Summer Reading Homestead High School
"Those who don't read have no advantage over those who
can't." Mark Twain
The purpose of summer reading is two-fold. First, we want to reinforce the habit of reading
as a lifelong skill because Homestead's vision focuses on students' personal growth,
learning, and success . Second, we want to link students' reading experiences to their fall
learning activities. Students may be asked to take notes, write essays, engage in
discussions, etc.
Any of the texts listed below can be found at the local library, Barnes and Noble, Amazon, etc.
If you have any questions about summer reading, please contact Susan Summers at
[email protected]
English 9 Honors
The Odyssey: ISBN# 9780140268867 Please purchase this version if possible.
Visit My Big Campus and join group x96ptknj
Annotations are expected to be written directly in the book; therefore, it is best if you purchase a
copy of your own in which to mark. Annotating means to mark AND comment about various
issues within the text of the book. It is suggested that you use colored pens and/or colored
highlighters.
EPIC HERO:
Using the link from Quizlet below, familiarize yourself with the traits of an Epic Hero.
http://quizlet.com/12321584/13-characteristics-of-an-epic-hero-flash-cards/
You do not need to read the introduction, but you familiarize yourself with the character list and
end notes in the back of the book.
THE ODYSSEY:
Color-code your annotating or use post-it notes in your book. As you read The Odyssey, you
should do the following:
o
o
Highlight and annotate in yellow the elements of Epic Hero as you find them. Be sure to
indicate which element it is.
Highlight and annotate in pink when you learn something about the Greek culture as
demonstrated through characters’ actions and words. (that would include ceremonies,
customs, beliefs, etc)
o
Highlight and annotate in blue any literary elements that provide impact, such as similes,
metaphors, allusions, personification, foreshadowing, etc. Annotate about the impact and
importance of the literary element.
Be prepared to discuss the epic in class with your peers and to respond to questions from the
teacher.
English 10 Honors
Oedipus the King Summer Reading
Acquire a copy of Three Theban Plays by Sophocles, ISBN-13: 978-1-59308-235-2 (Please
purchase this version if possible.)
The Story of Oedipus
The audience that first saw Oedipus the King knew the story before they entered the theater. A
modern reader too should know certain crucial facts to understand how Sophocles uses an old
tale to create scenes of high drama and, at times, of intense irony.
Oedipus was a royal prince, son of Laius, king of Thebes, and his queen Jocasta. After his
birth, there was a prophecy that Oedipus would kill his father and wed his mother. Horrified,
Laius had a rivet driven between the baby’s ankles and ordered a servant to take him to Mount
Cithaeron and leave him there to be killed by exposure to the elements. The servant, pitying the
child, instead gave him to a shepherd, who took Oedipus to another city-state, Corinth, where the
childless king Polybus adopted him as his own. Oedipus grew up, and as a young man again
heard the prophecy that he would kill his father and marry his mother. To prevent this he fled
Corinth for a life of wandering. One day, journeying through central Greece, he got into a fight
with a belligerent old man and killed both him and his servants. Traveling on he reached
Thebes, which at the moment was being destroyed by a monster, the Sphinx, which posed a
riddle no one could answer: “What walks on four legs at dawn, two legs at noon, and three legs
at nightfall.” Oedipus, solver of riddles, knew the answer: man. With the Sphinx repulsed, the
joyful Thebans declared Oedipus their king and offered him their widowed queen as his
wife. Years pass, and they have their own children. But now a plague falls upon the city. To
the Thebans, this seems a terrible punishment from the gods. A decisive ruler, Oedipus sends his
wife’s brother, Creon, to Apollo’s oracle at Delphi to learn what they must do to save the
city. At this point, the play begins.
Oedipus the King begins with one of life’s most bewildering mysteries: Why do we suffer? Is
it because we are guilty of something? Such questions have troubled individuals and
nations. Sophocles examines their significance for a Greek city and for a single man.
Ancient Greek audiences of Sophocles’ play knew the story of Oedipus. Be sure you have
read the background information provided to you before you begin reading the play. Only
when you are familiar with the story of Oedipus can you successfully examine the plot, the
nature of the protagonist, and the sustained use of irony.
I can identify aspects of a Classical Greek tragedy.
I can identify characteristics of a play’s protagonist.
DIRECTIONS: Use the text-guided questions and notes to annotate the pages of your play with
specific interpretive comments. Be prepared to show that you closely interacted with the text
while reading the play. Consult the cited text lines to help you as you consider greater symbolic
significance of the play’s events.
1. How does the description of the crowd of suppliants as “newest offspring of ancient
Thebes” (1) suggest the problem of hereditary guilt?
2. What does Oedipus’s first speech (6-8) suggest about him as a protagonist?
3. How does the metaphor of lines 22-23 illustrate the Priest’s fears?
4. Why do the people think Oedipus can solve the current crisis (35-42)?
5. How, through actions, should the player performing the role of the Priest suggest his
character’s feelings?
6. Explain what Oedipus means by lines 61-61, and the real truth that he unknowingly
utters.
7. How does Oedipus shorten, or condense, the action so the play can be confined to a oneday period, a practice that has been coined as one of the classical “unities” (65-72)?
8. Why might Creon want to deliver his message inside (86-87)?
9. What problem does the oracle create (91-93)?
10. Does this ignorance of Oedipus concerning his predecessor’s fate seem unlikely (100116)? Explain your answer.
11. Note that though Creon says “robbers” (117) attacked Laius, Oedipus immediately speaks
of a “robber” (119). What does this suggest about Oedipus?
12. How should Oedipus speak lines (123-124)?
13. What sort of modern story form does the plot now begin to resemble?
-- Almost every mention of light and dark, day and night, sight and blindness carries
double meaning. These references are intended to be ironic.
14. In lines 174-176 the Chorus compares Thebes to a flock of birds. What does the simile
suggest about the current state of the city?
15. Explain the Chorus’s description of Ares (187-199).
16. What does Oedipus mean in lines 216-220? What is the effect of these lines?
-- Note how lightly Oedipus speaks of exile in line 226. By the end of the play he will
look upon this form of punishment differently.
-- Many people in Sophocles’ audience believed in the power of a formally delivered
curse, such as the one in lines 242-245; as the play unfolds, we will see this curse exactly
fulfilled.
17. What is ironic about Oedipus’s remarks in lines 257-259?
-- Note that Oedipus must assert he is one with the line of previous Theban kings (262264) because he thinks himself the son of another royal household. During the
subsequent action Oedipus will discover that he is literally a member of this royal line.
18. Explain how Sophocles has condensed the play’s action in lines 282-284.
19. What is the discrepancy between the Chorus’s words in line 287 and Oedipus’s in line
288?
-- Note that the blind prophet is a familiar figure in ancient times, sightlessness
suggesting a power of inner vision denied to those who see everyday things (293).
20. Why do Oedipus and the Chorus put so much emphasis on Tiresias’s help (292-309)?
21. How should the actor portraying Tiresias deliver his first lines (310-312)?
22. Why does Tiresias refuse to tell what he knows (314-315)?
23. Why does Oedipus change his attitude to Tiresias so radically that by lines 335-340 he is
accusing him of a part in the murder of Laius?
24. How will Oedipus’s mockery of Tiresias’s blindness (365-366) eventually recoil upon
himself?
25. What does line 369 suggest about the relationship of Oedipus and Creon?
26. Why does Oedipus suddenly accuse Creon of conspiracy (375-376)?
27. Why does Oedipus suddenly bring up the Sphinx again (381-382)?
28. Explain the important civic role played by the Chorus (393-395).
29. Why is the reference to Cithaeron so telling (407-413)?
30. Why is Oedipus so eager to know the answer to the question he asks in line 427?
31. What does Tiresias mean in line 428?
32. Why is Tiresias so sure that Oedipus cannot destroy him (449)?
33. How is the imagery in lines 446-447 reminiscent of the riddle of the Sphinx?
34. How do the Chorus members react to Tiresias’s warnings (478-479)?
35. Why does the Chorus try to figure out the basis for the “strife” between Thebes and
Corinth (483-485)?
36. Why does the Chorus remain loyal to Oedipus (497-503)?
I can accurately infer ideas from characters’ words in a play.
-- Oedipus the King explores the potential doubleness of all human experience. It
demonstrates how words and actions can simultaneously mean two or more different
things, depending upon what one knows and how one looks at the world. The play
poses the troubling question: “Do you understand your place in life, or are you acting in
dangerous ignorance?”
37. What is Creon’s greatest concern (504-510)?
38. What do you infer Creon is guessing at when he asks about Oedipus having a “steady eye
and steady mind” (517-518)?
39. Why does Oedipus ask if Tiresias referred to him years earlier (555)?
40. How does Creon react to Oedipus’s series of questions in lines 548-563?
41. What is the tone of Oedipus’s line 570?
42. What is Creon’s argument in the passage from lines 575-587?
43. Explain why “time alone” can bring the just man to light (598)?
44. Why does Oedipus want to rush the search for the murderer (602-604)?
45. Note in lines 612-617 Sophocles balances speeches by Creon and Oedipus, giving each of
them half a line. This device is known as stichomythia. What is the effect of the split in
dialogue?
46. What does Jocasta try to do when she first enters (620-622)?
47. Why do the Chorus members now speak up (635-644)?
48. Why does Oedipus infer that to trust Creon will mean his own death or banishment (645646)?
49. How is Creon’s description of Oedipus justified (658-660)?
50. Why does the Chorus try to keep Jocasta in ignorance (671)?
51. How does this effort to hide the truth repeat Thebes’s central problem (672)?
52. How should an actress playing Jocasta deliver line 687?
53. Explain the irony in Jocasta’s example of how unreliable an oracle can be (694-706).
54. What is Oedipus recalling in lines 710-711?
55. What has happened to Oedipus (722)?
56. When Oedipus asks the god, “what are your designs on me!” (722) what are his
assumptions about the relationship between free will and divine power?
57. What now is “clear” to Oedipus (738)?
58. Why does Oedipus keep asking questions, even when he can see the truth (739-741)?
59. Why do you think the lone survivor of Laius’s party pleaded to be sent to the hinterlands
(742-747)?
60 Explain the irony of Oedipus’s statement, “To whom better can I speak as I confront such
a fate? (755-756).
-- Note how the oracle (769-772) anticipated Tiresias’s later accusation.
Oedipus’s refusal at first to consider what Tiresias says is difficult to explain, unless
the readers imagine that he was so disturbed by this old warning that he forced it out of
his conscious mind and so refused even to consider it.
61. Given Oedipus’s account of the death of Laius (776-785), do you think he was justified in
killing the old man? Why or why not?
62. What trait does Oedipus and his father Laius share (776-785)?
63. Considering the way Oedipus has treated Tiresias and Creon, do you think you can trust
his account of the death of Laius (776-785)? Why or why not?
-- Note that Sophocles’ plays tend to take a traditional view of subjects such as the
Delphic oracle. Jocasta’s doubts (823-824) echo the religious skeptics of his day, and as
the play moves towards its conclusion, Sophocles will show that oracles are always
right, and that those people who doubt them suffer for their disbelief.
64. Contrast the speech by the Chorus in lines 855-866 with the speech in lines 477-503.
65. What does the contrast in speeches show about the Chorus’s feelings for Oedipus?
66. Explain the irony in Jocasta’s prayer to Apollo (873-877)?
67. Explain why the messenger’s news will both please and sadden Jocasta (801-891)?
68. Why is Jocasta so quick to send for Oedipus (900)?
69. Characterize Oedipus’s reaction to the news of Polybus’s death (919-927).
-- Note how Jocasta summarizes the way in which a skeptic thinks about life and
personal conduct (932-938).
70. Why does Sophocles rely on an accident—that the Messenger overhears Oedipus (944)—
to lead to the final revelations about his past?
71. What is the significance of the Messenger’s revelation in lines 970?
72. In what way might Oedipus’s pinned ankles (988) symbolize his condition?
73. Comment on the coincidence that the shepherd who gave Oedipus to the Messenger is
also the only member of Laius’s party who escaped (996-1006).
74. Why Oedipus want to discover the mystery of his birth (1012-1013)?
75. Is Oedipus’s desire to “seek out the truth” (1019) a flaw in his character?
76. What does Oedipus think motivates Jocasta’s desire to stop his search for his parentage
(1032-1033)?
-- Note that when his natural mother deserts him. Oedipus unconsciously proclaims
himself the son of another woman, the goddess of fortune (1034-1035).
I can determine how the succession of interrelated events leads to a story’s resolution, or
denouement.
-- The denouement of Oedipus the King is ambiguous and complex. The truth comes
out, and the moral fault that has caused the plague can now be purged. Yet what the
audience witnesses is the suffering of people who acted in ignorance, and who, for all
their weaknesses, were trying to do right. The curse they bear remains unexplained.
77. Why is it important to note that the Shepherd’s “advanced years would match” the
Messenger’s (1065-1066)?
78. Why might the old Shepherd insist that his memory is failing him (1084)?
79. What danger lurks in the Messenger’s naïve eagerness to recall the past (1087-1094)?
80. How is the audience likely to react to the way Oedipus treats the old Shepherd (1106)?
81. In what way does the Shepherd’s cry, “Woe, I am about to speak the terrible truth”
indicate that we are reaching the climax to the plot of the play?
82. What did the Shepherd hope to achieve in giving the child to another (1134-1137)?
83. Given what happens to the Shepherd’s efforts to save a child (1136-1137), what place
does pity seem to have in human action?
84. How do the people of the chorus react to the revelation of Oedipus’s guilt (1151-1153)?
85. How does the Chorus now evaluate Oedipus’s years of success (1154-1168)?
86. Who or what is given credit in lines 1176-1180 for Oedipus’s fall?
-- Note that the use of a Messenger to describe in detail physical horrors that occur
offstage (1202 on)
87. What do you infer Oedipus intends to do with the sword he calls for (1218-1221)?
88. Poetic justice is the concept that a punishment should fit a crime. How does Oedipus’s
choice of punishment fit his actions (1231-1241)?
-- Note that the play never offers any explanation for the fact that Oedipus is
godforsaken (1261-1262).
89. Do the words of the Chorus justify Oedipus’s inference that they are “steadfast
companion’s (1279-1281)?
-- Note, in lines 1287-1291, Oedipus’s assertion of his own free will in at least this one
part of the play.
90. In what way is Oedipus’s claim to be the “most worthless man […] most hated of mortals
by the gods” (1296-1297) consistent with his character?
91. Why does Oedipus continue to list his guilty acts (1333-1347)?
92. How does Oedipus still behave like the king of Thebes (1349-1351)?
93. Explain how Creon’s political role has changed (1355-1357)?
94. Why does Creon want to hide Oedipus (1365-1366)?
-- Note, in Creon’s action (1373-1374), the reaffirmation of the power of the oracle.
95. Why does Oedipus want to be exiled to Mt. Cithaeron (1385-1386)?
-- Note that Oedipus’s obscure sense that he is still destined for “some terrible evil”
(1389-1390) foreshadows the legends that surround the end of his life. After years of
wandering Oedipus will come to Colonus in Attica where he miraculously disappears,
the place becoming holy ground, and his continuing spiritual presence guaranteeing
local prosperity. Sophocles’ last play, Oedipus at Colonus, depicts this unexpected
conclusion to Oedipus’s suffering.
96. What do Oedipus’s figurative words about sharing food (1393-1395) indicate for his
daughters?
97. What kind of future does Oedipus predict for Antigone and Ismene (1410-1417)?
-- Note that Oedipus’s predictions express an old, often-used theme of children
suffering for the sins of parents or of a curse afflicting several generations of a family.
98. What is the tone of Creon’s remark (1443-1444)?
99. What is the final message of the Chorus (1445-1453)
AP Literature (11th grade)
If you are taking AP Literature and Composition, you will be required to read A Streetcar
Named Desire by Tennessee Williams over the summer. You may obtain any paperback version
of the play. As part of your preparation for this course, we would like you to build a
notebook. You may maintain the notebook in any format, although a loose leaf binder may be
the most versatile. At a minimum you must record information in the following seven
categories:
• A list of characters and their traits
• Major themes
• Key symbols
• Major scenes (e.g., When Blanche first meets Stanley)
• A list of dominant imagery and tropes (e.g., light and dark)
• A discussion of tone and style
• Significant quotations that illuminate key ideas, concepts, or themes in the work overall (e.g.,
“I don’t want realism, I want magic” Blanche) and an explanation of their significance.
Look under AP Literature Notebook.
By recording these elements you will create a study guide that you can use as a basis for
participating in our discussions of the play in August. More important, you will have your first
entry in a notebook that will be indispensable for you as you review the literature for your Exam
on 16 May 2015.
AP ENGLISH LANGUAGE AND COMPOSITION (12th grade)
The primary focus of AP English Language and Composition is nonfiction, a significant shift
from the reading and writing assigned in prior English courses. We will begin fall semester by
examining personal voice via memoir, autobiography, biography, and personal essay. Second
quarter will serve as a bridge from personal voice to a more public forum as we examine topics
that range from politics, education, and social issues to pop culture and sports. Second semester
will focus on persuasion, argumentation, and visual rhetoric. Throughout the year, writing will
incorporate various types of nonfiction: narrative, descriptive, expository, persuasive,
argumentative, and analytical.
Summer Reading Objectives:
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Students will be exposed to the wide range of nonfiction they will experience during the
course.
Students will read critically and question “truth” of nonfiction.
Students will consider bias of writers.
Students will consider how writer’s choices shape arguments.
Students will experience the beauty and power of language.
Students will recognize the commonality of rhetorical elements inherent in fiction and
nonfiction.
Students will be encouraged to make awareness of current events a routine part of their
lives.
Assignment: Read one of the works from each of the following lists. As you read, use your
favorite method—sticky notes, a note pad, the margins of the book, etc., to track key passages
you find particularly powerful. (I expect you would have about 25 or so for each work.) These
passages might elicit a question from you, be particularly beautiful writing, or provide pivotal
information. During the first week of class, you will be asked to share notations and explain why
you chose a particular passage. You will also have a written assignment that will ascertain the
books were read in their entirety.
Two works are required—one from each list.
NOTE: Many of these titles include mature themes and points of view that might be
controversial. For example, The Warmth of Other Suns, winner of 2010’s National Book Critics
Circle Award, focuses on the migration of African Americans from the South to northern and
western cities from 1915 to 1970. This examination includes violent episodes; especially
disturbing were lynchings of innocent victims.
Five Days at Memorial, winner of 2013’s National Book Critics Circle and the Ridenhour Book
Prize, tells the true story of events at New Orleans’ Memorial Hospital in the wake of Hurricane
Katrina. In extreme circumstances that disallowed timely evacuation of patients, doctors were
faced with untenable choices—how should they decide the order in which people would be
transported from the hospital? Ultimately, charges of mercy killing were brought against medical
personnel due to decisions made during those five days.
A final example is Freakonomics by Steven Levitt and Stephen Dubner. In one discussion, they
suggest that a lowering of the crime rate in the late 80s and early 90s was a result of the 1973
Roe vs. Wade Supreme Court decision.
DISCLAIMER: This list was created to allow significant choice for students with varied
interests. Many works were written by Pulitzer Prize winners and appeared on notable awards
lists including National Book Award and National Book Critics awards. Some have been
included on recommended college reading lists for years; others, which address more current
topics, may be recent additions to academic college conversations. As seniors, students will
experience their final high school courses as they transition to post-secondary
opportunities. Many will take college classes next year as a part of their schedules. These titles
were also selected to serve the needs of that group. Ultimately, the choice of titles is up to
students and parents.
List 1: Biography, Autobiography, Memoir
Chernow, Ron: Washington: A Life
Greenblatt, Stephen: Will in the World: How Shakespeare Became Shakespeare
Haley, Alex and Malcom X: The Autobiography of Malcom X: As Told to
Alex Haley
Hillenbrand, Laura: Unbroken: A World War II Story of Survival, Resilience, and Redemption
Isaacson, Walter: Einstein
Isaacson, Walter: Steve Jobs
Krakauer, Jon: Into the Wild
Krakauer, Jon: Where Men Win Glory
Massie, Robert K.: Catherine the Great
McBride, James: The Color of Water: A Black Man’s Tribute to His White Mother
McCourt, Frank: Angela’s Ashes
McCullough, David: Truman
Meacham, Jon: Thomas Jefferson: The Art of Power
Schiff, Stacy: Cleopatra
Skloot, Rebecca: The Immortal Life of Henrietta Lacks
Smiley, Jane: The Man Who Invented the Computer
Tammet, Daniel: Born on a Blue Day: Inside the Extraordinary Mind of an Autistic Savant
Walls, Jeannette: The Glass Castle
List 2: Current Events, Psychology, History, etc.
Bronowski, Jacob: The Ascent of Man
Brown, Daniel: The Boys in the Boat: Nine Americans and Their Quest for Gold at the 1936
Berlin Olympics
Capote, Truman: In Cold Blood
Cullen, Dave: Columbine
Cain, Susan: Quiet: The Power of Introverts in a World that Can’t Stop Talking
Duhigg,Charles: The Power of Habit: Why We Do What We Do in Life and Business
Dwyer, Jim and Kevin Flynn: 102 Minutes
Fishman, Charles: The Wal-Mart Effect
Fink, Sheri: Five Days at Memorial: Life and Death in a Storm-Ravaged Hospital
Foer, Joshua: Moonwalking with Einstein: The Art and Science of Remembering Everything
Fredman, Thomas L.: That Used To Be Us
Friedman, Thomas L.: The World is Flat: A Brief History of the Twenty-First Century
Gladwell, Malcolm: The Tipping Point: How Little Things Make a Big Difference
Gladwell, Malcolm: Blink: The Power of Thinking Without Thinking
Gladwell, Malcolm: Outliers: The Story of Success
Gladwell, Malcolm: What the Dog Saw
Gladwell, Malcolm: David and Goliath
Halperin, Mark and John Heileman: Double Down: Game Change 2012
Halperin, Mark and John Heileman: Game Change: Obama and the Clintons, McCain and Palin,
and the Race of a Lifetime
Hillenbrand, Laura: Seabiscuit: An American Legend
Krakauer, Jon: Into Thin Air
Larson, Erik: In the Garden of Beasts
Larson, Erik: Thunderstruck
Larson, Erik: The Devil in the White City
Lehrer, Jonah: Imagine
Leibovich, Mark: This Town
Lewis, Michael: The Big Short: Inside the Doomsday Machine
Lewis, Michael: Flash Boys
Machiavelli, Niccolo: The Prince
Mukhejee, Siddhartha: The Emperor of All Maladies: A Biography of Cancer
Philbrick, Nathaniel: Bunker Hill: A City, A Siege, A Revolution
Philbrick, Nathaniel: The Last Stand
Philbrick, Nathaniel: Mayflower
Plato: The Republic
Ripley, Amanda: The Smartest Kids in the World
Sandberg, Sheryl: Lean In: Women, Work and the Will to Lead
Sides, Hampton: Hellhound on His Trail: The Stalking of Martin Luther King Jr. and the
International Hunt for His Assassin
Swanson, James L.: Manhunt: The 12-Day Chase for Lincoln’s Killer
Tammet, Daniel: Thinking in Numbers: On Life, Love, Meaning and Math
Tough, Paul: How Children Succeed: Grit, Curiosity, and the Hidden Power of Character
Wilkerson, Isabel: The Warmth of Other Suns
Wollstonecraft, Mary: A Vindication of the Rights of Women
Periodical/newspaper challenge: We encourage you to read a weekly news magazine such as
Newsweek, Time, US News and World Report, etc., and/or a reputable newspaper, New York
Times, Wall Street Journal, etc. If you prefer, you might also stay current by visiting credible
online news sources. Apps are also available for major news outlets such as The New York
Times, ABC News, Fox News, CNN, etc. In AP English Language and Composition, we routinely
discuss timely topics and consider bias of sources. To participate fully, it’s essential you make
keeping up with the news a part of your routine.
Final Comments: Above all, we hope you enjoy the transition from fiction to nonfiction. The
above list includes titles we hope will appeal to those with varied interests. A major goal of
summer reading is that you enjoy the experience and learn something new. We tried to make the
notation expectation one that would allow for little interference in your involvement with the
flow of what you read.
What you select to read this summer is totally up to you, but
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If you are interested in a career in medicine, please consider The Emperor of All
Maladies, A History of Cancer, Five Days at Memorial, or The Immortal Life of
Henrietta Lacks.
If you are interested in a career in education, please consider How Children Succeed:
Grit, Curiosity and the Hidden Power of Character or The Smartest Kids in the World.
If you are interested in politics, please consider Double Down, Game Change, or This
Town.
If you are interested in economics, please consider Freakonomics, Flash Boys, The Big
Short, or House of Cards (No, this is not the same as the Netflix series).
If you are interested in psychology, please consider anything by Gladwell, How We
Decide, Quiet, or The Power of Habit.
If you are interested in philosophy, please consider The Republic, The Prince, or A
Vindication of the Rights of Women.
We look forward to meeting you and having some thought-provoking discussions next fall.--Mrs. Christophersen and Mrs. Baltes
Do not feel you are restricted to two titles. Enjoy as many as you like!