Language Arts Journal of Michigan

Volume 9 Issue 1 Article 6

1993

Reader Response Theory: Some Practical Applications for the

High School Literature Classroom
Diana Mitchell

Follow this and additional works at: https://scholarworks.gvsu.edu/lajm

Recommended Citation
Mitchell, Diana (1993) "Reader Response Theory: Some Practical Applications for the High School
Literature Classroom," Language Arts Journal of Michigan: Vol. 9: Iss. 1, Article 6.
Available at: https://doi.org/10.9707/2168-149X.1604

This Article is brought to you for free and open access by ScholarWorks@GVSU. It has been accepted for inclusion
in Language Arts Journal of Michigan by an authorized editor of ScholarWorks@GVSU. For more information,
please contact [email protected].
 Volume 8. Number 2
LANGUAGE ARTS JOURNAL OF MICHIGAN
13. Why do you suppose the author ends the poem with the words
"Riding beside himT instead of "before" or "behind?" (Structural
Generalization) .

C. Let's generate some alternative titles for the poem-what COULD READER RESPONSE 1HEORY: SOME PRACTICAL

the author have called this poem (besides "Growing Up")? (Struc­ APPLICATIONS FOR THE mGH SCHOOL

tural). UTERATURE CLASSROOM

D. Then why do you suppose he chose "Growing Up"? Surely he could DIana Mitchell
have generated these alternatives. (Structural).

E. What do you think the author might be trying to tell us about English teachers love literature. They love to rcad it, think about it,
"growing upT What message might he be trying to get across to us and talk abou t it. They eagerly share their opinions and interpretations of it.
about what it means to be mature or grown up? (Author's Generali­ Tbey love to feel they've mastered a text and know all the subtle ins and outs
zation). What in the poem leads you to think that? of it. In short, they glory in being experts when it comes to litcrature.

F. And what might the author be trying to tell us about parent/child So what's wrong with that?
relationships? (Author's generalization).
Since we are the ones who know a lot about literature, what's wrong
with just telling students what it means? What's wrong with lecturing
students about the symbolism and imagery present in a selection? Why
should we have to involve students?

To answer these questions we must look at what literature teaching is

all about. We need to think about who we are trying to empower, instead of
getting <;arried away with our own infatuation with a piece ofllterature. In our
desire to make students love literature as much as we do, we try to impart our
enthUSiasm for a piece by tclling them what it mcans to us. Unfortunately,
too often this turns students away from literature. and they view novels and
poems as pieces of content to be learned. This "telling" approach also short­
circuits two of the essentials of education - to help students become involved
with their own education and to help them think critically. I
If that is what we are all about. how can we involve students and get
them thinking? Enter reader response theory.

Reader response theory asks the teacher to begin the study of

literature with the students' response. Instead of telling about literature, our
job becomes helping students discover what a piece of literature can mean.

40 41
LANGUAGE ARTS JOURNAL OF MICHIGAN VollJ.me 8. Number 2

To use this approach successfully we must truly believe that there is not one Second. because students are trytng to make sense of a pieee of
righ t interpretation for a piece of literature, but instead, many possibilities. literature and are using all the clues they can in the piece Itself. the elements
the teacher is concerned abou t are often brought up by the students because
Teachers who have not used this approach envision chaos in the
they are interested in understanding the piece. For instance, in my
classroom with students shouting, "But it's right because that's the way I sec
sophomore American Literature class. when students were brainstorming
It." They wonder If using a reader response approach means that anything
motifs present in The Great Gatsby, they became very concerned with
goes and that their classrooms will become a loosey-goosey mess. Of course,
symbolism and offered several ways they believed it was used.
no approach guarantees orderly classrooms, but students discussing in
small groups are still orderly- although probably loud. Just because Third. our simply "covering" such elements as characterization and
students sit passively in the teacher-dominated classroom docs notnecessar­ theme docs not guarantee that the student really absorbs the concepts. This
ily mean they are involved and learning. is partly true because. as English teachers, we usually teach literature that
we know well. Little by little we have uncovered different layers of meaning
Another worry teachers have is that students will miss some of the
through rereading the text. It makes sense to us and stays with us because
essential clements they believe are in a piece of literature. But the reader
we were part of the process of uncovering. When we impose our ideas on
response approach asks students not only to respond to what they are
students who are still grappling with such things as the motivations of
reading, but puts the burden on them to find support for their Interpretations
characters, they cannot absorb the ready-madc interpretations we would like
in the piece read. As they arc doing this, the elements oflitcrature have a way
to give them.
of slipping in. Students often use these elements in their discussions.
Fourth. part of what we are about as educators is to involve students
Also, using the reader response approach encourages students to
.'~ in their own learning and to push them touse their heads. Students in classes
think about what it is that they bring to the piece that elicits their reaction.
using the reader response approach are often asked to formulate their own
Even ifteachcrs don't formalize this step and talk about reactions, students
generali7~tions about what the themes of a story could be instead of simply
still do react. If their responses are not discussed, these reactions can oftcn
reacting to teacher-selected themes. Students also can analyze characters by
interfere with an understanding of the story. For example, when my class
selecting quotes they believe illustrate important beliefs or views of thosc
read "The Worn Path" by Eudora Welty, some students viewed the old woman
characters. If asked to do such assignments as writing story extensions,
as doddering and stupid while others saw her as the perfect grandmother.
students must synthesize all they know and go beyond the text when they
After sorting out, through discussion, why students reacted to the story as
create new pieces ofliterature about the texts read. Critical thinking has been
they did, we found out that they based their impreSSions of thc old woman on
at the top of the list of educational objectives for years. and applying the
relationships they had mainly with their own grandmothers. Oncc studcnts
reader response theory in our classes is one of the best ways to encourage the
were aware of why they reacted as they did, we workcd at looking at how the
critical thinking we say is so important.
character was portrayed by going back into the story.
Fifth, using the reader response approach is fun for both the teacher
In addition to making students more aware of the ·whys" of their ]
and the students. It is fun for the teacher because the students will come up
reactions, there are many other sound reasons for using this approach. First
with ideas and interpretc'ltions that the teacher has never thought of. It is fun
ofall. this approach empowers students by shOWing them that what they have
for the students because they arc part of the process of making meaning out
to say is valued. Becausc students perceive that they are among many people
of a piece of literature. It is also enjoyable because the process is active;
working cqually toward an understanding ofa piece of literature. they become
stUdents are not sitting passively taking notes.
more ready to look at the possibilities the teacher may wish to contributc to
the discussion. Sixth, using this approach is a surefire way to integrate reading.
Writing. speaking. and listening. Students read and respond to a piece. share

42 43
LANGUAGE ARTS JOURNAL OF MICHIGAN VollJ.me 8. Number 2

To use this approach successfully we must truly believe that there is not one Second. because students are trytng to make sense of a pieee of
righ t interpretation for a piece of literature, but instead, many possibilities. literature and are using all the clues they can in the piece Itself. the elements
the teacher is concerned abou t are often brought up by the students because
Teachers who have not used this approach envision chaos in the
they are interested in understanding the piece. For instance, in my
classroom with students shouting, "But it's right because that's the way I sec
sophomore American Literature class. when students were brainstorming
It." They wonder If using a reader response approach means that anything
motifs present in The Great Gatsby, they became very concerned with
goes and that their classrooms will become a loosey-goosey mess. Of course,
symbolism and offered several ways they believed it was used.
no approach guarantees orderly classrooms, but students discussing in
small groups are still orderly- although probably loud. Just because Third. our simply "covering" such elements as characterization and
students sit passively in the teacher-dominated classroom docs notnecessar­ theme docs not guarantee that the student really absorbs the concepts. This
ily mean they are involved and learning. is partly true because. as English teachers, we usually teach literature that
we know well. Little by little we have uncovered different layers of meaning
Another worry teachers have is that students will miss some of the
through rereading the text. It makes sense to us and stays with us because
essential clements they believe are in a piece of literature. But the reader
we were part of the process of uncovering. When we impose our ideas on
response approach asks students not only to respond to what they are
students who are still grappling with such things as the motivations of
reading, but puts the burden on them to find support for their Interpretations
characters, they cannot absorb the ready-madc interpretations we would like
in the piece read. As they arc doing this, the elements oflitcrature have a way
to give them.
of slipping in. Students often use these elements in their discussions.
Fourth. part of what we are about as educators is to involve students
Also, using the reader response approach encourages students to
.'~ in their own learning and to push them touse their heads. Students in classes
think about what it is that they bring to the piece that elicits their reaction.
using the reader response approach are often asked to formulate their own
Even ifteachcrs don't formalize this step and talk about reactions, students
generali7~tions about what the themes of a story could be instead of simply
still do react. If their responses are not discussed, these reactions can oftcn
reacting to teacher-selected themes. Students also can analyze characters by
interfere with an understanding of the story. For example, when my class
selecting quotes they believe illustrate important beliefs or views of thosc
read "The Worn Path" by Eudora Welty, some students viewed the old woman
characters. If asked to do such assignments as writing story extensions,
as doddering and stupid while others saw her as the perfect grandmother.
students must synthesize all they know and go beyond the text when they
After sorting out, through discussion, why students reacted to the story as
create new pieces ofliterature about the texts read. Critical thinking has been
they did, we found out that they based their impreSSions of thc old woman on
at the top of the list of educational objectives for years. and applying the
relationships they had mainly with their own grandmothers. Oncc studcnts
reader response theory in our classes is one of the best ways to encourage the
were aware of why they reacted as they did, we workcd at looking at how the
critical thinking we say is so important.
character was portrayed by going back into the story.
Fifth, using the reader response approach is fun for both the teacher
In addition to making students more aware of the ·whys" of their ]
and the students. It is fun for the teacher because the students will come up
reactions, there are many other sound reasons for using this approach. First
with ideas and interpretc'ltions that the teacher has never thought of. It is fun
ofall. this approach empowers students by shOWing them that what they have
for the students because they arc part of the process of making meaning out
to say is valued. Becausc students perceive that they are among many people
of a piece of literature. It is also enjoyable because the process is active;
working cqually toward an understanding ofa piece of literature. they become
stUdents are not sitting passively taking notes.
more ready to look at the possibilities the teacher may wish to contributc to
the discussion. Sixth, using this approach is a surefire way to integrate reading.
Writing. speaking. and listening. Students read and respond to a piece. share

42 43
LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8, Number 2

that response in groups. listen to other students' interpretations, synthesize 3. Ask each student to write down three words which he or
what they have heard. and write in response to the whole process. she feels best describes a character. In groups. students
share their words and their reasons for selecting these
When trying to elicit such "reader responses" from students. it is best

words. Each group decides which three or more words

to begin slowly by asking questions such as these as students read:

best fit the character, They share their conclusions with
the class.
What struck you about the stol)'/poem?
What kinds of things did you notice? 4. Ask students to begin to explicate a poem on their own.

What would you like to talk about after reading this? ., Give them gUidelines such as having them look at line

What issues did it raise for you? length. rhyme scheme. verSification. hard and soft

Were there parts that confused you? sounds. and literal)' devices and then discuss how all
.
What questions would you like to ask? these things contribute to the meaning ofthe poem. The

Did anything upset you or make you angl)'? next day they tum in their comments or lists. If time

Is there anything you wan t to ask any of the characters? permits, type up their comments and the following day,

How did you feel after you read the poem/stol)'? in groups, have them read all the comments of other

What made you feel this way?

classmates as they tl)' to agree on some common under­
standing of the poem. Be prepared for diametrically

Note that evaluative questions such as "Did you like or dislike this
opposed Interpretations but keep sending them back to
piece and why?" are not part of this list. Evaluation and judgmen t can come the poem to find support for their positions.
after after students have been involved with the piece for awhile and have
discussed a variety of points ofview regarding it. Asking student..'1 questions 5. When asking students to think about motifs. have them
that force them to make a judgment about a piece before such discussions generate a list of things that occur or are shown over and
often commits them to a point of view, They then are reluctant to listen to over again in the novel. Put all the motifs the students
other evidence that disagrees with their assessment and are even more come up with on the board. {Student example: ashes.
reluctant to change their minds. Described below are some classroom cars, eggs, etc. from The Great GatsbyJ. The next day
strategies that avoid such closure while still beginning with the students' they each write down associations for those words. (Stu­
responses. dent example: ashes- death, waste, remains. fire,
gloom). If time permits. type up the list of associations.
1. After assigning a story or a poem and having students

f'or the next day each group is assigned four or five of the

read it, ask each student to bring to class three issues or

words. After reading all of the associations. they are

(
questions for discussion. Collect the questions and begin
assigned the task of coming up with ideas about why the
a whole class discussion based on student questions. ]
author may have included the motif in the novel and
what the author might be trying to show through the use
2. Ask each student to write down two or three issues or

of the motif. (Student example: "Ashes were used fre­

questions before coming to class. Let students work in

quently to show how the rich used what they wanted of

groups of four. sharing their questions \Vith the group

people and then tossed what was left of them aside.")

and discussing them. Each group can report the high­

lights of its discussion to the class.

6. Have students list all the issues they can think of that
are raised in the work. In a group, they discuss the

44 45
LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8, Number 2

that response in groups. listen to other students' interpretations, synthesize 3. Ask each student to write down three words which he or
what they have heard. and write in response to the whole process. she feels best describes a character. In groups. students
share their words and their reasons for selecting these
When trying to elicit such "reader responses" from students. it is best

words. Each group decides which three or more words

to begin slowly by asking questions such as these as students read:

best fit the character, They share their conclusions with
the class.
What struck you about the stol)'/poem?
What kinds of things did you notice? 4. Ask students to begin to explicate a poem on their own.

What would you like to talk about after reading this? ., Give them gUidelines such as having them look at line

What issues did it raise for you? length. rhyme scheme. verSification. hard and soft

Were there parts that confused you? sounds. and literal)' devices and then discuss how all
.
What questions would you like to ask? these things contribute to the meaning ofthe poem. The

Did anything upset you or make you angl)'? next day they tum in their comments or lists. If time

Is there anything you wan t to ask any of the characters? permits, type up their comments and the following day,

How did you feel after you read the poem/stol)'? in groups, have them read all the comments of other

What made you feel this way?

classmates as they tl)' to agree on some common under­
standing of the poem. Be prepared for diametrically

Note that evaluative questions such as "Did you like or dislike this
opposed Interpretations but keep sending them back to
piece and why?" are not part of this list. Evaluation and judgmen t can come the poem to find support for their positions.
after after students have been involved with the piece for awhile and have
discussed a variety of points ofview regarding it. Asking student..'1 questions 5. When asking students to think about motifs. have them
that force them to make a judgment about a piece before such discussions generate a list of things that occur or are shown over and
often commits them to a point of view, They then are reluctant to listen to over again in the novel. Put all the motifs the students
other evidence that disagrees with their assessment and are even more come up with on the board. {Student example: ashes.
reluctant to change their minds. Described below are some classroom cars, eggs, etc. from The Great GatsbyJ. The next day
strategies that avoid such closure while still beginning with the students' they each write down associations for those words. (Stu­
responses. dent example: ashes- death, waste, remains. fire,
gloom). If time permits. type up the list of associations.
1. After assigning a story or a poem and having students

f'or the next day each group is assigned four or five of the

read it, ask each student to bring to class three issues or

words. After reading all of the associations. they are

(
questions for discussion. Collect the questions and begin
assigned the task of coming up with ideas about why the
a whole class discussion based on student questions. ]
author may have included the motif in the novel and
what the author might be trying to show through the use
2. Ask each student to write down two or three issues or

of the motif. (Student example: "Ashes were used fre­

questions before coming to class. Let students work in

quently to show how the rich used what they wanted of

groups of four. sharing their questions \Vith the group

people and then tossed what was left of them aside.")

and discussing them. Each group can report the high­

lights of its discussion to the class.

6. Have students list all the issues they can think of that
are raised in the work. In a group, they discuss the

44 45
LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8. Number 2

issues such as materialism. wanting others' approval. they thought Maniac in Maniac Magee would like. Some
racism. alcoholism. lying. and integrity. and then they studcnts picked poems about racial harmony because
rank the issues from the most important to the least that was important to him. Others picked poems about
important. If time permits. they can pick a character and having a home since Maniac didn't have one or poems
rank the issues as that character would rank thcm. about baseball because Maniac was so good at that sport.
Students can also pick out poems that say something
7, Have students dig back into the book to find tcn quota­ about the theme or setting of a book. When students
tions or sentences that reveal the character they've been turn in copies of the poems, they write on the back who
assigned or have chosen and that show what the charac­ they think the poems would be important to and why.
ter is like. Students then explain what these quotes tell The teacher can read these poems aloud and have stu­
or show about their characters. Another way to use the dents write down who or what the poem speaks to and
quotations is to scramble them as you type them, The why. After reading two or three, discuss student an­
next day, in groups, students must try to identify who swers, This is another easy way to get students thinking
said what quote. This really gets them talking about about the piece of literature and to engage them in lively
characterization and why one quote sounds more like one discussions.
character than another.
3. Awards. After reading a novel or a group of short stories.
Activities such as those described above provide excellent preparation
students brainstorm categories for awards such as "most
for more elaborate written responses to literature, Student writing about
ignorant" or "most caring." Students then decide which
literature can take a variety of forms in our classrooms, Whenever possible,
character fits each award the best and briefly writes up
I try to give students choices in writing assignments so they have the chance
why that character should get that award. Sharing these
to write something in response to a novel or story or poem that means a lot
with the class promotes lots of thinking and sharing of
to them, Once again, it makes sense to begin with assignments that center
ideas.
on the students' own responses to the literature, This is also true when the
whole class is engaged in the same assignment. Described below are a
4, To encourage students to think about what is important
number ofwriting activities that begin with students' responses and allow for
about specific chapters. have them turn a chapter or a
a good deal of student choice.
scene from a chapter into a script. This can he done in
groups. Explain that when they need to describe setting
L After students have read all or part of a novel. invite
or make introductory remarks, they can use a narrator.
students to write and then perform a talk show. One
The scripts should focus on capturing the essence of the
student can be Arsenio Hall or Oprah Winfrey or Phil
Donahue and question characters about their actions.
chapter. Scripts are then read aloud. Sometimes it is
interesting if more than one group is assigned to script
I
motivations. or feelings on an issue from the noveL
the same chapter; then, when the scripts are read, the
class can comment on thoroughness, tone. and impact.
2. Bring a large selection of poetry into the classroom or
take students to the library so students have access to
5. If students become upset about something that happens
lots of poetry books. Invite students to browse through
in a novel. let them organize a protest campaign. In
the books looking for poems that specific characters
response to Don't Care High by Gordon Korman. my
might like, For instance. my students picked out poems
students were upset that the principal in the novel would

46 47
LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8. Number 2

issues such as materialism. wanting others' approval. they thought Maniac in Maniac Magee would like. Some
racism. alcoholism. lying. and integrity. and then they studcnts picked poems about racial harmony because
rank the issues from the most important to the least that was important to him. Others picked poems about
important. If time permits. they can pick a character and having a home since Maniac didn't have one or poems
rank the issues as that character would rank thcm. about baseball because Maniac was so good at that sport.
Students can also pick out poems that say something
7, Have students dig back into the book to find tcn quota­ about the theme or setting of a book. When students
tions or sentences that reveal the character they've been turn in copies of the poems, they write on the back who
assigned or have chosen and that show what the charac­ they think the poems would be important to and why.
ter is like. Students then explain what these quotes tell The teacher can read these poems aloud and have stu­
or show about their characters. Another way to use the dents write down who or what the poem speaks to and
quotations is to scramble them as you type them, The why. After reading two or three, discuss student an­
next day, in groups, students must try to identify who swers, This is another easy way to get students thinking
said what quote. This really gets them talking about about the piece of literature and to engage them in lively
characterization and why one quote sounds more like one discussions.
character than another.
3. Awards. After reading a novel or a group of short stories.
Activities such as those described above provide excellent preparation
students brainstorm categories for awards such as "most
for more elaborate written responses to literature, Student writing about
ignorant" or "most caring." Students then decide which
literature can take a variety of forms in our classrooms, Whenever possible,
character fits each award the best and briefly writes up
I try to give students choices in writing assignments so they have the chance
why that character should get that award. Sharing these
to write something in response to a novel or story or poem that means a lot
with the class promotes lots of thinking and sharing of
to them, Once again, it makes sense to begin with assignments that center
ideas.
on the students' own responses to the literature, This is also true when the
whole class is engaged in the same assignment. Described below are a
4, To encourage students to think about what is important
number ofwriting activities that begin with students' responses and allow for
about specific chapters. have them turn a chapter or a
a good deal of student choice.
scene from a chapter into a script. This can he done in
groups. Explain that when they need to describe setting
L After students have read all or part of a novel. invite
or make introductory remarks, they can use a narrator.
students to write and then perform a talk show. One
The scripts should focus on capturing the essence of the
student can be Arsenio Hall or Oprah Winfrey or Phil
Donahue and question characters about their actions.
chapter. Scripts are then read aloud. Sometimes it is
interesting if more than one group is assigned to script
I
motivations. or feelings on an issue from the noveL
the same chapter; then, when the scripts are read, the
class can comment on thoroughness, tone. and impact.
2. Bring a large selection of poetry into the classroom or
take students to the library so students have access to
5. If students become upset about something that happens
lots of poetry books. Invite students to browse through
in a novel. let them organize a protest campaign. In
the books looking for poems that specific characters
response to Don't Care High by Gordon Korman. my
might like, For instance. my students picked out poems
students were upset that the principal in the novel would

46 47
 l

LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8, Number 2

not let the student body have a president. In groups. small groups; and they are writing in response to what they've read. Students
students spent two days writing a speech to rally other benefit from this integration of reading, writing, speaking. and listening
students, composing a letter that would be read to the because they are using skills in a complete context. They are not being asked
and making posters and bullons in favor of the to speak for the sake ofmaking a speeeh. They are not simply doing a listening
On the third day, each group deliv­ exercise. are to see know how to are
ered their speech to the rest of the class and tried to not reading just to be tested on content. Instead. all of these language arts
them to the cause, read their letters to the novel's princi­ blend together naturally and successfully because students are involved in
pal. and shared any other work they had done on the real learning in which they grapple with meaning and try to create something
campaign. of their own.

6. Have students go through the comics for several weeks The reader response approach reinforces this natural integration.
looking for comic strips that specific characters would Students usually come away from these kinds of classroom experiences
like. Have them mount the comic strips on paper and feeling very positive because the talk and the product is theirs. They are no
write thcir explanation of why this comic would appeal to longer using their energy to guess what the teacher wants them to think;
or to the character. Post these in the room. Stu­ instead, they are spending energy on creating somethin!! that thev have a
dents love to read the comics and try to see the connec­ stake in.
tion a fellow student made.

7. Ask students to write additional scenes for the story or to Diana Mitchell teaches English at Sexton High School in Lansing and will
write a new ending. This works especially well in novels soon become co-editor of the Language Arts Journal Of Michigan.
such as OJMice and Men wherc so many events are only
alluded to but not developed. Curley's courting of his
wife is one example. Other examples are included in the Appendix A
section on assignments later in this article.
After reading F...dward Arlington Robinson's ~Miniver Cheevy, ff ~Richard Cory. ff
Annpnrliy A describes a number of assignments that prnhnnv and "Mr. Flood's Party." students choose one of the followin!! to write on:
the principles of the reader-response students have options,
students have the freedom to discover what the piece of literature means. 1. Create Richard Cory's background in story or poetic form

students see that their responses are valued becausc the assignments are so we can understand his actions.

based on their response, and students think and create rather than regurgi­
tate. Most of these assignmen ts begin with students' responses and ask them 2. Write a poem or a story on loneliness.
to analyze and synthesize what they know and then make generalizations I
about such things as the characters. Students then can go beyond the book 3. Create a story. poem. or essay explaining why Miniver

when they begin these writing assignments. Again, higher level Cheevy or Mr. Flood turned to alcohol.

skills are bein!! used.

4. Write in ~strcam-of-conscious" from the point of view of

While all of this is going on with individual students. are talking

one of the three characters.

with other students to share their sense of what they've read; are
listening to other students as these studcnts also try to make meaning in

48 49
 l

LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8, Number 2

not let the student body have a president. In groups. small groups; and they are writing in response to what they've read. Students
students spent two days writing a speech to rally other benefit from this integration of reading, writing, speaking. and listening
students, composing a letter that would be read to the because they are using skills in a complete context. They are not being asked
and making posters and bullons in favor of the to speak for the sake ofmaking a speeeh. They are not simply doing a listening
On the third day, each group deliv­ exercise. are to see know how to are
ered their speech to the rest of the class and tried to not reading just to be tested on content. Instead. all of these language arts
them to the cause, read their letters to the novel's princi­ blend together naturally and successfully because students are involved in
pal. and shared any other work they had done on the real learning in which they grapple with meaning and try to create something
campaign. of their own.

6. Have students go through the comics for several weeks The reader response approach reinforces this natural integration.
looking for comic strips that specific characters would Students usually come away from these kinds of classroom experiences
like. Have them mount the comic strips on paper and feeling very positive because the talk and the product is theirs. They are no
write thcir explanation of why this comic would appeal to longer using their energy to guess what the teacher wants them to think;
or to the character. Post these in the room. Stu­ instead, they are spending energy on creating somethin!! that thev have a
dents love to read the comics and try to see the connec­ stake in.
tion a fellow student made.

7. Ask students to write additional scenes for the story or to Diana Mitchell teaches English at Sexton High School in Lansing and will
write a new ending. This works especially well in novels soon become co-editor of the Language Arts Journal Of Michigan.
such as OJMice and Men wherc so many events are only
alluded to but not developed. Curley's courting of his
wife is one example. Other examples are included in the Appendix A
section on assignments later in this article.
After reading F...dward Arlington Robinson's ~Miniver Cheevy, ff ~Richard Cory. ff
Annpnrliy A describes a number of assignments that prnhnnv and "Mr. Flood's Party." students choose one of the followin!! to write on:
the principles of the reader-response students have options,
students have the freedom to discover what the piece of literature means. 1. Create Richard Cory's background in story or poetic form

students see that their responses are valued becausc the assignments are so we can understand his actions.

based on their response, and students think and create rather than regurgi­
tate. Most of these assignmen ts begin with students' responses and ask them 2. Write a poem or a story on loneliness.
to analyze and synthesize what they know and then make generalizations I
about such things as the characters. Students then can go beyond the book 3. Create a story. poem. or essay explaining why Miniver

when they begin these writing assignments. Again, higher level Cheevy or Mr. Flood turned to alcohol.

skills are bein!! used.

4. Write in ~strcam-of-conscious" from the point of view of

While all of this is going on with individual students. are talking

one of the three characters.

with other students to share their sense of what they've read; are
listening to other students as these studcnts also try to make meaning in

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LANGUAGE ARTS JOURNAL OF MICHIGAN VolUmi! 8, Number 2

5. Write a serious or humorous essay on ways to cure lone­ 3, Your job is to fill Rip in politically on everything that's
liness or on how deceiving appearances can be. happened in the last twenty years. Do it so he'll under­
stand it,
6. Create your own writing option around the ideas of loneli­
ness. depression, alcoholism. suicide. old age, or any 4. Write up the scene or the story of thc beginnings of the
other theme you found in any of these three poems. unpleasantness between Rip and his wife,

7. Write a story from the point of view of a very old person. 5, Imagine that Rip Van Wtnkle woke up in our times and
met a modem woman of the 90s. How might she respond
8. Write in the style of Edgar Lee Masters for to his complaints about his wife? Let us hear it.
Richard Cory. Miniver Cheevy. or Mr. Flood, telling people
what they would like to say to them after their deaths. 6. In "The Devil and Tom Walkern we read that Mrs. Walker
and the devil had quite a fight. Write the scene or story
n
After reading "The Open Boat by Stephen Crane. students choose one of the of that happening.
following or create an assignment of their own in response to this short story:
7. Imagine Rip and wife or Tom and wife at a marriage
1. Write a newspaper article about the experience, including
counselor. Give us the session In living color, remember­
quotations from characters. ing to keep the language appropriate to the times.
.j
2. Write a poem about the MseaMexperience of the charac­
8. The place whcre the devil appears in the woods is very
ters.
descriptive. Using that as your setting. create another
kind of story such as a family camping trip and show
3. Write a story explaining how the wreck occurred and how how this group reacts differently to the same surround­
the four characters happened to be together. ings.

4. Write a story from the point of view of the people on the

9, Become a newspaper reporter who was present either
shore or from the seagull's point of view.
when Rip came back home or when Tom Walker was
whisked away by the devil. Write it either as a news story
5. Write an essay about what this experience has to say
or a feature but do it in newspaper style.
about the human condition and about life.

Washington Irving's MRip Van Winklen and "The Devil and Tom 10. Irving's descriptions of nature are vivid and detailed. If
After
you have a place that means a lot to you, write It up
I
Walker,n students choose one of the to write about:
descriptively so we feel we're there.
1. Make up the story of why the little men appear every
11. Analyze Washington Irving psychologically. Using his
twenty years.
words as clues, create the background in his life to ex­
2. Write up a story from Mrs. Van Winkle's point ofvicw, plain why he had the views on women, marriage, work.
shOWing us what it's like to be married to Rip. etc. that he had.

50 51
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LANGUAGE ARTS JOURNAL OF MICHIGAN VolUmi! 8, Number 2

5. Write a serious or humorous essay on ways to cure lone­ 3, Your job is to fill Rip in politically on everything that's
liness or on how deceiving appearances can be. happened in the last twenty years. Do it so he'll under­
stand it,
6. Create your own writing option around the ideas of loneli­
ness. depression, alcoholism. suicide. old age, or any 4. Write up the scene or the story of thc beginnings of the
other theme you found in any of these three poems. unpleasantness between Rip and his wife,

7. Write a story from the point of view of a very old person. 5, Imagine that Rip Van Wtnkle woke up in our times and
met a modem woman of the 90s. How might she respond
8. Write in the style of Edgar Lee Masters for to his complaints about his wife? Let us hear it.
Richard Cory. Miniver Cheevy. or Mr. Flood, telling people
what they would like to say to them after their deaths. 6. In "The Devil and Tom Walkern we read that Mrs. Walker
and the devil had quite a fight. Write the scene or story
n
After reading "The Open Boat by Stephen Crane. students choose one of the of that happening.
following or create an assignment of their own in response to this short story:
7. Imagine Rip and wife or Tom and wife at a marriage
1. Write a newspaper article about the experience, including
counselor. Give us the session In living color, remember­
quotations from characters. ing to keep the language appropriate to the times.
.j
2. Write a poem about the MseaMexperience of the charac­
8. The place whcre the devil appears in the woods is very
ters.
descriptive. Using that as your setting. create another
kind of story such as a family camping trip and show
3. Write a story explaining how the wreck occurred and how how this group reacts differently to the same surround­
the four characters happened to be together. ings.

4. Write a story from the point of view of the people on the

9, Become a newspaper reporter who was present either
shore or from the seagull's point of view.
when Rip came back home or when Tom Walker was
whisked away by the devil. Write it either as a news story
5. Write an essay about what this experience has to say
or a feature but do it in newspaper style.
about the human condition and about life.

Washington Irving's MRip Van Winklen and "The Devil and Tom 10. Irving's descriptions of nature are vivid and detailed. If
After
you have a place that means a lot to you, write It up
I
Walker,n students choose one of the to write about:
descriptively so we feel we're there.
1. Make up the story of why the little men appear every
11. Analyze Washington Irving psychologically. Using his
twenty years.
words as clues, create the background in his life to ex­
2. Write up a story from Mrs. Van Winkle's point ofvicw, plain why he had the views on women, marriage, work.
shOWing us what it's like to be married to Rip. etc. that he had.

50 51
LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8. Number 2

After reading OjMice and Men by John Steinbeck, students select one of the 9. Write a sequel about George and Curley.
following activities. If they choose to do an oral presentation, they may work
with two other people. 10. Tell part of the story from the viewpoint of the misflts,
Lennie, Crooks, Candy, or Curley's wife.
ORAL PRESENTATION

Do this in either a newscast or talk show format. If you do the 11. The sheriff arrives to interview everyone, including

newscast, there must be news stories based on incidents in the book. George.
weather. features in which a person from the book Is interviewed. sports. etc.
POETRY OPTIONS:
If you do a talk show format. you should probably organize it thematically.
Issues of poverty. racism, lack of security for the old and handicapped.
1. Write a series of poems to different characters or about

society's expectations for women. mercy killing. etc. could be explored.

them.

Include at least some of the characters as guests.

WRITING ASSIGNMENT 2. Write a series of poems to one character from several

other characters.

Write a scene or chapter for OjMice and Men that is suggested by the
sto!),. Write it as a short story or as a play. Use Steinbeck's style as much 3. Write several poems on themes in this novel such as

as possible- uncomplicated words, lots of dialogue, repetition. etc. Also loneliness, compassion, caring, the oppressed.

begin the chapter or scene with a description of the setting. Some sugges­
tions:

1. Lennie living at Aunt Clara's.

2. What happened in Weed.

3. Slim and George at the bar after Lennie's death.

4. Back at the ranch after Lennie's death.

5. How Crooks came to live at the ranch.

6. Candy and his accident. I

7. Curley going to the doctor to get his hand flxed.

8. Curley's wife's life, such as when she met Curley, her

interactions with her mother, her dealings with the men
who promised her things.

52 53
LANGUAGE ARTS JOURNAL OF MICHIGAN Volume 8. Number 2

After reading OjMice and Men by John Steinbeck, students select one of the 9. Write a sequel about George and Curley.
following activities. If they choose to do an oral presentation, they may work
with two other people. 10. Tell part of the story from the viewpoint of the misflts,
Lennie, Crooks, Candy, or Curley's wife.
ORAL PRESENTATION

Do this in either a newscast or talk show format. If you do the 11. The sheriff arrives to interview everyone, including

newscast, there must be news stories based on incidents in the book. George.
weather. features in which a person from the book Is interviewed. sports. etc.
POETRY OPTIONS:
If you do a talk show format. you should probably organize it thematically.
Issues of poverty. racism, lack of security for the old and handicapped.
1. Write a series of poems to different characters or about

society's expectations for women. mercy killing. etc. could be explored.

them.

Include at least some of the characters as guests.

WRITING ASSIGNMENT 2. Write a series of poems to one character from several

other characters.

Write a scene or chapter for OjMice and Men that is suggested by the
sto!),. Write it as a short story or as a play. Use Steinbeck's style as much 3. Write several poems on themes in this novel such as

as possible- uncomplicated words, lots of dialogue, repetition. etc. Also loneliness, compassion, caring, the oppressed.

begin the chapter or scene with a description of the setting. Some sugges­
tions:

1. Lennie living at Aunt Clara's.

2. What happened in Weed.

3. Slim and George at the bar after Lennie's death.

4. Back at the ranch after Lennie's death.

5. How Crooks came to live at the ranch.

6. Candy and his accident. I

7. Curley going to the doctor to get his hand flxed.

8. Curley's wife's life, such as when she met Curley, her

interactions with her mother, her dealings with the men
who promised her things.

52 53