grade four module three, unit 3a: lessons from our...

Grade Four Module Three, Unit 3A:

Lessons from Our Recent Past

Aligned with the Common Core State Standards in

Reading, Speaking & Listening, Language, and Writing

Written for: Baltimore City Public Schools

Revised: Fall 2013

Bud, Not Buddy by Christopher Paul Curtis

Overview Lesson Sequence & Teaching Structure ● Eight Lessons

○ Four Whole Group (WG) lessons (20-30 minutes each)

○ Four differentiated Small Group lessons (SGs) for students who are below, on, or above the instructional level of this text (15-20 minutes each + independent follow-up assignment after each SG lesson)

○ Seven embedded Routine Writings; 2 additional which are optional for the Writing Center

Lesson 1

WG – Focus Lesson ● Text introduction

● Saying what the text means

● Asking questions

● Genre – Historical Fiction

Lesson 2

SGs – Shared/Guided Reading ● Asking questions

● Setting

Lesson 3

WG – Interactive Read-aloud ● Addressing vocabulary


● Point of View

Lesson 4

SGs – Shared/Guided Reading ● Determine importance

● Addressing vocabulary

● Setting

Lesson 5

WG – Focus Lesson ● Determine importance

● Making ideas cohere

● Compare/contrast information

Lesson 6 SGs – Shared/Guided Reading

● Asking questions


Lesson 7

SGs – Shared/Guided Reading ● Asking questions


Lesson 8

WG – Focus Lesson ● Determine importance

● Making ideas cohere


Possible Extensions

During independent reading, students might read:

Informational texts on the Great Depression, the Jazz Era of the 1930s, and/or orphanage/foster care (prepare an report about the topic)

Historical fiction texts

Other texts by Christopher Paul Curtis.

Students learn more about the past by interviewing their older relatives (parents, grandparents, aunts, uncles, etc.). What was life like for them? Successes? Challenges?

Comprehension Strategies1 Saying what the text means: recast meaning of a sentence, paragraph, or series of paragraphs in their own words Making ideas cohere: link ideas and infer relationships; understanding connecting words and phrases; keeping track of substitute words; understanding pronoun references Addressing vocabulary: learn domain-specific words that are essential for comprehension Focused reading – questioning during and after reading: use questioning to scaffold student understanding of a text and to think critically about it Text structure knowledge: explicitly teach text structures (cause and effect, problem and solution, claim and evidence, question and answer, etc.) Using graphic organizers to display the relationship between ideas: reconstruct information and create connections; helps students develop and demonstrate a coherent understanding of the text

1 Instructional strategies for reading selected from Literacy Navigator, America’s Choice, Pearson Education, 2011

Text Factors & Analysis of: Bats by Randall Jarrell Genre ● Historical Fiction

● Chapter book

Level ● Grade Level Equivalent = 5.0 ● Lexile = 950 ● F & P = U

Text Structure ● Narrative story includes chapters with multiple episodes related to a single plot ● Plot with detailed episodes

Content Requires reader to take on a diverse perspective.

Content carried through print (no pictures.)

Setting requires knowledge of history (Great Depression).

Story content:

A young orphaned boy named Bud (not Buddy) who lives in Flint, Michigan during the Great Depression runs away from a hostile foster home.

Bud is determined to find his father – his deceased mother has left him some “clues” which lead him to Grand Rapids, Michigan.

Bud believes Herman E. Calloway is his father – a jazz musician.

On his journey to find his father he meets a variety of people who support and guide him.

Herman Calloway’s band welcomes Bud and allows him to stay around while they figure out his situation.

In the end, Bud learns that Herman Calloway is actually his grandfather.

Theme and Ideas Multiple themes and ideas: ● Orphanage/Foster Homes/Adoption ● Little seeds lead to big ideas. ● Goodness prevails. ● When one door closes another door opens. ● The kindness of strangers ● There are different kinds of families. ● Humor can help us overcome challenges and hard times. ● Writing can calm and comfort us.

Language and Literary Features

● Descriptive language (setting and characters) – important to understand. ● Multiple and memorable characters (both flat and dynamic) reveal their traits

through actions and words. ● Unfamiliar setting (time and place). ● Complex plot – includes moments of suspense and movement towards a solution to

the central problem.

Vocabulary (see list below)

● Many new vocabulary words that readers must derive from context, or dictionaries. ● Some highly technical words that require background knowledge. ● Some words used figuratively ● Many longer descriptive words—adjectives and adverbs ● Many words with 3+ syllables ● Words with prefixes and suffixes ● Words used in regional/historical dialects.

Illustrations No illustrations except the front cover.

Photographs included in the Afterword.

Book and Print Features

● 236 pages (story) ● 19 chapters ● Includes Afterword & About the Author sections.

Vocabulary Excerpts used in Lesson 1:

From Chapter 1 (pp. 2-3) and Chapter 6 (pp. 49-51)

Technical/ unique terms (Tier III words)

foster families, writ, Niagara Falls, Thug, Dirty Deed, Steady Eddie, Miss Thomas, Mr. Jimmy, Herman E. Calloway, LaBone, Doo-Doo Bug’s, saxophone, sax, trombone, Dusky Devastators of the Depression, Nubian Knights, trumpet, American

Vocabulary to reinforce (Tier II words)

glum, depression, grateful

Phrases worth studying/defining

difficult times for everybody; ten-dollar-apiece jackets; ‘No place like America today!’; got to give them credit; have the nerve

Chapter 8 (pp 60-68)


Bud, Bugs, Hooperville, Hooverville, Flint, Thread Crick, mouth organ, Amoses, britches, cardboard jungle, Herbert Hoover, Detroit, Chicago, Orlando, Oklahoma City


jackknife, foster home, hoodlum, official, mission, huts, shacks, circle-talking, cross-talking

Phrases worthy of analysis or discussion

made the hair on the back of my neck raise up, felt like I had to suck all the air out of Flint, scared me to death, on the lam, riding the rails, trains you got to hop, moving pretty doggone fast, whupped him, big glob of slob, sky was glowing with an orangeish light, coughing like it was a half-dead animal, raggedy little huts, little bit nervous about tomorrow, all in the same boat, rode the rails, singing the same sad song all over this country

Excerpts used in Lesson 2:



Bud, Bugs


jackknife, foster home, hoodlum, official, mission


made the hair on the back of my neck raise up, felt like I had to suck all the air out of Flint, scared me to death, on the lam, riding the rails, trains you got to hop, moving pretty doggone fast, “whupped him”, big glob of slob

Chapter 11 (pp 126-127)


Lefty Lewis, Kim, Mrs. Sleet, Pullman porter


chattering, redcaps


gluggled up

Chapter 17 (pp 200-203)


Niagara Falls, Thug, Dirty Deed, Steady Eddie, Miss Thomas, Mr. Jimmy, Herman E. Calloway, LaBone, Doo-Doo Bug’s, “ax,” saxophone, sax, trombone, Dusky Devastators of the Depression, Nubian Knights, trumpet, American


commencing, steady, moan, drift away, grunted, curtsey, exclamation points


brushing his sticks, seemed like Steady made it talk, bobbing his head, she was the sun busting through thick, gray clouds, interrupt the conversation, dead quiet




Miss Hill, Pretty Boy Floyd, Christmas, Amoses, tobacco bag, side-sag, six-shooter pistols, telegraph wires, ringworm, lice, tetters


twine, fumbling, drawstring, sidesaddle, hardheaded, insisted, horrid, mission

Phrases worth studying/defining

on the lam, real McCoy, doggone Amoses, running “acrost” the top of it, “writ” on a long skinny flag, twenty-five-gallon Texas cowboy hat, rocks in her jaw, big and burny, alive with germs, she was like a tornado, when one door closes…another door opens




food line, Deza Malone, Miss Hill, Civil War, Flint, Grand Rapids, Owosso, Ovid, St. John’s, Ionia, Lowell, Pictorial History of the War Between the States, mission, Jack Robinson, Herman E. Calloway, Home, Billy Burns, Bugs, Michigan, Herman E. Calloway and the Terminally Unhappy Blues Band, Masters of the Delta Blues, Herman E. Calloway and the Gifted Gents of Gospel – Featuring Miss Grace ‘Blessed’ Thomas’s Vocals, Servants of the Master’s Salvation, accordion, H. E. Callowski and the Wonderful Warblers of Warsaw, Masters of the Polka, H.E. Bonnegut and the Boisterous Big Band of Berlin, Master of All We Behold


dimple, librarian, recognized, gigantic, gory, impressed, flyers, ignorant, buffalo, embarrassed


time flies when you’re in one; smelling all the page powder; snapped a spell; knowledge is a food; woop, zoop, sloop; roach-infected houses; roach-infected head; sad collection of souls here; little seed of a idea started growing; dug its roots in deep; way down in my guts; mighty maple; crick in my neck


Afterword (pp 237-243)


Great Depression, Lefty Lewis, Herman E. Calloway, Earl “Lefty” Lewis, redcaps, Grand Rapids, Michigan, Pullman porter, African American, Negro Baseball Leagues, Satchel Paige, opposing pitchers, Herman E. Curtis, Dusky Devastators of the Depression, Indiana Conservatory of Music, classically trained, Wyoming


encounters, prestige, workweek, salary, exceptionally, retirement, entertainment, orchestra, chauffeur, prohibited, flexibility, sorrow, immortal


traits of real people, based loosely, job security, sew reinforced linings, rip the seams out, leathery texture, cut back, let go, forget their troubles, holding title to land, people skills, bleakest periods, avoid the brunt, riding the rails, didn’t take advantage, my eyes would glaze over, convenient excuse




Owosso, Michigan, Flint, doggone, pop (soda), bum-rush, Home, Amoses, Grand Rapids, telegram, steering wheel, gearshift, Baby Face Nelson, FBI’s ten most wanted list


puny, ventriloquists, squatted, stomach, taillights, hypnotized, manners, fetch, unusual, jolt, unbelievable, exclamation points, snatched, passenger’s, vampires


blasted my ears with that whistle, noise-making critters, a little time to spare, put my mind at ease, belt it all down on the first pull, clean up the language for you, run like the devil chasing me

Chapter 11 (pp 108-114)


jackknife, twenty-four-karat silver, Flint, Grand Rapids, Hurley Hospital, Herman E. Calloway, Ruth Dandridge


knuckle, proper, genuine, bait, fangs, operation, grateful, image, glimpse, glugged, swishing, undergo, major surgery, teasing


commenced to bucking, roll the window down, “Sweet baby Jesus, why me?” grapefruit-sized, any tricks up his sleeve, clean getaway, whole slew of questions, seed started sticking its head out further and further, spitting image, peeking up over the dash

Chapter 12 (pp 142-143)


Negro, Ku Kluxer, John Brown


moldering, mellowed, alias


add my two cents


Chapter 12 (pp 144-150)


trumpet, Golden Gloves, middleweight champ, Chicago, Jordan “Snaggletooth” MacNevin, Irish, Last Supper, Herman E. Calloway, good Lord, Toddy boy, Jimmy, Miss Thomas


rhythm, exaggerating, proof, gravity, mighty maple, kin, shield, growl


glass-smooth head, lines up a bout, flick this halfway stiff right jab clean, put him down, shaking in the wind, looked at me a lot harder, crying buckets

Chapter 15 (pp 179-180) & Chapter 17 (pp 200-203)


Niagara Falls, Thug, Dirty Deed, Steady Eddie, Miss Thomas, Mr. Jimmy, Herman E. Calloway, LaBone, Doo-Doo Bug’s, “ax,” saxophone, sax, trombone, Dusky Devastators of the Depression, Nubian Knights, trumpet, American


swiped, scamp, snooping, commencing, steady, moan, drift away, grunted, curtsey, exclamation points


huffing and puffing like the big, bad wolf, find out what your game is, brushing his sticks, seemed like Steady made it talk, bobbing his head, she was the sun busting through thick, gray clouds; interrupt the conversation; dead quiet

Chapter 18 (pp 206-213)


Packard, recorder, Sam Hill, Grand Calloway Station, Angela Janet Caldwell


nudging, silver dollars, dashboard, habit, glove box, patience, rummaging, squatted, disrespectful, stumbled, fumbled, crouched


make yourself useful, kept my nose out of his business, sharpest knife in the drawer, bearer of bad tidings, the smell of old spit and crumbling-up velvet and mildew, swear-‘fore-God truth, Lord have mercy, struck blind

Lesson 1: Focus Lesson


CCSS Addressed Materials

RL.4.3, RL.4.7, RL.4.10, SL.4.1, L.4.1, L.4.5, W.4.9, and W.4.10 (see CCSS aligned curriculum map for kid friendly objective language)

Text (teacher only) List of General Characteristics of Historical Fiction

projected onto a screen or written up onto an anchor chart (found in Student Sheet section at end of unit)

Student Sheets for Lesson 1 – pass these out during Guided Practice.

Ongoing Assessment

Observation of partner discussions Contributions to conversation norms Quotes from Bud, Not Buddy

Agenda (Lesson Sequence) Reading Skill or Strategy

1. Establish Purpose/Connect with Prior Learning 2. Name It!

Tell them what you will teach today. 3. Explicit Instruction/Direct Explanation

SHOW them exactly how to do it. Read and think aloud while they watch OR

demonstrate exactly what you want them to do. 4. Guided Practice

Ask them to try it with you, or with a partner. ROUTINE WRITING

5. Send off Remind students to use the strategy in their

independent reading. 6. Next Move in City Schools’ Instructional Model

1) Saying what the text means

2) Focused reading – questioning during and after

reading

3) Using graphic organizers to display the relationship between ideas

Resources for Teachers

Information on the Great Depression can be found at: http://www.history.com/topics/great-depression http://www.kidskonnect.com/subjectindex/16-educational/history/267-great-depression.html http://great-depression-facts.com/ http://facts.randomhistory.com/2009/04/12_great-depression.html Information on the Pullman porters can be found at: http://amhistory.si.edu/onthemove/exhibition/exhibition_9_6.html http://facingfreedom.org/workers-rights/pullman-porters http://en.wikipedia.org/wiki/Pullman_porter Information on jazz in the 1930s can be found at: http://www.swingmusic.net/getready.html http://en.wikipedia.org/wiki/1930s_in_jazz http://jazz.about.com/od/historyjazztimeline/a/JazzByDecade193040.htm

http://www.history.com/topics/great-depression

http://www.kidskonnect.com/subjectindex/16-educational/history/267-great-depression.html

http://great-depression-facts.com/

http://facts.randomhistory.com/2009/04/12_great-depression.html

http://amhistory.si.edu/onthemove/exhibition/exhibition_9_6.html

http://facingfreedom.org/workers-rights/pullman-porters

http://en.wikipedia.org/wiki/Pullman_porter

http://www.swingmusic.net/getready.html

http://en.wikipedia.org/wiki/1930s_in_jazz

http://jazz.about.com/od/historyjazztimeline/a/JazzByDecade193040.htm

Establish Purpose/Connect with Prior Learning Recently we finished reading the novel Bud, Not Buddy by Christopher Paul Curtis. We all enjoyed the story of Bud and his quest to find his father. Bud overcame many obstacles and encountered many kind adults in his journey. We will be using this text again to study the genre of historical fiction more closely. We will also notice the ways Christopher Paul Curtis included memorable characters and wrote about a unique time and place – the setting -- to keep us interested in the story.

Name It! As you might remember from our study of Where the Mountain Meets the Moon, good readers pay attention to the genre they are reading. Genre means the specific type of text you are reading. By knowing the genre, readers are able to make good predictions about how the text will work. They know what to expect. They can focus closely on characters or the plot. They can figure out why an author decides to use certain words or why he includes certain events. All of this thinking helps readers understand stories or information better. Since we have just finished reading Bud, Not Buddy, we will be thinking about the genre of historical fiction. Historical fiction is a special kind of fiction that takes place in the past. It has some unique features or characteristics that are important to consider. Knowing about these characteristics helps us understand and appreciate the story better. This list shows six general characteristics you can expect to find when you read historical fiction. Listen as I read this list to you. (Read the list aloud to students.) Over the next couple of weeks, we’ll look closely at these characteristics as we revisit the story Bud, Not Buddy. Notice that in historical fiction, the literary element of setting – the time and place in the story – is very important. Often when you read historical fiction two things happen: you enjoy an imagined story AND you learn true information about a particular time in history. The setting in historical fiction is often based on actual events and realities from the past. To help you understand this, I am going to reread a few short excerpts from Bud, Not Buddy which describe the time and place of Bud’s story. I’ve also gathered some actual images which show this time and place. I’ll use the text and the images together to help us think more about the setting in Bud, Not Buddy. Watch me do this now.

Explicit Instruction/Direct Explanation *Consider projecting the book and Student Sheets. Read aloud the summary on the back cover of the book. Then identify the date and place. (Flint, Michigan, 1936) You might say: This story takes place in Flint, Michigan. The location is NOT a historical fact – but Flint is a real city in Michigan. NOTE: Student Sheets are not distributed at this time. If you decide to distribute them, you are modeling how to complete the graphic organizer while the students simply watch. Show students the map of the United States and Michigan– projected onto a screen. You might say: On this page you see a map of the United States – the state that is highlighted in red is Michigan. This second image is a close up of the state of Michigan. The major cities are listed in it. Here is Flint – and here is Grand Rapids. (Remember, Bud’s original plan was to walk from Flint to Grand Rapids.) Fill in the organizer on the Student Sheet (or this can be done in the small group sessions.).

The back cover also tells us the year the story takes place – 1936. The author says that ‘times are hard.’ That phrase sets a mood already – it makes me think that some bad things must have been going on in 1936. Without knowing anything about that time in history, I already can guess that there were some difficult things happening. Next, I’ll read an excerpt from Chapter 1. (Read pp. 2-3. Stop on the top of page 3 at “Jerry said, ‘Cheerful, helpful, and grateful.’ I moved my lips and mumbled.”) Identify the characteristics of the setting by thinking aloud. You might say: In this excerpt the caseworker tells the boys that ‘there’s a depression going on all over this country.’ She also says many people don’t have jobs. I can connect this back to the phrase ‘times are hard.’ She tells the boys that they’re lucky to have families willing to take in a foster child. Show students the next two images on their Student Sheets. Take a look at these next two images – these are actual photographs of families taken during the 1930s – the same time period of Bud, Not Buddy. When I look at these images I see families who look very serious or maybe even sad. This family appears to be standing near their modest house. Also, both families seem to be wearing old or raggedy clothing. This makes me think they might not have a lot of money to buy new clothes. I think that some of the children in this photo might not be wearing shoes. Maybe they can’t afford shoes? The woman in this image looks worried. Her children are huddled up and not showing their faces to the photographer. I wonder – are they sad or crying? Are they afraid? I know that during the 1930s the United States did experience a Great Depression. Many people lost money and lost their jobs. It was a very hard time for many families. Many fathers and husbands would leave their families and try to find work in other towns or cities. I wonder if this woman’s husband has left to find work. (Teacher may opt to share more background information on the Great Depression using the links above.) Turn your thinking into writing by completing the graphic organizer underneath the images. Model for students how you turn your talking ideas into written key phrases. Use the questions to prompt your writing. What do you notice in the images? What ideas or feelings come to mind? Listen as I read this next excerpt. This is the part of the story when Bud goes to the mission to get food. A mission is a place that helps people in need. Often missions serve free meals for people. They also might have a nurse or health aid available for people who are sick or showers for people who are homeless. During the 1930s missions were places where people went for a free meal. Pay attention to what a mission looks and feels like as I read this excerpt. Read aloud pp. 49-51. (Stop at the top of page 51 at “WE ARE TERRIBLY SORRY BUT WE HAVE NO WORK AVAILABLE.”) Think aloud about this aspect of the setting. You might say: As I reread this excerpt I imagine the long line of hungry people waiting for their free meal. It must have been hard to wait so long and frustrating to know that you didn’t have enough food in your own home. Also, the image of the ‘rich white family’ in the car must have really annoyed the people in the line – they weren’t having that kind of life at all. I’m thinking that people who went to the mission most likely didn’t have a job – they were unemployed. Or, maybe they could only find a part time job – and didn’t have enough money to prepare their own meals.

Now, take a look at these images. These are what actual mission lines looked like in the 1930s. This first photograph shows a mission offering free doughnuts and coffee to the unemployed. Most of the people in line are men; they’re wearing jackets and hats. I wonder: are they cold? Is it winter time? Do they have heat in their homes? I think this second photograph is the inspiration for what Christopher Paul Curtis describes in the excerpt I just read. Take a look. Here’s the line of African American families at a mission. They’re standing in front of the sign described in Bud, Not Buddy. But this is a true photograph. Christopher Paul Curtis took a true event and blended it with pretend characters. This is exactly what happens in historical fiction. You’ll notice, however, that the caption in the book said, “There’s No Place Like America Today!” But in the actual image the sign reads, “There’s No Way Like the American Way!” Similar ideas – AND real historical facts are blended into fiction. Turn your thinking into writing by completing the graphic organizer underneath the images. Model for students how you turn your talking ideas into written key phrases. Use the questions to prompt your writing. What do you notice in the images? What ideas or feelings come to mind? Now you will work with a partner to as we think more about the setting. I’m going to read another excerpt and then show some images from history. Then you and your partner will talk about what you notice and what you think.

Guided Practice Listen as I read the following excerpt. (Read from the bottom of page 63 “We found out…” and stop on top of page 66 where it says, “Ask them if this is Hooperville, see if they got any extra food.”) Then ask: What did you learn about the setting in these pages? Turn and talk with your partner about this. Check for understanding by listening in to students as they talk with their partner. Possible points they may notice are:

1) People sitting around a fire in the evening; someone is playing the mouth organ (harmonica)

2) Huts & shacks made up of cardboard, wood, and cloth

3) People gathered around a large fire – used for cooking food

4) Big pot of boiling water where people are washing their clothes using a stick & then drying them on a line

5) Another fire where a family is sitting with a sick baby Have partners share out their thinking and then ask: What does Christopher Paul Curtis mean when he says ‘a big wind or even two or three big wolves huffing and puffing real hard could blow Hooperville into the next county’? What is he saying about Hooperville? Why does he mention wolves ‘huffing and puffing’? Help students see the connection to the Three Little Pigs – the weak structures of the houses. Ensure students are using evidence from the text to support their responses. Read on (pp. 66-68; stop at “If you two boys are from Flint, this is the right Hooverville for you.”) Then say: What more have you learned about the setting? Turn and talk with your partner about this.

Check for understanding by listening in to students as they talk with their partner. Possible points they might notice are:

1) Hooperville is actually Hooverville – named after the President Herbert Hoover

2) Hoovervilles exist all over the country – near many big cities

3) Hooverville is big and crowded – with many people (mostly men and older boys) of many races

4) Hooverville is a place filled with many people who are struggling with their lives right now (hungry, out of work, or uncertain about where they’ll live)

Pass out Student Sheets for Lesson 1. Give students a chance to look at the images you already discussed (maps, families, and mission lines.) Then say: Take a look at these two images – the boy carrying a sign and the picture of an actual Hooverville. Talk with your partner about these images. What do you notice? What ideas of feelings come to your mind when you look at these images? Give students a few moments to talk with their partners about these images. Then have a few partners share out their thinking. Guide students as they turn their thinking into writing by completing the graphic organizer underneath the images. Assist students as they turn their talking ideas into written key phrases. Use these questions to prompt their writing: What do you notice in the images? What ideas or feelings come to mind? (Students will have time in the small group sessions to write about the previous images that were shared in this lesson.)

Send Off End the lesson by saying: Today we talked about the general characteristics of historical fiction. In particular, we thought about how the setting in historical fiction is very important. We then went back to our text to look closely at the setting. We used real images of the 1930s to help us better understand what Christopher Paul Curtis meant when he wrote, ‘times are hard.’ As readers, we want to pay attention and notice the setting when we read historical fiction. It will support our thinking and it will help us understand the story better. Knowing how the genre works also helps us appreciate the story more. When we meet in small groups with this text, we will think more about the setting and about other characteristics of historical fiction.

Next Move in City Schools’ Instructional Model At the completion of this whole group lesson, you will signal for the ‘Small Group, Guided & Independent Reading Practices’ time to begin. See the Weekly Planning Sequence for more guidance.

Modifications/Accommodations (Teacher inserts student specific modifications/accommodations as written in any IEPs.)

Lesson 2: Small Group Reading Instruction




● Copy of text for each student ● Student Sheets for Lessons 1 and 2 ● Optional: Projector and document camera or large

copy of Student Sheet for Lessons 1 and 2 ● Optional: Nonpermanent marking tools; such as,

Wikki Stix, highlighter tape, etc., photocopied portions of text, or blank transparencies

Ongoing Assessment


Agenda (Lesson Sequence) Teaching Notes

Before the Reading 1. Text Introduction

Background Knowledge Warm-up Today’s Plan

During the Reading 2. Read Text

Focus Question (strategy practice) Teacher led, repeated reads, shared, silently,

whisper read, pairs, etc. After the Reading 3. Student Discussion

Key Questions for Discussion (revisit & reinforce strategy)

ROUTINE WRITING Check for Understanding (CFU)

4. Follow-up/Extension or Takeaway

This small group lesson includes both guided and shared reading experiences/teaching supports. Through teacher scaffolds and repeated reads, students will work to access the text and construct meaning.

Reading Skill or Strategy


2) Focused reading – questioning during and after reading


BELOW LEVEL Group ON LEVEL Group ABOVE LEVEL Group Below Level students did not meet the fall

2013/winter 2014 reading benchmarks as defined by mCLASS: Reading 3D and/or STEP Literacy

Assessment.

PLACE POST-IT NOTE WITH STUDENT NAMES

FOR THIS GROUP IN THIS SPACE

On Level students met the fall 2013/winter 2014 reading benchmarks as defined by mCLASS: Reading

3D and/or STEP Literacy Assessment.



Above Level students met and/or exceeded the fall 2013/winter 2014 reading benchmarks as defined by mCLASS: Reading 3D and/or STEP

Literacy Assessment.



Lesson 2 BELOW LEVEL ON LEVEL ABOVE LEVEL TE

XT

INTR

OD

UC

TIO

N

Activate Background Knowledge

This will be the first time students have their own copy of the text. Allow them time to browse the book – looking at the cover closely, the text on the back, etc. Pass out Student Sheets from Lesson 1. Remind students of the unique characteristics found in historical fiction. (Display anchor chart, project the six characteristics onto a screen, or pass out copies of the list to students.) Read the list again and emphasize the role of setting in historical fiction. Give students an opportunity to study and discuss again the images from Lesson 1. Model for students how to turn their conversations into writing. Have them complete the boxes below each set of images.

This will be the first time students have their own copy of the text. Allow them time to browse the book – looking at the cover closely, the text on the back, etc. Pass out Student Sheets from Lesson 1. Remind students of the unique characteristics found in historical fiction. (Display anchor chart, project the six characteristics onto a screen, or pass out copies of the list to students.) Read the list again and emphasize the role of setting in historical fiction. Give students an opportunity to study the images from Lesson 1. Have them complete the boxes below each set of images. Have students share out their ideas.

This will be the first time students have their own copy of the text. Allow them time to browse the book – looking at the cover closely, the text on the back, etc. Pass out Student Sheets from Lesson 1. Remind students of the unique characteristics found in historical fiction. (Display anchor chart, project the six characteristics onto a screen, or pass out copies of the list to students.) Have students work with a partner to reread the characteristics of historical fiction. Give students an opportunity to study the images from Lesson 1. Have them complete the boxes below each set of images. Have students share out their ideas. Remind students that the setting in historical fiction is particularly important and is what makes historical fiction unique.

Today’s Plan (includes the reading focus, skill, or strategy, and will highlight any potential “tricky spots”)

Today we will continue to think about the setting in Bud, Not Buddy. The story takes place in Michigan during 1936. Remember, readers pay attention to the time and place when reading historical fiction. The setting influences the events and how the plot unfolds. Often the author includes real events from history and blends them with imagined characters and an imagined story. Knowing about the history – what actually was happening at this moment in the past – may help you understand why the characters act as they do. We talked during Lesson One about the depression that was happening in our country during the 1930s. We looked at images of families, mission lines, and of a Hooverville. It was a very difficult time for many families. Today we will reread and analyze three more excerpts that reveal important parts of the setting.

Pass out Student Sheets for Lesson 2. Outline the plan for today’s lesson. You might say: These are the images that we’ll look closely at today. They are all important in the story Bud, Not Buddy. You’ll follow along as I reread three excerpts to you. Then, we’ll study some real images from history that are connected to these passages. We’ll discuss what we notice in these images and how we feel about them. The final step will be to turn our thinking into writing. We’ll jot down our ideas onto the graphic organizer. The first excerpt is about riding the rails and the second one is about the Pullman porters. The third excerpt is about jazz music. *Note – Provide students with a bookmark/post-it to mark the pages of the three excerpts they’ll be hearing – help them follow along by keeping track of the pages. Three excerpts for the lesson:

1) TEACHER READS pp. 60-63 (Start at the beginning of the chapter. End at, “then we’ll be on the lam together.”) connect to “Riding the Rails” images

2) TEACHER READS pp. 127 - 128 (Start at, “They talked after every swallow…” and stop at “he gets paid to do it.”) connect to “Pullman Porters” images

3) TEACHER READS pp. 200 – 203 (Start at, “I let the handle up to see…” and stop at the end of the chapter.) connect to “Jazz Music” images

Pass out Student Sheets for Lesson 2. Outline the plan for today’s lesson. You might say: These are the images that we’ll look closely at today. They are all important in the story Bud, Not Buddy. First, you’ll reread two excerpts. Second, we’ll study some real images from history that are connected to these passages. Then, we’ll discuss what we notice in these images and how we feel about them. The final step will be to turn our thinking into writing. We’ll jot down our ideas onto the graphic organizer. The first excerpt is about riding the rails and the second one is about the Pullman porters. After we finish the first two, I’ll reread a third excerpt to you about jazz music. *Note – Provide students with a bookmark/post-it to mark the pages of the two excerpts they’ll be reading. Three excerpts for the lesson: 1) STUDENTS READ pp. 60-63 (Start at the

beginning of the chapter. End at, “then we’ll be on the lam together.”) connect to “Riding the Rails” images

2) STUDENTS READ pp. 127 - 128 (Start at, “They talked after every swallow…” and stop at “he gets paid to do it.”) connect to “Pullman Porters” images

3) TEACHER READS pp. 200 – 203 (Start at, “I let the handle up to see…” and stop at the end of the chapter.) connect to “Jazz Music” images

Pass out Student Sheets for Lesson 2. Outline the plan for today’s lesson. You might say: These are the images that we’ll look closely at today. They are all important in the story Bud, Not Buddy. First, you’ll reread two excerpts. Second, we’ll study some real images from history that are connected to these passages. Then, we’ll discuss what we notice in these images and how we feel about them. The final step will be to turn our thinking into writing. We’ll jot down our ideas onto the graphic organizer. The first excerpt is about riding the rails and the second one is about the Pullman porters. After we finish the first two, you’ll reread a third excerpt about jazz music (and complete some writing about this on your own). *Note – OPTIONAL -- Provide students with a bookmark/post-it to mark the pages of the two excerpts they’ll be reading. Three excerpts for the lesson: 1) STUDENTS READ pp. 60-63 (Start at the

beginning of the chapter. End at, “then we’ll be on the lam together.”) connect to “Riding the Rails” images 2) STUDENTS READ pp. 127 - 128 (Start at,

“They talked after every swallow…” and stop at “he gets paid to do it.”) connect to “Pullman Porters” images

3) STUDENTS READ pp. 200 – 203 (Start at, “I let the handle up to see…” and stop at the end of the chapter.) connect to “Jazz Music” images

*Note – Teachers may opt to use the websites listed in Lesson One (or other resources) to provide more background information about the Great Depression, Pullman Porters, and/or Jazz Music. Before teacher reads, set up the excerpts by framing the context of each passage. You might say something like: Before I begin reading, let me remind you what’s happening in these two scenes. I will also highlight a few words or phrases that might be tricky for you. As you read, highlight vocabulary words for students: pp. 60 - 63

Technical/unique Terms (Tier III words): Bud, Bugs

Vocabulary to reinforce (Tier II words): jackknife, foster home, hoodlum, official, mission

Phrases worth studying/defining: made the hair on the back of my neck raise up, felt like I had to suck all the air out of Flint, scared me to death, on the lam, riding the rails, trains you got to hop, moving pretty doggone fast, “whupped him”, big glob of slob

*Note – Teachers may opt to use the websites listed in Lesson One (or other resources) to provide more background information about the Great Depression, Pullman Porters, and/or Jazz Music. Set up the two excerpts that the students will read by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in these two scenes. I will also point out a few key words or phrases that might be tricky for you. Highlight vocabulary words for students as you give a general overview of each excerpt that they will read: pp. 60 - 63




*Note – Teachers may opt to use the websites listed in Lesson One (or other resources) to provide more background information about the Great Depression, Pullman Porters, and/or Jazz Music. Set up the two excerpts that the students will read by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in these two scenes. I will also point out a few key words or phrases that might be tricky for you. Highlight vocabulary words for students as you give a general overview of each excerpt that they will read: pp. 60 - 63




pp. 127 - 128 Technical/unique Terms (Tier III words):


Vocabulary to reinforce (Tier II words): chattering, redcaps

Phrases worth studying/defining: gluggled up

pp. 200 – 203

Technical/unique Terms (Tier III words): Niagara Falls, Thug, Dirty Deed, Steady Eddie, Miss Thomas, Mr. Jimmy, Herman E. Calloway, LaBone, Doo-Doo Bug’s, “ax,” saxophone, sax, trombone, Dusky Devastators of the Depression, Nubian Knights, trumpet, American,

Vocabulary to reinforce (Tier II words): commencing, steady, moan, drift away, grunted, curtsey, exclamation points

Phrases worth studying/defining: brushing his sticks, seemed like Steady made it talk, bobbing his head, she was the sun busting through thick, gray clouds; interrupt the conversation; dead quiet





pp. 200 – 203








(Note* -- Teachers may opt to have students complete this excerpt independently – without an introduction or without highlighting the vocabulary ahead of time.) pp. 200 – 203




R

EAD

TEX

T

Focus Questions (strategy practice): Say what the text means in your own words & Questioning during and after reading

As I reread these excerpts, be thinking about the setting. What are you learning about that time or place? Students follow along as the teacher reads the first two excerpts (pp. 60 – 63 and pp. 127 - 128) When finished reading, analyze the images related to “Riding the Rails” and “The Pullman Porters.”

As you reread these excerpts, think about the setting. What are you learning about that time or place? Students read the first two excerpts (pp. 60 – 63 and pp. 127 - 128) Allow students 2-3 minutes to read their excerpts. Tap students to “whisper read” individually to you in order to check their fluency.

When students finish they should analyze the images related to “Riding the Rails” and “The Pullman Porters.”

As you reread these excerpts, think about the setting. What are you learning about that time or place? Students read the first two excerpts (pp. 60 – 63 and pp. 127 - 128) Allow students 2-3 minutes to read their excerpts. Tap students to “whisper read” individually to you in order to check their fluency. When students finish they should analyze the images related to “Riding the Rails” and “The Pullman Porters.”

ST

UD

ENT

DIS

CU

SSIO

N

Key Questions for Discussion (revisit and reinforce strategy)

* Optional: Provide certain students with nonpermanent marking tools (such as, Wikki Stixs, highlighter tape, etc.), copied portions of the text so they can mark difficult words/phrases, or transparencies to cover pages so students can mark words/phrases. *Optional: Place text under document camera and trace the words as you read to assist struggling readers with following along. Lead students through a discussion about the setting using some of the questions below. Strengthen background knowledge by using the images to inform the conversation. Model for students how to go back into the passage to provide evidence for their thinking. Help them find the exact place that supports their ideas. *Consider projecting/posting questions and reviewing them prior to reading the selection. What do you notice in these images? What ideas or feelings come to mind as you look at these images? What did you learn about history in the excerpt? How did the author combine historical events with imagined characters or an imagined story? How do historical events influence the plot in these excerpts?

Lead students through a discussion about the setting using some of the questions below. Strengthen background knowledge by using the images to inform the conversation. Require students to go back into the passage to provide evidence for their thinking. They should show the exact place that supports their ideas. What do you notice in these images? What ideas or feelings come to mind as you look at these images? What did you learn about history in the excerpt? How did the author combine historical events with imagined characters or an imagined story? How do historical events influence the plot in these excerpts?

ROUTINE WRITING

Model for students how they can turn their oral discussion into written words. Have them jot down their ideas about the images on the Student Sheets for Lesson 2. Support them as much as needed – they may copy the teacher’s writing if needed.

Guide students as they turn their oral discussion into written words. Have them jot down their thinking onto the graphic organizer on Student Sheets for Lesson 2.

Guide students as they turn their oral discussion into written words. Have them jot down their thinking onto the graphic organizer on Student Sheets for Lesson 2. (If students are able to do this on their own, then release responsibility to them.)

Check for Understanding (CFU)

Teacher reads final excerpt aloud to students (pp. 200-203). Guide students through the two questions on Student Sheets for Lesson 2. What do you notice in these images? What ideas or feelings come to mind as you look at these images? Students complete the final section of their Student Sheets for Lesson 2 independently. (If students are unable to do this on their own, provide them with the necessary support.)

Teacher reads final excerpt aloud to students (pp. 200-203). Guide students through the two questions on Student Sheets for Lesson 2. What do you notice in these images? What ideas or feelings come to mind as you look at these images? Students complete the final section of their Student Sheets for Lesson 2 independently. (If students are unable to do this on their own, provide them with the necessary support.)

Students read the final excerpt. (Teacher may opt to provide the context for the excerpt and point out tricky vocabulary – or students complete the reading independently without any support.) Students complete the final pages of the Student Sheets for Lesson 2. They study the images on their own (or with a partner). They complete the graphic organizer underneath the images.

FOLL

OW

-UP

/

EXTE

NSI

ON

OR

TA

KE

AW

AY

Students complete the three questions at the end of their Student Sheets for Lesson 2.

Students complete the three questions at the end of their Student Sheets for Lesson 2.

Students answer the three questions at the end of their Student Sheets for Lesson 2.

Lesson 3: Interactive Read Aloud

Bud, Not Buddy (Chapter 5) by Christopher Paul Curtis

CCSS Addressed Possible Big Ideas


Historical fiction includes convincing and believable characters, plot, and setting.

Historical fiction is an imagined story but set in the real world.

Historical fiction includes important messages or themes.

First person point of view allows the author to reveal the deep and inner thoughts – otherwise unspoken – of a character within the story.

First person point of view allows the readers to know the narrating character very well – but may limit what readers understand and know about other characters.

Ongoing Assessment


Agenda Teaching Notes

1. Text Introduction 2. First Read

1st stopping point 2nd stopping point 3rd stopping point 4th stopping point 5th stopping point 6th stopping point 7th stopping point 8th stopping point

3. Questions for Conversations & Collaborations ROUTINE WRITING

4. Reflections & Reinforcements 5. Wrap Up 6. Next Move in City Schools’ Instructional Model

This interactive read-aloud serves as a rereading of Chapter 5 for students. The goals for this lesson are for students to consider the text more closely. During this lesson the teacher has the text. Students will have a copy of the text in the subsequent lessons.

Vocabulary/Phrases to Highlight Materials

Refer to TEXT ANALYSIS in the overview document for specific list of terms and phrases.



Reading Response Journals or Student Sheet for Lesson 3

Text Introduction Today we will listen to Chapter 5 from Bud, Not Buddy. This chapter picks up just after Bud has run away from his horrible foster home experience – at the Amoses. As I read the chapter aloud, we’ll stop at different parts to think about Bud and his mother. We’ll also refer back to our chart about Historical Fiction. We’ll be looking for more of these characteristics in Chapter 5. The last thing we’ll be thinking about is something called point of view. Point of view means who is telling the story. Sometimes, a story is told by an outsider – someone who is NOT part of the story. These narrators will tell the story using the characters names or pronouns like ‘he’, ‘she’ or ‘they.’ In Bud, Not Buddy, Christopher Paul Curtis has made Bud the narrator. Bud is the main character of the book AND he is the one who is telling the story. Everything we learn is from Bud’s point of view. You’ll notice as I read today that we’ll hear the words ‘I,’ ‘my,’ and ‘mine’ an awful lot – because Bud is talking about his life and his story of finding his father. *Consider creating an Anchor Chart for point of view Authors think about who should tell the story when they write. This is an important decision they make and they have reasons for it. As I read this chapter aloud, we will think about why Christopher Paul Curtis might have chosen Bud’s point of view to narrate this story.

First Read

1st

sto

pp

ing

po

int

End of the first paragraph on p. 36 Define “being on the lam.” Remind students how Bud was stung in the Amos’ shed.

2n

d s

top

pin

g

po

int

End of first full paragraph on p. 37 Provide brief description of Pretty Boy Floyd (famous bank robber/criminal who was on the FBI’s most wanted list during this time period).

3rd

sto

pp

ing

po

int

End of third full paragraph on page 37 Define “real McCoy” (real thing).

4th

sto

pp

ing

po

int

End of first full paragraph on page 38, say: So – we’ve learned that Bud has run away from the Amos’ family. He wants to get to the library and see if Miss Hill can help him. The doors and windows are locked – and there are bars on the windows. So he decides to sleep under the Christmas trees. Does this plot seem realistic so far? We know that the characters are made up (fictitious) – but could a boy run away and end up sleeping under a tree? Turn and talk with your partner about these questions. Listen in as students talk with their partners.

5

th s

top

pin

g

po

int

Bottom of page 38, ask: Bud has kept special stones from his mother and has an old photograph of her. We know that she has died. Is it believable to you that he would keep these special things? Do you think this makes sense? Why or why not? Have students share out their thinking.

6th

sto

pp

ing

po

int Bottom of page 40, ask:

What are we learning about Bud and his Momma from these two pages? Turn and talk with your partner about this. Listen in as students talk with their partners.

7th

sto

pp

ing

po

int

Middle of page 42, (stop at, “…but it’s sure not something I tell anybody about.” Ask: What have we just learned about Bud’s name? Why is it helpful for readers to know this? Have a few students share out their thinking.

8th

sto

pp

ing

po

int

End of the Chapter 5, say: In this chapter Bud finds a place to sleep – under a pine tree next to the library. Before he goes to sleep, however, he looks through his suitcase and pulls out a photograph of his mother. Then he starts to think about her. We are able to learn very interesting and important details about them because Bud is the narrator of the story. His thoughts and memories of her are revealed to us. We learn about the advice she gave him. What do these details help us understand about Bud and his mother? Why is Bud’s point of view so important? Turn and talk with your partner about this. Listen in as students talk with their partners.

Questions for Conversations & Collaborations ● Putting theories on the

table

● Growing the ideas

Consider the following possible questions to further discuss with your students. You might opt to facilitate a whole class discussion or have students “turn and talk” with their partners. Require students to cite evidence from the text to support their thinking. Does the plot in Chapter 5 seem believable? What parts are convincing? Are you convinced that a boy could run away from a foster home? Why or why not? How might this scene be different it Bud was running away from a foster home in 2013? What advice did Bud’s Momma give him about life? Is this something that we can think about in our lives today? What parts of the setting seem realistic in Chapter 5? ROUTINE WRITING: After students finish discussing these text-dependent questions with their partner, have them turn their thoughts into a written response. Teacher can have students respond in their Reading Response Journals or teacher can print out student resource sheet found at the end of this unit.

Reflections & Reinforcements ● the main idea/topic

● how two or more ideas/information in the text connect to each other

Wrap up the big ideas in this lesson by saying something like: Christopher Paul Curtis has created some convincing characters and a believable story in Bud, Not Buddy. His decision to have Bud narrate the story – from Bud’s point of view – helps us know and understand Bud better. We learn his inner thoughts and can get inside his mind. We appreciate the love he has for his mother and how sad he must be without her. We also can tell he is a strong and determined boy – and that his mother taught him to be hopeful…because if one door closes another door opens. And, that he is a, “little fist of love waiting to unfold and be seen by the world.” Hearing these memories helps us understand the plot more completely.

Wrap Up End the lesson by letting students know that they will be meeting in a small group to look at this chapter again.






RL.4.1, RL.4.2, RL.4.3, RL.4.6, RL.4.10, RF.4.3, RF.4.4, SL.4.1, L.4.1, L.4.5, W.4.9, and W.4.10 (see CCSS aligned curriculum map for kid friendly objective language)

● Copy of text for each student ● Anchor charts created in Lesson 1 ● Student sheets for Lesson 4 ● Optional: Nonpermanent marking tools; such as,


● Optional: Projector and document camera or large copy of Student Sheet for Lesson 4

Ongoing Assessment




Vocabulary Warm Up Today’s Plan





ROUTINE WRITING Fluency Work





2) Making ideas cohere


reading

4) Addressing vocabulary




Assessment.












XT

INTR

OD

UC

TIO

N

Vocabulary Warm Up

Students use their Student Sheet for Lesson 4 (Vocabulary Practice) to search for 2-3 vocabulary words in Chapter 5. They determine meaning through context clues or by using a dictionary. Then, they write a ‘kid friendly’ definition – using their own words. (Students or teacher may determine which 2-3 words they will study and practice.)

Students use their Student Sheet for Lesson 4 (Vocabulary Practice) to search for vocabulary words in Chapter 5. They determine meaning through context clues or by using a dictionary. Then, they write a ‘kid friendly’ definition – using their own words.

Students use their Student Sheet for Lesson 4 (Vocabulary Practice) to search for vocabulary words in Chapter 5. They determine meaning through context clues or by using a dictionary. Then, they write a ‘kid friendly’ definition – using their own words. Encourage students to use context clues before seeking the definition from the dictionary.


Today we will think more about how Bud, Not Buddy includes convincing and believable characters, plot and setting. We’ll also think about the messages from his mother – which can become messages or themes for readers. Pass out Student Sheets for Lesson 4. Show students what they’ll be doing as they read today. You might say: Today we’ll reread Chapter 5 and then I’ll reread a section from Chapter 9. As we read these excerpts you’ll think about what is going on in the story (the plot) and the messages or themes that we can apply in our own life. We’ll talk about these ideas together and we’ll work on our Student Sheets together to organize our thinking. After we do this, we’ll do some fluency practice. Part of the excerpts I’ll read and parts you’ll read along with me.

Today we will think more about how Bud, Not Buddy includes convincing and believable characters, plot and setting. We’ll also think about the messages from his mother – which can become messages or themes for readers. Pass out Student Sheets for Lesson 4. Show students what they’ll be doing as they read today. You might say: Today you’ll reread Chapter 5 and then I’ll reread a section from Chapter 9. As we read these excerpts you’ll think about the plot and the themes. We’ll talk about these ideas together and we’ll work on our Student Sheets together to organize our thinking. After we do this, we’ll do fluency work. Part of the excerpts I’ll read and parts you’ll read on your own.

Today we will think more about how Bud, Not Buddy includes convincing and believable characters, plot and setting. We’ll also think about the messages from his mother – which can become messages or themes for readers. Pass out Student Sheets for Lesson 4. Show students what they’ll be doing as they read today. You might say: Today you’ll reread Chapter 5 and Chapter 9. As you read these excerpts you’ll think about the plot and the themes. We’ll talk about these ideas together and we’ll work on our Student Sheets together to organize our thinking. After we do this, you’ll do fluency work.

Set up the excerpts that the students will read by framing the context of each passage. You might say something like: Before we begin reading, let remember what’s happening in these scenes.

1) Chapter 5 2) Chapter 9 (pp. 91-95)

Address key vocabulary as you read the excerpt: Chapter 5 (pp. 36-44)

Technical/unique Terms (Tier III words): Miss Hill, Pretty Boy Floyd, Christmas, Amoses, tobacco bag, side-sag, six-shooter pistols, telegraph wires, ringworm, lice, tetters

Vocabulary to reinforce (Tier II words): twine, fumbling, drawstring, sidesaddle, hardheaded, insisted, horrid, mission

Phrases worth studying/defining: on the lam, real McCoy, doggone Amoses, running “acrost” the top of it, “writ” on a long skinny flag, twenty-five-gallon Texas cowboy hat, rocks in her jaw, big and burny, alive with germs, she was like a tornado, when one door closes…another door opens

Set up the excerpts that the students will read by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in these scenes. I will also point out a few key words or phrases that might be tricky for you.


Highlight vocabulary words for students as you give a general overview of each excerpt that they will read – or address vocabulary as you read the excerpt aloud: Chapter 5 (pp. 36-44)




Set up the excerpts that the students will read by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in these scenes. I will also point out a few key words or phrases that might be tricky for you.


Highlight vocabulary words for students as you give a general overview of each excerpt that they will read: Chapter 5 (pp. 36-44)




Chapter 9 (pp. 91 – 95). Technical/unique Terms (Tier III words): food line, Deza Malone, Miss Hill, Civil War, Flint, Grand Rapids, Owosso, Ovid, St. John’s, Ionia,

Lowell, Pictorial History of the War Between the States, mission, Jack Robinson, Herman E. Calloway, Home, Billy Burns, Bugs, Michigan, Herman E. Calloway and the Terminally Unhappy Blues Band, Masters of the Delta Blues, Herman E. Calloway and the Gifted Gents of Gospel – Featuring Miss Grace ‘Blessed’ Thomas’s Vocals, Servants of the Master’s Salvation, accordion, H. E. Callowski and the Wonderful Warblers of Warsaw, Masters of the Polka, H.E. Bonnegut and the Boisterous Big Band of Berlin, Master of All We Behold

Vocabulary to reinforce (Tier II words): dimple, librarian, recognized, gigantic, gory, impressed, flyers, ignorant, buffalo, embarrassed Phrases worth studying/defining: time flies when you’re in one; smelling all the page powder; snapped a spell; knowledge is a food; woop,

zoop, sloop; roach-infected houses; roach-infected head; sad collection of souls here; little seed of an idea started growing; dug its roots in deep; way down in my guts; mighty maple; crick in my neck

REA

D T

EXT

Focus Questions (strategy practice): Say what the text means in your own words & Questioning during and after reading

As I read aloud the text [or you read the text with me], think about characters, setting, and plot. Are they convincing? Are they believable?

As you read the text, think about characters, setting, and plot. Are they convincing? Are they believable?

Optional: Provide certain students with nonpermanent marking tools (such as, Wikki Stixs, highlighter tape, etc.), copied portions of the text so they can mark difficult words/phrases, or transparencies to cover pages so students can mark words/phrases.

Consider posting questions in the “After the Reading/Student Discussion” section for students to see.

Also – what messages are you learning? What themes are you noticing?

1) Teacher and students read Chapter 5. Select appropriate excerpts (paragraphs) where students can read aloud with you. Balance the shared reading with teacher reading (modeled reading).

Then follow the questions in the “After the Reading/Student Discussion” section.

2) Teacher reads aloud pp. 91-95 (in Chapter 9). Then follow the questions in the “After the Reading/Student Discussion” section.

Also – what messages are you learning? What themes are you noticing?

1) Students read Chapter 5. Then follow the

questions in the “After the Reading/Student Discussion” section.

2) Teacher reads pp. 91-95 (in Chapter 9). Then

follow the questions in the “After the Reading/Student Discussion” section.

Allow students 5-8 minutes to read this excerpt. Tap students to “whisper read” individually to you in order to check their fluency. If students finish well ahead of others, allow them to look over their Student Sheets.

Also – what messages are you learning? What themes are you noticing? 1) Students read Chapter 5 independently &

complete the graphic organizer in Student Sheet for Lesson 4 connected to Chapter 5. (This will be the third time they have read/heard this excerpt, so provide as much/little support as readers require.)

2) Students read pp. 91-95 (in Chapter 9). Then follow the questions in the “After the Reading/Student Discussion” section BEFORE they complete the Student Sheet for Lesson connected to this chapter.

Allow students 10-12 minutes to read both of these excerpts. Tap students to “whisper read” individually to you in order to check their fluency. If students finish well ahead of others, allow them to look over their Student Sheets or browse/skim other chapters from the book.

STU

DEN

T D

ISC

USS

ION


After each excerpt is read, lead students through a discussion about the plot and theme. Model for students how you go back into the passage to provide evidence for your thinking. Allow students to share their own thinking – linked with evidence. Assist students as they search to find the exact place in the text that supports their ideas. What is happening in this chapter?

What’s the setting? Could this setting exist in the real world?

Who are the characters? Are you convinced that these characters might have lived in Michigan in the 1930s?

What messages are shared in this excerpt? What themes do you notice?

After each excerpt is read, lead students through a discussion about the plot and theme. Require students to go back into the passage to provide evidence for their thinking. They should show the exact place that supports their ideas. What is happening in this chapter? What’s the setting? Could this setting exist in the real world? Who are the characters? Are you convinced that these characters might have lived in Michigan in the 1930s? What messages are shared in this excerpt? What themes do you notice?

After Chapter 9 is read, lead students through a discussion about the plot and theme. Require students to go back into the passage to provide evidence for their thinking. They should show the exact place that supports their ideas. What is happening in this chapter? What’s the setting? Could this setting exist in the real world? Who are the characters? Are you convinced that these characters might have lived in Michigan in the 1930s? What messages are shared in this excerpt? What themes do you notice?

ROUTINE WRITING

*Consider projecting Student Sheet 4. Model for students how to turn their oral discussion into written words. Work as a teacher-directed small group to determine what words/phrases will be written down. Then, model for students how to jot down their thinking and evidence about the characters, setting, plot, and theme using the graphic organizers provided on Student Sheets for Lesson 4.

Guide students as they turn their oral discussion into written words. Have them jot down their thinking and evidence about the characters, setting, plot, and theme on the graphic organizers provided on Student Sheets for Lesson 4. They may work in a teacher-directed small group, with a partner, or on their own. (Release responsibility to them if they are able to manage the writing on their own.)

Students share out the graphic organizer they completed for Chapter 5. Check for correct/appropriate ideas. Then:

A) If students were successful, allow them to complete the graphic organizer for Chapter 9 on their own.

OR….

B) If students need additional support,

guide them as they turn their oral discussion into written words. Have them jot down their thinking and evidence about the characters, setting, plot, and theme on the graphic organizer provided on Student Sheets for Lesson 4.

They may work in a teacher-directed small group, with a partner, or on their own. (Release responsibility to them if they are able to manage the writing on their own.)

Fluency Work

Christopher Paul Curtis uses humor and wit in Bud, Not Buddy. Have students work together with teacher guidance to select a short passage from the book they found funny or clever (1-2 paragraphs). Guide students to find a place in the text by prompting. Students will work on this passage during small group and on their own in preparation for sharing out during Small Group Lesson 7. This may begin as a shared reading. Students will develop fluency through repeated reads.

Christopher Paul Curtis uses humor and wit in Bud, Not Buddy. Have students select and independently reread a passage from the book they found funny or clever. (Guide students to find a place in the text by prompting.) Students will work on this passage on their own in preparation for sharing out during Small Group Lesson 7.

Christopher Paul Curtis uses humor and wit in Bud, Not Buddy. Have students select and independently reread a passage from the book they found funny or clever. (Guide students to find a place in the text by prompting.) Students will work on this passage on their own in preparation for sharing out during Small Group Lesson 7.

FOLL

OW

-UP

/

EXTE

NSI

ON

OR

TAK

EAW

AY

Students practice reading their selected funny/clever passage.

Students may work on their Student Sheets for Lesson 4 independently. Students practice reading their selected funny/clever passage.




RL.4.1, RL.4.3, RL.4.10, SL.4.1, L.4.1, and L.4.5 (see CCSS aligned curriculum map for kid friendly objective language)



Chart paper & markers OR blank screen to create anchor chart

Ongoing Assessment







Ask them to try it with you, or with a partner. 5. Send off

Remind students to use the strategy in their independent reading.

6. Next Move in City Schools’ Instructional Model




reading

4) Text structure knowledge

Establish Purpose/Connect with Prior Learning Last time we met we thought more about the setting in the novel Bud, Not Buddy by Christopher Paul Curtis. We learned that setting is VERY important in historical fiction. Good readers pay close attention to when and where a story takes place when reading historical fiction. This helps them better understand the story and better understand a time in history too. Today we will continue thinking about the unique characteristics of historical fiction.

Name It! Let’s look back at our list of general characteristics of historical fiction. Read these characteristics in your head. (Give students a moment to reread the list.) Today, we will focus on the fourth characteristic on this list: Often, historical fiction is connected with the author’s own personal experiences. Christopher Paul Curtis tells about this in the Afterword. I am going to read/reread this section to you and do some thinking about this characteristic. Watch me do this now.

Explicit Instruction/Direct Explanation Read aloud the title of this section “Afterword” then define the term. You might say: An afterword is a final section of a book found after the main story. The author typically writes this section. An afterword tells about how the story was developed or how the book was made. As readers, we can learn more about the “big ideas” of a story or we can learn more about the author’s purpose for writing a story by reading the afterword. Listen now as I read the beginning of the Afterword in Bud, Not Buddy. *Consider writing down a brief definition and posting where the students can easily refer to it. Stop at the top of page 238 – after the first sentence. You might say: So – I’ve learned that Christopher Paul Curtis built two of his characters in Bud, Not Buddy from his real life. I will keep reading and as I do -- I’m wondering what parts of Lefty Lewis and Herman Calloway are like his real grandparents – AND what parts are fictitious (imagined/pretend). Continue to top of page 239. (Stop at, “Satch hung Grandpa with two losses.”) Then share your thinking aloud. You might say something like: The name “Lefty” Lewis is the real name of Christopher Paul Curtis’ grandfather. The REAL “Lefty” Lewis was a redcap in Grand Rapids, Michigan. It was a good job for him, but eventually he was let go. He went on to have a restaurant and then became a taxi cabdriver. I also learned that the REAL “Lefty” Lewis did a bit of pitching in the minor leagues as part of the Negro Baseball League. If I think back to what I remember from the story, the fictitious “Lefty” Lewis also had a good job and there was talk about redcaps in the story. I definitely remember that Lefty Lewis’ son-in-law was a redcap. We read about that in our small group lesson. I will keep reading to learn more. Read the next three paragraphs on p. 239. Model your thinking aloud about Herman E. Curtis, Christopher Paul Curtis’ other grandfather. You might say: Again, there are some strong similarities between Herman E. Curtis and Herman E. Calloway. Both were jazz musicians, bandleaders, played the fiddle and were well known throughout Michigan. Herman E. Curtis also had different jobs during the day like chauffeur, boat captain, and painter. From what I’ve read so far, it is very clear to me that Christopher Paul Curtis personal experiences influenced this story. I’m going to jot down the evidence I’ve gathered so far in the Afterword. Create an anchor chart (or build a document using a projector/interactive white board) entitled:

Author’s Personal Experiences which Influenced Bud, Not Buddy

Grandfathers lived in Grand Rapids, Michigan

“Lefty” Lewis was his grandfather’s real name

“Lefty” Lewis was a redcap

Herman E. Curtis was a jazz musician and bandleader; played the fiddle

Herman’s band was well-known through Michigan

As I read the next section of the Afterword, listen for more of the author’s personal experiences which influenced this book. We’ll gather evidence and add it to this anchor chart.

Guided Practice Stop at the top of page 242, end of first paragraph. Then ask: What did we learn about his grandfathers? What qualities did they have? Turn and talk with your partner about this. Check for understanding by listening in to students as they talk with their partner. Possible points they might notice are:

1) Hardworking 2) People skills (help students understand this phrase) 3) Willingness to work in unfair times 4) Kept their families together during the Depression 5) Fortunate to avoid the hardest parts of the Depression

Have partners share out their thinking and then say: Listen closely and carefully as I read this final part of the Afterword. Think about Christopher Paul Curtis’ experiences and how they may have influenced this story. Read to the end of the Afterword then ask: What more did you learn about Christopher Paul Curtis? Turn and talk with your partner about this. Check for understanding by listening in to students as they talk with their partner. Possible points they might notice are:

1) His grandfathers’ lives during the Depression were very different than most African Americans. 2) He learned about the Depression through research – NOT from stories. 3) He didn’t appreciate his family’s history and he regrets this. 4) He thought stories told to him by his parents or grandparents were boring. 5) Wants his readers to keep their REAL stories alive by learning about their family’s history.

Ask students to share out their ideas and follow-up with questions like: What does the author think about knowing your personal history? (Does he think it is important? Use evidence to support your thinking.) Do you think the author’s feelings of regret or sadness about not paying attention to his family’s history might have influenced Bud, Not Buddy? How?

Send Off End the lesson by saying: A historical fiction text is often connected somehow to the author’s own personal history. This is definitely the case in Bud, Not Buddy. Christopher Paul Curtis’ characters are loosely based on his REAL grandfathers. They grew up during the Depression, were quite successful despite these hard times, and were positive influences in his life. In Bud, Not Buddy, he takes these characteristics and creates good strong grandfathers – Lefty Lewis and Herman E. Calloway – who positively influence Bud. We learned this by reading the Afterword – a place in a text where the author tells about how a book was inspired or what purpose he had in mind as he wrote it. Reading the Afterword is an important way to learn more about a text. And, in historical fiction texts, we can learn interesting details about how an author’s personal experiences influenced the story. This supports our thinking and it will help us understand the story better.

When we meet in small groups next time, we will think more about Lefty Lewis and Herman E. Calloway – both the REAL men and the fictitious characters.






RL.4.1, RL.4.3, RL.4.10, RF.4.3, RF.4.4, SL.4.1, L.4.1, L.4.5, W.4.9, and W.4.10 (see CCSS aligned curriculum map for kid friendly objective language)

● Copy of text for each student ● Anchor charts created in Lessons 1 and 5 ● Student Sheets for Lesson 6 ● Optional: Nonpermanent marking tools; such as,



Ongoing Assessment




Fluency Warm-Up Today’s Plan





Building Background Knowledge & Historical Fiction

ROUTINE WRITING 4. Follow-up/Extension or Takeaway






reading





Assessment.












XT

INTR

OD

UC

TIO

N

Fluency Warm-Up

Teacher reads aloud two excerpts from the Afterword (modeled reading). Talk with students about what these paragraphs are saying. Then: 1) shared reading (students and teacher read paragraph together) and 2) choral reading (students read aloud the excerpt together – while teacher listens in for fluency and accuracy.) Excerpt 1: first full paragraph on p. 238 Excerpt 2: first full paragraph on p. 239

Students independently reread the Afterword (pp. 237-243). At this point, students will have heard this text several times. Tap students to “whisper read” to you to check for fluency and accuracy. If students are unable to read it on their own, then skip this warm-up.

Students independently reread the Afterword (pp. 237-243). At this point, students will have heard this text several times. Tap students to “whisper read” to you to check for fluency and accuracy.


Today we will think more about Lefty Lewis. Remember, in the Afterword we learned that Christopher Paul Curtis used his real grandfathers to create these characters. We’ll reread some important excerpts about Lefty – we’ll think about his traits and we’ll compare them to the author’s real grandfather. Pass out Student Sheets for Lesson 6 Part 1. Show students what they’ll be doing as they read today.

You might say: Today you’ll follow along as I read a few excerpts about Lefty Lewis. As I read these excerpts you’ll think about his words and actions. You’ll notice what is revealed about him as a character. You’ll also think about Christopher Paul Curtis’ real grandfather. You’ll see how the REAL Lefty Lewis is similar or different to the fictitious Lefty Lewis

You might say: Today we’ll read several excerpts about Lefty Lewis. As we read these excerpts you’ll think about his words and actions. You’ll notice what is revealed about him as a character. You’ll also think about Christopher Paul Curtis’ real grandfather. You’ll see how the REAL Lefty Lewis is similar or different to the fictitious Lefty Lewis.

You might say: Today you’ll read several excerpts about Lefty Lewis. As you read these excerpts you’ll think about his words and actions. You’ll notice what is revealed about him as a character. You’ll also think about Christopher Paul Curtis’ real grandfather. You’ll see how the REAL Lefty Lewis is similar or different to the fictitious Lefty Lewis

We’ll talk about these ideas together and we’ll work on a table and later a Venn diagram to organize our thinking. Remember, a Venn diagram helps us to compare and contrast or see similarities and differences. Set up the excerpts that the students will be hearing by framing the context of each passage. You might say something like: Before I begin reading, let me remind you what’s happening in these scenes. 1) TEACHER READS pp. 98 – 107 (Bud first

meets Lefty Lewis while running away to Grand Rapids – it’s 2:30am in Owosso, Michigan)

2) TEACHER READS pp. 108 – 114 (Bud thinks Lefty Lewis is a vampire, Lefty convinces Bud to let him back in the car)

3) TEACHER READS pp. 142 – 143 (Lefty drops off Bud at the Log Cabin, gives him a final piece of advice)

Address vocabulary as you read each excerpt aloud:

We’ll talk about these ideas together and we’ll work on a table and later a Venn diagram to organize our thinking. Remember, a Venn diagram helps us to compare and contrast or see similarities and differences. Part of the excerpts I’ll read and parts you’ll read on your own. Set up the excerpts that the students will read by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in these scenes. I will also point out a few key words or phrases that might be tricky for you. 1) TEACHER READS pp. 98 – 107 (Bud first


2) STUDENT READS pp. 108 – 114 (Bud thinks Lefty Lewis is a vampire, Lefty convinces Bud to let him back in the car)

3) TEACHER READS pp. 142 – 143 (Lefty drops off Bud at the Log Cabin, gives him a final piece of advice)

Highlight vocabulary words for students as you give a general overview of each excerpt that they will read – or address vocabulary as you read the excerpt aloud:

We’ll talk about these ideas together and then you’ll work on a table and later a Venn diagram to organize our thinking. Remember, a Venn diagram helps us to compare and contrast or see similarities and differences. Set up the excerpts that the students will read by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in each of these scenes. I will also point out a few key words or phrases that might be tricky for you. 1) STUDENT READS pp. 98 – 107 (Bud first


2) STUDENT READS pp. 108 – 114 (Bud thinks Lefty Lewis is a vampire, Lefty convinces Bud to let him back in the car)

3) STUDENT READS pp. 142 – 143 (Lefty drops off Bud at the Log Cabin, gives him a final piece of advice)

Highlight some of the essential vocabulary words for your students as you give a general overview of each excerpt that they will read.

pp. 98 – 107

Technical/unique Terms (Tier III words): Owosso, Michigan, Flint, doggone, pop (soda), bum-rush, Home, Amoses, Grand Rapids, telegram, steering wheel, gearshift, Baby Face Nelson, FBI’s ten most wanted list

Vocabulary to reinforce (Tier II words): puny, ventriloquists, squatted, stomach, taillights, hypnotized, manners, fetch, unusual, jolt, unbelievable, exclamation points, snatched, passenger’s, vampires

Phrases worth studying/defining: blasted my ears with that whistle, noise-making critters, a little time to spare, put my mind at ease, belt it all down on the first pull, clean up the language for you, run like the devil chasing me

pp. 108 – 114

Technical/unique Terms (Tier III words): jackknife, twenty-four-karat silver, Flint, Grand Rapids, Hurley Hospital, Herman E. Calloway, Ruth Dandridge

Vocabulary to reinforce (Tier II words): knuckle, proper, genuine, bait, fangs, operation, grateful, image, glimpse, glugged, swishing, undergo, major surgery, teasing

Phrases worth studying/defining: commenced to bucking, roll the window down, “Sweet baby Jesus, why me?” grapefruit-sized, any tricks up his sleeve, clean getaway, whole slew of questions, seed started sticking its head out further and further, spitting image, peeking up over the dash

pp. 142 – 143

Technical/unique Terms (Tier III words): Negro, Ku Kluxer, John Brown Vocabulary to reinforce (Tier II words): moldering, mellowed, alias Phrases worth studying/defining: add my two cents

R

EAD

TEX

T

Focus Questions (strategy practice)

* Optional: Provide certain students with nonpermanent marking tools (such as, Wikki Stixs, highlighter tape, etc.), copied portions of the text so they can mark difficult words/ phrases, or transparencies to cover pages so students can mark words/phrases. As I read aloud the text, think about Lefty Lewis. What are we learning about him? What is revealed about him through his words or actions? How is he similar or different than Christopher Paul Curtis’ real grandfather?

*Consider posting questions in the “After the Reading/Student Discussion” section for students to see. As I read aloud [or you read] the text, think about Lefty Lewis. What are we learning about him? What is revealed about him through his words or actions? How is he similar or different than Christopher Paul Curtis’ real grandfather?

Set up the plan for reading and discussion with this group. Students will read an excerpt and then discuss it with the group. As you read the text, think about Lefty Lewis. What are we learning about him? What is revealed about him through his words or actions? How is he similar or different than Christopher Paul Curtis’ real grandfather?

1) Teacher reads pp. 98 – 107. Then follow the


2) Teacher read pp. 108 – 114. Then follow the questions in the “After the Reading/Student Discussion” section.

Teacher reads aloud pp. 142 – 143. Then follow the questions in the “After the Reading/Student Discussion” section.

1) Teacher reads pp. 98 – 107. Then follow the


2) Students read pp. 108 – 114. Then follow the questions in the “After the Reading/Student Discussion” section.

Allow students 5-8 minutes to read this excerpt. Tap students to “whisper read” individually to you in order to check their fluency. If students finish well ahead of others, allow them to look over their Student Sheets. Teacher reads aloud pp. 142 – 143. Then follow the questions in the “After the Reading/Student Discussion” section.



Allow students 5-8 minutes to read each of these excerpts. Tap students to “whisper read” individually to you in order to check their fluency. If students finish well ahead of others, allow them to look over their Student Sheets for Lesson 6. 3) Students read pp. 142 – 143. Then follow

the questions in the “After the Reading/Student Discussion” section.

Allow students 2-3 minutes to read this excerpt.

STU

DEN

T

DIS

CU

SSIO

N


After each excerpt is read, lead students through a discussion about Lefty Lewis. Model for students how to go back into the passage to provide evidence for their thinking. Help them locate the exact place that supports their ideas.

After each excerpt is read, lead students through a discussion about Lefty Lewis. Require students to go back into the passage to provide evidence for their thinking. They should show the exact place that supports their ideas.

After each excerpt is read, lead students through a discussion about Lefty Lewis. Require students to go back into the passage to provide evidence for their thinking. They should show the exact place that supports their ideas.

What have you learned about Lefty Lewis from this excerpt?

What does he do?

What does he say?

What do his words and actions reveal about him?

What is most important to remember about Lefty Lewis?

What things do the imagined Lefty Lewis and the REAL Lefty Lewis have in common?

How are these two men different?

Building Background Knowledge & Historical Fiction

Talk with students about why Lefty Lewis says the following things to Bud. Provide information about what life was like for African Americans at this point in history (1936). Support students as they make sense of Lefty’s concerns: 1) “…I’ve seen some things out of place before and a young brown-skinned boy walking along the road just outside of Owosso, Michigan at two-thirty

in the morning is definitely not where he ought to be.” (p. 99).

2) “…some of these Owosso folks used to have a sign hanging along here that said, and I’m going to clean up the language for you, it said, ‘To Our Negro Friends Who Are Passing Through, Kindly Don’t Let the Sun Set on Your Rear End in Owosso!’” (p. 105)

3) “Son, there just aren’t too many places a young Negro boy should be traveling by himself, especially not clear across Michigan, there’re folks in this state that make your average Ku Kluxer look like John Brown.” (p. 143)

ROUTINE WRITING

*Consider projecting Student Sheet 6 for students to see. Model for students how they turn their oral discussion into written words. Have them watch you as you jot down your thinking and evidence about Lefty Lewis onto the graphic organizers on Student Sheet for Lesson 6 Part 1. Direct and guide students as they write down these ideas. Follow this same approach with the Venn diagram (Student Sheet Part 2).

Guide students as they turn their oral discussion into written words. Have them jot down their thinking and evidence about Lefty Lewis onto the graphic organizers on Student Sheet for Lesson 6 Part 1. Then work with them to complete the Venn diagram (Student Sheet Part 2), if needed. They may work in a teacher-directed small group, with a partner, or on their own. (Release responsibility to them if they are able to manage the writing on their own.)

Students work independently (or with a partner) to turn their oral discussion into written words. Have them jot down their thinking and evidence onto the graphic organizers on Student Sheet for Lesson 6 Part 1.

FOLL

OW

-UP

/

EXTE

NSI

ON

OR

TAK

EAW

AY

N/A

Students may work on their Student Sheets for Lesson 6 Part 2 as a “Takeaway.”




RL.4.1, RL.4.3, RL.4.10, RF.4.3, RF.4.4, SL.4.1, L.4.1, L.4.5, W.4.9, and W.4.10 (see CCSS aligned curriculum map for kid friendly objective language)

● Copy of text for each student ● Anchor charts created in Lessons 1 and 5 ● Student Sheets for Lesson 7 ● Optional: Nonpermanent marking tools; such as,



Ongoing Assessment




Fluency Warm-Up Today’s Plan





Making Ideas Cohere ROUTINE WRITING







reading





Assessment.












XT

INTR

OD

UC

TIO

N

Fluency Warm-Up

Have students reread the passage from the book they found funny or clever (follow-up from Small Group Lesson 4). Have students share out what passage they read – and what they found funny or clever.

Have students reread the passage from the book they found funny or clever (follow-up from Small Group Lesson 4). Have students share out what passage they read – and what they found funny or clever.

Have students reread the passage from the book they found funny or clever (follow-up from Small Group Lesson 4). Have them answer (in writing) the following question: Why do you think Christopher Paul Curtis included humor and wit in a story that takes place during the Great Depression? Have students share out: 1) what passage they read 2) what they found funny or clever 3) their written response to the question

above


Today we will think more about Herman E. Calloway Remember, in the Afterword we learned that Christopher Paul Curtis used his real grandfathers to create these characters. We’ll reread some important excerpt about Herman – we’ll think about his traits and we’ll compare them to the author’s real grandfather Herman E. Curtis. Pass out Student Sheets for Lesson 7 Part 1. Show students what they’ll be doing as they read today.

You might say: Today you’ll follow along as I read a few excerpts about Herman E. Calloway. As I read these excerpts you’ll think about his words and actions. You’ll notice what is revealed about him as a character. You’ll also think about Christopher Paul Curtis’ real grandfather. You’ll see how the REAL Herman E. Curtise is similar or different to the fictitious Herman E. Calloway.

You might say: Today we’ll read several excerpts about Herman E. Calloway. As we read these excerpts you’ll think about his words and actions. You’ll notice what is revealed about him as a character. You’ll also think about Christopher Paul Curtis’ real grandfather. You’ll see how the REAL Herman E. Curtise is similar or different to the fictitious Herman E. Calloway.

You might say: Today you’ll read several excerpts about Herman E. Calloway. As you read these excerpts you’ll think about his words and actions. You’ll notice what is revealed about him as a character. You’ll also think about Christopher Paul Curtis’ real grandfather. You’ll see how the REAL Herman E. Curtis is similar or different to the fictitious Herman E. Calloway.

We’ll talk about these ideas together and we’ll work on a table and later Venn diagram to organize our thinking. Remember, a Venn diagram helps us to see similarities and differences. Part of the excerpts I’ll read and parts you’ll read on your own (If possible). Set up the excerpts that the students will be hearing by framing the context of each passage. You might say something like: Before I begin reading, let me remind you what’s happening in these scenes. 1) pp. 144 - 150 (Bud first meets Herman E.

Calloway at the Log Cabin.) 2) pp. 179 - 180 (Herman makes it clear to Bud

that he isn’t pleased with the situation and that Bud better not snoop around the house or steal from him.)

3) pp. 200 – 203 (Bud hears the band play for the first time and his very impressed.)

4) pp. 206 - 213 (Herman and Bud have time alone together in the car. Bud shares the special stones from his mother. It is revealed that Herman is actually Bud’s grandfather.)

Address vocabulary as you read each excerpt aloud:

We’ll talk about these ideas together and we’ll work on a table and later a Venn diagram to organize our thinking. Remember, a Venn diagram helps us to see similarities and differences. Part of the excerpts I’ll read and parts you’ll read on your own. Set up the excerpts by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in these scenes. I will also point out a few key words or phrases that might be tricky for you. 1) pp. 144 - 150 (Bud first meets Herman E.

Calloway at the Log Cabin.) 2) pp. 179 - 180 (Herman makes it clear to Bud

that he isn’t pleased with the situation and that Bud better not snoop around the house or steal from him.)



Highlight vocabulary words for students as you give a general overview of each excerpt that they will read – or address vocabulary as you read the excerpt aloud:

We’ll talk about these ideas together and then you’ll work on a table and later a Venn diagram to organize our thinking. Remember, a Venn diagram helps us to see similarities and differences. Set up the excerpts that the students will read by framing the context of each passage. You might say something like: Before you begin reading, let me remind you what’s happening in each of these scenes. I will also point out a few key words or phrases that might be tricky for you. 1) pp. 144 - 150 (Bud first meets Herman E.

Calloway at the Log Cabin.) 2) pp. 179 - 180 (Herman makes it clear to

Bud that he isn’t pleased with the situation and that Bud better not snoop around the house or steal from him.)



pp. 144 – 150

Technical/unique Terms (Tier III words): trumpet, Golden Gloves, middleweight champ, Chicago, Jordan “Snaggletooth” MacNevin, Irish, Last Supper, Herman E. Calloway, good Lord, Toddy boy, Jimmy, Miss Thomas

Vocabulary to reinforce (Tier II words): rhythm, exaggerating, proof, gravity, mighty maple, kin, shield, growl Phrases worth studying/defining: glass-smooth head, lines up a bout, flick this halfway stiff right jab clean, put him down, shaking in the wind,

looked at me a lot harder, crying buckets, pp. 179 – 180 & pp. 200 – 203

Technical/unique Terms (Tier III words): Niagara Falls, Thug, Dirty Deed, Steady Eddie, Miss Thomas, Mr. Jimmy, Herman E. Calloway, LaBone, Doo-Doo Bug’s, “ax,” saxophone, sax, trombone, Dusky Devastators of the Depression, Nubian Knights, trumpet, American

Vocabulary to reinforce (Tier II words): swiped, scamp, snooping, commencing, steady, moan, drift away, grunted, curtsey, exclamation points Phrases worth studying/defining: huffing and puffing like the big, bad wolf find out what your game is, brushing his sticks, seemed like Steady

made it talk, bobbing his head, she was the sun busting through thick, gray clouds; interrupt the conversation; dead quiet pp. 206 – 213

Technical/unique Terms (Tier III words): Packard, recorder, Sam Hill, Grand Calloway Station, Angela Janet Caldwell Vocabulary to reinforce (Tier II words): nudging, silver dollars, dashboard, habit, glove box, patience, rummaging, squatted, disrespectful,

stumbled, fumbled, crouched Phrases worth studying/defining: make yourself useful, kept my nose out of his business, sharpest knife in the drawer, bearer of bad tidings,

the smell of old spit and crumbling-up velvet and mildew, swear-‘fore-God truth, Lord have mercy, struck blind

R

EAD

TEX

T

Focus Questions (strategy practice)

*Teachers may opt to provide struggling readers or those who struggle to recall information with nonpermanent marking tools, copied portions of the text, or blank transparencies so they can mark important information and difficult words and/or phrases As I read aloud the text, think about Herman E. Calloway. What are we learning about him? What is revealed about him through his words or actions? How is he similar or different than Christopher Paul Curtis’ real grandfather Herman E. Curtis?

As I read aloud [or you read] the text, think about Herman E. Calloway. What are we learning about him? What is revealed about him through his words or actions? How is he similar or different than Christopher Paul Curtis’ real grandfather Herman E. Curtis?

Set up the plan for reading and discussion with this group. Students will read an excerpt and then discuss it with the group. As you read the text, think about Herman E. Calloway. What are we learning about him? What is revealed about him through his words or actions? How is he similar or different than Christopher Paul Curtis’ real grandfather?

1) Teacher reads aloud pp. 144 - 150. Then

follow the questions in the “After the Reading/Student Discussion” section.

2) Teacher reads aloud pp. 179-180 (Stop at, “The poor door got slammed again.”) & pp. 200 – 203. Then follow the questions in the “After the Reading/Student Discussion” section.

3) Teacher reads aloud from the bottom of

page 206 through to page 213. Then follow the questions in the “After the Reading/Student Discussion” section.

1) Teacher reads aloud pp. 144 - 150. Then follow the questions in the “After the Reading/Student Discussion” section.

2) Students read pp. 179-180 (Stop at, “The poor door got slammed again.”) & pp. 200 – 203. Then follow the questions in the “After the Reading/Student Discussion” section.

Allow students 5-8 minutes to read these excerpts. Tap students to “whisper read” individually to you in order to check their fluency. If students finish well ahead of others, allow them to look over their Student Sheets.

3) Teacher reads aloud from the bottom of page 206 through page 213. Then follow the questions in the “After the Reading/Student Discussion” section.

1) Students read pp. 144 - 150. Then follow the questions in the “After the Reading/Student Discussion” section.

2) Students read pp. pp. 179-180 (Stop at, “The poor door got slammed again.”) & pp. 200 – 203. Then follow the questions in the “After the Reading/Student Discussion” section.

Allow students 5-8 minutes to read each of these excerpts. Tap students to “whisper read” individually to you in order to check their fluency. If students finish well ahead of others, allow them to look over their Student Sheets for Lesson 7. 3) Students read from the bottom of page 206

- 213. Then follow the questions in the “After the Reading/Student Discussion” section.

Allow students 2-3 minutes to read this excerpt.

STU

DEN

T D

ISC

USS

ION


After each excerpt is read, lead students through a discussion about Herman E. Calloway. Model for students how to go back into the passage to provide evidence for their thinking. Help them locate the exact place that supports their ideas.

After each excerpt is read, lead students through a discussion about Herman E. Calloway. Require students to go back into the passage to provide evidence for their thinking. They should show the exact place that supports their ideas.

After each excerpt is read, lead students through a discussion about Herman E. Calloway. Require students to go back into the passage to provide evidence for their thinking. They should show the exact place that supports their ideas.

What have you learned about Herman E. Calloway from this excerpt?

What does he look like? (What are his physical traits?)

What does he do?

What does he say?

What do his words and actions reveal about him?

What is most important to remember about Herman E. Calloway?

What things do the imagined Herman E. Calloway and the REAL Herman E. Curtis have in common?

How are these two men different?

Making Ideas Cohere

Making Ideas Cohere is OPTIONAL for Students who are below level.

Talk with students about what was revealed about Herman E. Calloway and his daughter (Bud’s mother) back in Chapter 5. (Bud remembers his mother talking about the photograph of her on a horse.) What can be inferred about the relationship between Herman and his daughter from Chapter 5? What kind of man/father was Herman E. Calloway?

ROUTINE WRITING

*Consider projecting Student Sheet 4 for students to see. Model for students how they turn their oral discussion into written words. Have them watch you as you jot down your thinking and evidence about Herman E. Calloway onto the graphic organizers on Student Sheet for Lesson 7 Part 1. Direct and guide students as they write down these ideas. Follow this same approach with the Venn diagram. They may work in a teacher-directed small group, with a partner, or on their own. (Release responsibility to them if they are able to manage the writing on their own.)

Guide students as they turn their oral discussion into written words. Have them jot down their thinking and evidence about Herman E. Calloway onto the graphic organizers on Student Sheet for Lesson 7 Part 1. Then work with them to complete the Venn diagram if needed. They may work in a teacher-directed small group, with a partner, or on their own. (Release responsibility to them if they are able to manage the writing on their own.)

Students work independently (or with a partner) to turn their oral discussion into written words. Have them jot down their thinking and evidence onto the graphic organizers on Student Sheet for Lesson 7 Part 1.

FOLL

OW

-UP

/

EXTE

NSI

ON

OR

TAK

EAW

AY

N/A

Students may work on their Student Sheets for Lesson 7 Part 2 as a “Takeaway.”




RL.4.1, RL.4.2, RL.4.9, RL.4.10, SL.4.1, L.4.1, L.4.5, W.4.9, and W.4.10 (see CCSS aligned curriculum map for kid friendly objective language)

Text (teacher only, optional for students to have the text)

List of General Characteristics of Historical Fiction projected onto a screen or written up onto chart paper (found in Student Sheets at the end of unit)

Student Sheet for Lesson 8 Optional: Student Sheets from previous lessons

Ongoing Assessment







Ask them to try it with you, or with a partner. 5. Send off

Remind students to use the strategy in their independent reading.

6. Next Move in City Schools’ Instructional Model




reading


Establish Purpose/Connect with Prior Learning We have done a lot of thinking using the novel Bud, Not Buddy by Christopher Paul Curtis. We identified many of the historical fiction characteristics in it, we studied the key characters, and we analyzed the point of view. All of this work helps us have a deeper understanding of what some might say is a bittersweet story. Bittersweet means we feel both happy and sad at the end. Today we will think about the final parts of the book and the overall messages in the story. We’ll talk more about why this might be a bittersweet ending.

Name It! As we have already discussed, historical fiction often includes important messages and themes. These messages are discovered as the plot unfolds and the challenges in the story are resolved. The messages or themes, however, can carry over into our own lives as readers today. We can learn and grow from the lessons our characters learned. We practiced this kind of thinking when we read the folktale Where the Mountain Meets the Moon. Today, we’ll practice this with Bud, Not Buddy. Watch me identify a message from the story and the meaning it has for me.

Explicit Instruction/Direct Explanation Paraphrase the part of the story when Bud and Deza talk about families (pp. 72-73) You might say something like: In chapter 8, Bud meets a girl named Deza at the Hooverville. He begins telling her all about his mother dying and being ‘on the lam’ from the Home. She shares her family story with him. Her father plans to hop a train out west to find work. She and her mother will stay behind and wait for him. She tells Bud that we carry our families with us no matter where we go. Families are the most important thing. This leads Bud to reveal some of the things his mother believed about families – like always being there for each other and being able to “see” her even when she’s not here. These are comforting words that are hard for Bud to fully understand at this point in the story. But he returns to this idea at the end of the book – when Herman E. Calloway realizes that Bud’s mom was his daughter. This is a bittersweet moment. Herman E. Calloway is deeply saddened to learn that his daughter has died. They didn’t have a “happy ending” to their relationship. Herman may be feeling guilty or just very sad about her passing. But, Bud now knows that he’s been carrying his mom with him all along – and that he doesn’t need rocks or photographs to keep her spirit alive. He has her in his heart. We hope that Herman will eventually feel this way too. So – it’s a happy ending for Bud because he’s found his family. But it’s a sadder ending for Herman E. Calloway because he has lost his daughter. This message carries over into life today. There are times when we experience mixed feelings about our family – both happy and sad. We may have loved ones who live far away or who have passed away. But the message of families always being in our hearts is one that we can all find comfort in. It is meaningful for us – even in 2013. It is a lesson that I take from this story.

Guided Practice Now you will work with a partner to think and talk about other messages or lessons you recall from this text. We’ll use Student Sheet for Lesson 8 that lists other possible messages/lessons. Pass out Student Sheet for Lesson 8. Talk through the messages from the book listed on the table. You may need to model how to complete the graphic organizer. Then say: Talk with your partner about these ideas. Which messages do you recognize from the story? Can you find evidence of these ideas in the story? What messages mean the most to you? Give students 10-12 minutes to talk about their ideas. They may use copies of the text and their student sheets from previous lessons to look for ideas and evidence. Circulate as students talk with their partners. See if they are discovering the messages or “big ideas” from the story. Facilitate a conversation with the whole class using Student Sheet for Lesson 8. Go through each message and discuss with students. Ask questions such as: Which messages do you recognize from the story? Can you find evidence of these ideas in the story? What messages mean the most to you? How does knowing Bud deeply help us understand the story’s messages? Work with students to record evidence for the lessons in the story by recording the page number where they read about it. Students jot down phrases or quotes to back up their thinking. Alter the number of lessons completed and the amount of evidence based on student abilities.

Send Off End the lesson by saying: Today we talked about the messages we found in Bud, Not Buddy. Good readers notice these messages by paying close attention to what is happening in the story and by knowing the characters well. Our work over the past few weeks with this text gave you a good chance to practice this important strategy. Whenever you’re reading historical fiction – or when you’re reading other types of fiction books – be on the lookout for messages and lessons. Authors want their readers to learn from their stories. Messages and lessons are often there for us to discover…we need to read thoughtfully to find them.



Grade Four Module Three, Unit 3A:

Lessons from Our Recent Past

Resource Sheets


General Characteristics of Historical Fiction

1. Imagined story but set in the real world.

2. Portrays life as it might have been lived in the past.

3. Includes convincing and believable characters, plot, and setting.

4. Often is connected with the author’s own personal experiences.

5. Focuses on problems and issues of life in the past.

6. Includes important messages or themes.


Lesson 1: Understanding Setting PLACE

Where is Michigan located? What are the key cities in Bud, Not Buddy?


Lesson 1: Understanding Setting TIME (1936 -- The Great Depression)

What do you notice in these images? What ideas or feelings come to mind?


Lesson 1: Understanding Setting TIME (1936 --The Great Depression)



Lesson 2: Understanding Setting TIME (1936 – Riding the Rails)



Lesson 2: Understanding Setting TIME (1936 -- The Pullman Porters)

What do you notice in these images? What moods or feelings come to mind?


Lesson 2: Understanding Setting TIME (1936 – Jazz music)




What do you notice in these images? What moods or feelings come to mind?

Name: ________________________________________ Date: _____________________________



1) What did you learn about history in the excerpt and in the images?

2) How did the author combine historical events with imagined characters or an imagined story?

3) How do historical events influence the plot in these excerpts?

Name: ________________________________________ Date: _____________________________

Lesson 4 Part One: Understanding Historical Fiction


General Characteristics about Historical Fiction Example from Chapter 5

Includes convincing and believable

characters, plot, and setting.

Character(s):

Plot:

Setting:

Includes important messages or

themes.

Name: ________________________________________ Date: _____________________________

Lesson 4 Part Two: Understanding Historical Fiction


General Characteristics about Historical Fiction Example from Chapter 9

Includes convincing and believable

characters, plot, and setting.

Character(s):

Plot:

Setting:

Includes important messages or

themes.

Name: ________________________________________ Date: _____________________________

Lesson 4 Part Three: Vocabulary Practice (Chapter 5)


Word Definition(s) from the text or dictionary Your own words

twine

fumbling

drawstring

hardheaded

sidesaddle

horrid

Name:________________________________________ Date:_____________________________

Lesson 6 Part 1: Characters Revealed through their Actions and Words


Lefty Lewis Evidence from the Text

(Include the page/quotation)

What is revealed?

(What do you know about him?)

Actions

Words

Name: ________________________________________ Date: _____________________________

Lesson 6 Part 2: Real Life Influences


REAL “Lefty” Lewis FICTITIOUS “Lefty” Lewis

Name:________________________________________ Date:_____________________________

Lesson 7 Part 1: Characters Revealed through their Actions and Words


Herman E.

Calloway

Evidence from the Text

(Include the page/quotation)

What is revealed?

(What do you know about him?)

Actions

Words

Name: ________________________________________ Date: _____________________________

Lesson 7 Part 2: Real Life Influences


Herman E. Calloway Herman E. Curtis

Name: ________________________________________ Date:_____________________________

Lesson 8: Finding the Messages


Message Evidence in the text…

“And Bud, I want you always

to remember, no matter how

bad things look to you, no

matter how dark the night,

when one door closes, don’t

worry, because another door

opens.” (p. 42-43)

“A Bud is a flower-to-be. A

flower-in-waiting. Waiting for

just the right warmth and care

to open up.” (p. 42)

Big ideas start out as little

seeds. Seeds can turn into

might maples. (p. 91-94)

“I was carrying Momma inside

me and there wasn’t anyone or

anything that could take away

from that or add to it either.”

(p. 234)

Name: _________________________________ Date: _________________________

Lesson 3 Routine Writing: Response to Text-Dependent Questions


Silently reread the pages 36-44 of Chapter 5, if necessary. You may write answers on this sheet or on paper provided by

your teacher.

Response to Text-Dependent Questions

1. Does the plot in Chapter 5 seem believable? What parts are convincing? Use evidence from the text to

support your answer.

2. How might the scene be different if Bud was running away from a foster home in 2013? Use evidence from

the text to support your answer.

3. Why is Bud’s point of view so important? Use evidence from the text to support your answer.

Name: _________________________________ Date: _________________________

Optional Routine Writing: Response to Text-Dependent Questions


Silently reread the pages 1-4 of Chapter 1. You may write answers on this sheet or on paper provided by your teacher.


1. What did you learn about Bud in this chapter? What kind of person is he? Use evidence from the text

to support your answer.

2. Why do you think Bud tells Jerry that he’ll “be great” at his foster home with three girls? Use evidence

from the text to support your answer.

3. What did you learn about the setting in Chapter 1? Why is this important?

Name: _________________________________ Date: _________________________

Optional Routine Writing: Response to Text-Dependent Questions


Silently reread pages 130-139 of Chapter 12. You may write answers on this sheet or on paper provided by your teacher.


1. How does Lefty Lewis let Herman E. Calloway know that he has Bud? Use evidence from the text to

support your answer.

2. How could this scene be different if the setting was Grand Rapids, Michigan in 2013? Use evidence from

the text to support your answer.

3. Think about the setting in Bud, Not Buddy. Why is Lefty Lewis so nervous about the police officer finding

his box??

grade four module three, unit 3a: lessons from our...

Documents