Dead Man Thinking

Dead Man Walking invites us deep into the inner workings of the American criminal justice system—and into the hearts and minds of the characters who populate it. Part of the tremendous difficulty of Sister Helen’s task as Joseph De Rocher’s spiritual advisor is to come to her own understanding of his personality and psychology, to recognize how others perceive him, and to discover how Joseph understands his own violent past and doomed future.

In this activity, which can be completed before or after a screening of the opera, students will analyze the passages from Sister Helen Prejean’s memoir that form the basis of Heggie’s opera. Then, they will listen to excerpts from the opera to assess how Joseph is perceived by others and perceived by himself, setting the stage for a creative “open-mind” portrait that plumbs the psychological depths of Dead Man Walking.

STEP 1. READ

Divide your class into two groups. Distribute the two excerpts from Dead Man Walking (1993) included with this guide. In previewing these excerpts, explain to students that the opera is based on the events described in this book, which was written by the nun who experienced them. These excerpts should be treated as nonfiction. Additionally, it might be helpful to share (or ask students to briefly write about) these words from Sister Helen Prejean’s afterword: In describing her writing of the book, she said, “I’d have to ‘walk a razor’s edge on every page,’ holding within myself the horror of the killings while at the same time descending into the horror of watching the convicted man strapped down and killed before my eyes.”

Before students begin reading, make sure each has two different-colored pencils or markers. As students in group one read the excerpts, ask them to color code the text, marking evidence that demonizes the perpetrator in one color and evidence that humanizes him in another. As students in group two read the excerpts, ask them to color code the text, marking perceptions that other people have about him in one color and perceptions that he has about himself in another.

STEP 2. COMPARE

Once each group has finished color coding the excerpts, ask students to partner with someone from the other group for a pair-share. Ask students to compare their color coding and discuss the following questions:

• What do they notice?
• Are there any similarities in coloring?
• What is the relationship between evidence used either to demonize or humanize the prisoner and the source of those descriptions?

At the conclusion of the pair-share, ask partners to share their insights in a whole-class conversation.

STEP 3. LISTEN

As you transition from text to opera, it is important for students to understand that the characters’ names in the text are different from those in both the award-winning film and opera. In the book, Sister Helen tells the story of two men, Patrick Sonnier and Robert Lee Willie. In the film and operatic adaptations, these two characters are merged into one man.

Next, distribute the “Active Listening” handout and invite students to listen to the eight audio tracks in order (Tracks 4 through 11). Ask them to consider what is revealed about Joseph De Rocher along four axes: external perception (what others think of him); self-perception (what he thinks of himself); character traits (his personality or general attributes); and grief or catharsis (whether he can achieve emotional release and spiritual renewal). Students should place their evidence on the chart provided.

This activity could easily be done as a whole class or as a jigsaw, with different groups of students being responsible for different tracks followed by a class discussion.

STEP 4. TRANSLATE

Using their observations from the charts that they have just completed, students will make an “open-mind” portrait, which is a graphic representation of a character-analysis essay. Students should select colors, icons, and images that represent Joseph De Rocher’s character. One side of the open mind should depict how others perceive him: De Rocher’s visible, projected external self. The other side should reflect his inner self: De Rocher’s private interior.

On each side of the open mind portrait, students should write and draw thoughts, feelings, and images that represent the character as morally ambiguous but complexly human, including his motivations, personality, and perceptions. Students’ image choice and placement should employ complex symbolism that effectively conveys an understanding of the character. Students should also attend to the visual appeal of their open-mind portraits.

For a homework assignment, students can also include a written explication or key explaining their choices and connecting their symbols and images to specific evidence from Dead Man Walking. You can also display all the open-mind portraits around the classroom and have students go a gallery walk. Then, have students share something that they learned from another classmate’s portrait or submit a written response to the exercise.