Close Reading Assignment
Julio Cortázar, Continuadad de los Parques (Continuity of Parks), Grades 11/12 or
Advanced Spanish Class (Spanish IV, AP Language, or AP Lit)
Learning Objective: the objective of this lesson plan is to introduce students to magical realism. This writing style is presented in the
close reading selection, “The Continuity of the Parks” by Julio Cortázar. In this short story, students will explore the elements
portrayed in magical realism. Through close reading, students will be able to identify the characteristics of magical realism, and
distinguish how the real world blends with fictional elements, which gives the story a sense of continuity. Moreover, students will
acquire new vocabulary embedded in the story and perform activities that will help them determine the relevance of the characters,
setting, and plot of the story. By writing an ending or continuation of the story, students will reaffirm their understanding of
Cortázar’s work and writing style.
Reading Task: in the first day of the close reading lesson, students will first read the short story independently. Subsequently,
students will listen to an audio clip that introduces Julio Cortázar reading “The Continuity of the Parks.” Students will follow along
the text as they listen to the recording. On the second day of the lesson, students will begin by rereading the text individually.
Reading the short story a second time will help the students to enhance comprehension and fluency. It will also prepare them to
answer the set of text-dependent questions. Previous to beginning a class discussion, a skillful reader will read the passage out loud;
meanwhile, the students follow along.
Vocabulary Task: The instructor will make sure to include translation of new vocabulary in the text in order to facilitate
comprehension of text. Students then should be able to understand a general meaning of the sentences through connection of the
words they know and the sideline translations provided by the teacher. During text introduction on Day I, the teacher will introduce
new vocabulary words and will explain their meaning to the students.
Sentence Syntax Task: Students will be allowed time to read the text a first time and will be instructed to read for word
comprehension. This will be followed by the listening activity, which will further their comprehension of words and how to properly
use them in a sentence to result in meaning. During the two days’ activities, the instructor will provide the students with
opportunities to ask questions about the text, vocabulary and/or meaning of the text. The teacher will also assess students’
comprehension by walking around the classroom and listening to students’ discussion during the activities, allowing the teacher to
individually help struggling students. The writing activity will also allow students the opportunity to experiment with difficult
sentences and to develop their own ideas from them.
Discussion Task: Students will discuss the reading in the target language as a class and in pairs, giving students the opportunity to
practice expressing opinions and also to use a variety of tenses (the past to describe what happened, the literary present, and the
future to make predictions). They will return to the text for the answers to the questions and consider the text on a literal and
symbolic level, as well as how it fits into the literary framework of magical realism. This lesson will give students practice in
approaching complex texts that are not straightforward as well as the opportunity to discuss their own opinions about such texts in
Spanish.
Writing Task: Students will write a narrative continuing or changing the reading. They will also need to write an explanatory
paragraph explaining why they chose that specific change or end to the story based on inferences from the original reading.
Students can be given the opportunity to share their passages and explanations with the class, which would allow them to see how
different inferences might lead to varying conclusions or interpretations. This writing activity also provides students with an
engaging opportunity to write in a fictional format in the target language, since it will only be graded for completion, not
grammatical correctness.
Outline of Lesson plan: This lesson can be completed in two days with an advanced Spanish class. If students need additional time
for reflection, another half day or third day might be used.
Standards Addressed: This lesson addresses the following Common Core State Standards (from English Language Arts)
Reading Standards For Literature, Grades 11-12
 1. Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text,
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including determining where the text leaves matters uncertain.
2. Determine two or more themes or central ideas of a text and analyze their development over the course of the text, including how they
interact and build on one another to produce a complex account; provide an objective summary of the text.
4. Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the
impact of specific word choices on meaning and tone, including words with multiple meanings or language that is particularly fresh,
engaging, or beautiful. (Include Shakespeare as well as other authors.)
5. Analyze how an author’s choices concerning how to structure specific parts of a text (e.g., the choice of where to begin or end a story,
the choice to provide a comedic or tragic resolution) contribute to its overall structure and meaning as well as its aesthetic impact.
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10. By the end of grade 11, read and comprehend literature, including stories, dramas, and poems, in the grades 11–CCR text complexity
band proficiently, with scaffolding as needed at the high end of the range. By the end of grade 12, read and comprehend literature,
including stories, dramas, and poems, at the high end of the grades 11–CCR text complexity band independently and proficiently.
Writing Standards, Grades 11-12
 3. Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured
event sequences.
o B. Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences,
events, and/or characters.
o C. Use a variety of techniques to sequence events so that they build on one another to create a coherent whole and build toward a
particular tone and outcome (e.g., a sense of mystery, suspense, growth, or resolution).
o D. Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events,
setting, and/or characters.
o E. Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the
narrative.
Speaking and Listening Standards, Grades 11-12
 1. Initiate and participate effectively in a range of collaborative discussions (one- on-one, in groups, and teacher-led) with diverse partners
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on grades 11–12 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.
o c. Propel conversations by posing and responding to questions that probe reasoning and evidence; ensure a hearing for a full range
of positions on a topic or issue; clarify, verify, or challenge ideas and conclusions; and promote divergent and creative
perspectives.
o d. Respond thoughtfully to diverse perspectives; synthesize comments, claims, and evidence made on all sides of an issue; resolve
contradictions when possible; and determine what additional information or research is required to deepen the investigation or
complete the task.
2. Integrate multiple sources of information presented in diverse formats and media (e.g., visually, quantitatively, orally) in order to make
informed decisions and solve problems, evaluating the credibility and accuracy of each source and noting any discrepancies among the
data.
3. Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, assessing the stance, premises, links among ideas, word
choice, points of emphasis, and tone used.
6. Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English (Spanish) when indicated or appropriate.
Day One: Julio Cortázar’s Continuidad de los Parques (Continuity of Parks)
Summary of Activities (60-minute class)
1. Teacher introduces the passage with brief commentary, touching on the tenets of realismo mágico (magical realism).
Students then will read the whole short story independently. (10 minutes)
2. Class listens to a recording of author reading the passage out loud with students following along. (5 minutes)
3. Teacher asks the class to discuss the first set of text-dependent questions and performs targeted tasks about the passage,
with answers in the form of notes, annotations to the text, or more formal responses as appropriate. (35 minutes)
4. Students work in pairs or groups to illustrate 1-3 sentences of the passage and present their illustrations in order to the rest
of the class (10 minutes)
GROUP NOTE: In a “real” lesson plan, the text on the left side would be in Spanish, and the vocabulary (translated into English) would
be in the middle column. Because we are using the translated text on the left side, we will be putting the original Spanish vocabulary
words in the middle column.
Day Two: Julio Cortázar’s Continuidad de los Parques (Continuity of Parks)
Summary of Activities (60-minute class)
1. Teacher introduces the day’s passage with brief commentary. Students then will read the passage independently. (5 minutes)
2. High-level reader reads the section of the passage to be discussed out loud to the class with students following along. (5
minutes)
3. Teacher asks the class to discuss the first set of text-dependent questions and performs targeted tasks about the passage,
with answers in the form of notes, annotations to the text, or more formal responses as appropriate. (30 minutes)
4. Teacher then assigns a written response that asks students to write either their own ending to the story or a continuation of
the story. Students will have to justify their selection with a well-reasoned paragraph using inferences from the text. If there
is time and interest, students may volunteer to share their narratives with the class. (20 minutes)
Text Passage Under Discussion
Vocabulary
Directions for Teachers/Guiding Questions for Students
Students listen to an audio that introduces Julio Cortázar reading “The Continuity of the
He had begun to read the
novel a few days before. He had put
it aside because of some urgent
business, opened it again on his
way back to the estate by train; he
allowed himself a slowly growing
interest in the plot, in the drawing
of characters. That afternoon, after
writing a letter to his agent and
discussing with the manager of his
estate a matter of sharecropping,
he returned to the book in the
tranquility of his study which
looked out upon the park with its
oaks. Sprawled in his favorite
armchair, with his back to the door,
which would otherwise have
bothered him as an irritating
possibility for intrusions, he let his
left hand caress once and again the
green velvet upholstery and set to
reading the final chapters. Without
effort his memory retained the
names and images of the
protagonists; the illusion took hold
of him almost at once. He tasted
the almost perverse pleasure of
disengaging himself line by line
from all that surrounded him, and
feeling at the same time that his
Parks.” This audio will enhance auditory learners’ understanding of the short story.
Moreover, through this audio, students are able to listen to the intonation,
pronunciation and fluency of the language.
http://www.youtube.com/watch?v=vpY7c5z8diQ
apoderado
aparcerías
robles
Arellando
1. (Q)Describe the events that took place before the main character in the short story
manages to find time and serenity to read the novel.
(A)The reader had to put the novel aside for a few days because of some important
business. When he was traveling to his state, he read in the train. Finally, he found time
to sit down to read comfortably in his study.
2. (Q) How does the reader in the story feel about the act of reading?
(A) He enjoys it immensely and makes time for it in his busy schedule. He “sprawls” in
his “favorite chair” and keeps his back to the door so as not to be bothered by “the
possibility for intrusions.” He “caresses” his chair and takes “almost perverse pleasure”
in reading. He feels powerful when he reads, able to lose himself in the story while still
feeling very in control of his immediate physical surroundings, or so he thinks.
3. (Q) To what class and time period does the reader in this story belong? How do you
know?
(A) The reader in this story is a wealthy gentleman who lived in the relatively recent
past, though maybe not in the present day. The text refers to “urgent business,” his
“estate” “agent” and a luxurious study. The reader lived in a time after the industrial
revolution, as evidenced by the reference to his trip on a train, but the text also refers to
“sharecropping,” which isn’t term used very often in the present age.
4. (Q)Taking into consideration the title of the short story, what does the word
“continuity” refer to?
(A) The word continuity refers to the connection between the fictional events that occur
in the novel and the real events that the reader is living.
desgajando
5. (Q) How is the concept of “fictional illusion” (la ilusion novelesca) presented in this
passage? Consider whether it is seen as positive or negative and provide examples from
the text to support your position.
head was relaxing comfortably
against the green velvet of the
armchair with its high back, that the
cigarettes were still within reach of
his hand, that beyond the great
windows the afternoon air danced
under the oak trees in the park.
Word by word, immersed in the
sordid dilemma of the hero and
heroine, letting himself go toward
where the images came together
and took on color and movement,
he was witness to the final
encounter in the mountain cabin.
The woman arrived first,
apprehensive; now the lover came
in, his face cut by the backlash of a
branch. Admirably she healed the
blood with her kisses, but he
rebuffed her caresses, he had not
come to repeat the ceremonies of a
secret passion, protected by a
world of dry leaves and furtive
paths through the forest. The
dagger warmed itself against his
chest, and underneath pounded
liberty, crouching. A lustful,
yearning dialogue raced down the
pages like a rivulet of snakes, and
one felt it had all been decided
disyuntiva
(A) Some possible answers might be:
- “Fictional illusion” is not really any illusion at all, but a powerful force with the
possibility to be good or bad. Reading is something that directly affects the reader and
the reader’s world. Ex: the reader becomes a character within the novel itself and his life
is in danger as a result of reading.
- The “fictional illusion” here is a negative force that puts the reader’s life in danger. Ex:
the dialogue is described as a “rivulet snakes” and the snake is a symbol for evil. The
reader is also described as taking “perverse pleasure” in his reading, giving it a negative
connotation.
Activity: Break students up into 9 groups (or 13 for the whole passage). Assign each
group a small section of the passage, 2-3 sentences. Have each group draw an
illustration of the action or ideas discussed in those sentences and present to the class in
order.
DAY II
recelosa
chicotazo
restañaba
puñal
agazapada
anhelante
6. (Q) What emotions is the “lover” feeling right now? Why is that important?
(A) The lover is feeling an intense mix of emotions. He feels good thanks to the woman’s
help but he is also in pain. Cortázar takes us on a varied journey of feelings, all across an
extreme emotional spectrum. We are passengers, along for the ride.
7. (Q) Quote from the text the sentences (if any) that disclosed the ‘twist ending’ of the
story?
(A) Earlier the author mentions “oak trees” when describing the environment
surrounding the main character, then later on the author describes “now the lover came
in, his face cut by the backlash of a branch” and “until he could distinguish in the
yellowish mist of dusk the avenue of trees leading up to the house”, which could be
giving clues as to the similar location of both stories and how it is actually just one same
story.
8. (Q) Depict the feelings that the main character shows when he is reading the novel.
(A) The reader is enjoying every line of the book. Unintentionally, he seems to feel the
pleasure of losing himself in the reading, but the green velvet armchair brings him back
from eternity. Even those caresses
which writhed about the lover's
body, as though wishing to keep
him there, to dissuade him from it,
sketched abominably the figure of
that other body it was necessary to
destroy. Nothing had been
forgotten: alibis, unforeseen
hazards, possible mistakes. From
this hour on, each instant had its
use minutely assigned. The coldblooded, double re-examination of
the details was barely interrupted
for a hand to caress a cheek. It was
beginning to get dark.
Without looking at each other
now, rigidly fixed upon the task
which awaited them, they
separated at the cabin door. She
was to follow the trail that led
north. On the path leading in the
opposite direction, he turned for a
moment to watch her running with
her hair let loose. He ran in turn,
taking cover among the trees and
hedges until he could distinguish in
the yellowish mist of dusk the
avenue of trees leading up to the
house. The dogs were not supposed
to reality.
Activity [Think-Pair-Share]: In pairs pretend you are the two characters. Each one
discusses what you are feeling at this point in the story. What do you think will happen
to you (and your partner) next? Why? Share out with class.
coartadas
9. (Q) In such a short story, Cortázar devotes a full sentence to a seemingly irrelevant
idea—the dogs were not supposed to bark, and they did not bark. Why?
(A) He spends time on this because the sentence has greater implications for the entire
story. We are reading about a man who is reading a story about himself; in other words.
Just as it is complicated, the story is scripted. By showing us that everything seems to be
happening in a planned order, we are learning the scripted nature of the story.
10. (Q) At the end of the short story, the fictional world blends in with the real world.
What is the object that allows the reader to know that both worlds have blended in?
Explain why.
(A) The armchair covered in green velvet gives the idea that both worlds have blended
in. The fact that this object is described in the story three times allows the reader to
realize that the stories have connected.
11. (Q) Consider Cortázar’s use of magical realism. Given that, what makes “time”
unique?
(A) Magical realism does not follow a delineated time-ordered structure. In magical
realism, events can and do frequently jump around. This explicitly chronological use of
time serves as a noticeable contrast to the regular inconsistencies of time in Cortázar’s
writing. He puts us on a very clear path as we read the next section.
12. (Q) When did you notice the actual ending of the story?
parapetándose (A) I did not realize that the main character was reading a story about him until the very
end of the story when the ‘lover’ sees the main character seating on the armchair. I was
malva
very shocked and surprised by it, but then I realized that it all made sense and that the
author had in fact given clues about this ending, but they were very subtle clues.
alameda
13. (Q) What directions did the woman give his lover to follow when they separated in
to bark, and they did not bark. The
estate manager would not be there
at this hour, and he was not. He
went up the three porch steps and
entered. Through the blood
galloping in his ears came the
woman's words: first a blue parlor,
then a gallery, then a carpeted
stairway. At the top, two doors. No
one in the first bedroom, no one in
the second. The door of the salon,
and then the knife in his hand, the
light from the great windows, the
high back of an armchair covered in
green velvet, the head of the man
in the chair reading a novel.
the cabin?
(A) She told him to go up the porch and enter. That he would see a blue parlor followed
by a gallery and a stairway. She told him to go upstairs and find him in any room that he
would be
Activity (in groups of 3): discuss 3 things that caught your attention in the text. Share 2
interesting things that you learn from the text. Come together as a group with 1
question that you may still have. The question can be related to comprehension, the
text, the author or the concept of “fictional illusion”.
Narrative Wiring Assignment: Directions for Teachers and Students
Explanation of Writing Prompt:
Taking into account the series of events that happened in “Continuity of the Parks,” students will develop an ending or continuation of the story.
They will write a well-reasoned and organized passage (at least a paragraph) using a variety of strong details. Students will need to explain how
they decided on their ending or continuation by supporting their choices with specific parts of the original text. If the teacher perceives students
struggling to write a conclusion for the story, he or she might suggest the students to brainstorm ideas before beginning writing the paragraph.
Also, the teacher may work with students’ individually in order to help them draw possible considerations for the ending.
Student Prompt:
The open-endedness of the selected short story leaves the ending to the readers’ imagination. Write a coherent paragraph that serves as the
ending or continuation of Cortázar’s story. Explain why you think this is a possible ending to the story by supporting your choices with a specific
quote (or quotes) from the original story. As you are writing, take into consideration Cortázar’s usage of magical realism in the story.
Alternate Assignment:
Assuming the author expressed his own personal opinions in this piece, write a paragraph in which you explain what Cortázar thinks of reading
using this passage as a reference. Consider whether or not he thinks of reading as something positive or something negative and how it may or
may not have an effect on the reader.