AP Lang
Poe and Perkins Gilman Journal
POE--I will model this in class. You should make note of what I do. If you miss class Friday, you should get good notes from someone you trust.
1. Read
the Poe first. Because you may be familiar with the storyline, make
sure you note any surprises or elements of the story you don’t
remember. Take the general notes than any good critical reader does and record them in your reading journal. (This may be a good time to go back and look at those guidelines.☺)
2. Pay
careful attention to Poe’s language. Note the level of vocabulary, the
diction choices in establishing and maintaining a mood, the assonance
and alliteration and consonance. (Look up those terms, if necessary, to
be sure you know what you’re looking for. ☺)
3. Finally,
chart the rhythm and pace in the entire story. Make sure you use
specific descriptors here. Also note the use of loose (sentences that
are constructed in a S-V grammatical structure) and periodic (sentences that
force the reader to wait until the end for the S-V) sentences. Make
note of what is happening in the plot in relation to the pace and rhythm
and sentence types.
PERKINS GILMAN--You will read this on your own. Make the same kind of notes, using the same kind of close reading that I modeled for you.
1. Read the Gilman. I strongly urge you to read it at least three times. Note the obvious
connections between the two stories, and be very specific.
2. Note the significant departures from Poe in the Gilman.
3. As the narrator begins to interpret the wallpaper, she becomes wholly taken up with
figuring it out. She says that her life “is very much more exciting now than it used to be.
You see I have something more to expect, to look forward to, to watch.” A bit later she
says, “I don’t want anybody to get that woman out at night but myself.” Finally, she
concludes with a confusion of pronouns that merges into a grammatical statement of
identity:
As soon as it was moonlight and that poor thing began to crawl and shake the pattern, I got up and ran to help her.
I pulled and she shook, and I shook and she pulled, and before morning we had peeled off yards of that paper.
What do you make of that? “I don’t know” is, obviously, an unacceptable answer.
Use what we’ve discussed with Nabokov and Perrine to try to come up with a plausible
answer to what’s going on in this story.
Come to class with answers to ALL of the questions.. It should be your best attempt at CRITICAL READING and analysis. Come to class knowing what you want to discuss in order to understand these stories AND critical reading.
