Eugenio Maria de Hostos Community College
ENG 93 CORE READING AND WRITING (6 hours, 0 credits)
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and Sunday will be answered on the following Monday. Emails from non-CUNY
addresses will be deleted unread. Additional appointments by request.
Pre-requisite: Failing both the CUNY Reading Test and the CAT-W; OR below 50 on the
CUNY Reading Test or below 48 on the CAT-W.
ENG 93 COURSE DESCRIPTION
ENG 93 is an integrated reading and writing course that emphasizes analytical and critical thinking
through reading and writing assignments across academic disciplines. Students will develop
strategies for vocabulary development and comprehension through discussions of and written
responses to cross-disciplinary texts. Students will learn to become active readers and writers, who
summarize and explain their understanding of ideas, support their analysis with appropriate
references to the readings, revise and edit their work effectively. By the end of the semester,
students will have acquired strategies for improving their close reading and writing skills. Their
successful performance will be assessed through exit examinations.
ENG 93 COURSE AND LEARNING OBJECTIVES
At the completion of ENG 93, the student will:
1. understand relations between ideas within texts such as cause s and effect, similarities and
differences, definitions and examples, chronologies, and classifications
2. distinguish between different types of written texts; recognize primary and secondary
source distinctions; understand disciplinary exam rhetoric
3. demonstrate an ability to read and write analytically and critically
4. understand that reading and writing are recursive, social processes that require feedback
from others
Additionally, this course expands students’ appreciation and knowledge in order to facilitate
reflective, academic and personal growth. Therefore, students are expected to achieve the learning
objectives consistent with four specific areas of General Education—communication, academic
literacy, global citizenship, and scientific and quantitative reasoning:
Communication Gen Ed Skills
 read, write, speak and listen effectively
 use precise vocabulary to describe abstract and concrete ideas
 use appropriate technology to research and present ideas
 understand texts and lectures, take notes, synthesize material, and respond orally and in
writing
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Academic Literacy Gen Ed Skills
 exercise critical thinking and problem solving
 keep up with current events and issues
 distinguish between factual and anecdotal evidence
 find, evaluate and use information from different sources effectively
 become a life-long learner
Global Citizenship Gen Ed Skills
 be an effective member of local, national and global communities
 respect all human differences—race, ethnicity, sexual orientation, gender, culture and
ability
 confront historical, social, political, economic and environmental issues
 develop personal values and ethics
 appreciate the arts
 demonstrate leadership and teamwork
Scientific and Quantitative Reasoning Gen Ed Skills
 develop and apply the methodological and computational skills necessary to attain literacy
by applying different uses of quantitative and qualitative data to problem-solving in the
sciences and mathematics, as well as in the social/behavioral sciences and in disciplines
requiring artistic, literary, and philosophical investigation
ENG 93 COURSE REQUIREMENTS
The following should be considered for successful completion of ENG 93
 consistent and punctual attendance; preparedness for class activities NOTE: Please turn off
all cell phones prior to entering the classroom.
 regular and active participation in class activities
 timely submission of papers (in- and out-of-class), assignments, journal-learning log, and
research projects, etc.
 passing assessment of papers, assignments, journal-learning log, and examinations
 adherence to academic policies, for example, CUNY’s Policy on Academic Integrity (HCC
Academic Bulletin 2012 – 2014, 242 - 243)
 ongoing communication with the instructor pertaining to academic progress and concerns,
preferably via face-to-face conferences, office hour, and/or telephone
 There are invaluable resources within the college; Hostos has professors, staff,
administrators, and student leaders who are committed to your success. Please avail
yourself of the activities and programs in the college.
 ADA STATEMENT: If you have a disability that requires accommodations, contact
Accessibility Resource Center (ARC)
Savoy (D) Building
120 Walton Avenue, Room D101P
Bronx, NY 10451
718 518-4454 (Voice/TTY)
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ENG 93 COURSE GRADING : Students will receive either a grade of P (pass) or R (repeat). A
grade of P will be given if all course requirements are met and students pass both the CAT-W and
the CUNY Reading test at the end of the semester. If students successfully meet the requirements
of the course but fail either or both the CAT-W and the CUNY Reading test at the end of the
semester, they will be given a grade of R. This grade will be changed to a P when the test/s is/are
passed.
Students are permitted to take ENG 93 two times. After the second time students take this course,
if they have still not passed either or both the CAT-W and the CUNY Reading test, they will either
take workshops to prepare them to pass the exams or move onto ENG 101 or 102 if they meet the
pre-requisites for those courses.
ENG 93 COURSE ASSIGNMENTS –CONCISE VERSION
Assignment
Due Date
FORMAL PAPER # 1
FORMAL PAPER # 2
FORMAL PAPER # 3
FORMAL PAPER # 4
FORMAL PAPER # 5
LITERACY LOG
RESEARCH PROJECT
ENG 93 THEMATIC COURSE GUIDELINES
ENG 93 Core Reading and Writing was developed based on the pedagogical philosophy that
reading and writing are organically connected and are best taught and learned within one
curriculum. In order to make the connections between reading and writing visible, tangible, and
accessible, this curriculum of this course was designed as a theme/inter-related topic based course
of study. Faculty who wish to teach ENG 93 may develop their own theme/series of inter-related
topics. The attached sample syllabus offers an example of a theme based/inter-related topic syllabus
as well as x number of other possible themes/topics and texts faculty may wish to use.
While the theme/inter-related topics for ENG 93 may be chosen by the professor, it is
recommended that faculty adhere to the following guidelines when developing a curriculum for
ENG 93:
Text Requirements:
1. Include at least one full length work of fiction into the course.
2. Include non-fiction texts that address contemporary issues of social interest into the
syllabus as well.
Syllabus Requirements:
1. Incorporate pages 1-5 of the sample syllabus into the new syllabus.
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2. State the theme/inter-related topics in the syllabus as well as the rationale for their
selection and what students can hope to learn from this course of study. See page 5 for an
example.
3. Devote equal time to the reading and writing about the theme/topics throughout the
course.
4. Identify a set of key questions about the selected theme/topics that the students will be
addressing throughout the semester.
5. Establish which key skills and thematic concepts students will be studying in each
week/unit.
6. Provide opportunities throughout the course for students to reflect on: if and how the
theme/series of inter-related topics connects to their own lives and their own experiences
as learners.
7. Because one of the main goals of this course is to make students more aware of their
growth and development as readers and writers, it is recommended that faculty adapt the
literacy log assignment into their version of ENG 93.
ENG 93 SECTION THEMATIC OVERVIEW
In this section of ENG 93, students will investigate the processes of reading and writing thru the
theme of mathematics. Students will engage in reading and writing activities that are theme-based.
This exploration will progress through the reading of and writing about various literary (nonfiction
and fiction) texts focused upon mathematics, reading, writing, and learning. The area of inquiry:
How can we become more effective readers, writers, thinkers and mathematics learners?
NOTE: The learning experience will be most meaningful if we respect the sanctity of scholarly
engagement. All students are expected to be contributors to our activities. Please be prepared to
participate fully in all class activities and turn off all cell phones and other electronic devices prior
to entering the classroom. Also, the syllabus is a guide for both instructor and student; ongoing
review of the syllabus by the instructor and class may necessitate revision during the semester.
COURSE TEXTBOOKS AND MATERIALS
Required Texts:
Lockhart, Paul. A Mathematician’s Lament: How School Cheats Us Out of Our Most Fascinating and
Imaginative Art Form. New York: Bellevue Literary Press, 2009. Print. ISBN 978-1-93413717-8 (price: $9.80)
Fienberg, Anna. Number 8. New York. Walker & Company, 2007. Print. ISBN 0-8027-9660-5
(price: $9.99 as e-book)
OR
Haddon, Mark. The Curious Incident of the Dog in the Night-Time. New York: Random House, 2003.
Print. ISBN 978-1-4000-3271-6 ($8.69)
Required Materials - Literacy Log: In order to record and keep a weekly written document
(no less than two paragraphs per entry twice a week) of your semester’s reflections on readings,
activities, and academic progress, you should maintain a literacy log (learning journal). During the
semester, we will read various fictional and nonfictional texts, which are recorded “stories.” We
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will also develop our individual and collective learning stories through various reading and writing
projects that utilize the literacy log. This literacy log will be an essential tool for drawing
connections between reading, writing, mathematics, and learning. Additionally, the literacy log
entries will be used for the final project of a revised formal essay.
COURSE OUTLINE FOR MATHEMATICS THEME
This is a reading- and writing-dependent course. Some units will require that students refresh their
familiarity with readings that they have already completed, and there will be periodic in-class tests
that require students to demonstrate what they have learned.
PLEDGE: As a community of learners, we commit ourselves to working together to
become effective readers, writers, thinkers, problem-solvers, and learners.
Outline of Semester Schedule—utilizing course readings from A Mathematician’s Lament;
Fienberg or Haddon; and excerpts from Born on a Blue Day and other texts:
UNIT ONE: Narration – Introduction; structure of text(s); vocabulary in context;
main ideas; crafting ideas (Lockhart and excerpts from Born on a Blue Day and
articles) In this learning unit, students will consider the processes of reading and writing;
construction of texts and choice of words to express ideas.
Week 1:
Week 2:
Week 3:
Week 4:
How can we become better readers, writers and thinkers?
What are the reading and writing processes?
How do we define and describe things?
REVIEW
READINGS:
Dweck, Carol S. “Brainology: Transforming Student’s Motivation to Learn”
Levine, Lewis. “The Reader as Detective”
Lockhart, Paul. A Mathematician’s Lament
Orwell, George. “Why I Write”
Excerpts from Born on a Blue Day by Daniel Tammet
ASSESSMENT:
Throughout the four weeks there will be literacy log entry discussions and précis writing. At the
end of week 4, there will have been at least two in-class essays.
UNIT TWO: Comprehending and Analyzing a Text
In this three part learning unit, students will consider the skills necessary to comprehend,
summarize, analyze and respond to a work of fiction. Students will work to identify main ideas and
supporting details in the text while also using textual evidence to discuss and analyze them.
Students will also focus on character development and analysis with a particular focus on vocabulary
choices and their impact on our understanding of character. The analysis of this book will focus on
the characters’ differing perspectives on mathematics, reading, and writing and how these attitudes
shape them as learners. Students will pay particular attention to the strategies the characters put
into practice to identify, address, conceal or overcome the obstacles to learning they face.
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READINGS: Number 8 by Anna Feinberg OR
Incident of the Curious Dog in the Night by Mark Haddon
PART ONE: Reading and Responding to a Narrative – Introduction; vocabulary in
context; identifying and supporting main ideas; How do we summarize plot? How
do we use the text to discuss and analyze characters?
Week 5
Session 1:
Session 2:
Week 6
Session 3:
Session 4:
What are our attitudes toward reading, writing and math? Are these
attitudes similar or different from the main character’s? (Fienberg 1 – 21;
Haddon 1-21)
What does the author suggest are key aspects of the reading, writing and
mathematics processes? (Fienberg 22 – 44; Haddon 22 - 45)
How does the main character use numbers to define and understand his
world? (Fienberg 45 – 71; Haddon 45 - 74)
How are reading and mathematics described in the novel? How does
learning forge bonds between characters or push them further apart?
(Fienberg 72 – 97; Haddon 74 - 99); Final Project Assigned
PART TWO: Development – supporting details; implied main ideas and the central
point; seeing relationships
Week 7
Session 5:
Session 6:
Week 8
Session 7:
Session 8:
What key points about learning and friendship (relationships) is the author
making in this text? ? How are supporting details used to make these
points? (Fienberg 98 – 121; Haddon 100 - 124)
What points about the characters and the main ideas does the author infer?
How can we use quotation and paraphrasing to discuss this inference in
writing? (Fienberg 122 – 137; Haddon 125 - 140); In class essay on
character analysis.
In class work on final project; How does Fienberg or Haddon transition
between ideas and concepts? How do these transitions impact you as a
reader? (Fienberg 138 – 154; Haddon 140 - 158)
How does Feinberg or Haddon use classification to support the main point
of the novel? (Fienberg 155 – 171; Haddon 158 - 179)
UNIT THREE: Connections - seeing relationships 2; inferences; purpose and tone;
argument
Week 9
Session 9:
How do we illustrate or provide examples? (Fienberg 172 – 181/182 –
196; Haddon 179 - 198); How can you make connections between the
text and your own ideas using examples?
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Session 10:
In class revision of in class essay
Week 10
Session 11
How do we use textual details to compare and contrast? (Fienberg 197 –
202/203 – 216; Haddon 198 - 221)
Session 12
In class work on final project
Note: You will take the CAT-W and the reading test around Week 12, and if
necessary, again during week 15.
Week 11
Session 13:
Session 14:
Week 12:
How does Fienberg or Haddon use cause and effect in the novel?
(Fienberg 217 – 236/237 – 245; Haddon review of book)
How do we put it all together? How do we read critically? What are my
final thoughts and preparations for the end of ENG 93, ACT Reading
Compass examination, and the future? (Fienberg 246 – 263; 264 – 277;
and 278 – 279)
Class Presentations of Final Projects
ASSESSMENTS Week 5 - 12:
 Each week students will generate a group summary of the chapters covered during the
week.
 Each week students will also be given a brief multiple choice exercise that focuses on
vocabulary, supporting details, inference, and main ideas.
 At the end of week 7 students will write a brief 3-4 paragraph essay using textual analysis
to compare and contrast the ways in which two characters learn and the obstacles to
learning the characters face.
 At the end of week 12 students will complete a group project in which they analyze the
allusions and references made to song and music throughout the novel (Fienberg) or
problem solving (Haddon). They will make connections between the songs referenced in
the novel by Fienberg and the characters’ journeys as learners. They will make connections
between the puzzles solved in the novel by Haddon and the character’s learning journey.
Week 13 – 16: In this fourth learning unit, students will review and strategize for the exit
examinations.
READINGS: practice test materials and articles
Note: If necessary, you will retake the CAT-W and reading test around week 15.
ASSESSMENT:
At the end of week 16, there will be an in-class test based on all of the required readings for the
Learning Units and in-class reading and writing practice exams.
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Literacy Log Assignment
Literacy Log: This semester, the goal is for you to become more skilled readers and writers. As
we grow as learners, it is important to keep track of what you are learning, how you are learning,
and what you still need to learn. Oftentimes, we develop as learners at such a steady pace that we
don’t even realize how much we are learning.
This literacy log is meant to help you keep track of your challenges, obstacles, and victories in your
progress toward becoming a more proficient reader and writer.
In order to successfully complete this assignment you will need a notebook dedicated only to the
literacy log. It will be collected periodically throughout the semester.
You will write in your literacy log twice a week. Each entry will be two paragraphs long. One
entry will focus on something you read in class and the other entry will focus on your reflections on
your development as a reader and writer. It does not matter which entry you do first, as long as
you write about both topics each week. Below are some questions to consider as you write your
entries in your literacy log:
Topic 1: Responding to the Text:
What impressed you about this week’s reading?
What would you like to say to a character in the text or an author of a text?
What do you agree with or disagree with in the text?
What can you identify with in the text?
What seems important about what you read this week?
Did you like what you read? Why or why not?
Topic 2: Your development as a reader and writer
What strategies for effectively reading and writing did you learn this week?
Do you feel you are becoming a better reader and/or writer? Describe a moment when you felt
this way.
Do you feel frustrated that you are not learning and improving as quickly as you would like?
What obstacles are you facing that are preventing you from growing as a reader and/or writer?
What does being a good writer/reader mean to you?
What goals do you have for yourself as a reader and/or writer?
*You do not have to answer all or any of these questions each week. They are just suggestions
meant to help you formulate your thoughts.
Assessment:
The literacy log will be an informal journal that gets a check or check plus/minus grade throughout
the semester that then gets revised as something more formal at the end – a final formal essay.
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QUOTATIONS: MATHEMATICS, READING AND WRITING
The chief forms of beauty are order and symmetry and definiteness, which the
mathematical sciences demonstrate in a special degree. ~Aristotle
To read without reflecting is like eating without digesting. ~Edmund Burke
Do not worry about your difficulties in Mathematics. I can assure you mine are still greater.
~Albert Einstein
Write your first draft with your heart. Re-write with your head.
~From the movie Finding Forrester
Writing is a struggle against silence. ~Carlos Fuentes
It is not knowledge, but the act of learning, not possession but the act of getting there, which grants
the greatest enjoyment. ~Carl Friedrich Gauss
Life-transforming ideas have always come to me from books. ~bell hooks
I'm not a very good writer, but I'm an excellent rewriter. ~James Michener
God created everything by number, weight and measure. ~Sir Isaac Newton
He who can properly define and divide is to be considered a god. ~Plato
When something can be read without effort, great effort has gone into its writing.
~Enrique Jardiel Poncela
A thought is an idea in transit. ~Pythagoras
The understanding of mathematics is necessary for a sound grasp of ethics. ~Socrates
As for my next book, I am going to hold myself from writing it till I have it impending in me:
grown heavy in my mind like a ripe pear; pendant, gravid, asking to be cut or it will fall.
~Virginia Woolf
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QUOTATIONS: LOCKHART AND TAMMET
Lockhart, Paul. A Mathematician’s Lament: How School Cheats Us Out of Our Most
Fascinating and Imaginative Art Form. New York: Bellevue Literary Press, 2009.
Print.
“The only people who understand what is going on are the ones most often blamed and least often
heard: the students.” (21)
“The first thing to understand is that mathematics is an art.” (22)
“The common perception seems to be that mathematicians are somehow connected with
science…” (22)
“…the fact is that there is nothing as dreamy and poetic, nothing as radical, subversive, and
psychedelic, as mathematics.” (23)
“Mathematics is the purest of the arts, as well as the most misunderstood.” (23)
“”…a major theme in mathematics: things are what you want them to be. You have endless choices;
there is no reality to get in your way.” (25)
“By removing the creative process and leaving only the results of that process, you virtually
guarantee that no one will have any real engagement with the subject.” (28)
“Mathematics is the art of explanation.” (29)
“Math is not about following directions, it’s about making new directions. “ (31)
“…we as a culture don’t know what mathematics is.” (31)
“Mathematics is viewed by the culture as some sort of tool for science and technology.” (32)
“Mathematics should be taught as art for art’s sake.” (34)
“Mathematics is the music of reason. To do mathematics is to engage in an act of discovery and
conjecture, intuition and inspiration; to be in a state of confusion—not because it makes no sense
to you, but because you gave it sense and you still don’t understand what your creation is up to; to
have a breakthrough idea; to be frustrated as an artist; to be awed and overwhelmed by an almost
painful beauty; to be alive…” (37)
“We don’t need to bend over backwards to give mathematics relevance. It has relevance in the
same way that any art does: that of being a meaningful human experience.” (39)
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“So how do we teach our students to do mathematics? By choosing engaging and natural problems
suitable to their tastes, personalities, and levels of experience. By giving them time to make
discoveries and formulate conjectures. By helping them to refine their arguments and creating an
atmosphere of healthy and vibrant mathematical criticism…” (43)
Tammet, Daniel. Born on a Blue Day: Inside the Extraordinary Mind of an Autistic
Savant. New York: Free Press, 2006. Print.
“I was born on January 31, 1979—a Wednesday. I know it was a Wednesday, because the date is
blue in my mind and Wednesdays are always blue, like the number 9 or the sound of loud voices
arguing… It’s just the way my brain works.” (1)
“Numbers are my friends, and they are always around me. Each one is unique and has its own
personality. The number 11 is friendly and 5 is loud, whereas 4 is both shy and quiet—it’s my
favorite number, perhaps because it reminds me of myself.” (2)
“Numbers are my first language, one I often think and feel in.” (7)
“Writing about my life has given me the opportunity to get some perspective on just how far I’ve
come, and to trace the arc of my journey up to the present.” (12)
“The living room downstairs was always filled with books. My parents were both dedicated readers
and I can still remember sitting on the floor and watching them with their books, newspapers and
magazines in hand. Sometimes, when I was good, I was allowed to sit on their laps while they read.
I like the sound of the pages as they were flicked over. Books became very special to me, because
whenever my parents were reading, the room would fill with silence. It made me feel calm and
content inside.” (24)
“Long before I could read the sentences of the pages, I could count the numbers. And when I
counted, the numbers would appear as motions or colored shapes in my mind.” (25)
“As I sit here now and write about those early years, I’m amazed to think how much my parents did
for me even as they must have gotten so little back at the time. Hearing my parents’ recollections
of my earliest years has been a magical experience for me; to see for myself in hindsight the extent
of their role in making me the person I am today.” (26 – 27)
“Most people read by recognizing familiar groupings of words. For this reason, many miss small
errors of spelling or word repetition. Take the following example:
A bird in the hand
is worth two in the
the bush
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Read quickly, most people don’t spot the second, superfluous “the” in the sentence above.
A side benefit of processing information…” (41)
“Palindromes—words spelled the same backwards as well as forwards—such as ‘mum’ and ‘noon’
felt especially beautiful to me and they were among my favorite words.” (51)
“The cards help to illustrate a particular quality of prime numbers—their irregular distribution.”
(82)
“When I look at a sequence of numbers, my head begins to fill with colors, shapes and textures that
knit together spontaneously to form a visual landscape.” (177)
“One of the most common questions I was asked in these interviews was: Why learn a number like
pi to so many decimal places? The answer I gave then as I do now is that pi is for me an extremely
beautiful and utterly unique thing. Like the Mona Lisa or a Mozart symphony, pi is its own reason
for loving it.” (185)
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Sample Informal Assignments for Number 8
1. Pre-reading exercise: Read the title of the novel and the descriptions of it on the back and
inside jacket. What do you think this book will be about? What questions do you have
about what we are going to read?
2. Homework question: Which character can you relate to the most? Explain why and include
in your explanation a quote from the text.
3. Homework question: Identify 3 moments in this chapter that seem important or significant
to you. Explain why you see them as significant.
4. Individual start of class freewrite: What does music mean to Esmerelda? In groups, find a
passage that illustrates how she feels about music. Read them out loud.
5. In class journaling: In Number 8 we see through Jackson and Esmerelda’s eyes; however,
there are other characters in the book. One very important character is Badman. Imagine
that you are Badman and write a diary entry from his perspective. Choose one of the
moments from the novel listed below and take on the voice of Badman to explain how he
felt and what he thought at this moment.
a. The confrontation with Mrs. Reilly in chapter 2
b. The fight with Jackson in Chapter 5
c. The conversation with Esmerelda about music in Chapter 6
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Sample Informal Assignments for The Curious Incident of the Dog in the Night-Time
1. Pre-reading exercise: Read the title of the novel and the descriptions of it on the back and
inside jacket. What do you think this book will be about? What questions do you have
about what we are going to read? How is the book organized?
2. Homework question: Which character can you relate to the most? Explain why and include
in your explanation a quote from the text.
3. Homework question: Identify 3 moments in the assigned chapter that seem important or
significant to you. Explain why you see them as significant.
4. Individual start of class freewrite: What do numbers mean to Christopher? In groups, find a
passage that illustrates how he uses numbers to make sense out of his surroundings and
interactions with others. Read them out loud.
5. In class journaling: In The Curious Incident of the Dog in the Night-Time we see through
Christopher’s eyes; however, there are other characters in the book. One very important
character is his father. Imagine that you are Christopher’s father and write a diary entry
from his perspective. Choose one of the moments from the novel listed below and take on
the voice of the father to explain how he felt and what he thought at this moment.
a. The arrival of his Father at the police station in chapter 31 (16)
b.The discussion between Christopher and his father about the death of
Wellington in chapter 41 (20 – 21)
c. “Father said, ‘I’m afraid you won’t be seeing your mother for a while.’”
Chapter 43 (22)
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ENG 93 Sample Formal Assignments:
1. Summarize the key points made by the authors about why we read and why we write. In
your essay, discuss the ways in which reading and writing are important to you.
2. In The Mathematician’s Lament, Lockhart argues against traditional ways of teaching math in
the classroom. In your essay discuss one main reason he gives for not approving of the way
math is taught. Then discuss your own “lament” about your education. What is something
you learned in school that you wish had been taught differently? Explain your lament using
detailed examples from your experiences.
3. In Number 8, each of the characters has an obstacle to overcome. Choose two characters
from the novel and compare and contrast the kinds of obstacles they face, the strategies
they use to overcome them, and the impact these obstacles have on their lives and
relationships.
4. Throughout the semester we have been studying excerpts from Born on a Blue Day. We
have been reading these because they are connected to themes and concepts raised in the
novels and texts we have been reading. Choose one excerpt from Born on a Blue Day and
discuss how it connects to something else we have read this semester. Discuss in your essay
what the excerpt means, how it relates to another text, and why this connection is
significant to you.
5. In The Curious Incident of the Dog in the Night-time, Christopher processes his world by
identifying his likes and dislikes. “I like dogs. You always know what a dog is thinking. It
has four moods. Happy, sad, cross and concentrating. Also, dogs are faithful and they do
not tell likes because they cannot talk” (3). Identify two of your likes and two of your
dislikes and provide the rationale for each of them.
6. Research Project: Prompt attached
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FINAL PROJECT - Number 8
Key Inquiry Questions:
 What do we do with allusions or references to other texts within a text?
 How can we draw connections between these texts and use them to strengthen reading
comprehension?

How can our understanding and mastery of inference, imagery, examples, and context
clues help us to make these connections?
In Number 8 several songs are mentioned and brought into the story. In this project, you will work in groups
to learn a bit more about these songs. Working in a group of 2 or 3, select one of the songs listed below
from the novel. Using the internet, find the lyrics and a recording of the song.
 Aretha Franklin “Respect”
 Aretha Franklin “I Never Loved a Man”
 Boomtown Rats “I Don’t Like Mondays”
 Stevie Right “Friday on My Mind”
 Patti Smith “When Doves Cry”
 AC/DC “Highway to Hell”
After you have listened to the song and read the lyrics carefully, complete the following:
1. Sum up in a sentence or two what the song is about.
2. Identify any similes or metaphors in the song and explain what they mean.
3. What’s described in the song? What does the description tell you about the way the songwriter
feels about what is being described?
4. Are there any examples in song? If so, explain what they are and what they are exemplifying.
5. Are there any inferences in the song? Identify and explain them.
6. Define any words in the song you don’t know. Do any of these words have multiple meanings?
Explain.
7. In a well-developed paragraph of 8-10 sentences, explain how the song helps you to understand the
character who listens to or mentions the song. What does this song tell us about the character’s
journey as a learner or mathematics or as a problem solver?
8. Each group will have 15 minutes to present what they have learned about the song to the class.
Please bring copies of the song lyrics to class and have a link to a live performance of the song on
hand since we will be listening to the song and looking at the lyrics together. Be sure to include the
answers to all of the questions in your presentation. You are also encouraged to use handouts or
visual aids when sharing your material.
Day 1: Modeling
1. Students are given the final project. Any preliminary questions about it are discussed and
addressed in class.
2. Students then do a “practice run” of the project as a class.
Activity I: Read Aloud and Preliminary Discussion
 Students read the section of Number 8 where the character Badman makes reference to the
song “Purple Haze.” This section is read out loud. Students take turns readings sections of
the text.
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
Students are asked to discuss what this song means to Badman and why they think it is
mentioned.

Students are also asked if any of them have heard of the song or of Jimi Hendrix.
Activity II: Analysis of “Purple Haze”
 The lyrics to the song “Purple Haze” are distributed to the class and students take turns
reading verses out loud.


As a class, we then watch a performance of “Purple Haze” on You Tube.
After some preliminary discussion of their reaction to the song, students then gather their
thoughts in a guided learning log entry; they are given 20 minutes to write in response to
the following:
1. What do you think this song is about?
2. Badman says this is his favorite song. Does this surprise you? Explain why or
why not.
 After the students write in their learning logs, three or four are asked to read what they
have written out loud to the class.


As the students read, the professor takes notes on their responses on the board.
Once the class comes to a general consensus about the meaning of the song and why
Badman likes it so much, the professor then moves on to applying the seven analytical
questions in the final project to this song.
Activity III: Group Project
 Students are broken up into groups of three. Each group is assigned 2 out of the 7 questions
to address. All groups are asked to work with question 7.


They are given 20 minutes to discuss and respond to their assigned question.
Students then report out to the group with their analysis.

The professor again takes notes on the board. Other groups are invited to add to the
responses.

At the end of this group project, the students will have had the opportunity to see the final
project “in action.”
Activity IV: Closing Reflection
 After completing this model of the final project, students are asked to take 10-15 minutes
to again write in their learning log. This time students are focusing on their own learning
process. Questions to consider:
What was it like to do this project today?
Do you feel prepared to complete the final project?
What questions about the final project remain for you?
 Students again share out with the larger class.
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
The student responses are used to guide any further support the professor will provide for
the project.
Day 2: Working Class Period
About a week after the project is assigned, students will be given a class period to work on their
project together in groups. Because the life of a community college student is often hectic, it is
important to provide structured time for groups to come together. Without this time built into a
group project, the team may not work effectively together.
Activity I: Setting Goals
 Before the students break out into groups, they are asked to reflect in their learning logs on
what they hope to accomplish in today’s class. What questions do they have? What does the
group need to focus on as they work together today? What materials do they need to gather
or produce? What issues do they need the professor to clarify?

After they reflect on this individually, the students break into groups and share their
reflections with each other. The groups take 5-10 minutes to establish clear goals for the
day’s work.
Activity II: Implementation and Feedback
 Students work together in groups toward their goals. The internet is available in the room
for their research needs.

The professor circulates from group to group asking to see their list of goals and asking for
a report on their progress. Students have the opportunity to ask questions or have aspects
of the assignment clarified. The professor provides any needed direction and makes note of
any overlapping concerns that multiple groups might have.

The professor will touch base with each group at least twice during this working class
period.
Activity III: Progress Report
 At the end of the working session, each group will report out to the class on their progress.
This will also provide an opportunity for common issues/confusions/concerns to arise.

Groups are then given the last ten minutes of class to finalize a “game plan” for the
remainder of the project.
Day 3: Presentations
Activity I: Presentations
 Students deliver their group presentations to the class using video, handouts or the lyrics,
and any other presentation materials. Each group is given 15 minutes to present.


After each presentation, the class briefly discusses their reaction to the performance and
lyrics of the song and has the opportunity to ask the group questions.
The presentations take up the majority of the class time.
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Activity II: Reflection
 Students again write in their learning log reflecting on their experience completing this
project and hearing their classmates’ projects. Students are asked to reflect on what they
learned from this experience about the book and about themselves as learners. They are
also asked to reflect on what they might have changed about this assignment or what they
would have liked to do in addition to it.

If time allows, the professor will ask for volunteers to share their responses. The professor
will use these responses to revise the assignment for the following semester.
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ALTERNATIVE THEMES
THEME: ENVIRONMENT – WATER QUOTATIONS
"In an age when man has forgotten his origins and is blind even to his most essential needs for survival, water
along with other resources has become the victim of his indifference."
—Rachel Carson
“The cure for anything is salt water - sweat, tears, or the sea.”
—Isak Dinesen
"Don't you realize that the sea is the home of water? All water is off on a journey unless it's in the sea, and it's
homesick, and bound to make its way home someday."
—Zora Neale Hurston
"Civilization has been a permanent dialogue between human beings and water."
—Paolo Lugari
"Water is life's matter and matrix, mother and medium. There is no life without water.”
—Albert Szent-Gyorgyi
“I believe that water is the only drink for a wise man.”
—Henry David Thoreau
“Filthy water cannot be washed.”
—African Proverb
“Water and air, the two essential fluids on which all life depends, have become global garbage cans.”
—Jacques Cousteau
“Before enlightenment:
chop wood, carry water.
After enlightenment:
chop wood, carry water. ”
—Zen saying
“If you wish to drown, do not torture yourself with shallow water.”
—Bulgarian saying
“The deeper the waters are the more still they run.”
—Korean saying
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ENVIRONMENT – WATER READINGS
Books—Fiction; Nonfiction
Ansay, A. Manette. Blue Water. New York: Harper Perennial, 2006.Print.
Bergreen, Laurence. Over the Edge of the World: Magellan’s Terrifying Circumnavigation of the Globe.
New York: Harper Perennial, 2003. Print.
Boone, Sylvia Ardyn. Radiance from the Waters: Ideals of Feminine Beauty in Mende Art. New Haven:
Yale University Press, 1986. Print.
Cooley, Thomas. Back to the Lake: A Reader for Writers. New York: W. W. Norton & Company, Inc.,
2008.Print.
De Villiers, Marq. Water: The Fate of Our Most Precious Resource. New York: First Mariner Books,
2001.Print.
Flannery, Tim. The Weather Makers: How Man Is Changing the Climate and What It Means for Life on
Earth. New York: Grove Press, 2006.Print.
Glave, Dianne D. and Mark Stoll, Eds. “To Love the Wind and the Rain”: African Americans and
Environmental History. Pittsburgh: University of Pittsburgh Press, 2006. Print.
Gruen, Sarah. Water for Elephants. Chapel Hill, NC: Algonquin Books of Chapel Hill, 2007. Print.
Hamilton-Peterson, James. Seven-Tenths: The Sea and Its Thresholds. New York: Europa Editions,
2009. Print.
Harris, Eddy L. Mississippi Solo: A Memoir. New York: Henry Holt and Company, 1998. Print.
Hwa, Kim Dong. The Color of Water. New York: First Second, 2009. Print.
Ihimaera, Witi. The Whale Rider. New York: Harcourt Books, 1987. Print.
Jin, Ha. In the Pond. New York: Vintage, 2000.Print.
Jonnes, Jill. Conquering Gotham: Building Penn Station and Its Tunnels. New York: Penguin Books,
2006. Print.
Kehlmann, Daniel. Measuring the World. New York: Pantheon Books, 2006. Print.
Knechtel, John, ed. Water. Cambridge, MA: Alphabet City Press, 2009. Print.
Lopate, Phillip. Waterfront: A Journey Around Manhattan. New York: Crown Publishers, 2004.Print.
Lynch, Jim. The Highest Tide. New York: Bloomsbury, 2005. Print.
Martell, Yann. Life of Pi. Orlando: Random House, 2001. Print.
McBride, James. The Color of Water: A Black Man’s Tribute to His White Mother. New York: The
Berkley Publishing Group, 1996. Print.
Neufeld, Josh. A. D. New Orleans After the Deluge. New York: Pantheon Books, 2009. Print.
Nicholas, Denise. Freshwater Road. New York: Simon & Schuster, 2005. Print.
Purdy, John L. and James Ruppert, Eds. Nothing but the Truth: An Anthology of Native American
Literature. New Jersey: Prentice Hall, 2001. Print.
Simon, Paul. Tapped Out: The Coming world Crisis in Water and what We Can Do About It. New York:
Welcome Rain Publishers, 2001. Print.
Snitow, Alan and Deborah Kaufman with Michael Fox. Thirst: Fighting the Corporate Theft of Our
Water. Jossey-Bass/Wiley & Sons, 2007. Print.
Some, Malidoma Patrice. Of Water and the Spirit: Ritual, Magic, and Initiation in the Life of an African
Shaman. New York: Penguin, 1995. Print.
Tammet, Daniel. Born on a Blue Day: A Memoir. New York: Simon & Schuster, 2006. Print.
White, E. B. “Once More to the Lake.”
Wild Water: A Book of Postcards. San Francisco: Pomegranate, 2003. Print.
Willard, Nancy. The Left-Handed Story: Writing and the Writer’s Life. Ann Arbor: The University of
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Michigan Press, 2008. Print.
CDs
Watercolor: A Collection of Native American Flute Music. Bismarck, ND: Makoche Music/BMI, 2006.
CD.
A World of Water: Sound Effects. London: ASV Ltd., 2001. CD.
FILM
Big Easy to Big Empty: The Untold Story of the Drowning of New Orleans
Flow (documentary)
Frozen River
Like Water for Chocolate
Running Dry (documentary)
The American Southwest: Are We Running Dry? (documentary)
The Incredible Voyage of Bill Pinkney (documentary)
The Water Haulers (documentary)
The Whale Rider
Thirst (documentary)
Wade in the Water, Children
When the Levees Broke (documentary)
LINKS
http://www.adb.org/water/knowledge-center/multimedia.asp
Water for All: Knowledge Center – Multimedia Products
http://www.adb.org/Water/CFWS/Water-Voices-Videos.asp
Water voices documentary series
http://www.bbc.co.uk/worldservice/documentaries/2008/03/lg/080317_global_perspective_
one.shtml
Escaping the water wolf
http://www.cbc.ca/fifth/deadinthewater/index.html
Dead in the Water—how power companies tried to privatize a public resource around the world.
http://www.runningdry.org/americansouthwest/america.html
The American Southwest: Are We Running Dry?
http://www.runningdry.org/learn.html
On-Line Data Resources
http://www.thirstthemovie.org/book.html
Thirst – a groundbreaking new documentary film by Alan Snitow & Deborah Kaufman
http://www.theshapeofwatermovie.com/aboutfilm.html
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The Shape of Water is a feature documentary that tells the stories of powerful, imaginative and
visionary women confronting the destructive development of the Third World with new cultures
and a passion for change.
http://video.stumbleupon.com/#p=0k4lsi1dql
Autistic Savant—Stephen Wiltshire
http://witcombe.sbc.edu/water/literature.html
H20—the mystery, art and science of water
http://waterfortheages.wordpress.com/2007/10/14/short-film-on-water-privitization%E2%80%9Cdirty-aid-dirty-water%E2%80%9D/
Water for the Ages
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THEME: POWER OF STORY; SILENCE
STORY - SILENCE QUOTATIONS
“If my mother hadn’t had that look in her eye I would have protested. Even at four years old I
knew this wasn’t fair. But I also knew that look in my mother’s eye. A look that signified a line
not to be crossed.” Geoffrey Canada, Fist Stick Knife Gun (5)
“Of course, not all of the storytellers here were so young when they faced a door or a difficult
passage or, simply, the blank unknown. And not all serious challenges must involve life or death.
They don’t have to be loud and explosive to be dramatic or life-changing. Sometimes the choice is
a quiet one.” Barbara Summers, Open the Unusual Door (introduction)
“There was only silence. It was the silence of matter caught in the act and embarrassed. There
were no cells moving, and yet there were cells. I could see the shape of the land, how it lay holding
silence. Its poise and its stillness were unendurable, like the ring of silence you hear in your skull
when you’re little and notice you’re living, the ring which resumes later in life when you’re sick.”
Annie Dillard, Teaching a Stone to Talk (133)
“This is a story that has been waiting for me – and now I am old enough to tell it.”
–Ellen Douglas, Truth: Four Stories I Am Finally Old Enough To Tell (3)
“…a whole universe of understanding was missing.” Vernon E. Jordan, Jr. Vernon Can Read!: A
Memoir (11)
“Children of Japanese internees often speak of the difficulty of getting their parents to talk about
their wartime experience.” John Seabrook, “Spinach King”
“Forgetting is just another kind of remembering.” Robert Penn Warren, Brother to Dragons
“I try not to talk for a day, two or three.” Elie Wiesel
“…allow the silence to break through.” Oprah Winfrey
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