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CreditsImages within this Professional Guide are copyrighted © within their original components. All rights reserved.Page 5 photo courtesy Alfred W. Tatum.

Book CoversThe Absolutely True Diary of a Part-Time Indian by Sherman Alexie, illustrated by Ellen Forney. Text copyright © 2007 by Sherman Alexie. Illustrations copyright © 2007 by Ellen Forney. Published by Scholastic Inc. by arrangement with Little, Brown, a division of Hachette Book Group, Inc. All rights reserved.

Accidental Love by Gary Soto. Copyright © 2006 by Gary Soto. Published by Scholastic Inc. by arrangement with Harcourt, Inc. All rights reserved. Cover: Kelly Maze/Corbis, Jeff Lancaster.

Behind the Eyes by Francisco X. Stork. Copyright © 2006 by Francisco X. Stork. Published by Scholastic Inc. by arrangement with Penguin Group (USA) Inc. All rights reserved. Cover art by Tony Sahara.

The Boy Who Dared by Susan Campbell Bartoletti. Text copyright © 2008 by Susan Campbell Bartoletti. Published by Scholastic Inc. All rights reserved. Cover art by Phil Falco.

The Hunger Games by Suzanne Collins. Copyright © 2008 by Suzanne Collins. Published by Scholastic Inc. All rights reserved. Cover: Tim O’Brien.

Selected Poems from The Rose That Grew from Concrete by Tupac Shakur. Copyright © 1999 by The Estate of Tupac Shakur. Published by Scholastic Inc. by arrangement with Pocket Books, a division of Simon & Schuster, Inc. All rights reserved. Cover: Michael O’Neill/Outline.

Students on Strike: Jim Crow, Civil Rights, Brown, and Me by John A. Stokes with Lois Wolfe. Copyright © 2008 by John A. Stokes and Lois Wolfe and Herman J. Viola. Published by Scholastic Inc. by arrangement with National Geographic Society. All rights reserved. Cover: Richmond Times-Dispatch, John A. Stokes, Timothy Feresten.

Sunrise Over Fallujah by Walter Dean Myers. Copyright © 2008 by Walter Dean Myers. Cover illustration copyright © 2008 by Tim O’Brien. Published by Scholastic Inc. All rights reserved.

Acknowledgments“Chop” by Alfred Tatum from www.alfredtatum.com. Copyright © by Alfred Tatum. Reprinted by permission of the author. All rights reserved.

“So I Ain’t No Good Girl” from Who Am I Without Him? by Sharon G. Flake. Copyright © 2004 by Sharon G. Flake. Reprinted by permission of Disney Hyperion, an imprint of Disney Book Group, LLC.

“A Place Without Shame” by David Baraza from From Totems to Hip-Hop: A Multicultural Anthology of Poetry Across the Americas, 1900–2002 edited by Ishmael Reed. Copyright © by David Baraza. Reprinted by permission of the author.

“Indian Education” from The Lone Ranger and Tonto Fistfi ght in Heaven by Sherman Alexie. Copyright © 1993 by Sherman Alexie. Reprinted by permission of Grove/Atlantic, Inc.

“IU” from What I Know for Sure: My Story of Growing Up in America by Tavis Smiley and David Ritz. Copyright © 2006 by Tavis Smiley. Reprinted by permission of Random House, Inc.

“Kipling and I” by Jesús Colón. Copyright © by Jesús Colón. All rights reserved.

“I Should Be Dead” from In Confl ict: Iraq War Veterans Speak Out on Duty, Loss, and the Fight to Stay Alive by Yvonne Latty. Copyright © 2006 by Yvonne Latty. Reprinted by permission of PoliPointPress.

“Behind Bars” from Monster by Walter Dean Myers. Copyright © 1999 by Walter Dean Myers. Reprinted by permission of HarperCollins Publishers.

“Undertaker” from Close to Death: Poems by Patricia Smith. Copyright © 1993 by Patricia Smith. Reprinted by permission of Steerforth Press.

“Federico’s Ghost” from Rebellion Is the Circle of a Lover’s Hands by Martín Espada. Copyright © 1990 by Martín Espada. Reprinted by permission of Curbstone Press.

“A Poem for ‘Magic’” by Quincy Troupe from From Totems to Hip-Hop: A Multicultural Anthology of Poetry Across the Americas, 1900–2002. Copyright © 1984 by Quincy Troupe. Reprinted by permission of the author. All rights reserved.

“Boy Soldier” from A Long Way Gone: Memoirs of a Boy Soldier by Ishmael Beah. Copyright © 2007 by Ishmael Beah. Reprinted by permission of Farrar, Straus and Giroux, LLC. All rights reserved.

From Night by Elie Wiesel. Copyright © 1972, 1985 by Elie Wiesel. English translation copyright © 2006 by Marion Wiesel. Reprinted by permission of Farrar, Straus and Giroux, LLC.

“Dear Future Generations” by Luis Campos. Copyright © 2003 by Luis Campos. Reprinted by permission of the author.

From Come Hell or High Water: Hurricane Katrina and the Color of Disaster by Michael Eric Dyson. Copyright © 2007 by Michael Eric Dyson. Reprinted by permission of Basic Civitas Books, a member of the Perseus Books Group.

“Black Rage” lyrics by Abiodun Oyewole from The Last Poets CD Holy Terror. Copyright © by Abiodun Oyewole. Reprinted by permission of Tunes By Dune.

Junot Díaz quote copyright © by Junot Díaz. All rights reserved.

Anne Lamott quote from Bird by Bird: Some Instructions on Writing and Life by Anne Lamott. Copyright © 1994 by Anne Lamott. Reprinted by permission of Random House, Inc. All rights reserved.


No part of this publication may be reproduced in whole or in part, or stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without written permission of the

publisher. For more information regarding permission, write to Scholastic Inc., 557 Broadway, New York, NY 10012.

Acknowledgments appear on page 2, which constitutes an extension of this copyright page.

Copyright © 2010 by Scholastic Inc.

All rights reserved. Published by Scholastic Inc. Printed in the U.S.A.

ISBN-13: 978-0-545-20854-3

ISBN-10: 0-545-20854-8

SCHOLASTIC, ID: VOICE: VISION: IDENTITY™, and associated logos are trademarks and/or registered trademarks of Scholastic Inc.

1 2 3 4 5 6 7 8 9 10 40 19 18 17 16 15 14 13 12 11 10


The ID ClassroomDefi ning the Challenge .................................................... 6

Foundational Platforms ................................................... 7

Platform Framework Overview .................................... 8

Building Textual Lineages ............................................... 9

Writing and the AdolescentThe ID Invitation to Literacy ......................................... 10

Teaching to the Text ....................................................... 11

Writing for Their Lives ................................................... 12

Getting It Right ................................................................. 13

Teacher as WriterYou and ID ......................................................................... 14

Other Writers on Writing ............................................. 15

Program Components ......................................... 16

Using This Guide in the ID ClassroomLesson Overview and Sample Lesson.......................... 18

ID ResourcesTeacher Resource CD-ROM ........................................ 25

ID Slide Shows .................................................................. 26

ID Anthology ..................................................................... 27

ID Trade Book Collections for Extending

Textual Lineages ............................................................... 28

Running Successful Book Groups ................................. 29

ID Journal ........................................................................... 30

Assessing Young Authors ............................................... 31

Student Support Reproducibles .................................... 32

Implementation Plans for Engagement Across the Year ..................... 34

ID Platform 1: defi ne self ................................... 36Inquiry Lesson 1................................................................ 37

Inquiry Lesson 2................................................................ 45

Inquiry Lesson 3................................................................ 53

Inquiry Lesson 4................................................................ 61

Teacher as Writer ........................................................... 69

ID Platform 2: become resilient ..................... 70Inquiry Lesson 5................................................................ 71

Inquiry Lesson 6................................................................ 79

Inquiry Lesson 7................................................................ 87

Inquiry Lesson 8................................................................ 95

Teacher as Evaluator ....................................................... 103

ID Platform 3: engage others ........................... 104Inquiry Lesson 9................................................................ 105

Inquiry Lesson 10 ............................................................. 113

Inquiry Lesson 11 ............................................................. 121

Inquiry Lesson 12 ............................................................. 129

Read as Writers ................................................................ 137

ID Platform 4: build capacity............................ 138Inquiry Lesson 13 ............................................................. 139

Inquiry Lesson 14 ............................................................. 147

Inquiry Lesson 15 ............................................................. 155

Inquiry Lesson 16 ............................................................. 163

Using the ID Overview Charts ......................................... 171

ID Overview Charts ............................................................ 172

References ............................................................................. 176

Table of Contents

4 ID TABLE OF CONTENTS


buildothersdefine self

40 INDIAN EDUCATION

INDIAN

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FIRST GRADE

My hair was too short and my U.S. Govern-

ment glasses were horn-rimmed, ugly, and all

that fi rst winter in school, the other Indian

boys chased me from one corner of the play-

ground to the other. They pushed me down,

buried me in the snow until I couldn’t breathe,

thought I’d never breathe again.

They stole my glasses and threw them over

my head, around my outstretched hands, just

beyond my reach, until someone tripped me and

sent me falling again, facedown in the snow.

DEFINE SELF 41

EDUCATIONThe high school I play for

is nicknamed the “Indians,” and I’m probably the only actual Indian ever to play for a team

with such a mascot.

ID_Anthol_1_208.indd 41 4/15/10 10:23:31 AM

ANTHOLOGY

WRITING OPTIONS

EXTENSIONS

SLIDE SHOW

4WWO3

S1 2

THEME: self-expression

LESSON #4 ESSENTIAL QUESTION:

Why does personal expression matter?

After Raw Writing in

response to the slide show

and anthology selection, students will

have three options for further writing.

• WRITE A VIGNETTE

• EXAMINE BIAS: SURVEY QUESTIONS

• REFINE RAW WRITING

THE ABSOLUTELY TRUE DIARY OF A PART-TIME INDIAN—a novel by Sherman Alexie

Arnold, aka Junior, is encouraged to leave his

underserved reservation school to attend a

wealthy, all-white school in a neighboring town.

What will he discover about himself as he deals

with the inner confl ict of living in two worlds?

INDIAN EDUCATION—a short story by Sherman Alexie

Students will participate in a shared

reading of this short story, which

highlights defi ning moments—both

humorous and painful—of the

author’s schooling from fi rst through

twelfth grade.

Raw Write

in ID Journals.

IT’S PERSONAL

This slide show presents the

works and words of artists who

have found unique ways to express

themselves and comment on the

world around them.

Raw Write

in ID Journals.

61

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build othersdefine self d

SLIDE SHOW: ADDRESS AN ESSENTIAL QUESTIONSS1IT’S PERSONAL

SET UPPrepare to view the slide show for this session. Before sharing it, you may wish to print out

the slides for yourself and preview the notes for each one. These notes contain information

that not only supports the slides but also may serve to prompt student research or deepen

discussion of the issue being examined.

ID Slide Show 4 (IT’S PERSONAL)

VIEW SLIDE SHOWPlay the slide show. Invite students to react verbally to the images and information. Model

connecting the slide show content to contemporary or local events whenever possible.

Pause on the fi nal slide, which offers students scaffolding for responding to the essential question, as they address it in the discussion and Raw Write that follow.

DISCUSSPoint out that the slide show presents the works and words of several artists who have found

unique ways to express themselves and comment on the world around them.

Ask:• Which piece of art or artist’s statement did you fi nd most compelling? Why and how?

• What does each piece of art refl ect about the life or lives of the artists? What motivated these artists to create their unique works?

• How has creating the art affected the artist? What impact has the art had on those who view it?

ID

62


d d capacitybecome r

ID JOURNAL: PUT YOUR VOICE ON RECORD

TEACHER AS WRITER

Writing is a valuable avenue for connecting with your students. Through students’ writing, you will learn more about what they think and value. By opening up to them as a participant and revealing how you have used words to defi ne your experiences, you will encourage some students to connect with you on a new level, and others to open up for the very fi rst time.

Sometimes reluctant students hold back because they fear that their interests and opinions

don’t fi t in the classroom setting, or that school is not a forum for the practical realities

that they face. Try engaging these students by modeling some of your ideas and writing,

where appropriate, on real-life subjects that don’t normally come up in an academic

setting—childhood memories, socializing, everyday activities such as shopping or having fun.

RAW WRITE #1PROMPTIn your ID Journals, you and your students should capture ideas and reactions—in any writing

format—to the slide show and discussion. Writing may relate to imagery, information, literary

passages, and/or the inquiry itself. Writers can ask themselves:

• What can the act of creating art—visual or textual—make me feel? Think?

• How can I use it to contribute to or express my sense of self?

• What impact can my art have on the lives and thoughts of those around me?

• Why is art an important form of self-expression? What makes a good piece of art?

Allow time for participants to formulate their responses.

SHARE• Model appropriate discussion by sharing your own raw reaction to the slide show.

• Encourage volunteers to share their writing with partners or with the group.

• Solicit constructive feedback on each piece shared.

63



40 INDIAN EDUCATION

INDIAN

ID_Anthol_1_208.indd 40 4/15/10 10:23:30 AM

FIRST GRADE

My hair was too short and my U.S. Govern-

ment glasses were horn-rimmed, ugly, and all

that fi rst winter in school, the other Indian

boys chased me from one corner of the play-

ground to the other. They pushed me down,

buried me in the snow until I couldn’t breathe,

thought I’d never breathe again.

They stole my glasses and threw them over

my head, around my outstretched hands, just

beyond my reach, until someone tripped me and

sent me falling again, facedown in the snow.

DEFINE SELF 41

EDUCATIONThe high school I play for

is nicknamed the “Indians,” and I’m probably the only actual Indian ever to play for a team

with such a mascot.

ID_Anthol_1_208.indd 41 4/15/10 10:23:31 AM

ANTHOLOGY: READ WRITING THAT MATTERSAA2

REVISIT ANTHOLOGY

To Analyze Vocabulary: Call attention to Alexie’s use of precise vocabulary —little warrior, roared, symmetrical bruises (p. 42), intercepted, confi scated (p. 44), commodities (p. 50).

Ask:How do Alexie’s word choices add humor, emotion, or precise meaning to his work? Explain.

Have students use their ID Journals to collect words, notes, and ideas for their writing.

To Deepen Comprehension: Share with students the short piece on page 56 of the

ID Anthology. “The Power of a Joke” details how Dick Gregory used humor to cope with

neighborhood bullies and his feelings of being an outsider. Ask students to think about the

ways in which this short piece both speaks to and broadens the topic of self-expression.

READ ALOUDThis short story presents vignettes from each year of a young boy’s schooling, moments that

shape his thoughts and feelings toward his community and identity as a Native American.

Turn to page 41 in the ID Anthology and read as much of the selection as time allows. (This

selection contains mature content. You may wish to preview before reading aloud to students.)

DISCUSSPoint out that in “Indian Education,” Alexie uses short vignettes that typify the experiences

and personal insights his character gained each year in school. Rather than tell a detailed story,

these brief moments represent the impact of these experiences on his identity.

Prompt students to share their reactions to the short story. Invite them to discuss the literal

events of each vignette, as well as fi nd passages that reveal the section’s underlying message.

Ask: • Which vignette had the most impact on you? Why?

• What grabbed you the most—the author’s humor, dialogue, closing comments? Why?

• Alexie organizes these vignettes chronologically to reveal his evolving sense of identity. How does this organization help the reader track his developing sense of self? (Writer’s Craft: Organization)

Encourage students to discuss the short story using their established assessment language.

INDIAN EDUCATION—a short story by Sherman Alexie

64



ID JOURNAL: PUT YOUR VOICE ON RECORD

WRITER’S CRAFT MINI-LESSON: ORGANIZATION

A writer must create an internal structure to help the reader follow the ideas presented. One way to do this is to use a chronological structure with the help of temporal transition words.

Memorable writers• organize their ideas in a logical progression

• use transition words to connect ideas

• present a clear and satisfying conclusion

In “Indian Education,” Alexie divides his short story into vignettes, each representing one

year in school. Grade-level headings (e.g., First Grade) and internal transition words and

phrases (e.g., then, at that same moment, after that) clearly mark the passage of time. Ask

students how these words helped them follow the sequence of events in Alexie’s life and

what his choice of a chronological presentation contributed to the work’s overall message.

Invite students to point out other temporal markers that helped set up and clarify the

chronological order of events in the short story.

Ask: Why did the author choose this organization for his short story? Would another organizational system have worked as well? Why or why not?

If necessary, model this process by pointing out time-order words in the “Seventh Grade”

vignette (pp. 48–49)—later . . . on the day that—or the use of present tense in “Twelfth

Grade” (pp. 53–54) as examples of how Alexie relates his story and later refl ections

simultaneously.

RAW WRITE #2PROMPTAllow time for you and your students to respond to the short story in your ID Journals.

Encourage students to refer to ideas that most affected them, or to jot down quotes or words

that struck them as particularly powerful or humorous.

Remind students to be specifi c, and to avoid covering too many ideas. Encourage students to pay

particular attention to the emotional meaning or impact of the words or phrases that they use.

SHAREIf appropriate, to jump-start the interaction, share a piece of writing that you have been working

on. When ready, invite students to share and evaluate their own or another person’s writing.

65



WRITING OPTIONS: MOTIVATE, ENGAGE, GET SMARTER W3Students can choose to deepen their engagement with language by writing using similar literary

techniques to those of the anthology selection, researching a social justice issue, or refi ning a

piece of writing from their ID Journals.

OPTION 1: WRITE A VIGNETTEA vignette, like the ones that Alexie combined to create the short story “Indian Education,”

is a type of short writing that uses specifi c moments, like snapshots, to give the reader an

impression of a larger story, idea, or feeling. Support students’ understanding of this form with

prewriting questions:

• What specifi c scene will your vignette focus on? What is your literal content?

• What will your broader, underlying message or idea be? How will it be revealed by your

literal content?

• What is the personal signifi cance of your vignette?

• What emotional impact do you want this piece to have on the reader?

Student Support: ID Writing Resource 4 (Caught by the Lens: Vignette)

OPTION 2: EXAMINE BIAS: SURVEY QUESTIONSResearchers have discovered that young children who have not been exposed to racial

prejudices in their family or society are oblivious to the social baggage attached to race. So,

what causes racial bias? What is the root of these feelings, attitudes, or beliefs?

Ask students to work in small groups or individually to research and take notes on how and

when people develop racial or other kinds of bias. Then have them share and discuss:

• the origin of various biases and the ways that they are passed from person to person

• the biases that they observe in their communities, homes, and themselves

• the importance of recognizing, understanding, and correcting harmful prejudices

Have students use Try This on the Research Framework to extend their inquiry, developing

several interview or survey questions that they can use to learn more about people’s

assumptions and the role that biases play in their own communities.

Student Support: ID Research Framework 4 (Getting to the Root: Examine Bias); ID Research Worksheet

OPTION 2: REFINE RAW WRITINGChallenge students to refi ne a piece from their ID Journals. Encourage them to pay special

attention to the organization of the piece, and to “write as readers” by asking themselves: Is my message personally important? Have I organized the piece so the reader can follow and connect the ideas or events? Have I used words and phrases for humor, surprise, or emotional impact?

ID

ID

66



Find the key emotion; this

may be all you need to

know to fi nd your short story.

—F. Scott Fitzgerald

TAKE THE AUTHOR’S CHAIR In the ID Classroom, it is important that everyone has the opportunity to take the author’s

chair to share their work.

Start off this session by sharing one of your own pieces, encouraging students to critique your

work. Talk about how you might continue to revise your piece, based on students’ feedback.

Then challenge students to share and refi ne a piece of their own. As students occupy the

author’s chair, invite their peers to listen carefully, appreciate the work, and provide feedback

on its strengths, as well as one aspect that could benefi t from further development.

ASSESSMENT SUPPORT

Suggestions for the one who is sharing:

• If you chose to write a vignette, talk about how you chose the moment or event and

why it is personally meaningful. If you chose to write in another format, talk about how

you chose your organizational style.

• Note your feelings or overall impression of the moment or event.

• Identify specifi c areas of your writing to refi ne at a later date.

Suggestions for listeners:

• Try to identify the writer’s underlying message.

• Note moments of humor, surprise, or emotional impact.

Suggestions for critique and feedback:

• Is the writer’s message clear? Is the main idea clear? Is the organizational structure

appropriate to the piece?

• Does a clear voice come through?

• Does the writing incorporate details, images, or facts that help pull the reader in?

• Is the writing meaningful—to the writer, to the readers, and to the community outside

the classroom?

• Has the writer made careful word choices in this piece?

Encourage students to use their established assessment language.

Student Support: ID Assessment ResourceID

“”

67


build othersdefine self

4 EXTENSIONS: INVITATION TO LITERATURE

BOOK GROUP SUPPORT

Students may or may not read The Absolutely True Diary of a Part-Time Indian as a

culmination of this unit on self-expression.

Some students may still be working through another book with their book group or

independently.

For support on running your classroom book groups, see page 29 of this guide. As a

way to bring the whole class together, remind students of the other titles linked to this

platform, defi ne self:

• Accidental Love, by Gary Soto

• Sunrise Over Fallujah, by Walter Dean Myers

Encourage students to share text-to-text connections and insights, from both a writer’s

and a reader’s perspective.

SPOTLIGHT THE TRADE BOOKIn this book, Junior leaves his Spokane Indian reservation for an all-white school in a

neighboring town. Amidst tragedy and constant ridicule, he discovers his own inner strength

and identity. Pitch the book by reading a memorable section such as the one on pages 54–56

that begins “The next morning, Dad drove me the twenty-two miles to Reardon” and ends

“What was I doing in Reardon, whose mascot was an Indian, thereby making me the only

other Indian in town?”

Challenge students to observe as they read how self-expression, particularly writing and

drawing, help Junior learn about himself and enable him to resist outside forces that threaten

to control his identity.

READ AND DISCUSSReading and writing can take place independently, with a partner, or in small groups. (See Book

Group Support, below.) Discussion can be in small groups or with the whole class. This trade

book supports the target inquiry and provides additional support to students for reading and

writing in different forms and for different purposes and audiences.

Student Support: ID Book Guide The Absolutely True Diary of a Part-Time IndianID

THE ABSOLUTELY TRUE DIARY OF A PART-TIME INDIAN—a novel by Sherman Alexie

68


TEACHER AS WRITER

ID: voice: vision: identity makes it easy for teachers themselves to reengage in the

writing process. Teachers who share and engage in the process fi nd that it leads to a better

understanding of their students as well as themselves. Teachers as writers can engage in

dialogue about the process and share self-evaluation techniques with students.

As students discover their voice through writing, you too can explore Raw Writing in

response to the slide shows and ID Anthology selections. The slide shows are designed to

provoke reactions and engagement with issues beyond the classroom. Anthology selections

invite refl ection, response, and analysis. As a writer, you can model openness to explore and

willingness to share your reactions. The lines below are from a poem Alfred Tatum shared

with student writers at one of his AAAMSLI sessions.

ID PROFESSIONAL GUIDE: TEACHER AS WRITER

. . .

Maybe I can become the next poet

Maybe the next storyteller

As I continue to sit alone

With one voice, one pen

—Alfred Tatum

“

”69

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TM professional guide - Scholasticteacher.scholastic.com/products/id/pdf/materials/IDsample_lesson4.pdf · professional guide TM ... Page 5 photo courtesy Alfred W. Tatum. ... •