Rubric for Grading Essays

Any time I assign an essay, you can earn up to 13 points + twice (2 times) the number of paragraphs in the essay. Thus, a three-paragraph essay can earn up to 19 points and a five-paragraph essay can earn up to 23.

You will receive one (1) point for each paragraph you complete. For example, if I ask for a three paragraph essay, simply writing three paragraphs will earn you three points. You will receive another (1) point if you have at most one error in spelling, grammar, or punctuation in each paragraph. If a paragraph needs significant work (in terms of length, cohesiveness, structure, or in any other way), you will still receive one-half (0.5; ½) point for the paragraph.

If your poem is typed neatly, you will receive one (1) point.

You can earn up to four (4) points for your ideas, on the following scale:
1 -- Ideas are unconnected or irrelevant to the question.
2 -- Ideas are basic. If you were writing in reaction to a given text, an essay at this point in the scale restricts itself to those ideas explicitly stated in that text.
3 -- Ideas show some insight and thought. An essay at this point in the scale may not develop its ideas fully or may miss some important points and connections, but it nonetheless shows that the student has considered the question.
4 -- Ideas are deeply insightful and thoughtful. An essay at this point in the scale reflects deep thought on the part of its writer. Its ideas are fully developed and all important points and connections are considered.

You can earn up to four (4) points for how well you support your ideas, on the following scale:
1 -- Ideas are merely stated, with no attempt made to prove their validity. Alternately, the support provided is irrelevant and ineffectual. Argument against the essay's ideas is impossible.
2 -- Support for the essay's ideas is present, but is basic and simple. Much of the work of proving the validity of the essay's ideas is left to the reader. Argument against the essay's ideas is easy.
3 -- Support for the essay's ideas is thorough, but still weak. The reader still has to make some conceptual leaps. Argument against the essay's ideas is possible and presents some difficulties, but there are still holes in the essay's arguments to exploit.
4 -- Support of the essay's ideas is thorough and full. The writer's thought process is laid out in its entirety for the reader. Argument against the poem's ideas requires a long conversation and is likely to help both parties create new knowledge during its course.

You can earn up to two (2) points for how strong the voice in your essay is, on the following scale (one-half (0.5; ½) point for each level):
½ -- The essay has no personality; it sounds like an encyclopedia article, with just the facts. The writer seems to have no feelings about the topic, and there is no connection between the reader and the writer.
1 -- There are occasional moments of personality, feeling, and connection in the essay, but, for the most part, the language is general and impersonal.
1½ -- Though the essay reveals how the writer feels about the topic, that feeling is restricted to only one emotion. The connection between the reader and the writer suffers due to this flatness and/or due to occasional impersonal language
2 -- The writer has obviously written the essay to be read, not just as an assignment. The writer cares about the topic and shares a wide range of feelings about the topic. There is a strong connection between the reader and the writer.

You can earn up to two (2) points for how well organized your essay is, on the following scale (one-half (0.5; ½) point for each level):
½ -- The essay shows no clear sense of direction, with no connections drawn between the ideas. The introduction and conclusion (whether those are a sentence or a paragraph) cannot be identified. The essay seems to be a list of ideas with no transitions.
1 -- The essay has a clear introduction and conclusion, but is otherwise disorganized. Transitions are noneffective or are always achieved with the same word. The ideas are presented in some semblance of order, but it is ineffective and adds nothing to the reader's understanding of the essay.
½ -- The essay is clearly and effectively organized, with a strong introduction and conclusion, but the transitions are ineffectual or repetitive. The sequencing of the ideas is acceptable, but causes some confusion in the reader. Alternatively, the organization of the essay is generally of the highest level, but it is missing an introduction or conclusion.
2 -- The essay makes sense and is easy – even a joy – to follow. The introduction and conclusion are effective and likely very identifiable; a variety of transitions seamlessly connect all the ideas. The sequencing of ideas and details make sense and help the writer understand the essay. The conclusion of the essay brings the essay to a definite close.

Questions for "Success is counted Sweetest"

1. According to the speaker, who is likely to count success as sweetest? Do you think the poet is accurate in describing the feelings of people who fail?
2. Purple is a color associated with blood shed in battle (the Purple Heart medal is given to soldiers wounded or killed in action). It is also a color associated with royalty and nobility. What do you think is the “purple Host” in line 5?
3. Whose ear is mentioned in line 10? Why is the ear “forbidden”?
4. Describe the image you see in the last stanza. How could this image be extended to refer to other situations in life? Explain.
5. Have you ever been like the soldier in the last stanza – in agony because someone else is proclaimed the winner? What other circumstances in life (other than a wartime battle) could this situation be applied to? (Could it describe the feelings of a poet who could not publish her work?)

Questions for "Medusa"

1. The poem opens with a surprising statement. Who is speaking? What is ironic about what she is saying?
2. Medusa is both a victim of metamorphosis and one of its greatest agents. What do you think is the tone of line 6 – “I too was human”? How does Medusa feel about her own metamorphosis?
3. Humans dread Medusa, yet Medusa herself dreads something. According to lines 11-14, what does she dread, and why?
4. Lines 15-27 delve deeply into Medusa's character. What does Medusa threaten to do? What is her motivation – the reason for her plans?
5. In the final stanza, what is about to happen, unknown to Medusa?
6. How does the poet's use of the first-person point of view affect your feelings about Medusa?

Questions for the William Carlos Williams poems

1. Think about what Williams has in mind when he says, “so much depends upon a red wheel barrow.” What might he be saying about poetry or art? Do you agree with him?
2. In “The Red Wheelbarrow,” Williams focuses on an ordinary workday object. Are the subjects of “The Great Figure” and “This Is Just to Say” eqully ordinary? Explain.
3. The painter Charles Henry Demuth (1883-1935) was so struck by the dynamic imagery in “The Great Figure” that he painted The Figure 5 In Gold (which I will post, if need be). What movement do you see in the painting? What do you hear in the poem itself?
4. What one word is used metaphorically to describe the fire truck as if it were a person?
5. How would the feeling of “The Great Figure” change if the colors were different? Try it and see.
6. Which one of the five senses does the imagery in “This Is Just to Say” primarily appeal to?
7. Whom do you think the speaker of “This Is Just to Say” is addressing? What response do you imagine he or she will receive and why?
   

Question for three paragraph essay

Do you think writing a poem is an effective way to “bear witness to historical events”? Explain.

Questions for "The Memory of Elena"

1. Who is speaking in the poem? Whose story is the narrator telling?
2. Write a sentence or two summing up what happens in each stanza.
3. The visual imagery of the poem is deliberately shocking. Which images do you see most clearly? How do they link past and present events?
4. Find three images of sound in the poem and three instances of silence. Why does the speaker emphasize silence?
5. What details of Elena's identity and her experiences in Buenos Aires are spelled out in Bill Moyers's interview with Forche? (the interview is a little long for me to post, but if it is necessary, I will) Do you need to know these details in order to understand the poem? Would you have preferred the poem to include all the details Forche gives in the interview? Why or why not?

Questions for "Plenos poderes"/"Full Powers"

1. In the first stanza, why might the night inhibit the speaker from writing?
2. What could the “keys” in line 8 unlock for the speaker? What do you think he means by “night” and “darkness in the second stanza?
3. In line 14, what does the speaker mean by “I am weary neither of being nor of non-being”? Explain.
4. What could the speaker mean by his “debts to minerality” (line 17)?
5. Why does the speaker “keep on going,” according to lines 19-20?
6. Why might the poem be titled “Full Powers”? What is the source of the speaker's creative powers?

RUBRIC FOR LITERARY RESPONSE AND ANALYSIS QUESTIONS

Each literary response and analysis question is worth two (2) points. In order to get full credit, you must fulfill two (2) separate criteria, each worth one (1) point: interpretation and evidence/support. Luckily, each of these criteria can provide either one-half (0.5; ½) or one (1) full point.

INTERPRETATION
One-half (0.5; ½) point can be earned if you provide an interpretation that is at least loosely connected to the piece in question. No special insight is necessary for this half-point, merely relevance and/or appropriateness.One (1) point can be earned if you provide an interpretation that is particularly insightful, interesting, or exciting. My focus on awarding this point is that you think new thoughts, either new to me or (so far as I can tell) new to you.

EVIDENCE
One-half (0.5; ½) point can be earned if you support your interpretation with even a slight reference to the rest of the piece. This can be as little as a single reference which nevertheless supports your point. Note that last clause: your evidence MUST support your interpretation in order for you to receive points for it. Note also that, if the question being asked references a particular line, set of lines, or phrase, your evidence may include evidence from that portion of the piece, but that you earn points by supporting your piece with evidence from elsewhere in the piece.One (1) full point can be earned if you support your interpretation strongly, with multiple references from the piece, probably including a consideration of the use of figurative language and poetic devices in the piece. If I cannot immediately dismiss your interpretation with a few well-placed comments – or if arguing your interpretation would involve a lengthy and probably quite fun conversation – then you have earned the full (1) point for evidence.

AN UNFORTUNATE CONSIDERATION
Unfortunately, these two criteria are not actually independent. Occasionally, one criterion's score depends upon the other. For example, if your interpretation is new enough, complex enough, or thoughtful enough, but your provide no support or evidence for it, I may not recognize it as being relevant or appropriate enough to earn the half-point (0.5; ½) for interpretation, let alone the full (1) point! Accordingly, if you revise your answers to provide sufficient support for me to understand just how insightful your answer actually is, then you just might raise a score of 0 or ½ all the way up to 2!

REVISING
As you hopefully recall, I accept revised work. Should you be unhappy with your score, you can turn in a revision stapled to your original work within a week of receiving your original work from me. I will then check to see if you deserve a higher grade and give you that new grade. There will be no reduction to your maximum possible score, and you can revise as many times as you please. Thus, everyone in this class can receive a 100% on every literary response and analysis assignment throughout the entire class. It also means that the score you receive is, in the end, entirely your choice and your decision. Use this power well.