Documente Academic
Documente Profesional
Documente Cultură
ImagineYou
are
the
son
of
a
young
woman
from
Wichita,
Kansas
and
a
young
man
from
Kenya.
They
met
and
fell
in
love
as
students
at
the
University
of
Hawaii.
But
when
you
were
two,
your
parents
separated,
and
your
father
moved
first
to
Boston
to
study
for
a
PhD,
and
then
returned
to
Kenya.
Your
mother
remarries,
and
your
family
moves
to
Jakarta,
the
Indonesian
homeland
of
your
new
stepfather.
When
you
are
ten,
your
mother
sends
you
to
Hawaii
to
live
with
your
grandparents
so
that
you
can
take
advantage
of
the
better
educational
opportunities
there.
Your
family
enrolls
you
in
a
private,
college
preparatory
school
where
you
are
one
of
six
African-American
students.
In
these
first
ten
years
of
your
life,
you
have
lived
as
an
African-American
child
in
different
cultures,
different
geographical
locations,
and
amongst
people
of
different
racial
and
ethnic
backgrounds
as
well
as
different
socio-economic
classes.
For
the
next
twenty
years,
these
experiences,
and
the
ones
that
follow,
shape
how
you
look
at
the
world.
When
you
are
34,
your
write
your
memoir,
where
you
recount
the
story
of
your
life,
meditating
on
the
themes
of
race
and
class,
family
and
community.
This
is
the
heart
of
Barak
Obamas
memoir.
Teachers
Guide:
Essential
Questions
Why
do
we
desire
to
tell
the
story
of
our
lives?
What
are
the
essential
elements
of
the
story
of
your
life?
Purposes
This
course
has
been
created
to
meet
6
central
purposes:
Memoir
Teachers
Guide
1
1. Learn
about
the
genre
of
Memoir.
2. Provide
students
with
scaffolded
access
to
great,
challenging
mentor
texts,
texts
that
are
found
in
the
high
school
and
college
curriculum.
3. Learn
the
writing
process.
4. Significantly
improve
students
writing.
5. Make
writing
a
habit
and
practice.
6. Make
reading
a
habit
and
practice.
Students
of
any
writing
level
can
participate
in
this
course,
as
all
of
the
assignments
are
open-ended,
assuming
students
will
do
their
best
on
them
and
improve
from
wherever
they
begin
as
writers.
The
Structure
This
course
is
divided
into
three
5-week
modules,
each
centered
on
a
particular
stage
of
the
writing
process.
Modules
can
easily
be
shortened
in
order
to
accommodate
a
quarter
or
trimester
length
course
cycle.
Module
one:
Genre
Immersion
and
Generating
Ideas
In
this
module
students
explore
stories
and
the
stories
of
great
memoirists
to
strengthen
their
reading
and
writing
skills.
Students
will
engage
in
a
wide
range
of
activities
designed
to
help
them
remember
significant
memories,
write
about
them,
and
connect
them
with
one
another.
During
this
module
students
will
learn
strategies
for
the
brainstorming
stage
of
the
writing
process,
develop
techniques
for
generating
ideas
and
for
recalling
memories,
and
learn
to
record
their
writing
ideas
in
a
Writers
Notebook.
Module
two:
Framing
and
Organizing
One
of
the
most
important
and
challenging
aspects
of
the
writing
process
is
narrowing- down
ones
ideas
into
a
focused,
purposeful
piece
of
text.
In
this
module
students
will
experience
the
planning
and
structuring
stages
of
the
writing
process.
They
will
explore
the
concept
of
theme,
considering
a
focus
for
their
memoirs,
and
they
will
experiment
with
multiple
possibilities
for
structuring
their
memoirs.
By
the
end
of
this
module
students
will
create
both
an
outline
and
a
first
draft
of
their
memoirs.
Module
three:
Revising
and
Publishing
During
the
third
module
students
will
learn
about
the
last
stages
of
the
writing
process:
revising
and
publishing.
They
will
practice
many
specific
strategies
of
revision,
and
will
be
able
to
deeply
consider
the
structure,
meaning,
and
language
choices
that
will
be
most
appropriate
for
their
memoirs.
In
addition
to
writing
about
their
lives,
students
will
read
and
listen
to
an
extensive
array
of
memoirs,
selected
because
of
their
capacity
to
mentor
students
in
the
genre.
There
are
over
60
different
memoir
excerpts
available
to
students
to
read
and
listen
to.
How
will
students
show
what
they
have
learned?
Here
are
a
few
of
the
40
performance
tasks
students
will
undertake
in
this
course:
1. A
Published
Memoir:
The
seminal
project
for
this
course
is
a
Published
Memoir
that
will
go
through
multiple
drafts
of
the
writing
process.
2. Audio
recording
of
a
personal
story:
Create
an
audio
recording,
telling
a
favorite
personal
story,
modeled
after
the
stories
heard
on
the
radio
shows
The
Moth
and
StoryCorps.
Students
have
the
choice
to
submit
this
story
to
the
radio
shows.
3. Important
Person
Description:
Compose
a
description
of
a
person
who
is
important
in
the
students
lives.
4. Glog:
Create
an
on-line
poster
of
an
independently
read
Memoir.
5. Scene
Writing:
Write
a
scene
about
an
event
from
their
life
6. Timeline:
Create
a
timeline
of
their
life.
7. Memory
Drawing:
Draw
or
paint
an
image
of
one
of
their
memories.
8. Self-Portraits:
Create
two
self-portraits,
one
literal,
and
one
metaphorical.
The
Course
Design
This
course
uses
the
basic
structure
of
a
Writers
Workshop,
but
within
the
context
of
a
blended
classroom.
The
course
is
specifically
designed
to
provide
students
with
choice
about
the
activities
they
engage
in,
and
when
they
engage
in
them.
Each
module
has
6
types
of
activities:
1. An
Overview
2. Independent
Reading
and
Keeping
a
Readers
Notebook
3. Free-Writing
and
Keeping
a
Writers
Notebook
4. Working
with
Mentor
Texts
5. Small
Scale
Performances
6. College
Prep
Performances
1. Overview:
This
is
an
opening
series
of
ungraded
activities
at
the
beginning
of
the
module
that
will
provide
students
with
a
sense
of
what
is
to
come
in
the
module.
For
the
first
module,
the
overview
is
an
introduction
to
the
genre
of
Memoir.
Teachers
can
work
with
the
whole
class
on
these
activities,
or
let
students
move
at
their
own
pace.
Or
create
a
balance
of
each.
2. Independent
Reading
and
Keeping
a
Readers
Notebook:
Each
module,
students
will
read
for
30
minutes
on
22
separate
occasions.
For
most
students,
this
will
be
the
equivalent
of
one
memoir,
as
they
must
select
a
memoir
that
is
at
their
reading
level.
Students
who
are
struggling
with
reading
may
end
up
selecting
memoirs
that
are
much
shorter,
in
which
case
they
should
read
more
than
one.
Whats
important
is
that
they
read
a
minimum
of
22
times
over
a
5-week
period
in
order
to
keep
practicing
reading.
Memoir
Teachers
Guide
3
In
addition
to
reading,
they
will
keep
a
Readers
Notebook.
The
Notebook
will
have
3
purposes:
A
chart
where
students
keep
track
of
their
Independent
Reading,
including
each
Mentor
Text
they
work
with
(see
below).
8
entries
that
summarize
and
reflect
on
what
they
are
reading,
using
the
Independent
Reading
Response
Ideas
document
as
a
source
for
writing.
10
Readers
Notebook
entries
that
reflect
on
the
Mentor
Text
Memoirs
they
are
listening
to.
Assessment
of
the
Readers
Notebook:
Much
of
whats
in
the
Readers
Notebook
can
be
assessed
by
spot
checks
and
conferences
(see
below
for
a
discussion
on
conferences)
with
students.
However,
at
least
10
of
the
Mentor
Text
Reflections
should
be
assessed
using
a
rubric,
because
they
will
provide
you
and
the
students
with
the
opportunity
to
assess
students
capacity
to
respond
to
literature
in
meaningful
ways.
The
Common
Core
Standards
to
be
assessed
in
the
Readers
Notebook:
7.RI.2
Write
narratives
to
develop
real
or
imagined
experiences
or
events
using
effective
technique,
relevant
descriptive
details,
and
well- structured
event
sequences.
Analyze
the
interactions
between
individuals,
events,
and
ideas
in
a
text
(e.g.,
how
ideas
influence
individuals
or
events,
or
how
individuals
influence
ideas
or
events).
Determine
an
author's
point
of
view
or
purpose
in
a
text
and
analyze
how
the
author
distinguishes
his
or
her
position
from
that
of
others.
Read
and
comprehend
literary
nonfiction
in
the
grades
6-8
text
complexity
band
proficiently,
with
scaffolding
as
needed
at
the
high
end
of
the
range.
Read
and
comprehend
literary
nonfiction
in
the
grades
910
text
complexity
band
proficiently,
with
scaffolding
as
needed
at
the
high
end
of
the
range.
(Mentor
texts:
scaffolded
w/
mp3s)
7.RI.3
7.RI.6
7.RI.10
9-10.RI.10.10
Not
all
standards
should
be
assessed
in
each
entry.
The
scaffolding
for
reading
at
this
level
are
the
mp3/audio
versions
of
texts.
In
addition,
students
will
have
the
opportunity
to
select
the
texts
they
will
listen
to
and
read,
allowing
them
to
select
texts
that
fit
their
skill
level
and
interest.
By
the
end
of
the
course,
students
should
receive
a
3
on
the
rubric,
but
not
all
of
their
entries
must
by
a
3
in
order
to
achieve
mastery:
the
goal
is
for
them
to
be
learning
how
to
write
analytic
entries.
This
will
take
time
for
many
of
the
students.
Beginning
the
course
with
1s
or
2s
is
legitimateending
it
with
less
than
3s
is
not.
4
3. Free-Writing
and
Keeping
a
Writers
Notebook:
This
course
provides
intense
focus
on
each
stage
of
the
writing
process:
brainstorming,
organizing,
structuring,
drafting,
revising,
and
publishing.
In
addition
to
keeping
a
Readers
Notebook,
students
must
keep
a
Writers
Notebook.
The
notebook
also
has
3
purposes:
A
chart
(essentially
an
evolving
table
of
contents)
where
students
keep
track
of
each
of
their
writing
activities.
8
Free-Writing
entries
about
their
lives,
using
the
Writers
Notebook
Ideas
document
as
a
source
of
ideas
for
writing.
10
Reflections
on
the
Mentor
Texts
(at
the
end
of
each
Mentor
Text,
there
are
almost
always
2
different
Writing
activities:
one
for
the
Readers
Notebook
and
one
for
the
Writers
Notebook).
Assessment
of
the
Writers
Notebook
should
follow
the
same
format
as
for
the
Readers
Notebook
(see
above).
The
Common
Core
Standards
to
be
assessed
in
the
Writers
Notebook:
9-10.W.3c
9-10.W.4.
9-10.W.10
Use
a
variety
of
techniques
to
sequence
events
so
that
they
build
on
one
another
to
create
a
coherent
whole.
Produce
clear
and
coherent
writing
in
which
the
development,
organization,
and
style
are
appropriate
to
task,
purpose,
and
audience.
Write
routinely
over
extended
time
frames
(time
for
research,
reflection,
and
revision)
and
shorter
time
frames
(a
single
sitting
or
a
day
or
two)
for
a
range
of
tasks,
purposes,
and
audiences.
4. Working with Mentor Texts: This course provides an abundance of Memoirs for students to explore, both in their own independent reading and through the more structured Mentor Text activities. Each module has excerpts from 25 great Memoirs. We consider these Mentor Texts because they were specifically selected on the merits of they can teach students that will help them understand the genre, gain ideas for their own memoir, AND gain a significant amount of cultural capital, as they learn about people from all walks of life, and moments in history. Each mentor text has a small deck of ppt slides, as well as an mp3s. (We are working on getting the hard copy of the texts sent to the school as well.) Each module, students must listen and respond to 15 of the available Mentor Texts (an average of 3 each week, but its fine for them to listen to 10 one week and none the following week). The Mentor texts can be worked with in 2 different ways: first, students can access the mp3s and accompanying ppt decks when they want. Second, as students undertake Small Scale Performances, they will be referred to the Mentor Text examples that will help them with the performances.
Students
will
reflect
on
and
respond
to
the
Mentor
Texts
in
their
Readers
and
Writers
Notebooks
(see
above).
Mentor
Texts
Module 1
Incidents in the Life of a Slave Girl, by Harriet Ann Jacobs A Summer Life, by Gary Soto I Know Why The Caged Bird Sings, by Maya Angelou West With The Night, by Beryl Markham Finding Fish, by Antwone Fisher Looking Back, by Lois Lowry Angelas Ashes, by Frank McCourt The Color of Water, by James McBride Naked, by David Sedaris How to Be Black, by Baratunde Thurston Dust Tracks on the Road, by Zora Neale Huston Bad Boy, by Walter Dean Myers All-Ball, by Mary Pope Osborne The Story of My Life, by Helen Keller Everything Will Be OK, by James Howe In My Own Words: Growing Up Inside the Sanctuary of my Imagination, by Nicholasa Mohr My Lord, What a Morning, by Marian Anderson Bone Black, by bell hooks The Woman Warrior, by Maxine Hong King A History of Psychology, by Margaret Floy Washburne Silent Dancing: A Partial Remembrance of a Puerto Rican Childhood, by Judith Ortiz Cofer Reverand Abbot and those Bloodshot Eyes, by Walter Dean Myers Hole in My Life, by Jack Gantos Having Our Say, by Sarah and Elizabeth Delaney The Liars Club, by Mary Karr
Module 2
Pegasus for a Summer, by Michael Rosen Hole in My Life, by Jack Gantos Food From the Outside, by Rita Williams-Garcia Homesick: My Own Story, by Jean Fritz Scouts Honor, by Avi The Woman Warrior, by Maxine Hong Kingston Naked, by David Sedaris My Invented Country, by Isabel Allende The Black Notebooks, by Toi Derricotte Bone Black, by bell hooks The Snapping Turtle, by Joseph Bruchac Lost Childhood, by Annelex Layson Why I Never Ran Away From Home, by Katherine Paterson The Great Rat Hunt, by Lawrence Yep No Disrespect, by Sister Souljah Learning to Swim, by Kyoko Mori To Be Young, Gifted, and Black, by Lorraine Hansberry The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie The Language of Baklava, by Diana Abu-Jaber Night, by Elie Wiesel Lanterns, by Marian Wright Edelman My Bloody Life, by Reymundo Sanchez All Creatures Great and Small, by James Herriot My Life in France, by Julia Child Me Talk Pretty One Day, by David Sedaris
Module 3
Too Fat to Fish, by Artie Lange The Glass Castle, by Jeannette Walls A Long Way Gone, by Ishmael Beah An American Childhood, by Annie Dillard Unafraid of the Dark, by Rosemary Bray Rocket Boys, by Homer Hickam Fist, Stick, Knife, Gun, by Geoffrey Canada Sleepwalk With Me, by Mike Birbiglia The Autobiography of Malcolm X, by Malcolm X Waiting for Midnight, Karen Hesse Bus Problems, by Howard Norman How I Lost My Station in Life, by E.L. Konigsburg Dreams From My Father, by Barack Obama The Long Closet, by Jane Yolen Taking a Dare, by Nicholasa Mohr Interview With a Shrimp, by Paul Fleishman Brain Surgeon, by Keith Black In The Blink of an Eye, by Norma Fox Mazer Zami: A New Spelling of my Name, by Audre Lorde Flying, by Reeve Lindbergh Calling the Doves, by Juan Felipe Herrera How to Be Black, by Baratunde Thurston A Walk in the Woods, by Bill Bryson American Chica, by Marie Arana A Writers Life, by Annie Dillard
5. Teacher/Student
Conferences:
You
will
find
that
conferences
with
individual
students
are
an
essential
part
of
this
course.
We
are
strongly
recommending
that
you
undertake
2
conferences
with
each
student
each
week
(if
at
all
possible):
One
that
focuses
on
what
the
students
are
reading,
what
they
think
about
the
texts,
their
wonderings,
and
their
interestsas
well
as
their
Readers
Notebook:
what
are
they
writing
about?
Does
it
really
reflect
their
thinking?
How
can
their
thinking
be
pushed
to
a
higher/deeper
level?
The
second
focuses
on
what
students
are
writing,
both
in
their
Writers
Notebook
and
for
their
Small
Scale
Performances:
what
are
they
working
on
in
their
writing?
What
techniques
would
be
helpful
for
them
to
learn?
What
are
they
doing
well
and
what
are
their
gaps?
What
is
the
next
step
in
their
development
as
a
writer?
6. Small
Scale
Performances:
Each
module,
students
will
be
provided
with
a
lengthy
list
of
Small
Scale
Performances
(there
are
26
in
the
first
module,
10
of
which
students
are
required
to
complete.
In
addition
to
the
10
required
performances,
students
must
select
8
additional
performances
to
undertake).
As
the
teacher
you
can
decide
if
you
want
students
to
undertake
these
together,
creating
some
nice
opportunities
for
sharing
and
collaboration,
or
if
you
want
to
give
students
choice
about
when
to
complete
them
(or
a
combination:
you
can
facilitate
the
work,
and
students
who
want
to
can
participate
with
you).
As
you
look
at
the
list
of
performances,
you
will
see
a
wide
range
of
options,
including
a
number
of
art
performances,
poetry
writing,
and
more
straightforward
personal
writing.
There
should
be
enough
options
for
students
to
find
performances
that
appeal
to
them
and
that
add
variety
to
their
learning
experiences.
Examples
of
Small
Scale
Performances
from
Module
1
(
#
1
2
3
4
5
6
Small
Scale
Performance
(*
s
are
required)
*Photo-Writing:
Use
a
photo
as
the
basis
for
a
description
of
an
event
in
your
life.
*Object-Writing:
Use
an
important
object
as
the
basis
for
a
description
of
an
important
event,
feeling,
or
experience
in
your
life.
Family
Interview:
Interview
a
family
member
about
yourself.
Memory
Drawing:
Draw
or
paint
an
image
of
one
of
your
memories.
*
I
remember
Writing:
Create
a
piece
of
writing
using
the
repeated
phrase
I
remember.
*Revising
an
Entry
from
the
Writers
Notebook:
Choose
one
of
the
entries
youve
written
and
revise
it
attending
to
purpose,
elaboration/elimination,
organization
and
clarification,
grammar
and
punctuation.
I
carry
Writing:
Create
a
piece
of
writing
using
the
repeated
phrase
I
carry.
Common
Core
Standards
8.W.3,
8.W.3.d,
9- 10.W.3.b
8.W.3,
8.W.3.d,
9- 10.W.3.b
6.SL.1c
n/a
8.W.3,
8.W.3.d,
9- 10.W.3.b
9-10.W.
4,
9- 10.W.5,
9-10.W.10,
8.L.1,
8.L.2.a
8.W.3,
8.W.3.d,
9- 10.W.3.b
Memoir
Teachers
Guide
7
7. College
Prep
Performances:
There
are
several
college
preparatory
performances
in
this
course,
all
of
which
are
required.
The
criteria
for
identifying
a
performance
as
college
prep
(rather
than
small
scale),
is
that
it
requires
students
to
undertake
tasks
that
might
or
will
be
found
in
college.
The
courses
final
project
is
a
memoir,
and
students
will
work
on
it
for
quite
some
time,
making
refinements
and
revisions
using
the
writing
process.
In
addition
to
this,
students
will
undertake
a
few
other
assignments
that
require
revision
and
a
high
quality
finished
product.
#
1
8. Online
Grammar
Booster:
There
is
one
additional
element
that
could
prove
helpful
in
this
course:
an
on-line
grammar
module.
Many
of
our
students
struggle
with
grammar
and
punctuation.
This
course
is
potentially
a
great
opportunity
for
students
to
take
an
online
booster
when
they
need
a
break
from
reading
and
writing.
There
are
a
number
of
boosters
available,
some
free,
some
not.
What
will
a
typical
day
or
week
look
like?
As
the
teacher
of
this
course,
much
of
the
structuring
of
the
course
will
depend
on
your
style
and
pedagogical
approach.
Because
the
course
requires
so
much
reading
and
writing,
we
recommend
a
blend
of
whole
class
and
independently
paced
work,
as
it
will
allow
students
to
experience
variation
from
day
to
day.
For
example,
in
Week
1,
the
whole
class
might
participate
in
the
opening
activities
that
introduce
students
to
the
genre
and
the
details
of
the
course.
These
activities
might
take
a
couple
of
days,
or
they
might
be
spread
across
several
days,
mixing
in
the
Set
up
of
the
Readers
and
Writers
Notebooks,
selection
of
an
Independent
Reading
Book,
and
learning
to
Free-Write.
In
the
ensuing
weeks,
Mondays
might
be
a
day
when
the
class
might
begin
working
on
one
of
the
Required
Small
Scale
Performances--all
of
the
performances
begin
with
a
Lesson
Launch
that
includes
modeling,
they
then
move
into
an
Investigation
period,
and
close
with
Synthesis
activities
that
often
require
writing
in
the
Readers
and
Writers
Notebooks.
Perhaps
Thursday
will
be
the
day
that
you
begin
working
with
students
on
a
2nd
required
Small
Scale
Performance.
Memoir
Teachers
Guide
8
On
Tuesday,
Wednesday
and
Friday,
students
would
have
the
opportunity
to
read
their
Memoir,
listen
to
required
mentor
texts,
undertake
an
additional
2
Small
Scale
Performances,
and
write
in
their
journals.
On
these
days,
you
can
conference
with
students,
facilitate
mini-lessons
on
topics
the
students
are
struggling
with
(maybe
five
students
dont
know
how
to
use
quotation
marks
when
they
write
dialogue,
or
7
students
arent
sure
what
symbolism
is).
As
you
confer
with
students
you
will
learn
where
the
gaps
in
their
knowledge
are
and
can
plan
mini-lessons
to
address
these
specific
gapsstudents
can
meet
you
at
a
table
in
the
room,
while
the
rest
of
the
students
keep
working
on
their
assignments.
Then,
disband
these
students
and
continue
moving
around
the
room,
working
with
all
of
the
students
and
learning
what
you
need
to
prepare
next.
Mentor
Texts:
What
students
will
read
and
listen
to
Module 1
Incidents in the Life of a Slave Girl, by Harriet Ann Jacobs A Summer Life, by Gary Soto I Know Why The Caged Bird Sings, by Maya Angelou West With The Night, by Beryl Markham Finding Fish, by Antwone Fisher Looking Back, by Lois Lowry Angelas Ashes, by Frank McCourt The Color of Water, by James McBride Naked, by David Sedaris How to Be Black, by Baratunde Thurston Dust Tracks on the Road, by Zora Neale Huston Bad Boy, by Walter Dean Myers All-Ball, by Mary Pope Osborne The Story of My Life, by Helen Keller Everything Will Be OK, by James Howe In My Own Words: Growing Up Inside the Sanctuary of my Imagination, by Nicholasa Mohr My Lord, What a Morning, by Marian Anderson Bone Black, by bell hooks The Woman Warrior, by Maxine Hong King A History of Psychology, by Margaret Floy Washburne Silent Dancing: A Partial Remembrance of a Puerto Rican Childhood, by Judith Ortiz Cofer Reverand Abbot and those Bloodshot Eyes, by Walter Dean Myers Hole in My Life, by Jack Gantos Having Our Say, by Sarah and Elizabeth Delaney The Liars Club, by Mary Karr
Module 2
Pegasus for a Summer, by Michael Rosen Hole in My Life, by Jack Gantos Food From the Outside, by Rita Williams-Garcia Homesick: My Own Story, by Jean Fritz Scouts Honor, by Avi The Woman Warrior, by Maxine Hong Kingston Naked, by David Sedaris My Invented Country, by Isabel Allende The Black Notebooks, by Toi Derricotte Bone Black, by bell hooks The Snapping Turtle, by Joseph Bruchac Lost Childhood, by Annelex Layson Why I Never Ran Away From Home, by Katherine Paterson The Great Rat Hunt, by Lawrence Yep No Disrespect, by Sister Souljah Learning to Swim, by Kyoko Mori To Be Young, Gifted, and Black, by Lorraine Hansberry The Absolutely True Diary of a Part-Time Indian, by Sherman Alexie The Language of Baklava, by Diana Abu-Jaber Night, by Elie Wiesel Lanterns, by Marian Wright Edelman My Bloody Life, by Reymundo Sanchez All Creatures Great and Small, by James Herriot My Life in France, by Julia Child Me Talk Pretty One Day, by David Sedaris
Module 3
Too Fat to Fish, by Artie Lange The Glass Castle, by Jeannette Walls The Long Closet, by Jane Yolen Taking a Dare, by Nicholasa Mohr
A Long Way Gone, by Ishmael Beah An American Childhood, by Annie Dillard Unafraid of the Dark, by Rosemary Bray Rocket Boys, by Homer Hickam Fist, Stick, Knife, Gun, by Geoffrey Canada Sleepwalk With Me, by Mike Birbiglia The Autobiography of Malcolm X, by Malcolm X Waiting for Midnight, Karen Hesse Bus Problems, by Howard Norman How I Lost My Station in Life, by E.L. Konigsburg Dreams From My Father, by Barack Obama
Interview With a Shrimp, by Paul Fleishman Brain Surgeon, by Keith Black In The Blink of an Eye, by Norma Fox Mazer Zami: A New Spelling of my Name, by Audre Lorde Flying, by Reeve Lindbergh Calling the Doves, by Juan Felipe Herrera How to Be Black, by Baratunde Thurston A Walk in the Woods, by Bill Bryson American Chica, by Marie Arana A Writers Life, by Annie Dillard
Texts to support your teaching of this course The course is modeled closely after the book Writing a Life: Teaching Memoir to Sharpen Insight, Shape MeaningAnd Triumph Over Tests, by Katherine Bomer. We strongly recommend that you read this book in preparation for teaching the course, since it will help you to understand the logic behind the teaching approach, and to become more confident in adapting the course to fit the unique needs of your students. In order to be most prepared to teach this course, we recommend that you explore some or all of the following resources. These resources will help you to understand the philosophy behind Writers Workshop, as well as to acquire practical strategies for implementing Writers Workshop effectively in your classroom. Writing a Life: Teaching Memoir to Sharpen Insight, Shape MeaningAnd Triumph Over Tests, by Katherine Bomer Writing Workshop: The Essential Guide, by Ralph Fletcher and JoAnn Portalupi Teaching Writing to Adolescents, by Kelly Gallagher Assessing Writing, and Hows it Going?, by Carl Anderson Conferring, by Patrick Allen Every Child a Reader & Writer - The Noyce Foundation http://www.noycefdn.org/ecrwresources.php
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