• "Animal Farm": Allegory and the Art of Persuasion

    George Orwell, author of 1984.

    Allegories are similar to metaphors: in both the author uses one subject to represent another, seemingly unrelated, subject. However, unlike metaphors, which are generally short and contained within a few lines, an allegory extends its representation over the course of an entire story, novel, or poem. This lesson plan will introduce students to the concept of allegory by using George Orwell’s widely read novella, Animal Farm, which is available online through the EDSITEment-reviewed web resource Internet Public Library.

  • Lesson 1: Faulkner's The Sound and the Fury: Introduction

    Portrait of William Faulkner by Carl Van Vechten.

    Published in 1929, The Sound and the Fury is often referred to as William Faulkner's first work of genius. Faulkner's style is characterized by frequent time shifts, narrator shifts, unconventional punctuation and sentence structure, as well as a stream-of-consciousness technique that reveals the inner thoughts of characters to the reader. This curriculum unit will examine narrative structure and time, narrative voice/point of view, and symbolism throughout The Sound and the Fury.

  • Lesson 3: Faulkner's The Sound and the Fury: Narrating Quentin's Mental Breakdown

    Portrait of William Faulkner by Carl Van Vechten.

    In The Sound and The Fury, Faulkner's presentation of time is unique and complex, as the Quentin chapter symbolically opens with a description of Quentin's watch, which was given to him by his father.

  • Lesson 2: Faulkner's The Sound and the Fury: Benjy's Sense of Time and Narrative Voice

    Portrait of William Faulkner by Carl Van Vechten.

    In the first chapter of William Faulkner's emotionally charged novel, The Sound and the Fury, Benjy Compson, the severely retarded son who narrates this section, matters in a most profound sense. It is through his voice—childlike, detached, and often disorienting—that readers are confronted with the reality of time as a recurring motif and how time affects and informs human experiences.

  • Lesson 4: Faulkner's The Sound and the Fury: Narration, Voice, and the Compson Family's New System

    Portrait of William Faulkner by Carl Van Vechten.

    The third chapter of The Sound and the Fury is told from the perspective of Jason Compson, now the patriarchal head of the family, after his father's death, Quentin's suicide, and Caddy's abandonment of her own daughter (also named Quentin). His leadership does not bode well for keeping intact the remnants of the Compson family, ultimately indicating the passing of both the Old South at large and its one-time aristocratic families such as the Compsons.

  • Lesson 5: Faulkner's The Sound and the Fury: April Eighth, 1928: Narrating from an 'Ordered Place'?

    Portrait of William Faulkner by Carl Van Vechten.

    Faulkner's The Sound and the Fury perhaps best gains clarity and meaning in its final chapter, which uniquely is narrated in the third person, omniscient narrative style. The final chapter, often referred to as the "Dilsey chapter" maintains a present, linear narrative that begins to shed light on the events of the preceding three chapters.

  • Introducing Jane Eyre: An Unlikely Victorian Heroine

    Charlotte Brontë

    Through their interpretation of primary documents that reflect Victorian ideals, students can learn the cultural expectations for and limitations placed on Victorian women and then contemplate the writer Charlotte Brontë's position in that context. Then, through an examination of the opening chapters of Jane Eyre, students will evaluate Jane's status as an unconventional Victorian heroine.

  • Personal or Social Tragedy? A Close Reading of Edith Wharton's Ethan Frome

    Edith Wharton at her writing desk.

    Students practice strategies of "close reading" in order to understand Edith Wharton's gripping tragedy about an unhappy marriage set against the stark backdrop of rural New England.

  • Jane Austen's "Pride and Prejudice": The Novel as Historical Source

    A contemporary portrait of Jane Austen based on an original drawing by Jane's  sister Cassandra.

    Jane Austen's classic novel offers insights into life in early nineteenth-century England. This lesson, focusing on class and the status of women, teaches students how to use a work of fiction as a primary source in the study of history.

    Lesson Plans: Grades 9-12
    Curriculum Unit

    Faulkner's As I Lay Dying: Form of a Funeral (5 Lessons)

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    The Unit

    Overview

    "The reason for living was to get ready to stay dead for a long time" -- Addie Bundren in Faulkner's As I Lay Dying

    William Faulkner's self-proclaimed masterpiece, As I Lay Dying, originally published in 1930, is a fascinating exploration of the many voices found in a Southern family and community. The following lesson examines the novel's use of multiple voices in its narrative. Faulkner:

    often told his stories using multiple narratives, each with their own interests and biases, who allow us to piece together the 'true' circumstances of the story, not as clues in a mystery, but as different melodies in a piece of music that form a crescendo. The conclusion presents a key to understanding the broad panorama surrounding the central event in a way that traditional linear narratives simply are unable to accomplish.
    Evan Goodwin on Faulkner

    The novel's title—As I Lay Dying—invokes a first-person speaker, presumably the voice of the dead mother, Addie Bundren. Yet she only speaks once in the novel, and she is dead, not dying, throughout most of the novel (aside from the beginning chapters). How does Faulkner's form for the novel—a series of competing voices and perspectives presented as a multiple-voice narrative—work for or against the novel's title?

    Students will also explore the context of the novel, examine background information on social and economic conditions in the rural South in the first decades of the twentieth century. This background will enable the teacher and students to "place" Faulkner's novel historically and sociologically; Faulkner wrote about his own time and a place he knew well. Faulkner's life will be presented, briefly, so that parallels can be drawn between his life and the life depicted in the text. Faulkner grew up in a small Mississippi town in a middle-class family and saw in his surroundings perfect models for characters like the Bundren family and their neighbors. In the lessons of this curriculum unit, students will

    • Explore the use of multiple voices in narration
    • Learn about the social and economic conditions of the rural South in the 1920s and about William Faulkner's life.
    • Read, annotate, and discuss the text in class, individually and in groups.

    Guiding Questions

    • How does Faulkner's form for the novel—a series of competing voices and perspectives presented as a multiple-voice narrative—work for or against the novel's title?
    • What does the final portrait of the Bundrens look like? Are they as rotten as Addie's corpse, full of despair and dissolution? Or are they a tribute to the vigor and resolve of a Southern family, who successfully complete an overwhelming task? Does Faulkner truly resolve this issue?

    Learning Objectives

    • Define Faulkner's place in American literary history
    • Describe Faulkner's "South" in the context of the historical South
    • Understand and explore the use of multiple voices in narration
    • Examine the Bundren family through the subjective evidence provided by a multiplicity of characters

    Preparation Instructions

    Review the lesson plan. Locate and bookmark suggested materials and other useful websites. Download and print out documents you will use and duplicate copies as necessary for student viewing.

    Download, print, and copy the PDF used in Lesson 2.

    Voice:

    The voice of the narrator helps shape the way that readers encounter the story. The voice can reveal the narrative point-of-view, the background of the speaker (such as education level, social standing, and so on), and the relationship of the narrator to others in the story. An omniscient narrator, for example, often gives the impression of authorial investment and oversight, but maintains distance from the characters. A character speaking from his own point-of-view, however, creates a sense of a limited but intimate perspective. Faulkner's ability to shift narrative voice in As I Lay Dying results in a rich tapestry of often competing perspectives, where information is doled out in small bits, left to the reader to piece together in an understanding of the larger (yet not complete) family portrait of the Bundrens.

    Review with your students a basic introduction to literary terms, including "point of view," or distribute a student handout on literary terms that is available at Purdue's Online Writing Lab, via the EDSITEment-reviewed Internet Public Library.

    William Faulkner on the Web, available via EDSITEment-reviewed Internet Public Library, is the strongest representative of William Faulkner materials online. Below are a few key sections of the website that might prove helpful in teaching this lesson:

    • Commentary on As I Lay Dying
    • Bundren Genealogy, which gives an overview of the immediate Bundren family unit (note: click on the names in the image to get more information).
    • Character List for As I Lay Dying, with links to descriptions
    • WFotW links to William Faulkner (1897-1962) from the Instructor's Guide for The Heath Anthology of American Literature (3rd ed.). While the Heath deals with Faulkner's short stories, the introductory material might prove useful for preparation.

    A general review of Literature in the American South is available through the EDSITEment-reviewed website Documenting the American South. While not specific to As I Lay Dying (although it does discuss other Faulkner novels), the section Civil War discusses representations of the Civil War in literature in a manner immediately relevant to the study of Faulkner's work:

    But the southern writer … has been less concerned to reconstruct the actual time of the struggle than to recount the consequent loss of the antebellum southern culture and, in the response to this loss, the creation of a postbellum culture of survival.
    [from Civil War, Encyclopedia of Southern Culture edited by Charles Reagan Wilson and William Ferris.]

    The section Humor provides details on many aspects of the amusing and the grotesque often found in Southern literature, attributes obvious in Faulkner's As I Lay Dying:

    Southern humor, like much of the best southern writing in general, has been boisterous and physical, often grotesque, and generally realistic. On the whole, it has no doubt been better received and more appreciated outside the region than in it … William Faulkner was certainly a puzzle to the people of Oxford in his time. Writing has never been a particularly admired occupation in the South, and its comic writers, as well as the most perceptive serious writers, have singled out aspects of southern culture that many southerners would sooner forget. This combination has produced what many southern readers would no doubt characterize as a literature of betrayal.
    (From Humor, Encyclopedia of Southern Culture edited by Charles Reagan Wilson and William Ferris.)

    The Lessons

    The Basics

    Grade Level

    9-12

    Subject Areas
    • Literature and Language Arts > Place > American
    • Literature and Language Arts > Genre > Common Core
    • Literature and Language Arts > Genre > Novels
    Skills
    • Critical analysis
    • Critical thinking
    • Discussion
    • Gathering, classifying and interpreting written, oral and visual information
    • Internet skills
    • Interpretation
    • Literary analysis
    • Making inferences and drawing conclusions
    • Writing skills