AP English Language and CompositionSummer Assignments

Teacher: Virginia RichardEmail: VRichard@bcps.orgCell Phone: 410-292-7995 (Available 9 am to 9 pm)If you text me, inlude your name in the message.

First Text for Fall 2017:The Scarlet Letter Paperback by Nathaniel Hawthorne

AP 11 Language and Composition: Things to Do ListTask CompletedSelect BookSeek Approval from Ms. Richard via email (vrichard@bcps.org)Buy BookMake FlashcardsRead and Annotate BookWatch Frontline #1Context Log #1Watch Frontline #2Context Log #2

Favorite Edition of The Scarlet Letter: ISBN-13: 9780143105442 Publisher: Penguin Publishing Group Publication date: 8/25/2009

Note: While I do have copies of the book, it can be helpful to have a copy to annotate. You can purchase any version!

Summer Assignments: ALL assignments are due September 05/06.

Part I: Terminology for AP Language and Composition

Directions: Familiarize yourself with the literary terms listed below by creating

flashcards using 3x5 index cards. Place or write the literary term on one side and

the definition on the reverse side of the card. When you return to school in the fall,

please be prepared to provide an example of each term.

Alliteration: The repetition of the same sound or letter at the beginning of consecutive words or syllables.Allusion: An indirect reference, often to another text or an historic event.Analogy: An extended comparison between two seemingly dissimilar things.Anaphora: The repetition of words at the beginning of successive clauses.Anecdote: A short account of an interesting event.Annotation: Explanatory or critical notes added to a text.Antecedent: The noun to which a later pronoun refers.Antimetabole: The repetition of words in an inverted order to sharpen a contrast.Antithesis: Parallel structure that juxtaposes contrasting ideas.

Aphorism: A short, astute statement of a general truth.Appositive: A word or phrase that renames a nearby noun or pronoun.Archaic diction: The use of words common to an earlier time period; antiquated language.Argument: A statement put forth and supported by evidence.Aristotelian triangle: A diagram that represents a rhetorical situation as the relationship among the speaker, the subject, and the audience (see rhetorical triangle).Assertion: An emphatic statement; declaration. An assertion supported by evidence becomes an argument.Assumption: A belief or statement taken for granted without proof.Asyndeton: Leaving out conjunctions between words, phrases, clauses.Attitude: The speaker’s position on a subject as revealed through his or her tone.Audience: One’s listener or readership; those to whom a speech or piece of writing is addressed.Authority: A reliable, respected source—someone with knowledge.Bias: Prejudice or predisposition toward one side of a subject or issue.Cite: Identifying a part of a piece of writing as being derived from a source.

Claim: An assertion, usually supported by evidence.Close reading: A careful reading that is attentive to organization, figurative language, sentence structure, vocabulary, and other literary and structural elements of a text.Colloquial/ism: An informal or conversational use of language.Common ground: Shared beliefs, values, or positions.Concession: A reluctant acknowledgment or yielding.Connotation: That which is implied by a word, as opposed to the word’s literal meaning (see denotation).Context: Words, events, or circumstances that help determine meaning.Coordination: Grammatical equivalence between parts of a sentence, often through a coordinating conjunction such as and, or but.Counterargument: A challenge to a position; an opposing argument.Declarative sentence: A sentence that makes a statement.Deduction: Reasoning from general to specific.Denotation: The literal meaning of a word; its dictionary definition.Diction: Word choice.Documentation: Bibliographic information about the sources used in a piece of writing.

Elegiac: Mournful over what has passed or been lost; often used to describe tone.Epigram: A brief witty statement.Ethos: A Greek term referring to the character of a person; one of Aristotle’s three rhetorical appeals (see logos and pathos).Figurative language: The use of tropes or figures of speech; going beyond literal meaning to achieve literary effect.Figure of speech: An expression that strives for literary effect rather than conveying a literal meaning.Hyperbole: Exaggeration for the purpose of emphasis.Imagery: Vivid use of language that evokes a reader’s senses (sight, smell, taste, touch, hearing).Imperative sentence: A sentence that requests or commands.Induction: Reasoning from specific to general.Inversion: A sentence in which the verb precedes the subject.Irony: A contradiction between what is said and what is meant; incongruity between action and result.Juxtaposition: Placement of two things side by side for emphasis.Logos: A Greek term that means “word”; an appeal to logic; one of Aristotle’s three rhetorical appeals (see ethos and pathos).

Metaphor: A figure of speech or trope through which one thing is spoken of as though it were something else, thus making an implicit comparison.Metonymy: Use of an aspect of something to represent the whole.Occasion: An aspect of context; the cause or reason for writing.Oxymoron: A figure of speech that combines two contradictory terms.Paradox: A statement that seems contradictory but is actually true.Parallelism: The repetition of similar grammatical or syntactical patterns.Parody: A piece that imitates and exaggerates the prominent features of another; used for comic effect or ridicule.Pathos: A Greek term that refers to suffering but has come to be associated with broader appeals to emotion; one of Aristotle’s three rhetorical appeals (see ethos and logos).Persona: The speaker, voice, or character assumed by the author of a piece of writing.Personification: Assigning lifelike characteristics to inanimate objects.Polemic: An argument against an idea, usually regarding philosophy, politics, or religion.Propaganda: A negative term for writing designed to sway opinion rather than to present information.

Premise:A proposition upon which an argument is based or from which a conclusion is drawn; either the major or the minor proposition of a syllogism in a deductive argument.Purpose: One’s intention or objective in a speech or piece of writing.Refute: To discredit an argument, particularly a counterargument.Rhetoric: The study of effective, persuasive language use; according to Aristotle, use of the “available means of persuasion.”Rhetorical modes: Patterns of organization developed to achieve a specific purpose; modes include but are not limited to narration, description, comparison and contrast, cause and effect, definition, exemplification, classification and division, process analysis, and argumentation.Rhetorical question: A question asked more to produce an effect than to summon an answer.Rhetorical triangle: A diagram that represents a rhetorical situation as the relationship among the speaker, the subject, and the audience (see Aristotelian triangle).Satire: An ironic, sarcastic, or witty composition that claims to argue for something, but actually argues against it.Scheme: A pattern of words or sentence construction used for rhetorical effect.Simile: A figure of speech that uses “like” or “as” to compare two things.

Simple sentence: A statement containing a subject and predicate; an independent clause.Source: A book, article, person, or other resource consulted for information.Speaker: A term used for the author, speaker, or the person whose perspective (real or imagined) is being advanced in a speech or piece of writing.Straw man: A logical fallacy that involves the creation of an easily refutable position; misrepresenting, then attacking an opponent’s position.Style: The distinctive quality of speech or writing created by the selection and arrangement of words and figures of speech.Subject: In rhetoric, the topic addressed in a piece of writing.Syllogism: A form of deductive reasoning in which the conclusion is supported by a major and minor premise (see premise; major, and minor).Syntax: Sentence structure or unique punctuationSynthesize: Combining or bringing together two or more elements to produce something more complex.Thesis: The central idea in a work to which all parts of the work refer.Thesis statement:

A statement of the central idea in a work, may be explicit or implicit.Tone: The speaker’s attitude toward the subject or audience.Topic sentence: A sentence, most often appearing at the beginning of a paragraph that announces the paragraph’s idea and often unites it with the work’s thesis.Trope: Artful diction; the use of language in a nonliteral way; also called a figure of speech.Understatement: Lack of emphasis in a statement or point; restraint in language often used for ironic effect.Voice: In grammar, a term for the relationship between a verb and a noun (active or passive voice). In rhetoric, a distinctive quality in the style and tone of writing.

PART III: Nonfiction Book AnalysisThe AP English Language and Composition course suggests a strong emphasis on nonfictional texts. Because most of the selections that you are required to read during the school year are fictional novels, I am asking you to critically read a nonfiction work. Nonfiction includes the following genres: autobiography, biography, memoir, and all other accounts that are true. Assignment: Choose a full-length, nonfiction work by an American author. This assignment is due on August 24/25.

Note: Because this assignment requires that each student enrolled in the course read a different novel, it is your responsibility to email me (vrichard@bcps.org) promptly in order to “claim” the nonfiction text of your choosing. In your email, please list your top three choices; thus if your first choice has already been claimed, I can easily inform you of what is still available.

Book Options

All the President's Men by Carl Bernstein, Bob Woodward American Sniper by Chris Kyle Angela’s Ashes by Frank McCourt Animal, Vegetable, Miracle: A Year of Food Life by Barbara Kingsolver

Argo by Antonio J. Mendez; by Matt Baglio Autobiography of a Face by Lucy Grealy Beautiful Boy by David Sheff The Beauty Myth: How Images of Beauty Are Used Against Women by Naomi Wolf Black Hawk Down by Mark Bowden The Boys in the Boat: Nine Americans and Their Epic Quest for Gold at the 1936

Berlin Olympics by Daniel James Brown The Boys of Summer by Roger Kahn The Blind Side by Michael Lewis Bury My Heart at Wounded Knee by Dee Brown's The Center Cannot Hold: My Journey Through Madness Elyn R. Saks A Devil in the White City by Erik Larson The Distance Between Us: A Memoir by Reyna Grande The Double Helix: A Personal Account of the Discovery of the Structure of DNA by

James D. Watson Ph.D. Dreams from My Father: A Story of Race and Inheritance by Barack Obama Enrique's Journey by Sonia Nazario Farm City Novella Carpenter Falling Leaves Adeline Yen Mah Fast Food Nation by Eric Schlosser Flags of Our Fathers James Bradley The Freedom Writers Diary: How a Teacher and 150 Teens Used Writing to Change

Themselves and the World Around by The Freedom Writers Friday Night Lights by H.G. Bissinger Girl, Interrupted by Susanna Kaysen A Girl Named Zippy: Growing Up Small in Mooreland, Indiana by Kimmel Haven The Glass Castle by Jeannette Walls Half the Sky: Turning Oppression into Opportunity for Women Worldwide by

Nicholas D. Kristof Hand to Mouth: Living in Bootstrap by Linda Tirado Home is Where the Heart Is Geraldine Cox A Hope in the Unseen: An American Odyssey from the Inner City to the Ivy League

by Ron Suskind How Starbucks Saved My Life by Michael Gates Gill The Immortal Life of Henrietta Lacks by Rebecca Skloot Ida: A Sword Among Lions: Ida B. Wells and the Campaign Against Lynching by

Paula J. Giddings The Industries of the Future Alec Ross I Never Had It Made by Jackie Robinson, Alfred Duckett In Cold Blood by Truman Capote Into Thin Air by Jon Krakauer  Kabul Beauty School by Deborah Rodriguez Krakatoa: The Day the World Exploded: August 27, 1883 Simon Winchester The Last Boy: Mickey Mantle and the End of America's Childhood by Jane Leavy The Liar’s Club by Mary Karr Lincoln: A Life of Purpose and Power by Richard Carwardine Losing Our Way: An Intimate Portrait of a Troubled America by Bob Herbert Love in the Driest Season: A Family Memoir by Neely Tucker Lucky by Alice Sebold The Lynching of Emmett Till by Christopher Metress My Beloved World by Sonia Sotomayor

The New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle Alexander 

October Sky (The Coalwood Series #1) by Homer Hickam  The Other Wes Mooore: One Name, Two Fates by Wes Moore This Boy's Life: A Memoir by Tobias Wolff Outliers by Malcolm Gladwell The Overachievers by Alexandra Robbins The Opposite of Fate: Memories of a Writing Life by Amy Tan A Path Appears: Transforming Lives, Creating Opportunity  by Nicholas D. Kristof

and Sheryl WuDunn  The Perfect Storm by Sebastian Junger Pilgrim at Tinker Creek by Annie Dillard The Poisoner's Handbook: Murder and the Birth of Forensic Medicine in Jazz Age

New York by Deborah Blum Prozac Nation by Elizabeth Wurtzel Rachel and Her Children: Homeless Families in America by Jonathan Kozol Random Family: Love, Drugs, Trouble, and Coming of Age in the Bronx by Adrian

Nicole LeBlanc Reading Lolita in Tehran by Azar Nafisi Running with Scissors by Augusten Burroughs Savage Inequalities: Children in America's Schools Paperback by Jonathan Kozol Seabiscuit by Laura Hillenbrand The Spirit Catches You and You Fall Down Anne Fadiman The Short and Tragic Life of Robert Peace: A Brilliant Young Man Who Left Newark

for the Ivy League by Jeff Hobb Soldier Girls: The Battles of Three Women at Home and at War by Helen Thorpe The Sound of a Wild Snail Eating by Elisabeth Tova Bailey The Spirit Catches You and You Fall Down: A Hmong Child, Her American Doctors,

and the Collision of Two Cultures by Anne Fadiman Sutton by J.R. Moehringer There Are No Children Here: The Story of Two Boys Growing Up in The Other

America by Alex Kotlowitz The Zookeeper’s Wife by Diane Ackerman Unbroken: A World War II Story of Survival, Resilience, and Redemption by Laura

Hillenbrand Under the Banner of Heaven: A Story of Violent Faith by Jon Krakauer  Untamed: The Wildest Woman in America and the Fight for Cumberland Island by

Will Harlan Wasted Updated Edition: A Memoir of Anorexia and Bulimia by Marya Hornbacher The Watchmaker's Daughter: A Memoir by Sonia Taitz The Working Poor: Invisible in America by David K. Shipler Where Men Win Glory by Jon Krakauer

RequirementsPurchase your book AFTER it is approved by me. You will annotate the book. Do not highlight. The College Board does not allow highlighters during the AP Language and Composition exam, so the more comfortable you are with underlining and annotating, the better. Refer to figure 1 below to clarify the scope and expectations of the annotation assignment. Your marginal notes are what I will be grading!Why annotate a book? Like the first climber up a mountain, we annotate a book to leave ourselves a trail. We reread the books in AP Language, so it helps to leave

signposts to guide our eventual return. We also annotate a book to interact with the writer. Reading a book is not experiencing a lecture, but engaging in a conversation, and annotations force us to hold up our end of the conversation. Additionally, we annotate books to become more perceptive readers, to see what others fail to see. Of course, we also annotate books to learn what they have to teach, to make them our own. In this way, annotation is much like marking one’s territory; the book becomes ours. Finally, we annotate books to learn how to write. By observing the expressive passages written by the authors we admire, we can’t help but be inspired to improve our own writing.

Figure 1: Illustration of example annotations.

Assignment: Annotate the summer selections following these guidelines.Underlining (No highlights): Reserved for the use of various devices (metaphor, repetition, allusion, example, irony, imagery, rhetorical question, anecdote, reference, among many others), insightful points made by the author, or language that reveals the author’s intention. All instances of underlined text must be accompanied by an explanatory note in the margin clarifying why the text is underlined. These notes should be more than mere labels, such as “simile” or “weird imagery.” Your annotations should strive to understand why the writer chooses to use such devices.Stars or asterisks in the margin: Used sparingly to mark the ten or so most important passages in the book. In your mind, there is something very important about this passage: either the way it is written or what it says.(Fold the bottom corner of each page on which you use such a mark.)Writing in the margin, or at the top or bottom of the page: Records your reasons for underlining text. You might record various topics, issues, personal experiences, or current events you associate with a particular passage. You might record insights into the text or pose questions to the author. You might summarize a complicated passage into a simpler form.

Annotation Rubric: You are not required to annotate every page of each book; however, the focus and the scholarly intent of your work will be assessed using the following criteria:

AP Summer Annotation Rubric

Assessment A = 90%-100%

B = 80%-89% C = 70-79% D = 60%-

69% E = 0%-59%

Rhetorical Devices and

Text Connections

Annotations are always

detailed and include

references to rhetorical

devices and text to text, text to self, or text to

world connections.

Annotations are generally detailed and include some references to

rhetorical devices with

more references of text to text,

text to self, or text to world connections.

Annotations are

inconsistently detailed and are mostly

limited to text to text, text to self, or text to

world connections

with few references to

rhetorical devices.

Annotations consistently lack detail and do not

usually include

references to rhetorical devices or

text connections

.

Annotations are brief,

vague, and do not

demonstrate understanding of rhetorical

devices and/or text

connections.

Critical Thinking and

Understanding of

Content/Themes

Annotations reveal critical thought that deepens or extends the

reader’s appreciation of the book.

Annotations reveal a solid understandin

g of the content and

themes of the book.

Annotations are generally summative in

nature and inconsistentl

y demonstrate more than a surface level appreciation of the book.

Annotations are

superficial in nature

and do not demonstrat

e a solid grasp of the content and

major themes of the book.

Annotations lack sufficient information to demonstrate that the book

was read thoroughly or in its entirety.

Quantity of Annotations

Annotations included on

almost every page.

Annotations included on

the vast majority of

pages.

Annotations included on most pages, with gaps of only a page

or two between

annotations.

Annotations included on many pages

but with frequent gaps of several pages

between annotations

.

Annotations included on some pages with many

gaps of several pages

between annotations.

Context LogFrontline Link: http://www.pbs.org/wgbh/pages/frontline/view/

Assignment: For this assignment, you will watch two (2) episodes of Frontline, a documentary television program produced by the Public Broadcast System (PBS). The purpose of the assignment is to develop a complex understanding of the unfamiliar people, events, trends, and forces shaping your world. To begin the assignment, visit the PBS website at www.pbs.org and locate the list of FULL Episodes available online. Select two episodes of your choice and write a Context Log Entry for each of the five. You are encouraged to select episodes that investigate people and issues unfamiliar to you. Avoid the familiar; embrace the unknown.

Each Context Log Entry should be written in brief essay form and should include in its introduction the program title, producer(s), director(s), and original broadcast date.

The Context Log Entry should address several of the following questions that are most relevant to the episode:

Why is the topic relevant? Who are the important individuals, organizations, factions, nations, or cultures

that either affect the topic or are affected by it? What motivates these various individuals, organizations, factions, among

others? What key questions reveal the complexity of the topic? What other people, examples, events, issues, or problems not mentioned in the

documentary do you associate with the topic and why? Which different points of view are presented as part of the episode to reach a

complete understanding of the topic? How does each point of view give important insight into the topic not available

through other sources? Which processes are explained to reach a complete understanding of the topic? Which cause-and-effect relationships are clarified to reach a complete

understanding of the topic? How is knowledge from other fields of study (geography, biology, mathematics,

religion, history, politics, among many others) presented in the episode to achieve an in-depth examination of the topic?

What potential consequences are at stake? What solutions are proposed? What are the barriers or obstacles to the proposed solutions? What are the most logical points the documentary makes? How does the documentary attempt to have an emotional impact on the viewer

or audience? What is the objective of those people who produced and directed the

documentary? Which biases, if any, are revealed in the way the documentary is produced or

directed? How effectively or ineffectively did the producer and director accomplish their

objective?

Format: MLA format for the Context Log entries is necessary! A great resource is: https://owl.english.purdue.edu/owl/resource/747/01/

You should follow these guidelines:1. Start each log with your header, heading, and an appropriate title centered at the top of the page.2. Type in 12-point, double-spaced Times New Roman (no “multiple” spacing). No extra space should appear below the title, between lines, or after paragraphs. Only double spaced from top to bottom!3. Each entry should be about 700 words in length; that’s approximately two and a half pages with your header and heading.

Note: As of June 1, 2017, there were hundreds of full episodes available for viewing. You should not mistake the menu of partial episodes, or brief clips, for full episode. A full episode is approximately 50-55 minutes long. You may NOT write about the Frontline: Escaping ISIS, because it is the sample.

Context Log Assignment Rubric

Introduction: 5 – Demonstrates an excellent understanding of the assignment. It has an engaging introductory sentence, context, and has a strong thesis. The title, date of release, name of producer(s) and name of director(s). The thesis is the last sentence of the introduction.4 – Demonstrates a thorough understanding of the assignment. It has an effective introductory sentence, some context, and has a good thesis. 3 - Demonstrates a good understanding of the assignment. It has an acceptable introductory sentence, limited context, and has a competent thesis. 2 - Demonstrates an understanding of the assignment. It has an introductory sentence, context and has a thesis. 1 - Demonstrates a less than competent understanding of the assignment. It has little or no introductory sentence or context. The paper may lack a thesis statement. Body Paragraphs:

5 – Demonstrates an excellent understanding of the assignment. Questions are answered fully with in depth analysis and interpretation. The answers are accurate and the writing is articulate and sophisticated. The facts are vivid, explicit, effective and multiple. There are few grammatical mistakes and overall the paper is well written. Each body paragraph has a clear topic sentence.4 – Demonstrates a thorough understanding of the assignment. Questions are answered fully with analysis and interpretation. The answers are accurate and the writing is articulate and sophisticated. The facts are vivid, explicit, and effective. There are some grammatical mistakes and overall the paper is well written. 3 - Demonstrates a good understanding of the assignment. Questions are answered with in analysis and interpretation. The answers are fairly accurate and the writing is articulate. There are a few facts. There grammatical mistakes and overall the paper is acceptable. 2 - Demonstrates an understanding of the assignment. Questions are answered fully with some analysis and interpretation. The answers are somewhat accurate and the writing is standard. There are few facts. There are many grammatical mistakes and overall the paper is poorly organized and written.

1 - Demonstrates a less than competent understanding of the assignment. It has little or no analysis. The paper may lack answers and the writing is poor. Limited facts and multiple grammatical error. Organization is poor and over quality is not present.

Conclusion:

5 – Demonstrates an excellent understanding of the assignment. It has an engaging conclusion that summarizes the evidence and connects to the thesis and body. A paraphrased thesis stamen begins the conclusion.4 - Demonstrates a thorough understanding of the assignment. It has a good conclusion that summarizes the evidence and connects to the thesis and body 3 - Demonstrates a good understanding of the assignment. It has a conclusion which restates the introduction and summarizes the evidence somewhat. 2 - Demonstrates an understanding of the assignment. It has a standard conclusion that summarizes somewhat and is poorly written. 1 - Demonstrates a less than competent understanding of the assignment. It has little or no conclusion.

EXAMPLE:Hannah Polasik

Ms. Virginia Richard

AP English 11 (B-1)

04 August 2015

Frontline: Escaping ISIS

During this episode of Frontline: Escaping ISIS, undercover video footage showed the Islamic state’s

brutal treatment of women, while also following an “underground network” that helped families escape this

terrible regime. The young captives interviewed provided first hand details about their devastating ordeal. This

episode was produced by Edward Watts and Evan Williams, directed by Edward Watts, and released on July 14,

2015. The purpose of the footage was to educate the audience about the cruel and inhumane tactics used by ISIS

against women and children.

One of the anecdotes was shared by Khalil al-Dakhi, the man responsible for helping these victims

escape ISIS. Khalil revealed, “They came into our village at 2pm on August 3 rd last year. They destroyed

houses, markets, photo stores, anything in sight.” The men took 3000 Yazidi women and children captive and

forced them into acts that were unimaginable. Some of these acts included slavery, being repeatedly raped,

beaten, and starvation.

Another point of view presented was that of a young girl who escaped. She was interviewed by Khalil

and shared her experience with ISIS men. She explains, “I was very frightened. It is better to die than stay

here.” She heard the men were killing and beheading people. They said to the women, “We are going to marry

all of you and you will become one of us.” Another young woman, Amal, age 18, was held by an ISIS

commander named Selmen and his six bodyguards. She shared horrible details of abuse: “Once all six guards

came into the room. They raped me violently through the night until the morning, they did not care. Their

smell...it will stay with me forever.” Treating any human this way, but especially a young person, is abhorrent.

Based on the abuses inflicted by ISIS, many of these young women will likely have difficulty forming trusting

and loving relationships with men in the future. Their mental and physical health has been damaged by their

interactions with ISIS. Any viewer listening to these girls would be shocked by the circumstances they have

survived and would support an end to the brutality inflicted by ISIS. As a viewer, it is impossible to not have

empathy toward the girls and women abused by ISIS.

Yet, there is some hope in the documentary thanks to the work of the “underground network”. Khalil's

cell phone number is shared with the captives and anyway they can, they contact him. A man named Faisal calls

Khalil on behalf of his 26 family members who are in the hands of ISIS. Their rescue is a dangerous operation,

requiring all of them, including children, to walk for two days in order to reach safety. These women and girls

are willing to risk their lives in order to escape ISIS. The brave members of Khalil’s crew help to rescue them,

a mission that is unimaginably dangerous. Watching family members embrace after months apart, and knowing

that not all families are lucky enough to be reunited, makes the danger worthwhile for Khalil and his friends.

The producer and director effectively accomplished the objective of showing viewers the brutal tactics

used by ISIS and the bravery of those who help captives escape from the grip of ISIS. While watching the

emotional stories in this documentary, viewers will form an attachment to the girls who have been harmed and

would likely want to help. Unfortunately, no information is provided about what viewers can do to help. The

final words of this Frontline episode are Khalil's, and he says “Even though it is dangerous, we are going to

keep going. But for now, I cannot forget how many are still in captivity.” The viewer of Escaping ISIS can

never forget those in captivity either.