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first-person point of view is the main character’s, though it can be a minor character’s
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instead. Regardless, the first-person narrator gives us a vivid on-the-spot account of
CHECK FOR UNDERSTANDING events and internal thoughts. In most cases, a first-person narrator is every bit as much
a creation of the writer’s imagination as any other character, so be careful not to
Ask a student to read the following
sentence out loud: “In most cases, a Analyzing Short Fiction confuse a first-person narrator with the author.
first- person narrator is every bit as much Edward P. Jones uses an unnamed first-person narrator in “The First Day” — the
a creation of the writer’s imagination as daughter — and she recalls the events of the story as an adult from the perspective of a
any other character, so be careful not to flashback. She says that these events occurred “long before [she] learned to be
confuse a first-person narrator with the ashamed of [her] mother” (par. 1). Yet as she’s telling this story, she does not seem
author.” Then, you may wish to provide ashamed; she instead seems proud of her mother’s heroic journey and proud that her
clarification using examples from other mother overcame so many obstacles to make sure her daughter had a bright future. As
© Bedford, Freeman & Worth Publishers. For review purposes only. Do not distribute.
pieces of literature. Robert Browning’s a result, the flashback provides the daughter an opportunity to share a more mature,
“Porphyria’s Lover” is a great example, as developed understanding of the day than she could have as a child experiencing it, or
the narrator strangles the woman he loves even as an older child who has “learned” to feel ashamed of her mother’s lack of
with her own hair. Browning, by contrast, education.
had a loving relationship with his wife.
®
As students transition from AP English Second-Person Point of View
Language to Literature, they may need Second-person narrators are rare but not unheard of. Second-person point of view
frequent reminders about this point. puts the reader right in the story, but it is rarely used (and is often viewed as a gimmick),
perhaps because it makes the reading experience too literal — you are not just asked to
imagine a character, you are told that you are the character. However, it can be very
DIFFERENTIATION effective at involving the reader in the story and creating intimacy, as in the following
example from Italo Calvino’s novel If on a Winter’s Night a Traveler.
Connections to Self
Ask students to journal about the
following for 10 minutes: “To what extent
does being told what to do positively or from If on a Winter’s Night a Traveler
negatively impact personal enjoyment of
an experience?” Develop a paragraph that Italo Calvino
includes a claim (ideally both the positive You are about to begin reading Italo Calvino’s new Find the most comfortable position:
and negative impacts) and evidence from novel, If on a winter’s night a traveler. Relax. seated, stretched out, curled up, or lying flat.
their personal experience to support that Concentrate. Dispel every other thought. Let the Flat on your back, on your side, on your
claim. Then, ask students to share their world around you fade. Best to close the door; the stomach. In an easy chair, on the sofa, in the
journal entries with one other student. TV is always on in the next room. Tell the others rocker, the deck chair, on the hassock. In the
right away, “No, I don’t want to watch TV!” Raise hammock, if you have a hammock. On top of
your voice — they won’t hear you otherwise — “I’m your bed, of course, or in the bed. You can
TRM Annotation Handout
reading! I don’t want to be disturbed!” Maybe they even stand on your hands, head down, the
A student handout for annotating this text haven’t heard you, with all that racket; speak yoga position. With the book upside down,
can be found in the Teacher’s Resource louder, yell: “I’m beginning to read Italo Calvino’s naturally.
Materials. new novel!” Or if you prefer, don’t say anything; 1979
just hope they’ll leave you alone.

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DIFFERENTIATION
Connections to Self
After students read the excerpt, ask them to
revisit their journal prompt: “To what extent
does being told what to do positively or
negatively impact personal enjoyment of
an experience?” Ask students to consider
whether Calvino’s directives about how to
read his book involve them in the story and
create intimacy or repel them. Ask them
to consider how certain directives in the
passage function in support of their claim.

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