9th Grade - Gateway 2

The instructional materials reviewed for Grade 9 meet the criteria that texts are organized around a topic/topics or themes to build students’ knowledge and their ability to comprehend and analyze complex texts proficiently.

The materials include texts that are organized specifically for the chapter in which they are placed. The texts in the first four chapters are used to build the skills of speaking, writing, reading, and using sources. The remaining seven chapters are genre/mode chapters that have texts related to the genre or a specific mode of writing: fiction, argument, poetry, exposition, narrative, drama, and mythology. 

In Chapters 1-4, the logical sequence of texts, series of sufficient lessons, and scaffolded activities are connected to the skill of the chapter. Texts are in sections to support students in reading proficiently and independently. Each chapter has a text set that includes a Central Text and series of accompanying texts. The sequenced text sets require students to compare texts in ways that build proficiency in comprehension and analysis. The Teacher’s Edition includes scaffolding tools to help students build knowledge on the topic of each chapter, such as building context, vocabulary instruction, close reading of passages, and speaking and listening prompts.

In Chapters 5-11, the organization of each genre/mode chapter includes three Workshops: one for reading and responding to questions and prompts about texts in the genre/mode, one that focuses on writing in the genre/mode, and one that requires students to write an analysis of a piece of writing in the genre/mode.  In Workshop 1, the Conversation section is a collection of texts that students synthesize on a particular topic and/or question. Because of the number and increasing difficulty of texts, the ways that students interact with the texts, and the topic-driven synthesis required to complete tasks, students build knowledge and are able to comprehend and analyze complex texts proficiently. 

Examples include, but are not limited to:

• In Chapter 1: Starting the Conversation, students learn the skills of academic discourse and establishing an academic voice. The chapter is organized into a series of lessons and activities that are designed help students understand how to engage in effective speaking and listening in the classroom. They learn about voice, listening to gain new information, listening to engage in conversations, the content of a presentation, and effective delivery of a presentation. The reading selections and activities lead to a culminating activity where they present a speech about a community to which they belong. The chapter uses texts to gain skills in active listening and speaking, not necessarily for the purpose of comprehension or analysis of the texts themselves. Chapters 2-4 follow a similar pattern with different skills.
• In Chapter 6: Argument, Conversation, Workshop 1, students learn the essential elements of argument. They read and respond to various selections of argumentative writing with increasing complexity and participate in a Conversation based on the essential question: “How does media shape our ideas of gender roles?” Students read “What’s Wrong with Cinderella?” by Peggy Orenstein and accompanying texts, such as “I’m a Twelve-Year-Old Girl. Why Don’t the Characters in My Apps Look Like Me?” by Madeline Messer. One question after reading asks, “How would Orenstein respond to Messer’s interest in being able to play video games with female characters?” The readings and conversation help students comprehend and analyze texts and prepare them for the tasks of writing an argumentative essay and writing an analysis of an argumentative selection at the end of the chapter.  
• In Chapter 8: Exposition, Workshop 1, students learn the essential elements of exposition. They read and respond to various selections of argumentative writing with increasing complexity and participate in a Conversation based on the essential question: “How does clothing reflect who we are?” The readings and conversation help students be able to comprehend and analyze texts and prepare them for the tasks of writing an expository text and writing an analysis of an expository selection at the end of the chapter.  For example, they read the Central Text “The Politics of the Hoodie” by Troy Patterson and a series of accompanying texts on “the role that clothing plays in crafting a persona, whether intended or otherwise [...]?” As students read the series of texts they are asked questions dealing with the central issue, but also are asked to compare texts. For example, after students read “Labels, Clothing and Identity: Are You What You Wear?” by Michelle Parrinello-Cason, students explain how Patterson would respond to a series of points made by Parrinello-Cason. The texts are centered around a topic and comparing texts within the series creates deeper comprehension. 
• In Chapter 10: Drama, Conversation, students read Romeo and Juliet by William Shakespeare with a series of related readings on the issues of community and tribalism. The chapter introduction explains, “The texts included range in subject matter and level of difficulty, but they all tie in thematically to many of the issues that arise in Shakespeare’s play.” As students read the text sets accompanying the play they are asked a series of questions about each text and also to compare the texts within the series, all related to the central topic. For example, after students read from The Social Conquest of Earth, they answer the following questions: “In what way do Romeo and Juliet contradict Wilson’s claims? How might Wilson explain Romeo and Juliet’s desire to break from the ‘in-group’ tribalism of their families?”

The instructional materials reviewed for Grade 9 meet the criteria that materials contain sets of coherently sequenced higher order thinking questions and tasks that require students to analyze the language (words/phrases), key ideas, details, craft, and structure of individual texts in order to make meaning and build understanding of texts and topics.

The materials have higher order thinking questions in the form of both text-dependent and text-specific questions. These questions are embedded in student activities and used as guides when analyzing texts. The questions, tasks, and guided reflections connected to multiple, related texts provide evidence of student understanding of definitions and concepts, help students make meaning and build understanding of texts, and prepare them for culminating tasks. The materials offer opportunities for students to analyze the language, craft, and structure of texts; students build understanding by exploring higher order thinking questions. 

Starting in Chapter 3, questions require students to analyze the language, key ideas, details, craft, and structure of several texts, which allows students to build understanding of texts with increasing sophistication. The Teacher’s Edition also includes questions for Vocabulary, Close Reading, and Check for Understanding to ask during reading. In the genre/mode chapters, each chapter is organized into three sections with increasing complexity: Section 1 Foundational, Section 2 Grade-level, and Section 3 Challenging. After reading, students answer increasingly complex questions for each text: Understanding and Interpreting questions progress from comprehension to interpretation and Analyzing Language, Style, and Structure questions analyze author’s craft and structure. After reading the Central Text, the Topics for Composing prompts offer different ways students can write or speak about texts. 

Examples of sequenced higher order thinking questions include, but are not limited to:

• In Chapter 3: Reading, students focus on sentence-level challenges including a sentence from the essay, “On Being Ill” by Virginia Woolf: “Read the following sentence from an essay by Virginia Woolf. Reread the sentence multiple times and try to break down its structure and word order to help you understand and get to the ‘heart of the sentence.’” 
• In Chapter 4: Using Sources, students identify plagiarism using sources: “Earlier in this chapter, you read an excerpt from ‘Why ‘Grit’ May Be Everything for Success’ by Amy Rosen from the website, entrepreneur.com (p. 138). Following is a paragraph using that source to support an opinion. Is the paragraph an effective use of Rosen as a source, or does it constitute plagiarism? Working with a partner or small group, explain how you reached your conclusion.”
• In Chapter 4: Using Sources, the Culminating Activity provides text-specific questions: “The texts that follow present three different views on the impact of social media on social skills and our sense of community. 1. Read the three texts, being sure to analyze the sources as you read by following the steps on page 126. 2. Then, write a response to the following prompt including references to at least two of the sources, using the approaches presented on pages 130–34: To what extent do you believe that social media discourages or promotes positive community connections? 3. Review your work to be sure that you did not commit unintentional plagiarism. (See pages 142–43.)”
• In Chapter 5: Fiction, Section 2: Fiction, Activity 2: Edgar Allan Poe, “The Cask of Amontillado”, the section includes three Seeing Connections activities. First, students read an obituary of Poe written by Rufus Griswold and answer, “How does Griswold characterize Poe in this obituary? Why do you think that this characterization of Poe has lasted throughout the 150 years since his death?” Second, students read a comic adaptation of “The Cask of Amontillado” and answer, “What changes and adaptations did the author and illustrator of this version make? How do these changes affect what the reader knows and feels about Montresor and Fortunato at this point in the story? How do their visualizations of the text compare to your own?” Third, students view three images of the final scene in the story and answer, “What is in common among the images and what is different? What textual evidence from the story likely led to each depiction? Which one is closest or furthest away from your own imagining of the scene?” 
• In Chapter 6: Argument, students read and analyze arguments with increasing text complexity. In Section 1, students read the article, “Why School Should Start Later in the Day” by Lisa Lewis, and answer questions about content: “Lewis makes the overall claim that high school should start later in the day, and then she makes several points to prove the overall claim. Identify at least three of the separate points she makes and analyze the evidence she uses to support those points.” In Section 2, students read the article, “Is it Immoral to Watch the Superbowl” by Steve Almond, answer questions about content: “What is Almond’s central claim? What points does he make to support that claim?” In Section 3, students read the article, “Let’s Kill All the Mosquitos” by Daniel Engber and answer questions about content: “From the title alone, we quickly recognize Engber’s overall claim, but what are the main points that he tries to make to prove the claim?”
• In Chapter 6: Argument, students read “September 13, 2001: Hatred is Unworthy of Us” and answer, “Pitts writes that, ‘Hatred on account of culture or religion is unworthy of us at any time’ (par. 9). In this context, why does he use the word ‘unworthy’? What are the specific purposes behind this usage? How does this statement help you understand Pitts’s message?”
• In Chapter 7: Poetry, Section 3, students read “Ode on a Grecian Urn” by John Keats and answer a sequence of questions: “Who is speaking? How does this speaker address the urn? In lines 15–20, the speaker is describing a different portion of the scene on the urn. How is this scene similar to and different from the scene in the first stanza? How does the phrase ‘Cold Pastoral!’ (l. 45) signal a shift in this poem? What is its effect? Keats essentially makes the argument that anticipation is better than the actual experience. Is this true? Explain your own reasoning.”
• In Chapter 9: Narrative, Section 2, students read the Central Text, “La Gringuita” by Julia Alvarez, and answer, “Besides giving her power over her parents, what other effects did learning English have on Alvarez? What is achieved by starting her narrative with the incidents of language confusion and hostility of the first three paragraphs? Overall, what is Alvarez suggesting about the role of language in shaping identity? What evidence from the narrative supports your interpretation?”
• In Chapter 10: Drama, students read three dramas with accompanying thematic texts of increasing complexity. In Section 1, students read a section of Boxcar - El Vagon by Silvia Gonzalez and answer questions about the content: “What is Roberto’s tone with and treatment of Manuel in Scene 1? What does this say about his character?” In Section 2, students read The Tragedy of Romeo and Juliet by William Shakespeare and answer questions about the content: “Act 5 begins with Romeo recounting another dream. How does Romeo interpret the meaning of his dream?” In Section 3, students read A Roz by Any Other Name by B.T. Ryback and answer questions about the content: “Throughout the play, Ryback shares insight into Rosalind’s current and past relationships. What do we learn about Rosalind’s experiences with relationships through her conversation with Vera? What evidence can you find to support your observations?”

The instructional materials reviewed for Grade 9 meet the criteria that materials contain a coherently sequenced set of text-dependent and text-specific questions and tasks that require students to build knowledge and integrate ideas across both individual and multiple texts.

The materials include sets of questions and tasks to analyze across multiple texts and a single text. Most sets of questions and tasks support students’ analysis of knowledge and ideas. Throughout the year, integrating knowledge and ideas is embedded in students’ work. The materials provide guidance to teachers in supporting student literacy skills to show growth by the end of the year. Students have opportunities to learn about and analyze the content and structures of a variety of texts of increasing complexity. They have frequent opportunities to practice these developing skills and demonstrate their knowledge and ideas.

Each chapter contains text-dependent questions and tasks that require students to integrate knowledge and ideas both in individual texts and across multiple texts. The Seeing Connections sections require students to compare ideas across texts. The Conversation sections require students to compare and synthesize their understanding of a group of texts that are connected to an issue in the Central Text. After each supplementary text in the Conversation, students compare an aspect of the reading with the Central Text. Additionally, leveled prompts at the end of the Conversation challenge students with increasing abstraction and complexity. The materials also offer culminating activities through the Entering the Conversation sections where student use the knowledge they built in the chapter using a variety of texts in their responses. 

Between the text-specific activities, culminating activities, teaching ideas, and workshops, the materials contain a coherently sequenced set of text-dependent and text-specific questions and tasks that require students to build knowledge and integrate ideas across both individual and multiple texts. Each of the chapter-specific instruction and skills are reinforced across texts through discrete and routine practice. While the majority of questions and tasks are text-dependent and/or text-specific, some are metacognitive or reflective tasks that continue to build knowledge and integrate ideas.

In the Teacher’s Edition, annotations support teachers in monitoring student skills and understanding while reading individual texts. In the margin, suggested activities and questions are available called Building Context, Close Reading, Check for Understanding, Key Passages, Vocabulary, and Teaching Idea. 

Examples include, but are not limited to:

• In Chapter 1: Starting the Conversation, Activity: Listening to Gain New Information, students engage in sequenced tasks that require students to build the skill of listening while a partner reads an essay orally. Students are to summarize the essay after listening and be able to explain what the author believes. Partners repeat this activity with a second text, switching roles. After the activity, students engage in reflection: “After both partners have listened, review your notes to identify the most significant information from the essays. Then look back at the excerpts and reflect on how carefully and actively you listened. What information did you capture, and what did you miss? What challenges did you face in this listening activity?”
• In Chapter 3: Reading, students learn techniques for annotating a text and practice the skills by reading and annotating excerpts from a nonfiction text and a poem: “NASA Team Claims ‘Impossible’ Space Engine Works — Get the Facts” by Nadia Drake and Michael Greshko and “October” by May Swenson. Afterward, they complete a reflection where they compare their experiences annotating the texts: “Explain how the annotating affected your understanding of these texts. How were your annotations for the poem different from your annotations for the nonfiction piece?” Also in this chapter, students are taught to read closely and annotate texts in order to link together ideas across an individual text. The section Reading for Understanding instructs students on how to summarize a text and the section Reading for Interpretation instructs students how to draw inferences from a text and find supporting reasons.
• In Chapter 5: Fiction, students learn how to approach works of fiction and answer sets of text-dependent questions for individual texts and across multiple texts. For example, students read “Lelah” by Angela Flournoy and are asked Understanding and Interpreting questions, such as: “What do Lelah’s actions during the eviction (pars. 1–10), specifically her behavior toward the bailiffs, suggest about her character? Describe the setting of the Motor City Casino. How do the details of setting contribute to the plot and our understanding of Lelah’s character?” While reading “Lelah”, a short excerpt of an article is included from Scientific American, “How the Brain Gets Addicted to Gambling” by Ferris Jebr and students answer a question that integrates ideas from both texts: “In what ways could the attributes of addiction be applied to what Lelah demonstrates in this story?”
• In Chapter 7: Poetry, Section 2, Central Text, Conversation, students read a series of texts on the topic, “What Does the Statue of Liberty Mean to Us Now?” After reading each text, students compare and contrast multiple texts. For example, after reading the poem, “Black Statue of Liberty” by Jessica Care Moore, they answer, “How is the tone toward America and the ideas of liberty in this poem similar to or different from that of the speaker in ‘Let America Be America Again’?” When reading “Let America Be America Again” by Langston Hughes students answered questions about tone specifically for that text. 
• In Chapter 10: Drama, Seeing Connections, students read Romeo and Juliet. While reading, students integrate outside sources into their thinking. In one of the Seeing Connections sections, students read a short excerpt from the article “Romeo and Juliet Has No Balcony” by Lois Leveen. Afterward, students answer, “What does the ‘balcony’ seem to symbolize in the play, and how does an interpretation of the scene change whether the director chooses to have the characters on a balcony or not?”
• In Chapter 11: Mythology, Section 2, Central Text Conversation, students read a series of texts on the topic, “What Makes a Hero?” After reading, students complete questions in a section titled Entering the Conversation as a cumulative activity. Students choose a prompt and follow a three-step process that requires evidence and ideas from multiple texts. For example, the section asks “Locate one additional text on this topic that you think adds to an interesting perspective to this Conversation And that relates more specifically to the prompt you are responding to. Review the chart you have been keeping throughout this Conversation and identify the texts and quotes that relate specifically to your prompt.” Students work towards a cumulative activity using multiple texts and apply skills learned throughout the Conversation.

The instructional materials reviewed for Grade 9 meet the criteria that materials contain a year long, cohesive plan of writing instruction and practice which support students in building and communicating substantive understanding of topics and texts. 

The materials include writing opportunities and instruction aligned to grade level standards that span the whole school year, such as argumentative, narrative, and expository. Students have frequent opportunities to learn and practice writing skills needed to communicate their understanding of texts. Though the chapters are not centered around a topic, the readings in Workshops generally focus on a topic that students gain understanding through writing about that topic. Explicit instruction for writing includes model essays, peer review resources, and evaluative criteria. Guidance, protocols, and models are also offered during the four introductory chapters and in Workshops of all chapters. The Teacher’s Edition provides a variety of well-designed guidance, protocols, models, and support for teachers to implement and monitor students’ writing development, such as rubrics and Teaching Ideas, Check for Understanding, and Close Readings.

Writing is devoted to lessons and formative activities to help students build the skills of adjusting voice to suit the subject, purpose, audience, and occasion through word choice, sentence structure, and punctuation. The genre/mode chapters include three Workshops where students learn the essential elements of a genre/mode of writing, write in the genre/mode, and write an analysis of the genre/mode. The two writing Workshops provide a plan for instruction for teachers and tasks for students to work through a step-by-step process to write in the genre/mode of the chapter. While many of the Workshops have similar writing activities, more variety is available in the informal Activity and Topics for Composing sections after each text. These writing prompts cover the demands of interpreting, understanding, and analyzing language, style, and structure. They also ask students to compose in a variety of modalities such as analysis, personal, research, and argument. 

Examples include, but are not limited to:

• In Chapter 2: Writing, Culminating Activity, after having learning about what constitutes community, the power of word choice, how to build effective sentences, and how to structure a solid paragraph, students practice their skills by writing a paragraph based on this prompt: “Write a paragraph that explores your role in a community.” The Teacher's Edition provides a rubric for the Culminating Activity located on the Teacher’s Resource Flash Drive.
• In Chapter 4: Using Sources, students learn about source credibility and using sources to provide evidence for their claims. Throughout the chapter, students construct parts of an argument for the prompt “To what extent do you think single-sex classrooms are an effective way to improve academic achievement for teenagers?” 
• In Chapter 5: Fiction, students write both their own piece of fiction in Workshop 2 and an analysis of fiction in Workshop 3.  Both Workshops include a Summative Assessment rubric for teachers in the Teacher’s Resource Flash Drive. Each Workshop supports students in their writing and provides models for students and teachers.
• In Chapter 6: Argument, Workshop 2, students are guided through the step-by-step process of writing an argument essay: selecting a topic, making a claim, considering the audience, making points, including evidence, making rhetorical appeals, including counterarguments, writing an introduction, writing a conclusion, and composing a draft. These sections provide models for students and practice opportunities to apply what they learned to their own writing. The Teacher’s Edition includes a rubric to gauge student progress throughout the unit. 
• In Chapter 7: Poetry, Workshop 1: Essential Elements of Poetry, Activity: Speaker, students engage in analytical writing: “Locate the lyrics to two or three of your favorite songs. Choose one and describe what is literally happening in the song, focusing on the speaker or the persona (not the singer).” In Workshop 2: Writing Poetry, “Students are guided through the process of drafting and revising their own poems, applying the key concepts of the chapter to their own poems.” In Workshop 3: Writing an Analysis of Poetry, “Students practice rhetorical analysis with an excerpt from the Central Text and a text of their own choosing. In a well-developed essay, students explore how meaning is found in the essential elements of poetry.”
• In Chapter 9: Narrative, Section 1, students read the narrative “By Any Other Name” by Santha Rama Rau. After reading the selection, students complete a series of writing pieces under the heading Topics for Composing such as “Analysis: Would Rau agree with the quote from Romeo and Juliet that appears in the introduction to this reading that names do not matter? Why or why not?”
• In Chapter 10: Drama, Workshop 2: Writing Drama, the Teacher’s Edition includes a rubric that teachers can use to gauge student progress throughout the unit. In addition, the Teacher’s Edition provides suggestions for instructors to monitor student’s development. For example, a Teaching Idea for struggling writers suggests, “If students need further support throughout this workshop, you can complete these activities as a whole class first.”