Advanced Placement literature content and topics: fiction, non-fiction, and poetry
  • Steinbeck’s Use of Nonfiction Sources in "The Grapes of Wrath"

    Created September 17, 2012
    Steinbeck image (women washing clothes)

    John Steinbeck’s use of nonfiction sources in writing The Grapes of Wrath is examined to illustrate how they affect the reader’s perception of a novel.

  • Walt Whitman to Langston Hughes: Poems for a Democracy

    Walt Whitman.

    Walt Whitman sought to create a new and distinctly American form of poetry. His efforts had a profound influence on subsequent generations of American poets. In this lesson, students will explore the historical context of Whitman's concept of "democratic poetry" by reading his poetry and prose and by examining daguerreotypes taken circa 1850. Next, students will compare the poetic concepts and techniques behind Whitman's "I Hear America Singing" and Langston Hughes' "Let America Be America Again," and will have an opportunity to apply similar concepts and techniques in creating a poem from their own experience.

  • Lesson 3: Navigating Modernism with J. Alfred Prufrock

    Planes, (subway) trains, automobiles and World War I

    In this lesson, students will explore the role of the individual in the modern world by closely reading and analyzing T.S. Eliot’s “The Love Song of J. Alfred Prufrock.”

  • Browning's "My Last Duchess" and Dramatic Monologue

    Robert Browning (1812–1889).

    Reading Robert Browning’s poem “My Last Duchess,” students will explore the use of dramatic monologue as a poetic form, where the speaker often reveals far more than intended.

  • Robert Frost's "Mending Wall": A Marriage of Poetic Form and Content

    Robert Frost

    Studying Robert Frost's "Mending Wall," students explore the intricate relationship between a poem's form and its content.

  • Analyzing Poetic Devices: Robert Hayden's "Those Winter Sundays" and Theodore Roethke's "My Papa's Waltz"

    Theodore Roethke and Robert Hayden.

    Students examine the relationship of poetic form and content, shaped by alliteration, consonance, repetition, and rhythm, in two poems about fatherhood: Robert Hayden's "Those Winter Sundays" and Theodore Roethke's "My Papa's Waltz."

  • The Impact of a Poem's Line Breaks: Enjambment and Gwendolyn Brooks' "We Real Cool"

    Gwendolyn Brooks.

    Students will learn about the impact of enjambment in Gwendolyn Brooks' short but far-reaching poem "We Real Cool." One element of this lesson plan that is bound to draw students in is this compelling video of working-class Bostonian John Ulrich reciting the poem (scroll down that web page to and click on the John Ulrich thumbnail).

    Lesson Plans: Grades 9-12
    Curriculum Unit

    Letters from Emily Dickinson: 'Will you be my preceptor?' (3 Lessons)

    Tools

    Share

    The Unit

    Overview

    In 1862, Emily Dickinson, one of the most innovative poets of the 19th century, ventured a letter to Thomas Wentworth Higginson, an editor, writer, and longtime contributor to the Atlantic Monthly who would become her long-time correspondent and mentor. She asked, "Are you too deeply occupied to say if my verse is alive?" Long perceived as a recluse who wrote purely in isolation, Dickinson in reality maintained many dynamic correspondences throughout her lifetime and specifically sought out dialogues on her poetry. These correspondences—both professional and private—reveal a poet keenly aware of the interdependent relationship between poet and reader.

    Similarly, Dickinson's letters expose a poet fully engaged in the process of crafting a persona. In another note to Higginson in the first year of their correspondence, Dickinson wrote, "When I state myself, as the representative of the verse, it does not mean me, but a supposed person." For students of writing, who often struggle to develop a distinctive voice, and then to modify that voice for different audiences, Dickinson's dialogues offer an instructive model. Ultimately, reading Emily Dickinson's letters alongside her poems helps students to better appreciate a remarkable voice in American literature, grasp how Dickinson perceived herself and her poetry, and-perhaps most relevant to their own endeavors—consider the ways in which a writer constructs a "supposed person."

    In this curriculum unit, students will explore Dickinson's poetry as well as her letters to Higginson and her sister-in-law Susan Huntington Gilbert Dickinson. They will work individually and in groups to reflect on Dickinson's views and the process by which she writes; assume the role of a critic/correspondent and analyze Dickinson's poetry, specifically noting the effectiveness of her persona; and, finally, emulate her writing style while, at the same time, synthesizing what they've learned about poetic voice in a poetry-writing exercise on "There's a certain Slant of light."

    Guiding Questions

    • How does Emily Dickinson perceive herself as a poet, especially as reflected by her correspondences with Thomas Wentworth Higginson and Susan Huntington Gilbert Dickinson?
    • In what ways does this perception manifest itself in her poetry?

    Learning Objectives

    • Recognize Emily Dickinson's poetic style
    • Engage in textual analysis and critical thinking
    • Reflect upon the concept of artistic persona and the creative process
    • Adjust their writing style to different purposes
    • Use imaginative writing techniques

    Preparation Instructions

    • For Lesson One, download the pdf worksheet, Emily Says, and cut out each individual quotation for distribution to student groups.
    • For Lesson Three, download and copy the PDF worksheet, Emulate Emily.
    • Re-read a number of Dickinson's poems to reacquaint yourself with her unique style. The poems used in this lesson are "Safe in their Alabaster Chambers" (216, 1859 and 1861 version), "They shut me up in Prose-" (613), "I dwell in Possibility-" (657), "There's a certain Slant of light" (258). More Dickinson poems are available at the Academy of American Poets or the American Verse Project. Note Dickinson's use of metaphors to express her ideas and her rejection of grammatical conventions, and her dependence on poetry to achieve understanding.
    • Since this lesson addresses Dickinson's persona, it is also helpful to review a few essays on how Dickinson is perceived today. You may want to read the Dickinson biography on the EDSITEment-reviewed website Academy of American Poets, and explore a few of the pieces, specifically Sandra Gilbert's essay, at Titanic Operas, Folio 1, available on the Dickinson Electronic Archives through the Academy of American Poets site. Central to this lesson is the well-known myth of Emily Dickinson as a ghost-like figure, dressed entirely in white and confined to her father's home in Amherst. Conversely, it's significant to note the extent of Dickinson's formal education and the value she placed on literature. Dickinson was well-versed in the poetry and prose of the 19th century, having read and appreciated, among others, the Brontës, Elizabeth Barrett Browning, Thomas Carlyle, and George Eliot. As you read the biographies, pay attention to disparate views. While some scholarship portrays Dickinson as a romantic, heartsick figure (i.e., as someone weak who was acted upon), more recent feminist readings tend to view her as deeply aware of the image she actively created of herself.
    • Read at least pages 444 through 447 of Emily Dickinson's Letters, Thomas Wentworth Higginson's article for the October 1891 issue of The Atlantic Monthly, at the EDSITEment-reviewed American Memory Project. Higginson excerpts many of Dickinson's letters to him in this piece. Consider the ways in which Dickinson simultaneously seeks Higginson's input and resists his recommendations. Also, note her particular writing style and think about her views on poetry. Her letters suggest that, for her, writing poetry was instinctive, but they also reveal that she understood her writing in the context of other literary works. (As you read this piece, know that Higginson corrected, so to speak, Dickinson's grammar when he published her letters. For a better look at her unadulterated style, see the manuscripts in the Dickinson Electronic Archives, discussed below.)
    • In his essay, Higginson writes, "Even her letters to me show her mainly on her exaltee side; and should a volume of her correspondence ever be printed, it is very desirable that it should contain some of her letters to friends of closer and more familiar intimacy." For a glimpse of this intimacy, explore the "Emily Dickinson Writing a Poem" site, part of the Dickinson Electronic Archives, which is available through the EDSITEment-reviewed Academy of American Poets. Read the "Introduction," the letters between Dickinson and her sister-in-law Susan, and the manuscript excerpts. Pay particular attention to how Sue comments on Dickinson's poetry, how Dickinson in turn responds to Sue's suggestions, and how she expresses an awareness of herself as a poet writing for a greater audience. Think about how this exchange is more personal than the one between Dickinson and Higginson.

    The Lessons

    The Basics

    Grade Level

    9-12

    Subject Areas
    • Literature and Language Arts > Place > American
    • Literature and Language Arts > Genre > AP Literature
    • History and Social Studies > People > Women
    • Literature and Language Arts > Genre > Poetry
    Skills
    • Creative writing
    • Critical analysis
    • Critical thinking
    • Discussion
    • Gathering, classifying and interpreting written, oral and visual information
    • Interpretation
    • Literary analysis
    • Making inferences and drawing conclusions
    • Poetry writing
    • Representing ideas and information orally, graphically and in writing
    • Textual analysis
    • Using primary sources

    Reference Shelf

    Evaluating Online Resources

    All sorts of information can be found on the Internet, including misinformation, false information, and sheer fabrication.

    No central authority reviews and verifies the content of web pages on the Internet. You as an individual are wholly responsible for evaluating the quality and validity of the information presented. Assessing Internet information, based on a few simple indicators can provide students in the humanities with constant practice in thinking critically about the nature of research and evidence.