2016 LTHS Required Summer Reading

2016 LTHS Required Summer Reading/Assignments
The following courses have requirements provided below:
 English 1 PreAP
 Environmental Studies AP
 English 2 PreAP
 Human Geography AP
 English 3 AP
 Music Theory AP
 English 4 AP
 Spanish 4 AP
Rationale for Pre-course Required “Summer” Reading:
In order to address the skills and expectations that comprise AP and SAT assessments, the AP and Pre-AP
programs must include both breadth and depth in the study of literature and writing. More works must be read, thus
generating a strong literary background that enriches literary, cultural, and philosophical experiences. This
requirement determines the pacing of curriculum, which must be accelerated. Thus, pre-course required reading is
 It is to the students’ benefit to utilize the summer in completing some of their reading in order to positively
affect pacing of work throughout the school year.
 We begin the first day ready for discussion and learning, which again positively affects pacing of work
throughout the year.
 Students must be strong readers, and pre-course reading encourages students to practice and improve
reading skills even during the summer months.
Work Selection:
 Instructors select works based upon the scope of each AP or Pre-AP class’s curriculum.
 Every work selected offers relevance to some component of study set forth by the state of Texas through the
TEKS or found on AP tests. The relevance of a work is dictated by its amenability to teaching writing skills,
cultural tolerance, stylistic analysis, or basic literary skills, such as the elements of literature.
 Every work offers challenging material, whether in the thinking required to break it down for its central
purpose or for its stylistic characteristics.
 All of the works combined, when looked at throughout the English AP program curriculum, offer an
impressive resume of reading that includes all literary genres and secondary reading levels.
English 1 Pre-AP Summer Reading
English I Pre-AP 2016/17 LTHS Summer Reading Study Packet
To Kill a Mockingbird by Harper Lee; ISBN: 0-446-31078-6
This is an information-only packet
(https://drive.google.com/file/d/0BzLWMJ6fD9Q6OHdvcklqeUF1SEE/view?usp=sharing) and will NOT count as a
grade and is NOT a required activity; it is HIGHLY RECOMMENDED that you read this packet and complete the
tasks it describes. This packet is intended to help you study for the Summer Reading Test which will be given during
the second week of school. It is also a helpful guide to annotations (also recommended, not required). However,
simply finding the answers to the provided questions will not help you score well on the Summer Reading Test. This
is meant to be a supplement to close reading, annotating, and rereading of the text.
Why Summer Reading?
Summer reading is an invaluable part of education at Lake Travis High School. Students will read the novels during
the summer and then participate in an study of the novel during the school year. A second read of a novel is a
valuable experience, and the understanding and comprehension a reader gains from the second reading of the novel
is immense. The first read allows the reader to become acquainted with the characters, understand the plot, and
enjoy the content of the novel. A second reading of the novel is a tremendous opportunity to investigate questions
regarding themes, analyze the author’s use of language, and complete a more in-depth analysis. A more thorough
knowledge and understanding of the novel occurs in the second read. Summer reading allows students a valuable
opportunity to do this.
It is also important to keep the brain active over the summer. This eases the transition back to school and also
creates a starting point in the school year.
Failure to read the summer reading texts will place a student behind other students and require him/her to catch-up
during the first few weeks of school. Because the transition to high school is difficult for most students, starting in a
position where one has to play “catch-up” makes the entry into a new campus even more overwhelming.
Students will begin working with and discussing the summer readings on THE FIRST DAY OF SCHOOL in August. It
is suggested that students read the texts at the beginning of the summer and then RE-READ the text at the
beginning of August.
Basic Tips:
In order to be successful in your summer reading, please consider the following tips:
- Do not read the book at the beginning of the summer and not look at it again.
- Be careful not to rely too heavily on sites such as sparknotes.com or cliffsnotes.com. While these are useful
sites to help you review and study, they should not be used in place of reading the book. It is not possible to
pass the test using only these resources.
- Do not rely on the movie version. It is not the complete text.
- Form a study group: Meet with other people who are taking Pre-AP and discuss the book. Create questions
beforehand regarding the book and have discussions using the questions.
- Actively read. This means do not try to read between commercials. Make sure you are focused on your
reading. Even if there are not a lot of distractions around, sometimes we end up looking at the words rather
than truly reading; annotating will help you avoid this loss of focus. So, read with curiosity, and with a pen or
pencil in hand, ready to annotate.
- Make summary notes after each chapter of: major characters involved, words that describe them, major
plot events and conflicts, thematic ideas, what you think the author’s purpose may be. And, consider giving
each chapter a creative title – this will help you remember and review each chapter’s content.
- Doing this work over the summer will help you when we study the book during the school year.
Annotating is the act of taking notes in a book to help the reader better understand the content. Essentially, it is a
conversation between the reader and the book. You should either have your own book, or make sure you can borrow
the book for a long period of time. If you do not own the book you are reading, you may take notes on paper or post-it
Often, students come to class on the first day thinking that they have annotated the summer reading text because
they have underlined, circled, or highlighted the text. However, this marking only is NOT annotating. While your
annotations may contain some of these markings, true annotations are words written by the reader that make
predictions, summarize plot, ask questions, etc. See the suggestions below. Simply marking the text without writing
anything will NOT help you as a reader or test-taker. You should be writing much more than marking.
About Annotating (©TaraBantonPaulson, 2013)
I. Learning to annotate is a process – be patient with yourself, your reading, and me.
II. Annotating is supposed to make information stand out – do not mark everything because, when looking for
information later, you just have to reread everything again. Also, when you mark too much, it actually gets in
the way of comprehension because it breaks up the flow of the content. There’s a fine line between too much
and too little.
III. Annotating is very important. It does two things: 1) it makes you focus on the text when your mind might want
to drift, thus improving comprehension and leading to processing on a deeper level, and 2) it makes it easier
for writing later because it really cuts down on having to reread or search for information that you may want to
use as evidence in your writing.
IV. Not all annotating is alike. There are purposes for annotating just like there are purposes for writing.
A. If you are reading something for the first time, for general understanding, then you would annotate it
as a first reading. This means reading and marking items that stand out as being significant. This
takes practice, and the better you become at analysis, the more those “important” things will stand
out. These could be movements in plot, touching and very cool use of language, repetition of
symbols (motifs) or diction, and so on.
B. Write major plot points at the tops of pages so that they are easy to find later, if needed for writing.
C. Recognize the difference between what is called bridging material and crafted material. Bridging
material refers to those pages in a major work that bridge between major scenes. When an author
wants to simply advance plot, the reading moves rather quickly, and the readers feel as if they are
moving quickly with the reading. When an author has carefully crafted a section, the reading all but
stops. The text becomes so rich in meaning and language becomes so complex that the reader is
forced to slow down and pay attention. These sections within a large work are going to have a lot of
annotations versus the bridging sections. Crafted passages can be and are often isolated as pieces
for close reading and analysis.
D. Annotating for nonfiction means reading and marking what I call “testable” information. For each of
your teachers/professors, depending on their focus, this will be different. This means that you need
to get good at reading your instructors. For some subjects (for example, history), dates, specific
names and places, and other more detailed information may be the focus and therefore “testable.”
For others (like English), categorical and thematic concepts might be the focus. Part of becoming a
strong student is learning to understand purpose, whether in reading, writing, speaking, or
--------------------------------------------------------------------------------------------------------------------What should you mark in your book?
- Questions: If you wonder why something happens or what the purpose of something is, write the question
in the margin.
- Interpretations: When reading a tricky passage, it is best to re-phrase the meaning in just a few words.
- Foreshadowing: If an event in the book helps you to predict what may happen later, make a note of it.
- Tone: The author’s attitude toward something. How a character feels.
- Mood: How a scene or description makes you (the reader) feel.
- Symbols: Does any object in the book have a figurative meaning? i.e.: the color red is symbolic of
festivities and good fortune, or life and energy.
- Literary Devices: You will learn many more literary device terms next year, but you can look for what you
already know i.e.: simile, metaphor, imagery, personification, repetition, parallelism, etc. And ALWAYS
consider what the purpose of this device is. Emphasis is NOT a great answer. Your annotations should
include why the author chose to write that statement THAT way.
- Basic Plot: At the top of each page, write 2-5 words summarizing what happens on that page. This will
allow you to easily scan your book to find quotations and/or specific parts of the book we are discussing or
writing about in class.
- Theme: A message, lesson or idea that is apparent in the book. Most works have several themes. For
example, loyalty, injustice, prejudice, courage, etc.
- Traits that make the characters stand out (physical, emotional, intellectual, etc.)
*Annotating a text properly takes a great amount of time. Be prepared to spend twice the time you would typically
spend reading each page. In the end, when studying for the Summer Reading Test, these annotations will save you
hours. Also, you will be tested on your ability to make good annotations on a selected passage, so your practice will
pay off.
Please fill out a detailed description of each of the following characters. Describe the character’s physical
appearance, personality, and motivations; note anything important that happens to the character, and what they
value. Also note their relationship to other characters.
Your summer reading test will consist of several questions regarding the characters. It is very important to know and
understand them. A portion of the test will ask you to identify which character is being described in each provided
quotation, and another section will ask you which character is speaking in the provided quotation. Look for and mark
quotations that seem to reveal something important about the character that is being described or is speaking.
Atticus Finch
Mr. Gilmer
Scout Finch
Tom Robinson
Jem Finch
Robert Ewell
Miss Maudie
Aunt Alexandra
Cecil Jacobs
Mr. Underwood
Arthur Boo Radley
Mr. Nathan Radley
Mrs. Dubose
Miss Caroline
Mayella Ewell
Mr. Heck Tate
Judge Taylor
Link Deas
Helen Robinson
Grace Merriweather
Burris Ewell
Reverend Sykes
Uncle Jack
Walter Cunningham
Miss Gates
Walter Cunningham, Jr.
Miss Rachel
Miss Stephanie Crawford
Dolphus Raymond
Mr. Avery
Themes are ideas or messages that are apparent in the book. They are universal truths. Most books have several
themes. Try to write three theme statements for To Kill a Mockingbird.
(Example of a good theme statement: Courage allows people to attempt difficult tasks in their lives, even when the
possibility of failure is very high.)
Theme 1:
Theme 2:
Theme 3:
English 2 Pre-AP Summer Reading Annotations Expectations
Title: The Sun Also Rises by Ernest Hemingway
ISBN: 978-0743297332
Annotations are REQUIRED
Annotation Directions: Select five passages from the book to annotate heavily. You will be expected not only to
highlight and identify devices, but also to make notes about the significance of those devices. Additionally, you
should make notes about the general content of the passage separate from devices.
Passages should be approximately 2-6 pages and should occur over the course of the whole book (in other
words, don't pick your five passages in the first thirty pages). The last annotated passage should be within the final
15 pages of the book. Select passages that you believe to be significant. Some examples of things that may make a
passage significant are:
a passage that reveals or illustrates a major theme
a passage that introduces or provides significant insight to a major character
a pivotal or climactic moment in the plot of the book
a character has a major epiphany
a passage that reveals something significant about the setting
a passage that establishes or reveals a major conflict
**During the first week of school, be prepared to be assessed on your ability to analyze the novel,
specifically your annotated passages, through writing.
English III-AP Summer Reading Assignment
The Summer Reading Assessment will consist of the following:
1) a close reading and annotating of two fabulous books: Fahrenheit 451 by Ray Bradbury (ISBN # 978-1-45167331-9) and Into the Wild by Jon Krakauer (ISBN # 0-385-48680-4) See pages 4-5 of this section for annotation
2) the TDECDEC summer writing assignment, which you will be submitting to turnitin.com within the first week of
school; in addition, an open-book TDECDEC timed writing
3) a test over both books (multiple choice, quote- and character-matching, and true/false)
A warning against plagiarism and cheating:
Students are expected to complete the annotations and the TDECDEC responses individually, without the aid of others or
help from the Internet. While it is acceptable to discuss the two works with others, no other student should see your
annotations or your TDECDEC responses, nor should you see anyone else’s. We can’t stress this enough. Every year, we
find at least one instance—usually more—of two or more students submitting responses that are similar in wording,
phrasing, structure, and/or ideas. Even the selection of your examples/details—which is part of what we’re assessing—
should reflect your own decision-making. Typically, it’s because one student, thinking he or she is being a helpful friend,
has shared his or her responses with another student. But this sharing of answers, too, is wrong. And, in these cases, the
receiver and the giver both receive consequences.
The requirement for each response: TDECDEC (≈ 7-9 sentences)
(T)opic Sentence – An opening statement that declares your answer to the question. At its heart, a topic sentence
consists of the claim (not merely a simple fact) that you are advancing about the text. And yes, use language from the
question in your topic sentence to set up your answer.
(D)etail –direct quotes (words, phrases, and quote fragments—not long passages or full sentences)
from the text that serve to prove or support the claim you expressed in your topic sentence. Be sure
to select details that strongly support your topic sentence and to cite the page number of the
selected detail (see the model TDECDEC on the following page for how to format citations).
*Because you’re writing a TDECDEC, you need to include direct-quote details from two
different places in the text, even if only separated by a couple of pages.
(E)laboration – Factual information (context)—woven with the selected detail—that serves to orient your
reader. Elaboration largely answers “How?” the writer went about developing his or her ideas. It
can take several forms:
The placement of the Detail (Beginning, middle or end of the chapter?)
The context of the Detail (What just happened prior to the D? What’s going on in the scene or
argument? Who says/asserts/does this? Why is the author/speaker/character saying or doing
this? Whom is the author/character addressing?)
Paraphrasing of the Detail into your own words may be necessary if the literal meaning of
the Detail is hard to understand by itself.
(C)ommentary – Commentary largely answers “Why?” and “So What?”
Make clear to the reader why the details you chose connect to and support the claim in your
Topic Sentence.
Explain why the author included the Detail. (What is Bradbury’s or Krakauer’s purpose in
creating/reporting the Detail you selected? What is the intended effect?)
This is your turn to bring something to the table. Try extending the meaning of the Detail by
either explaining its larger (i.e., thematic) significance, connecting it to your knowledge/
experience of society, history, pop culture, etc., or even by questioning the validity of the writer’s
See the next page for a sample TDECDEC response.
Detail and
should be
— coming
directly from
the text—
that can’t be
should be
because it
features your
insight and
analysis; it is
arguable. Or
someone else
may notice
about the
Sample TDECDEC response for Into the Wild
Question: How does Jim Gallien’s description of Chris McCandless
in Chapter 1 reveal his conflicted view of the boy?
Jim Gallien’s recollection of their car ride reveals his conflicted opinion
of McCandless; while he seems concerned about Chris’s naïve understanding
of the unforgiving Alaskan wilderness, he is impressed by the boy’s
intelligence and determination. Gallien—recalling that McCandless lacked
basic essentials, such as a compass, snowshoes, anti-mosquito protection, an
Topic sentence provides a
claim to defend. Notice
that I’ve promised the
reader I will prove TWO
different ideas.
Detail (direct quote)
woven into a sentence
with elaboration
(paraphrased context)
ax, heavy-duty boots, or a proper gun—initially finds fault with Chris, and
Krakauer notes that Gallien “wondered” if Chris was “one of those crackpots
from the lower forty-eight who come north to live out ill-considered Jack
London fantasies” (Krakauer 4). Krakauer’s description of what is likely a
Parenthetical citation
with author’s last name
and page number of
selected detail at the end
of the sentence.
Commentary that offers
insight about the Detail.
common attitude about those of us from “the lower forty-eight” among
experienced outdoors folk like Gallien, serves to introduce an argument—that
it’s easy to romanticize life in the wilderness and underestimate its dangers.
However, 6Gallien also notes that Chris, who seemed “well educated” and
who asked Gallien “thoughtful questions about the kind of small game that
Transition word of
contrast—signaling a shift
to the second part of my
Start of DEC#2—Details
(direct quotes) woven into
a sentence with
elaboration (paraphrased
live in the country, the kinds of berries he could eat,” was not merely some
inexperienced 7“nutcase” incapable of surviving on his own 8(5). 9Despite
“nutcase” is such a
specific word choice, so
it’s quoted
whatever offensiveness Gallien might have felt because of Chris’s naivety, he
is clearly impressed with the boy’s unshakeable grit and excitement about his
plan to hike into the Alaskan bush and live off the land. 10Krakauer likely
chooses to begin his book with Gallien’s conflicted impression of Chris
because he expects his readers to experience this same ambiguity, forcing us
into a deeper examination of Chris McCandless.
Notice, the second
parenthetical citation
only needs the page
Commentary that
connects the Detail to my
Topic Sentence and then
attempts to explain how
the Detail helps the writer
achieve his larger
TDECDEC Analysis Questions for Fahrenheit 451
1) Captain Beatty explains to Montag that over time the content of films, radio programs, magazines, and books were
“…leveled down to a sort of pastepudding norm…” (51). Explain why the content of books and other media has been
“leveled down” in the society of the novel. [The detail/quote from the question cannot count as one of your details.]
**I recommend answering the above question only after you’ve read and annotated the entirety of the
conversation between Montag and Captain Beatty (pgs. 50-59) at least twice. It’s arguably the key passage of
the novel, containing a majority of Bradbury’s ideas. (From a reading comprehension perspective, it’s also one
of the most difficult sections.)**
2) After reading Montag’s conversation with Faber (pgs. 76-87), answer the following question: What is a specific
example of a TV show, movie, or album that you have seen or heard that, in your opinion, meets Faber’s definition of
 First, using details from the text, interpret and explain Faber’s definition of “quality.”
 Then, include specific details (descriptions, song lyrics, etc.) from the movie, TV show, or album to support
your argument that this work meets Faber’s definition of “quality.”
3) After reading (and re-reading ) Granger’s conversations with Montag (from when they meet until the novel’s end),
what’s one argument about human behavior you believe Bradbury is advancing through Granger’s ideas and
TDECDEC Analysis Questions for Into the Wild
1) In Ch. 4 – What conclusions can we make about Chris’s philosophy and outlook on life based on the decisions and
actions Krakauer describes? (In particular, make sure to address the flood at Lake Mead, as well as the excerpts
from letters and journal entries that Krakauer includes. So, this will require a TS with two parts. Ex. Based on the
decisions and actions Krakauer highlights in Ch, 4, we can conclude that McCandless values _______;
additionally/however/in fact, he believes ___________.
2) In Chapter 6, Chris strongly advises Ronald Franz—especially in the letter Chris sends from Carthage, South
Dakota—to change the way he is living. Summarize and explain Chris’s philosophy, which he advocates through
his encouragement to Franz. As part of your commentary, describe an area of your life or behavior where you
presently practice the ideas reflected in Chris’s advice and explain how your personal example reflects Chris’s
philosophy. (Or...think about a specific area of your life that you feel would benefit from the philosophy Chris
advises Ronald Franz to follow. Or…using examples from your life, explain why you disagree with Chris’s
3) Chapters 14-15 — Through the use of his own story of climbing Alaska’s Devils Thumb, what arguments about
Chris McCandless is Krakauer attempting to advance and/or refute? In your analysis, make sure to address
Krakauer’s thoughts on what they were both seeking, what they were both naïve about, and why. [Quoted details
should come from Ch. 14-15]
4) Chapter 16-18 – Although in his “Author’s Note” Krakauer suggests he desires to “leave it to the reader to form his
or her own opinion of Chris McCandless,” based on these final chapters, what opinion of Chris do you believe
Krakauer hopes the reader will arrive at by the end of the book? In your commentary, address whether or not
Krakauer’s opinion of Chris aligns with your own and explain why or why not. [Quoted details should come from Ch.
Expectations for Annotations
Annotating is a permanent record of your conversation with the text. Through marking the text and writing notes, it’s a
way for you to interact with, talk back to, and join in the conversation with the author and the work he or she created. It’s
important that you create an annotating system that works for you. This system might involve various symbols and
highlighter colors. However, simply underlining, highlighting, or drawing symbols is not annotating; it’s the notes
and comments you make in the margins that create the conversation.
You must have a hard copy of both books, not simply an e-copy. Annotations must be done by hand—in your writing.
(No, you can’t use your older brother’s book from two years ago.)
There’s no one way to annotate. However, for this assignment, we’d like you to focus on the following:
When vocabulary or terms impede comprehension, you are expected to look up the word and define it (using the
definition Bradbury/Krakauer uses.)
Start with comprehension of the literal meaning. Before we can notice anything fancy or deep, we must make sure
we understand what is happening or, especially with Into the Wild, the basic argument or claim Krakauer is making.
Writing out the main idea or paraphrasing a tricky sentence into your own words is essential for basic
Make a note about sentences or word choices that you feel are significant to the author’s purpose/meaning.
Chart your own reading comprehension—marking places that confuse you that you need to reread or further break
Since Into the Wild is nonfiction, in particular, you want to focus on the arguments Krakauer is advancing. Also, as
you will see in the annotating example on the following page, many of the epigraphs that appear before each
chapter are connected to his overall purpose for each chapter and some are quite difficult, so don’t ignore these
when annotating.
Since Fahrenheit 451 is fiction, annotating for theme is essential. However, like Krakauer, Bradbury is also
engaged in an act of persuasion, so pay attention to how he creates a fictional dystopian world to advance
arguments about issues and behaviors in contemporary society.
Identify moments of conflict (internal or external) for characters (F451) and people (Into the Wild).
Comment on inferences you make about characters (F451) and people (Into the Wild) and how/why they change.
Note details about the setting, time period, culture, world of the story.
Analyze (don’t simply identify) how the author creates meaning through figurative language; in other words,
identifying the idea the author is communicating through a metaphor, simile, etc.
But doesn’t this slow the reading down? Yes, absolutely! Because annotating forces you to put on the breaks and
drive slowly, you are far more likely to notice the scenery and uncover ideas that would not have surfaced otherwise.
As students, many of us have mastered the art of surface (or pseudo) reading. Annotating helps thwart our scheme
to merely skim and “fake read.”
While you are certainly encouraged to annotate Fahrenheit 451 and Into the Wild in their entirety, we will be
assessing your annotations of the following sections.
Sections in Fahrenheit 451 to annotate closely
Montag’s conversations with Clarisse
Montag’s experience concerning the fire call at 11 North Elm, including his conversation with Mildred afterward
Captain Beatty’s long explanation at Montag’s house about what happened to books
Montag’s initial meeting with Faber at Faber’s house
Montag’s conversations with Granger
Sections in Into the Wild to annotate closely
Chapter 4
Chapter 6
Chapters 11-13
Krakauer’s concluding observations following his climb of the
Devils Thumb
Chapters 16-18
Example of annotations for one page of Fahrenheit 451 and Into the Wild
We imagine you might be feeling a little overwhelmed at this point. That’s okay. It’s normal…and good.
This summer reading assignment will require some significant time and effort from you; however, we feel
pretty confident in saying that the amount of time and effort you put into it will be commensurate with the
amount of pleasure you derive from it. That’s true for this class as a whole.
We look forward to getting to know you next school year. We’re excited that we get to begin our time
together discussing these two fantastic books.
English 4 AP Summer Reading Assignment
2 Separate WORKS with multiple parts each
Due: First day of school
BEOWULF (ISBN# 9780393320978) – the required edition
You must get the correct edition because not all translations are alike (ISBN listed above; NO borrowed/pre-annotated
copies will be accepted). Read and annotate so that you will know the work’s basic elements, leaving you prepared for
the second reading where the magic of analysis and reflection happens. Enjoy – it’s a fun read!
Part 1. ANNOTATIONS: I am BIG on annotations and it is a grade. Turn in book on first day of school fully annotated.
1) Write major plot events at the top of the pages.
2) Annotate/mark important literary devices.
Part 2. DISCUSSION PARAGRAPHS: Write 3 solid paragraphs (including supporting quotes) for the following topics:
1) the characterization and the symbolism of Grendel
2) the characterization and the symbolism of Grendel’s mother
3) the characterization and the symbolism of the dragon
Write 300 word minimum for each paragraph
List the Word Count following each typed paragraph
Submit to TurnItIn.com on the first day of school for a major grade.
POETRY STUDY ASSIGNMENT: 5 biographies, 5 TP-CASTT's, 5 reflective analysis essays
(TP-CASTT and essay should be over the same poem)
In Bloom’s book, The Best Poems of the English Language, please read the following poets and works (annotations will
be checked):
 John Donne: “Song,” “The Ecstasy”
 John Milton: “Sonnet XVII. When I consider how my light is spent,” “from Paradise Lost, from ‘Book 1’”
 John Keats: “On the Sea,” “Bright Star”
 Alfred Lord Tennyson: “Tears, Idle Tears,” “Crossing the Bar,”
 William Butler Yeats: “The Song of Wandering Aengus,” “The Wild Swans at Coole”
PROJECT ORGANIZATION: Please place the following items FOR EACH POET behind its own divider (5 poets = 5
1) An original bio of the poet, complete with interesting and pertinent historical and literary facts - similar to one
you might find in a literature textbook. It should be an original summation based on any research you may
complete. Include quotes and in-text citations, of course. Word count is to be listed on each bio; minimum count
= 150 words.
2) TP-CASTT your favorite of the two poems for each poet. TP-CASTT’s must be thorough. Please see the
instructions below and the model that follows. 5 poets = 5 TP-CASTTs
3) Write a Reflective Analysis (RA) over the same poem you TPCASTT-ed for each poet. Again, 5 poets = 5 RA’s.
These documents must include a word count; minimum count = 500 words.
Reflective Analyses:
a) A reflection, an honest reaction to the work - if I can’t hear your voice in your writing, then it’s not a heartfelt
b) Support the your points with quotes
c) A reflective analysis is NOT is a summary – a summary will only receive half credit
• TP-CASTT's should be in listing/outline/bullet format (no essays or paragraphs); reflections should be in essay
format (however, they are not formal essays - write about what you want - allow your reaction to the poetry to
guide your writing).
• All final work should be typed when submitted.
• After you turn in your work, you will be asked to submit your typed and SAVED work to 'TurnItIn.com', so,
please, no funny business. When you submit this document, you must copy and paste all documents into the
Tii.com window and submit as a run-on whole.
• You will need a single Works Cited page (MLA style) for your research on the poets' bios.
• This assignment is due the first day you return to school in the fall.
Set a reasonable time limit for each step of the process, like 20 minutes for each bio, 30 minutes for annotating each
poem, 20-30 minutes for each TP-CASTT, and then 30 minutes for RA writing. The poetry project is meant to:
1) get your toes wet with poetry – get through a little of the initial struggle on your way to becoming comfortable
with it, and
2) internalize the TP-CASTT method for future practice and efficiency on the AP test.
Poetry is a different animal, and I am well aware that you have had limited experience with it. So, if you are feeling
frustrated or insecure about it, that's NORMAL – do not get discouraged. I am not looking for perfection . . . just honest
TPCASTT: An Approach to Poetry
Employ the following steps to probe individual poems.
T title
Consider the significance of the title. What is your initial reaction to it?
P paraphrase
Put the poem into your own words, line by line, stanza by stanza -summarize. In this step resist
the urge to find abstract or symbolic meaning. For a poem more than 10 lines long, please
paraphrase by stanza. If there aren’t stanzas, then paraphrase logical movement/flow of ideas
(this will usually be every 3 to 5 lines).
C connotation
Consider the poem at a deeper, more interpretive level. Identify figurative language, but much
more importantly, consider how individual devices (simile, metaphor, personification, and so on)
contribute to overall meaning. Assess the poem for sound devices (rhyme, assonance,
consonance, onomatopoeia, alliteration). Are there symbols in the poem?
A attitude
Another way to express tone, i. e., the author / speaker attitude toward the subject matter. This
should be identified with two or three adjectives that would describe the quality of the author's
voice if he were reading the poem.
S shift
Look for strong breaks or movements within or between stanzas.
T title
Reconsider the title after full examination of the poem. Is there more significance to it than
T theme
Identify the subject of the poem with a thematic concept at first. It should be an abstract word,
like love, innocence, or illusion. Respond to the following question in a single sentence: What
does the poem say about the concept? Write a complete statement capturing the poem’s
Sample TP-CASTT: “La Belle Dame Sans Merci”
I. Title. My original instinct from the title was that the poem would not be a pleasant one. “La belle dame sans merci”
means the beautiful woman with no mercy. This translation is clearly a foreboding and unpleasant one. When I saw the
title I thought of a beautiful girl showing no mercy for a man’s heart and therefore a tragic poem would be soon to follow.
II. Paraphrase
A. Stanza 1. What could cause pain to such a knight wandering alone and sickly? The plants have left the shore of
the water and no animals remain in this desolate place.
B. Stanza 2. What can pain this knight so that he looks worn and distraught? The squirrel has gathered its winter
food and so have the farmers.
C. Stanza 3. I see whiteness on his face and perspiration ever present; on his cheeks, the redness is quickly
fading away.
III. Connotation
A. Rhetorical Questions
1. “What can ail thee…?”
This question is meant to get the knight as well as the reader thinking about how the knight may have gotten
here. It leads into the sad story of the lonely knight.
B. Contrasted tones. Between stanzas one and two there is a brief change in tone when he describes the lake as
“withered” and then describes the squirrel as having a winter stock that’s “full”. This change shows that not all is
desolate for the knight and adds a sense that maybe the knight choose to be this way. Not that it was a
conscious decision but rather a subconscious one.
C. Metaphor
1. “a lily on thy brow”
2. “on thy cheeks a fading rose”
These images are used to expresses the knight’s condition. He is pale like a lily and barely red on the cheeks.
These images show a pathetic looking knight making the sight even more distressing.
D. Symbolism. Keats uses the Knight to symbolize a character of safety and power. By showing that even a great
knight can be defeated, he is showing the true power of desire.
E. Rhyme. The rhyme in this poem is fairly standard, except that the first in third lines do not match. The only
rhymes are in the second and fourth lines of stanzas which rhyme together. By only having these lines rhyme,
Keats has more freedom to adjust the meaning as he wishes.
F. Mythical wording
1. “a faery’s child”
2. “a faery’s song”
3. “elfin grot”
These are all images of either royalty or of fairytales. He uses them to show the mythical life of this night and
bring the reader back into perspective, remembering that this is a fairytale but can be applied to real life.
G. Diction
1. “long”, “light”, “wild”
2. “sweet”, “wild”, “strange”
3. “wept”, “sighed”, “wild wild eyes”
All of these words are very defiant and definite. They carry a specific tone with them and are the epitome of
contradiction. Keats describes everything using the perfect words. He describes the girl as beautiful but also
says she “wept”, “sighed”, and had “wild eyes”. These are all signs that should have worried the knight. Keats
really does describe everything perfectly.
IV. Attitude. I think the poem has a very morose and melancholic feeling to it. The author feels the sadness and defeat
that the knight suffers and therefore can sense the tragedy surrounding the poem.
V. Shift. He shifts from talking about the man to talking about the lady. He describes him as worn down and ill but
describes her as gorgeous and irresistible. He also lists things the man did and then talks about what the woman has
VI. Title. I think the title fits perfectly. I felt that the woman was two-faced in that she was beautiful on the outside but
merciless at heart. Keats modeled the poems title after a medieval poem written by Alain Chartier. The poems title is
like a summarizing line about the poem, and this one summarizes it perfectly.
VII. Theme. Deception: those that are beautiful are often evil, and though they have much to offer, they often leave you
AP Environmental Science
Dear AP Environmental Science Students,
We are looking forward to spending next year with you exploring the subject of Environmental Science. We hope
you enjoy learning about it as much as we enjoy teaching it. This subject is exciting and very relevant in today’s society.
Environmental Science seems to be all over the news right now, but it is definitely not a new field of study.
The modern environmental movement began several decades ago. In 1962, Rachel Carson’s book Silent Spring
was published and is widely viewed as one of the most significant environmental books ever written. This book inspired
the modern environmental movement by informing the American public of the dangers of pesticide use to both the
environment and human health.
Please read this novel over the summer. We will be incorporating the lessons of this novel throughout the year and
you will be expected to have a solid understanding of the material (especially the first six chapters) by the first week of
The information in this novel was first shared with the general public through a series of articles in The New Yorker
(a magazine). Keep this in mind as you read the book – it was not originally published to be read cover to cover. Most of
America read a chapter in The New Yorker each week and had time to reflect on the material before the next article was
published. You should take time to reflect on the material of each chapter as well. Make good notes, as we will be
referring back to this material throughout the school year. Feel free to email us if you have any questions as you read
the book. Have a wonderful summer and we will see you in August.
AP Environmental Science Teachers
AP Music Theory Summer Information
Prerequisite of the course is that student is highly recommended to be in an LTHS performing ensemble. If not, and
student is a confident musician and music reader, teacher approval is required.
Musical Symbols: (know symbols and definitions)
Treble clef
quarter note
Bass clef
eighth note
half note
whole note
all corresponding rests
Leger line
repeat sign
Name the Notes: (Be able to name both treble and bass clef)
Write in the Rhythm: (Use numbers, i.e. 1 & 2 & 3 & 4 &)
To Get Ahead: If you are able to easily do the above exercises, knowing key signatures by memory will give you a
definite advantage in the class. It is one of the first things taught and must be memorized to continue in the course.
All information needed to complete the exercises can be found online and practice music theory drills can be found at
LTHS AP Human Geography Summer Assignment
150 Essential Locations
What am I doing?
Labeling world outline maps with the features listed below in preparation for a map test the first week of school. These
are the essential countries and physical features you must know in order to be successful in this class. Each unit we will
review these locations, and then we will add more to your knowledge base (cities and less prominent physical and
political features). These Essentials will create your foundation and the expectation is that you will learn and know 100%
of these on the first day of school!
When are the maps due? How will the maps be graded?
The First Day of School. Quiz grade – maps are graded based on completion and neatness.
How many maps should I make?
At least 2 – You will not be able to label everything clearly on one map. It is best to label political (countries) and
physical (water, landforms) features on separate maps.
When is the first map test?
During the first week of school. Your teacher will give you more information on the first day of school, but you should
thoroughly study this summer.
How do I study?
Studying for map tests takes time and preparation. The first step is to find each feature and label blank outline maps.
You can use the list below and quiz yourself by labeling a blank map and seeing how much you know. Listed below are
links where you can test yourself online.
Online Map Quizzes (There are more on my website under Map Quizzes tab.)
Blank Outline Maps (You can use any blank maps you would like, and here are some sources.)
What do I need to know/label?
List of 75 Essential Political Features
List of 66 Essential Physical Features
7 Continents, Equator and Prime Meridian
AP Spanish 4 Summer Information
Please access the required Summer Assignments at: https://app.schoology.com/page/597855307