1. How to Read Literature Like a Professor Revised Edition by Thomas C. Foster (chapters 1, 5-15, 18-22, 25-26)

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1 AP ENGLISH SUMMER READING ASSIGNMENT AP English Literature and Composition Welcome to AP English Literature and Composition! Please join our Google Classroom (code: 68hclpx). Here you will find important announcements, handouts, and assignments. I also posted this summer reading assignment there. In order to prepare for AP English Literature and Composition, you will need to continue practicing your critical reading and writing skills throughout the summer. These assignments are not designed to torture you, but to help keep your brain working over the lazy, hazy days of summer. You will be expected to complete a reading of a minimum of two works (one resource tool and one novel) this summer and complete the associated assignment by the first day of class this fall. 1. How to Read Literature Like a Professor Revised Edition by Thomas C. Foster (chapters 1, 5-15, 18-22, 25-26) ISBN-13: (PDF also available on Google Classroom) Read the assigned sections of HTRLLAP (ch. 1, 5-15, 18-22, 25-26), annotating the main points in each chapter. Foster usually makes just one or two main points and then explains and elaborates them fully for the average reader. Please limit your annotations and highlights to ONLY the main ideas for easy reference later in the school year. (Note: Foster references numerous literary pieces in his book, but you will find that it is not necessary for you to know those works in order to understand his concepts.) DO NOT ATTEMPT to read this book word for word, cover to cover. This book is a resource tool. Read the chapters until you understand the concept, then move on. Return to the chapters when you need to review. In the first few days of school, you will be asked to make connections between Foster s and your assigned summer reading selection. 2. NOVEL: Crime and Punishment by Fyodor Dostoevski OR Jane Eyre by Charlotte Bronte (both novels have been referenced on 18 past AP Lit exams) 3. OPTIONAL: Student choice from list of works most often used on AP Lit exam (listed in order of how often they are used on past exams)**: Invisible Man by Ralph Ellison (28 times) Great Expectations by Charles Dickens (20) Moby Dick by Herman Melville (15) Catch-22 by Joseph Heller (14) Portrait of the Artist as a Young Man by James Joyce (14) Their Eyes Were Watching God by Zorah Neale Hurston (14) Beloved by Toni Morrison (13) Billy Budd by Herman Melville (12) Light in August by William Faulkner (12) As I Lay Dying by William Faulkner (10) Native Son by Richard Wright (10)

2 A Streetcar Named Desire by Tennessee Williams (10) A Passage to India by E. M. Forster (9) Portrait of a Lady by Henry James (9) A Raisin in the Sun by Lorraine Hansberry (9) All the Pretty Horses by Cormac McCarthy (8) Bless Me, Ultima by Rudolfo Anaya (8) The Grapes of Wrath by John Steinbeck (8) Pride and Prejudice by Jane Austen (8) Frankenstein by Mary Shelley (7) Medea by Euripides (7) The Merchant of Venice by William Shakespeare (7) The Sound and the Fury by William Faulkner (7) The Sun Also Rises by Ernest Hemingway (7) The Tempest by William Shakespeare (7) Twelfth Night by William Shakespeare (7) Things Fall Apart by Chinua Achebe (7) Who s Afraid of Virginia Woolf? by Edward Albee (7) Age of Innocence by Edith Wharton (6) **The books and classical authors have been selected from the College Board s suggested lists and are most often on SAT and AP exams. These have not necessarily been evaluated by our English Department. We suggest all parents evaluate each book before their student reads the book and assist in selecting books that meet their criteria. Extra points will be given to anyone choosing to read a book/play from this list. ASSIGNMENT: Your assignment will be to annotate your novel or play and keep a dialectical journal over the books you read. You do NOT need to complete dialectical journal entries for How To Read Literature Like a Professor. Be ready to discuss and write about the books when you come to class in the fall. See attached instructions and be sure to bring your completed journal to the first day of class in August. If you work steadily, you ll find that the work is not too demanding. If you wait until the weekend before school starts, you will find yourself overwhelmed. Do not read SparkNotes or other aids as the AP exam you ll take at the end of the year allows for no such thing, and another person s take on the book will not be sufficient for you to grow as a reader or a writer. That said, enjoy the books, and I m looking forward to working with all of you in the fall. Please me if you have any questions. Happy reading! Mrs. Dunn ddunn@svcschools.org

3 AP ENGLISH LITERATURE SUMMER READING ASSIGNMENT ACTIVE READING and DIALECTICAL JOURNALS Assignments are due the first day of class. Late assignments will not be accepted. You should bring your books and journal to class on day one and be ready to use your entries to help you discuss and write about the texts. 1. ACTIVE READING: Always read with a pen or pencil in your hand. Annotate your book as you go. This is your interaction with the text. Be sure to mark any important passages as well as important literary/stylistic devices the author uses. Also mark characterization, setting, themes, etc. You will receive a grade for your annotations the first week of class. (If you cannot write in your book for some reason, use sticky notes or take notes on separate paper as you read). 2. DIALECTICAL JOURNALS The term Dialectic means the art or practice of arriving at the truth by using conversation involving question and answer. Think of your dialectical journal as a series of conversations with the texts we read during this course. The process is meant to help you develop a better understanding of the texts we read. Use your journal to incorporate your personal responses to the texts. You will find that this journal is a useful way to process what you are reading, prepare yourself for group discussion, and gather textual evidence for your various writing assignments. STEP ONE: THE NEW NOTEBOOK (or you can continue your notebook from AP LANG) You will need to purchase a new BOUND composition (or small spiral) notebook designated as your journal for the year. Please put your name, the course, and Mrs. Dunn on the front cover. Neatness in this journal is essential (AP Exam readers must be able to read your ideas without difficulty). Your journal should be free of drawings and doodles and must have good titles and clear demarcations. You will first do the reading and complete journaling for Jane Eyre or Crime and Punishment, and then skip a couple of pages before you begin the journaling for your choice novel (optional). In other words, investigate both texts in the same notebook. You will continue with this process (that of journaling as you read) as we read throughout the year. You need a minimum of 10 entries per work that capture at least the beginning, middle, and end of the text.

4 STEP TWO: PROCEDURE As you read, choose passages that stand out to you and record them in the left-hand column of a T-chart (ALWAYS include page numbers--cited in MLA format). In the right-hand column, write your response to the text (ideas/insights, questions, reflections, and comments on each passage) Complete a minimum of 10 journal entries for Crime and Punishment or Jane Eyre and 10 journal entries for your 2 nd classical book (optional). These are minimums; feel free to make as many entries as you like as you interact with these quality texts. STEP THREE: CHOOSING PASSAGES FROM THE TEXT Look for quotes that seem significant, powerful, thought provoking or puzzling. For example, you might record: (Italicized bullets are tasks that carry the most importance in regard to scoring well on the AP exam). Effective and/or creative use of stylistic or literary devices Passages that remind you of your own life or something you ve seen before Structural shifts or turns in the plot (for fiction) A passage that makes you realize something you hadn t seen before Examples of patterns: recurring images, ideas, colors, symbols or motifs Passages with confusing language or unfamiliar vocabulary Events you find surprising or confusing Passages that illustrate a particular character, setting, or theme STEP FOUR: RESPONDING TO THE TEXT You can respond to the text in a variety of ways. The most important thing to remember is that your observations should be specific and detailed. As an AP student, your journal should be made up of 25% Basic Responses and 75% Higher Level Responses. Basic Responses (a starting point for understanding the text) Raise questions about the beliefs and values implied in the text Give your personal reactions to the passage Discuss the words, ideas, or actions of the author or character(s) Tell what it reminds you of from your own experiences Write about what it makes you think or feel Agree or disagree with a character or the author

5 Higher Level Responses (deeper thought leading to deeper understanding) Analyze the text for use of literary devices (tone, structure, style, imagery). Be sure to explain the effect; avoid merely naming techniques. Make connections between different characters or events in the text Make connections to a different text (or film, song, etc...) Discuss the words, ideas, or actions of the author or character(s) Consider an event or description from the perspective of a different character Analyze a passage and its relationship to the story as a whole Example Dialectical Journal from Life of Pi by Yan Martel. Notice the direct references to the text in both columns. Attitude toward self, narrator I am a person who believes in form, in the harmony of order...we must give things a meaningful shape...that s one thing I hate about my nickname, the way that number runs on forever. It s important in life to conclude things properly (Martel 285). Pi s obsession with form and the harmony of order explains why religion appeals so strongly to him. He finds great importance in concluding things properly. Pi is essentially asking what kind of life would we be leading if, when it was over, we simply died and remained dead to rot for eternity? Pi hopes and believes that there is more. He believes what he is told about afterlives and moral judgment because he is afraid of his life ending in a pointless and almost anticlimactic manner. Pi s obsession with closure can also be found in the founders of almost any religion to have ever been preached throughout history. Imagery to create Tone A foul and pungent smell, an earthy mix of rust and excrement hung in the air. There was blood everywhere, coagulating to a deep red crust. A single fly buzzed about, sounding like an alarm bell of insanity (Martel 127). Martel paints a disturbing picture in his description of the lifeboat following the slow painful death of the zebra. He describes the air as smelling like an earthy mix of rust and excrement, the boat as having blood everywhere, and his only companion as a single fly...sounding like an alarm bell of insanity. Through this shockingly filthy and revolting portrayal of the lifeboat, Martel establishes a tone of absolute disgust.

6 Diction to create Tone The ship sank. It made a sound like a monstrous metallic burp. Things bubbled at the surface and then vanished. Everything was screaming: the sea, the wind, my heart (Martel 97). Theme I wept heartily over this poor little deceased soul. It was the first sentient being I had ever killed. I was now a killer. I was now as guilty as Cain...I had blood on my hands. It s a terrible burden to carry (Martel 183). When describing the sinking of the Tsimtsum, Martel utilizes a variety of strong and violent words to establish a tone of disorder and fear. Martel describes the sound of the ship sinking as a monstrous metallic burp simultaneously noting its enormity and its violent, industrial nature. He also says that everything was screaming suggesting disorder and confusion. Another theme found in Life of Pi is the loss of innocence. Prior to his being stranded at sea, Pi is a religious vegetarian who would never even consider eating the flesh of an animal. Once forced to end the life of another creature in the interest of prolonging his own, Pi is overcome by guilt. At this point, he has entered a phase of existence that, until his problem of being stranded is resolved, he is forced to endure, therefore making a transition from an innocent vegetarian to a hunter with blood on [his] hands.