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    Into The Wild Lesson 8-End

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    This document appears to be notes from literature class discussions about the book "Into the Wild" by Jon Krakauer. It includes prompts for class activities like discussing passages, defining vocabulary words, writing stories, and creating "literary postcards" summarizing scenes from the book. The notes provide context and guidance for close analysis of themes and elements in the novel.

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    Into The Wild Lesson 8-End

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    Tere
    56 views61 pages
    This document appears to be notes from literature class discussions about the book "Into the Wild" by Jon Krakauer. It includes prompts for class activities like discussing passages, defining vocabulary words, writing stories, and creating "literary postcards" summarizing scenes from the book. The notes provide context and guidance for close analysis of themes and elements in the novel.

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    Into the Wild Lesson 8-end

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    This document appears to be notes from literature class discussions about the book "Into the Wild" by Jon Krakauer. It includes prompts for class activities like discussing passages, defining vocabulary words, writing stories, and creating "literary postcards" summarizing scenes from the book. The notes provide context and guidance for close analysis of themes and elements in the novel.

    Copyright:

    © All Rights Reserved
    Download as PDF, TXT or read online from Scribd
    Download as pdf or txt
    56 views61 pages

    Into The Wild Lesson 8-End

    Uploaded by

    Tere
    This document appears to be notes from literature class discussions about the book "Into the Wild" by Jon Krakauer. It includes prompts for class activities like discussing passages, defining vocabulary words, writing stories, and creating "literary postcards" summarizing scenes from the book. The notes provide context and guidance for close analysis of themes and elements in the novel.

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    You are on page 1of 61

    Into the Wild

    Jon Krakauer

    Lessons 8-15
    Author’s Note

    I will read the first paragraph of the Author’s Note


    aloud twice.
    Write down questions that come to mind as I do the
    first and second readings.
    Share your questions with a partner.
    Whole class discussion.
    Author’s Note

    Now that we have read the first three


    paragraphs, I want to pause.
    Write down what you have understood up to
    this point.
    Emory
    University
    Affluent
    Washington,
    D.C. suburb
    Marginalized
    Author’s Note

    Write down your conclusions and questions


    about what we just read.
    Vocabulary: Chapters 1-18

    Copy these words:


    ● Congenial (5)
    ● Escarpments (10)
    ● Antimony (10)
    ● Anomaly (11)
    ● Contumacious (11)

    With a partner, come up with a definition for each word.


    Vocabulary: Chapters 1-18

    Copy the following list of words.


    You will determine the meaning of
    the words based on the context.
    Vocabulary: Chapters 1-18

    Chapters 1-3:
    Amiable (16)
    Plebeian (18)
    Onerous (22)
    Visage (16)
    Convivial (18)
    Mien (18)
    Vocabulary: Chapters 1-18

    Chapters 4-5:

    Egress (28) Tolstoy (29) Sedentary (44)

    Saline (32) Indolently (32) Thoreau (29)

    Bourgeois (39) Sere (32)

    Itinerant (43) Lumpen (39)

    Fatuous (44) Primordial (44)


    Vocabulary: Chapters 1-18

    Chapters 6-7:
    Hegira (48) Creosote (48) Arroyo (49)
    Desiccated (49) Phantasmal (49) Serape (51)
    Indigent (50) Destitute (51) Unbidden (63)
    Harangues (51) Fulminate (52)
    Endemic (52) Unalloyed (55)
    Vocabulary: Chapters 1-18

    Chapters 10-11:

    Mercurial (105)

    Incorrigible (115)

    Wanderlust (108)
    Vocabulary: Chapters 1-18

    Chapters 12-16:

    Monomania (120) Perambulation (164)

    Choler (122) Reverie (164)

    Idiosyncratic (123) Sanctimonious (122)

    Extemporaneous (124) Sullen (123)

    Rubicon (163) Castigated (123)


    Vocabulary: Chapters 1-18

    Chapters 12-16:

    Gloaming (161)

    Aesthetic (163)

    Taiga (164)

    Obliquely (123)
    Vocabulary: Chapters 1-18

    Chapter 17:

    Ford (174) Descent sobriquet (181)

    Malevolent (176) Modicum (184)

    Ungulate (178) Posited (184)

    Scabbard (178) Existential (184)

    Hauteur (180) Miasma (175)


    Vocabulary: Chapters 1-18

    Chapter 17:

    Massif (176) Feckless (184)

    Moldering (178) Sojourn (179)

    Maxillae (179)

    Metis (180)

    Ruminations (183)
    Vocabulary: Chapters 1-18

    Epilogue:

    Munificence (188) Eloquence (189)

    Precipitous (190) Decumbent (192)

    Emetic (192) Insidiously (194)

    Moniker (198) Conflagration (194)

    Beatific (199)
    Epigrams

    Every chapter in Into The Wild begins


    with an epigram.
    An epigram is a device to focus the
    reader on a concept or concepts
    explored in a section of literature.
    Chapter 1 epigram

    What are the most important words,


    phrases or concepts?
    What can they tell you about what will
    happen in the chapter?
    Background information

    April 27th, 1992: This time is early spring in central


    Alaska.
    “Break up” or the loss of the ice coverage on the
    rivers has already happened, but the most
    significant period of run-off from the snowpack
    has not yet affected the rivers.
    Chapters 2 & 3 epigrams

    Identify words or phrases that seem significant.


    Are there any ideas that seem to be repeated?
    Are there any words or phrases that seem to be
    emphasized by the way they are phrased or how
    they are presented in the epigram?
    Which words or phrases are difficult to
    understand?
    Write a story about ice break up

    Elements of fiction
    You are the protagonists
    Sensory details (five senses)
    Follow narrative writing template
    Ice break up
    story
    Ice break up story

    You will be the protagonists of your


    stories.

    Make sure to include sensory details


    (hearing, sight, smell, taste, touch)
    Quick write and discussion

    To what extent is nature ‘good’?


    To what extent is mankind ‘good’?
    On what experiences or observations do you
    base your positions? Use examples to support
    your thinking.
    Before we read “Self-Reliance”

    How does (and should) a person define their


    place in society?
    What are the two major barriers to self-reliance
    (in your own words)?
    With a partner, put these into your
    own words:
    “We but half express ourselves, and are ashamed of that
    divine idea which each of us represents.”
    “Society everywhere is in conspiracy against the manhood
    of every one of its members.”
    “Nothing is at last sacred but the integrity of your own
    mind.”
    “What I must do, is all that concerns me, not what the
    people think.”
    Thoreau - “Civil Disobedience”

    To what extent is Thoreau’s perspective toward


    government similar to Chris McCandless’?

    Identify three specific stories from McCandless’


    experiences that overlap with or extend Thoreau’s ideas.

    To what extent do you agree with Thoreau’s ideas? Why?


    Use examples from your own life to support your points.
    Group 1: Connecting “Nature” to Into the Wild

    Free write about the relationship between adventure and comfort: To what
    extent is being comfortable and happy a deterrent to risk-taking? Use examples
    to support your points.

    “So many people live within unhappy circumstances and yet will not take the initiative
    to change their situation because they are conditioned to a life of security, conformity,
    and conservatism, all of which may appear to give one peace of mind, but in reality
    nothing is more damaging to the adventurous spirit within a man than a secure future.
    The very basic core of a man’s living spirit is his passion for adventure” (57).
    Group 2: Words to live by

    Free write about ideals and our ability to live up to them: What is the purpose
    of ideals in terms of how we live our lives? Are we truly hypocrites when we fall
    short of our ideals? Why or why not?
    Read and consider the following:

    Before McCandless leaves for Alaska, Wayne Westerberg offers to buy him a
    plane ticket. McCandless refuses, however, claiming, “flying would be cheating.
    It would wreck the whole trip” (67). Find and explain two quotes from this
    chapter that demonstrates whether or not McCandless actually lives by his
    words.
    Group 3: Fathers and Sons
    Free write about the ideal relationship between fathers and sons: What ideals
    do fathers represent in global cultures? To what extent are those ideals realistic?

    Read and consider the following:

    Ronald Franz and McCandless establish a father-son type of relationship.


    Identify one benefit or drawback (using a quote) that each gets out of the
    relationship.
    Chapters 1-5: Literary postcards
    1. Make a list of five images or scenes that stand out to you from the text so far. Record a
    brief description of the scene and the page upon which it appears. The scenes might come
    from anyplace in the reading.
    2. You will be crafting postcards that reflect the journey recorded in Into the Wild so far.
    3. Choose ONE scene from the list you have generated, then turn to the passage in the
    text and record all of the imagery that pertains to the scene.
    4. Once you have all your ideas about imagery, select one passage from the text that might
    serve as a descriptive “legend” for the postcard.
    5. Begin the rough draft of the postcard, laying out the imagery and text to suit the scene
    you have selected.
    Reflect, write, discuss

    We have read stories featuring the experiences of men in


    the wilderness.

    Do women experience the natural world differently


    today?

    Do you think that the way men and women experienced


    the wilderness was different forty-five years ago than it is
    today? How? Why?
    Arlene Blum

    https://www.arleneblum.com/mountaineer/
    Reflect, write, discuss
    Imagine your parents take your family on vacation for two weeks. You are dropped off at a cabin in
    the remote wilderness.

    There is no cell phone reception, no wireless connection, no internet, no mail delivery, no


    newspaper delivery. Your relatives will be coming back to pick you up at the end of your two week
    stay.

    By the end of the third day, you have read the two books you brought along, and you are
    completely without ways to entertain yourself.

    What do you imagine you will do during the next week and four days? How will you keep yourself
    occupied? What aspects of your stay will be difficult?
    Henry David Thoreau and Walden pond

    By early 1845 Thoreau felt more restless than ever, until he


    decided to take up an idea of a Harvard classmate who had
    once built a waterside hut in which one could read and
    contemplate. In the spring Thoreau picked a spot by
    Walden Pond, a small glacial lake located 2 miles (3 km)
    south of Concord on land Emerson owned.
    Early in the spring of 1845,
    Thoreau, then 27 years old,
    began to chop down tall
    pines with which to build the
    foundations of his home on
    the shores of Walden Pond.
    From the outset the move
    gave him profound
    satisfaction. Once settled, he
    restricted his diet for the
    most part to the fruits and
    vegetables he found growing
    wild and the beans he
    planted.
    When not busy weeding his
    bean rows and trying to
    protect them from hungry
    groundhogs or occupied with
    fishing, swimming, or rowing,
    he spent long hours observing
    and recording the local flora
    and fauna, reading, and
    writing A Week on the Concord
    and Merrimack Rivers (1849).
    He also made entries in his
    journals, which he later
    polished and included in
    Walden. Much time, too, was
    spent in meditation.
    McCandless and Thoreau

    Compare Thoreau’s cabin and McCandless’


    bus: in what ways were they similar?

    In what ways were they different?


    Chapters 6-18: Literary postcards
    ● Pick ONE scene from the book. Make a list of all the sensory details present in the scene.
    List in your journal the details that are in print and those that are in your mind as you read.
    ● Use a passage from the text as a “legend” for your postcard. You may place the legend on
    the top or bottom of one side of your card. Include the page number from the book in
    parentheses.
    ● On one side of your card, write a postcard from one character in the scene to another, one
    character to you, or from yourself to a character. The writing should cover the back of the
    card. It should be “in character”—in other words, try to use the voice and personality of the
    character when you write. Make sure to embed one passage from the text into the
    postcard.
    ● On the blank side of your card, draw and color the scene you selected. Review your list of
    sensory details before you begin to draw. Be sure to fill the whole space. You don’t have to
    make the picture realistic, like a photo; rather, make sure you communicate the feeling of
    the scene.
    Into the Wild RAFT project

    A RAFT is a culminating activity that allows you to


    choose how to show your learning. For this project,
    you will choose a role (a character or entity you will
    “be”), an intended audience (the person or group
    your piece will address or “talk to”), a format, and a
    theme or topic. You may add to any of the columns
    as you begin to plan your piece.

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