Map of Vietnam This is one of the most extraordinary stories Stone Soup has published in its long history. This activity focuses on how to effectively use non-standard English to define your character. “My Country and the Way to America” is a difficult story to read. It describes awful situations in which people die. The story is best read with an adult. If you are not familiar with the Vietnam War and the so-called “Boat People” who fled the country in the years following it, then please also read this introduction to that war before reading the story. Project: Using non-standard English to define your character. Huong had something to say. Despite the fact that she didn’t know English well at the time she wrote this story, she said what was burning in her heart with the words and grammatical skills in her possession. Huang’s story is written in what we call non-standard English. In other words, it is full of grammatical “errors.” But, in this case, the grammatical errors contribute to the effectiveness of the story. The language in which the story is written lacks many of the small connector words that we usually use when we speak or write English. The verb tenses are also not always correct. But, in this story, these “errors” focus our attention on the actions that are most important, giving the prose an incredible sense of rawness and urgency. “After three days or four days out the ocean, the boat have a hole and the water coming,” conveys the isolation and fear that overwhelms this boatload of people stuck in a sinking boat in the South China Sea more effectively than a perfectly written sentence would have. In the case of Huong’s story, her unusual way of writing English makes her story all the more memorable and, as a work of literature, all the more effective. This story was written in 1985. In 2017, as I write this, children and families are once again fleeing in small boats from wars and mistreatment. This time, these frightening, and often fatal, voyages are taking place in the Mediterranean Sea as people flee the wars of Afghanistan, Syria, South Sudan and trouble in other countries, such as Eritrea. Huong’s story brings the reality of the boat trip alive to us in a way that news articles do not. How can you use this idea of non-standard English? For most writers, it is in writing dialogue that non-standard English is most useful as a literary tool. I suggest two projects. In one, create a character whose English is almost normal, but has a few small quirks that makes it unique. Once you have mastered a character with a few eccentric turns of phrase, write a story in which the whole story is told through a character whose language, like that Huong, is different from normal. If you choose a very young child as your character, then that story might explore the difference between what the child can say and what the child can see and understand. To prepare for these projects, listen carefully to how people talk. Listen to people talking the way you listen to music. For teachers, you might refer to William Faulkner’s “Sound and the Fury ” for a sense of how an adult writer uses non-standard English for expressive intent.
writing activity
Writing Activity: unexpected perspectives, or the other side of the story, with “Blending In” by Jonathan Rosenbaum, 10
Introduction to this Stone Soup Writing Activity In “Blending In,” by Jonathan Rosenbaum, Charlie is at camp where he is teased by Carl and Jeremy, as well as by other campers. Like most stories about teasing, “Blending In” is told from the perspective of the boy or girl who is teased. But what about Carl, Jeremy, and the others? What are they thinking and feeling? In what way do they see Charlie as “different” and why does that make them want to tease him? Project: As a Challenge, Write a Story About Teasing From the Point of View of the Teasers Make your characters as interesting and complex as possible–more than just “good” and “bad” guys. Like a reporter, you can do research for your story. All of us (almost) tease people and most of us have experienced being teased, so you should be able to gather information for your story from many sources. Talk to your friends and family about teasing, and don’t forget to think about your own life and actions. Through your characters’ actions you might want to provide insights into such questions as: How do your characters identify someone who is fun to tease? Do your characters ever plan in advance what they do? Is teasing all fun for your characters or do they sometimes think about their actions afterwards and feel bad about what they have done? Blending In By Jonathan Rosenbaum, 10, Hillel Day School, Oak Park, Michigan Illustrated by the author From the March/April 1985 issue of Stone Soup Dear Mom and Dad, I am having the best time ever at overnight camp. The activities are fun, and the counselors and campers are really great. Don’t forget to write. Love ya! Love, Charlie P.S. Send some candy, please. Preferably licorice. I lay my Erasermate and letter down and plopped onto my cot. Although it wasn’t the big, comfortable bed I have back home, even it seemed good considering my weary condition. I had just returned from a morning softball game followed by clean-up duty in the mess hall so I was really feeling exhausted. I re-read my letter and sighed. Well, two out of three isn’t bad, I thought to myself. The activities at camp are fun: boating, swimming, sports, drama, field trips, arts and crafts. My counselors are great: David is very understanding and Bob is super at sports. But, the campers . . . Sighing again, I stood up and trudged across the rough wooden floor to the bunk bathroom. I looked at myself in the cracked, dirty mirror, and a tear rolled down my cheek. Why couldn’t I write the truth to my parents? I know that they would understand and help make everything all right. Because I love them, though, I didn’t want to break their hearts with my problems. After all, they paid for me to have a good, fun time at camp so how could I send them a letter saying that their dear son, Charlie, is an outsider and a jerk and has no friends. Sighing for the third time, I walked back to my cot and braced myself for the daily matinee performance of “Let’s Irk Charlie.” Sure enough, there was Carl, the “star” of the tragedy, sprawled across my bed, messing up my blankets, sleeping bag, and pillow. He even seemed to have added jumping on my bed to his role. I glared at him, feeling both angry and helpless. I was mad because I knew he was doing this on purpose, fully aware that having my things messed up bothered me. I felt helpless because I knew that if I told him to get off, he’d just call me a nerd and make life more miserable for me, and if I ignored him, my stuff would look like a tornado had hit it. Having no real choice, I reluctantly assumed my part in the unfolding drama. In a strained voice, I said, “Carl, would you please get off my bed?” Carl taunted, “But your bed is more comfortable than mine.” In a voice even more forced, I pleaded, “Come on, Carl! Really! I’m not being mean or anything, but just PLEASE get off my bed!” Again, Carl refused, so, on cue, the dialogue ended and the physical action began. I pulled at Carl, Carl fought back, I pulled again. Finally, only when my bed had become a total disaster, did Carl majestically get off. He looked at me with disgust and hatred in his eyes. “Jeez! Why are you in such a bad mood all the time?” With that, he grandly stamped off to the other guys who had been applauding throughout the entire scene. They all chatted together, totally ignoring me. Intermission lasted until bedtime when the evening performance of “Let’s Irk Charlie” began. This time, Jeremy, another cabinmate, was the star. Every night before Lights Out, Jeremy would bug me to let him read one of my comic books. In a never-ending attempt to be one of the guys, I would lend him one. Within minutes, Jeremy had either dripped toothpaste over the pages, “accidentally” dropped the book into the toilet, or crinkled it up to use as a pretend softball. When I finally got the comic back, it looked like it had been through World War III. I didn’t know who I hated more, Carl, Jeremy, and the guys, or myself. Why do they have to bother me all the time? Why do I have to get so uptight when they jump on my bed or mess up my things? Are they wrong for hurting me the way they do, or am I wrong for being the way I am? Sometimes I feel so disgusted and confused that I even wish that I could stop time, turn back the clock, and do the day over as a totally different person. When I once talked this over with my counselor, David, he suggested that I make a list of everything
Writing and Art Activity: illustrate your own story, with “The Adventures of Pumpkin and Seegartus” by Nicole Schmidt, 9
Introduction to this Stone Soup Writing and Art Activity “The Adventures of Pumpkin and Seegartus” is about a friendship between two animals–a pony, Pumpkin, and a cat, Seegartus–both favorite pets of Mary. The author, Nicole Schmidt, begins her story with the birth of Pumpkin and his capture from a herd of semi-wild horses, and she ends it with an adventure that clearly establishes the depth of Pumpkin and Seegartus’ friendship for each other. “The Adventures of Pumpkin and Seegartus” is illustrated by the author, and the original is bound into a book. The pictures and the text are a unit; together they tell the story. It is always exciting to see a work illustrated by the author. Who better knows the characters and their lives than the author? And what better time to make illustrations for your story than at the time of creation, when the characters and their lives are freshest in your mind? Project: Write and Illustrate a Story Based on Something That Has Happened in Your Own Life You could write about a pet, about a vacation, about your school year, about camp, about a brother or sister, or about anything. Like the author of “The Adventures of Pumpkin and Seegartus,” you will want to give your work a clear beginning and end. Tell your story in both words and drawings. Your word picture and your drawing picture should complement each other. The pictures might, in fact, fill in information that is lacking in the text and make your story more complete. For instance, in words you might say something very general about a character. It might be through the illustration that you more fully show what the character looks like and how he or she dresses. The Adventures of Pumpkin and Seegartus By Nicole Schmidt, 9, West Simsbury, Connecticut Illustrated by the author From the March/April 1985 issue of Stone Soup Early one morning in the Ozarks of Missouri, on May 1, 1965, a Shetland pony was born in an almost wild herd of ponies that were running on a cattle farm. The mother’s name was Jenny and the father stallion’s name was Prince. No one was around. He was just born under a crabapple tree. (It was a hard day for the mother and foal because the curious ponies in the herd kept coming up and trying to sniff the new member.) Later that day, they slowly made their way back to the rest of the herd of Shetlands. As the herd grazed, they covered a great distance. Finally, they came to a gate that had been accidentally left open and passed through it to the back pasture of the next farm. Pretty soon they had made their way up to the barnyard. A little girl came out of the farmhouse and spotted the colt running by its mother’s side. The little girl, whose name was Mary, ran back into the house and said, “Ma, you promised me a pony. You did, you did!” In a soft voice, Ma said, “What pony, Darling?” “The pony that’s outside. A new one, running by its mother’s side.” “It must have been born in the night,” said Ma. “I’ll take a look outside. Oh, those ponies are Mr. Blacker’s, the man who lives on the north side of town. I’ll ask him if he wants to sell it. I’ll ask the neighbors down the road how to get in touch with him. Meanwhile, stay away from them,” the mother warned, as she started down the road to the neighbors’. “The stallion might attack you. They’re wild and we don’t know what they might do.” The mother walked down the road to the neighbors’. The ponies still ran and ate grass. The mother came back and said, “Mr. Blacker said he didn’t know that a pony was born, but we may have him if we can catch him. That’s why our neighbor came with his lasso.” The neighbor went outdoors and whisked his lasso around and around. It took him four or five tries to get them. The neighbor was the biggest man Mary had ever seen. He and his children led the mother and colt into the smaller pasture. The colt and its mother would have to stay there, separated from the rest of the herd, until the colt was old enough to be weaned. Finally, the day came in late summer when the mother could leave her colt. Mary named the colt Pumpkin because his coat was a lovely pumpkin orange. Chapter Two Mary’s father said, “I think we should put the colt in the empty stallion stall tonight because this is the first night the mother and colt are separated, and besides, it looks like it’s going to rain tonight.” Mary and her father put the colt in the stall and tended the rest of the animals. Mary and her father went back to the house. It started raining and big winds came up, so big that the trees and all things were blowing around. Father said, “It’s a tornado! We must all go to the cellar quickly!” Just as they were running to the stairs, the windows of the front side of the house blew in. The tornado had passed before they had reached the cellar. They went outside to see what damage had been done. A big tree had been blown over right in front of their house. All the plums had been blown off the plum tree. Trees had fallen over on top of the house and all the apple trees in the orchard had blown over. The board fence around the pasture had blown over, too. They looked at the barn. It had blown right in. All of the family ran over to it. The stallion’s stall didn’t blow in because it was built so strong. Pumpkin was scared but all right. They had to use a crowbar to open the stall door. Chapter Three The colt had wonderful days on
