Writing 2 Class Notes -- Week 11 (April 11)

 Greetings!

We had a lovely class this week.  One aspect that I especially enjoy with this Writing 1 class is that they all get along well and participate in a harmonious way.  We have good, productive conversations.

For our Quick Writes, here were their options:

1). If your life had a theme song, what song would it be and why? 2) If your life was a movie, what would the title be and what genre would it be?  Why? 3) Skittles of M & Ms?  Why? and 4) If you could design a “National Day” what would it be and why?

We had some unusual Words of the Day:

xanthophobia -- fr. Greek, xanthos, "yellow;" phobia, "fear" -- the fear of yellow

pentheraphobia -- fr. Greek, penthera, "mother in law"; phobia, "fear" -- a fear of your mother-in-law

tumultuous -- fr. Latin, tumultus, "commotion, bustle" -- a loud uproar

sarcasm -- fr. Latin, sarcasmus, "sneer, taunt"

dunk -- fr. Old German thunkon, "to dip" -- to dip something into a liquid

redhibition -- fr. Latin, rehibitio, "a taking back" -- to return a faulty or damaged product

We had a very short quiz after our Words of the Day.  I asked the students to memorize the state of being words:  am, is, are, was, were, be, being, and been.  I had them list the words, and they did a great job.

They have handed in the rough drafts of their Evaluation Essays.  I'm looking forward to reading them; these were probably the most complex essays that they will write this year.  I also asked them today to think about how they've improved as writers.  They shared some insightful comments.

We are now reading poetry for our Literature portion of the class. Some students like poetry, but many aren't that crazy about it.  Today, we watched a couple of videos of poetry recitations.  (See links at the bottom.)  The class has their new poetry books, and they should read the poems of the poets listed below.  We had some delightful poetry reading by the class of a number of Emily Dickinson poems.

For their homework, they need to respond to 2 poems, and the have 5 options:  

1.  Fill out a Poetry Worksheet for one or both

2.  Write a paragraph about the poem(s) that analyzes the poem; discuss what you think it means and why you like or don't like it.

3.  Instead of writing a paragraph, record a video commentary about the poem.  Youtube LiveStream or some other app on a device is OK as long as it can be seen by me.

4.  Do a piece of art that connects with the content and meaning of the poem.  

5.  Make a video of your recitation of the poem.

For our Grammar section of the class, we worked on 2 worksheets for the students to practice some more punctuation:  quotation marks and italics.

Have a beautiful weekend!

Blessings,

Mrs. Prichard

Assignments for Next Week:

• Poetry: Read Harper (27-29), Wilcox (33), Thayer (34-35), Johnson (41), Dunbar (p. 41 – 43)

• Poetry Packet (2 Poems)

• Grammar:  Wk12 - Italics & Quotation Marks
• Grammar:  Wk12 - Using Italics

Links for this Week

Class Notes

2019 Poetry Out Loud Winner -- Bella Callery (from my other school, Arcadia Charter School)

I Hear America Singing

The Builders

Taylor Mali "Speak with Authority"

Dead Poets Society "What will your verse be?"

Tamera M. Prichard

Writing Instructor at CHAT

Writing 1, Writing 2, Writing 3

ACT Prep, British Literature

Because I could not stop for Death

Because I could not stop for Death

Because I could not stop for Death,

He kindly stopped for me;

The carriage held but just ourselves

And Immortality.

We slowly drove, he knew no haste,

And I had put away

My labor, and my leisure too,

For his civility.

We passed the school where children played,

Their lessons scarcely done;

We passed the fields of gazing grain,

We passed the setting sun.

We paused before a house that seemed

A swelling of the ground;

The roof was scarcely visible,

The cornice but a mound.

Since then 't is centuries; but each

Feels shorter than the day

I first surmised the horses' heads

Were toward eternity.

Emily Dickinson's Poetry

from SparkNotes -- Analysis of Emily Dickinson's poetry

Emily Dickinson is such a unique poet that it is very difficult to place her in any single tradition—she seems to come from everywhere and nowhere at once. Her poetic form, with her customary four-line stanzas, ABCB rhyme schemes, and alternations in iambic meter between tetrameter and trimeter, is derived from Psalms and Protestant hymns, but Dickinson so thoroughly appropriates the forms—interposing her own long, rhythmic dashes designed to interrupt the meter and indicate short pauses—that the resemblance seems quite faint. Her subjects are often parts of the topography of her own psyche; she explores her own feelings with painstaking and often painful honesty but never loses sight of their universal poetic application; one of her greatest techniques is to write about the particulars of her own emotions in a kind of universal homiletic or adage-like tone (“After great pain, a formal feeling comes”) that seems to describe the reader’s mind as well as it does the poet’s. Dickinson is not a “philosophical poet”; unlike Wordsworth or Yeats, she makes no effort to organize her thoughts and feelings into a coherent, unified worldview. Rather, her poems simply record thoughts and feelings experienced naturally over the course of a lifetime devoted to reflection and creativity: the powerful mind represented in these records is by turns astonishing, compelling, moving, and thought-provoking, and emerges much more vividly than if Dickinson had orchestrated her work according to a preconceived philosophical system.

Of course, Dickinson’s greatest achievement as a poet of inwardness is her brilliant, diamond-hard language. Dickinson often writes aphoristically, meaning that she compresses a great deal of meaning into a very small number of words. This can make her poems hard to understand on a first reading, but when their meaning does unveil itself, it often explodes in the mind all at once, and lines that seemed baffling can become intensely and unforgettably clear. Other poems—many of her most famous, in fact—are much less difficult to understand, and they exhibit her extraordinary powers of observation and description. Dickinson’s imagination can lead her into very peculiar territory—some of her most famous poems are bizarre death-fantasies and astonishing metaphorical conceits—but she is equally deft in her navigation of the domestic, writing beautiful nature-lyrics alongside her wild flights of imagination and often combining the two with great facility.