English

“Describe a conversation with an adult that you’ll never forget.”
“Are you satisfied with your present age, or would you rather be younger or older?”
“Describe a turning point in your life, a time when a change in circumstances affected you.”

These are examples of writing prompts from this course, a wide-ranging exploration of narrative and creative composition. By giving students opportunities to write about what matters to them, and by emphasizing the skills of reflection, description, and elaboration central to both personal and expository writing, this course lays the foundation for composition across Flintridge Prep’s broader curriculum.

Exploring authors from a variety of genres, students gain confidence in literary interpretation, using basic concepts such as plot structure, characterization, setting and theme. Works such as Twelve Angry Men, Enrique's Journey, American Born Chinese, and Fahrenheit 451, along with short fiction and poetry, provide a framework for oral presentations and interpretive writing. Students develop a foundation in paragraph development and move forward to the multiple-paragraph essay, examining the relationships among composition, vocabulary and grammar, while also engaging throughout the year in creative work, personal reflections, and debates. 

Encountering rich works such as Animal Farm and A Raisin in the Sun, as well as a wide range of poetry, contemporary choice novels, and dystopian literature, students refine the skills in close reading and insightful writing vital to effective literary analysis, with particular emphasis on symbolism, figurative language, theme and tone. Engaging in group projects, oral presentations, personal narratives, and content-oriented compositions, students advance their skills in expository and creative writing, moving beyond the level of paragraph development to consider the essay as a whole and mastering more sophisticated techniques of narration, illustration and exposition.

Students travel across time and place via texts that address the search for self amid change and challenge, both internal and external. In this yearlong “writing boot camp,” students respond to novels, plays, short fiction, poetry and non-fiction. Students draft, revise, polish and complete written works in analytical, creative, personal, poetic and research-based modes, as well as honing their skills in presentations and visual projects. Core texts include Salinger’s The Catcher in the Rye, Henriquez's The Book of Unknown Americans, and several works from richly diverse anthology Uncharted Territories. Students receive regular feedback from teachers, as well as self-critique and peer-edit each other’s work to develop writing voices that are strong, cogent, and lively.

This course connects canonical texts of our past to contemporary literature exploring life as it exists in the America we inhabit today. From Fitzgerald’s The Great Gatsby to Ng's Everything I Never Told You and Skyhorse's Madonnas of Echo Park, students explore how regional, cultural, and historical contexts inform an author’s style, message and concerns. At the heart of this course is the questioning of the American dream and one's place within it. Through analytical and creative writing, through student-led discussions, and through projects and presentations, students quest to discover how, and why, individuals quest to achieve this dream.  

Students in this course practice close reading and writing using rich texts as a means of understanding the complex world around them today. Through careful study of many of literature’s touchstones—Macbeth, Beloved, Pride and Prejudice, and The Handmaid’s Tale, among others—students engage in discussions of class, gender, and race as they reflect on the world we live in. To do so, the course encourages students to embrace ambiguity and nuance as they craft increasingly sophisticated essays. To complement their written analytic work, students also engage in creative projects, Socratic Seminars, and presentations to demonstrate their mastery of the material. In preparation for the AP examination, students write a series of timed interpretive essays from past exams and practice multiple choice strategies.

This class will explore a unique assemblage of diverse voices in contemporary literature through a combination of prose, poetry, and drama published since 2001. The most important facet of the course will be our collective effort to understand both how/why the literary imagination attempts to explain and examine the rapidly changing world around us. The course will supplement some of the more highly-regarded authors of the new millennium with selected pieces from classical literature to help understand the perennial complexities of the human predicament.

What do Sir Gawain the Green Knight, Edward Cullen of Twilight, and Jane Austen’s Mr. Darcy have in common? Each encapsulates a time-period’s ideal romantic hero. In this senior elective, we will study notions of romance, beginning with romantic chivalry of Arthurian legend, traveling through the various permutations of the gothic hero, and ending with the technological advancement considerations of more modern romances. While the romance genre is often scoffed at or dismissed as “chick lit,” this class will discover how, in fact, romances can be nuanced and quite subversive, questioning the dominant culture more than reasserting it. The class will conclude with an in-depth investigation of the nuances of  romantic comedy’s rise, fall, and rise again in the era of Netflix and BookTok. The course offers both analytical and creative projects, culminating in a study of how shifting gender norms have impacted the identification of the romantic hero as well as how the social and political context of a romance novel affects notions of the “happily ever after.”

Do you believe in ghosts, or are you highly skeptical? Regardless of your answer, are you somehow intrigued by the eerie, bone-chilling “pleasure of the shudder”? Whether or not scary stuff is your thing, this course will introduce you to the widely varied realms of ghost fiction and film—from the classic haunted house tales to modern psychological thrillers, and with a heavy emphasis on global folklore and storytelling—exploring why different cultures fear what they do, and what that reveals about them. We will seek answers to such questions as: When are ghosts more than merely spirits of the departed? Are they metaphors or our own subconscious emotions, such as guilt, fear, and frustration? How are gender, race belief systems, and historical trauma represented in these stories through time? The course contains projects that are both creative and analytical, and students even have the option of penning their own short fiction or filming original scripted scenes. Come see why ghost stories are, in fact, much more about life than what comes after.

This semester-long honors course, taken by all seniors, is a collaborative project-based class built on the principles of “create, collaborate, innovate." After hearing from a diverse group of professionals about their experiences tackling difficult local, regional, national, and global problems, students launch into impact and advocacy-based collaborative projects on 2-3 person teams. These are action projects that students design themselves after identifying, researching and refining what they see as problems in need of compassionate advocacy, impact, and reform. These projects will attempt to challenge real-world problems with meaningful and realistic solutions. Teams will "pitch" their projects to a target audience and possibly even make a prototype, and the course culminates in a Capstone Conference where groups present their work to their peers and the wider school community and partake in Q&A sessions. 

Students in this class examine the universal principles that inform all good writing—essays, short stories, speeches, blogs, screenplays, etc.—and apply these principles to their own work. The class considers the writer’s essential questions: What ideas do I want to convey? Who is my audience? What is the form that best suits my purpose?

Form and structure are paramount to this course. Examining models of effective writing, students recognize elements of form and emulate these elements in their own writing, developing precision, economy, style, and voice, along with rhythm, tone, balance, and fluidity.

This fourth-year English class expects both student autonomy and collaboration, encouraging regular peer feedback on works in progress.   

“Life changes fast. Life changes in the instant. You sit down to dinner and life as you know it ends. The question of self-pity.” These are the opening lines of Joan Didion’s memoir, The Year of Magical Thinking. These are the first 24 words that Didion wrote in 2004 after her husband suffered a sudden heart attack and died at the dinner table. These are the four lines that changed the way Americans talked about grief. In this course, students will spend a semester inside the mind of one of America’s greatest writers, Joan Didion. They will read a wide variety of her texts: her essay about hippies in the 60s, her opinion piece about the gaudiness of the Getty Villa, and yes, her memoir about the sudden death of her husband. Additionally, students in this course will deconstruct not only the writings of Joan Didion—her style, her structure, her words—but also the psychology and mythology of the writer herself. Students will write analytical papers, complete creative projects, and keep a Didion-style notebook documenting their lives and the world around them. By the end of this course, students will understand how a writer becomes a cultural icon.

The Language of Film is an introduction to film studies, which examines cultures of California, especially Los Angeles, through the lens (no pun intended) of the silver screen. Students explore defining features, tensions, and identities across the urban and natural settings that surround us. Through the language of film theory and technique (and behind-the-scenes studio politics), we’ll consider how filmmakers have stereotyped and misrepresented the peoples' history of California, but have also created enduringly brilliant, vibrant representations of it as well. Throughout the semester, students watch movies as homework and in class–and at nighttime screenings on two occasions–write across genres, create culminating autobiographical or narrative short films, and engage in projects that draw deep connections between story, setting, character, and craft. Films include: Sunset Blvd., Blade Runner, Boyz ‘n’ the Hood, Harold & Maude, Chinatown, Clueless, Stand and Deliver, and more.

Language is humankind's greatest innovation. It is what enables us both to ask big questions about the universe— What is it made of? How does it work? Why is it like this?— and to create narratives that try to answer them. But is our most powerful tool for gaining knowledge also our ultimate limitation? Do the things we say, write, and think actually have anything to do with what's out there in the universe, or do our words exist only to talk about what's within ourselves?

This discussion-based course will cover sources ranging from Nobel laureates in literature to the art of Warhol and Banksy, from Hindu and Buddhist scripture to Greek mythology, from the existential implications of quantum physics to 5,000 years of philosophical thought—  all of it ultimately asking whether the narratives we call "science," "religion," "philosophy," and "fiction" are fundamentally any different from each other. Students will produce a variety of short essays and creative language experiments as they test the limits and possibilities of what storytelling allows us to comprehend.

This course is a study in the history of science fiction from its 19th-century precursors to the present and beyond. The course will pay special attention to the shift in the genre's status, from respectable work of the imagination ("speculative fiction") to despised escapist entertainment ("pulp") and back, before it became a spectrum of subgenres (cyberpunk, horror, "literary,” etc.). The interpretation of the science fiction texts is thus set within the history of science fiction readers, publishers and writers, from the earliest pulps to massive "convergence culture" science fiction that straddles books, film, TV, and internet fandom. All facets and outlets of the genre will be source material for the mixed lecture and discussion course format.

Do you enjoy experiencing Shakespeare’s plays more than studying them as dusty relics? This course embraces the work of the greatest writer in the English language in performance. Immersing ourselves in a short sampling of dynamic plays, we compare film renditions and— pending the availability of local productions—attend a live performance. Students explore Shakespeare’s timeless understanding of human behavior in a series of performance projects; written work consists of creative, character-based explorations.