Kwame Alexander - Solo Educators Guide
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- Book:Solo Educators Guide
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- Year:2020
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Solo Educators Guide is a companion to Solo by Kwame Alexander and Mary Rand Hess. This guide can be utilized in the classroom, in a home school setting, or by parents seeking additional resources. Ideal for grades 7-12.
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Kwame Alexander & Mary Rand Hesss
Teachers Guide
Section One: Language
I n this section, teachers may invite students to consider the language used within Solo as a means of vocabulary acquisition. With its economy of words and rich turn of phrase, poetry naturally lends itself to the inventive usage of figurative language found within the standards addressing language. Narrative poetry also helps a reader to track an authors or characters mood within the poems, making Solo a rich novel for addressing aspects of language and how readers make meanings from the words chosen, and the words chosen for a specific effect within a poem.
Features of this section include a vocabulary list and featured poems from the book that present elements of the standards for grade levels 8-12. The bonus part on this section features writing invitations using feature poems from the book as mentor texts for young writers, in grades 8-12.
Featured poems from the book that lend themselves to a deeper appreciation through reading and/or listening:
Poem 5 Sunny by Bobby Hebb (rhyming patterns/internal rhyme)
Poem 7 Enter Sandman by Metallica (rhyme scheme/allusion/myth)
Poem 13 Landslide by Fleetwood Mac (metaphor/apostrophe)
Language
SECTION ONE FEATURES
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Kwame Alexander and Mary Rand Hesss Solo offers its own embedded vocabulary that could be utilized for vocabulary enrichment and lessons while reading.
CCSS.ELA-Literacy. L.8.4 L.8.4.A L.8.4.B L.8.4.C L.8.4.D
CCSS.ELA-Literacy.L.9-10.2.C L.9-10.4 L.9-10.4.A
CCSS.ELA-Literacy.L.11-12.3 L.11-12.5.A L.11-12.5B L.9-10.4.B L.9-10.4.C
The vocabulary words presented here can have multiple definitions dependent upon their usage within the text, which addresses the language standards for multiple definitions and alternate uses of a word.
interstellar (adjective)
arpeggio (noun)
tabloid (noun)
platinum (adjective)
illustrious (adjective)
endangerment (noun)
nefarious (adjective)
commencement (noun)
egalitarian (adjective)
aneurysm (noun)
wretched (adjective)
desolation (noun)
posh (adjective)
soundboard (noun)
crossroads (noun)
nave (adjective)
absurdity (adjective)
paparazzi (noun)
fret (verb)
giddy (adjective)
ominous (adjective)
rancor (noun)
arrogant (adjective)
pompous (adjective)
silhouette (noun)
fumigated (verb)
variation (noun)
settlement (noun)
treacherous (adjective)
barren (adjective)
mezza fresco (noun)
pristine (adjective)
affirmation (noun)
resemblance (noun)
lore (noun)
gullible (adjective)
expletive (noun)
sprightly (adverb)
engulfed (adjective)
inquisitive (adjective)
monumental (adjective)
proboscis (noun)
Poetry naturally lends itself to structures and features that convey specific meanings and add variety and interest to writing or presentations.
CCSS.ELA-Literacy. L.8.5
CCSS.ELA-Literacy. L.9-10.B
CCSS.ELA-Literacy. L11-12.5
| October 10, 2007 | (Free Verse in three Line Stanza Operating as a Flashback) |
| Chambers | (Variation on Haiku) |
| Climbing the Steps to Speak | (Concrete PoemStairs to Podium) |
| All the Songs That Make Me Think of You | (List Poem Created with Song Titles) |
| On the way to the village, we pass | (Serial List with Employment of Articles) |
| Revelation | (Metaphor in a Single Sentence Poem with Internal Rhyme) |
The narrative voice of the poems within Solo suggest the mood of the character at different times within the story. There are numerous instances within Solo where a series of poems carry a mood or a part of a story.
Another suggestion for voice, style, and mood is to consider how Kwame Alexander and Mary Rand Hess write out from the fourteen tracks embedded within Solo. Students might be invited to writefrom and out of their favorite songsresponses and reflections (narrative) or through a background/backstory of the song and the cultures response (expository).
CCSS.ELA-Literacy. L.8.1.C L.8.1.D
CCSS.ELA-Literacy. L.9-10.5 L.9-10.6
| The Show | Children and Father | page 14 |
| Who Am I? | Apostrophe/Internal Monologue | page 18 |
| Chambers | Metaphor/Haiku | page 25 |
| In my house | Mood | page 43 |
| Climbing the Steps to Speak | Concrete Poetry Structure | page 56 |
| Conversation | Dialogue in Poetry | page 79 |
| Dont fret | Mood | page 101 |
| When the Levee Breaks | Mood | page 134 |
| Her Village | Mood | page 236 |
| Why I Dont Play Music Anymore | Mood | page 269 |
Titles not only provide compelling examples of tone, mood, and figurative language, they also serve to carry the narrative forward. The authors signal a titles role in various poems via a lack of standard capitalization.
Students may be invited to think about the authors choice to repeat titles for continuity. This is seen in Hollywood Report, Conversations, Perplexed, Dream Variations, and Delayed.
As titles really become the first reaching out to the reader by a writer, invite and encourage students to think about labels and titles for any piece of writing they might do for the year.
Teachers might consider finding instrumental versions of the songs featured within titles to invite students to think about and to reflect upon how the music lends to what is happening within the story.
CCSS.ELA.Literacy. L.8.3 L.8.5 L.8.5.A L8.5.B
CCSS.ELA.Literacy. L.9-10.3
CCSS.ELA.Literacy. L.11-12.3.A
Many of the titles here reference a well-known song not included as a track within Solo inviting even more reading, listening, and consideration.
| When Doves Cry | Prince | page 93 |
| Under the Cherry Moon | Prince | page 132 |
| Shattered | The Rolling Stones | page 200 |
| Stay | Rihanna | page 264 |
| Purple Rain | Prince | page 275 |
| People Are People | Depeche Mode | page 340 |
Kwame Alexander and Mary Rand Hesss
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