Objectives

• Analyse how Momaday uses fragmented chronology and shifting point of view across the four named sections to represent Abel's psychological dislocation.
• Identify and interpret the specific ceremonial and biblical language in Tosamah's sermons (Chapters 8–9) and explain how it positions competing claims about Indigenous identity.
• Trace the motif of running — from the prologue (Chapter 1) to the dawn run (Chapter 14) — and write an evidenced argument about what Abel's physical movement signifies at each stage.
• Evaluate how Benally's first-person narration in Chapters 10–12 constructs Abel as both victim of federal relocation policy and agent of his own choices.
• Write a sustained analytical essay that integrates at least four quotations from across the novel and deploys a clear line of argument about identity, language, or return.

The sequence

1. Lesson 1: A Homecoming That Doesn't Land: Abel's Return in Chapters 1–2 and 6

   55 min · ch. 1, 2, 6

   Do now

   Without opening the novel, jot down two or three sentences recalling the first image Momaday presents in Chapter 1 and how it feels. If it doesn't come to mind, describe what you imagined the beginning of a story about a war veteran's return would look like — we can compare notes later.

   Teacher input

   Model a close reading of the reunion scene in Chapter 2, particularly the moment when Francisco sees Abel step off the bus: 'He was not the same man who had gone away.' Explore how the sentence's straightforwardness — its lack of explanation — reflects the very alienation it describes. Teach students to annotate not only for what the prose reveals but also for what it conceals, and highlight how the passive construction positions Abel as an object rather than an active participant in his own return.

   Independent task

   Re-read the passage in Chapter 6 (July 20–28) where Francisco encounters Abel on the road and observes his drunken state. Write an analytical paragraph of 150–200 words that discusses what Momaday's decision to present the scene from Francisco's perspective—rather than Abel's—accomplishes at this moment. Your paragraph should include at least two quotes from Chapter 6, reference one piece of evidence from Chapter 2 for comparison, and conclude with a sentence that ties your argument to the novel's overarching theme of miscommunication between generations.

   Exit ticket

   In one or two sentences, explain why Momaday might have chosen to open the novel with the running prologue in Chapter 1 rather than with the chronologically earlier homecoming scene in Chapter 2 — what does the reordering do to the reader's experience of Abel?

2. Lesson 2: The Word Made Weapon: Tosamah's Sermons on Language in Chapters 8–9

   55 min · ch. 8, 9

   Do now

   Read the opening two paragraphs of Tosamah's first sermon in Chapter 8, where he quotes the Gospel of John — 'In the beginning was the Word' — and then immediately challenges it. Without any notes, write down: what does Tosamah suggest is problematic about the way white culture uses language? Refer to the text in front of you; you have four minutes.

   Teacher input

   Model how to read Tosamah's second sermon in Chapter 9—his account of his Kiowa grandmother Aho and the Tai-me—as a counter-text to the Gospel passage. Focus on the sentence, "She was asking me to come directly into the presence of her mind and spirit." Show students how to put these two passages in dialogue: what does the oral, specific, and embodied language of Aho's story accomplish that the abstract 'Word' of John cannot? Demonstrate how to construct a comparative sentence that identifies both passages and presents a unified claim.

   Independent task

   Tosamah’s biblical quotation at the beginning of Chapter 8 serves as a critique of language that is laden with abstraction and excessive embellishment. He diagnoses this verbose style as a detachment from genuine meaning, leading to a failure in communication. For instance, he states, “the word is not the thing,” highlighting how convoluted language can obscure rather than clarify. By using Tosamah, who is both a performer and a fraud, Momaday effectively critiques the tendency to rely on ornate language that distances the speaker from authentic experience. This commentary suggests that Tosamah’s own role as a speaker reflects a deeper struggle with the authenticity of expression in both personal and cultural contexts.

   In contrast, Aho’s storytelling in Chapter 9 embodies the richness of oral tradition, preserving elements that written language often fails to capture. Aho’s narrative emphasizes the immediacy and emotional connection inherent in spoken word, as she recounts, “the stories breathe life into the past.” This method of storytelling fosters a communal experience, where listeners engage with the narrative on a personal level. Momaday uses Aho’s character to illustrate the profound impact of oral tradition, suggesting that it retains a visceral connection to culture and identity that written words can lack. Through Aho’s storytelling, Momaday underscores the importance of preserving these oral histories, which are vital for cultural continuity and understanding.

   Exit ticket

   Write one sentence that completes this claim and defends it: 'Tosamah's sermons are not simply about language — they are also about _______, because _______.'

3. Lesson 3: Relocation and Its Wreckage: Benally's Witness in Chapters 10–12

   55 min · ch. 10, 11, 12

   Do now

   Look at the first page of Chapter 10. List every detail that Momaday describes about the physical environment of Los Angeles — the rooming house, the street, the light, the noise. Next to each detail, jot down one word that captures how it contrasts with your memories of the Walatowa landscape from Chapters 2–3. You have five minutes; this is a list, not a paragraph.

   Teacher input

   Model a reading of the passage in Chapter 11 (February 20) where Benally describes Abel lying injured on the beach after Martínez's attack. Pay close attention to Benally's syntax: the long, winding sentences filled with commas that seem to go on endlessly. Encourage students to argue that Benally's stream-of-consciousness narration reflects his struggle to process the trauma he has experienced — that the structure of his sentences reveals his feelings of trauma and helplessness, rather than being just a stylistic choice.

   Independent task

   Using evidence from Chapters 10, 11, and 12, craft a structured response of 200–250 words to the following question: how does Benally's narration frame the federal relocation program as an act of violence against Abel, even prior to Martínez's physical assault? Be sure to reference at least one specific detail from each of the three chapters, quote directly at least three times, and conclude with a sentence that reflects on whether Benally himself is also a victim of the same system he critiques.

   Exit ticket

   In two sentences, explain what Benally's choice to narrate in the present tense — even when recounting past events — adds to the reader's sense of Abel's situation that a third-person past-tense narrator could not have provided.

4. Lesson 4: The Grandfather's Voice: Memory, Land, and Ceremony in Chapters 3–4 and 13

   55 min · ch. 3, 4, 13

   Do now

   Read the first paragraph of Chapter 3, where Francisco gets up before dawn and walks on the frozen ground of Walatowa. Based on this, think about what Francisco's connection to this landscape might signify for Abel and summarize it in three sentences. Also, jot down one specific word or phrase from that paragraph that influenced your prediction.

   Teacher input

   Model a close reading of Chapter 13, where Francisco, on his deathbed, recalls running — 'He had run as a young man, and he had known what it was to run.' Teach students to interpret Francisco's fragmented memories not as confusion but as a purposeful stylistic choice: Momaday portrays the old man's mind as a ceremonial space where past and present intertwine, mirroring the novel's non-linear structure. Show how to craft a sentence that links form — the fragmented syntax — to meaning — the enduring nature of ceremonial knowledge passed down through generations.

   Independent task

   Francisco's deathbed recollections in Chapter 13 serve as a crucial form of transmission, conveying not just his personal memories but also a deeper legacy to Abel, and ultimately to the reader. For instance, he reflects on the time he "stood on the rim of the world" and recalls the "scent of the earth after rain," memories that evoke a profound connection between his identity and the land. This connection is further emphasized when we consider the landscape details from earlier chapters, such as the "endless expanse of the mesas" that shaped his youth and understanding of home. These elements illustrate a continuity in Francisco's relationship with the land, suggesting that his memories are imbued with meanings that transcend individual experience. In sharing these recollections, Francisco passes on a heritage that is intrinsic to his existence and cannot be easily articulated in English, representing a legacy of resilience and cultural depth that Abel is destined to inherit.

   Exit ticket

   Write one sentence explaining why Momaday gives Francisco's memories in Chapters 3 and 4 their own dated chapter headings — February 20 and February 27 — rather than folding them into Abel's narrative. What does the separate dating achieve?

5. Lesson 5: House Made of Dawn: The Final Run and the Whole Novel

   60 min · ch. 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14

   Do now

   Open to the last page of Chapter 14. Read the final three paragraphs quietly. After that, without revisiting any previous chapters, jot down the name of one image, one sound, and one word or phrase from another part of the novel that you feel connects with this ending. You have five minutes; rely on your memory.

   Teacher input

   Model how to construct a whole-text argument by using Abel's dawn run in Chapter 14 as the key piece of evidence. On the board, write the claim: 'Abel's final run is not a triumph but a reintegration — a return to a living ceremonial cycle rather than a resolution of his personal trauma.' Show students how to work backwards from this claim by selecting one quotation from Chapter 1 (the prologue run), one from Chapter 13 (Francisco's memory of running), and one from Chapter 14 (the Beautyway chant, 'house made of dawn'). This will help create a three-point argument that builds on the evidence instead of repeating it.

   Independent task

   Sure! Here’s a humanized version of the text you provided:

   ---

   Write a detailed analytical essay of 500–600 words in response to this prompt: 'In House Made of Dawn, Momaday depicts Abel's return to Walatowa at the novel's conclusion not as a personal victory but as an integration into a ceremonial cycle that has always been bigger than him.' To what extent do you agree with this perspective? Your essay should start with a brief introduction that clearly states your position on the question. You'll need three well-developed body paragraphs, each centered around a quote from a different section of the novel. Make sure to include at least one quote from the prologue or Chapter 1, one from Chapters 13–14, and one from any chapter in between. Finally, your conclusion should revisit the term 'reintegration' and either support, adjust, or challenge it as the appropriate term for what the ending accomplishes. Please avoid summarizing the plot. After each quotation, include a sentence that analyzes the method used and another sentence that ties your point back to your overall argument.

   ---

   Summary of Changes Made:

   • Replaced phrases for a more conversational tone while keeping the meaning intact.
   • Simplified sentence structure where possible for clarity.
   • Ensured the instructions remain clear and direct.

   Exit ticket

   Write at least two sentences answering this question honestly: which single quotation from anywhere in the novel do you think is the strongest possible piece of evidence for your essay's argument, and what would a reader who disagreed with you say about that same quotation?

Activities

Assessment

• Lesson 1 exit ticket: checks whether students can articulate the effect of Momaday's non-linear structure — specifically, why the prologue precedes the homecoming — rather than merely identifying that it is non-linear.
• Lesson 2 paragraph task: checks whether students can set two passages from different chapters in explicit dialogue and name Momaday's method, not just Tosamah's argument.
• Lesson 3 exit ticket: checks whether students understand the formal function of Benally's present-tense stream-of-consciousness narration as evidence about trauma, not merely as a stylistic label.
• Lesson 4 paragraph task: checks whether students can distinguish between Francisco's personal memory and its function as ceremonial transmission — that is, whether they can read individual detail as culturally significant.
• Lesson 5 essay draft: checks whether students can sustain a single line of argument across three body paragraphs, integrate quotations from different sections of the novel, and use the word 'reintegration' with precision rather than as a vague synonym for 'recovery'.

Standards covered

Common Core 11 12

• RL.11-12.1 — Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.
• RL.11-12.3 — Analyse the impact of the author's choices regarding how to develop and relate elements of a story or drama, including where a story is set, how the action is ordered, and how the characters are introduced and developed.
• RL.11-12.5 — Analyse how an author's choices concerning how to structure specific parts of a text contribute to its overall structure and meaning as well as its aesthetic impact.
• RL.11-12.6 — Analyse a case in which grasping a point of view requires distinguishing what is directly stated in a text from what is really meant.

AP Literature

• Literary Argumentation (LAN-1) — Develop a thesis that makes a defensible claim about an interpretation of literature and use evidence from the text to support and qualify the claim.
• Figurative Language (FIG-1) — Explain the function of specific words and phrases in context, including connotative and figurative meanings.
• Narration (NAR-1) — Explain the function of point of view, including how the choice of narrator affects the meaning of a literary work.
• Structure (STR-1) — Explain the function of structure in a text, including how an author sequences events to create meaning and aesthetic effect.

AQA

• AO1 — Read, understand and respond to texts; maintain a critical style and develop an informed personal response; use textual references, including quotations, to support and illustrate interpretations.
• AO2 — Analyse the language, form and structure used by a writer to create meanings and effects, using relevant subject terminology where appropriate.
• AO3 — Show understanding of the relationships between texts and the contexts in which they were written and received.
• AO5 — Communicate clearly, effectively and imaginatively, selecting and adapting tone, style and register for different forms, purposes and audiences.

IB Lit

• Criterion A — Knowledge, understanding and interpretation: demonstrate detailed knowledge of the text and develop a persuasive interpretation supported by well-chosen evidence.
• Criterion B — Analysis and evaluation: analyse how the author's stylistic choices — including structure, point of view, and figurative language — create meaning and effect.
• Criterion C — Focus and organisation: sustain a clear line of argument across the response with effective use of topic sentences and transitions.

Edexcel

• AO1 — Articulate informed, personal and creative responses to literary texts, using associated concepts and terminology, and coherent, accurate written expression.
• AO2 — Analyse ways in which meanings are shaped in literary texts, with particular attention to the relationship between form, structure, and language.
• AO4 — Explore connections across literary texts, informed by interpretation of relationships between texts and contexts.