Dear Advanced Placement English Language and Composition


Dear Accelerated English III Students and Parents,

Welcome to the exciting world of British Literature! The summer reading projects for this course require original, mature thought and an ability to make connections, interaction with texts in a way that makes them personally meaningful, and an ability to successfully articulate those connections.

Note that this year the projects have been revised

to include less repetition of information found by researching and more interpretation and analysis. Because the projects entail fewer components, more depth will be required for each response. Responses should convey that students have read and understood the book. In the past, both summer reading novels have been fiction, but this year some nonfiction choices will be offered. A different project is required for the nonfiction choice,

so pay particular attention to the genre and the project required for each novel selected

(see selections below).

For admittance and continuation in the accelerated English program at D.C.H.S., students must complete two summer readings. Students are encouraged to purchase the books to underline, make notes, or highlight important passages, but the Daviess County Public Library should also have copies if they prefer to borrow them instead. As always, parents are invited to review any of the assigned novels. If parents consider any novel inappropriate for their child to read, they may request another novel for their child to read with no consequence, as per the Daviess County School Board policy.

Students, please do not consult Cliff, Barron, Spark Notes, Pink monkey, Book Notes, or any other reference work.

Copying or paraphrasing from these or any other source is considered


and will result in a “0” on the assignment as well as a DM


I am interested in the thoughts and ideas of the student—not someone else’s analysis. On only two portions of the nonfiction project would it be necessary/ acceptable to seek outside help:

1) the occasion (time, place, context, or current situation surrounding the writing/publication of the piece)

2) the scope (decisions regarding the inclusion or exclusion of material from the text


Proper documentation must accompany quoted and paraphrased material.

All other parts of the

project must show the student’s unique interpretation/understanding of the work.

The critical reading projects are due the first day of the semester of the class.



After turning in both projects for grades, papers will be returned so that students may prepare for a test over each of the novels read. Students may also submit the projects prior to this date: first semester students may email them and second semester students may email or deliver them to the appropriate teacher.

This letter, the project explanations and the templates can be found on the DCHS website and also on the DCHS Summer Reading Spot Ning at At this site you may download documents, post questions, answer questions, discuss your reading, and chat live with those who are also on the Ning. Dates for optional meetings throughout the summer at Le Crème and the summer reading picnic at Legion Park will be posted on the site and sent out to those who have joined, so join the Ning soon!

If you have any questions, please contact me through the Ning or email at [email protected]

Or, feel free to call me at 952-1691. I hope you have a restful summer. Students, I look forward to seeing you and reading some incredibly original and insightful, well-written analyses



Angie Gunter

2010-2011 Accelerated English III Summer Reading Options

Choose one of the following paired options. There are two projects—one for fiction novels and one for nonfiction novels. Pay close attention to the project required for each novel.


by Mary Shelley [FICTION] and

Stiff: The Curious Life of Human Cadavers

by Mary Roach [NONFICTION]

Jane Eyre

by Charlotte Bronte [FICTION] and

The Glass Castle

by Jeannette Walls


The Curious Incident of the Dog in the


by Mark Haddon [FICTION] and

And Then There Were None

by Agatha Christie [FICTION]


by George Orwell [FICTION] and

Maus: A Survivor’s Tale

by Art Spiegelman


Wuthering Heights

by Emily Bronte


The Return of the Native

by Thomas Hardy


Pride and Prejudice

by Jane Austen


Pride and Prejudice and Zombies

by Jane Austen and Seth Grahame-Smith


For selections labeled FICTION, complete the 10-11 Accelerated English III Fiction

Project. For selections labeled NONFICTION, complete the 10-11 Accelerated English III

Nonfiction Project.


Accelerated English III Name:

Fiction Novel Summer Reading Project

NOTE: The summer reading projects have been revised this year to include less repetition of

1. information found by researching and more interpretation and analysis. Because the projects entail fewer components, more depth will be required for each response. Responses should convey that you have read and understood the book.

Title of Novel:


Date of Original Publication:


Select five quotes that you feel are of central importance to the theme/purpose/plot of the novel.

Write the quotes and page numbers in this column.

Explain the significance of the quotes you have selected. Why are they important in relation to the theme/purpose/plot of the novel? Be specific and thorough in your responses. Do not simply repeat or paraphrase the quote. You may consider who is delivering the quote, how it is written or spoken, where it is located in the text, actions before and after, etc.




Write an analysis regarding the importance of the novel. Consider topics, themes, and universal truths you recognize in the novel. You may comment on the importance of the novel to society and/or to you personally.

What is the novel’s impact on you and/or society? Provide specifics from the novel (either direct quotes or examples) to support your position. You may find it helpful to connect ideas from this novel to other novels you’ve read, events in history, politics, popular culture, or personal experiences.

In this section you may argue that the novel is not important to society or you. Provide support to prove your argument.

Summer Rea ding Project Nonfiction Project

Complete the blank chart referring to the one with directions below. There are no precise limit requirements, but, generally, responses for each of the sections should be in the neighborhood of

½ page each (typed, single-spaces, 12 pt. font). These responses require your analyses which depend on your experiences with and understanding of the reading. Remember to substantiate your opinions with textual support (quotes/paraphrasing from the book).

In addition, keep a 3X5 note card or bookmark you can write on with you as you read. Record any words or concepts you don’t understand, with which you agree or disagree, any characters you don’t understand, with which you can or cannot identify, topics that are confusing, ideas you find interesting, quotes you love, etc. We will use these in class for discussion.


The general topics, content and ideas contained in the text. You should be able to state the main subjects in a few words or less. Don’t ask “What is it about?” This too often leads to mere summarization. Instead, ask

“What topics are addressed?” There is always more than one topic; be exhaustive. List all categories: explicit AND inferred. This section may be listed as bullets and there should be SEVERAL topics listed.





The time, place, context, or current situation of the writing and publication of the piece. It is important to understand the context that encouraged the writing and publication to happen. Think of this section as the “genesis”— why write or publish now, why write or publish here? You may find interviews in which the author reveals why he or she wrote and published when he or she did. Report that information, if you believe it, or challenge that information if you don’t believe it, providing your own idea as to the author’s rationale. Do not confuse occasion with purpose. Focus here on



(geographic location, if applicable) and why



The group of readers to whom this piece is directed. The audience may be one person, a small group, or a large group. Try to be specific as possible in your description. Authors do not just write and hope someone will read; they write for a specific audience and hope for a possible broader audience than intended. Imagine the novel is a conversation. Who is sitting across from him/her? That would be the primary audience. Who might try to listen in? That would be the secondary audience. What prior knowledge does the author assume, and how do you know?

The reasons behind the text or the author’s agenda (may be more than one).

This is especially important for examining rhetoric. You can not examine the logic or argument of a piece until you know the reason for the piece or what the author is trying to tell you. What does the author want you to “take away” at the end of the text? You may comment here whether you feel the author’s purpose (or purposes) has been met. Was it effective in its purpose(s)? Why or why not?

Consider ethos here. Is the author credible, trustworthy, and believable?

How do you know? What is the author’s attitude or voice which presents the text? In nonfiction it is important not to just identify the author but also analyze the author’s attitude toward the subject and audience and the “tone of voice” used in the selection. If the piece were read aloud, describe the sound you would hear in the voice. Be alert to the “voice” manipulating or disguising a potentially offensive attitude of bias



The individuality of the author—author’s toolbox. Given the choice of many different options in regard to diction, tone, syntax, imagery, figurative language, rhetorical strategies, etc. which does the author choose to use and what effect does the author’s selections have on the piece? How is it different than other books you’ve read? What is unique about its presentation? What stands out to you regarding the way the information is presented? Feel free to provide examples from the text here.

Decisions regarding the inclusion or exclusion of material from the text, especially significant if discussing narration. Is there significance in the events the author chooses to use and those not included? Is something missing that you think should be included or something included which does not belong? Think about if Tiger Woods wrote a book right now and it did not mention his personal life. Not enough information? Or, consider if he included ALL the details. Too much information considering the purpose of the novel?