Summer Assignment Lead Story Headline

Summer Assignment
AP Literature
“A room without
a book is like a
body without a
Welcome to your senior year of English! We are thrilled to have you in our
classes in the fall! Do not hesitate to e-mail me ([email protected])
with questions over the summer—I will answer as soon as we can.
The primary “suggestion” is this: do not, do not, DO NOT wait until the
weekend before it is due to begin this work. Should you do so, your regret
will be of a magnitude without parallel in the universe. Trust me.
Of course, AP English covers many other aspects of English besides the
study of novels and plays. Since the tangible outcome of the class is to take a
test in May, many of the activities prepare you for success. We congratulate
you on your decision to take advanced placement classes.
How to Read Literature Like a Professor by Thomas Foster
Thomas Foster knows “how to read literature like
a professor” because he is a professor of English
at the University of Michigan.
In a very informal style (this is not a textbook),
foster focuses on literary basics: major themes
and motifs, literary models, and narrative
devices…all of which will be helpful as we study
texts throughout the school year ahead.
“The man who
doesn’t read has
no advantage
over the man
Some of what you read will be familiar to you,
and some of it will be new and provide “food for
thought” as you read your summer novel. As you
read, you should annotate (see the article “How to
Mark a Book” by Mortimer Adler, Ph.D.), and
might consider taking notes as well.
who can’t read.”
-Mark Twain
First Assignment:
“How to Mark a Book” by Mortimer Adler, Ph.D.
This is where you must BEGIN your summer assignments.
Go to and read Dr. Adler’s
essay, “How to Mark a Book.”
Formally, we call this “annotation,” and it is not only recommended, it is
REQUIRED. That being said, marking a book (or anything we read) is
certainly an activity that is personal and unique to you as an individual. It
is important that you create a system that works well for you—consider the
possibilities of highlighters, colored pens or pencils, and post-it notes as
some of your options. Your personal book marking system will develop
over time.
AP Literature Summer Assignment 2012
Second Assignment:
How to Read Literature Like a Professor by Thomas Foster
Answer the accompanying questions. This “How-to” book will better prepare you to read carefully and
analytically as you begin your year in AP Literature. Having knowledge of the subjects covered in this
text will give you an advantage throughout the school year and on the AP exam. We do not expect essay
responses for each question. As long as you satisfactorily answer the questions, length will not be an
issue. (Adapted from Donna Anglin.)
1. Introduction: How'd He Do That?
How do memory, symbol, and pattern affect the reading of literature? How does the recognition of
patterns make it easier to read complicated literature? Discuss a time when your appreciation of a
literary work was enhanced by understanding symbol or pattern.
2. Chapter 1 -- Every Trip Is a Quest (Except When It's Not)
List the five aspects of the QUEST and then apply them to something you have read (or viewed) in the
form used on pages 3-5.
3. Either of the following:
Chapter 2 -- Nice to Eat with You: Acts of Communion
Choose a meal from a literary work and apply the ideas of Chapter 2 to this literary depiction.
Chapter 3: --Nice to Eat You: Acts of Vampires
What are the essentials of the Vampire story? Apply this to a literary work you have read or viewed.
4. Chapter 4-- If It's Square, It's a Sonnet
Select three sonnets and show which form they are. Discuss how their content reflects the form.
(Submit copies of the sonnets, marked to show your analysis).
Optional: Chapter 5--Now, Where Have I Seen Her Before?
Define intertextuality. Discuss three examples that have helped you in reading specific works.
5. Chapter 6 -- When in Doubt, It's from Shakespeare...
Discuss a work that you are familiar with that alludes to or reflects Shakespeare. Show how the author
uses this connection thematically. Read pages 44-46 carefully. In these pages, Foster shows how Fugard
reflects Shakespeare through both plot and theme. In your discussion, focus on theme.
6. Chapter 7 -- ...Or the Bible
Read "Araby" (available online). Discuss Biblical allusions that Foster does not mention. Look at the
example of the "two great jars." Be creative and imaginative in these connections.
7. Chapter 8 -- Hanseldee and Greteldum
Think of a work of literature that reflects a fairy tale. Discuss the parallels. Does it create irony or
deepen appreciation?
8. Chapter 9 -- It's Greek to Me
Write a free verse poem derived or inspired by characters or situations from Greek mythology. Be
prepared to share your poem with the class. Note that there are extensive links to classical mythology
on my Classics page.
AP Literature Summer Assignment 2012
Second Assignment (continued):
9. Chapter 10 -- It's More Than Just Rain or Snow
Discuss the importance of weather in a specific literary work, not in terms of plot.
Interlude -- Does He Mean That
10. Chapter 11 --...More Than It's Gonna Hurt You: Concerning Violence
Present examples of the two kinds of violence found in literature. Show how the effects are different.
11. Chapter 12 -- Is That a Symbol?
Use the process described on page 106 and investigate the symbolism of the fence in "Araby."
(Mangan's sister stands behind it.)
12. Chapter 13 -- It's All Political
Assume that Foster is right and "it is all political." Use his criteria to show that one of the major works
assigned to you as a freshman is political.
13. Chapter 14 -- Yes, She's a Christ Figure, Too
Apply the criteria on page 119 to a major character in a significant literary work. Try to choose a
character that will have many matches. This is a particularly apt tool for analyzing film -- for example,
Star Wars, Cool Hand Luke, Excalibur, Malcolm X, Braveheart, Spartacus, Gladiator and Ben-Hur.
Optional: Chapter 15 -- Flights of Fancy
Select a literary work in which flight signifies escape or freedom. Explain in detail.
14. One of the three:
Chapter 16 -- It's All About Sex...
Chapter 17 -- ...Except the Sex
OK…the sex chapters. The key idea from this chapter is that "scenes in which sex is coded rather than
explicit can work at multiple levels and sometimes be more intense that literal depictions" (141). In
other words, sex is often suggested with much more art and effort than it is described, and, if the author
is doing his job, it reflects and creates theme or character. Choose a novel or movie in which sex is
suggested, but not described, and discuss how the relationship is suggested and how this implication
affects the theme or develops characterization.
Chapter 18 -- If She Comes Up, It's Baptism
Think of a "baptism scene" from a significant literary work. How was the character different after the
experience? Discuss.
15. Chapter 19 -- Geography Matters…
Discuss at least four different aspects of a specific literary work that Foster would classify under
16. Chapter 20 -- ...So Does Season
Find a poem that mentions a specific season. Then discuss how the poet uses the season in a
meaningful, traditional, or unusual way. (Submit a copy of the poem with your analysis.)
17. Interlude -- One Story
Write your own definition for archetype. Then identify an archetypal story and apply it to a literary
work with which you are familiar.
AP Literature Summer Assignment 2012
Second Assignment (continued):
18. Chapter 21 -- Marked for Greatness
Figure out Harry Potter's scar. If you aren't familiar with Harry Potter, select another character with a
physical imperfection and analyze its implications for characterization.
19.-20. Two of the five:
Chapter 22 -- He's Blind for a Reason, You Know
Chapter 23 -- It's Never Just Heart Disease...
Chapter 24 -- ...And Rarely Just Illness
Recall two characters who died of a disease in a literary work. Consider how these deaths reflect the
"principles governing the use of disease in literature" (215-217). Discuss the effectiveness of the death as
related to plot, theme, or symbolism.
Chapter 25 -- Don't Read with Your Eyes
After reading Chapter 25, choose a scene or episode from a novel, play or epic written before the
twentieth century. Contrast how it could be viewed by a reader from the twenty-first century with how it
might be viewed by a contemporary reader. Focus on specific assumptions that the author makes,
assumptions that would not make it in this century.
Chapter 26 -- Is He Serious? And Other Ironies
Select an ironic literary work and explain the multivocal nature of the irony in the work.
21. Chapter 27 -- A Test Case
Read “The Garden Party” by Katherine Mansfield, the short story starting on page 245. Complete the
exercise on pages 265-266, following the directions exactly. Then compare your writing with the three
examples. How did you do? What does the essay that follows comparing Laura with Persephone add to
your appreciation of Mansfield's story?
Optional: Envoi
Choose a motif not discussed in this book (as the horse reference on page 280) and note its appearance
in three or four different works. What does this idea seem to signify?
Third Assignment:
A book of literary merit of your choice
Reread your favorite novel or play that has literary merit and be ready to write about it. If you are
unsure if your selection is of literary merit, you may check the AP book list at or e-mail one of us. As you reread, select five
passages (half a page to a full page). Copy or photocopy these passages and analyze them considering
the following questions. Your analysis should be at least one page, double spaced, Times New Roman,
12 point font per passage.
1. Why did you select the passage?
2. What was it about this particular passage stood out to you?
3. How significant or important is this particular passage to the novel?
4. What do you learn as a reader from this particular passage?
5. After finishing the novel, does this particular passage seem more or less significant?
AP Literature Summer Assignment 2012
AP Literature Summer Assignment 2012
How to Mark a Book
By Mortimer J. Adler, Ph.D.
You know you have to read "between the lines" to get the most out of anything. I want to persuade you to do
something equally important in the course of your reading. I want to persuade you to write between the lines.
Unless you do, you are not likely to do the most efficient kind of reading.
I contend, quite bluntly, that marking up a book is not an act of mutilation but of love. You shouldn't mark up a
book which isn't yours.
Librarians (or your friends) who lend you books expect you to keep them clean, and you should. If you decide
that I am right about the usefulness of marking books, you will have to buy them. Most of the world's great books
are available today, in reprint editions.
There are two ways in which one can own a book. The first is the property right you establish by paying for it,
just as you pay for clothes and furniture. But this act of purchase is only the prelude to possession. Full ownership
comes only when you have made it a part of yourself, and the best way to make yourself a part of it is by writing
in it. An illustration may make the point clear. You buy a beefsteak and transfer it from the butcher's icebox to
your own. But you do not own the beefsteak in the most important sense until you consume it and get it into your
bloodstream. I am arguing that books, too, must be absorbed in your blood stream to do you any good.
Confusion about what it means to "own" a book leads people to a false reverence for paper, binding, and type -- a
respect for the physical thing -- the craft of the printer rather than the genius of the author. They forget that it is
possible for a man to acquire the idea, to possess the beauty, which a great book contains, without staking his
claim by pasting his bookplate inside the cover. Having a fine library doesn't prove that its owner has a mind
enriched by books; it proves nothing more than that he, his father, or his wife, was rich enough to buy them.
There are three kinds of book owners. The first has all the standard sets and best sellers -- unread, untouched.
(This deluded individual owns woodpulp and ink, not books.) The second has a great many books -- a few of
them read through, most of them dipped into, but all of them as clean and shiny as the day they were bought.
(This person would probably like to make books his own, but is restrained by a false respect for their physical
appearance.) The third has a few books or many -- every one of them dog-eared and dilapidated, shaken and
loosened by continual use, marked and scribbled in from front to back. (This man owns books.)
Is it false respect, you may ask, to preserve intact and unblemished a beautifully printed book, an elegantly bound
edition? Of course not. I'd no more scribble all over a first edition of 'Paradise Lost' than I'd give my baby a set of
crayons and an original Rembrandt. I wouldn't mark up a painting or a statue. Its soul, so to speak, is inseparable
from its body. And the beauty of a rare edition or of a richly manufactured volume is like that of a painting or a
But the soul of a book "can" be separate from its body. A book is more like the score of a piece of music than it is
like a painting. No great musician confuses a symphony with the printed sheets of music. Arturo Toscanini
reveres Brahms, but Toscanini's score of the G minor Symphony is so thoroughly marked up that no one but the
maestro himself can read it. The reason why a great conductor makes notations on his musical scores -- marks
them up again and again each time he returns to study them--is the reason why you should mark your books. If
AP Literature Summer Assignment 2012
your respect for magnificent binding or typography gets in the way, buy yourself a cheap edition and pay your
respects to the author.
Why is marking up a book indispensable to reading? First, it keeps you awake. (And I don't mean merely
conscious; I mean awake.) In the second place; reading, if it is active, is thinking, and thinking tends to express
itself in words, spoken or written. The marked book is usually the thought-through book. Finally, writing helps
you remember the thoughts you had, or the thoughts the author expressed. Let me develop these three points.
If reading is to accomplish anything more than passing time, it must be active. You can't let your eyes glide across
the lines of a book and come up with an understanding of what you have read. Now an ordinary piece of light
fiction, like, say, "Gone With the Wind," doesn't require the most active kind of reading. The books you read for
pleasure can be read in a state of relaxation, and nothing is lost. But a great book, rich in ideas and beauty, a book
that raises and tries to answer great fundamental questions, demands the most active reading of which you are
capable. You don't absorb the ideas of John Dewey the way you absorb the crooning of Mr. Vallee. You have to
reach for them. That you cannot do while you're asleep.
If, when you've finished reading a book, the pages are filled with your notes, you know that you read actively.
The most famous "active" reader of great books I know is President Hutchins, of the University of Chicago. He
also has the hardest schedule of business activities of any man I know. He invariably reads with a pencil, and
sometimes, when he picks up a book and pencil in the evening, he finds himself, instead of making intelligent
notes, drawing what he calls 'caviar factories' on the margins. When that happens, he puts the book down. He
knows he's too tired to read, and he's just wasting time.
But, you may ask, why is writing necessary? Well, the physical act of writing, with your own hand, brings words
and sentences more sharply before your mind and preserves them better in your memory. To set down your
reaction to important words and sentences you have read, and the questions they have raised in your mind, is to
preserve those reactions and sharpen those questions.
Even if you wrote on a scratch pad, and threw the paper away when you had finished writing, your grasp of the
book would be surer. But you don't have to throw the paper away. The margins (top as bottom, and well as side),
the end-papers, the very space between the lines, are all available. They aren't sacred. And, best of all, your marks
and notes become an integral part of the book and stay there forever. You can pick up the book the following
week or year, and there are all your points of agreement, disagreement, doubt, and inquiry. It's like resuming an
interrupted conversation with the advantage of being able to pick up where you left off.
And that is exactly what reading a book should be: a conversation between you and the author. Presumably he
knows more about the subject than you do; naturally, you'll have the proper humility as you approach him. But
don't let anybody tell you that a reader is supposed to be solely on the receiving end. Understanding is a two-way
operation; learning doesn't consist in being an empty receptacle. The learner has to question himself and question
the teacher. He even has to argue with the teacher, once he understands what the teacher is saying. And marking a
book is literally an expression of differences, or agreements of opinion, with the author.
There are all kinds of devices for marking a book intelligently and fruitfully. Here's the way I do it:
Underlining (or highlighting): of major points, of important or forceful statements.
Vertical lines at the margin: to emphasize a statement already underlined.
AP Literature Summer Assignment 2012
Star, asterisk, or other doo-dad at the margin: to be used sparingly, to emphasize the ten or
twenty most important statements in the book. (You may want to fold the bottom comer of each
page on which you use such marks. It won't hurt the sturdy paper on which most modern books
are printed, and you will be able take the book off the shelf at any time and, by opening it at the
folded-corner page, refresh your recollection of the book.)
Numbers in the margin: to indicate the sequence of points the author makes in developing a
single argument.
Numbers of other pages in the margin: to indicate where else in the book the author made
points relevant to the point marked; to tie up the ideas in a book, which, though they may be
separated by many pages, belong together.
Circling or highlighting of key words or phrases.
Writing in the margin, or at the top or bottom of the page, for the sake of: recording
questions (and perhaps answers) which a passage raised in your mind; reducing a complicated
discussion to a simple statement; recording the sequence of major points right through the
books. I use the end-papers at the back of the book to make a personal index of the author's
points in the order of their appearance.
The front end-papers are to me the most important. Some people reserve them for a fancy bookplate. I reserve
them for fancy thinking. After I have finished reading the book and making my personal index on the back endpapers, I turn to the front and try to outline the book, not page by page or point by point (I've already done that at
the back), but as an integrated structure, with a basic unity and an order of parts. This outline is, to me, the
measure of my understanding of the work.
If you're a die-hard anti-book-marker, you may object that the margins, the space between the lines, and the endpapers don't give you room enough. All right. How about using a scratch pad slightly smaller than the page-size
of the book -- so that the edges of the sheets won't protrude? Make your index, outlines and even your notes on
the pad, and then insert these sheets permanently inside the front and back covers of the book.
Or, you may say that this business of marking books is going to slow up your reading. It probably will. That's one
of the reasons for doing it. Most of us have been taken in by the notion that speed of reading is a measure of our
intelligence. There is no such thing as the right speed for intelligent reading. Some things should be read quickly
and effortlessly and some should be read slowly and even laboriously. The sign of intelligence in reading is the
ability to read different things differently according to their worth. In the case of good books, the point is not to
see how many of them you can get through, but rather how many can get through you -- how many you can make
your own. A few friends are better than a thousand acquaintances. If this be your aim, as it should be, you will not
be impatient if it takes more time and effort to read a great book than it does a newspaper.
You may have one final objection to marking books. You can't lend them to your friends because nobody else can
read them without being distracted by your notes. Furthermore, you won't want to lend them because a marked
copy is kind of an intellectual diary, and lending it is almost like giving your mind away.
If your friend wishes to read your Plutarch's Lives, Shakespeare, or The Federalist Papers, tell him gently but
firmly, to buy a copy. You will lend him your car or your coat -- but your books are as much a part of you as your
head or your heart.
AP Literature Summer Assignment 2012
Titles from Free Response Questions
Updated from an original list by Norma J. Wilkerson.
Works referred to on the AP Literature exams since 1971, specific years in parentheses.
Please note that only authors were sometimes recommended in early years, not specific titles.
Absalom, Absalom by William Faulkner (76, 00, 10)
Adam Bede by George Eliot (06)
The Adventures of Huckleberry Finn by Mark Twain (80, 82, 85, 91, 92, 94, 95, 96, 99, 05, 06,
07, 08, 11)
The Aeneid by Virgil (06)
Agnes of God by John Pielmeier (00)
The Age of Innocence by Edith Wharton (97, 02, 03, 08)
Alias Grace by Margaret Atwood (00, 04, 08)
All the King’s Men by Robert Penn Warren (00, 02, 04, 07, 08, 09, 11)
All My Sons by Arthur Miller (85, 90)
All the Pretty Horses by Cormac McCarthy (95, 96, 06, 07, 08, 10, 11)
America is in the Heart by Carlos Bulosan (95)
An American Tragedy by Theodore Dreiser (81, 82, 95, 03)
American Pastoral by Philip Roth (09)
The American by Henry James (05, 10)
Angels in America by Tony Kushnet (09)
Angle of Repose by Wallace Stegner (10)
Anna Karenina by Leo Tolstoy (80, 91, 99, 03, 04, 06, 08, 09)
Another Country by James Baldwin (95, 10)
Antigone by Sophocles (79, 80, 90, 94, 99, 03, 05, 09, 11)
Anthony and Cleopatra by William Shakespeare (80, 91)
Apprenticeship of Duddy Kravitz by Mordecai Richler (94)
Armies of the Night by Norman Mailer (76)
As I Lay Dying by William Faulkner (78, 89, 90, 94, 01, 04, 06, 07, 09, 11)
As You Like It by William Shakespeare (92, 05. 06, 10)
Atonement by Ian McEwan (07, 11)
Autobiography of an Ex-Colored Man by James Weldon Johnson (02, 05)
The Awakening by Kate Chopin (87, 88, 91, 92, 95, 97, 99, 02, 07, 09, 11)
“The Bear” by William Faulkner (94. 06)
Beloved by Toni Morrison (90, 99, 01, 03, 05, 07, 09, 10, 11)
A Bend in the River by V. S. Naipaul (03)
Benito Cereno by Herman Melville (89)
Billy Budd by Herman Melville (79, 81, 82, 83, 85, 99, 02, 04, 05, 07, 08)
The Birthday Party by Harold Pinter (89, 97)
Black Boy by Richard Wright (06, 08)
Bleak House by Charles Dickens (94, 00, 04, 09, 10)
Bless Me, Ultima by Rudolfo Anaya (94, 96, 97, 99, 04, 05, 06, 08)
The Blind Assassin by Margaret Atwood (07, 11)
The Bluest Eye by Toni Morrison (95, 08, 09)
Bone: A Novel by Fae M. Ng (03)
The Bonesetter's Daughter by Amy Tan (06, 07, 11)
Brave New World by Aldous Huxley (89, 05, 09, 10)
AP Literature Summer Assignment 2012
Brighton Rock by Graham Greene (79)
Broken for You by Stephanie Kallos (09)
The Brothers Karamazov by Fyodor Dostoevski (90, 08)
Candida by George Bernard Shaw (80)
Candide by Voltaire (80, 86, 87, 91, 95, 96, 04, 06)
The Canterbury Tales by Geoffrey Chaucer (06)
The Caretaker by Harold Pinter (85)
Catch-22 by Joseph Heller (82, 85, 87, 89, 94, 01, 03, 04, 05, 07, 08, 11)
The Catcher in the Rye by J. D. Salinger (01, 08, 11)
Cat on a Hot Tin Roof by Tennessee Williams (00)
Cat’s Eye by Margaret Atwood (94, 08, 09)
The Centaur by John Updike (81)
Ceremony by Leslie Marmon Silko (94, 96, 97, 99, 01, 03, 05, 06, 07, 09)
The Cherry Orchard by Anton Chekhov (77, 06, 07, 09, 10)
The Chosen by Chaim Potok (08)
“Civil Disobedience” by Henry David Thoreau (76)
Cold Mountain by Charles Frazier (06, 08)
The Color Purple by Alice Walker (92, 94, 95, 96, 97, 05, 08, 09)
Coming Through Slaughter by Michael Ondaatje (01)
Copenhagen by Michael Frayn (09)
The Country of the Pointed Firs by Sarah Orne Jewett (10)
Cry, The Beloved Country by Alan Paton (85, 87, 91, 95, 96, 07, 09)
Crime and Punishment by Fyodor Dostoevski (76, 79, 80, 82, 88, 96, 99, 00, 01, 02, 03, 04,
05, 09, 10, 11)
“The Crisis” by Thomas Paine (76)
The Crossing by Cormac McCarthy (09)
The Crucible by Arthur Miller (71, 83, 86, 89, 04, 05, 09)
Daisy Miller by Henry James (97, 03)
Dancing at Lughnasa by Brian Friel (01)
David Copperfield by Charles Dickens (78, 83, 06)
“The Dead” by James Joyce (97)
The Death of Ivan Ilyich by Leo Tolstoy (86)
Death of a Salesman by Arthur Miller (86, 88, 94, 03, 04, 05, 07)
Delta Wedding by Eudora Welty (97)
Desire under the Elms by Eugene O’Neill (81)
Dinner at the Homesick Restaurant by Anne Tyler (97)
The Divine Comedy by Dante Alighieri (06)
The Diviners by Margaret Laurence (95)
Doctor Faustus by Christopher Marlowe (79, 86, 99, 04, 11)
Doctor Zhivago by Boris Pasternak (10)
A Doll’s House by Henrik Ibsen (83, 87, 88, 95, 05, 09)
The Dollmaker by Harriet Arnot (91)
Don Quixote by Miguel de Cervantes (01, 04, 06, 08)
Dreaming in Cuban by Cristina Garcia (03)
Dutchman by Amiri Baraka/Leroi Jones (03, 06)
AP Literature Summer Assignment 2012
East of Eden by John Steinbeck (06)
Emma by Jane Austen (96, 08, 11)
An Enemy of the People by Henrik Ibsen (76, 80, 87, 99, 01, 07)
Equus by Peter Shaffer (92, 99, 00, 01, 08, 09)
Ethan Frome by Edith Wharton (80, 85, 03, 05, 06, 07)
The Eumenides by Aeschylus (in The Orestia) (96)
The Fall by Albert Camus (81)
A Farewell to Arms by Ernest Hemingway (99, 04, 09)
The Father by August Strindberg (01)
Fathers and Sons by Ivan Turgenev (90)
Faust by Johann Goethe (02)
The Federalist by Alexander Hamilton (76)
Fences by August Wilson (02, 05, 09, 10)
Fifth Business by Robertson Davis (00)
A Fine Balance by Rohinton Mistry (03, 07)
The Fixer by Bernard Malamud (07)
For Whom the Bell Tolls by Ernest Hemingway (03, 06)
Frankenstein by Mary Shelley (89, 00, 03, 06, 08)
A Free Life: A Novel by Ha Jin (10)
A Gathering of Old Men by Ernest Gaines (00, 11)
Germinal by Emile Zola (09)
A Gesture Life by Chang-Rae Lee (04, 05)
Ghosts by Henrik Ibsen (00, 04)
The Glass Menagerie by Tennessee Williams (71, 90, 94, 97, 99, 02, 08, 09, 10)
The God of Small Things by Arundhati Roy (10, 11)
Going After Cacciato by Time O’Brien (01, 06, 10)
The Golden Bowl by Henry James (09)
The Good Soldier by Ford Maddox Ford (00, 11)
The Grapes of Wrath by John Steinbeck (95, 03, 06, 09, 10, 11)
Great Expectations by Charles Dickens (79, 80, 88, 89, 92, 95, 96, 00, 01, 02, 03, 04, 05, 07,
08, 10)
The Great Gatsby by F. Scott Fitzgerald (82, 83, 88, 91, 92, 97, 00, 02, 04, 05, 07, 10)
Go Tell It on the Mountain by James Baldwin (83, 88, 90, 05, 09)
Gulliver’s Travels by Jonathan Swift (87, 89, 01, 04, 06, 09)
The Hairy Ape by Eugene O’Neill (89, 09)
Hamlet by William Shakespeare (88, 94, 97, 99, 00)
The Handmaid's Tale by Margaret Atwood (03, 09)
Hard Times by Charles Dickens (87, 90, 09)
Heart of Darkness by Joseph Conrad (71, 76, 91, 94, 96, 99, 00, 01, 02, 03, 04, 06, 09, 10, 11)
The Heart of the Matter by Graham Greene (71)
Hedda Gabler by Henrik Ibsen (79, 92, 00, 02, 03, 05)
Henry IV, Parts I and II by William Shakespeare (80, 90, 08)
AP Literature Summer Assignment 2012
Henry V by William Shakespeare (02)
A High Wind in Jamaica by Richard Hughes (08)
The Homecoming by Harold Pinter (78, 90)
Home to Harlem by Claude McKay (10)
A House for Mr. Biswas by V. S.Naipul (10)
House Made of Dawn by N Scott Momaday (95, 06, 09)
The House of Mirth by Edith Wharton (04, 07, 10)
The House of Seven Gables by Nathaniel Hawthorne (89)
The House on Mango Street by Sandra Cisneros (08, 10)
The Iliad by Homer (80)
The Importance of Being Earnest by Oscar Wilde (06)
The Inheritance of Loss by Kiran Desai (10)
In the Lake of the Woods by Tim O’Brien (00)
In the Time of Butterflies by Julia Alvarez (05)
Invisible Man by Ralph Ellison (76, 77, 78, 82, 83, 85, 86, 87, 88, 89, 91, 94, 95, 96, 97, 01, 03,
04, 05, 07, 08, 09, 10, 11)
Jane Eyre by Charlotte Bronte (78, 79, 80, 88, 91, 94, 95, 96, 97, 99, 00, 05, 07, 08. 10)
Jasmine by Bharati Mukherjee (99, 10)
J.B. by Archibald MacLeish (81, 94)
Joe Turner’s Come and Gone by August Wilson (00)
The Joy Luck Club by Amy Tan (97, 03)
Joseph Andrews by Henry Fielding (99)
Jude the Obscure by Thomas Hardy (71, 76, 80, 85, 87, 95, 09, 10)
Julius Caesar by William Shakespeare (82, 97, 07, 09)
The Jungle by Upton Sinclair (77, 78, 82, 88, 89, 90, 96, 09)
Kafka on the Shore by Haruki Murakami (08)
King Lear by William Shakespeare (77, 78, 82, 88, 89, 90, 96, 01, 03, 06, 08, 10, 11)
The Kite Runner by Khaled Hosseini (07, 08, 09)
Lady Windermere’s Fan by Oscar Wilde (09)
A Lesson before Dying by Ernest Gaines (99, 11)
Letters from an American Farmer by de Crevecoeur (76)
Light in August by William Faulkner (71, 79, 81, 82, 83, 85, 95, 99, 03, 06, 11)
The Little Foxes by Lillian Hellman (85, 90, 10)
Little Women by Louisa May Alcott (08)
Long Day’s Journey into Night by Eugene O’Neill (90, 03, 07)
Look Homeward, Angel by Thomas Wolfe (10)
Lord Jim by Joseph Conrad (77, 78, 82, 86, 00, 03, 07)
Lord of the Flies by William Golding (85, 08)
The Loved One by Evelyn Waugh (89)
Love Medicine by Louise Erdrich (95)
“Love Song of J. Alfred Prufrock” by T. S. Eliot (85)
Summer Assignment 2012
by Aristophanes (87)
Macbeth by William Shakespeare (83, 99, 03, 05, 09)
Madame Bovary by Gustave Flaubert (80, 85, 04, 05, 06, 09, 10)
Main Street by Sinclair Lewis (87, 09)
Major Barbara by George Bernard Shaw (79, 96, 04, 07, 09, 11)
Man and Superman by George Bernard Shaw (81)
Mansfield Park by Jane Austen (03, 06)
Master Harold...and the Boys by Athol Fugard (03, 08, 09)
The Mayor of Casterbridge by Thomas Hardy (94, 99, 00, 02, 07, 10, 11)
M. Butterfly by David Henry Wang (95, 11)
Medea by Euripides (82, 92, 95, 01, 03, 11)
The Member of the Wedding by Carson McCullers (97, 08)
The Memory Keeper’s Daughter by Kim Edwards (09)
The Merchant of Venice by William Shakespeare (85, 91, 95, 02, 03, 11)
Metamorphosis by Franz Kafka (78, 89)
Middlemarch by George Eliot (95, 04, 05, 07)
Middle Passage by V. S. Naipaul (06)
A Midsummer Night’s Dream by William Shakespeare (06)
The Mill on the Floss by George Eliot (90, 92, 04)
The Misanthrope by Moliere (2008)
Miss Lonelyhearts by Nathanael West (89)
Moby Dick by Herman Melville (76, 77, 78, 79, 80, 89, 94, 96, 01, 03, 04, 05, 06, 07, 09)
Moll Flanders by Daniel Defoe (76, 77, 86, 87, 95, 09)
Monkey Bridge by Lan Cao (00, 03)
The Moor's Last Sigh by Salman Rushdie (07)
Mother Courage and Her Children by Berthold Brecht (85, 87, 06)
Mrs. Dalloway by Virginia Woolf (94, 97, 04, 05, 07, 11)
Mrs. Warren’s Profession by George Bernard Shaw (87, 90, 95, 02, 09)
Much Ado About Nothing by William Shakespeare (97)
Murder in the Cathedral by T. S. Eliot (76, 80, 85, 95, 07, 11)
“My Last Duchess” by Robert Browning (85)
My Ántonia by Willa Cather (03, 08, 10)
My Name is Asher Lev by Chaim Potok (03)
The Namesake by Jhumpa Lahiri (09, 10)
Native Son by Richard Wright (79, 82, 85, 87, 95, 01, 04, 09, 11)
Native Speaker by Chang-Rae Lee (99, 03, 07, 08)
Never Let Me Go by Kazuo Ishiguro (09, 10)
1984 by George Orwell (87, 94, 09)
No Exit by John Paul Sartre (86)
No-No Boy by John Okada (95)
Notes from the Underground by Fyodor Dostoevski (89)
Obasan by Joy Kogawa (94, 95, 04, 05, 06, 07)
The Octopus by Frank Norris (09)
AP Literature Summer Assignment 2012
The Odyssey by Homer (86, 06)
Oedipus Rex by Sophocles (77, 85, 88, 00, 03, 04, 11)
Of Mice and Men by John Steinbeck (01)
Old School by Tobias Wolff (08)
Oliver Twist by Charles Dickens (09)
One Day in the Life of Ivan Denisovich by Alexander Solzhenitsyn (05)
One Hundred Years of Solitude by Gabriel Garcia Marquez (89, 04)
One Flew Over the Cuckoo’s Nest by Ken Kesey (01)
O Pioneers! by Willa Cather (06)
The Optimist’s Daughter by Eudora Welty (94)
The Orestia by Aeschylus (90)
Orlando: A Biography by Virginia Woolf (04)
Othello by William Shakespeare (79, 85, 88, 92, 95, 03, 04, 07, 11)
The Other by Thomas Tryon (10)
Our Mutual Friend by Charles Dickens (90)
Our Town by Thornton Wilder (86, 97, 09)
Out of Africa by Isaak Dinesen (06)
Pale Fire by Vladimir Nabokov (01)
Pamela by Samuel Richardson (86)
A Passage to India by E. M. Forster (71, 77, 78, 88, 91, 92, 07, 09)
Paradise Lost by John Milton (85, 86, 10)
Passing by Nella Larsen (11)
Peer Gynt by Henrik Ibsen (06)
Père Goriot by Honore de Balzac (02)
Persuasion by Jane Austen (90, 05, 07)
Phaedre by Jean Racine (92, 03)
The Piano Lesson by August Wilson (96, 99, 07, 08, 10)
The Picture of Dorian Gray by Oscar Wilde (02)
The Plague by Albert Camus (02, 09)
Pnin by Vladimir Nabokov (97)
Pocho by Jose Antonio Villareal (02, 08)
The Poisonwood Bible by Barbara Kingsolver (10, 11)
Portrait of a Lady by Henry James (88, 92, 96, 03, 05, 07, 11)
Portrait of the Artist as a Young Man by James Joyce (76, 77, 80, 86, 88, 96, 99, 04, 05, 08,
09, 10, 11)
The Power and the Glory by Graham Greene (95)
Praisesong for the Widow by Paule Marshall (96)
A Prayer for Owen Meany by John Irving (09)
Pride and Prejudice by Jane Austen (83, 88, 92, 97, 08, 11)
The Prime of Miss Jean Brodie by Muriel Spark (90, 08)
Push by Sapphire (07)
Pygmalion by George Bernard Shaw (03, 05, 08)
Ragtime by E. L. Doctorow (03, 07)
A Raisin in the Sun by Lorraine Hansberry (87, 90, 94, 96, 99, 07, 09)
The Rape of the Lock by Alexander Pope (81)
Summer Assignment 2012
Red Badge of Courage by Stephen Crane (08)
Redburn by Herman Melville (87)
The Remains of the Day by Kazuo Ishiguro (00, 03, 11)
Reservation Blues by Sherman Alexie (08, 09)
The Return of the Native by Thomas Hardy (07)
Rhinoceros by Eugene Ionesco (09)
Richard III by William Shakespeare (79)
A River Runs Through It by Norman Maclean (08)
The Road by Cormac McCarthy (10)
Robinson Crusoe by Daniel Defoe (10)
A Room of One’s Own by Virginia Woolf (76)
A Room with a View by E. M. Forster (03)
Romeo and Juliet by William Shakespeare (90, 92, 97, 08)
Rosencrantz and Guildenstern Are Dead by Tom Stoppard (81, 94, 00, 04, 05, 06, 10, 11)
Saint Joan by George Bernard Shaw (95)
The Sandbox by Edward Albee (71)
The Scarlet Letter by Nathaniel Hawthorne (71, 77, 78, 83, 88, 91, 99, 02, 04, 05, 06, 11)
Sent for You Yesterday by John E. Wideman (03)
A Separate Peace by John Knowles (82, 07)
Set This House on Fire by William Styron (11)
The Shipping News by E. Annie Proulx (97)
Silas Marner by George Eliot (02)
Sister Carrie by Theodore Dreiser (87, 02, 04, 09, 10)
Sister of My Heart by Chitra Banerjee Divakaruni (10)
Slaughterhouse Five by Kurt Vonnegut (91, 04)
A Soldier’s Play by Charles Fuller (11)
Snow by Orhan Pamuk (09)
Snow Falling on Cedars by David Guterson (00, 10)
Song of Solomon by Toni Morrison (81, 88, 96, 00, 04, 05, 06, 07, 10)
Sons and Lovers by D. H. Lawrence (77, 90)
Sophie's Choice by William Styron (09)
The Sound and the Fury by William Faulkner (77, 86, 97, 01, 07, 08)
The Stone Angel by Margaret Laurence (96, 04)
The Story of Edgar Sawtelle by David Wroblewski (11)
The Stranger by Albert Camus (79, 82, 86, 04, 11)
A Streetcar Named Desire by Tennessee Williams (91, 92, 01, 04, 07, 08, 09, 10, 11)
The Street by Ann Petry (07)
Sula by Toni Morrison (92, 97, 02, 04, 07, 08, 10)
Surfacing by Margaret Atwood (05, 11)
The Sun Also Rises by Ernest Hemingway (85, 91, 95, 96, 04, 05)
A Tale of Two Cities by Charles Dickens (82, 91, 04, 08)
Tarftuffe by Moliere (87)
The Tempest by William Shakespeare (71, 78, 96, 03, 05, 07, 10)
Tess of the D’Urbervilles by Thomas Hardy (82, 91, 03, 06, 07)
AP Literature Summer Assignment 2012
Their Eyes Were Watching God by Zorah Neale Hurston (88, 90, 91, 96. 04, 05, 06, 07, 08, 10,
Things Fall Apart by Chinua Achebe (91, 97, 03, 09, 10, 11)
The Things They Carried by Tim O'Brien (04, 09)
A Thousand Acres by Jane Smiley (06, 11)
A Thousand Splendid Suns by Khaled Hosseini (11)
To Kill a Mockingbird by Harper Lee (08, 09, 11)
To the Lighthouse by Virginia Woolf (77, 86, 88, 08)
Tom Jones by Henry Fielding (90, 00, 06, 08)
The Trial by Franz Kafka (88, 89, 00, 11)
Trifles by Susan Glaspell (00)
Tristram Shandy by Laurence Sterne (86)
The Turn of the Screw by Henry James (92, 94, 00, 02, 04, 08)
Twelfth Night by William Shakespeare (85, 94, 96, 11)
Typical American by Gish Jen (02, 03, 05)
Uncle Tom’s Cabin by Harriet Beecher Stowe (87, 09)
U.S.A. (trilogy) by John Dos Passos (09)
The Vicar of Wakefield by Oliver Goldsmith (06)
Victory by Joseph Conrad (83)
Volpone by Ben Jonson (83)
Waiting for Godot by Samuel Beckett (77, 85, 86, 89, 94, 01, 09)
The Warden by Anthony Trollope (96)
Washington Square by Henry James (90)
The Wasteland by T. S. Eliot (81)
Watch on the Rhine by Lillian Hellman (87)
The Way of the World by William Congreve (71)
The Way We Live Now by Anthony Trollope (06)
We Were the Mulvaneys by Joyce Carol Oates (07)
Who Has Seen the Wind? by W. O. Mitchell (11)
Who’s Afraid of Virginia Woolf? by Edward Albee (88, 94, 00, 04, 07, 11)
Wide Sargasso Sea by Jean Rhys (89, 92, 05, 07, 08)
The Wild Duck by Henrik Ibsen (78)
Winter in the Blood by James Welch (95)
Winter’s Tale by William Shakespeare (82, 89, 95, 06)
Wise Blood by Flannery O’Connor (82, 89, 95, 09, 10)
Woman Warrior by Maxine Hong Kingston (91, 08)
The Women of Brewster Place by Gloria Naylor (09, 10)
Wuthering Heights by Emily Bronte (71, 77, 78, 79, 83, 86, 88, 89, 90, 91, 92, 96, 97, 99, 01,
06, 07, 08, 10)
The Zoo Story by Edward Albee (82, 01)
Zoot Suit by Luis Valdez (95)
AP Literature Summer Assignment 2012
Most Frequently Cited 1970-2011
24 Invisible Man by Ralph Ellison;
19 Wuthering Heights by Emily Bronte;
16 Crime and Punishment by Fyodor Dostoevski; Great Expectations by Charles Dickens;
15 Heart of Darkness by Joseph Conrad; Jane Eyre by Charlotte Bronte; Moby Dick by Herman Melville
14 The Adventures of Huckleberry Finn by Mark Twain;
13 King Lear by William Shakespeare;
12 Catch-22 by Joseph Heller; The Great Gatsby by F. Scott Fitzgerald; Portrait of the Artist as a Young Man by
James Joyce; The Scarlet Letter by Nathaniel Hawthorne;
11 The Awakening by Kate Chopin; Billy Budd by Herman Melville; Light in August by William Faulkner;
Their Eyes Were Watching God by Zorah Neale Hurston
10 As I Lay Dying by William Faulkner; Ceremony by Leslie Marmon Silko;
9 Antigone by Sophocles; Beloved by Toni Morrison; The Glass Menagerie by Tennessee Williams;
Native Son by Richard Wright; Othello by William Shakespeare; Song of Solomon by Toni Morrison;
A Streetcar Named Desire by Tennessee Williams;
8 Anna Karenina by Leo Tolstoy; Bless Me, Ultima by Rudolfo Anaya; Candide by Voltaire;
The Color Purple by Alice Walker; Jude the Obscure by Thomas Hardy;
The Jungle by Upton Sinclair; A Passage to India by E. M. Forster; Rosencrantz and Guildenstern Are Dead by Tom
7 All the King’s Men by Robert Penn Warren; All the Pretty Horses by Cormac McCarthy; The Crucible by Arthur
Cry, The Beloved Country by Alan Paton; Death of a Salesman by Arthur Miller;
Lord Jim by Joseph Conrad; Madame Bovary by Gustave Flaubert; Mayor of Casterbridge by Thomas Hardy;
Oedipus Rex by Sophocles; Portrait of a Lady by Henry James; A Raisin in the Sun by Lorraine Hansberry;
Sula by Toni Morrison; The Tempest by William Shakespeare; Waiting for Godot by Samuel Beckett
6 A Doll's House by Henrik Ibsen; An Enemy of the People by Henrik Ibsen; Equus by Peter Shaffer;
Ethan Frome by Edith Wharton; Gulliver's Travels by Jonathan Swift; Hedda Gabler by Henrik Ibsen; Major
Barbara by George Bernard Shaw; Medea by Euripides; The Merchant of Venice by William Shakespeare; Moll
Flanders by Daniel Defoe; Mrs. Dalloway by Virginia Woolf; Murder in the Cathedral by T. S. Eliot; Obasan by Joy
Pride and Prejudice by Jane Austen; The Sound and the Fury by William Faulkner;
The Sun Also Rises by Ernest Hemingway; Things Fall Apart by Chinua Achebe;
The Turn of the Screw by Henry James; Who's Afraid of Virginia Woolf? by Edward Albee;
5 Bleak House by Charles Dickens; The Cherry Orchard by Anton Chekhov; Doctor Faustus by Christopher
Marlowe; Frankenstein by Mary Shelley; Go Tell It on the Mountain by James Baldwin; Hamlet by William
Macbeth by William Shakespeare; Mrs. Warren’s Profession by George Bernard Shaw; The Piano Lesson by August
Sister Carrie by Theodore Dreiser; Tess of the D'Urbervilles by Thomas Hardy; Wide Sargasso Sea by Jean
Wise Blood by Flannery O’Connor
AP Literature Summer Assignment 2012
Shakespeare - All Plays Total = 74
2 Anthony and Cleopatra
4 As You Like It
5 Hamlet
3 Henry IV, Parts I and II
1 Henry V
4 Julius Caesar
13 King Lear
5 Macbeth
6 Merchant of Venice
1 A Midsummer Night's Dream
1 Much Ado About Nothing
9 Othello
1 Richard III
4 Romeo and Juliet
7 The Tempest
4 Twelfth Night
4 Winter's Tale
Classical Greek & Roman Literature = 29
1 The Aeneid by Virgil
9 Antigone by Sophocles
1 The Eumenides by Aeschylus
1 The Iliad by Homer
1 Lysistrata by Aristophanes
6 Medea by Euripides
3 The Odyssey by Homer
7 Oedipus Rex by Sophocles
1 The Orestia by Aeschylus