Of Mice and Men Study Guide

Name: Date: Period: Of Mice and Men Study Guide Identify the character and include a brief description. Lennie George Candy Slim Curley Curley’s wife Carlson Crooks Chapter 1 1. Look at the way both Lennie and George are first described. How is this initial description fitting when we find out more about each man? 2. Is the relationship between George and Lennie one of friendship, or does George only feel obligated to take care of Lennie? What evidence can you find to support either conclusion? 3. Why does Lennie have the dead mouse? Why does George take it away? 4. What happened at the last place where Lennie and George worked? 5. Describe the dream George and Lennie share for their future. Why is it so important to both men? 6. Steinbeck compares Lennie to two different animals. Name these animals and state the author’s reason for the similes. Chapter 2 7. How is the bunk house described? What does the description tell the reader about the men who live there? 8. What do we find out about Curley, his wife, and his father through George's discussions with others? 9. How would you describe Curley and his wife? What do their actions tell you about each of their characters? 10. Re-read Steinbeck's description of Slim (p. 37). What does this description tell you about Slim's character? Is he a man to be trusted and looked up to? 11. What is Lennie eagerly talking about on page 40? 12. Foreshadowing plays an important part in this chapter. What are some of your predictions? List three. Chapter 3 13. What are Carlson's reasons for shooting Candy's dog? 14. What are Candy's reasons for not shooting the dog? 15. In what ways is Candy like his dog? 16. What does the fight between Lennie and Curley show about their characters? 17. Why doesn't George help Lennie in the fight? 18. There is symbolism in Candy’s dog being shot. Tell how this incident is symbolic of Candy’s own life on the ranch. Chapter 4 19. What does Crooks’s room and the things in it tell you about his character? 20. What does Crooks say to Lennie about loneliness? 21. Why would Crooks react so negatively to Lennie, then let him in anyway? 22. Why does Crooks torture and taunt Lennie about George? 23. Why is Crooks called "Crooks"? How does this reflect his personality? Chapter 5 24. How have Curley's wife's dreams for her life changed or been lost? 25. Why does Curley's wife tell Lennie about "the letter"? What do you think the letter symbolizes? 26. How does Lennie's killing of the puppy parallel his killing of Curley's wife and the mice? 27. How does Candy react to the death of Curley's wife? 28. What options do George and Candy discuss after the discovery of the body? Chapter 6 29. What is the significance of the rabbit appearing at the end of the book? 30. Why did George kill Lennie and was he justified in doing that? 31. Explain what happens to the dream at the end of the novel for both Lennie and George. 32. In what way does Slim show understanding for George's decision? Why does Carlson ask the last question?

Outside Book Report

Board Game Book Report Assignment: You will create a board game that will review elements from your outside reading book. The board game can follow any design you choose, but the design must relate in some way to the novel you have read. The game must also include questions about the novel and detailed instructions on how to play. Requirements:  Game board inside of manila file folder. Open the folder and draw the game board or glue a game board to the inside of the folder. The layout should cover as much of the inside of the folder as you can with the game board. The boards should be neat and information complete. Board must contain color elements.  Write the name of the game and your name on the folder tab.  Decorate the front cover of the folder with the game title and, for example, a scene from the novel. Must be in color.  25 question cards that relate to the plot, characters, etc. from your novel (include answers).  Brochure that includes detailed directions on how to play the game.  Envelope (or zip top bag) to place all game pieces and question cards. Paper clips with colored paper attached to them make great player markers. Resources:  List of board games (http://en.wikipedia.org/wiki/List_of_board_games)  Writing brochure template (http://interactives.mped.org/view_interactive.aspx?id=110&title=) The last day to turn in this assignment is Friday, June 1st. No exceptions.

Euthanasia Articles

Read the following articles. Create a Works Cited for each of the articles using correct MLA format. Refer to the O.W.L. Purdue website if you have questions. APRIL 3, 2012, 2:59 PM Inside a Story About Helping the Elderly to Die By David Jolly For my article on euthanasia in the Netherlands, I interviewed Petra de Jong, the Dutch doctor who is the head of Right to Die-NL. Euthanasia is widely accepted — and, since 2002 legal — in the Netherlands for those whose suffering is ‘‘unbearable,’’ but Dr. de Jong’s group has been courting controversy by seeking to extend help in dying to everyone age 70 and over, even if they aren’t sick. It has also begun offering mobile euthanasia teams to assist people whose doctors refuse to provide them life-ending treatment. For an outsider there is something striking about the Dutch attitude to euthanasia, as well as to marijuana — about which I recently wrote — and prostitution, all of which are legal, but closely regulated. The policies of tolerating these practices grew from experience showing that forcing them into the shadows caused even worse problems: crime and disease, in the case of drugs and prostitution; unrelieved suffering, and murky or deeply troubling cases of supposed mercy killing in euthanasia. Dr. de Jong argues that by insisting on ‘‘unbearable suffering,’’ the law fails old people who have decided that their lives are complete. These people, whom she described as ‘‘suffering from life,’’ may well try to take their own lives anyway, she said. ‘‘Suicide is not illegal, you can always do that,’’ she said. ‘‘But you need a way. Old people are less mobile and there are fewer good ways. And some of the ways we know are really awful.’’ For Dr. de Jong, the questions are deeply personal, I learned. Her parents took their own lives. ‘‘They died together in 2010,’’ she told me. ‘‘They had gathered medication for insurance against when they didn’t want to live anymore, and they didn’t want to depend on their G.P.,’’ their general practitioner or everyday doctor. Her father was suffering from cancer and her mother ‘‘didn’t want to be alone,’’ she said, after a long life together. ‘‘They died in each others’ arms together in their bed. So suddenly my private life and my work here came together. That was a bit strange.’’ Push for the Right to Die Grows in the Netherlands By David Jolly Published: April 2, 2012 AMSTERDAM — It was 1989, and Dr. Petra de Jong, a Dutch pulmonologist, was asked for help by a terminally ill patient, a man in great pain with a large cancerous tumor in his trachea. He wanted to end his life. She gave the man pentobarbital, a powerful barbiturate — but not enough. It took him nine hours to die. “I realize now that I did things wrong,” Dr. de Jong, 58, said in an interview in her office here. “Today you can Google it, but we didn’t know.” Her warm and sincere manner belies, or perhaps attests to, her calling. The man was the first of 16 patients whom Dr. de Jong, now the head of the euthanasia advocacy group Right to Die-NL, has helped to achieve what she calls “a dignified death.” Founded in 1973, Right to Die-NL has been at the forefront of the movement to make euthanasia widely available in the Netherlands, even as the practice remains highly controversial elsewhere. Polls find that an overwhelming majority of the Dutch believe euthanasia should be available to suffering patients who want it, and thousands formally request euthanasia every year. Right to Die-NL, which claims 124,000 members, made worldwide headlines in early March with the news that it was creating mobile euthanasia teams to help patients die at home. The organization has also courted controversy with its call for legislation to make euthanasia available to anyone over age 70, sick or not. Dr. de Jong said more than 100 requests have been made for the mobile service. Several of them are being evaluated, and euthanasia has been performed in one case. Advocates and critics of assisted suicide are watching the organization’s efforts closely. Rick Santorum, the Republican presidential candidate from Pennsylvania, created something of a stir in February when he asserted — wrongly — that euthanasia accounted for 5 percent of all deaths in the Netherlands, and that many elderly Dutch wore wristbands that said “Do not euthanize me.” Dutch officials quickly countered the claims. “Internationally, the Dutch have pushed the conversation on both the wisdom of allowing people to choose how and when they die when they’re in great suffering, and on the nature of compassion in dying,” said Paul Root Wolpe, director of the Center for Ethics at Emory University in Atlanta. Under the Netherlands’ 2002 Termination of Life on Request and Assisted Suicide Act, doctors may grant patients’ requests to die without fear of prosecution as long as they observe certain guidelines. The request must be made voluntarily by an informed patient who is undergoing suffering that is both lasting and unbearable. Doctors must also obtain the written affirmation of a second, independent physician that the case meets the requirements and report all such deaths to the authorities for review. Dr. de Jong said Dutch physicians typically euthanize patients by injecting a barbiturate to induce sleep, followed by a powerful muscle relaxant like curare. For assisted suicide, the doctor prescribes a drug to prevent vomiting, followed by a lethal dose of barbiturates. Almost 80 percent of all such deaths take place in patients’ homes, according to the Royal Dutch Medical Association. In 2010, the latest year for which data are available, doctors reported 3,136 notifications cases of “termination of life on request.” Serious illnesses — late-stage cancer, typically — lie behind a vast majority. Euthanasia is responsible for about 2 percent of all deaths annually in the Netherlands, according to Eric van Wijlick, a policy adviser for the association. Euthanasia is typically carried out by the general practitioners who serve as the backbone of the country’s universal health care system, doctors who often have enjoyed long relationships with their patients and know their feelings well. Mr. van Wijlick said the euthanasia law was possible because of “the moderate and open climate we have in the Netherlands, with respect for other points of view,” and acknowledged that it would be difficult to carry out elsewhere, because everyone in the Netherlands has access to health care, an income and housing. “There are no economic reasons to ask for euthanasia,” he said, something that might not be true in the United States, with its for-profit health care system. The mobile teams were needed, Dr. de Jong said, because many general practitioners, either for moral reasons or perhaps because of uncertainty about the law, refused to help suffering patients to die after it had become too late to find another doctor. The mobile teams will work to help them do so, she said. Say a hypothetical 82-year-old man with metastasizing prostate cancer and poor prospects is told by his doctor that does not qualify for euthanasia. The man could contact the Right to Die-NL’s new “life-ending clinic,” and if he appeared to meet the criteria, a doctor and a nurse would go to his home to make an assessment. If all the conditions were met, he would be euthanized, ideally with his family beside him. Dr. de Jong emphasized that a patient could never be euthanized on the initial visit, because the law requires that a second physician be consulted. Even in the Netherlands, some think Right to Die-NL may now be going too far. In addition to the mobile teams, the organization is among those pushing to give all people 70 years old and over the right to assisted death, even when they are not suffering from terminal illness. (The conservative government of Prime Minister Mark Rutte has said there will be no changes to the law under its tenure.) “We think old people can suffer from life,” Dr. de Jong said. “Medical technology is so advanced that people live longer and longer, and sometimes they say ‘enough is enough.’ ” Mr. Wijlick said the Royal Dutch Medical Association was “uneasy” with the mobile teams because “the question of euthanasia can’t be taken out of isolation of the care of the patient,” which should be in the hands of the primary caregiver, the general practitioner. Most of the time, he added, there is a good reason that a doctor refuses euthanasia. Often, it is because the doctor believes the patient’s case does not meet the criteria set out by law. The association also opposes euthanasia for those “suffering from life.” “There must always be a medical condition,” Mr. van Wijlick said. Still, in such cases a doctor could explain to patients how to deny themselves food and drink, he noted, and could assist with any suffering that entailed. The Dutch patients’ organization N.P.V., a Christian group with 66,000 members, strongly criticizes the current application of the law, saying the practice of euthanasia has been extended to encompass patients with dementia and other conditions who may not by definition be competent to request help in dying. Elise van Hoek-Burgerhart, a spokeswoman for the N.P.V., said in an e-mail that the idea of mobile euthanasia teams was “absurd,” and that there was no way the mobile-team doctors could get to know a patient in just a few days. Moreover, she added, research shows that 10 percent of requests for euthanasia from the elderly would disappear if palliative care were better. She also noted that the law requires review committees to sign off on every reported case of euthanasia, but that 469 cases from 2010 had still not been reviewed, meaning it was not clear how well doctors were adhering to the official guidelines. Dr. Wolpe, the Emory University bioethicist, said he was “generally supportive” of people’s right to choose their own death, but that he was troubled by some trends in the Netherlands, including the extension of euthanasia to people who were not suffering physically. “When you switch from purely physiological criteria to a set of psychological criteria, you are opening the door to abuse and error,” he said. A Polarizing Figure in End-of-Life Debate A version of this news analysis appeared in print on June 5, 2011, on page A21 of the New York edition with the headline: A Polarizing Figure in End-of-Life Debates. Associated Press By JOHN SCHWARTZ In reports of Dr. Jack Kevorkian’s death on Friday at the age of 83, the general rule of obituaries held: Do not speak ill of the dead. Dr. Kevorkian was generally described as a difficult man who helped advance the cause of assisted suicide for those with terminal illness. Within the movement known generally as death with dignity, however, the evaluation of his contribution might seem surprisingly qualified, and the praise decidedly muted. “He raised the profile of the issue, but he put the wrong face on it,” said Eli D. Stutsman, a lawyer in Portland, Ore., who helped draft his state’s trailblazing Death With Dignity Act, which allows terminal patients to end their own lives with the help of a doctor. The 1997 Oregon law was built with compromise and careful consideration of policy, Mr. Stutsman said. It includes requirements that the patient be at the end stage of terminal disease and not have psychiatric disorders like depression, and that the patient take the drugs used in the procedure without help, to ensure that the act is voluntary from start to finish. It is a very different system from that of Dr. Kevorkian, who seemed to make up his methods as he went along. He did not appear to screen patients to determine whether they were actually close to death, and he seemed to make no efforts to get counseling for those who might have wanted to live longer. He devised “suicide machines” that could deliver drugs or carbon monoxide gas and could be set off by the patients. He carted the equipment to patients in his battered Volkswagen van and left many of the resulting 130 or more bodies at emergency rooms or even in hotel rooms. Death, certainly — but death with dignity, no. “Under the Oregon Death with Dignity Act, we would have put him in jail,” Mr. Stutsman said. “We ended up using him as an example of how not to do it.” Since the act was passed, 525 people have ended their lives under its auspices, according to the state’s 2010 annual report. In 2010, 96 prescriptions were written for the barbiturates used, and 65 people ended their lives. Mr. Stutsman went on to be a founding board member of the Death With Dignity National Center, which promotes similar legislative efforts around the country. They face serious opposition by groups that reject physician-assisted suicide for reasons that include religious belief and concern that such laws would open the door to forced euthanasia. Mr. Stutsman said successful campaigns in Oregon and Washington State showed the value of a strategy of compromise and coalition building. “He was advocating from the margins of the political debate,” Mr. Stutsman said of Dr. Kevorkian. “I was working from the middle of the political continuum — it’s very hard to change public policy from the margins of the debate.” The movement won a major victory in 2006 when the United States Supreme Court ruled that the federal government could not prosecute Oregon doctors who participated in the assisted-suicide law. Peg Sandeen, the executive director of the Death With Dignity National Center, said the ruling helped convince states that their own efforts would be respected — and was, she said, a major factor in the 2008 passage of the Washington State bill. The Montana Supreme Court held in 2009 that no state law restricts the right of its citizens to end their lives with the help of physicians, though the court did not go so far as to say that physician-assisted suicide is a right under the State Constitution. Efforts so far in California, Hawaii, Maine and Vermont have not been successful, though a new bill is before the Vermont Legislature. Barbara Coombs Lee, the president of Compassion and Choices, a group that promotes what it refers to as “end-of-life choice” in legislatures and the courts and was a co-plaintiff in the Montana case, said Dr. Kevorkian “was quite scornful of any effort to change the law.” She called his death “the end of an era.” Noting that he was a polarizing figure — “people either thought he was a saint and martyred or the devil incarnate” — she explained, “To us, he was neither, but certainly pivotal to our movement.” Even at the extremes, she said, he “raised everyone’s consciousness about the problem of end-of-life suffering” and spurred others to look for ways for those with terminal illness to end their lives on their own terms. An “ignominious” death at the hands of Dr. Kevorkian “was a dramatic display of just how desperate people were who are seeking a peaceful end of their terminal disease,” she said. The policy-oriented groups worked to distinguish themselves from the Kevorkian spectacle. One Washington briefing in 1999 was titled “Jack Kevorkian and Physician-Assisted Dying: Not One and the Same.” Still, disagreement has its uses, said Scott Blaine Swenson, who was the executive director of the Death With Dignity National Center from 2001 to 2005. “He was the perfect foil” for the centrist movement that was promoting policy change, Mr. Swenson said. “You need somebody to play against,” he said. Dr. Kevorkian — erratic, loud and playing by his own rules — helped the movement establish rules that voters could live with, Mr. Swenson said. “The truth, I think, is that had a Kevorkian not existed, that folks in Oregon and other proponents of assisted dying would have needed to invent him,” he said.

"Fields of Tears"

Read "Fields of Tears" found at this link: http://www.economist.com/node/17722932 Answer the following questions. Notes on “Fields of Tears” A powerful component of writing is the use of ethos, pathos and logos. Ethos is the character or projected character of the speaker. Is the speaker credible, or worth listening to? Pathos is emotion. This can be humor, fear, anxiety, guilt or pleasure. Logos is reasoning and logic and can include numbers, statistics, charts, graphs, etc. But remember that even numbers can be manipulated. Structure Your Response What “hook” does the writer use? What is the issue? What is your position on this issue? Why? Which rhetorical techniques are used (ethos, pathos, logos)? Give evidence (sentence and page number). First Argument Evidence #1 Evidence #2 What rhetorical techniques are used? Give evidence. Second Argument Evidence #1 Evidence #2 Those who disagree say . . . Evidence that supports THEIR argument: Is this evidence persuasive? Why or why not? What rhetorical techniques are used? Give examples. Conclusion What is the transition to conclusion? What is the author’s position on this issue? Evidence of author’s position Clinching sentence or phrase (reverse “hook”)

Online TKAM Final

The online TKAM final is not working. Please come in before or after school to make it up. All tests must be made up by Friday, May 18th.

May 14 - 18

Monday, May 14 Work day **For those who were absent for the TKAM final, please make sure you come in before or after school to make the test up. The online quiz isn't working. Tuesday, May 15 TKAM final project DUE. No electronic copies accepted. No late work accepted. Begin Of Mice and Men. Study guide is also due. No late work accepted. Wednesday, May 16 Pre-testing. Report directly to room 219. Thursday, May 17 Steinbeck's "Chrysanthemum" Friday, May 18 Reading day

To Kill a Mockingbird Final

The final for To Kill a Mockingbird is available through your Skyward account. Log on to Skyward. On the opening page on the left hand side is a category that says Online Assignments. Click on "Current Assignments" and the final will be opened. Click on the highlighted "Answer Questions" and take the test. Your score will automatically be added to Skyward when you finish.

Questions for "Love Song of J. Alfred Prufrock"

“The Love Song of J. Alfred Prufrock” Study Guide Answer the following questions about the poem. 1. What words would you use to describe Prufrock’s emotional difficulty in the poem? 2. What hints does the name “J. Alfred Prufrock” give us about the character of the “hero”? 3. How could the famous simile in lines 2-3 reveal that the speaker’s mind or will is paralyzed? 4. What is the speaker inviting someone to do in lines 1-12? What is suggested by the images of the place they are going to travel through? 5. What does the name Michelangelo contribute in lines 13-14? What would be the effect if, for instance, the women were “talking of Joe DiMaggio” or “discussing detergents”? 6. In lines 15-25, we have one of the most famous extended metaphors in modern poetry. What is being indirectly compared to what? How many details extend the metaphor? 7. The self-consciousness of the speaker is nowhere more evident than in lines 37-44. What do you think he is self-conscious and worried about in these lines? 8. What does line 51 imply about the way Prufrock has lived? What other measuring devices would suggest a different kind of life? 9. What references to women does Prufrock make in the poem? How do you think he feels about women and his attractiveness to them? 10. How are the setting and people described in lines 70-72 different from those familiar to Prufrock? What might this experience with another segment of city life fell us about Prufrock? 11. In lines 73-74, the speaker creates a metaphor to pointedly dramatize his alienation from the rest of the world. Can you explain why Prufrock thinks he should have been a clawed creature on the floor of the sea? 12. Lines 87-98 echo the widely heard complaint that a “lack of communication” between people is the cause of misunderstanding. What do you think Prufrock would like to tell people? 13. In lines 99-104, Prufrock considers summarizing his life to another person and reaches a point of exasperation that seems close to surrender: “It is impossible to say just what I mean!” Why does Prufrock find it so difficult to express himself to others? 14. Identify the brilliant visual metaphor in line 105. How does it relate to therest of the poem? How does the speaker think people will respond to his “exposure”? 15. Read lines 120-125 closely. Explain how the speaker sees his role in life. Do you think he has overcome his doubts? 16. How would you characterize someone who worries about the part in his hair and about what he should dare to eat (line 122)? 17. In lines 125-128, the speaker thinks that the mermaids are indifferent to him, yet he is held by this romantic vision. Why do you think he is so fascinated by these mythological creatures, and what might they represent for him? Why does he believe they will not sing to him? 18. By means of paraphrase, can you restate the meaning of lines 129-131? When “human voices wake us,” what do we “drown” in? 19. Think about this poem as a journey, a quest that begins with an invitation to join the man who makes it. What do you think the journey has finally led us to? Or do you think that the point of the poem is not so much an answer arrived at as an experience lived? Explain. 20. Explain why this poem—one of the most famous poems of the twentieth century—has been described as a reflection of spiritual emptiness and emotional paralysis. Do you think its depiction of life in Eliot’s day or our own is accurate? Why or why not?

"Love Song of J. Alfred Prufrock"

T. S. Eliot: The Love Song of J. Alfred Prufrock (1919) ________________________________________ Eliot was born in St. Louis and educated at Harvard University, but most of his adult life was passed in London. In the vanguard of the artistic movement known as Modernism, Eliot was a unique innovator in poetry and The Waste Land (1922) stands as one of the most original and influential poems of the twentieth century. As a young man he suffered a religious crisis and a nervous breakdown before regaining his emotional equilibrium and Christian faith. His early poetry, including "Prufrock," deals with spiritually exhausted people who exist in the impersonal modern city. Prufrock is a representative character who cannot reconcile his thoughts and understanding with his feelings and will. The poem displays several levels of irony, the most important of which grows out of the vain, weak man's insights into his sterile life and his lack of will to change that life. The poem is replete with images of enervation and paralysis, such as the evening described as "etherized," immobile. Prufrock understands that he and his associates lack authenticity. One part of himself would like to startle them out of their meaningless lives, but to accomplish this he would have to risk disturbing his "universe," being rejected. The latter part of the poem captures his sense defeat for failing to act courageously. Eliot helped to set the modernist fashion for blending references to the classics with the most sordid type of realism, then expressing the blend in majestic language which seems to mock the subject. What makes this poem different from a normal love song? ________________________________________ S'io credesse che mia risposta fosse A persona che mai tornasse al mondo, Questa fiamma staria senza piu scosse. Ma perciocche giammai di questo fondo Non torno vivo alcun, s'i'odo il vero, Senza tema d'infamia ti rispondo. (1) Let us go then, you and I, When the evening is spread out against the sky Like a patient etherized (2) upon a table; Let us go, through certain half-deserted streets, The muttering retreats 5 Of restless nights in one-night cheap hotels And sawdust (3) restaurants with oyster-shells: Streets that follow like a tedious argument Of insidious intent To lead you to an overwhelming question . . . 10 Oh, do not ask, "What is it?" Let us go and make our visit. In the room the women come and go Talking of Michelangelo. (4) 15 The yellow fog that rubs its back upon the window-panes, The yellow smoke that rubs its muzzle on the window-panes Licked its tongue into the corners of the evening, Lingered upon the pools that stand in drains, Let fall upon its back the soot that falls from chimneys, Slipped by the terrace, made a sudden leap, 20 And seeing that it was a soft October night, Curled once about the house, and fell asleep. And indeed there will be time For the yellow smoke that slides along the street, Rubbing its back upon the window-panes; 25 There will be time, there will be time To prepare a face to meet the faces that you meet; There will be time to murder and create, And time for all the works and days of hands That lift and drop a question on your plate; 30 Time for you and time for me, And time yet for a hundred indecisions, And for a hundred visions and revisions, Before the taking of a toast and tea. In the room the women come and go 35 Talking of Michelangelo. And indeed there will be time To wonder, "Do I dare?" and, "Do I dare?" Time to turn back and descend the stair, With a bald spot in the middle of my hair-- 40 [They will say: "How his hair is growing thin!"] My morning coat, my collar mounting firmly to the chin, My necktie rich and modest, but asserted by a simple pin-- [They will say: "But how his arms and legs are thin!"] Do I dare 45 Disturb the universe? In a minute there is time For decisions and revisions which a minute will reverse. For I have known them all already, known them all:-- Have known the evenings, mornings, afternoons, 50 I have measured out my life with coffee spoons; I know the voices dying with a dying fall Beneath the music from a farther room. So how should I presume? And I have known the eyes already, known them all-- 55 The eyes that fix you in a formulated phrase, And when I am formulated, sprawling on a pin, When I am pinned and wriggling on the wall, Then how should I begin To spit out all the butt-ends of my days and ways? 60 And how should I presume? And I have known the arms already, known them all-- Arms that are braceleted and white and bare [But in the lamplight, downed with light brown hair!] Is it perfume from a dress 65 That makes me so digress? Arms that lie along a table, or wrap about a shawl. And should I then presume? And how should I begin? . . . . . Shall I say, I have gone at dusk through narrow streets 70 And watched the smoke that rises from the pipes Of lonely men in shirt-sleeves, leaning out of windows? . . . I should have been a pair of ragged claws Scuttling across the floors of silent seas. . . . . . And the afternoon, the evening, sleeps so peacefully! 75 Smoothed by long fingers, Asleep . . . tired . . . or it malingers, Stretched on the floor, here beside you and me. Should I, after tea and cakes and ices, (5) Have the strength to force the moment to its crisis? 80 But though I have wept and fasted, wept and prayed, Though I have seen my head [grown slightly bald] brought in upon a platter, (6) I am no prophet--and here's no great matter; I have seen the moment of my greatness flicker, And I have seen the eternal Footman hold my coat, and snicker, 85 And in short, I was afraid. And would it have been worth it, after all, After the cups, the marmalade, the tea, Among the porcelain, among some talk of you and me, Would it have been worth while, 90 To have bitten off the matter with a smile, To have squeezed the universe into a ball To roll it toward some overwhelming question, To say: "I am Lazarus, (7) come from the dead Come back to tell you all, I shall tell you all"-- 95 If one, settling a pillow by her head, Should say: "That is not what I meant at all. That is not it, at all." And would it have been worth it, after all, Would it have been worth while, 100 After the sunsets and the dooryards and the sprinkled streets, After the novels, after the teacups, after the skirts that trail along the floor-- And this, and so much more?-- It is impossible to say just what I mean! But as if a magic lantern (8) threw the nerves in patterns on a screen: 105 Would it have been worth while If one, settling a pillow or throwing off a shawl, And turning toward the window, should say: "That is not it at all, That is not what I meant, at all." 110 . . . . . No! I am not Prince Hamlet, (9) nor was meant to be; Am an attendant lord, one that will do To swell a progress, start a scene or two, Advise the prince; no doubt, an easy tool, Deferential, glad to be of use, 115 Politic, cautious, and meticulous; Full of high sentence, but a bit obtuse At times, indeed, almost ridiculous-- Almost, at times, the Fool. I grow old . . .I grow old . . . 120 I shall wear the bottoms of my trousers rolled. Shall I part my hair behind? Do I dare to eat a peach? I shall wear white flannel trousers, and walk upon the beach. I have heard the mermaids singing, each to each. I do not think that they will sing to me. 125 I have seen them riding seaward on the waves Combing the white hair of the waves blown back When the wind blows the water white and black. We have lingered in the chambers of the sea By sea-girls wreathed with seaweed red and brown 130 Till human voices wake us, and we drown. ________________________________________ (1) A passage from Dante Alighieri's Inferno (Canto 27, lines 61-66) spoken by Guido da Montefeltro in response to the questions of Dante, who Guido supposes is dead, since he is in Hell:. The flame in which Guido is encased vibrates as he speaks: "If I thought that that I was replying to someone who would ever return to the world, this flame would cease to flicker. But since no one ever returns from these depths alive, if what I've heard is true, I will answer you without fear of infamy." (2) Anesthetized with ether; but also suggesting "made etherial," less real. (3) Cheap bars and restaurants used to spread sawdust on the floor to soak up spilled beer, etc. (4) The great Renaissance Italian artist. (5) Cookies and ice cream. (6) Like John the Baptist (see Matthew 14: 1-12) (7) A man raised from death by Jesus (see John 11: 1-44). Eliot may also have had in mind the Lazarus in the parable told by Jesus in Luke 16:19-31, in which case the poetical Lazarus would have returned to deliver a message which the Biblical Lazarus could not. (8) Early form of slide projector. (9) Shakespeare's sensitive hero known for procrastination. Dramatic Monologue: This poem is written as a dramatic monologue—a poem in which a character speaks directly to one or more listeners. The words are being spoken by a man named Prufrock. In a dramatic monologue, we must learn everything about the setting, situation, other characters, and the personality of the speaker through what the speaker tells us. Sometimes Prufrock’s line of reasoning is interrupted by an unexpected thought. You will often have to supply the missing connections in the speaker’s stream of thoughts and associations. This poem was published in 1915, during World War I. Annotate the poem when you come to examples of how Prufrock’s thoughts reflect ideas about his own time and perhaps about our time as well. Look for the idea that people are spiritually empty and the idea that contemporary life is unromantic and unheroic. Heroes are people of action, but some people have proposed that the drudgery of modern life has made many people observers rather than participants in life’s adventures. See whether you agree that the protagonist of this poem is a person of profound self-absorption and passivity, who fits the profile of antihero, the disillusioned and ineffectual protagonist we find in much modern and contemporary literature.

Wednesday, May 9 Journal

Look up Dorothea Lange's "Migrant Mother" photograph. Use it to answer the following questions: Study the photograph. Describe the people in the photo. What objects are included? What activity are they doing? What is the setting? What is the body language? Facial expression? What is the theme or message of the photo? Is it effective? Why or why not? What is your opinion on the issue? How did the photo reinforce it?

May 7 - 11 Schedule

Monday: "Love Song of J. Alfred Prufrock" Tuesday: Begin group work on TKAM final project (newspaper) TKAM quiz 16-21 Wednesday: Work Day Thursday: "Love Song" due Friday: Reading/work day

TKAM Final Project

Name__________________________Date_______________Period___________ Final Group Project for To Kill a Mockingbird Assignment You and your group will create a newspaper that reflects the setting, characters, conflict and plot of the novel. The articles are researched and written by you. Do not cut and paste existing material into your newspaper. That is plagiarism and will result in a failing grade. Section A is traditionally the “hard news” section. Each member of the group contribute an “A” section article (review a newspaper for an example of this type of article). Articles must be thorough, accurate and well-researched. Please include in-text citations from credible sources. Remember the “who, what, where, when, why and how” of reporting. Look to the issues described in the novel: poverty, justice, racism, prejudice and stereotyping for your A section articles. Choose a headline for your newspaper, and your lead article. Each article must have a picture (document the source). Section B has local news, and some lighter topics. Include a minimum of four articles from the following list: • Character Feature Piece • 1930's news story • Local News in Maycomb • Obituary • Advice Column • Horoscopes • Recipes • Crossword puzzles • Cartoons Section C is the Opinion/Editorial section. • Look through the opinion section of a newspaper and examine the types of articles you will find here. The articles range from editorials (both for and against issues), letters to the editor and political cartoons. Each group member will contribute an opinion/editorial on a topic the group decides (use a variety of topics just as a real newspaper does). • A political cartoon (drawn by a member of your group) • Assign each member of your group to write an opinion piece about events in To Kill a Mockingbird related issues (prejudice, justice, poverty, the Great Depression, racism, etc.). Use opinions of characters in the novel to help you understand how people in Maycomb would have felt about these issues. Write the article from the point of view of one of the characters in To Kill a Mockingbird. Your articles should show that you understand these issues and how people in 1930s Maycomb reacted to them.

Responding to Art and Found Poem

Name________________________________Date________________________Period___________ Art Art is a multifaceted world that can touch emotions in anyone, through its various forms and styles. Answer the following questions about specific works you enjoyed and/or disliked. (Be sure to include the title, artist, and a short description of the painting, photo, sculpture or art piece). What is one painting or piece of art that you really liked? What, specifically, intrigued you about it? Title: Artist: Description: What is one painting or piece of art that you really didn’t like? What, specifically, bothered you? Title: Artist: Description: What is one painting that you didn’t understand or see any meaning in? Title: Artist: Description: Why do you think some art is considered good and other art is considered bad? Whose opinion matters when discussing the world of fine art? In the space provided below, create a free-verse poem about one of the pieces of art. The poem should have a title and be a minimum of 10 lines. Be sure to include the title and artist (at the bottom of the page). Title: Found poem inspired by:

Movie Notes for TKAM

Name_________________________________Date__________________Period_______________ Symbolism in To Kill a Mockingbird Symbol: something that represents something else: something that stands for or represents something else, especially an object representing an abstraction (Bing.com dictionary) For a symbol to be truly a symbol, it must be repeated throughout a work. It may be difficult picking out symbols if you do not understand the purpose or the function of the symbol. The objects that appear behind the opening credits of To Kill a Mockingbird include a pocket watch, harmonica, pearl necklace, whistle, marbles, and a child's drawing of a bird- items that gain meaning as the story unfolds. The sequence is a good introduction for the story's symbolism and themes. It also shows (to quote Harper Lee again) how a film can have "a life of its own as a work of art." Notice how the camera moves in, like a child's vision, to close-ups of these valued objects, tracking from left to right along the row of treasures carefully arranged. Notice how the nostalgic music and humming of a child create a mood. And notice what happens to the drawing at the end of the sequence. ACTIVITY Pay careful attention to the opening sequence in the film. For each symbol, determine what is happening in the scene with the object and what it might mean or represent. Items seen in opening credits of the film Symbolic Meaning pocket watch harmonica pearl necklace whistle marbles drawing of a bird 1. Who is telling the story? Why is it being told? 2. How does it represent its subject- especially with reference to period? (representation, use of stereotypes, representation of the past) 3. Who are the characters in the film? 4. Did the actors make you forget they were acting? How? 5. What vivid visual images did you note? What did they make you feel or think about? 6. What is the film’s setting? 7. In what scene was an actor’s voice (pitch, volume, expression) particularly effective? Why? 8. What scenes can you understand even without dialogue? Why? 9. What are the main plot elements? (Conflict, resolution, rising action, etc.) 10. Select a scene that must have been difficult to act. How did the actor make his or her body movements appropriate and convincing? 11. What is the theme of the film? 12. Describe a scene in which facial expression was important. What feelings were developed? Were words necessary? 13. What is the mood of the film? How is it achieved? 14. Did the actors establish their characters more through dialogue or through movement and facial expressions? Give an example. 15. Other than those used in the opening credits, what symbols did you notice? What ideas did they symbolize? 16. Was there anything about the acting, set, or costumes that bothered you or interfered with your watching of the film?

Calendar April 30 - May 4, 2012

Monday Quiz on TKAM chapters 4-8. Password is "snow" Quiz will be closed on Friday. Reading assignment: Chapters 9-15 by Thursday, May 3. Tuesday Watch the opening of TKAM film. Answer questions on movie notes worksheet. Even though we will not watch the entire film, the worksheet can (and must) be completed by the end of class. Wednesday Review the definition of what a symbol is and how it is present in TKAM. Visit the art show in the media center. Write a poem based on one of the pieces that you viewed. Thursday Quiz on chapters 9-15 of TKAM. Password is "Tom". Quiz will not be opened until 8:00 a.m. Introduce final project for TKAM. Projects are due on May 15th. Friday Reading day