Conflict Lesson Together. Section 1: Reading and Annotating the Text. Section 2: Make a list of conflicts that Jason Taylor is facing

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1 or theme. (RL3) 1 Section 1: Reading and Annotating the Text While you were reading you should mark places where the character seems to struggle internally or externally Lesson Together Most people think stammering and stuttering are the same but they re as different as diarrhea and constipation. Stuttering s where you say the first bit of a word but can t stop saying it over and over. St st st stutter. Like that stammering s where you get stuck after the first bit of the word. Like this ST..AMmer! My stammer s why I go to Mrs. de Roo. (That s really her name. It s Dutch, not Australian.) I started going that summer when it never rained and the Malvern Hills turned brown and fires broke out. Miss Throckmorton'd been playing Hangman on the blackboard one afternoon with sunlight streaming in. On the blackboard was NIGH_ING E Any duh brain could work out, so I put up my hand. Miss Throckmorton said, Yes, Jason? And that was when my life divided itself into Before Hangman and After Hangman. The word nightingale kaboomed in my skull but it just wouldn t come out. The n got out okay, but the harder I forced the rest, the tighter the noose got. I remember Lucy Snead whispering to Angela Bullock, stifling giggles. I remember Robin South starring at this bizarre sight. I d ve done the same if it hadn t been me. When a stammerer stammers their eyeballs pop out, they go trembly red like an evenly matched arm wrestler, and their mouth guppergupperguppers like a fish in a net. It must be quite a funny sight. It wasn t funny for me, though. Miss Throckmorton was waiting. Every kid in the classroom is waiting. Every crow and every spider in Black Swan Green was waiting. Every cloud, every car on every motorway, even Mrs. Thatcher in the House of Common d frozen, listening, watching, thinking, What s wrong with Jason Taylor? But no matter how shocked, scared, breathless, ashamed I was, no matter how much of a total flid I looked, no matter how much I hated myself for not being able to say a simple word in my own language, I couldn t say nightingale. In the end I had to say, I m not sure, miss, and Miss Throckmorton said, I see. She did see, too. She phoned my mum that evening and once week later I was taken to see Mrs. de Roo, the speech therapist at Malvern Link Clinic. That was five years ago. Section 2: Make a list of s that Jason Taylor is facing

2 or theme. (RL3) 2 Section 3: Give examples of the character s major internal and external from the text Internal is when a character has a struggle within him/herself External is when a character has a struggle with another character or outside force/being. Type of Describe the Textual evidence with Citation Conclusions (Why these traits are important. Answers the so what? of how this is significant to the interpretation of the character and the work overall. 1. Internal 2. External Section 4: Select two quotations that describe crucial in the passage. Explain what the quotations reveal about the internal or external (be specific in identifying them) that the protagonist experiences and describe the significance of this to the meaning of the work. Example: In David Mitchell s novel Black Swan Green, he uses the minor character Dawn Madden s moments of internal and external when she engages with Jason Taylor, the protagonist, to explore the complicated physical interactions between young adolescents. In the book, Dawn attempts to share a Danish with Jason in an act of friendship. Dawn Madden unpeeled a squashed Danish pastry from a paper bag but then she quickly goes from wanting to share with Jason to wanting to humiliating him (Mitchell 84). In the next breath she is telling him to get on all fours and crawl over like a dog so she can feed him with the edge of her arrow. She says, Paws down! In your teeth, doggy! The story is told from Jason s perspective, but the reader can infer that this shows that Dawn has some internal because they were talking and being friendly and about to share food, but something in her decides that being nice to him will give him the wrong impression and instead she treats him like an animal. This shows a complicated physical relationship because as a middle schooler she seems ed between the roughness of childhood and the possible vulnerable romantic actions of adulthood. Eventually Jason challenges Dawn by eating the cherry off the Danish, and she decides he has stolen it and decides to threaten him. From Jason s perspective when it states, She pricked my Adam s apple with her arrow. Dawn Madden leaned in so close I could smell the sugar on her breath [...] The arrow was really sharp. I probably couldn ve swatted it off before she punctured my wind pipe. (Mitchell 85). This shows an external because Dawn and Jason are actually at a point of violence over how to pay for the taken cherry. This can be interpreted as a complicated physical interaction because the seen makes it unclear if it s alluding to something more physically intimate regarding payment or if Dawn really simply wants to physically harm Jason over eating her food. This trend of unclear physical intentions between Jason and the female characters of the book happen repeatedly as Jason tries to navigate the proper way to make and receive romantic advances.

3 or theme. (RL3) 3 Assignment (Due April 17th) Section 1: Look over your annotations for each chapter Section 2: Make a list of s that your protagonist is facing Section 3: Give examples of the character s major internal and external from the text Internal is when a character has a struggle within him/herself External is when a character has a struggle with another character or outside force/being. Type of Describe the Textual evidence with Citation Conclusions (Why these traits are important. Answers the so what? of how this is significant to the interpretation of the character and the work overall. 1. Internal 2. External 3. Internal 4. External

4 or theme. (RL3) 4 Section 4: Select two quotations that describe crucial in your work. Explain what the quotations reveal about the internal or external (be specific in identifying them) that the protagonist experiences and describe the significance of this to the meaning of the work.

5 or theme. (RL3) 5 AP PROMPTS TO PLAY WITH The eighteenth century British novelist Laurence Stern wrote, No body, but he who has felt it, can conceive what a plaguing thing it is to have a man s mind torn asunder by two projects of equal strength, both obstinately pulling in a contrary direction at the same time. From a novel or play choose a character (not necessarily the protagonist) whose mind is pulled in ing directions by two compelling desires, ambitions, obligations, or influences. Then, in a well organized essay, identify each of the two ing forces and explain how this within one character illuminates the meaning of the work as a whole. Choose a novel or play that depicts a between a parent (or a parental figure) and a son or daughter. Write an essay in which you analyze the sources of the and explain how the contributes to the meaning of the work. Avoid plot summary. A recurring theme in literature is the classic war between passion and responsibility. For instance, a personal cause, a love, a desire for revenge, a determination to redress a wrong, or some other emotion or drive may with moral duty. Choose a literary work in which a character confronts the demands of a private passion that s with his or her responsibilities. In a well written essay show clearly the nature of the, its effects upon the character, and its significance to the work. Avoid plot summary. The created when the will of an individual opposes the will of the majority is the recurring theme of many novels, plays, and essays. Select the work of an essayist who is in opposition to his or her society; or, from a work of recognized literary merit, select a fictional character who is in opposition to his or her society. In a critical essay analyze the and discuss the moral and ethical implications for both the individual and the society. Do not summarize the plot or action of the work you choose