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Cory Neil

E 401: Teaching Reading


Teaching A Text:
A Moveable Feast, by Ernest Hemingway
Context:
12
th
Grade Language Arts at Rocky Mtn. H.S.

I have not given, received, or used any unauthorized information.
















A Moveable Feast
Teaching a Text Part 1

A) Hwy rst Hwy tr Hwy A Moveable Feast: The
Restored Edition. New York, NY: Scribner, 2009. Print.

B) I selected this text for the main purpose of serving as the cornerstone from which to build the
students exposure to, and understanding of, early 20
th
century American literature. As the book
tls th uthors prsol vlopt s wrtr s wll s hs xpr of
relationships with many other influential writers of the early 1900s, I feel it will serve well in
enriching the students appreciation of the literature of the era by supplying them with an insight
into the author and his compatriots on a personal level that would be otherwise absent by merely
studying their individual works. Too, through the text I expect students to gain a more first-hand
understanding of the historical and cultural elements at play that contributed to the individual
styles and themes of Hemingway, Ezra Pound, F. Scott Fitzgerald, James Joyce and other notable
writers of the time.
lthouh publsh posthuously th wor wll srv s xpl of Hwys rly
work to be then compared to later successes that were published in his lifetime as an examination
of his development as a writer. Through close and rigorous examination of the text students will
identify specific elements of craft and style unique to Hemingway and more broadly to the
modernist movement of the 20s. The study of this text, as will be laid out to follow, should meet
the goals of the Colorado State Standards for 12
th
grade in particular: 2.1.a, 2.1.b, 2.1.c, 2.1.e,
2.1.g, and 2.2.a.
This book occupies a curious place in literature as has the potential to be read both as a memoir
and as a work of fiction. This unique characteristic allows this work to function both as a history
and literature, and will hopefully engage students in the critical questioning of what constitutes a
work of fiction and what the true nature and reliability of our memories really is.
C) Goals:
1) Enjoy it.
2) G thorouh urst of Hwys rft styl ltr b bl to opr t
to those of writers of earlier and later literary periods.
3) B bl to opttly susso of th sf of Hwys wrt
the cannon of American Literature with specific focus on cultural, historical, and aesthetic
significance.



A Moveable Feast
Teaching a Text Part 2 Reading Strategy

A) My strategy for reading the book was fairly simple I read it. Then I read it again, and a
third time. All the while, I would continuously go back and re-read chapters or parts here
and there as questions came to mind or I felt something needed clarification. But this is
really a bit of an oversimplification my love for literature resides in my admiration of
th uthors rft so I lwys r throuh th ls of th rt /or spr
author. Reading in this way, I focus on all the nuances of their craft I notice sentence
structure and syntax, word choice, tone and voice and style. I look for how they order
events, and how and when they incorporate dialogue and how it stands in relation to
narration in terms of ratios of one to the other. I take notice of how and what the writer
focuses on place and setting or events and character descriptions. Another key element
I always keep in the back of my mind is the time and place an author is working from and
how this corresponds to the time and place in the book itself are the two contemporary,
or is one removed from the other? I also always keep the author in my mind and consider
the work in light of who they are/were as a person and as an artist. At this point in my
life, doing this has become second nature to me and I hardly realize I am doing it at all,
but I know it is happening when I reflect on the book later or engage in conversation
about it.

B) I have to admit, I did not take notes. It is actually counterproductive for me to take notes
while I read. The situation is: either I pay acute attention and retain a great deal with no
notes to check later, or I have notes but no idea as to what they mean I get a lot of
intricate details about something I was more or less completely absent for and have no
frame to put them in. I am fortunate to be able to remember books with a great deal of
accuracy. This, combined with the manner in which I read as described above, allows me
to focus on my reading rather than note taking. However, since I was reading this book
with the intentions of teaching it, after several readings I went back through and wrote
down where I found specific elements within the text such as location of the main/major
major theme(s), important passages regarding characters, exemplary demonstrations of
style, etc. Some of these are as specific as particular sentences (where I would write
down the page number and note the line), some are simply page numbers or even whole
chapters. I feel that making my notes too specific could potentially force a particular
reading on the book or prove confusing later on. I believe exploration is the heart of
analyzing a book and I want to leave the door open for that as it is likely that in the years
to come I will view this book in an entirely different light and I want to be able to allow
for that evolution.




A Moveable Feast
Teaching a Text Part 3 Strategies for close reading

For each of the 6 signposts, I have provided an address to the class describing what we will be
doing in the form of a mini-lesson, complete with an instructional prompt and/or specific questions I want
the students to answer or key elements I want them to try to focus on. Following each of these, I have
provided a brief explanation of what the specific exercise is intended to accomplish including specific
ideas and elements of the text I expect/hope the students will pick up on and identify. Students will be
directed to take notes on their findings and conclusions to use as reference later for their own benefit and
as we continue our discussion of the text following allotted activity time.
I feel it is important to note that I would not use this text to teach the signposts themselves. I
would conduct an independent lesson on the signposts at the beginning of the year using passages and
texts that lend themselves more readily to modeling the signposts. Additionally, I am constructing this set
of strategies with the intention of going through them with the class having already read the book in its
entirety (or at least nearly finished as the lessons pertain to the first of the book). This is for two
reasons: 1) The book is relatively short and should, for seniors, pose no serious difficulties in completing
it over a weekend; and 2) I believe firmly that a book should be studied, always, within the context of it as
a whole as this is the only way to truly understand its component parts.

Contrasts and Contradictions
Defining/Identifying the Signpost: A sharp contrast between what we would expect and what
we observe behavior or events that deviate from well-established patterns that often signal a
major shift in a character or the general direction of the story.
Generalizable Language: When authors show you a character acting in a way that contrasts
with how you would expect someone to act or that contradicts how that character has been acting,
you know the author is showing you something important about that chartr Youll wt to
pus s yourslf Why woul th hrtr t ths wy? (Brs & robst 85)
Anchor Question: Why os Hwy hs frshp wth Mss t so bruptly?
What does this incident tell us about her, and more importantly bout Hwy?
Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper,
and a pen or pencil.
Explaining Conceptualizing within the larger curriculum: Ovr th ours of th ovl
Hemingway recounts his relationships with other expatriate writers living in Paris. In describing
these individuals and his interactions with them we are given very intimate accounts of their
characters what they were like as people; but through these passages we also are given a very
personal look into Hemingway himself. Of particular importance throughout the book is his
rltoshp wth th wrtr Grtru t Lts t loo t how ths rltoshp prorsss
throughout the novel and see what it means in the overall context of th boo
Applying: I want us to focus on three chapters in particular Miss Stein Instructs, Une
Generation Perdue, and A Strange Enough Ending. Using the methods we discussed about
contrasts and contradictions, I want you to review these chapters and write down how Miss Stein
is depicted in each one. Focus on what she says and does and how Hemingway responds / reacts
to her. What kind of person is she shown to be, what is their relationship like? For each chapter,
focus your response solely on the text at hand and try not to let previous chapters influence your
thoughts on later ones. You will only need a few sentences for each chapter. Once you have this
done, I want you to compare them to one another and answer these questions: How are the later
depictions of Miss Stein in contrast to the earlier ones? How does Hemingways attitude
toward her change over time, and what does this tell us about his character? What is
Hemingway trying to tell us by demonstrating this evolution of his relationship with Stein?
Reviewing: Students should note her evolution from respected mentor to condescending and
critical, and finally to someone who Hemingway views as inferior to himself. Through her
decline, students should note that it also demonstrates Hwys ow rs opo of
himself both as a writer and as a person. This will help students to develop skills in recognizing
and understanding drawn out character development over the course of a text and to be able to
identify the subtle way one character can be more completely defined through another character.
They should hopefully comment as well that this particular tactic is evidence of advanced skill in
an author and immensely adds to the aesthetic value of a piece of writing.

Aha Moments
Defining/Identifying the Signpost: hrtrs rlzto of soth tht shfts hs tos
or understanding of himself. This can be signified by phrases that express suddenness ll of
su I w or Just th I rlz or less directly by a shift in tone or through a shift
in a characters behavior.
Generalizable Language: When a character realizes or finally understands something, then you
want to pause because you know this realization means something. It might be showing you
something about character development or a new direction of the plot. You want to ask yourself,
How ht ths h ths? (Brs & robst 85)
Anchor Question: Wh Hwy s hs frshp wth Mss t wht s t h rlzs
about her and himself that causes this to happen; what is the change that this signifies in his
character in th ovl?
Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper,
and a pen or pencil.
Explaining Conceptualizing within the larger curriculum: Dspt th sly spl
and straight-forwr styl of Hwys writing, much of the meaning in his works is derived
fro wht h hooss to lv out of txt Ist of stt outrht tht suh suh
th h frqutly lvs ths ts to th rr to fur out o thr ow by supply
sufficient details to leave the reader with an impression of what the character would have felt or
thought. This is demonstrated very well in the chapter A Strange Enough Ending where he
describes the events that led up to the ending of his friendship with Gertrude Stein. The events
depicted in this chapter clearly result in an Aha Moment for Hemingway, but we are never told
rtly wht thouhts fls rsult fro th vt Lts t loo t ths hptr s
how it might be intended to shape our understanding of Hemingway and his growth as a person
s wrtr
Applying: I roups of bout 4 I wt you to h r-read the chapter and then discuss what
you believe we as readers are supposed to think Hemingway felt or thought after overhearing the
argument with Miss Stein. I want you to reference specific language in the text that helped you
come to your conclusion. Each group member should write down the responses on their own
ppr to us ltr for rfr
Review: Students should report that the scene depicts a sense of urgency and discomfort; as well
tht t pls loss of fsto rspt o Hwys prt wth Mss t It s t ths
point that he realizes he has outgrown Miss Stein as both friend and mentor this symbolizes the
end of an era of uncertainty and the birth of his self-confidence as a writer. This is intended to
vlop stuts slls r btw th ls frs fro txt to t to
the deeper and often unstated meaning in a passage.

Tough Questions
Define/Identify the Signpost: When a character asks his or her self or is confronted by a very
difficult question meant to reveal something about their character, their conflict, or the theme of
the book.
Generalizable Language: You know that when a character pauses to ask himself or a friend
so rlly touh qustos th you r tt lps of whts bothr h th ost
those questions often show you what the character will struggle with throughout the story. When
you s ths touh qustos stop s yourslf Wht os ths qusto wor
bout? (Brs & robst 85)
Anchor Question: I th b of hptr 5 A False Spring Hwy wrts: Wh
spring came, even the false spr thr wr o probls xpt whr to b hppst If w
look at this as a question he is posing to himself, what does it say about the character and
orovr th th of th boo?
Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper,
and a pen or pencil.
Explaining Conceptualizing within the larger curriculum: Throuhout th ovl w r
given the sense that aside from money issues, Hemingway (and his family) had few problems in
their lives they have their love and their friends and all the possibilities of Paris and, in winter,
the mountains. At the beginning of chapter 5, A False Spring h wrts: Wh spr
v th fls spr thr wr o probls xpt whr to b hppst I point this out due
to how innocent and assertive it seems, but the simplicity and confidence of this line is what
makes me suspicious, and think that perhaps this is really a Tough Question in disguise as we
have discussed, Hemingway often hides much deeper meaning in seemingly straight-forward and
simple lines. I want you to consider this line in the greater context of the book. Although it
ss spl I th t sys uh or th t tlly lts o Th bout th wor hppst
notice he dost sy hppy he poses the problem as a search for an absolute, not an option of
many possibilities h ost sply wt to b hppy h wts to b th hppst h b
Tht sou l rl hll to
Applying: In small groups, I want you to discuss this passage explore the concept of what it
means to be happiest as opposed to just happy. Do you feel that such a thing is possible, or will
there always be something more, some other aspect that is potentially missing? What does
this say about the character Hemingway is trying to present to us in the book? Each group
br shoul wrt ow th roup rsposs o thr ow ppr to p for rfr ltr
Reviewing: Students should comment on the complexity of the task of trying to be happiest,
framing their concept of this idea around their own experiences and what they believe this
s th otxt of th boo wht thy urst bout Hwys hrtr
They should also note that although brief, this speaks volumes about the Hemingway being
portrayed in the book he is hopeful, optimistic, and undaunted by what seems to be an
impossible challenge he hardly seems to recognize it as such.

Words of the Wiser
Defining/Identifying the Signpost: When an older or more experienced character gives advice
or offers insight to the main character. This often times reveals aspects of the theme, a conflict,
or the relationship of the character to the plot of the book.
Generalizable Language: When a wise character who is often older than the main character
shares his or her understanding, insight, or advice on an issue or topic, stop and think about that.
These insights or this advice often reveals something important about the theme. Ask yourself,
Whts th lf lsso how ht t fft th hrtr? (Brs & robst 85)
Anchor Question: Wht o you blv Mss t t wh sh ll Hwy hs
ssots lost rto how o you th h trprt t? Wht fft if any, does
ths hv o hs hrtr th boo how o you fl ths rlts to th ovrll th?
Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper,
and a pen or pencil.
Explaining Conceptualizing within the larger curriculum: Grtru t s jor
figure in the book and her friendship with Hemingway clearly had a significant impact on both
him and his writing. Over the course of the text, we see an obvious transformation in the nature
of this relationship as she goes from mentor to eventually just an associate and contemporary. In
the chapter Une Generation Perdue (spflly o p 61) sh stts: Thts wht you r
Thts wht you ll rll of you youg people who served in the war. You are a lost
rto I th ths outs s Wors of th Wsr because although it sounds very
judgmental, this insight from Miss Stein appears as though it should give Hemingway something
to seriously think about.
Applying: I want us to take a few minutes to think about this statement and answer the following
questions: What is it about Hemingway and his friends that prompts Miss Stein to say this?
What affect, if any, does it seem to have on Hemingways character? What insights can we
gain about the nature of their relationship from this? What does this phrase mean in the
greater context of the novel? Take your time to consider these questions and write down your
rsposs our otboos for rfr ltr
Reviewing: Students should identify how we get a sense of self-righteousness from Miss Stein at
this point, and that it also denotes an air of frustration forming this is the first sign if the book
that her position of superiority is beginning to slip wy Thy shoul pot out Hwys
responses and how the language and tone suggests that he no longer feels he needs to be defined
y Mss ts opos he is becoming his own person as a writer and an individual and their
relationship is evolving to a point where he is beginning to see himself more as her equal. In
regards to how this fits into the greater context of the novel, the students should be allowed to
explore this idea freely but must be able to support their claims with concrete examples from the
text. However, they should all point toward the general idea that the novel is a story about the
search and initial discovery of Self for Hemingway, both as a writer of fiction and as a man.

Again and Again
Define/Identify the Signpost: This regards events, images, or particular words or phrases that
appear repeatedly throughout a novel. This tactic is used by authors to stress important aspects of
the plot, theme, motifs, character traits/development, etc.
Generalizable Language: Whe you s rptto ovl you bt tht ts portt
but you might not know, right away, what it means. Repetition might give insight into the setting
or hrtr or prhps sybol of so sort You hv to s yourslf Why os ths keep
hpp ? (Beers & Probst, 85)
Anchor Question: Why os Hwy rptly o to suh tl srb foo
r s wll s th vry tl s of ll th strts fs h wls vsts?
Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper,
and a pen or pencil.
Explaining Conceptualizing within the larger curriculum: s w hv suss
previously, authors often use repetition in their writing to drive home a particular point that is
usually a major theme of the novel. This can be a word or phrase, an event or even stylistic
choices they make. In the text, Hemingway repeatedly, almost obnoxiously, goes into great detail
about food and drink; similarly, he frequently and with great detail describes and names the
streets and various cafes and other elements of the setting. What could these repeated images
srv to rprst/sfy bout Hwy th ovrll th of th boo?
Applying: I roups I wt you to note specific examples of this and discuss what this is
intended to do for us as readers. Clearly the food and drink are significant and hold a deeper
meaning, but what is it? What is this designed to symbolize in the greater context of the
story? We cant possibly know the actual streets and places he names they most likely
arent even the same today, so what is the purpose of giving them so much time, over and
over, in the novel? How do the two function together to give us insight into the greater
purpose of the book?
Review: Students should cue in on that in addition to providing us with a great deal of sensory
input and thus making the text more real and accessible, this also gives us a more complete
urst of Hwys hrtr his priorities at the time. It also functions to give
us a sense of social and cultural qualities that help define the era that despite being poor, they
ate and drank well and this was of chief concern. Also, they will hopefully recognize that despite
appearing as though they should help us form a mental picture in our head of the layout of the
ty th rptto of so y strt s tht w t possbly ow lso srv to hv th
opposite effect and disorient us, leaving the reader metaphorlly ru o th ty tslf
These elements of the text help to paint the city and the time in a light of romantic nostalgia a
jor th of th boo Thy lso hhlht Hwys ss of tl whh rfors hs
strict discipline in his work habits an essential part of his character.

Memory Moment
Define/Identify the Signpost: When a character has a memory or flashback of an earlier event
(that may or may not have already been included in the text) that is substantial and causes a break
in the normal progress of the narrative. These moments supply essential background information
and are often revealing of character elements, plot, or theme.
Generalizable Language: Wh you shr ory wth soo ts usully bus tht
mory hs soth to o wth whts hpp t tht ot; th ory of th pst
helps explain the present moment. So, when an author has a character pause to think about a
memory or share a memory with someone, I know that memory can tell me something about
whts hpp rht ow Tht ory ht v sht to wht bothrs or otvts
a character; or it might help me understand something happening in the plot; it might even give
me information about the theme. When you notice a Memory Moment, stop and ask yourself,
Why ht ths ory b portt?
Anchor Question: B or th whol boo b s s Mory Mot Wth
ths wht o you th ths spt of th boo s suppos to to us s rrs?
Materials: Instructor: Copy of A Moveable Feast; Students: copy of A Moveable Fest, paper,
and a pen or pencil.
Explaining Conceptualizing within the larger curriculum: s w suss o ovr
the signposts, memory moments are important elements in a story as they can tell us a great deal
about a character in a short amount of time and help us understand major themes in the book. I
want us to do something a little different today today we are going to apply this strategy to the
book as a whole. Written some 30 years after the fact, and based off of old notes and writing
fragments Hemingway made at the time, in a very real sense the entire book is a memory
moment.
Applying: With this in mind I want us to analyze how this affects our reading and interpretation
of the book. Think about the nature of memories, especially old memories how reliable
are they? Some of the passages are likely very accurate and true, but much of it seems like
it has to be purely fiction how are we intended to interpret this? Written, but unfinished,
just before the authors death, who do you think this book is for? is it self-indulgence or
does it serve a greater purpose for the reader? Write down your thoughts to keep for
rfr ltr
Review: In response to this, I expect no particular response from students I want this to be an
exercise in critical thinking and original analysis. The intention is to help students see how open
to trprtto ovl rlly b tht thr rlly st orrt swr only good and
bad answers. My hope is, through allowing total freedom in analysis, foster genuine and
complete engagement with the text as a whole and to give them practice in tying together all the
various elements to make a complete picture and to demonstrate how sometimes this will result in
something entirely different than the individual parts.









































A Moveable Feast
Teaching a Text Part 4 Strategies for developing depth, stamina, and passion


Note Due to the short length of this book, combined with the terse style and straight-forward language
of Hwys wrt I hv t for th stuts to r ths book over a weekend and feel that
this should pose no serious problems. The only areas of concern I feel are the numerous names of streets
and places in French (and a few in Austrian). This book was chosen with the intent of it serving as the
introductory text for our study of modernist writing of the early to mid-1900s. It is not intended to serve
as the initial reading for the year, as I intend to order my class readings chronologically. That said, by the
time my class will be reading this book, I will have already evaluated their reading pace and individual
ltry lvls (bs o th quto prov y Kttls Book Love, pgs. 27-28). However, based
on these qualities of length and simplicity of language and structure, if you choose, this book could
futo wll to u stuts r slls t th b of th yr
A) Developing Stamina and Fluency: One of the wonderful aspects of this book is that it is not
necessary to read it in its entirety it is essentially a collection of vignettes, and each chapter has the
ability to function as its own independent story. Additionally, they are not presented in the order in
which the events depicted actually occurred, so nothing will be lost as far as maintaining continuity
of the story.
I believe that the straight-forward language (aside from the instances of French and some
ustr) ob wth th spl strutur of Hwys sts wll prov ths
book to be a fairly easy read for most students reading at or at least near grade-level. This,
along with the short lengths of the chapters ranging from 4 to 10 pages at most will help
students develop their confidence as readers as it will give them the feeling of covering a
good amount of material in a relatively short time. To accomplish this I would recommend
assigning the readings in terms of chapters to cover rather than page numbers.
O th you y osr suss wth stuts s Hwys lt us of
punctuation within sentences he rarely uses commas or other pause indicators, instead
opting to eliminate them entirely or replacing them with and which forces the reader
onward at an unnatural pace. This could prove problematic at first but presents an excellent
opportunity to develop stamina and retention skills as it deviates drastically from
contemporary and standard writing.
After completing a Text Complexity Analysis for the book, I have determined that it should
be comfortably handled by students reading at the 9
th
grade level and above. Unfortunately,
it does not offer much in terms of developing fluency in English. However, it does contain a
good deal of French, mostly in the form of street and place names. Working with these
words offers the opportunity for students to develop their skills in figuring out new words by
sounding them out and making inferences based on the context.

B) Providing a book-talk:

To introduce the book I would begin by providing some background biographical
information on the author and describing the general atmosphere of post-WWI Paris in the
1920s. The exact content of this discussion should be determined based on what is relevant
and appropriate for a particular set of students as some facts about Hemingway, based on
the age and maturity of the students, may not be considered appropriate. I would also point
out how it functions both as a memoir and as a work of fiction and how this is going to be a
major characteristic we will be exploring. As well I will give a general overview of the
main theme[s] in regards to these two different ways in which we can approach the book.
What I like about this book and why we are reading it: I l ths boo for thr
rsos: Frst I hu f of Hwys wrt I enjoy his honesty and that,
despite the fact that his language and sentences are fairly simple, his writing is remarkably
beautiful and has a rhythm and tone that is entirely unique to him. And since this is a
memoir of sorts, it offers both a wonderful example of his writing and an intimate look at
Hemingway himself during a pivotal time in his life. Secondly, it deals with a place and
time that I find to be particularly fascinating and romantic 1920s Paris. And third, I think
it will serve as a very good foundation as we go on to read other authors of the same
pro t ths pot I y lso hoos to r th frst thr prrphs of th
introduction as well, time and student attention permitting.
Read a Passage: I ro r xrpt b o p 16 wth: ll of
the sadnss of th ty wth th frst ol rs of wtr o p 18
wth: You blo to ll rs blos to I blo to ths otboo ths
pl Or f t prts I woul otu o to th of th hptr o pe 19. I
choose this passage as I feel that it introduces the novel nicely and very much sets the pace
and mood for the entire book. Also, I find it to be exceptionally beautiful in its imagery and
voice.
C) Using Conferences with the text: Each class period I intend to allot the first 20 minutes or so to
silent reading. This will allow students time to review any reading they need to for the day or to
catch up and finish what has been assigned or to simply work on their outside reading. As well, it
will give me the opportunity to conduct independent reading conferences with a few students each
day or address any other items that require my attention. For each conference I will allot 10 minutes,
allowing me to meet with at least 2 students a day perhaps more if the full time is not required. My
main goal with these conferences will be to determine:
1) How are they liking the book what is good about it, and what is not.
2) That the students are reading the book and are doing so at the assigned pace.
3) If they are not reading or are having trouble keeping up, what what is the cause?
4) How they feel they comprehend the book both at a superficial level language, style, story,
etc., as well as on a deeper level the theme[s], the intent and purpose of the author, etc.
5) Finally, I will talk with them about their outside reading with regards to how it is going and
what they have lined up next to ensure they are pushing themselves in terms of complexity
and that they are reading a diverse range of genres.
During these conferences I will take notes regarding student responses and their progress and
record this in their individual reading progress folders.
D) Responding to the reading:
Students will keep a reading log/journal in which they will make regular entries regarding
the reading. This can be as simple as noting questions they have or certain parts they find
confusing; or it could be more detailed reflections on the readings. These will be collected
weekly for review where I will make comments and record my own notes regarding
individual and whole-class issues that require attention in class. The students will receive
grades on these based on a check system for completeness and evidence of effort and
thoughtfulness.
As well, students will be required to participate in daily discussion of the texts we read.
Random in-class quick-wrts wll b ploy to otor stuts ott to th
readings.
As a last resort I will implement regular reading quizzes to assure that reading is being
done.

E) Reflecting on the Reading: In addition to their regular reading journals, upon completing our study
of this book (and for each book we read) students will be required to submit a short 3-4 page essay
addressing the following criteria:
Discuss the overriding theme/meaning of the text and how it fits into the larger picture of
the current unit of study.
Discuss the craft and stylistic elements of this text/the author that distinguish it/them as
unique what are the defining characteristics of the book?
Discuss your own experience of this book with regards to ease or difficulty and how you
feel it has impacted you as a reader.
Discuss why you believe this book is considered significant in the history and study of
literature.
The responses students provide in these essays in conjunction with their regular reading reflection journal
entries will provide critical feedback on how the students are responding to the direction and pace of the
class as well as the material we are studying. This will allow me to make adjustments as necessary and
where possible to the texts we are reading and the manner and pace in which we go through them. My
primary concern is that the students enjoy the texts as enjoyment leads to engagement which leads to a
fuller and richer experience of the texts.












A Moveable Feast
Teaching a Text Part 5 Strategies for teaching a poem related to the novel: (adapted from Reading
Poetry in the Middle Grades, by Paul B. Janeczko)

Poem: Th y by zra Pound
The Seeing Eye
The small dogs look at the big dogs;
They observe unwieldy dimensions
And curious imperfections of odor.
Here is the formal male group:
The young men look upon their seniors,
They consider the elderly mind
And observe its inexplicable correlations.

Said Tsin-Tsu:
It is only in small dogs and the young
That we find minute observation
Before Reading Introduction:
Why I admire/chose this poem: s fro th obvous oto Ezra Pound as an
important character in A Moveable Feast, I feel this poem reproduces a very important
aspect of the book that of Hemingway as a student of writing. As Hemingway looked
up to and observed the likes of Miss Stein and Scott Fitzgerald, here we see the same
relationship as the small dogs and the young closely observe and scrutinize the larger
dogs and the more senior as an example of what they themselves could and maybe even
should become. Too, I appreciate the simplicity of language here. Although the poem
presents a rather complex idea and perspective on the relationship of the young to the old,
the small to the big, it is delivered in language that is very accessible and easy to
understand. One more thing this poem does for me it connects with me on a personal
level and makes me reflect on my relationship with my own father and grandfather.
First reading introduction to the poem: You can ask the students to think about the older or
br popl thr lvs who thy r or loo to s tors Hv th th bout nd
discuss or write about what things they notice about the adults in their lives and how it shapes
their ideas of who they are and who they will become.



Companion Poem: Wht Ffty by Robrt Frost srvs s xllt opo p
to this po s t otrts th l of ous p tht oly th you sll r truly
observant, and instead suggests that later, as our lives come towards their close and we realize
youth is truly gone we again become observant but this time it is not of what we expect to
become, but in trying to regain that which we have lost.
What Fifty Said
When I was young my teachers were the old.
I gave up fire for form till I was cold.
I suffered like a metal being cast.
I went to school to age to learn the past.

Now when I am old my teachers are the young.
What can't be molded must be cracked and sprung.
I strain at lessons fit to start a suture.
I got to school to youth to learn the future.
Special words to work through: For the most part the language of the poem is clear and
straight-forward, but there are some words or phrases students may require help decoding in the
context of the poem. Specifically: curious imperfections of odor, and inexplicable
correlations. Students may need to have this usage of curious defined as well as
inexplicable and correlations.
Close Reading: Read the poem out loud to the class to model the appropriate tone and pace.
Before beginning to unpack the poem, ask the students what they notice this will force them to
think both critically and originally about the poem. Hopefully they will pick up on several key
elements that are significant in relating this poem to the novel:
1) How Pound makes a connection between being young and being small while this is often
the case naturally, here it serves to express the idea that when we are young or inexperienced
it can make us feel small in a way that equates to less capable or effective or insufficient.
2) He writes: curious imperfections of odor whh t frst y b r s slls b but ths
st wht s tully ovy Th oor st b but strly ffrt he is careful to
leave this intentionally vague. Why?
3) Notice the shifts that occur in the second stanza initially, it is Pound speaking with an tone
of authority that suggests this is something he knows for himself, but in the second stanza he
seems to step back and quotes Tsin-Tsu and relinquishes claim to his earlier statements.
4) At first glance, this poem seems to be addressing a relationship of respect and
admiration that the young or small have towards the old or big, but it never expressly
states that this is the case, it only speaks of close observation. Ask the students if and
how thy fl ths s rfltv of or rlts Hwys hrtr th ovel.
After Reading Conclusion: Have the students think about the point Ezra Pound is trying to
wth ths po Wth ths hv th lso th bout Hwys hrtr A
Moveable Feast. From the perspective of Hemingway, have them write up a response to this
poem as if Pound had spoken it directly to Hemingway. They could draft their writing in the
form of a letter, a face to face exchange, or even better they could try to write it as though it were
an additional passage in the novel ttpt to tt Hwys styl to Ths
should be started in class and finished for homework.
Book Bridge:
A Moveable Feast, Ernest Hemingway Mrrors th po s t pts Hwys
development as a writer of fiction through his interaction with and observations of older and
established writers of the time.
Alices Adventures in Wonderland, Lewis Carroll Emphasizes the focus and consideration with
which a child observes the world.
Hobo, Eddy Joe Cotton A young man begins a life on the road where he carefully observes the
ways of older and experienced hobos and learns how to and how not to survive.











A Moveable Feast
Teaching a Text Part 6 Incorporating Media Literacy:

A) Relevant Common Core Standards:
Content Area: Reading, Writing, and Communicating
Standard: 2. Reading for All Purposes
Prepared Graduates: Engage in a wide range of nonfiction and real-life reading experiences to
solve problems, judge the quality of ideas, or complete daily tasks
Grade Level Expectation: Twelfth Grade
Concepts and skills students master: 2. Interpreting and evaluating complex informational texts
require the understanding of rhetoric, critical reading, and analysis skills.
Evidence Outcomes: Students can: b. Integrate and evaluate multiple sources of information
presented in different media or formats (e.g., visually, quantitatively) as well as
in words in order to address a question or solve a problem. (CCSS:RI.11-12.7)
Content Area: Reading, Writing, and Communicating
Standard: 2. Reading for All Purposes
Prepared Graduates: Evaluate how an author uses words to create mental imagery, suggest
mood, and set tone.
Grade Level Expectation: Twelfth Grade
Concepts and skills students master: 1. Literary criticism of complex texts requires the use of
analysis, interpretative, and evaluative strategies.
Evidence Outcomes: tuts : lyz how uthors hos or how to
structure specific parts of a text (e.g., the choice of where to begin or end a story, the choice to
provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as
aesthetic impact. (CCSS: RL.11-12.5)
B) Rationale: A critical element in conducting a thorough critical analysis of A Moveable Feast is
understanding Hemingway himself. While it is true that the text itself provides an intimate and
nuanced portrait of the author, one cannot overlook the fact that the book was written nearly forty
years after the point in time when the novel is set. Being the case, it is entirely fair to assume that
Hemingway may well have portrayed himself less than accurately in the idealized light of
nostalgia a scenario that only increases in likelihood when we take into consideration his failing
health and mental state at the time of writing the book (he committed suicide before finishing it).
It is for this reason that I feel an outside source of reference on Hemingway the man is not only
beneficial, but indeed necessary.
For this portion of the study of the text, I have chosen to incorporate the use of a video
clip of a 1974 interview with Orson Welles where he discusses his first meeting with Hemingway
and their subsequent friendship that lasted until his death. In the video we get a very candid and
personal description of Hemingway that I feel will greatly enhance students understanding of him
as a person and allow for a deeper and more informed reading of the text. My objective is to use
this video clip in conjunction with the text itself to have the students then draft a critical analysis
paper discussing the reliability of a piece considered to be both a memoir and a work of fiction.
The video will be presented in class where students will be required to analyze it both visually
and audibly tht s thy wll b s to t to out ot oly Wlls wors to but
to take a critical look at his body language and gestures as he speaks. I believe that by having
students view and analyze the video they will be meeting the Colorado State Standard listed
above regarding competency in media literacy.
C) Below is the link to the video clip of an interview with Orson Welles where he discusses his
initial meeting with and long-term friendship with Ernest Hemingway.
https://www.youtube.com/watch?v=NyTi9v9QPxE























D) Assignment Sheet:
A Moveable Feast Critical Analysis

Assignment: Based on your reading and interpretation of the text, our in-class discussions, and
the video of Orson Welles interview, I would like for you to conduct a critical analysis of
Hwys hrcter as portrayed in the novel in comparison to the portrayal provided in the
video. In particular, I want for you to address the following question: Is this a factual memoir,
or a fictionalized account of a pivotal time in the authors life?

Link to video: https://www.youtube.com/watch?v=NyTi9v9QPxE

Requirements/Objectives:
Your paper need only be as long as is necessary to thoroughly present your
position/argument and analysis. However, I anticipate this will be a minimum of 4-5
pages, 12pt. Times New Roman with 1.5 spacing.
Include evidence from the text and the video to support your claims. The text should be
properly cited and references to the video should be explicitly noted time markers are
encouraged, but detailed accounts of the particular points in the video will suffice.
Present a clearly organized and thoughtful analysis there is no right or wrong answer as
long as you are able to logically support your claims
Outside sources are not required, but if you choose to use any they must be cited in
proper MLA format.
The main goal is to demonstrate that you have been critically engaged in the text and
related discussion.
As always, adherence to the Standards of Conventional English is expected.

Due Date: (one week from date of assignment)





E) Assessment tool: Scoring Rubric
CATEGORY 5 Advanced 4 Proficient
3
Near Proficient 2 Emerging 1 Beginner
Intro/Thesis Unique intro;
clearly stated,
original thesis
(subject +
opinion or
interpretation)
on theme or on
literary
technique.
Good intro;
workable
thesis which is
not as original
(subject +
opinion or
interp.) on an
issue of theme
or lit.
technique.
Ordinary intro
OR thesis not
entirely clear or
is too obvious to
merit writing a
paper. Does still
state subject &
opinion on
literary issue.
Ordinary intro
OR "thesis"
states a fact
(does not
require
support) or
proposes a
topic irrelevant
to literary
analysis.
Introduction
contains no
discernible
thesis at all.
Support Each paragraph
clearly supports
thesis with
strong evidence
and
commentary
that go beyond
the obvious. No
irrelevant
material
Each
paragraph
supports thesis
with evidence
and
commentary
but does not
always rise
above the
obvious.
Focus strays
from supporting
the thesis in
places OR
inadequate
evidence OR
inadequate
commentary.
Paper does not
support thesis
with analysis;
consists mostly
of summary
that contains
some inherent
analysis.
Writer failed
to understand
or prepare for
the writing
task.
Format Well-developed
paper meets
expected page
length, is typed
in correct font,
w/ correct size
and spacing.
Includes student
info. and
original title.
Paper is well-
developed and
meets
expected
length but
falters in one
or two other
respects.
Paper is well-
developed but
falls slightly
short and falters
in one or more
other aspects.
Does not meet
length
requirement or
paper is not
typed.
No attention
to format and
length
instructions at
all.
Conventions Paper contains
no more than
three or four
minor
mechanics,
usage,
grammar,
spelling, or
paragraphing
errors total.
Paper has a
couple of
errors per page
that do not
prevent the
reader from
reading easily.
Paper contains
three or more
errors per page
or contains
errors that cause
the reader to
stumble in
places.
Errors are
frequent and
distracting
and/or
paragraphing
is not present
at all.
Essay is
barely
readable
because there
are so many
errors.
Conclusion The conclusion
skillfully
provides
closure. Avoids
gimmicks and
summary.
Avoids
preachy
advice,
rhetorical
questions
addressed to
the reader, or
Conclusion
merely
summarizes or
relies on
gimmicks.
Paper
conclusion
strays from the
original topic
with no logic.
Paper merely
ends; little or
no attempt at a
conclusion
was made.
other
gimmicks but
is still less
skillful.
Comp. Skills Paper is written
with confidence
and sincerity.
The writer's
opinions come
through clearly.
It is a pleasure
to read.
The writing is
pleasant to
read but some
hesitation or
lack of
commitment
to ideas is
present.
There is a lack
of engagement
with the topic
and/or the
writing itself is
formulaic. The
writing "tells"
more than it
"shows."
Paper makes
little attempt to
engage the
reader's
interest or
emotions.
Paper does not
attempt to
engage the
reader at all.
MLA/Technical Paper includes
text citations
for paraphrase
& quotes;
quotes are
embedded
grammatically
with correct
punctuation.
Citations for
paraphrase &
quotes not
always
included;
minor
embedding or
punctuation
errors are
present, but
few.
Paper includes
both direct quote
and paraphrase,
but these are not
cited or there are
frequent
embedding &
punctuation
errors.
Quotes are
present but are
not embedded.
Paraphrase
may or may
not be cited.
No direct
quotation is
present at all;
no citations
are present.












References:
Hwy rst Hwy tr Hwy A Moveable Feast: The
Restored Edition. New York, NY: Scribner, 2009. Print.
Beers, G K. Notice & Note: Strategies for Close Reading. N.p., 2012. Print.
Kittle, Penny. Book Love: Developing Depth, Stamina, and Passion in Adolescent Readers.
Portsmouth, NH: Heinemann, 2013. Print.
Janeczko, Paul B. Reading Poetry in the Middle Grades: 20 Poems and Activities That Meet the
Common Core Standards and Cultivate a Passion for Poetry. Portsmouth, NH:
Heinemann, 2011. Print.
"Orson Welles on Hemingway." YouTube. N.p., n.d. Web. 13 May 2014.
"The Seeing Eye - Ezra Pound." PoemHunter.Com - Thousands of poems and poets. Poetry
Search Engine. N.p., n.d. Web. 13 May 2014.
"What Fifty Said.. by Robert Frost." PoemHunter.Com - Thousands of poems and poets. Poetry
Search Engine. N.p., n.d. Web. 13 May 2014.
Cotton, Eddy J. Hobo: A Young Man's Thoughts on Trains and Tramping in America. New York:
Harmony Books, 2002. Print.
Carroll, Lewis, John Tenniel, Hugh Haughton, and Lewis Carroll. Alice's Adventures in
Wonderland: And, Through the Looking-Glass, and What Alice Found There. London: Penguin
Books, 1998. Print.