I Am Number Four

Use these questions or activities to help gauge students’ familiarity with and spark their interest in the context of the work, giving them an entry point into the text itself.

Short Answer

1. According to Enlightenment philosopher John Locke’s “memory theory,” a person’s identity is inseparable from their memory. What are some real-world examples that support this philosophical theory?

Teaching Suggestion: Students may have heard of John Locke only indirectly; it may be helpful to provide a brief overview of Locke’s “memory theory,” and students might refer to the links below or similar resources for additional context. In Locke’s theory, personal identity and memory are inextricably intertwined; Four establishes that power of The Connection Between Memory and Identity throughout the novel.

• Stanford Encyclopedia of Philosophy’s “Locke on Personal Identity” provides an overview of Locke’s “memory theory.”
• BBC Radio 4’s “John Locke on Personal Identity” condenses Locke’s theory in a 2-minute video. (Teacher-appropriate; not student facing without teacher guidance due to mature content.)

Differentiation Suggestion: For advanced classes or those who might benefit from additional philosophical discussion, students might review the counterargument to Locke’s theory; Scientific American’s “Morals, Not Memories, Define Who We Are” posits that our sense of right and wrong defines who we are, as opposed to our history. Students might provide rationale for the argument they find more compelling.

2. Throughout history, philosophers, ethicists, and religious leaders have grappled with ideas regarding morality in trying to figure what makes a person “good” or “evil.” What are some popular theories from philosophy, psychology, or world religions as to what makes a person “good” or “evil”? Can someone ever be purely “good” or “evil”?

Teaching Suggestion: I Am Number Four includes a popular literary theme: The Triumph of Good Over Evil. With the prompt, students have a chance to think broadly about the nature of this juxtaposition, drawing from a variety of disciplines. For example, students might reference the “evil” figures they have learned about in history classes; from literature classes, they might list “good” characters from classic or popular works. This conversation will provide a wide scope for making connections to the battle between Four and his battle against the Mogadorians as students read the novel.

• Stanford Encyclopedia of Philosophy’s “The Concept of Evil” defines and explores why we need the concept of “evil” in order to have “good.”
• CrashCourse’s 10-minute video “The Problem of Evil: Crash Course Philosophy #13” discusses the question of “good” versus “evil” by asking: Why is there evil? (Content Warning: Subjects discussed include higher powers, God, religions, theists, and atheists.)

Personal Connection Prompt

This prompt can be used for in-class discussion, exploratory free-writing, or reflection homework before reading the text.

There are moments in our lives when, despite our best-laid plans, things go awry. In these potentially difficult moments, many draw upon hope to help get through tough times. Reflect upon a moment in your life when you felt hope. How did you cultivate hope? What impact does hope have on you?

Teaching Suggestion: There are numerous moments in the book when circumstances seem hopeless for Four and for the people of Lorien—and yet, as Henri suggests, it is important to try to find Hope When All Seems Lost. Due to the potentially sensitive nature of the prompt, a private, independent response such as journaling may be the best approach. Students may prefer to respond with examples based on observed experiences or examples from literature or history instead of personal examples.

• The poem “won’t you celebrate with me” by Lucille Clifton speaks to the notion of hope and resilience.
• The poem “‘Hope’ is the thing with feathers” by Emily Dickinson suggests what it means to have hope.

Differentiation Suggestion: For a more creative approach, students might transform their response to the initial prompt into a poem that uses less prose and more abstraction and metaphor.