TM
professional guide
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Credits
Images within this Professional Guide are copyrighted © within their original components. All rights reserved.
Page 5 photo courtesy Alfred W. Tatum.
Book Covers
The 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 Fistfight 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 Conflict: 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.
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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.
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Table of Contents
The ID Classroom
Defining the Challenge .................................................... 6
Foundational Platforms ................................................... 7
Platform Framework Overview .................................... 8
Building Textual Lineages ............................................... 9
Writing and the Adolescent
The ID Invitation to Literacy ......................................... 10
Teaching to the Text ....................................................... 11
Writing for Their Lives ................................................... 12
Getting It Right ................................................................. 13
Teacher as Writer
You and ID......................................................................... 14
Other Writers on Writing............................................. 15
Program Components......................................... 16
Using This Guide in the ID Classroom
Lesson Overview and Sample Lesson.......................... 18
ID Resources
Teacher 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
ID Platform 1: define self ................................... 36
Inquiry Lesson 1................................................................ 37
Inquiry Lesson 2................................................................ 45
Inquiry Lesson 3................................................................ 53
Inquiry Lesson 4................................................................ 61
Teacher as Writer ........................................................... 69
ID Platform 2: become resilient ..................... 70
Inquiry Lesson 5................................................................ 71
Inquiry Lesson 6................................................................ 79
Inquiry Lesson 7................................................................ 87
Inquiry Lesson 8................................................................ 95
Teacher as Evaluator ....................................................... 103
ID Platform 3: engage others........................... 104
Inquiry Lesson 9................................................................ 105
Inquiry Lesson 10 ............................................................. 113
Inquiry Lesson 11 ............................................................. 121
Inquiry Lesson 12 ............................................................. 129
Read as Writers................................................................ 137
ID Platform 4: build capacity............................ 138
Inquiry 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
Implementation Plans for
Engagement Across the Year ..................... 34
4 ID TABLE OF CONTENTS
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1
SLIDE
S
SHOW
2
ANTHOLOGY
INDIAN EDUCATION
The 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.
FIRST GRADE
My hair was too short and my U.S. Government glasses were horn-rimmed, ugly, and all
that first winter in school, the other Indian
boys chased me from one corner of the playground 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.
40
DEFINE SELF
INDIAN EDUCATION
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INDIAN EDUCATION
—a short story by Sherman Alexie
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.
3
WRITING
W
OPTIONS
O
Students will participate in a shared
reading of this short story, which
highlights defining moments—both
humorous and painful—of the
author’s schooling from first through
twelfth grade.
THEME:
self-expression
LESSON #4 ESSENTIAL QUESTION:
Raw Write
in ID Journals.
Why does personal
expression matter?
EXTENSIONS
4
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 conflict of living in two worlds?
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1
SSLIDE SHOW: ADDRESS AN ESSENTIAL QUESTION
IT’S PERSONAL
SET UP
Prepare 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
ID Slide Show 4 (IT’S PERSONAL)
VIEW SLIDE SHOW
Play 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 final slide, which offers students scaffolding for responding to the essential
question, as they address it in the discussion and Raw Write that follow.
DISCUSS
Point 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 find most compelling? Why and how?
• What does each piece of art reflect 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?
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ID JOURNAL: PUT YOUR VOICE ON RECORD
RAW WRITE #1
PROMPT
In 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.
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
define your experiences, you will encourage some students to connect with you
on a new level, and others to open up for the very first time.
Sometimes reluctant students hold back because they fear that their interests and opinions
don’t fit 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.
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2
ANTHOLOGY: READ WRITING THAT MATTERS
A
INDIAN EDUCATION
INDIAN
EDUCATION
The 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.
FIRST GRADE
My hair was too short and my U.S. Government glasses were horn-rimmed, ugly, and all
—a short story by Sherman Alexie
that first winter in school, the other Indian
boys chased me from one corner of the playground 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.
40
INDIAN EDUCATION
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DEFINE SELF
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READ ALOUD
This 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.)
DISCUSS
Point 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 find 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.
REVISIT ANTHOLOGY
To Analyze Vocabulary: Call attention to Alexie’s use of precise vocabulary—little warrior,
roared, symmetrical bruises (p. 42), intercepted, confiscated (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.
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ID JOURNAL: PUT YOUR VOICE ON RECORD
RAW WRITE #2
PROMPT
Allow 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 specific, 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.
SHARE
If 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.
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 reflections
simultaneously.
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3
WRITING OPTIONS: MOTIVATE, ENGAGE, GET SMARTER
W
Students 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 refining a
piece of writing from their ID Journals.
OPTION 1: WRITE A VIGNETTE
A vignette, like the ones that Alexie combined to create the short story “Indian Education,”
is a type of short writing that uses specific 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 specific 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 significance of your vignette?
• What emotional impact do you want this piece to have on the reader?
ID
Student Support: ID Writing Resource 4 (Caught by the Lens:Vignette)
OPTION 2: EXAMINE BIAS: SURVEY QUESTIONS
Researchers 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.
ID
Student Support: ID Research Framework 4 (Getting to the Root: Examine
Bias); ID Research Worksheet
OPTION 2: REFINE RAW WRITING
Challenge students to refine 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?
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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 refine 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 benefit 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 specific areas of your writing to refine 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.
ID
Student Support: ID Assessment Resource
“
Find the key emotion; this
may be all you need to
know to find your short story.
—F. Scott Fitzgerald
”
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4
EXTENSIONS: INVITATION TO LITERATURE
THE ABSOLUTELY
TRUE DIARY OF A
PART-TIME INDIAN
—a novel by Sherman Alexie
SPOTLIGHT THE TRADE BOOK
In 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 DISCUSS
Reading 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.
ID
Student Support: ID Book Guide The Absolutely True Diary of a Part-Time Indian
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, define 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.
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ID PROFESSIONAL GUIDE: TEACHER AS WRITER
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 find 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 reflection, 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.
“
...
Maybe I can become the next poet
Maybe the next storyteller
As I continue to sit alone
With one voice, one pen
”
—Alfred Tatum
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