2.9 Personal Reading Responses

 

Teen-reading

2.9  Form developed personal responses to independently read texts, supported by evidence.   AS 91106

Choose 6 texts to read. Two must be extended written texts (novels, biographies, autobiographies, plays, etc). Up to two can be films (or other visual texts like graphic novels or gaming narratives). The rest can be poems, lyrics, speech transcripts or short stories. You could choose 6 novels or 2 novels and 4 poems/short stories, etc.

Your task is to produce developed responses to the ideas you find in the texts.

Ask yourself these questions and answer them in your response:

What reaction did the text provoke in me? How did I identify with this text? What extra meaning did it have for me due to my personal experiences in life so far? What did this text help me understand about the world, society or human nature? How did the ideas in this text challenge my thinking when compared to other texts on the same topic or other experiences linked to this topic? As a reader, what did I think the writer/director did well? What did I think they could have improved? Why?

3 Key Tips

  • To produce a developed response, apply the idea(s) and/or critical evaluations you find in this text – to the text, to yourself, to the wider world and possibly to other texts that deal with similar issues.
  • Use evidence (quotes) from the text to support your arguments.
  • Use specific (not general) examples from your own life and from the wider world that connect to the ideas you have found in the text. These real life examples will explore your personal, thoughtful connections to the ideas.

 

Below is a 2.9 response frame. You may use it to guide your response. It will prompt you to find and respond to an idea, prove it with two quotes as evidence and then ask you to apply the idea to yourself and the wider world.

There is no word limit you must reach. Your grade will depend on how convincing or perceptive your response is, rather than its length. You must complete 6 responses. Your final grade will be based on a holistic assessment of your most achieved grade for all 6 responses.

 

Achievement

Achievement with Merit

Achievement with Excellence

• Form developed personal responses to independently read texts, supported by evidence.

• Form developed, convincing personal responses to independently read texts, supported by evidence.

• Form developed, perceptive personal responses to independently read texts, supported by evidence.

LINK to 2.9 STANDARD:

http://www.nzqa.govt.nz/nqfdocs/ncea-resource/achievements/2015/as91106.pdf

LINK to EXEMPLARS for 2.9

http://www.nzqa.govt.nz/assets/qualifications-and-standards/qualifications/ncea/NCEA-subject-resources/English/91106-B/91106-EXP-B.pdf

To Summarise:
You read a text, then you say what stood out to YOU about it and WHY.

Use quotes or specific details from the text to support why you found that aspect interesting/disturbing/funny, etc and explain why you reacted that way.
One way to develop your ‘reasons for your reaction’ is to explain HOW you related to it. E.g. perhaps something similar happened to you or you identify with it somehow. *
*PLEASE NOTE: it is usually highly unlikely that the events from a film or book will be similar to your life or real life in general – but it is NOT about finding similar events and making a ‘match’. It IS about recognizing the lessons or truths about life in general. And we understand LIFE because we have lived bits and pieces of it. So if you can connect with a story it is usually because you have had enough experience in the world to have an understanding of what a story is trying to say to you.
  1. Identify something the story said to you.
  2. Prove it with at least 2 quotes.
  3. Explain WHY you got that message from the story.
  4. Link to WHY that message matters to you.

Awesome links to some interesting texts suitable for this standard!

Remember! This is a READING standard. Audio links are included if you would like to READ the text while listening to the text at the same time.

Animal Farm by George Orwell (Novella) Approx 2 1/2 hours to read at ‘read aloud’ speed.

http://gutenberg.net.au/ebooks01/0100011h.html

 

 

 

 

 

 

 

 

 

 

Of Mice and Men by John Steinbeck (Novella) Approx 4 hours to read at ‘read aloud’ speed.

http://nisbah.com/summer_reading/ff_mice_and_men_steinbeck.pdf

Of Mice and Men' by John Steinbeck Review

 

 

 

 

 

 

 

 

 

 

 

The Little Prince by Antoine de St-Exupery (1 hour 30 mins to read).

https://verse.aasemoon.com/images/f/f5/The_Little_Prince.pdf

 

little prince image

The Machine Stops (Novella) by E M Forster (1 hour 20 minutes to read).

https://www.cs.ucdavis.edu/~koehl/Teaching/ECS188/PDF_files/Machine_stops.pdf

The Machine Stops. A story by E. M. Forster | by Mission | Mission.org |  Medium

The Great Gadsby by F. Scott Fitzgerald (Novel) Approx 5 hours to read at ‘read aloud’ speed.

http://www.ibeschool.com/ebook/The-Great-Gatsby.pdf

 

The Strange Case of Dr Jekell and Mr Hyde by Robert Louis Stevenson (Full novella link below)

Approx 2 1/2 hours to read at ‘read aloud’ speed.

https://archive.org/stream/thestrangecaseof00043gut/pg43.txt

 

Frankenstein by Mary Shelley (Novel) Approx 8 hours to read at ‘read aloud’ speed.

PDF of the novel in full:

https://library.oapen.org/bitstream/id/24cb1da5-a512-4de1-b24c-639b6452dbec/628778.pdf

The link above is a fantastic edition specifically prepared for the future scientists and doctors of this world. Even though it is a fictional account of fantastical things – it still gets us to question what our responsibilities are when it comes to advancing technologies. What will we choose to do? Who will we choose to be?

 

 

 

 

 

 

 

 

 

 

 

Frankenstein – simplified version (Novel)

http://www.paps.net/cms/lib4/NJ01001771/Centricity/Domain/2253/Frankenstein%20-%20Abridged%20Version.pdf

Macbeth by William Shakespeare. (Approx 2 hours to read at ‘read aloud’ speed.)

http://www.shakespeare-online.com/plays/macbethscenes.html

The Lottery by Shirley Jackson (Short story)

Here is link to the story The New Yorker with audio available

https://www.newyorker.com/magazine/1948/06/26/the-lottery?utm_campaign=falcon&mbid=social_facebook&utm_medium=social&utm_source=facebook&utm_brand=tny&utm_social-type=owned&fbclid=IwAR3VdMeVJeE8hhXFq3y28AHpyw4fdpcXcmLjuwDSE8gJsp8eyPTTVzSbfCU

Little Brother by Bruce Holland Rogers (Short story)

http://www.strangehorizons.com/2000/20001030/little_brother.shtml

Little Brother™

Peter had wanted a Little Brother™ for three Christmases in a row. His favorite TV commercials were the ones that showed just how much fun he would have teaching Little Brother™ to do all the things that he could already do himself. But every year, Mommy had said that Peter wasn’t ready for a Little Brother™. Until this year.

This year when Peter ran into the living room, there sat Little Brother™ among all the wrapped presents, babbling baby talk, smiling his happy smile, and patting one of the packages with his fat little hand. Peter was so excited that he ran up and gave Little Brother™ a big hug around the neck. That was how he found out about the button. Peter’s hand pushed against something cold on Little Brother™’s neck, and suddenly Little Brother™ wasn’t babbling anymore, or even sitting up. Suddenly, Little Brother™ was limp on the floor, as lifeless as any ordinary doll.

“Peter!” Mommy said.

“I didn’t mean to!”

Mommy picked up Little Brother™, sat him in her lap, and pressed the black button at the back of his neck. Little Brother™’s face came alive, and it wrinkled up as if he were about to cry, but Mommy bounced him on her knee and told him what a good boy he was. He didn’t cry after all.

“Little Brother™ isn’t like your other toys, Peter,” Mommy said. “You have to be extra careful with him, as if he were a real baby.” She put Little Brother™ down on the floor, and he took tottering baby steps toward Peter. “Why don’t you let him help open your other presents?”

So that’s what Peter did. He showed Little Brother™ how to tear the paper and open the boxes. The other toys were a fire engine, some talking books, a wagon, and lots and lots of wooden blocks. The fire engine was the second-best present. It had lights, a siren, and hoses that blew green gas just like the real thing. There weren’t as many presents as last year, Mommy explained because Little Brother™ was expensive. That was okay. Little Brother™ was the best present ever!

Well, that’s what Peter thought at first. At first, everything that Little Brother™ did was funny and wonderful. Peter put all the torn wrapping paper in the wagon, and Little Brother™ took it out again and threw it on the floor. Peter started to read a talking book, and Little Brother™ came and turned the pages too fast for the book to keep up.

But then, while Mommy went to the kitchen to cook breakfast, Peter tried to show Little Brother™ how to build a very tall tower out of blocks. Little Brother™ wasn’t interested in seeing a really tall tower. Every time Peter had a few blocks stacked up, Little Brother™ swatted the tower with his hand and laughed. Peter laughed, too, for the first time, and the second. But then he said, “Now watch this time. I’m going to make it really big.”

But Little Brother™ didn’t watch. The tower was only a few blocks tall when he knocked it down.

“No!” Peter said. He grabbed hold of Little Brother™’s arm. “Don’t!”

Little Brother™’s face wrinkled. He was getting ready to cry.

Peter looked toward the kitchen and let go. “Don’t cry,” he said. “Look, I’m building another one! Watch me build it!”

Little Brother™ watched. Then he knocked the tower down.

Peter had an idea.


When Mommy came into the living room again, Peter had built a tower that was taller than he was, the best tower he had ever made. “Look!” he said.

But Mommy didn’t even look at the tower. “Peter!” She picked up Little Brother™, put him on her lap, and pressed the button to turn him back on. As soon as he was on, Little Brother™ started to scream. His face turned red.

“I didn’t mean to!”

“Peter, I told you! He’s not like your other toys. When you turn him off, he can’t move but he can still see and hear. He can still feel. And it scares him.”

“He was knocking down my blocks.”

“Babies do things like that,” Mommy said. “That’s what it’s like to have a baby brother.”

Little Brother™ howled.

“He’s mine,” Peter said too quietly for Mommy to hear. But when Little Brother™ had calmed down, Mommy put him back on the floor and Peter let him toddle over and knock down the tower.

Mommy told Peter to clean up the wrapping paper, and she went back into the kitchen. Peter had already picked up the wrapping paper once, and she hadn’t said thank you. She hadn’t even noticed.

Peter wadded the paper into angry balls and threw them one at a time into the wagon until it was almost full. That’s when Little Brother™ broke the fire engine. Peter turned just in time to see him lift the engine up over his head and let it drop.

“No!” Peter shouted. The windshield cracked and popped out as the fire engine hit the floor. Broken. Peter hadn’t even played with it once, and his best Christmas present was broken.


Later, when Mommy came into the living room, she didn’t thank Peter for picking up all the wrapping paper. Instead, she scooped up Little Brother™ and turned him on again. He trembled and screeched louder than ever.

“My God! How long has he been off?” Mommy demanded.

“I don’t like him!”

“Peter, it scares him! Listen to him!”

“I hate him! Take him back!”

“You are not to turn him off again. Ever!”

“He’s mine!” Peter shouted. “He’s mine and I can do what I want with him! He broke my fire engine!”

“He’s a baby!”

“He’s stupid! I hate him! Take him back!”

“You are going to learn to be nice with him.”

“I’ll turn him off if you don’t take him back. I’ll turn him off and hide him someplace where you can’t find him!”

“Peter!” Mommy said, and she was angry. She was angrier than he’d ever seen her before. She put Little Brother™ down and took a step toward Peter. She would punish him. Peter didn’t care. He was angry, too.

“I’ll do it!” he yelled. “I’ll turn him off and hide him someplace dark!”

“You’ll do no such thing!” Mommy said. She grabbed his arm and spun him around. The spanking would come next.

But it didn’t. Instead, he felt her fingers searching for something at the back of his neck.

 

The Veldt by Ray Bradbury (Short story)

http://www.veddma.com/veddma/Veldt.htm

 

The Lanyard by Billy Collins (Poem)

http://writersalmanac.publicradio.org/index.php?date=2008/01/26

The Solipsist by Troy Jollimore (Philosophical poem)

http://www.poetryfoundation.org/poetrymagazine/poem/180541

Homer by Troy Jollimore (Philosophical poem)

http://www.poetryfoundation.org/poetrymagazine/poem/247152

 

Still I Rise by Mary Angelou (Poem)

https://www.poets.org/poetsorg/poem/still-i-rise

Caged Bird by Mary Angelou (Poem)

http://www.poetryfoundation.org/poem/178948

 

Rain by Hone Tuwhare (NZ poem)

http://nzpoems.blogspot.co.nz/2011/05/rain-hone-tuwhare.html

Heaps of beautiful poems by Glenn Colquhoun!! (He is a NZ poet and a GP) (Poetry)

http://nzetc.victoria.ac.nz/tm/scholarly/tei-Ba25Spo-t1-body-d1.html

KARLO MILA

Mana

How do I describe you in English

integrity / influence / respect / authority / none of those words / quite / reach

like the Greek word ‘entheos’ lies at the root of the word ‘enthusiastic’ / it means that / the gods are with you / creative / energetic / enthusiastic / charismatic / power / pulse

and yet mana / all of those words / fail to reveal you / although we all know / when you are gone

sometimes I imagine a personal bank / an accumulated pool of cool greenstone coins / smooth to the touch / or layer / upon layer / of fine mats / or yard / upon yard of tapa / or gift / upon gift / on an altar of altruistic offerings / good deeds / awesome feats / I.O.U.s / a golden stash / not unlike cash / unbelievably good karmic credit

and yet this fails to describe / how you are more / than money / can buy

when mana walks in the room / it’s instantly recognisable / intangible / expensive accessory / out of reach / it goes with all of your clothes / no room for cheap knock-offs / yet we all know / when we see someone / all mana / no money

mana / you are more than a precious stone on a neck / you are the space between / the performance / and the audience clapping / you are the ovation / we know it / when we see it / it ignites us / it alights us /so that the mana in me / sees the mana in you

remembering what it is to be connected / with all that we are / all we could be

and yet mana / you ebb and you flow / you come and you go / we live our lives / with / or without you

when you are with me / I am Maui who has harnessed the sun / gold burning through embered fingertips

I am all there / all energy / present / vital / awake / each cell singing an ode to being alive / woke

when you flow through my body / I know / I am caught in the current of a river / larger than the length of my own lifetime

it bends where we have all been before / same rapids / other waters / our veins / my blood

I know / I am in the flow / of something greater than my own self

all of the earth / its gravity / physics / motion / movement / all of that / is with me

here / right now / in this time and place / making space for me / to be / all / that is possible

and I am a few steps further / from the maunga / where I began as tears / one riverbank closer / to the ocean / where I will return / to saline / salt / water / all of that dream

return / to be burned by the sun / return / to be held by the clouds / return / to trickle down the stones of the mountain / return / all the way back to the river / and flow

Karlo Mila is a poet, mother, researcher, writer and the Programme Director of the Mana Moana Experience at Leadership New Zealand.  Of Tongan and Palangi descent, her creative, academic and professional work has all centred on the experiences of Pasifika peoples in Aotearoa, New Zealand.  She has two books of poetry and is widely anthologised.  She has spent the past five years researching Mana Moana – collating a canon of power words, proverbs, archetypes and narratives from across the Pacific – to be harnessed and vitalised in contemporary life. Karlo is the mother of three boys and lives in Auckland.

Karlo comments: ‘“Mana” is an Oceanic word found in 29 living languages.  This poem recognises and reflects on how words indigenous to the region are often not readily translatable in English.  I’ve spent years researching Pacific indigenous knowledge.  The English language has to be pushed hard—and almost always poetically—to gesture towards the multidimensional meanings of such words.  It is a bit like casting out a net and hoping to snare an elusive ever-moving fish.  A creature that inevitably has some supernatural qualities.  Hopefully, mana is caught alive and thrashing in this poem—or at the very least some of its slippery scales are left on the page.’

​Poem source details > 

 

Links
Karlo’s Book Council page

LYRICS STASH

Here by Alessia Cara (Lyrics)

http://genius.com/Alessia-cara-here-lyrics

Wild Things by Alessia Cara (Lyrics)

http://genius.com/Alessia-cara-wild-things-lyrics

I Love Kanye

I miss the old Kanye, straight from the go Kanye
Chop up the soul Kanye, set on his goals Kanye
I hate the new Kanye, the bad mood Kanye
The always rude Kanye, spaz in the news Kanye
I miss the sweet Kanye, chop up the beats Kanye
I gotta to say at that time I’d like to meet Kanye
See I invented Kanye, it wasn’t any Kanyes
And now I look and look around and there’s so many Kanyes
I used to love Kanye, I used to love Kanye
I even had the pink polo, I thought I was Kanye
What if Kanye made a song about Kanye
Called “I Miss The Old Kanye, ” man that would be so Kanye
That’s all it was Kanye, we still love Kanye
And I love you like Kanye loves Kanye, hahaha
Source: LyricFind
Songwriters: Kanye West / Malik Yousef
I Love Kanye lyrics © Sony/ATV Music Publishing LLC, Universal Music Publishing Group

Royals

I’ve never seen a diamond in the flesh
I cut my teeth on wedding rings in the movies
And I’m not proud of my address, in the torn up town
No post code envy
But every song’s like gold teeth, Grey Goose, trippin’ in the bathroom
Bloodstains, ball gowns, trashin’ the hotel room
We don’t care, we’re driving Cadillacs in our dreams
But everybody’s like Cristal, Maybach, diamonds on your timepiece
Jet planes, islands, tigers on a gold leash
We don’t care, we aren’t caught up in your love affair
And we’ll never be royals
It don’t run in our blood
That kind of lux just ain’t for us
We crave a different kind of buzz
Let me be your ruler, you can call me Queen B
And baby I’ll rule (I’ll rule I’ll rule I’ll rule)
Let me live that fantasy
My friends and I we’ve cracked the code
We count our dollars on the train to the party
And everyone who knows us knows that we’re fine with this
We didn’t come from money
But every song’s like gold teeth, Grey Goose, trippin’ in the bathroom
Bloodstains, ball gowns, trashin’ the hotel room
We don’t care, we’re driving Cadillacs in our dreams
But everybody’s like Cristal, Maybach, diamonds on your timepiece
Jet planes, islands, tigers on a gold leash
We don’t care, we aren’t caught up in your love affair
And we’ll never be royals
It don’t run in our blood
That kind of lux just ain’t for us
We crave a different kind of buzz
Let me be your ruler, you can call me Queen B
And baby I’ll rule (I’ll rule I’ll rule I’ll rule)
Let me live that fantasy
We’re bigger than we ever dreamed, and I’m in love with being queen
(Ooh ooh oh)
Life is great without a care
We aren’t caught up in your love affair
And we’ll never be royals
It don’t run in our blood
That kind of lux just ain’t for us
We crave a different kind of buzz
Let me be your ruler, you can call me Queen B
And baby I’ll rule (I’ll rule I’ll rule I’ll rule)
Let me live that fantasy
Source: LyricFind
Songwriters: Ella Marija La Yelich O’Connor / Joel Little
Royals lyrics © Peermusic Publishing, Sony/ATV Music Publishing LLC, Kobalt Music Publishing Ltd.

Where Is the Love?

People killin’ people dyin’
Children hurtin’, I hear them cryin’
Can you practice what you preachin’?
Would you turn the other cheek again?
Mama, mama, mama, tell us what the hell is goin’ on
Can’t we all just get along?
Father, father, father help us
Send some guidance from above
‘Cause people got me, got me
Questioning
(Where’s the love)
Yo what’s going on with the world, momma
(Where’s the love)
Yo people living like they ain’t got no mommas
(Where’s the love)
I think they all distracted by the drama and
Attracted to the trauma, mamma
(Where’s the love)
I think they don’t understand the concept or
The meaning of karma
(Where’s the love)
Overseas, yeah they trying to stop terrorism
(Where’s the love)
Over here on the streets the police shoot
The people put the bullets in ’em
(Where’s the love)
But if you only got love for your own race
(Where’s the love)
Then you’re gonna leave space for others to discriminate
(Where’s the love)
And to discriminate only generates hate
And when you hate then you’re bound to get irate
Madness is what you demonstrate
And that’s exactly how hate works and operates
Man, we gotta set it straight
Take control of your mind and just meditate
And let your soul just gravitate
To the love, so the whole world celebrate it
People killin’ people dyin’
Children hurtin’, I hear them cryin’
Can you practice what you preachin’?
Would you turn the other cheek again?
Mama, mama, mama, tell us what the hell is goin’ on
Can’t we all just get along?
Father, Father, Father help us
Send some guidance from above
‘Cause people got me, got me questioning
(Where’s the love)
It just ain’t the same, always in change
(Where’s the love)
New days are strange, is the world insane?
(Where’s the love)
Nation droppin’ bombs killing our little ones
(Where’s the love)
Ongoing suffering as the youth die young
(Where’s the love)
Where’s the love when a child gets murdered
Or a cop gets knocked down
Black lives not now
Everybody matter to me
All races, y’all don’t like what I’m sayin’? Haterade, tall cases
Everybody hate somebody
Guess we all racist
Black Eyed Peas do a song about love and y’all hate this
All these protests with different colored faces
We was all born with a heart
Why we gotta chase it?
And every time I look around
Every time I look up, every time I look down
No one’s on a common ground
(Where’s the love)
And if you never speak truth then you never know how love sounds
(Where’s the love)
And if you never know love then you never know God, wow
(Where’s the love)
Where’s the love y’all? I don’t, I don’t know
Where’s the truth y’all? I don’t know
People killin’ people dyin’
Children hurtin’, I hear them cryin’
Could you practice what you preach?
Would you turn the other cheek?
Father, Father, Father help us
Send some guidance from above
‘Cause people got me, got me questioning
(Where’s the love)
(Where’s the love)
Love is the key
(Where’s the love)
Love is the answer
(Where’s the love)
Love is the solution
(Where’s the love)
(Where’s the love)
They don’t want us to love
(Where’s the love)
Love is powerful
(Where’s the love)
(Where’s the love)
My mama asked me why I never vote never vote
‘Cause police men want me dead and gone (Dead and gone)
That election looking like a joke (Such a joke)
And the weed man still sellin’ dope
Somebody gotta give these niggas hope (Please hope)
All he ever wanted was a smoke (My gosh)
Said he can’t breathe with his hands in the air
Layin’ on the ground died from a choke
(Where’s the love)
I feel the weight of the world on my shoulders
As I’m gettin’ older y’all people gets colder
Most of us only care about money makin’
Selfishness got us followin’ the wrong direction
Wrong information always shown by the media
Negative images is the main criteria
Infecting the young minds faster than bacteria
Kids wanna act like what they see in the cinemas
What happened to the love and the values of humanity?
(Where’s the love)
What happened to the love and the fairness and equality?
(Where’s the love)
Instead of spreading love we’re spreading animosity
(Where’s the love)
Lack of understanding leading us away from unity
(Where’s the love)
Source: LyricFind
Songwriters: Allan Pineda / Giorgio Hesdey Tuinfort / Jaime Gomez / Jayceon Taylor / Justin Timberlake / Khaled Khaled / Rakim Mayers / Will Adams
Where Is the Love? lyrics © BMG Rights Management
Tell me somethin’, girl
Are you happy in this modern world?
Or do you need more?
Is there somethin’ else you’re searchin’ for?
I’m falling
In all the good times I find myself
Longin’ for change
And in the bad times I fear myself
Tell me something, boy
Aren’t you tired tryin’ to fill that void?
Or do you need more?
Ain’t it hard keeping it so hardcore?
I’m falling
In all the good times I find myself
Longing for a change
And in the bad times I fear myself
I’m off the deep end, watch as I dive in
I’ll never meet the ground
Crash through the surface, where they can’t hurt us
We’re far from the shallow now
In the shallow, shallow
In the shallow, shallow
In the shallow, shallow
We’re far from the shallow now
Oh, oh, oh, oh, oh, oh
Whoah
I’m off the deep end, watch as I dive in
I’ll never meet the ground
Crash through the surface, where they can’t hurt us
We’re far from the shallow now
In the shallow, shallow
In the shallow, shallow
In the shallow, shallow
We’re far from the shallow now
Source: LyricFind
Songwriters: Andrew Wyatt / Anthony Rossomando / Mark Ronson / Stefani Germanotta
Shallow lyrics © Sony/ATV Music Publishing LLC, Downtown Music Publishing, Universal Music Publishing Group, Concord Music Publishing LLC

Beautiful Day

The heart is a bloom
Shoots up through the stony ground
There’s no room
No space to rent in this town
You’re out of luck
And the reason that you had to care
The traffic is stuck
And you’re not moving anywhere
You thought you’d found a friend
To take you out of this place
Someone you could lend a hand
In return for grace
It’s a beautiful day
Sky falls, you feel like
It’s a beautiful day
Don’t let it get away
You’re on the road
But you’ve got no destination
You’re in the mud
In the maze of her imagination
You’re lovin’ this town
Even if that doesn’t ring true
You’ve been all over
And it’s been all over you
It’s a beautiful day
Don’t let it get away
It’s a beautiful day
Touch me
Take me to that other place
Teach me
I know I’m not a hopeless case
See the world in green and blue
See China right in front of you
See the canyons broken by cloud
See the tuna fleets clearing the sea out
See the Bedouin fires at night
See the oil fields at first light and
See the bird with a leaf in her mouth
After the flood all the colors came out
It was a beautiful day
Don’t let it get away
Beautiful day
Touch me
Take me to that other place
Reach me
I know I’m not a hopeless case
What you don’t have you don’t need it now
What you don’t know you can feel it somehow
What you don’t have you don’t need it now
Don’t need it now
It was a beautiful day
Source: LyricFind
Songwriters: Paul David Hewson / Adam Clayton / Dave Evans / Larry Mullen
Beautiful Day lyrics © Universal Music Publishing Group

“Keep Your Head Up” by Andy Grammer

I’ve been waiting on the sunset

Bills on my mindset

I can’t deny they’re getting high

Higher than my income

Income’s bread crumbs

I’ve been trying to survive

The glow that the sun gets
Right around sunset
Helps me realize
That this is just a journey
Drop your worries
You are gonna turn out fine.
Oh, you turn out fine.
Fine, oh, you turn out fine.

But you gotta keep your head up, oh,
And you can let your hair down, eh.
You gotta keep your head up, oh,
And you can let your hair down, eh.

I know it’s hard, know it’s hard
To remember sometimes,
But you gotta keep your head up, oh,
And you can let your hair down, eh.

I got my hands in my pockets,
Kicking these rocks.
It’s kinda hard to watch this life go by.
I’m buying into skeptics,
Skeptics mess with
The confidence in my eyes

I’m seeing all the angles
Thoughts get tangled
I start to compromise
My life and my purpose.
Is it all worth it?
Am I gonna turn out fine?
Oh, you turn out fine.
Fine, oh, you turn out fine.

But you gotta keep your head up, oh,
And you can let your hair down, eh.
You gotta keep your head up, oh,
And you can let your hair down, eh.

I know it’s hard, know it’s hard,
To remember sometimes,
But you gotta keep your head up, oh,
And you can let your hair down, eh.

Only rainbows after rain
The sun will always come again.
And it’s a circle, circling,
Around again, it comes around again.
I said,

Only rainbows after rain
The sun will always come again.
And it’s a circle, circling,
Around again, it comes around,

But you gotta keep your head up, oh,
And you can let your hair down, eh.
You gotta keep your head up, oh,
And you can let your hair down, eh.

I know it’s hard, know it’s hard
To remember sometimes,
But you gotta keep your head up, oh,
And you can let your hair down, eh.

And keep your head up, oh,
And you can let your hair down, eh.
And keep your head up, oh,
And you can let your hair down, eh.
And keep your head up, oh,
And you can let your hair down.
I said oh, no, no, no, no, no

A selection of some of the world’s best short stories:

https://letterpile.com/writing/Very-Short-Stories-For-High-School

Popular Mechanics by Raymond Carver

https://www.mccc.edu/pdf/eng101/fall2011/Carver%20Raymond_%20Popular%20Mechanics.pdf

Sticks
by George Saunders

Every year Thanksgiving night we flocked out behind Dad as he dragged the Santa suit to the road and draped it over a kind of crucifix he’d built out of metal pole in the yard. Super Bowl week the pole was dressed in a jersey and Rod’s helmet and Rod had to clear it with Dad if he wanted to take the helmet off. On the Fourth of July the pole was Uncle Sam, on Veteran’s Day a soldier,  on Halloween a ghost. The pole was Dad’s only concession to glee. We were allowed a single Crayola from the box at a time. One Christmas Eve he shrieked at Kimmie for wasting an apple slice. He hovered over us as we poured ketchup saying: good enough good enough good enough. Birthday parties consisted of cupcakes, no ice cream. The first time I brought a date over she said: what’s with your dad and that pole? and I sat there blinking.We left home, married,  had children of our own, found the seeds of meanness blooming also within us. Dad began dressing the pole with more complexity and less discernible logic. He draped some kind of fur over it on Groundhog Day and lugged out a floodlight to ensure a shadow. When an earthquake struck Chile he lay the pole on its side and spray painted a rift in the earth. Mom died and he dressed the pole as Death and hung from the crossbar photos of Mom as a baby. We’d stop by and find odd talismans from his youth arranged around the base: army medals, theater tickets, old sweatshirts, tubes of Mom’s makeup. One autumn he painted the pole bright yellow. He covered it with cotton swabs that winter for warmth and provided offspring by hammering in six crossed sticks around the yard. He ran lengths of string between the pole and the sticks, and taped to the string letters of apology, admissions of error, pleas for understanding, all written in a frantic hand on index cards. He painted a sign saying LOVE and hung it from the pole and another that said FORGIVE? and then he died in the hall with the radio on and we sold the house to a young couple who yanked out the pole and the sticks and left them by the road on garbage day.

In the contributor’s notes in “Story” magazine, George Saunders writes, “For two years I’d been driving past a house like the one in the story, imagining the owner as a man more joyful and self-possessed and less self-conscious than myself. Then one day I got sick of him and invented his opposite, and there was the story.”

Last Bites

  • You could also choose any of the war poems we have not formally studied in class this year.
  • Find texts that you can personally respond to.
  • Check with a teacher to make sure your independently chosen text is deep enough to allow you to meet the criteria.

Clarifications from NZQA: Selection of texts

The standard requires students to read texts that are at curriculum level 7 in terms of complexity of language and ideas. This means that children’s texts, novels and short stories commonly taught in junior programmes are not suitable selections. Searches of major public library catalogues will frequently provide a reading age for texts. Those texts categorised as ‘children’s’ are not suitable.

Feature articles such as those from The Listener, North and South, Metro, National Geographic, meet the text level required for 91106. This should be used as guidance when students are selecting short written texts.

Students must select and read texts independently. Novels, short stories, poems, etc. that have been studied in class, cannot be included. This includes texts studied in previous years and in other subjects. Students may respond to a film shown, but not studied, in class.

Developing personal response

  • Responses need to demonstrate personal engagement rather than close reading of text.
  • Students must demonstrate their engagement with the text by, for example, expressing a point of view or discussing an issue in the text that has some personal relevance or meaning for them. Links need to be made between the text and the student him/herself and between the text and a wider social context.
  • The best responses tend to focus on one main aspect (purpose and audience, ideas, language features, structure) where this aspect has sufficient scope for depth and engagement with the text.
  • Plot summaries and lengthy description not linked to the response are not required and do not gain any credit.
  • Specific and relevant details from the text are needed to support the explanation of the response. Details can include quotations or specific description, and must be directly linked to the reaction and explanation.
  • Responses need to be text based. Students respond to aspect/s in a text, supported by evidence from the text. Identification of an issue in a text followed by the student’s opinion/viewpoint on the broad issue itself does not meet the standard.

Sufficiency

Teachers must be confident that the student has independently read all 6 texts. Students must form personal responses to all 6 texts. Teachers must be confident that there is sufficient evidence across all responses that the grade is met. The majority of responses must be at the grade, and the other/s close to that grade boundary.

2.9 Form developed personal responses to independently read texts, supported by evidence. NAME:

Author/Director:
Title:
Text type:
What was your opinion, reaction or response to the text?This involves demonstrating understandings and expressing viewpoints that are insightful and/or original. This includes responding to links between text and self, and text and world.
List 3 examples from the text that made you respond that way. 1.2.3.
Evidence #1Describe the first supporting quote/evidence:
Explain WHY this particular moment in the text made you react the way you did.
Evidence #2Describe the second supporting quote/evidence:
Explain WHY this particular moment in the text made you react the way you did.
Evidence #3Describe a third supporting quote/evidence:
Explain WHY this particular moment in the text made you react the way you did.
Reflect:
WHY do you think you have responded or reacted to the text in this way?
What did you learn from the text?
What experience(s) in your life have helped you learn similar lessons?Be specific.What did you learn from your experience(s)?
APPLY that hard-won wisdom:How does what you learned in your life help you understand the ideas you responded to in the text even more?
Which events or influences in today’s society have made a difference to how you responded to this text? Explain.

 

 

 

The Far and the Near by Thomas Wolfe

On the outskirts of a little town upon a rise of land that swept back from the railway there was a tidy little cottage of white boards, trimmed vividly with green blinds. To one side of the house there was a garden neatly patterned with plots of growing vegetables, and an arbor for the grapes which ripened late in August. Before the house there were three mighty oaks which sheltered it in their clean and massive shade in summer, and to the other side there was a border of gay flowers. The whole place had an air of tidiness, thrift, and modest comfort.

Every day, a few minutes after two 0 ‘ clock in the afternoon, the limited express between two cities passed this spot. At that moment the great train, having halted for a breathing-space at the town near by, was beginning to lengthen evenly into its stroke, but it had not yet reached the full drive of its terrific speed. It swung into view deliberately, swept past with a powerful swaying motion of the engine, a low smooth rumble of his heavy cars upon pressed steel, and then it vanished in the cut. For a moment the progress of the engine could be marked by heavy bellowing puffs of smoke that burst at spaced intervals above the edges of the meadow grass, and finally nothing could be heard but the solid clacking tempo of the wheels receding into the drowsy stillness of the afternoon.

Every day for more than twenty years, as the train had approached this house, the engineer had blown on the whistle, and every day, as soon as she heard this signal, a woman had appeared on the back porch of the little house and waved to him. At first she had a small child clinging to her skirts, and now this child had grown to full womanhood, and every day she, too, came with her mother to the porch and waved.

The engineer had grown old and gray in service. He had driven his great train, loaded with its weight of lives, across the land ten thousand times. His own children had grown up, and married, and four times he had seen before him on the tracks the ghastly dot of tragedy converging like a cannon ball to its eclipse of horror at the boiler head-a light spring wagon filled with children, with its clustered row of small stunned faces; a cheap automobile stalled up the tracks, set with the wooden figures of people paralyzed with fear; a battered hobo walking by the rail, too deaf and old to hear the whistle’s warning; and a form flung pas his window with a scream-all this he had seen and known. He had known all the grief, the joy, the peril and the labor such a man could know; he had grown seamed and weathered in his loyal service, and now, schooled by the qualities of faith and courage and humbleness that attended his labor, he had grown old, and had the grandeur and the wisdom these men have.

But no matter what peril or tragedy he had known, the vision of the little house and the women waving to him with a brave free motion of the arm had become fixed in the mind of the engineer as something beautiful and enduring, something beyond all change and ruin, and something that would always be the same, no matter what mishap, grief or error might break the iron schedule of his days.

The sight of this little house and these two women gave him the most extraordinary happiness he had ever known. He had seen them in a thousand lights, a hundred weathers. He had seen them through the harsh light of wintry gray across the brown and frosted stubble of the earth, and he had seen them again in the green luring sorcery of April.

He felt for them and for the little house in which they lived such tenderness as a man might feel for his own children, and at length the picture of their lives was carved so sharply in his heart that he felt that he knew their lives completely, to every hour and moment of the day, and he resolved that one day, when his years of service should be ended, he would go and find these people and speak at last with them whose lives had been so wrought into his own.

http://www.readfirst.net/wolfe.html 4/13/2010

The Far and the Near Page 2 of2

That day came. At last the engineer stepped from a train onto the station platform of the town where these two women lived. His years upon the rail had ended. He was a pensioned servant of his company, with no more work to do. The engineer walked slowly through the station and out into the streets of the town. Everything was as strange to him as if he had never seen this town before. As he walked on, his sense of bewilderment and confusion grew. Could this be the town he had passed ten thousand times? Were these the same houses he had seen so often from the high windows of his cab? It was all as unfamiliar, as disquieting as a city in a dream, and the perplexity of his spirit increased as he went on.

Presently the houses thinned into the straggling outposts of the town, and the street faded into a country road- the one on which the women lived. And the man plodded on slowly in the heat and dust. At length he stood before the house he sought. He knew at once that he had found the proper place. He saw the lordly oaks before the house, the flower beds, the garden and the arbor, and farther off, the glint of rails.

Yes, this was the house he sought, the place he had passed so many times, the destination he had longed for with such happiness. But now that he had found it, now that he was here, why did his hand falter on the gate; why had the town, the road, the earth, the very entrance to this place he loved turned unfamiliar as the landscape of some ugly dream? Why did he now feel this sense of confusion, doubt and hopelessness? At length he entered by the gate, walked slowly up the path and in a moment more had mounted three short steps that led up to the porch, and was knocking at the door. Presently he heard steps in the hall, the door was opened, and a woman stood facing him.

And instantly, with a sense of bitter loss and grief, he was sorry he had come. He knew at once that the woman who stood there looking at him with a mistrustful eye was the same woman who had waved to him so many thousand times. But her face was harsh and pinched and meager; the flesh sagged wearily in sallow folds, and the small eyes peered at him with timid suspicion and uneasy doubt. All the brave freedom, the warmth and the affection that he had red into her gesture, vanished in the moment that he saw her and heard her unfriendly tongue.

And now his own voice sounded unreal and ghastly to him as he tried to explain his presence, to tell her who he was and the reason he had come. But he faltered on, fighting stubbornly against the horror of regret, confusion, disbelief that surged up in his spirit, drowning all his former joy and making his act of hope and tenderness seem shameful to him.

At length the woman invited him almost unwillingly into the house, and called her daughter in a harsh shrill voice. Then, for a brief agony of time, the man sat in an ugly little parlor, and he tried to talk while the two women stared at him with a dull, bewildered hostility, a sullen, timorous restraint.

And finally, stammering a crude farewell, he departed. He walked away down the path and then along the road toward town, and suddenly he knew that he was an old man. His heart, which had been brave and confident when it looked along the familiar vista of the rails, was now sick with doubt and horror as it saw the strange and unsuspected visage of the earth which had always been within a stone’s throw of him, and which he had never seen or known. And he knew that all the magic of that bright lost way, the vista of that shining line, the imagined corner of that small good universe of hope’s desire, could never be got again. [1,436 words = 86,160/tot. sec. = words per minute]

http://www.readfirst.net/wo Ife.html

THOMAS WOLFE

 

 

WRITING FRAME

2.9 Form developed responses to independently read texts Name:___________________

Author/Director: _______________________________________________________________

Date text published: ____________________________________________________________

Title: ________________________________________________________________________

Text type: ____________________________________________________________________

Give your opinion.Eg: I liked this book because..Eg: I found these lyrics disturbing because…Eg: I found this film entertaining because…
Understanding the text:Eg: One significant idea I got from this text was…
Weave in a quote or specific detail from the text that supports the idea(s) identified.Eg: I saw this idea when…………. “_______”
Explain how this quote/detail made you think about your idea(s).
Weave in a second quote or specific detail from the text.Eg: Another example from the text is when…….” _________”
Explain how this second quote/detail made you think about your idea(s) in an even deeper way.
The text and me. How and why does this idea from the text connect with my personal experience or prior knowledge?Eg: Despite this I was shocked because…OREg: These ideas led me to think about how I..OREg: This made me think more deeply about…OREg: The aspect of the idea I really connected to was….What about the idea(s) in the text is similar to me? Different to me? How? Why?
The text and world. How does this idea from the text connect with my knowledge, experience, ideas or imagination of:Society?Culture?Literature?Politics?History?(Pick at least one and give specific, real life examples)What issues does the text highlight?What solutions would I suggest?ORWhat does this text teach me about life?
Evaluate and give your viewpoint.Eg: Even though the author’s purpose was to…….I think that he missed the mark because….Eg: The most effective part of this text was when…Eg: As a member of the audience, I think the author didn’t take into account…