11 th Grade
AP English Literature and Composition Syllabus
Course Description:
This course is designed to engage students in a rigorous study of reading and writing.
Using guidelines prescribed by CollegeBoard AP, I have prepared a course of study on par with a beginning-college level English course. You will be asked to read closely, discuss openly, and write thoughtfully each day. We will work to develop continued sophistication in all of these areas, with special attention to developing a broader and deeper understanding of literary terms and rhetorical techniques.
As has been this case in all of your studies at Woodlawn School, there will be a constant focus on subject integration. Throughout the year, our studies will integrate with science, mathematics, art, Spanish, and, most often, history. You will be continually asked to consider the literature you are reading within its historical and cultural context. As well, we will approach all of the work with from the angle of a Humanities scholar (i.e. how does the work make us more humane?)
Because you are studying American History this year, we will focus primarily on
American literature of the 19th and 20th century. The American literature that we read will offer a varied and informative portrait of American culture: from 1880-1960, from
New York, to Nebraska, to Alaska, and many points in-between. Our authors are male and female, black, white, and Chicano, wealthy and poor. We will study important historical and cultural events to help us understand each novel. We will identify what is uniquely American about each novel, and how each novel responds to the notion of the
American Dream. Some of the essential questions we will focus on this year include:
What is the American Dream? How has the American Dream changed over time? What does it mean to be an American?
In addition to the core study of American literature, the course will be supplemented with works of literature from Europe and South America. In addition to analyzing and understanding these works on their own, we will use them to create an awareness of how
American literature fits into a wider body of literature and to consider influences of the techniques and forms of American authors.
This course will offer an introduction to the basics of literary criticism. Students will be asked to apply various schools of literary criticism (including historical-biographical, new, reader-response, feminist, and deconstructionist) to several of the novels, dramas, and poems.
Students will publish and revise work frequently in this class. You will be asked to share your work and to critique each other’s work. You will publish, among other pieces, a flash-fiction story, a short story, a portfolio of poetry, a literary criticism essay, a research paper, and many short essays, including expository, argumentative, and analytical.

Reading Assignments:
My basic expectation is that you read every assignment closely and on time. For you to be successful in this class (and for the class to be successful as a whole), you must come to class prepared to discuss and analyze the reading. Contribution to classroom discussion will be a significant part of your final grade, and we will discuss and develop guidelines and techniques to help each of you contribute successfully (asking probing questions, you will discover, is as important as offering answers and insight).
You are expected to read actively in order to best prepare yourself for discussions, inclass writing, and essay writing. Essentially, this means reading with a pen or pencil in hand in order to jot ideas and questions and to identify key or confusing excerpts of text.
Again, we will work to identify and develop a variety of active-reading techniques. I will meet with each of you individually at several points in the year to observe, evaluate, and discuss your active-reading skills.
Writing Assignments:
For the purposes of organization, the writing you will do in this course is divided in three sections: in-class, creative, and critical. The emphasis on the three sections is roughly equal. It is important that you are prepared to workshop and share everything that you write (with the exception of certain more personal essays and/or reflections). With the exception of in-class writing, all of your work should be typed, double-spaced, spellchecked, and rigorously proofread. I am very unsympathetic of typos, grammar errors, and misspellings.
In-class:
You will write in your journal each day. Frequently, this will be in the form of a 5-10 minute journal entry at the beginning of each class. These journal entries may be in response to a specific prompt written on the board, or it may be in a more open, readerresponse format. The purpose of these journal entries is to get you to write thoughtfully about your reading and to prepare you for class discussion. Occasionally, you will have a short reading quiz (unannounced); these quizzes will be a part of your journal. Your journal will be kept separate from your class notes and it will be collected several times each trimester.
Additionally, you will write several timed, in-class essays (between 30 and 55 minutes each). These essays will frequently be based around the text you are reading. Other times, they will be in response to an excerpt of text that is handed out with the essay assignment.
Several times each trimester you will be given an AP-based examination essay. Students will develop important skills that will allow them to organize and develop a clear essay in a short period of time.
Creative:
I have designated a 30-minute block of time each week devoted to creative writing.
Generally, you will publish or workshop a piece of writing each week. We will focus on a

different genre of writing for each trimester. In addition to the writing, we will study several experts within each field to anchor our understanding of the general form, and to understand different artistic techniques. At times, you will be asked to emulate a specific author or technique; however, you will always be encouraged to discover and cultivate your own writing voice.
We will study flash fiction and short stories in the fall, personal essay in the winter, and poetry in the spring.
Critical:
You will each write several critical papers in response to novels, dramas, and poetry.
Although each assignment will be different and have its own set of guidelines and expectations, in general, you will be asked to develop an original thesis and utilize textual evidence and research in order to analyze a specific work (or works) in terms of structure, style, theme, symbolism, and/or historical/cultural significance. Each paper assignment will come with its own overview, set of requirements, and rubric; however, each essay will be graded in terms of organization, diction, clarity.
Typically, I will require rough drafts of these papers. You will have many opportunities to workshop your writing with your peers. As well, I will have a one-on-one workshop with each of you at least once per trimester.
Exams:
You will take a 2-hour final exam at the end of each trimester. These exams are always cumulative and everything you have read in the course is fair game. The exams will be a combination of several short essays (8-12 sentences) and one long essay (2-3 pages).
They will not be open-book or open-notes. We will spend several class periods discussing effective ways to approach these questions and how to effectively prepare for the exam.
Grading:
Each project, paper, homework assignment, test, and quiz will be graded out of a maximum number of points. For example a test might be worth a maximum of 150 points, while a journal assignment might be worth 5 points. The maximum number of points reflects the overall worth of the assignment in the student’s final grade. Students will be made aware of the worth of each assignment as it is assigned. For all assignments worth 50 points or more, students will be presented will a grading rubric detailing the criteria by which the assignment will be assessed. Each student will be required to keep a grade record sheet that will allow you to calculate your grade as each trimester progresses. At the end of each trimester, I will present each of you with a numerical grade for classroom participation.
Late Work Policies:
On overnight homework assignments: A student that fails to complete his/her homework assignment before the beginning of the class, will receive a zero for the assignment, and will not be given an opportunity to turn in the work late. This rule is in place to stress the

importance of doing your nightly assignments so that you are prepared to participate and learn each day.
On projects, papers, or multi-day assignments (valued at more than 5 points): Students who fail to turn in an assignment of this kind by the start of class, are given an opportunity to turn in the work late. If the work is completed and turned in by the start of class on the next day, the student will receive a 10% penalty. There will be an additional
10% subtracted for each additional day that the assignment is late.
Final Grade Breakdown: (This is an approximation)
25% Critical Essays/Projects
Projects will consist of any student work that is completed over a period of two or more days. Examples: presentations, critical essays, group projects, etc. Students will be made aware which assignments will be assessed in this category.
20% Exam
20% Journals/Quizzes/Homework:
20% Creative Writing:
15% Classroom participation and classroom presentations:
In order for us to achieve the goals set forth in this class of becoming better readers and writers, it is absolutely critical that students are prepared and willing to participate in classroom discussion and group work. Students will be rewarded for respectful behavior, consistent participation, thoughtful questions, and their ability to work well in groups.
Students will be penalized for disruptive behavior, lack of preparation, and unwillingness to participate in classroom discussion.
Honor Code:
The Honor Code applies to all work and conduct at Woodlawn School. Students are expected to display honesty and integrity in all of their activities on campus. Honor Code violations, and disciplinary issues relating to cheating, lying, and inappropriate behavior, will be handled immediately by the school administration.
Extra Time On Tests:
On certain tests, all students will be given an opportunity to use extra time if needed. On a fifty-minute test, students may use an additional 25 minutes. This extra time must be arranged on the same day of the test (either before school, during lunch, or after school).
If students choose to use the extra-time before or after school, they must arrange it ahead of time with Mr. Helfrich
Extra Help:
It is the responsibility of the student to arrange a time for extra help. I will do my best to accommodate these needs. Please either speak with me after class, or e-mail me with requests for extra help.
Final Thoughts:

My assumption is that each of you is prepared to engage in this AP English course with thoughtfulness, honesty, openness, and diligence. My hope is that we can achieve a classroom environment that is energetic, fun, safe, and conducive to productive learning.
Learning is an interactive and shared experience, so it is important that each student realizes the role that he/she plays in helping to achieve our goals, both individual and collective. We truly rely on each other to have a successful year.
The study of literature offers us innumerable opportunities to grow: intellectually, culturally, emotionally, and spiritually. I aspire not just to help enrich your academic program, but also to enrich your lives. Similarly, I teach to grow both professionally and personally.
Texts:
Catcher In The Rye - JD Salinger
Call of The Wild - Jack London
Native Son – Richard Wright
Hamlet - William Shakespeare
My Antonia - Willa Cather
Bless Me, Ultima - Rudolfo Anaya
A Heart of Darkness
– Joseph Conrad
Their Eyes Were Watching God - Zora Neale Hurston
Great Gatsby - F. Scott Fitzgerald
The Norton Anthology of American Literature - Nina Baym, Ed.
In-Class Handouts
Reading and Writing Schedule:
Week 1: Catcher In The Rye , Salinger
Handout: Salinger, “A Perfect Day For A Bananafish”
Webquest: Salinger, 1930s NYC, the controversy surrounding the text (present findings)
Journals and Discussion, examples:
Is Holden an antihero? Does Holden develop as a character? Is this story an example of a bildugsroman? Explore symbols in the novel. Consider the effectiveness of Salinger’s unique writing style. What literary techniques does he employ?
In-class essay
Week 2: Call of the Wild , London
Handout: London, “The Seed of McCoy”
Journals and Discussion, examples :
Define and discuss atavism. Consider London’s commentary of civilization vs. primitivism. How does the book deal with Darwin’s idea of “survival of the fittest?”
Consider the importance of the secondary characters. Some critics called London a
“nature-faker;”do you think his portrayal of animals is accurate and realistic? Explore the significance of “the call.” Examine the use of diction in “The Seed of McCoy.” How

do humans deal with wilderness differently than humans? Consider the relationship in
America with the wild.
Creative writing: Write a story (2 pages) from the perspective of an animal. You should create a character that is guided by instinct, emotion, sensation, and simple reasoning.
In-class essay
Week 3: Nathaniel Hawthorne short fiction
Read: ( Norton Anthology of American Literature
), Hawthorne, “The Birth-Mark,” page
635; “Young Goodman Brown,” page 610; and one additional story of your choosing
Handout: excerpts of Cotton, Catechism
Journals and Discussion, examples:
Consider both stories as allegorical (i.e. what do the characters and settings symbolize?).
Consider the impact that accepting Cotton’s tenets would have on an individual’s psyche/
How does the Puritan religious imagination inform Hawthorne’s “Young Goodman
Brown”? Compare “The Birth-Mark” to Mary Shelley’s
Frankenstei n. How do the issues facing Alcymer reflect issues in the 19 th century? How are these issues relevant throughout the 20 th
century and today? Examine Hawthorne’s tone and diction. How does the tone differ between the stories? Evaluate his artistic techniques.
Creative Writing: “Spot of Time” story (draft due)
Weeks 4-7: Native Son , Richard Wright
Read also: ( Norton Anthology of American Literature
): Richard Wright, “The Man Who
Was Almost a Man,” page 2257; McKay, “America,” page 2085; “If We Must Die,” page
2086; “The Lynching,” page 2084; Cullen, “”Yet Do I Marvel,” page 2245; “Heritage,” page 2246; Hughes, “Mother To Son,” page 2227; “I, Too,” page 2228; “The Negro
Speaks of Rivers,” page 2227
Audio: B.B. King, “How Blue Can You Get”; Robert Johnson, “Preachin’ Blues”;
“Cross Road Blues”; Taj Mahal, “Statesboro Blues”
Journals and Discussion, examples:
Analyze Bigger’s psychological state throughout the novel. What techniques does Wright use to communicate Bigger’s feelings and struggles? What is the relationship like between Bigger and the white community? Examine the “gang mentality” at play with
Bigger and his friends. Why does Bigger kill? What events in Richard Wright’s life are likely to have influenced this novel? Analyze Max’s defense of Bigger. What would you do if you were the judge? How does Wright show sympathy for the Communist Party through his narrative?
Project: “Writing The Bigger’s Blues”
Creative Writing: “Spot of Time” due; Flash-fiction 1 and 2 workshop and due
Critical Writing: Poetry exposition (1 page)
Critical Writing: Historical-Biographical Criticism of Native Son (4-6 pages); draft due week 6; use MLA format for citations
Week 8: Short Story Unit (understanding the form, analyzing setting, tone, voice, character, story arc)
Handouts: O’Flaherty, “The Sniper”; Poe, “The Masque of Red Death”; Welty, “A Visit of Charity”; Parker, “A Telephone Call”

Journals:
Write a story in 100 words or less that fulfills Poe’s definition of a short story
Introduce a setting and a character in 250 words or less
Transcribe an overheard conversation
In-Class: Group short story
Creative Writing: Complete a short story (3-5 pages); due week 10
Weeks 9-11: Hamlet , William Shakespeare
Film (excerpts): Brannaugh, Hamlet ; Gibson, Hamlet
Journal and Discussion, examples:
Analyze Hamlet’s relationships with Claudius, Gertrude, and Horatio; what are the clues that Shakespeare gives you? How would you stage the scenes with the ghost? Examine the themes of revenge and madness. What is Polonius’ role in the drama? Explore the relationship between Hamlet and Ophelia. Compare Hamlet to Homer’s
The Odyssey .
Evaluate the use of metadrama in Act III, scene 4. Evaluate the success of various characters in the films, as well as the films as a whole.
Group Work: short mime scene
Project: Monologue performance
Critical Writing: Expository essay based on one of the selected monologues (2 pages)
Week 12: Exam
Short fiction porfolio due
END OF FALL TRIMESTER
Weeks 13 – 16: Willa Cather, My Antonia
Handout: Momoday, “The Delight Song of Tsoai-Talee”;
Audio: Antonin Dvorak, “Slavonic Dances”
Journals and Discussion, examples:
How does Cather bring the landscape to life in the novel? Is the land an antagonist? What does the author’s introduction teach the reader about Jim Burden? How is this information important throughout the novel? Consider Lena Lingard as a foil for Antonia.
What does Mr. Shimerda represent? Consider the immigrant culture portrayed as a kaleidesope. Explore the similarities and differences between Jim and Antonia. Analyze the importance of the phrase: “optima dies prima fugit.” Examine Cather’s frequent use of figurative language.
Webquest/Presentations: The Homestead Act, European immigration 1870 to 1910
Creative Writing: Write a short, short story (2 pages) centered around a figure from your childhood
Creative Writing: Poem #1: compose a poem inspired by Momoday’s “The Delight
Song of Tsoai-Talee”
In-class essay
Critical Writing: Write (and workshop) an analytical essay centered on one character in the novel and considering the notion of the American Dream (3-4 pages)
Week 17: excerpts of Geoffrey Chacucer, Canterbury Tales

Critical Writing:
Creative Writing:
Weeks 18-20: Rudalfo Anaya, Bless Me, Ultima
Handout:
“New Mexico: The Land of Enchantment”; “The Magi of Words,” Rudolfo
Anaya
Journal and discussion, examples:
Analyze the opening paragraph of chapter “Dos”.
Explore the identity conflict in Antonio’s life. Why does the novel start when it does?
What are some indications that this story is an archetypal bildugsroman? Explore the imagery in Antonio’s dreams. Analyze the symbolism of the Golden Carp. Evaluate
Anaya’s use of Spanish throughout the novel. Explain the social forces on Antonio and compare them to Antonia, Jim Burden, Bigger Thomas, Holden Caufield, Young
Goodman Brown, Hamlet, ands other protagonists. Explore the use of myth throughout the novel.
In-class essay:
Critical Writing: Comparison analysis with another chicano masterpiece, Tomas
Rivera’s “ “
Group Presentations: The Latino immigrant experience in Mecklenburg County, NC;
The global history of Brujeria
Weeks 21-23: Zora Neale Hurston, Their Eyes Were Watching God
Handout:
Hurston, “How It Feels To Be Colored Like Me”; Carby, “The Politics of
Fiction, Anthropology, and rteh Folk: Zora Neale Hurston”; “Power, Judgement, and
Narrative in the Work of Zora Neale Hurston: Feminist Cultural Studies”
Journals and discussions, examples: Analyze the opening two paragraphs of the novel.
What is you initial impression of Janie? What details does Hurston emphasize? Compare the porch culture in Hurston’s novel Shakespeare’s use of the chorus. Trace Janie’s journey as an example of the archetypal hero’s journey. Consider the importance opf folklore and oral tradition in Hurston’s novel. What are the social norms that Janie battles? Does Janie succeed in achieving a “voice”? When? Does this novel belong in the canon of American literature? Consider the symbolic significance of the hurricane.
Critical Writing: Research-based critical essay (student must compose an original essay topic and submit for approval). We will heavily workshop these essays, and each of you must schedule a workshop time (5-minutes) with me. Due on exam day.
Week 24: Exam
Creative Writing: Poetry Portfolio due
End of Winter Trimester
Week 26-29: Poetry Unit
Throughout
Week 26: British poetry from the Rennaisance through the Victorian Era
Week 27: American Poetry
Week 28: Haiku from Basho to Kerouac
Week 29: Independent Study

Weeks 30-32: Joseph Conrad, A Heart of Darkness
Journals and discussions, examples:
Critical Writing:
In-class essay
Weeks 33-35: F Scott Fitzgerald, The Great Gatsby
Handouts:
Read also:
Audio:
Journal and discussion:
Group presentation:
Project:
Critical Essay:
Week 36: Final Exam
Personal Essay portfolio due
End of Spring Trimester