The Implementation of Night Train in Teaching Intensive Reading II

76 REFERENCES Abrams, M. H. Glossary of Literary Terms. New York: Harcourt Brace Jovanovich College Publisher, 1993. Atkinson, Rita L., Richard C. Atkinson, and Ernest R. Hilgard. Introduction to Psychology: 8 th ed. New York: Harcourt Brace Jovanovich Inc, 1981. Ausubel, David P. Theory and Problems of Adolescent Development. New York: Grune and Stratton, 1954. Barnett, Sylvan, Morton Berman and William Burto. Literature for Composition 2 nd Ed.. Boston: Scott, Foresman and Co, 1988. Benedetti, Robert. The Actor at Work. Boston: Allyn Bacon, 1966. Bootzin, Richard R., Elizabeth F. Loftus, and Robert B. Zajonc. Psychological Today: An Introduction. New York: Random House Inc, 1983. Bornstein March, H. Psychology and its Allied Disciplines vol.1. Englewood Cliffs: Publishers Hisdale, 1984. Chaplin, J.P. Dictionary of Psychology, 2 nd revised ed. New York: Dell Publishing Co Inc, 1985. Clarke, Judith. Night Train. Australia: Penguin Books, 1998. Conger, John Janeway. Adolescence and Youth: Psychological Development in a Changing World. New York: Harper Row Publishers, 1977. De Laar, Drs. E. Van and Dr. N. Schoonderwoerd. An Approach to English Literature. ‘S-Hertogenbosch: L. C. G. Malmberg, 1963. Dryden, John. Selected Criticism. London: Clarendon Press, 1970. 77 Festinger, Leon, Stanley Schacter and Kurt Back. Social Pressures in Informal Groups. California: Stanford University Press, 1950. Forster, E. M. Aspects of the Novel. London: Edward Arnold and Co, 1927. Gleitman, Henry. Psychology: 3 rd ed. New York: W. W Norton Company Inc, 1991. Goble, Frank G. The Third Force: The Psychology of Abraham Maslow. Boston: Kent Publishing Co, 1971. Guerin, Wilfred L., Earle Labor, Lee Morgan, Jeanne C. Reesman, and John R. Willingham. A Handbook of Critical Approaches to Literature 2 nd Ed.. New York: Harper Row, 1979. Holman, C. Hugh and William Harmon. A Handbook of Literature 5 th Ed.. New York: Macmillan Publishing Company, 1986. Hornby, A. S. Oxford Sixth Advanced Learners’ Dictionary of Current English. Oxford: Oxford University Press, 1986. Hufman, Karen, Mark Verney and Judith Vernoy. Psychology in Action. Toronto: John Wiley and Sons Inc, 1997. Kennedy, X. J. and Dana Gioia. Literature: An Introduction to Fiction, Poetry, and Drama. New York: Addison Wesley Longman Inc, 1999. Kenney, William. How to Analyze Fiction. New York: Monarch Press, 1966. Kimmel, Douglas C. Adolescence: A Developmental Transition. New Jersey: Lawrence Erlbaum Associates, 1985. Lado, Robert. Language Teaching: A Scientific Approach. New York: Mc. Graw Hill Inc, 1964. Lefrancois, Guy R. The Lifespan 3 rd Ed.. United States of America: Wadsworth, Inc, 1990. 78 Little, Graham. Approach to Literature. Marricaville: Science Press, 1981. Moody, H. L. B. Literary Appreciation. London: Longman, 1968. Murphy, M. J. Understanding Unseens. London: George Allen Unwim Ltd, 1972. Parsons, Richard D. Adolescents in Turmoil, Parents under Stress: A Pastoral Ministry Primer. New Jersey: Paulist Press, 1987. Paulston, Christina and Bruder, Mary Newton. Teaching English as a Second Language. Boston: Brown and Co, 1976. Rohrberger, Mary and Woods, Jr. Samuel H. Reading and Writing about Literature. New York: Random House Inc, 1971. Stanton, Robert. An Introduction to Fiction. New York: Holt, Reinhart, and Winston Inc, 1965. Weiner, Bernard. Human Motivation. California: Holt, Reinhart and Winston, 1980. Wellek, Rene and AustinWarren. Theory of Literature 3 rd Ed.. New York: A Harvest Book Harcout, Brace World Inc, 1956. Journal and Online References: Allen, V.L., Bragg, B.W. “Effect of Social Pressure on Concept Identification.” Journal of Educational Psychology, 59.4 1968: 302-308. Amlib. “Judith Clarke-Night Train: Full Catalogue Listing.” 2004. 6 Sept.2008. http:amlib.det.wa.edu.auwebquery Boyds Mills Contributors. “Judith Clarke.” 6 Sept. 2008. http:biography.jrank.org 79 Hartnett, Sharon. “Peer Pressure.” 2007. 6 Sept. 2008. http:www.socialpressure.org Kutner Ph.D., Lawrence. “Insights for Parents: Adolescent Depression.” 6 Sept. 2008. http:www.drkutner.comparentingarticlespressure.html Margaret. “Social Pressure and Teens.” 6 Sept. 2008. http:www.smith.eduourhealthourfuturessocialpress.html Perera, Karl. “Self Image and Esteem.” 6 Sept. 2008. http:www.more- selfesteem.comselfimage.html Robert D. Romanyshyn. “Mirror and Metaphor: Images and Stories of Psychological Life.” 2001. 1 June. 2009. http:www.amazon.comMirror-Metaphor-Images-Stories- Psychologicaldp0971367108 “Pressures.” 6 Sept. 2008. http:www.smith.eduourhealthourfuturespressures.html “Customer Reviews: Night Train.” 2000. 6 Sept. 2008. http:www.amazon.comNight-Train-Judith-Clarkedp0805061517 “Judith Clarke: Information from Answers.” 2006. 6 Sept. 2008. http:www.answers.comtopicjudith-clarke “Adolescence.” 2008. 6 Sept. 2008. http:www.wikipedia.orgadolecence.html “Adolescent Identity and Depression: Why and What to Do..?” 2008. 6 Sept. 2008. http:www.cure-your-depression.comadolescent-identity-and- depression.html 80 Appendix 1 Biography of Judith Clarke Judith Clarke writes incisive novels for teens that have earned praise for their humor and deft handling of weighty issues. A former teacher and librarian as well as a parent, Clarke enjoyed her first taste of success as an author with The Heroic Life of Al Capsella, a 1988 novel set in the authors native Australia. Two other novels featuring the likable teen have followed, and in these and subsequent young-adult titles that deal with more serious topics or crises, the universal appeal of Clarkes protagonists and their dilemmas prompted Australian reviewers to note that the books should undoubtedly resonate with a global readership as well. After the success of Clarkes debut as a writer of”The Heroic Life of Al Capsella earned a finalists spot in a government-sponsored literature competition in Australia-nearly all of her books have made their way to U.S. bookstore shelves. Clarke was born in Sydney in 1943. I never made a conscious decision to be a writer, she recalled in an essay for the Front Street Books Web site. I never saw it as a profession or career. Writing was something I began doing when I was a child in the western suburbs of Sydney in the 1950s…. All of the kids in my neighborhood were boys, and though they let my sister and I play with them, they pinched our marbles and comics and bashed us up. Writing 81 stories was less dangerous. She earned an advanced degree from the Australian National University in 1966. Two years later she married an anthropologist, with whom she had a son, Yask. Although I didnt write much during the period when my own family was young ... I can remember very clearly my first attempt at writing, Clarke once told SATA. I was very young, probably about four, had not gone to school yet, and had no idea of how to write in the sense of forming actual letters. My mother had given me an empty notebook to draw in, and I used it to write a book it even had chapters about a doll whod fallen from her pram and had a series of horrendous adventures. The actual writing was a kind of scribble-long wavy lines-but the story itself was a heartrending tale, and when I finished it, I gave it to my uncle to read. I watched him closely, expecting him to dissolve into sympathetic tears, but to my amazement and fury he burst out laughing. Perhaps this unsettling experience is what turned me toward comedy so many years after. Clarke defends the realism she injects in her fiction for teen readers. I want people to read my books and feel a kind of empathy, to feel that they understand how it is, the author explained to Hillel in Magpies. Thats what I want really, I want a child to read a book and think thats just like me or thats how it is for me, and there is somebody who understands. I do believe that something you read in a book can change your life for good. 82 Personal Born 1943, in Sydney, New South Wales, Australia; Education: University of New South Wales, B.A. with honors, 1964; Australian National University, M.A. with honors, 1966. Career Teacher, librarian, lecturer, and writer. Writings  The Boy on the Lake stories, University of Queensland Press St. Lucia, Queensland, Australia, 1989, revised edition published as The Torment of Mr. Gully: Stories of the Supernatural , Henry Holt New York, NY, 1990.  Teddy B. Zoot, illustrated by Margaret Hewitt, Henry Holt New York, NY, 1990.  Luna Park at Night, Pascoe Publishing Apollo Bay, Victoria, Australia, 1991.  Riff Raff, Henry Holt New York, NY, 1992.  Friend of My Heart, University of Queensland Press St. Lucia, Queensland, Australia, 1994.  Big Night Out, Shorts Norwood, South Australia, Australia, 1995.  Panic Stations short stories, University of Queensland Press St. Lucia, Queensland, Australia, 1995. 83  Night Train, Penguin Ringwood, Victoria, Australia, 1998, Holt New York, NY, 2000.  The Lost Day, Henry Holt New York, NY, 1999.  Angels Passing By, Puffin Ringwood, Victoria, Australia, 1999.  Wolf of the Fold, Allen Unwin Crows Nest, New South Wales, Australia, 2000, Front Street Asheville, NC, 2002.  Starry Nights, Allen Unwin Crows Nest, New South Wales, Australia, 2001, Front Street Asheville, NC, 2003.  Kalpanas Dream, Allen Unwin Crows Nest, New South Wales, Australia, 2004, Front Street Ashville, NC 2005.  Al Capsella Series - The Heroic Life of Al Capsella , University of Queensland Press St. Lucia, Queensland, Australia, 1988, Henry Holt New York, NY, 1990. - Al Capsella and the Watchdogs , University of Queensland Press St. Lucia, Queensland, Australia, 1990, Henry Holt New York, NY, 1991. - Al Capsella on Holidays , University of Queensland St. Lucia, Queensland, Australia, 1992, published as Al Capsella Takes a Vacation, Henry Holt New York, NY, 1993. - The Heroic Lives of Al Capsella abridged omnibus, University of Queensland Press St. Lucia, Queensland, Australia, 2000. 84 Awards, Honors  The Heroic Life of Al Capsella - New South Wales Premiers Award shortlist, 1989 - Editors Choice designation, Booklist, Best Book for Young Adults designation, 1990 - American Library Association, 1990  Al Capsella and the Watchdogs - New South Wales Premiers Award shortlist, 1990 - Talking Book of the Year designation, Variety Club, 1991 - Best Book for Young Adults designation, New York Public Library, 1992  Friend of My Heart - Childrens Book Council of Australia CBCA Book of the Year shortlist, 1994  Big Night Out - Notable Book designation, CBCA, 1995  The Ruin of Kevin OReilly - Notable Book designation, CBCA, 1996  The Lost Day - Notable Book designation, CBCA, 1997  Night Train - Victorian Premiers Award for Young-Adult Novel, 1998 85 - Honour Book designation, CBCA, 1998 - Childrens Book Council of Australia - Childrens Books of the Year Awards Honor, Older Readers  Angels Passing By - Family Therapy Award, 1999  Wolf on the Fold - Book of the Year designation, CBCA, 2001 Adapted from: http:biography.jrank.orgpages1849Clarke-Judith-1943.html http:www.answers.comtopicjudith-clarke 86 Appendix 2 Summary of Night Train Luke Leman is about to fail twelfth grade--again. Harassed by the assistant principal, ignored by his father, and worried over by his mother, Luke has slipped into an inner world of his own making where concentration is impossible and sleep is elusive. He obsesses over missed assignments and longs for his younger days when the mantle of meeting all his fathers high expectations didnt weigh so heavily on his shoulders. To his anxious mother and his girlfriend, Carolyn, he mentions the sound of the night train, the one that comes long past midnight when he should be asleep but never is. When they insist there is no train, Luke worries that he has finally lost his mind. When he goes out one night to find out if the train really exists, he discovers that the sanity he seeks may cost him his life. Adapted from: http:www.amazon.comNight-Train-Judith-Clarkedp0805061517 87 Appendix 3 LESSON PLAN Subject : English Student Level : Second Semester of English Education Faculty Skill : Intensive Reading II Time Allocation : 2 x 50’ Competence Standard : On completing the course, the students are able to improve reading comprehension ability focusing on the main idea and specific detailed information found in the text Basic Competence : The students are able to:  Improve their reading skills  Understand the meaning of reading passage taken from a literary work Indicator : The students are able to:  State some ideas found in certain paragraph  Understand the meaning of some vocabulary  Answer the comprehensive questions correctly  Give such critical responses towards certain ideas Learning Activities : Steps Activities a. Introductory activity  The teacher gives some brief description about the learning activities by introducing the topic, the novel, its author, and several intrinsic aspects of it. 88 b. Main activity  The teacher provides the students with the short passage taken from the novel.  The teacher asks the students to read the passage and discuss the pre-reading questions in pairs.  The teacher asks some students to express their idea referring to the pre-reading questions.  The teacher asks the students to work in a group of 3-4 and answer several comprehensive questions given.  The teacher conducts class discussion concerning with the given exercises. c. Closing activity  As a review, the teacher asks some students to express their own opinionideacomment about the topic andor the story of the reading passage. Learning Material : Judith Clarke’s Night Train pp. 56-61 and some questions dealing with the text Evaluation : The teacher evaluates the students’ achievement from:  Written assignment pre-reading and comprehensive questions  Oral presentation personal opinionideacomment Adapted from: http:www.exelsa.usd.ac.id 89 Appendix 4 LEARNING MATERIAL Topic : Social Pressure Source : Judith Clarke’s Night Train pp. 56-61

A. Pre-Reading Questions

1. What is social pressure? 2. Do you think social pressure gives such influential effects towards adolescents’ psychological life? Why and why not?

B. Comprehensive Questions

1. Luke is very bright in fact. Then why does he get into trouble dealing with his school work? 57 2. You got the feeling you couldn’t do it and the feeling became part of you, as if that was how you were. That was you. You were the kind of kid who couldn’t cope, who would fail things 59. How does it describe Luke’s character? 3. What do these wordsphrases mean? a. ‘act of trespass’ 57 b. ‘in hock’ 58 c. ‘expulsion’ 61 90 4. It was the night train, Luke decided sleepily, the train for night people, for all the ones who couldn’t get to sleep, who lay awake and thought and thought, who had whirlygigs inside their heads – and padlocks, great shiny padlocks, just like him 61. What does ‘the night train’ actually symbolize? How does it relate to Luke’s personality? 5. Social pressure is the main problem Luke mostly encounters during his life. In your opinion, what kinds of social pressure commonly experienced by adolescents? What are the influences of those pressures towards adolescents’ psychological life? ARITHMETIC Luke had been working. If you could call it that. He’d sat at his desk, the few scattered notes for the Writing Folder spread before him, trying to think of an idea that went beyond a couple of lines, one line, a few words scrawled across a page. Scrawled, crossed out, put back again, doodles like bad dreams scribbled up and down the margins. If you could call it working, that’s what he’d been doing. He’d kept at it from eight o’clock till ten and then he’d crashed on his bed for a moment and sleep had overcome him, a thick dreamless sleep, sudden and violent, an axe falling from the sky. He woke when his mother tapped on the door. ‘Luke, are you busy, dear?’ He answered in the voice 56 of an accomplished actor; the ‘yeah’ sounded preoccupied, just a little irritable, as if she’d interrupted him in the middle of an idea. He even produced sound effects, leaning across the narrow space between the bed and desk to rustle at the sheets of paper, as if he might be riffling through his notes. It worked; she went away. He hated doing all this; lying, deceiving, pretending all the time. Deep down he felt he wasn’t that kind of person. He got out of bed and sat at the desk again, forcing his eyes to the sheet of paper he’d left lying there. At the top he’d written Stringer’s phrase, ‘act of trespass’, because it sounded like a good title for a poem, but he couldn’t get beyond those words, they just sat there, and the prickly upright strokes of his handwriting were like a paling fence that shut him out. There were six poems needed for the Writing Folder and he hadn’t even written one. And it wasn’t that he didn’t want to work, like everybody thought. He couldn’t, any more. Back in Primary School he’d been in the top reading group right from the very first grade, in Year 6 he’d won the English prize, and he’d been good at all his other subjects too. He’d done well at Riversdale, before he’d been chucked out. It was at St Crispin’s that the thing had started happening, and it had begun with Maths. He must have missed something, Lukr thought now, some small, essential step along the way, without which nothing could make sense. He might have missed it because he hadn’t been paying attention, like they’d said in his report. 57 Dad had been furious when he’d seen the word ‘inattentive’. He’d got out of piece of paper and done some maths himself; he’d divided the sum of Luke’s school fees by the number of classes. Every lesson Luke wasted daydreaming, he’d told him, was fifty dollars down the drain. Dad was in hock for Luke’s private education – he’d wanted the best for his son and he’s taken out a bank loan; they hadn’t been able to afford a holiday for years. Right – so he’d started paying attention; he’d paid attention till his ears rang and his eyes burned, but the tangle of maths grew deeper; a jungle so thick and dark he couldn’t see a thing. Dad had found him a tutor more money down the drain but it hadn’t helped. The guy would explain a problem and then he’d ask, ‘Do you see?’ And Luke would have to tell him that he didn’t see, and then the guy would explain it all over again, slower, and still Luke couldn’t understand. The tutor could have been taking in Dutch, or Swahili, because he couldn’t understand it third time round, either. He’d stopped going to the tutor because he was embarrassed about seeming so thick, and it had been impossible to explain to Mum and Dad; they’d just thought he couldn’t be stuffed to go. You couldn’t blame them, really, because that was what it looked like. And the blindness, the locked-up feeling, had crossed over into Physics and Chemistry and then spread further, like a creeping sickness, into subjects you wouldn’t think it would ever reach, subjects that had once been easy, like Biology and Geography and 58 Legal Studies. In Year 10 at St Crispin’s the coordinator had told Mum and Dad he thought Luke might have trouble coping with Year 11. Luke had been there too, because St Crispin’s prided itself on including the students in such discussions, but the coordinator hadn’t asked for his opinion, he’d only talked to Mum and Dad. And when he’d said that thing about ‘having trouble coping with Year 11’, the way he’d said it, and the expression on his face – as if it wasn’t a question of ‘might’ but of absolute certainty – Luke had felt afraid. You got the feeling you couldn’t do it and the feeling became part of you, as if that was how you were. That was you. You were the kind of kid who couldn’t cope, who would fail things. Even English now. English had always been his best subject; he’d taken to it easily, like a person who doesn’t have to learn to swim because the water it his home. But English for the HSC, exam English, was different; like a vast and shining ocean drained into a muddy puddle full of traps. You had to answer the questions in a certain way, you had to give the examiners the answers they were looking for; almost all the teachers said that. And then you started thinking how your answer, even if it felt right, might just be wrong. Even a poem might be wrong. Poetry had been his favourite thing, but now, when writing a few poems was just about the most important thing in his life, he couldn’t seem to do it, his lines wilted like the little plants Mum brought home from the nursery sometimes; healthy and fresh at the start, shriveling to nothing in the ground. Passing English was so important it made you scared. Six poems for the Writing Folder. Six, by 59