Describe John's character. Support your assertions with evidence from the story.

3.         Is John a flat/static character or dynamic? Explain and provide evidence to support this.

4.         Describe Ann’s character. Support your assertions with evidence from the story.

5.         Is Anne a flat/static character or dynamic? Explain and provide evidence to support this.

6.         Who is the main character in this story? How do you know?

7.         What is the main character’s conflict?

8.         Describe the setting of the story.

9.         How is the setting important to the overall story?

10.       Sometimes to create mood and atmosphere a writer will use repetition. How has Sinclair Ross used this device?

12.       How does the physical setting of this short story effect the psychology of the characters? Explain.

13.       What is a theme (look this one up and make sure you BOTH understand it… keep researching until you do)?

14.       Within this story locate at least one example of each of the following:

a.       Onomatopoeia
b.      Personification
c.       Rhetorical questions
d.      Simile
e.       Metaphor
f.       Symbolism

“The Lamp at Noon” Questions
by Sinclair Ross

INSTRUCTIONS: Either by yourself or with a partner (one only) answer the following questions as requested and FULLY. I will be taking this in as a major assignment so I expect depth.

1.   Describe the expository information for this story as it relates to 
      setting.

2.   What point of view is being used to convey this story? How do you know this? Is this a good choice? Why or why not?

3. What is the main conflict of this story? Provide evidence to prove this (at least three pieces).

4. Give three examples of how the wind is personified. What is the effect of this on the mood of the story?

5. What is the wife so upset about? Why? Provide the context for this (history).

6. Why is the husband not giving in to her? Explain his reasons and provide the context (history).

7. What is the climax of this story? How do you know this is the climax? Explain.

8. Using your Canadian Themes sheet, identify three themes present in this story. Provide three pieces of evidence to prove each on.

9. Based on what you know, is the ending of this story realistic? Provide a real life analogy that shows the same desperation and show me the comparison.

Monday, October 24, 2016

Mon. Oct. 24, 2016: Reading Class

Today, you continued meeting the goal of having the short stories read (see Friday).
They need to be actively read, summarized and a thesis provided for tomorrow's class.

Friday, October 21, 2016

Fri. Oct. 21 to Mon. Oct. 24, 2016: Reading Class

Today and Monday are reading classes. You are to actively read "The Painted Door," and "Lamp at Noon," both by Sinclair Ross.
Both must be submitted on Tuesday.

Thursday, October 20, 2016

Thurs. Oct. 20, 2016: M.C. Discussion and "Lamp at Noon" Reading

Today, we discussed the multiple choice answers for the excerpt from "A Field of Wheat." I then gave you a biography on Sinclair Ross. We read this actively and then I gave you the reading "Lamp at Noon." This is to be read actively for tomorrow's class.

To find this story, just Google Lamp at Noon readings and it will be the first one to pop up.

I also handed out the reading "The Painted Door".  This is to be read for Tuesday.

To find this story, just Google The Painted Door readings and it will be the first one to pop up.

Wednesday, October 19, 2016

Wed. Oct. 19, 2016: Active Reading and Motivation

Today, we discussed the importance of motivation in self regulation. I then read the excerpt from "A Field of Wheat" out loud. Students then got into groups to address the questions they were to have answered last week. We will discuss these tomorrow.

Tuesday, October 18, 2016

Tues. Oct. 18, 2016: Short Story Introduction

Today, I presented students with a Powerpoint on Canadian Literature. If you were not here, a copy of these notes are available upon request.
For tomorrow's class, you are to actively read "A Field of Wheat" and write a summary and theme on the back of it. Put it on a separate sheet of paper if you don't have the room.

from A FIELD OF WHEAT
It was the best crop of wheat that John had ever grown; sturdy, higher than
the knee, the heads long and filling well; a still, heat-hushed mile of it, undulating
into a shimmer of summer-colts and crushed horizon blue. Martha finished pulling
the little patch of mustard that John had told her about at noon, stood a minute
5          with her shoulders strained back to ease the muscles that were sore from bending,
then bunched up her apron filled with the yellow-blossomed weeds and started
towards the road. Once she looked back, her eyes shaded, across the wheat to the
dark fallow land beside it. John was there; she could see the long, slow-settling
plume of dust thrown up by the horses and the harrow-cart. He was a fool for
10        work, John. This year he was farming the whole section of land without help,
managing with two outfits of horses, one for the morning and one for the afternoon;
six, and sometimes even seven hours a shift.
It was John who gave such allure to the wheat. She thought of him hunched
black and sweaty on the harrow-cart, twelve hours a day, smothering in dust,
15        shoulders sagged wearily beneath the glare of sun. Her fingers touched the stalks
of grain again and tightened on a supple blade until they made it squeak like a
mouse. A crop like this was coming to him. He had had his share of failures and
set-backs, if ever a man had, twenty times over.
Martha was thirty-seven. She had clinched with the body and substance of
20        life; had loved, borne children - a boy had died - and yet the quickest aches
of life, travail, heartbrokenness, they had never wrung as the wheat wrung. For
the wheat allowed no respite. Wasting and unending it was struggle, struggle against
wind and insects, drought and weeds. Not an heroic struggle to give a man courage
and resolve, but a frantic, unavailing one. They were only poor, taunted, driven
25        things; it was the wheat that was invincible. They only dreaded, built bright futures;
waited for the first glint of green, watched timorous and eager while it thickened,
merged, and at last leaned bravely to a ripple in the wind; then followed every
slip of cloud into the horizon, turned to the wheat and away again. And it died
tantalizingly sometimes, slowly: there would be a cool day, a pittance of rain.
30                    Or perhaps it lived, perhaps the rain came, June, July, even into August,
hope climbing, wish-patterns painted on the future. And then one day a clench
and tremble to John's hand; his voice faltering, dull. Grasshoppers perhaps, sawflies
or rust; no matter, they would grovel for a while, stand back helpless, then go
on again. Go on in bitterness and cowardice, because there was nothing else but
35        going on.
She had loved John, for these sixteen years had stood close watching while
he died - slowly, tantalizingly, as the parched wheat died. He had grown unkempt,
ugly, morose. His voice was gruff, contentious, never broke into the deep, strong
laughter that used to make her feel she was living at the heart of things. John
40        was gone, love was gone; there was only wheat.
Continued
Three hundred acres. Bushels, thousands of bushels, she wouldn't even try
to think how many. And prices up this year. It would make him young again,
lift his head, give him spirit. Maybe he would shave twice a week as he used to
when they were first married, buy new clothes, believe in himself again.
45                    She walked down the road towards the house, her steps quickening to the
pace of her thoughts until the sweat clung to her face like little beads of oil. It
was the children now, Joe and Annabelle: this winter perhaps they could send
them to school in town and let them take music lessons. Annabelle, anyway. At
a pinch Joe could wait a while; he was only eight. It wouldn't take Annabelle
50        long to pick up her notes; already she played hymn tunes by ear on the organ.
She was bright, a real little lady for manners; among town people she would learn
a lot. The farm was no place to bring her up. Running wild and barefoot, what
would she be like in a few years? Who would ever want to marry her but some
stupid country lout?
55                    Martha had clothes to iron, and biscuits to bake for supper. It was hot -
heat so intense and breathless that it weighed like a solid. An ominous darkness
came with it, gradual and unnoticed. All at once she turned away from the stove
and stood strained, inert. The silence seemed to gather itself, hold its breath. She
tried to speak to Nipper and the children, all three sprawled in a heap alongside
60        the house, but the hush over everything was like a raised finger, forbidding her.
A long immobile minute; suddenly a bewildering awareness that the light was
Choked; and then, muffled, still distant, but charged with resolution, climaxing the
stillness, a slow, long brooding heave of' thunder.
She stared into the blackness. There it was - the hail again - the same
65        white twisting little cloud against the black ones just as she had seen it four years
ago.
She craned her neck, looking to see whether John was coming. The wheat,
the acres and acres of it, green and tall, if only he had put some insurance on
it. Damned mule - just work and work. No head himself and too stubborn to
70        listen to anyone else.
The first big drops of rain began spitting down. Quietly, breathing hard, she
closed the door, numb for a minute, afraid to think or move.
Martha shouted at Annabelle hoarsely, "Go and get pillows. Here, Joe, quick,
up on the table." She snatched him off his feet and set him on the table beside
75        the window. "Be ready now when the hail starts, to hold the pillow tight against
the glass. You, Annabelle, stay upstairs at the west window in my room."
Through Joe's legs Martha caught sight of John's long, scarecrow shape
stooped low before the rain. Distractedly, without purpose, she ran upstairs two
steps at a time to Annabelle. "Don't be scared, here comes your father!" Her
80        own voice shook, craven. "Why don't you rest your arms? It hasn't started yet."
As she spoke there was a sharp, crunching blow on the roof, its sound
abruptly dead, sickening, like a weapon that has sunk deep into flesh. Wildly she
shook her hands, motioning Annabelle back to the window, and started for the
stairs. Again the blow came; then swiftly a stuttered dozen of them.

Continued
85        She reached the kitchen just as John burst in. With their eyes screwed up
against the pommelling roar of the hail they stared at each other. They were
deafened, pinioned, crushed.
Then the window broke, and Joe and the pillow tumbled off the table before
the howling inrush of the storm. John pushed Martha and Joe into the next room
90        and shut the door. There they found Annabelle huddled at the foot of the stairs,
round-eyed, biting her nails in terror.
There was hail heaped on the bed, the pictures were blown off the walls and
broken, the floor was swimming; the water would soak through and spoil all the
ceilings.
95                    John's face quietened her. They all crowded together, silent, averting their
eyes from one another. Martha wanted to cry again, but dared not. Joe, awed to
calmness, kept looking furtively at the trickle of blood on his father's face.
When at last they could go outside they stared across the flayed yard and
garden. The sun came out, sharp and brilliant on the drifts of hail. There was an
100      icy wind that made them shiver in their thin cotton clothes. "No, it’s too cold on
your feet." Martha motioned them back to the steps as she started towards the
gate to join John. "I want to go with your father to look at the wheat. There's
nothing anyway to see."
Nothing but the glitter of sun on hailstones. Nothing but their wheat crushed
105      into little rags of muddy slime. Here and there an isolated straw standing bolt
upright in headless defiance. Martha and John walked to the far end of the field.
There was no sound but their shoes slipping and rattling on the pebbles of ice.
Both of them wanted to speak, to break the atmosphere of calamity that hung over
them, but the words they could find were too small for the sparkling serenity of
110      wasted field. Even as waste it was indomitable. It tethered them to itself, so that
they could not feel or comprehend. It had come and gone, that was all; before
its tremendousness and havoc they were prostrate. They had not yet risen to cry
out or protest.
It was when they were nearly back to the house that Martha started to
115      whimper. "I can't go on any longer; I can't, John. There's no use, we've tried."
With one hand she clutched him and with the other held her apron to her mouth.
"It's driving me out of my mind. I'm so tired - heart-sick of it all. Can't you
see?''
He laid his big hands on her shoulders. They looked at each other for a few
120      seconds, then she dropped her head weakly against his greasy smock. Presently
he roused her. "Here comes Joe and Annabelle!" The pressure of his hands
tightened. His bristly cheek touched her hair and forehead. "Straighten up, quick,
before they see you!"
It was more of him than she had had for years. "Yes, John, I know - I'm
125      all right now."
Then he left her and she went back to the house. Mounting within her was
a resolve, a bravery. It was the warming sunlight, the strength and nearness of
John, a feeling of mattering, belonging. Swung far upwards by the rush and swell

Continued
of recaptured life, she was suddenly as far above the desolation of the storm as
130      a little while ago she had been abject before it. But in the house she was alone;
there was no sunlight, only a cold wind through the broken window; and she
crumpled again.
She tried to face the kitchen, to get the floor dried and the broken lamps
swept up. But it was not the kitchen; it was tomorrow, next week, next year. The
135      going on, the waste of life, the hopelessness.
John would pat her shoulder and let her come back to this. They'd be brave,
go on again, forget about the crop. Go on, go on - next year and the next -
go on till they were both ready for the scrap-heap. But she'd had enough. This
time he'd go on alone.
140                  Not that she meant it. Not that she failed to understand what John was going
through. It was just rebellion. Rebellion because their wheat was beaten to the
ground, because there was this brutal, callous finish to everything she had planned,
because she had will and needs and flesh, because she was alive. Rebellion, not
John at all - but how rebel against a summer storm, how find the throat of a
145      cloud?
So at a jerky little run she set off for the stable, for John. Just that she
might release and spend herself, no matter against whom or what, unloose the
fury that clawed within her, strike back a blow for the one that had flattened her.
The stable was quiet, only the push of hay as the horses nosed through the
150      mangers, the lazy rub of their flanks and hips against the stall partitions; and
before its quietness her anger subsided, took time for breath. She advanced slowly,
almost on tiptoe, peering past the horses' rumps for a glimpse of John. To the
last stall, back again. And then there was a sound different from the stable sounds.
She paused.
155                  She had not seen him the first time she passed because he was pressed against
one of the horses, his head pushed into the big deep hollow of its neck and
shoulder, one hand hooked by the fingers in the mane, his own shoulders drawn
up and shaking. She stared, thrust out her head incredulously, moved her lips, but
stood silent. John sobbing there, against the horse. It was the strangest, most
160      frightening moment of her life. He had always been so strong and grim; had just
kept on as if he couldn't feel, as if there were a bull's hide over him, and now
he was beaten.
She crept away. It would be unbearable to watch his humiliation if he looked
up and saw her.
165                  Martha hurried inside. She started the fire again, then nailed a blanket over
the broken window and lit the big brass parlour lamp - the only one the storm
had spared. Her hands were quick and tense. John would need a good supper
tonight. The biscuits were water-soaked, but she still had the peas. He liked peas.
Lucky that they had picked them when they did. This winter they wouldn't have
170      so much as an onion or potato.

Sinclair Ross