Imagined Worlds and Technologies:

A Fantasy and Science Fiction High

School Literature Course

Kelsey Hatley
Todd Mitchell
E 405: Adolescents Literature

8 May 2014
Table of Contents
Imagined Worlds and
Technologies...1
Young Adult
Literature..4
Fantasy and Science Fiction
Genres...7
Fantasy
..7
Science
Fiction..9
Fantasy and Science Fiction Literature in the
Classroom..11
Project
Components13
Course
Description..17
Course
Objectives....18
Essential Questions for the
Course..19

Unit
Breakdown..20
Bibliographic Information for Course
Texts24
Additional Books for Each
Unit..25
List of
Resources.27
Works
Cited29

Imagined Worlds and Technologies: Fantasy and Science

Fiction Literatures Place in the Classroom
Of course it is happening inside your head, Harry, but why on earth
should that mean that it is not real? (Albus Dumbledore; J.K.
Rowling)

Fantasy and science fiction literature are the gateways to new

worlds and infinite possibilities. These genres dare to ask What if?
and to investigate all the possible answers. With elements like magic,
technological advances, unfamiliar lands, time travel, adventure,
danger, and many more, it is no surprise that these genres have
captures the imagination of readers for generations. Readers of all
ages are devouring works of fantasy and science fiction, but especially
adolescent readers. When asked, a lot of adolescents say they prefer
works of fantasy and science fiction over anything they read for
school. Writers have taken notice and have been writing fantasy and
science fiction for the Young Adult audience for many years now. The
potential to use Young Adult literature, especially Young Adult
literature in the fantasy and science fiction genres, in the classroom is
one that should be explored and put to good use.
Given that Young Adult literature is so prevalent and popular
among adolescents, there has been a lot of research done on the issue
of including Young Adult novels in the classroom. Based off of this
research, as well as my own interests, I decided to design a class for
high school students that blends classical texts with Young Adults
novels. I specifically decided to focus on the genres of fantasy and
science fiction because of the prevalence of those genres in Young
Adult literature and my own interests in them. I think both science
fiction and fantasy as genres are underrepresented and wrongly

ignored in classrooms and I think it is worthwhile to explore and teach

them because I think that they have the potential to reveal a lot about
who we are as human beings. Also, a lot of adolescents read books
within those genres and so exploring them in a classroom setting
allows students to read what they already enjoy while examining them
in new ways. The purpose of the class is to explore how fantasy and
science fiction novels provide insights into human nature and culture.
The main goals of the course are to introduce and expand students
knowledge of the fantasy and science fiction genres; help students to
developing critical reading, thinking, and writing skills; and to justify
the educational value of fantasy and science fiction literature. The
purpose of my project is to design a course for teachers who are also
interested in these genres and who want to connect to their students
in new ways. As a result, the intended audience for my project is
teachers (and myself) who want to know more about these genres,
what they are, why they should teach them, and how to teach the
texts I have suggested in the classroom in such a way that will allow
them to engage their students in meaningful ways. Personally, I am
planning on teaching high school after I get my Masters degree, so
this project allowed me to get some experience designing a course
that I might (hopefully) teach some day. The course texts that I am
using from our Adolescents Literature class are Feed by M.T.
Anderson and Hunger Games by Suzanne Collins.

In doing this project I gained quite a few insights. The most

obvious lesson that I learned it that designing classes is quite work
intensive (and I did not even develop full lesson plans), yet extremely
rewarding. Granted, I have not taught this course yet (obviously), but
even just planning out the course schedule, selecting texts, and
thinking about how to engage students was both very informational
and fun. I have learned a lot about what goes into the starting process
of coming up with a new course, along with how to pick and choose
texts for the course. I also know that there is more worked involved
than even I have done here, but at least know I have an idea about
how to get started and what steps I will need to take in the future as a
teacher. I also learned a lot about censorship, how to deal with it and
how much teachers have to go through to defend their pedagogical
choices and texts in the classroom. It is a little daunting to know that
I will have to deal with this when I become a teacher, but at least now
I feel a little more prepared to do so. Finally, I have learned a lot
about fantasy and science fiction literature, what it can do for
students, and what it can produce in a classroom. I have always loved
fantasy literature and have always wanted to take a literature course
on the fantasy genre. I felt this way, too, about science fiction, though
to a lesser extent. Having done this project, I now know even more
about the genres (and have now read a lot of fantasy and science
fiction works as part of my researchthis was a bonus for me!) and

about how I might be able to use them in the classroom one day. In
trying to design units and essential questions, I have found that these
genres are rich and full of opportunities to have discussions on ethical
issues, moral issues, discussions about society and culture, the list
goes on and on. I believe wholeheartedly that teaching fantasy and
science fiction to students can not only interest them in reading more
(for school and outside of school), but it can also help them develop
into more critical thinkers. Fantasy and science fiction works dare to
ask What if? and that willingness to contemplate, explore new ideas,
and question the world in general is something that I think
adolescents could really benefit from in their quest to figure out who
they are and how they fit into the world.
In the rest of this introduction I will situate this project in the
current research surrounding teaching Young Adult literature in
secondary education by outlining some of the definitions for the terms
I will be using (Young Adult literature, fantasy, and science fiction) as
well as explaining the justification and benefits for teaching both the
genres and Young Adult literature in general. This is intended to help
other teachers understand more about teaching Young Adult literature
with a specific focus on fantasy and science fiction. I will also be
providing a list of resources that teachers might find helpful to learn
more about a number of issues, questions, and texts used throughout
the rest of this project.

Young Adult Literature

Young Adult literature, like any other type of literature, can be
defined in a number of different ways depending on different peoples
interpretations of it. However, there seem to be a few central
characteristics that are often agreed upon. Sarah K. Herz and Donald
R. Gallo nicely define Young Adult literature in their book From
Hinton to Hamlet: Building Bridges between Young Adult Literature
and the Classics. Herz and Gallo list these characteristics: the main
character or characters of the work are teenagers, the main character
is the center of the plot and the outcome of the work is usually
dependant on his or her actions/decisions, the point of view is usually
first person and is also usually a teenager (again, it is also most often
the main character as narrator), the language reflects typical
teenager vocabulary, and the work uses events and problems in the
plot that teenagers can relate to (10). Based on these characteristics,
it is easy to see why adolescents so readily identify with this type of
literature. Developmentally, adolescents are in a stage in their lives
where they are trying to discover who they are and how they fit into
society. Young Adult novels explore these questions that are so central
to adolescents lives and through them adolescents gain not only
enjoyment, but greater understanding of themselves and the world
around them. As a result, Young Adult literature becomes beneficial,
arguably even essential, to use in the classroom.

A main feature of this class that I designed is the goal of

provoking student responses to literature. This class follows the
current trend of teaching that has largely moved away from the
traditional lecture style to a more interactive classroom. However, in
order for this format to work, teachers must start by making different
choices regarding the texts they use in their classes. As Robert E.
Probst suggests, If we are to begin our teaching with students
responses, we need literary works that provoke responses, stimulating
students to think, feel, and talk (113). Young Adult literature,
because of its connections to the adolescents themselves, is the
perfect type of literature to incite student responses. Susan L.
Groenke and Lisa Scherff, in their work on using Young Adult
literature in the classroom, also note that research from decades of
classroom-based reading studies has shown that:
Adolescent engagement with reading and motivation to
read increases when adolescents read young adult novels,
adolescent literature has the potential to broaden
adolescents vision of self and the world, providing an
avenue for reflection and a means for personal
development, and adolescents choose to read adolescent
novels over more canonical works when given the
opportunities to choose (2).

Carl M. Tomlinson and Carol Lynch-Brown have noted that one of the
main benefits for adolescents reading Young Adult literature is
enjoyment because it accurately reflects their development and it is
relevant to their lives (10). This would help to explain why adolescent
engagement and motivation to read increases with they read Young
Adult works. This would also help to explain why most adolescents
choose Young Adult novels (written with them at the center and with
them in mind) over canonical classics, which tend to focus on adults.
When used in the classroom, the fact that these books are so relevant
to students lives will help them to see school as important and
relevant to their lives as well (Groenke and Scherff 2). Chris Crutcher,
a Young Adult author who spoke at an NCTE conference on adolescent
literature in 2007 argues that when we omit young adult literature
from our classrooms, we say to students that the kids in those books
and their livesdont matter. Teenagers reading habit and their outof-school lives must matter in todays classrooms if we dont want to
further students disengagement with school (qtd. in Groenke and
Scherff 2). In order to encourage students responses in the
classroom, we as teachers need to show our students that they are
important and their voices are valuable. By using Young Adult
literature, which is centered around adolescents, we can better
demonstrate our belief in their lives and contributions. There are also
other benefits to reading Young Adult literature along with its ability

to relate to students lives. Tomlinson and Lynch-Brown argue that the

main benefits of Young Adult literature are: enjoyment (these books
accurately portray adolescents lives and can provide an escape from
everyday life), rewarding readers academically (when students can
choose works that are appealing and pertinent to them, they tend to
read more, which helps them become better readers, and
consequently they will do better in all content areas), help with
personal issues and questions about sexuality, moral development (by
reading about characters who must make moral decisions, and a
developing sense of social justice (by living vicariously through
characters who are different from themselves, and particularly those
whose lives are limited by disabilities, gender, politics, poverty, or
race) (9-10). Given that there are so many benefits to using Young
Adult literature and that students are more engaged with Young Adult
works, it seemed clear to me that using Young Adult literature in the
class I designed would be advantageous in my attempt to engage with
students in new ways. Despite all of the research and previous
successes with using Young Adult literature in the classroom, there
are still those who look down on Young Adult works and challenge
their place in the classroom. School boards, other teachers, parents,
and many others might be among those who confront you as teachers
if you decide to use Young Adult literature in your classroom. The
work I have done and the resources I have pulled together serve to

defend why I am using Young Adult literature in this class, but are
also intended to give you resources to defend your own use of such
works. I have also provided in my list of resources other works that
may help you learn more about using it in your classroom as well as
help you to defend its use. Having defined Young Adult literature and
provided benefits that result from its use in the classroom, I will now
move to define the genres of fantasy and science fiction.
Fantasy and Science Fiction Genres
A quick look into most theoretical works about the genres of
fantasy and science fiction reveals that trying to fully differentiate
these two genres is almost impossible. There are certain novels or
authors that exists that seem to exist to blur the boundaries between
the two. You might find, as you teach the two genres in class, that you
will naturally come up against some discussions with your students
about the overlapping of the genres. For more information on this
subject, I have included in the list of resources some works that
further develop the definitions of the genres, the complications that
result from trying to define them, and the overlaps between them.
However, for the sake of this discussion and for the sake of designing
the class, I will focus on making a distinction between the two genres
and treat them as (largely) separate. To begin with, both genres are
viewed, as the fantasy author Tamora Pierce said, as a literature of
possibilities (qtd. in MacRae 3), but there are some differences

between the way each genre goes about exploring the idea of What if?
The (grossly) simplified distinction that I might make between the two
genres is that fantasy deals largely with magic, while science fiction
has some basis in science. To create a more developed division
between the two, however, I will employ some more specific
definitions and will first focus on fantasy.
Fantasy
Just like there are difficulties differentiating between fantasy
and science fiction, there are difficulties in even trying to define what
fantasy is. As a genre that most people are familiar with (whether they
are fans of it or not), it is surprisingly complicated to define. Many
authors, critics, fans, theorists, etc. argue over its defining
characteristics. Again, for the sake of trying to develop a working
definition for the class, I will simply borrow aspects of definitions from
others to create a foundation to begin with. Tomlinson and LynchBrown, in describing the genre for teachers, suggest that:
Modern fantasy refers to stories written by known authors
in which the events, settings, or the characters are outside
the realm of possibility. A fantasy is a story that cannot
happen in the real world, and for this reason this genre
has been called the literature of the fanciful impossible. In
these stories, animals talk, inanimate objects come to life,
ghosts and vampires interact with human characters,

imaginary worlds exist, and future worlds are explored,

just to name a few of the possibilities. Although the events
could not happen in real life, modern fantasies often
contain truths that help the reader to understand the real
world (63).
To add to their definition an element that I consider important and
widely used and expected in fantasy (magic), I will borrow ideas from
MacRae: fantasy literature takes place in the realm of magic, where
happenings defy rational explanation (8). In essence, fantasy
literature must exist outside of the real world and contains magical
elements (settings, characters, powers, etc.). Unlike trying to define
the fantasy genre (where definitions seem elusive and developed on a
personal basis), there seems to be some agreed-upon criteria for wellwritten fantasy. Pamela S. Gates, Susan B. Steffel, and Francis J.
Molson, in their work Fantasy Literature for Children and Young
Adults, argue that internal consistency, originality, a capacity to incite
wonder, vivid setting, and style are all elements of a successful
fantasy (10). In alliance with those elements, I have also chosen to
adopt Katherine Bucher and KaaVonia M. Hintons rules for wellwritten fantasy:
The impossible should seem possible; Characters should
behave in reasonable and expected ways; Magic must
work consistently, rules must be followed, the fantasy

world must bear a relationship to our own; The fantasy

should not be unfairly taken away at the books end under
the pretext that everything that happened was just a
dream; Once the reader is committed to the fantasy world,
the author should never trick or deceive the reader (197).
These elements and characteristics can act as guidelines when
choosing fantasy works to use in your classroom. The texts chosen for
my class all adhere to these elements and I have also provided a list of
alternative texts that you might choose from as well. When
investigating the fantasy genre, many experts also categorize fantasy
works into different types of fantasy. As with the definitions, there are
no universally agreed-upon categories to sort fantasy works into, so
categories will be mentioned in the design of the class rather than in
this discussion. You might also want to work with your students to try
and categorize the works used in the class as that can be a useful
lesson in identifying characteristics of subgenres. Having now created
a workable definition for the fantasy genre, I will move on to the
science fiction genre.
Science Fiction
If the definition for the fantasy genre among its experts seems
hard to pin down, then the definition of science fiction is even more
elusive. This genre is full of subgenres that constantly push the
boundaries between the genre of science fiction and other genres

(most often fantasy). Theorists resist suggesting hard and fast rules
because the genre stems from the idea of existing outside what we
know and is constantly evolving and changing with the times (Booker
and Thomas 4). However, again for the sake of using a definition for
the class, I will suggest some possible definitions. Tomlinsons and
Lynch-Browns definition for science fiction, like their definition for
fantasy, was writer for teachers interested in teaching the genre, so it
seems appropriate to work within their definition as well:
Science Fiction is a form of imaginative literature that
projects the future of humankind based on scientific
principles and discoveries, demonstrates changes in
earths environment, or depicts life on other planets.
Therefore story elements in science fiction must have the
appearance of scientific plausibility or technical
possibility. Hypotheses presented in science fiction appear
plausible and possible to the reader because setting and
events are built on extensions of known technologies and
scientific concepts (68-69).
In addition to this definition of science fiction, I will again turn to
Bucher and Hinton for some guidelines for successful and well-written
science fiction:
Strong themes that are basic to human existence and that
do not rely on time or place; Nonstereotypical characters

who believe in science and who rise to meet and overcome

challenges; Well-developed and plausible plots; Believable
details and accurate and well-researched science and/or
technology; Reliance on science, not coincidence; Escapist
aspects with an interesting story that does not talk down
to the reader (190).
Again, you may find as you delve into science fiction texts that you will
discover works that do not seem to work within these definitions.
Chances are, however, that if you think it is science fiction, it probably
is. I have also included resources in my list that cover more in-depth
definitions and characteristics of the genre if you find yourself
unsatisfied with these guidelines. Science fiction can also be
categorized into different types, but I have elected to leave those
discussions out of this definition as there are no agree-upon
categories (as with the fantasy genre, there are debates about how to
characterize different types of science fiction stories). The class will
attempt to place the works I have chosen into certain categories,
along with the rationales as to why, but you may again find it
interesting to investigate this with your students instead.
Fantasy and Science Fiction Literature in the Classroom
Readers who are not fans of these genres and teachers, parents,
school board members who are proponents of using only classics in
the classroom often look down on these genres. If you want to begin

using them in your classroom, you may find yourself in need of being
able to defend your choices for others. I will attempt to provide some
explanations as to why these genres are beneficial and important to
use in the classroom as a means of engaging with students and
helping them to develop critical thinking skills. I have also provided
some works you might consult along with this discussion to further
defend these genres and further explore the benefits of having
students read them. To begin with, these genres are incredibly
popular among our students. The success of works like the Harry
Potter series by J.K. Rowling and The Hunger Games series by
Suzanne Collins is enough to show that adolescents are reading these
books and loving them. Tying back to the idea that we want our
students to be engaged in the classroom, if we can use books that
align with their interests, we are likely to get a lot of student
response. However, like there are critics of using Young Adult novels
in the classroom, there are critics of using these genres in the
classroom all together. Critics of these genres see them as merely
escapist and dismiss them on the grounds that they cannot possibly
be useful in the real world. Critics also argue that the escape these
genres can provide might encourage adolescents down a path where
they will refuse deal with problems or issues in their lives that they
need to face to develop into mature individuals (Gates, Steffel, and
Molson 3). While it is true that one of the benefits that can be derived

from these genres is escape from the everyday that is not all these
genres can do for readers. In an attempt to respond to the critique of
escapism, proponents of the genres argue that The escape that
fantasy makes possibleis healthy and productive because, among
other things, it can foster skill in designing scenarios whereby
individuals can pursue alternatives or try out new roles without actual
risk. Hence, these advocated propose, fantasy needs to be cultivated
rather than denigrated (Gates, Steffel, and Molson 3). While Gates,
Steffel, and Molson write specifically about fantasy, the same can be
applied to science fiction. These genres give adolescents a safe space
to try out new ideas and new solutions, which can help them develop
their problem-solving skills. As teachers, we try to create our
classrooms as space spaces for our students to learn, try out new
ways of thinking, and to develop into critical thinkers. It makes sense,
then, to provide reading material that can help us in that endeavor.
Some of the strengths in these genres lie in their ability to ask What
if? By allowing students to investigate the possibilities, we allow
them a space to develop and learn inquiry, which is another benefit of
teaching these genres.
Science fiction and fantasy works can offer a starting point for
ethical discussions and curricular connections to the fields of science
and technology (Groenke and Scherff 140). These connections that the
fantasy and science fiction genres can create can naturally lead to the

teaching of and development of inquiry in students. Groenke and

Scherff also add Inquiry will, in turn, lead to the development and
use of higher-order thinking to address open-ended problems (NSTA).
The [National Science Teachers Association] adds that because the
objective of inquiry is to guide students to create their own
knowledge, questioning is an essential skill (140). Beginning with the
question of What if? and the additional issues that fantasy and
science fiction bring to the fore allows students to further develop
their skills to question and create their own knowledge. Specifically,
modern science fiction includes many topics like future worlds,
super-intelligent mechanical and human beings, time travel and
altered historical events, robots, DNA experiments, nuclear holocaust
and survival, toxic wastes, and germ warfare (Bucher and Manning
60). These works can help to encourage readers to investigate social
issues and ecological problems. Readers can also evaluate the science
depicted in such works and decide to what extent it is accurately
reflected. Finally, science fiction appeals to a wide range of grade
levels and can be used as a catalyst to promote scientific inquiry
specifically (60). Fantasy, too, helps students open their minds and
learn more about society and themselves: Fantasy books provide a
way for young adults to look at codes of behavior and the human
psyche (66). In fantasy readers are also allowed the chance to
consider concepts too terrifying for the real world and to

contemplate dark forces of evil in such a way that allows them to

find that courage, friendship, their own resourcefulness, and the help
of trusted elders can help them overcome these forces (Bucher and
Manning 66). If we allow ourselves to ignore these genres or dismiss
them as mere escapist works, then we are not only showing our
students that we do not value what they like to read (which might
suggest to them that we do not value their opinions in the classroom),
but we might also be failing to encourage them to dream, imagine
possibilities, and develop critical thinking skills. If we accept that the
genres of fantasy and science fiction can teach these things, as the
research suggests it can, then we are doing our students a disservice
by not including them in our classrooms.
Project Components
For this class I decided to go with a year-long schedule in order
to more fully explore each of the genres and some of their subgenres.
I have separated the class into four parts: defining the genres, the
fantasy genre, the science fiction genre, and defending these genres
educational value. The fantasy and science fiction parts of the course
are each divided into four units and each unit will represent a
subgenre. There are most subgenres for both fantasy and science
fiction than I have planned out for this course. As I stated earlier,
there are no universally agree-upon subgenres, so I have tried to
select ones that are both prevalent and rich for study. You may find

that as you discuss these with your students that: works in each unit
might fall under more than one subgenre, subgenres in generally
might be defined and described multiple ways, and some works might
even qualify as both fantasy and science fiction. These are all great
discussions to have with your students that will challenge genre
conventions and encourage critical thinking.
Along with this discussion of my rationale for the course, I have
included a course description detailing the topics and overview of the
course. I have also included course objectives and essential questions
for the course. The objectives and the questions have informed the
units, texts, and assignments I have chosen. You will also find a unit
breakdown that includes the topic of the unit, the texts I will use, the
essential questions for each unit, and the major writing assignment
for each unit. The units for the course that I have designed within the
fantasy and science fiction parts of the course are four weeks long,
with the exception of unit #9, which is five and a half weeks long.
Each unit lists texts to be studied, both Young Adult novels and works
that are considered classics. The idea for the teacher of each unit is
to cover the Young Adult text first and follow it with the classic.
Teachers can choose how long they want to spend on each text,
though I would recommend spending a week to a week and a half on
the Young Adult work and the rest of the unit on the classic work. The
only exception to this is the Fairy Tales unit (#3), wherein I would

suggest you have your students read the Grimm Fairy Tales first and
then follow them with the two Young Adult texts so that students will
be able to compare the stories as they read. The unit breakdown only
shows the major writing assignment for each unit, but the way I
envision the class is that there be multiple informal writing
assignments within each unit. For example, I will have my students
keep a class journal. They will be expected to do at least one reading
response to each text (though they are welcome to do more to record
their reactions as they read) in addition to having in-class writing
assignments. The in-class writing assignments will be prompts that
will be informed by the essential questions for each unit, readings
within the unit, and class discussions.
Along with being fairly writing intensive, I hope for this course
to be focused, too, on whole class discussion and small group work. I
want students to be able to critically think about and discuss these
works, so encouraging practice in both group sizes is essential. Along
with this idea of encouraging and soliciting student participation, I
want this course to be focused on the students as individuals as well
and as a unique class with unique needs. As such, I have decided not
to include full lesson plans in this course design. I want the course
content with the units and the pacing to be informed by my students
so that I can customize each lesson plan for that particular class. It
seems disingenuous to design lesson plans for students who do not

exist yet. However, the essential questions within each unit will serve
as a guide to make lesson plans later for any given class.
The other components that I have added are a list of additional
resources and a list of additional recommended books for each unit.
There were so many books that I wanted to add to this course, but I
had to choose just a few in the end. I am not letting that stop me from
recommending some of my favorites, however, so I hope you will find
even more books to explore and recommend to your students or even
use in your class. On the list of additional resources I am listing
sources that I found incredibly helpful and informative as I designed
this course. I have broken up that list into sections so that you may be
able to more easily find what you need.
As a final note, I hope that you learn more about fantasy and
science fiction literature, either through this project, through the lists
of resources I have provided, or even through your own exploration.
These genres are incredibly rich and rewarding to study. Their ability
to incite the imagination, promote wonder, and be thought-provoking
is truly awe-inspiring. I hope that you find enjoyment in them and that
you find that using in them in the classroom allows you to connect and
engage with your students like never before. Though these worlds
may be vast and unfamiliar to you, Not all those who wander are
lost (Tolkien). So, happy wandering!

Course Description
Fantasy and Science Fiction are two genres that have consistently
captured the imagination with their willingness to contemplate
endless possibilities. These genres foster critical thinking skills by
stimulating the process of inquiry and by encouraging deeper
understandings of what it means to be human. This course will
present an overview of classic Fantasy and Science Fiction literature
as well as Young Adult Fantasy and Science Fiction literature.
Students will identify and explore characteristic elements of each
genre. Students will also explore and analyze a variety of themes
within Fantasy and Science Fiction and will work to discuss and
identify key elements of those themes. Students will investigate the
social and cultural themes reflected in the literature and examine how
these works have anticipated and continued to reflect change within
our society. This course also seeks to improve critical reading and

thinking skills and academic and creative writing skills. Students will
write extensively in the form of free writing, argument, reading
responses, reflective pieces, research papers, and creative narratives.
Students will also be expected to actively participate in whole class
discussions, as well as small group work. Texts read in this class will
include works from J.R.R. Tolkien and Ursula K. Le Guin to M.T.
Anderson and Philip Pullman.
My ideal set up for this class would include block scheduling and
would meet three times a week for eighty minutes, in various
sequences, depending on the period. This would allow for multiple
activities in any given class, as well as ample time to dive into class
discussions and really delve into each text. Scheduling would be
adjusted on weeks that are shortened by holidays or school
cancellations. This class is a year-long and is comprised of two 18week semesters.

Course Objectives
Students will increase their knowledge of and create their own
definitions for the literary genres of Fantasy and Science
Fiction.

Students will increase their knowledge of theme/categories of

Fantasy and Science Fiction works as well as identify key
elements of the major themes within the genres.
Students will broaden their understanding of classic works as
well as Young Adult works of Fantasy and Science Fiction
literature.
Students will further their analysis skills and be able to:
o Identify multiple themes or central ideas of a text and
analyze their development over the course of a text;
o Analyze an authors choices and their impact on the text
(including diction, structure, plot, characters, themes,
tone, imagery, etc.);
o Analyze multiple interpretations of a work and know how
each version interprets the text.
Students will be able to recognize rhetorical concepts such as
purpose, audience, context, and text/genre and be able to
understand their effects on a text.
Students will be able to produce writing in which the
development, organization, and style are appropriate to their
purpose and audience.
Students will be able to write:
o Arguments to support claims in an analysis of topics or
texts, using valid reasoning and relevant and sufficient
evidence;
o Informative/explanatory texts to examine and convey
complex ideas, concepts, and information clearly and
accurately through effective research, inclusion of
evidence, and analysis;
o Original creative works that apply and synthesize
concepts and themes from the study of Fantasy and
Science Fiction.
Students will develop planning, revising, editing, and rewriting
strategies to strengthen and further develop their writing.
Students will learn and develop the process of inquiry and apply
it to their research practices.
Students will strengthen their knowledge of research strategies,
using a variety of sources according to their research questions
and purposes.
Students will draw evidence from literary or information texts to
support analysis, reflection, and research.
Students will create interpretive and responsive texts to
demonstrate knowledge and a sophisticated understanding of
the connections between the literary work and our society and
culture.

Students will strengthen their oral communication skills and

participate effectively in a range of collaborative discussions.

(Adapted from: http://ollchs.org/index.php?/oll/faculty/ms-karen-graham)

Essential Questions for the Course

Why are stories important?
What is the difference between Fantasy and Science Fiction, and
why does it matter?
What are key elements of Fantasy and Science Fiction
literature?
How do Fantasy and Science Fiction incorporate the use of
literary devices?
What is the educational value of Fantasy and Science Fiction
literature? What is the role of Fantasy and Science Fiction
literature in modern society?
How do Fantasy and Science Fiction literature serve as a
response to current social/cultural/political development? To
what extent does Fantasy and Science Fiction literature serve as
an omen or a waning of future events?
How do these genres suggest answers for the question of what
it means to be human?

Unit Breakdown
Introduction to Course
Week 1: Unit #1: How do we define Fantasy and Science Fiction
literature?
Text: Essays on the genre chosen by the teacher (some suggestions in
List of Resources)
Essential Questions: -What is Fantasy Literature?
-What is Science Fiction Literature?
-What are consistent literary elements among all
subgenres of Science Fiction literature? Among
Fantasy literature? Why are these elements essential
to the genre?
Major Writing Assignment: A 2-3 page reflection on the genres
exploring the genres similarities, differences, and students own
experiences with them. Students will use their notes and readings
from class to supplement their reflections.
Fantasy
Weeks 2-5: Unit #2: Legends (Specifically, Arthurian)
Young Adult Text: The Dark is Rising (Sequence) by Susan Cooper
Classic Text: The Once and Future King by T.H. White
Essential Questions: -What is the Arthurian legend and why is it so
enduring?

-Consider the similarities and differences between

The Dark is Rising and The Once and Future King,
what might define this subgenre of fantasy?
-What defines the hero figure? How do the different
representations of the hero reflect culture/society?
Major Writing Assignment: Students with write an argument essay
that compares the two texts, fully develops their analysis of the works,
and is supported with examples from the texts using literary elements.
Weeks 6-9: Unit #3: Fairy Tales
Young Adult Texts: Ella Enchanted by Gail Carson Levine
Fairest by Gail Carson Levine
Classic Text: Cinderella and Snow White and Rose Red by Jacob
and Wilhelm Grimm
Essential Questions: -What is a fairy tale?
-What elements are representative of this subgenre?
-Why do so many cultures have fairy tales? Why do so
many of them share the same elements? What does
this suggest about human nature?
-How do the modern retellings compare the to the
Grimm fairy tales? Why do you think they are
different? How do these works reflect current cultures
and ideologies?
Major Writing Assignment: Students will write their own modern
retelling of a fairy tale of their choice. Students will engage in the
steps of a creative process including gathering of ideas, determining
purposes, considering audience, and determining form. The
assignment can take the form of: a short story, an excerpt from a
longer work, a long poem, a song, or a play or an act from a play.
Weeks 10-13: Unit #4: Alternate Worlds/High Fantasy/Questing
Young Adult Text: The Hero and the Crown by Robin McKinley
Classic Text: The Fellowship of the Ring by J.R.R. Tolkien (the first The
Lord of the Rings trilogy)
Essential Questions: -How does Fantasy literature explore the
fundamental concerns of the human condition?
-In what ways do these works differ? How do we read
the male hero compared to the female hero? Why?
-How are these works informed by literary tradition?
-What are some key elements/characteristics of this
subgenre?

Major Writing Assignment: Students will write a research paper

driven by the process of inquiry. They must use at least one of the
class texts for this unit as well as a variety of outside sources to
address a question within the topic of the human condition as
represented in Fantasy literature. This essay will be done in stages in
order to help students learn effective research as well as developing
effective strategies for planning, revising, editing, and rewriting their
writing.
Weeks 14-17: Unit #5: Personified Animal Stories
Young Adult Text: The Golden Compass (His Dark Materials Book
One) by Philip Pullman
Classic Text: Watership Down by Richard Adams
Essential Questions: -What are the key elements of animal fantasy
stories? Are there rules that this genre strictly
adheres to? What are they?
-Why do we use animals in stories and use animal
features/characteristics (e.g. sly like a fox) to depict
human nature?
-What does it mean to be human?
Major Writing Assignment: Students will write an argument essay
focused on a major theme within one of the works. Students will be
expected to fully develop their analysis of the work and chosen theme
and support their claim with examples from the text.
Science Fiction
Weeks 18-21: Unit #6: Earths Future Tales
Young Adult Text: The Hunger Games by Suzanne Collins
Classic Text: Enders Game by Orson Scott Card (Note: this is often
considered a YA novel, but also a classic Science Fiction text)
Essential Questions: -Should children be subjected to such treatment
(battle school; the Hunger Games) in the name of
saving the world/keeping the peace?
-How do these texts reflect current cultures and
societies? To what extent do the authors critique
current society? To what extent are they warning
society of what might come to pass?
-What are some characteristics of this subgenre?

Major Writing Assignment: Students will produce a creative work

(short story, excerpt from a longer work, long poem, song, or play or
an act of a play) that reflects their idea of the subgenre Earths
Future Tales. Students will engage in the steps of a creative process
including gathering of ideas, determining purposes, considering
audience, and determining form. Students will be expected to focus on
and develop settings and culture.
Weeks 22-25: Unit #7: Tales that Contradict Known Laws of Nature
(Specifically, time travel)
Young Adult Text: A Wrinkle in Time by Madeleine LEngle
Classic Text: Eon by Greg Bear or Time Machine by H.G. Wells
Essential Questions: -How can time travel literature serve as a
warning for the modern reader?
-How do our choices affect our world?
-What are the conventions of the subgenre of time
travel in Science Fiction literature?
Major Writing Assignment: Students will write a 3-4 page reflection
on the elements of time travel in science fiction using examples from
the texts and class discussions to support their examinations.
Weeks 26-29: Unit #8: Dystopias
Young Adult Text: Feed by M.T. Anderson
Classic Text: Brave New World by Aldous Huxley
Essential Questions: -What are the characteristics of dystopian
literature?
-To what extent are these cautionary tales and to what
extent are these works reflections of current
cultures/societies?
-In what ways do these authors criticize and question
the world?
-What are the ethical and moral implications, both
positive and negative, of technological advancement?
-What is the relationship between science and Science
Fiction?
Major Writing Assignment: An argument essay that compares the two
texts, highlights/discusses the dystopian elements of each text, and
connects them to contemporary society. Students are expected to
support their claims with evidence from the novels and from basic
research on current events/realities to persuade their audience.
Weeks 30-35 (half of week 35): Unit #9: Other Worlds

Young Adult Text: Dune by Frank Herbert (Note: this was not
originally intended for Young Adults, but has become a popular
YA text nonetheless)
Classic Text: Left Hand of Darkness by Ursula K. Le Guin
Essential Questions: -How can exploring alien worlds help us envision
new possibilities?
-How do projecting hopes and fears in the future
change outcomes?
-How do the societies depicted in these works differ
from our own? How are they similar? What might
this suggest about human nature?
-What are some characteristics of this subgenre?
Major Writing Assignment: A research/informative essay on a topic of
the students choice. The essay must be informed by at least one of
the texts and class discussions. Students will go through the process
of coming up with an inquiry question (based on their interests, issues
brought up in the texts, and class discussions), employing effective
research strategies to find a variety of credible sources, choosing an
audience and purpose for their paper, creating an outline, writing,
revising (through peer-review workshop), and editing.
Course Wrap-up
Week 35-36: Unit #10: The Role of Fantasy and Science Fiction in
Education and Our Society1 week unit
Text: A work of the students choice (must be approved by the
teacher)
Essential Questions: -What is the educational value of Fantasy and
Science Fiction literature? What is the role of Fantasy
and Science Fiction literature in modern society?
-What do these genres suggest about what it means to
be human? What do they suggest about human
nature?
Major Writing Assignment: An argument essay that responds to either
one of the essential questions for the unit using the work the student
read for the unit and up to 2 of any of the other course texts as
support for the claims.

Bibliographic Information for Course Texts

Adams, Richard. Watership Down. New York: Avon, 1996. Print.
Anderson, M.T. Feed. Somerville, Massachusetts: Candlewick Press,
2002. Print.
Bear, Greg. Eon. New York: Tom Doherty Associates, 1985. Print.
Card, Orson Scott. Enders Game. New York: Tor, 1991. Print.
Collins, Suzanne. The Hunger Games. New York: Scholastic Press,
2008. Print.
Cooper, Susan. The Dark is Rising (Sequence). New York: Aladdin
Paperbacks, 1973. Print.
Herbert, Frank. Dune. (Orig. Pub. 1965) New York: Putnam, 1984.
Print.
Huxley, Aldous. Brave New World. (Orig. pub. 1932) New York:
Perennial Classics, 1998. Print.
Le Guin, Ursula K. The Left Hand of Darkness. New York: Harper and
Row, 1969. Print.

LEngle, Madeleine. A Wrinkle in Time. New York: Yearling, 1973.

Print.
Levine, Gail Carson. Ella Enchanted. New York: Harper Collins
Publishers, 1997. Print.
---. Fairest. New York: Harper Collins Publishers, 2006. Print.
McKinley, Robin. The Hero and the Crown. New York: Greenwillow,
1984. Print.
Pullman, Philip. The Golden Compass. New York: Alfred A. Knopf,
1995. Print.
Tolkien, J.R.R. The Fellowship of the Ring. (Orig. British pub. 1954)
Boston: Houghton Mifflin Company, 1988.
Wells, H.G. The Time Machine. (Orig. pub. 1895) Cambridge,
Massachusetts: R. Bentley, 1971. Print.
White, T.H. The Once and Future King. New York: G.P. Putnams Sons,
1965. Print.

Additional Books for Each Unit

Arthurian Legends:
Springer, Nancy. I am Mordred: A Tale from Camelot. New York:
Philomel Books, 1998. Print.
Fairy Tales:
Lo, Malinda. Ash. New York: Little, Brown Books, 2010. Print.

Alternate Worlds/High Fantasy/Questing or General Magic:

Bradbury, Ray. Something Wicked This Way Comes. New York:
Simon and Schuster, 1962. Print.
Cashore, Kristin. Graceling. Orlando, Florida: Harcourt, 2008.
Print.
Goldman, William. The Princess Bride: S. Morgensterns Classic
Tale of True Love and High Adventure: The Good Parts
Version, Abridged. New York: Ballantine Publishing Group,
1998. Print.
Le Guin, Ursula K. A Wizard of Earthsea. (Orig. pub. 1968) New
York: Bantam Spectra Books, 1984. Print.
Rowling, J.K. Harry Potter Series.
Personified Animals/Magical Animals:
Beagle, Peter S. The Last Unicorn. (Orig. pub. 1968) New York:
Penguin Books, 1991. Print.
Earths Future Tales:
Bacigalupi, Paolo. Ship Breaker. New York: Little, Brown, 2010.
Print.
Pfeffer, Susan Beth. Life as We Knew It. Orlando, Florida:
Harcourt, 2006. Print.
Tales that Contradict Known Laws of Nature:
Niven, Larry. Ringworld. New York: Ballantine Books, 1970.
Print.
Utopias, Dystopias, and Anti-utopias:
Atwood, Margaret. The Handmaids Tale. Toronto, Canada:
McClelland and Stewart, 1985. Print.
Bradbury, Ray. Fahrenheit 451. New York: Ballantine Books,
1953. Print.
Gibson, William. Neuromancer. New York: Ace, 1984. Print.

Lowry, Lois. The Giver. New York: Houghton Mifflin, 1993. Print.
Westerfeld, Scott. Uglies. New York: Simon Pulse, 2011. Print.
Other Worlds or Alternative Histories:
Adams, Douglas. The Hitchhikers Guide to the Galaxy. London:
Pan Books, 1979. Print.
Scalzi, John. Old Mans War. New York: Tor Books, 2005. Print.
Westerfeld, Scott. Leviathan. New York: Simon Pulse, 2009.
Print.

List of Resources
Books about Science Fiction:
Bould, Mark, Andrew M. Butler, Adam Roberts, and Sherryl Vint. Fifty
Key Figures in Science Fiction. New York: Taylor and Francis,
2009. eBook Library. 2 May 2014.
Lacey, Lauren J. The Past That Might Have Been, The Future That
May Come: Women Writing Fantastic Fiction, 1960s to the
Present. Jefferson, North Carolina: McFarland, 2014. eBrary.
Web. 2 May 2014.
Roberts, Adam. Science Fiction: The New Critical Edition. 2nd ed. New
York: Routledge, 2006. Print.
Sawyer, Andy, and Peter Wright, eds. Teaching Science Fiction. New
York: Palgrave Macmillan, 2011. eBook Library. Web. 25 Apr.
2014.
Thomas, P.L., ed. Science Fiction and Speculative Fiction: Challenging
Genres. Boston: Sense Publishers, 2013. Springer Link. Web. 23
Apr. 2014.
Books about Fantasy:
Dial-Driver, Emily, Sally Emmons, and Jim Ford. Fantasy Media in the
Classroom: Essays on Teaching with Film, Television, Literature,
Graphic Novels, and Video Games. Jefferson, North Carolina:
McFarland & Co., 2012. Print.
Huang, Lucia. American Young Adult Novels and Their European
Fairy-Tale Motifs. New York: Peter Lang, 1999. Print.
Indick, William. Ancient Symbology in Fantasy Literature: A
Psychological Study. Jefferson, North Carolina: McFarland &
Co., 2012. Print.
James, Edward, and Farah Mendlesohn, eds. The Cambridge
Companion to Fantasy Literature. Cambridge: Cambridge
University Press, 2012. Print.
MacRae, Cathi Dunn. Young Adult Fantasy Fiction. New York: Twayne
Publishers, 1998. Print.

Books about Science Fiction and Fantasy:

Gunn, James. Paratexts: Introductions to Science Fiction and Fantasy.
Norwalk, Connecticut: Easton Press, 2013. Print.
Kelleghan, Fiona. Classics of Science Fiction and Fantasy Literature.
Pasadena, California: Salem Press, 2002. eBook Collection. Web.
2 May 2014.

Reference Books:
Buker, Derek M. The Science Fiction and Fantasy Readers Advisory:
The Librarians Guide to Cyborgs, Aliens, and Sorcerers.
Chicago: American Library Association, 2002. Print.
Burgess, Michael, and Lisa R. Bartle. Reference Guide to Science
Fiction, Fantasy, and Horror. Westport, Connecticut: Libraries
Unlimited, 2002. Print.
DAmmassa, Don. Encyclopedia of Fantasy and Horror Fiction. New
York: Facts on File, 2006. Print.
DAmmassa, Don. Encyclopedia of Science Fiction. New York: Facts on
File, 2005. Print.
Lynn, Ruth Nadelman. Fantasy Literature for Children and Young
Adults: An Annotated Blibligraphy. New Providence, New
Jersey: Bowker, 1995. Print.
Prucher, Jeff. Brave New Worlds: The Oxford Dictionary of Science
Fiction. Oxford: Oxford University Press, 2007. Print.
Stableford, Brian. The A to Z of Science Fiction Literature. Lanham,
Maryland: Scarecrow Press, 2005. Print.
Stableford, Brian. Historical Dictionary of Fantasy Literature.
Lanham, Maryland: Scarecrow Press, 2005. Print.
Books about Teaching Young Adult Literature:
Bucher, Katherine, and KaaVonia M. Hinton. Young Adult Literature:
Exploration, Evaluation, and Appreciation. 2nd ed. Boston: Allyn
and Bacon, 2010. Print.

Groenke, Susan L., and Lisa Sherff. Teaching YA Lit through

Differentiated Instruction. Urbana, Illinois: NCTE, 2010. Print.
Herz, Sarah K., and Donald R. Gallo. From Hinton to Hamlet: Building
Bridges between Young Adult Literature and the Classics. 2nd ed.
Westport, Connecticut: Greenwood Press, 2005. Print.
Tomlinson, Carl M., and Carol Lynch-Brown. Essentials of Young Adult
Literature. New York: Pearson Education Inc., 2007. Print.

Works Cited
Booker, Keith M., and Anne-Marie Thomas. The Science Fiction
Handbook. Somerset, New Jersey: Wiley-Blackwell. 2009. eBook
Library. Web. 26 Mar. 2014.
Bucher, Katherine, and KaaVonia M. Hinton. Young Adult Literature:
Exploration, Evaluation, and Appreciation. 2nd ed. Boston: Allyn
and Bacon, 2010. Print.
Gates, Pamela S., Susan B. Steffel, and Francis J. Molson. Fantasy
Literature for Children and Young Adults. Lanham, Maryland:
The Scarecrow Press, Inc., 2003. Print.
Groenke, Susan L., and Lisa Sherff. Teaching YA Lit through
Differentiated Instruction. Urbana, Illinois: NCTE, 2010. Print.

Herz, Sarah K., and Donald R. Gallo. From Hinton to Hamlet: Building
Bridges between Young Adult Literature and the Classics. 2nd ed.
Westport, Connecticut: Greenwood Press, 2005. Print.
MacRae, Cathi Dunn. Presenting Young Adult Fantasy Fiction. New
York: Twayne Publishers, 1998. Print.
Probst, Robert E. Response and Analysis: Teaching Literature in
Junior and Senior High School. Portsmouth, New Hampshire:
Boynton/Cook Publishers, 1988. Print.
Tomlinson, Carl M., and Carol Lynch-Brown. Essentials of Young Adult
Literature. New York: Pearson Education Inc., 2007. Print.