BRADENTON CHRISTIAN SCHOOL SUMMER READING PROGRAM ADVANCED PLACEMENT ENGLISH LITERATURE AND COMPOSITION

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1 BRADENTON CHRISTIAN SCHOOL SUMMER READING PROGRAM ADVANCED PLACEMENT ENGLISH LITERATURE AND COMPOSITION ENGLISH FACULTY: Mrs. Shirley Hudson, Chairman Mrs. Leah Kliewer Mrs. Deb Krikke Mr. Calvin Morley Mrs. Jessica Pignotti Mrs. Cindy Ellis SCHOOL OFFICE: (941) Bradenton Christian School English Department rd Street West Bradenton, Florida 34209

2 Advanced Placement Please purchase Literature & Composition on the BCS textbook list. You might want to contact someone from my class this past year to see if they will sell you their copy. ISBN # We will use this book almost every day so please have this book by the first day of school. *** In addition to the two assignments it is suggested that you read at least one of the following books. The third questions on the AP Literature exams asks you to answer a prompt by using a book of literary merit. We will discuss what that means in class. Both of these books would qualify. You need to have read enough books to be able to answer the prompt. Your first assignment will also be a book that would satisfy this criteria, however, I always have you go into the exam know at least 3 books on the list very well. All the Light We Cannot See is a novel written by American author by Anthony Doerr The Kite Runner - this book is also by Khaled Hosseini Summer Reading Due Date July 9, 2018 You may drop it by the school or it to me. shudson@bcspanthers.org A Thousand Splendid Suns by Khaled Hosseini Part I It is essential that you take notes on the reading. Look for and identify important passages from the novel (with page numbers) that reveal the character and the essential themes that arise in the novel. As you read the novel, concentrate your efforts on looking for references to the following themes and recording them along with your thoughts and reactions on them. 1. Loss of innocence and coming of age 2. Redemption of the human spirit 3. Social evils and the pain of war 4. People's inner conflicts (good vs. evil) 5. The destructive power of jealousy and insecurity 6. The lingering impact of guilt Complete the following as you read the novel: You will address all six topic/themes from above Gather at least three significant passages for each of the six themes.

3 Type the quotes that support the themes and give the page numbers of which they are found. Explain how they pertain to the theme. Part II Choose one of the following questions and write a two page response using quotes from the text to support your essay. 1. Choose a character from the novel. How does the character change throughout the novel? What do these changes illustrate about human tendencies? 2. How does the author use symbolism and conflict to reveal larger ideas about human nature? 3. How do character actions, events, and ideas provide insight into larger truths about how people of all cultures tend to act? Summer Reading Assignment #2 Due August 15, 2018 Summer Poetry Assignment: This assignment is due on the first day of class. Directions: All answers should be typed using Times New Roman 12 font. Assignment: You may need to look up some information on the author, however, I would like you to try to explicate the poems on your own. 1. Read the 6 poems below. 2. Make notes as you read the poems 3. Use the analysis guide below to explicate the poems Poem Analysis Guide: 1. Read a poem with a pencil in hand. Mark it up. Circle important ideas. Write down questions. 2. Read a poem several times. Read it aloud at least once. 3. Number each of the following questions and thoroughly answer each question about each of the 6 poems. 1. Who is the poem s author? What are his/her birth and death (if applicable) years? 2. What is the author s nationality? 3. Are there any difficult words? If so, look them up. 4. Consider the title carefully. a. What is it implying? b. How does it connect to the poem? 5. What is the poem's subject and situation? a. Who is talking? To whom are they talking? b. What are the poem's circumstances? What happened in the poem? c. Is something tangible being described? Something intangible?

4 6. What figurative language, if any, is used? a. list all you see and explain where they are used. b. Is the poem built upon a comparison or analogy? 7. What is the author's attitude toward the subject of the poem? 8. Are there divisions within the poem? What is its physical structure? a. How is the poem ordered? b. Are there stanzas? What size? 9. Is there any consistent pattern of words? Look for examples of an author's intentional word choice. Why did they choose one word over another? 10. Ask yourself the following questions about the poem, "So what?" What purpose does the poem have? What is it supposed to mean? Dystopia by Josh Gibbens Smoke pumping into the sky, A Gothic Skyline filled with black Black architecture, Dominating a brooding landscape Clanking cogs grinding, Making an inhuman scream People walking silently, In black uniform lines No individuality survives, Everyone dressed the same, skin pale to the eye Morbidly cold to the touch, Mere machines Blackness permeating everywhere, Flesh providing no warmth I dream of what the world could have been like, Full of colour and life, full of creativity and uniqueness No place to voice my ideas, Dangerous ideas crushed by those in control Part of one collective mind, Merely a subjugated citizen!

5 The Terrorist, He Watches by Wislawa Szymborska The bomb will explode in the bar at twenty past one. Now it's only sixteen minutes past. Some will still have time to enter, some to leave. The terrorist's already on the other side. That distance protects him from all harm and well it's like the pictures: A woman in a yellow jacket, she enters. A man in dark glasses, he leaves. Boys in jeans, they're talking. Sixteen minutes past and four seconds. The smaller one he's lucky, mounts his scooter, but the taller chap he walks in. Seventeen minutes and forty seconds. A girl, she walks by, a green ribbon in her hair. But that bus suddenly hides her. Eighteen minutes past. The girl's disappeared. Was she stupid enough to go in, or wasn't she. We shall see when they bring out the bodies. Nineteen minutes past. No one else appears to be going in. On the other hand, a fat bald man leaves. But seems to search his pockets and at ten seconds to twenty past one he returns to look for his wretched gloves. It's twenty past one. Time, how it drags. Surely, it's now. No, not quite. Yes, now. The bomb, it explodes. Church Going by Philip Larkin

6 Once I am sure there's nothing going on I step inside, letting the door thud shut. Another church: matting, seats, and stone, And little books; sprawlings of flowers, cut For Sunday, brownish now; some brass and stuff Up at the holy end; the small neat organ; And a tense, musty, unignorable silence, Brewed God knows how long. Hatless, I take off My cycle-clips in awkward reverence, Move forward, run my hand around the font. From where I stand, the roof looks almost new- Cleaned or restored? Someone would know: I don't. Mounting the lectern, I peruse a few Hectoring large-scale verses, and pronounce "Here endeth" much more loudly than I'd meant. The echoes snigger briefly. Back at the door I sign the book, donate an Irish sixpence, Reflect the place was not worth stopping for. Yet stop I did: in fact I often do, And always end much at a loss like this, Wondering what to look for; wondering, too, When churches fall completely out of use What we shall turn them into, if we shall keep A few cathedrals chronically on show, Their parchment, plate, and pyx in locked cases, And let the rest rent-free to rain and sheep. Shall we avoid them as unlucky places? Or, after dark, will dubious women come To make their children touch a particular stone; Pick simples for a cancer; or on some Advised night see walking a dead one? Power of some sort or other will go on In games, in riddles, seemingly at random; But superstition, like belief, must die, And what remains when disbelief has gone? Grass, weedy pavement, brambles, buttress, sky, A shape less recognizable each week, A purpose more obscure. I wonder who Will be the last, the very last, to seek This place for what it was; one of the crew That tap and jot and know what rood-lofts were? Some ruin-bibber, randy for antique,

7 Or Christmas-addict, counting on a whiff Of gown-and-bands and organ-pipes and myrrh? Or will he be my representative, Bored, uninformed, knowing the ghostly silt Dispersed, yet tending to this cross of ground Through suburb scrub because it held unspilt So long and equably what since is found Only in separation - marriage, and birth, And death, and thoughts of these - for whom was built This special shell? For, though I've no idea What this accoutred frowsty barn is worth, It pleases me to stand in silence here; A serious house on serious earth it is, In whose blent air all our compulsions meet, Are recognised, and robed as destinies. And that much never can be obsolete, Since someone will forever be surprising A hunger in himself to be more serious, And gravitating with it to this ground, Which, he once heard, was proper to grow wise in, If only that so many dead lie round.

8 Oysters by Seamus Heaney Our shells clacked on the plates. My tongue was a filling estuary, My palate hung with starlight: As I tasted the salty Pleiades Orion dipped his foot into the water. Alive and violated, They lay on their bed of ice: Bivalves: the split bulb And philandering sigh of ocean Millions of them ripped and shucked and scattered. We had driven to that coast Through flowers and limestone And there we were, toasting friendship, Laying down a perfect memory In the cool of thatch and crockery. Over the Alps, packed deep in hay and snow, The Romans hauled their oysters south to Rome: I saw damp panniers disgorge The frond-lipped, brine-stung Glut of privilege And was angry that my trust could not repose In the clear light, like poetry or freedom Leaning in from sea. I ate the day Deliberately, that its tang Might quicken me all into verb, pure verb. Hope is the thing with feathers by Emily Dickinson Hope is the thing with feathers That perches in the soul, And sings the tune without the words, And never stops at all, And sweetest in the gale is heard; And sore must be the storm That could abash the little bird That kept so many warm. I ve heard it in the chillest land, And on the strangest sea; Yet, never, in extremity, It asked a crumb of me.

9 Introduction to Poetry By Billy Collins I ask them to take a poem and hold it up to the light like a color slide or press an ear against its hive. I say drop a mouse into a poem and watch him probe his way out, or walk inside the poem s room and feel the walls for a light switch. I want them to waterski across the surface of a poem waving at the author s name on the shore. But all they want to do is tie the poem to a chair with rope and torture a confession out of it. They begin beating it with a hose to find out what it really means.