FredI'll help you track how this story uses a grown narrator looking back to explore class, friendship, and the weight of a single act of cowardice. Read closely, use the exact words, and I'll push your thinking toward high-school-level analysis.
📖 Fiction anchor + 1 paired text✍️ Simple, compound, and complex sentences🔎 Characterization, theme, point of view, and tone
ELA · Fiction · Grade 9 · Transition to High School
The Kite Maker
A FlyingMinds story (inspired by the spirit of Chimamanda Ngozi Adichie's "Apollo")
Grade 9Lexile ~1060FriendshipClassRegret
📋 Lesson Overview
Title
The Kite Maker
Grade level
Grade 9 · Lexile ~1060
Main fiction text
The Kite Maker by FlyingMinds (an original story inspired by the spirit of Chimamanda Ngozi Adichie's "Apollo")
Paired text
1 informational text by FlyingMinds Staff: Why We Remember Our Regrets
Central question
How can a single childhood choice reveal the lines of class and loyalty — and why do some regrets stay with us for life?
Skills covered
Comprehension · Inference · Characterization · Point of view (retrospective narration) · Author's craft & theme · Vocabulary in context · Sentence construction (simple, compound, complex) · Evidence-based writing · Compare/contrast
When this lesson is hosted on FlyingMinds, the copied link will automatically match the live lesson URL.
🌱 Before You Read
📚 Background
This original FlyingMinds story is written in the spirit of Chimamanda Ngozi Adichie's "Apollo," in which a privileged child and the son of a household worker form an unexpected friendship that a single act of childhood cowardice destroys. Here, the narrator looks back from adulthood at his boyhood friendship with Tariq, the gardener's son, built around the making and flying of kites — and at the moment he stayed silent to save himself. The story uses retrospective narration (an older narrator examining his younger self) to explore class, loyalty, and lasting regret.
As you read, track two things: the small ways the world separates the narrator from Tariq by class, and the difference between what the boy did and what the grown narrator now understands.
❓ Essential Question
How can a single childhood choice reveal the hidden lines of class and loyalty — and why do some regrets stay with us for the rest of our lives?
🔮 QUICK PREDICTION
Fred asks: Two boys from very different backgrounds become close friends in secret. What do you predict might pull them apart?
Sentence starter: I predict they will be pulled apart by __________, because __________.
✅ Before Reading Activities
π§ Think Critically
As you read, donβt just follow what happens β ask why. What is the author doing, whatβs your evidence in the text, and how would you defend your answer to someone who disagrees?
1. Have you ever stayed silent to protect yourself when you should have spoken up?
2. Can people from very different social classes be true friends?
3. Do small childhood choices ever follow us into adulthood?
📒 Key Vocabulary Preview
Word
What it means before you start
privileged
having special advantages because of wealth or social position
complicit
involved in a wrongdoing, often by staying silent or helping it along
remorse
deep regret or guilt for something one has done
reticent
reserved; unwilling to speak or reveal one's thoughts
fleeting
lasting only a very short time
📖 First Read — Get the Story
Read straight through. After every couple of paragraphs, a quick checkpoint makes sure the story is landing before the next part unlocks. The open Ask Fred boxes are just for thinking — they never block you.
[1]
My own children are too young yet for kites, but last Sunday I bought one anyway, from a stall at the edge of the market — a cheap diamond of pink paper on a plastic spine. I told my wife it was for the boys. The truth is that I stood in the park alone that evening, letting out the string, and the moment the kite caught the wind and pulled, I was nine years old again, and Tariq was beside me, laughing, and I had not yet done the thing I did.
I have carried it for almost thirty years now. People say children forget. I have forgotten the names of teachers, of streets, of half the books I loved. I have not forgotten the look on Tariq's face when he waited for me to speak, and I did not.
[2]
We lived, in those days, in a large house behind a white wall, the kind of house with more rooms than people. My father was often away; my mother kept the household the way a captain keeps a ship, and I was an only child, privileged and lonely in equal measure. I had everything a boy could be given and no one my own age to give it to.
Then, the summer I turned nine, a new gardener came to tend the grounds, and he brought his son. Tariq was my age almost to the month. He wore his older brother's shirts and a pair of rubber sandals mended with wire, and he could do something I had never seen anyone do: he could make a kite out of almost nothing — a sheet of paper, two slivers of bamboo, a paste of flour and water — and make it fly higher than the house.
🔑 Checkpoint 1
Who is telling the story, and from what point in time?
[3]
I begged him to teach me. At first he was reticent — a gardener's son did not simply sit down with the family's child — but boys are quicker than their parents at forgetting which side of a wall they belong on, and within a week the two of us were spending every hot afternoon on the flat roof above the storerooms, where no one thought to look. He showed me how to balance the spine, how to judge the bridle, how to feel the wind through the string like a pulse. My kites crashed and tore; he mended them without a word and handed them back. When one of mine finally flew, he was happier than I was.
Those afternoons were the best of my childhood. We talked about everything and nothing — what we would be, where the wind came from, whether the hawk that circled the water tank was the same hawk each day. For a few weeks I forgot, entirely, that the world had decided we were not the same.
[4]
The world had not forgotten. My mother noticed the flour missing from the kitchen, the paper gone from my father's study, the hours I could not account for. "You spend a great deal of time with the gardener's boy," she said one evening, not unkindly, but in the smooth tone she used for settling things. "He seems clever. But he is not a suitable friend for you, and you must not encourage him above his place. People talk."
I said nothing, which she took for agreement. I did not stop seeing Tariq; I simply learned to lie about it, and in learning to hide him I learned, without knowing the word for it, a quiet condescension — the sense that our friendship was a gift I was giving him, and could take back.
🔑 Checkpoint 2
What brings the two boys together?
[5]
The thing happened on a still grey afternoon when there was no wind for kites. To pass the time I had taken Tariq, against every rule, into the front rooms of the house — I wanted, I think, to show him that I was not afraid, though of course I was. On a low table in the hall stood my mother's most prized possession: a porcelain horse, pale and fragile, brought from far away, that I had been forbidden to touch since I could walk.
I was the one who picked it up. I wanted Tariq to see it, to hold it; I was showing off. It was in my hands when my mother's footstep sounded on the stair, and in my panic I pushed it at Tariq — "here, take it" — and his unready hands fumbled, and the horse fell, and broke into three clean pieces on the floor.
🧠 INTERRUPTION QUESTION
Fred asks: The narrator says he picked up the horse and pushed it at Tariq, yet the horse breaks in Tariq's hands. Why is the writer so careful to show us exactly whose fault it really is, just before the mother arrives?
Sentence starter: The writer makes the real fault clear because __________, which prepares us to judge __________.
Fred's model answer: The writer is careful to fix the blame on the narrator — "I was the one who picked it up... I was showing off" (paragraph [5]) — so that the reader knows the truth before the mother does. The horse only ends up in Tariq's "unready hands" because the narrator "pushed it at" him in a panic (paragraph [5]). By making the real fault unmistakable, the writer sets a moral test: whatever the narrator says next, we will measure it against what we know actually happened. It primes us to judge his honesty, not the accident.
[6]
My mother stood in the doorway and looked at the three pieces, and then at the two of us. "Who did this?" she said. She was not looking at Tariq. She was looking at me, and her face already held the answer she expected and wanted: that the gardener's boy, brought where he did not belong, had broken what was precious.
Tariq did not speak. He looked at me. He had a way of waiting, quiet and steady, that gave a person room to do the right thing. All I had to say was three words: It was me. I felt them in my mouth. And then I felt my mother's eyes, and my fear of her, and the whole weight of the white wall and the many rooms, and I lowered my gaze to the broken horse and said nothing at all. My silence spoke. It said everything I was too much of a coward to say aloud.
🔑 Checkpoint 3
How does the porcelain horse come to break?
[7]
It was over very quickly, the way the worst things are. Tariq was sent from the house that same hour. By the end of the week his father had been let go — "we cannot keep people whose children cannot be trusted," my mother said — and a new gardener came who had no son. I was not punished. I was, if anything, comforted, gathered up and told it was not my fault, that I should be more careful about whom I allowed near our things. Every kind word was a stone added to the wall.
I never said goodbye. From an upstairs window I watched Tariq and his father carry their bundles out through the gate. At the last moment he turned and looked back at the house — not in anger, I think, but to see whether I had come. I stepped back from the glass so he would not see me, and that small retreat, the moving of my own feet away from the window, is the cruelest thing I have ever done.
[8]
I am a grown man now, with a kind wife and children of my own and a position my mother would have been proud of. I have apologized, in my life, for many small things. I have never been able to apologize for the one that matters, because I do not know where Tariq is, or whether he remembers a rich man's son who could fly the kites he built but could not, when it counted, open his mouth.
What I know is this. The lines that divide us — of wealth, of class, of whose child is "suitable" — are drawn by grown-ups, but they are kept alive by the small cowardices of children who learn to step back from the window. I learned that lesson the wrong way round, and it took me thirty years to understand it. When my own sons are old enough, I will give them kites. And I will tell them about a boy named Tariq, and about the three words I could not say, and I will hope they are braver than I was.
📝 First Read — Quick Check
Read each item carefully. For Part A and Part B questions, answer Part A first, then choose the evidence that best supports your answer.
RL.9-10.1
PART A
1. Part A: Why do the two boys at first seem unlikely friends?
RL.9-10.1
PART B
2. Part B: Which quotation best supports the answer to Part A?
RL.9-10.3
PART A
3. Part A: When the horse breaks, what does the narrator do?
RL.9-10.1
PART B
4. Part B: Which quotation from paragraph [6] best supports the answer to Part A?
🔍 Second Read — Look Closer
L.9-10.4
VOCABULARY IN CONTEXT
5. The narrator learns "a quiet condescension — the sense that our friendship was a gift I was giving him." Here, condescension means —
RL.9-10.6
POINT OF VIEW
6. How does telling the story through an adult looking back shape its meaning?
RL.9-10.4
FIGURATIVE LANGUAGE
7. The narrator says, "Every kind word was a stone added to the wall." What does this metaphor convey?
RL.9-10.3
CHARACTERIZATION
8. The narrator calls stepping back from the window "the cruelest thing I have ever done." Why does this small act matter so much?
RL.9-10.2
THEME
9. The narrator concludes that class lines are "drawn by grown-ups, but they are kept alive by the small cowardices of children." This suggests that —
Use STEAL to track the narrator. His thoughts as a grown man ("the cruelest thing I have ever done") carry his remorse. His actions as a boy — pushing the horse, lowering his gaze, stepping back from the window — reveal his cowardice. His effect on others is devastating: his silence costs Tariq's family their home and work. Notice how the adult narrator and the boy are almost two different characters.
🧠 CLOSE INFERENCE
Fred asks: The narrator never finds Tariq again and can never apologize. Why might the writer deny him that relief — and what does the unhealed regret reveal about the story's message?
Sentence starter: The writer denies the narrator an apology because __________, which shows that __________.
Fred's model answer: The writer denies the narrator any apology because some choices cannot be undone, and that permanence is the point. The grown man admits, "I have never been able to apologize for the one that matters, because I do not know where Tariq is" (paragraph [8]). If he could simply say sorry, the story would let both him and the reader off the hook. Instead the unhealed regret — carried "almost thirty years" (paragraph [1]) — shows that a single act of cowardice can have consequences no amount of later success erases. The lesson he passes to his sons matters precisely because he can never repair his own.
📌 Close Reading — Part A / Part B
RL.9-10.2
PART A
10. Part A: Which statement best expresses a central theme of the story?
RL.9-10.1
PART B
11. Part B: Which quoted detail best supports the answer to Part A?
RL.9-10.4
PART A
12. Part A: What does the kite most clearly come to symbolize in the story?
RL.9-10.1
PART B
13. Part B: Which quoted detail best supports the answer to Part A?
✍️ Grammar — Sentence Construction
Use sentence structure to sharpen your ideas, not just to label grammar terms.
Discover
Simple sentence: one independent clause. Example: Tariq made beautiful kites.
Compound sentence: two independent clauses joined by a coordinating conjunction. FANBOYS:for, and, nor, but, or, yet, so. Example: The narrator knew the truth, but he said nothing.
Complex sentence: one independent clause and one dependent clause. Common subordinating conjunctions: because, although, when, while, since, if, after, before, unless. Example: Although it was his own fault, the narrator let Tariq take the blame.
L.9-10.1
PRACTICE
14. Which sentence is a compound sentence?
L.9-10.1
PRACTICE
15. Which revision best turns these ideas into a strong complex sentence? "The narrator was a coward. He let his friend take the blame."
Use It — Simple
Write one simple sentence about the narrator using the word remorse.
Use It — Compound
Write one compound sentence about the two boys using but or so.
Use It — Complex
Write one complex sentence explaining why the narrator stays silent.
Setting- and craft-specific support words that keep students oriented in the story's world.
🎮 Vocabulary Quiz — 4 Rounds
Each question tests a target vocabulary word directly.
L.9-10.4
ROUND 1 · MEANING
16. Someone who feels remorse feels —
L.9-10.4
ROUND 2 · CONTEXT
17. Tariq is at first reticent about the friendship. Reticent is closest to —
L.9-10.4
ROUND 3 · NUANCE
18. To be complicit in a wrong is to —
L.9-10.4
ROUND 4 · APPLICATION
19. Which sentence uses complicit most effectively?
📚 Paired Text — Why We Remember Our Regrets
Genre: FlyingMinds Staff informational text
[1] Most of the small events of childhood fade. Yet many adults can name, in vivid detail, a moment of shame or failure from decades ago. Psychologists who study memory have found that this is not an accident: emotion, and especially guilt, acts like a highlighter for the brain, making certain memories far more durable than ordinary ones.
[2] Researchers draw a useful distinction between regrets of action — things we did and wish we hadn't — and regrets of inaction — things we failed to do. Studies suggest that, over a lifetime, it is the regrets of inaction that tend to haunt people most. The chance not taken, the word not spoken, the friend not defended: because these can never be tested or repaired, the mind returns to them again and again, replaying what might have been.
[3] This is not only painful; it can be useful. Psychologists note that lasting regret often becomes a person's clearest moral teacher. Adults frequently say they learned more about the kind of person they want to be from one remembered failure than from a dozen successes. The memory that will not fade, in other words, can quietly shape every choice that comes after it.
RI.9-10.1
PAIRED TEXT
20. According to the paired text, why do some childhood memories stay so vivid?
RI.9-10.3
TEXT CONNECTION
21. How does the paired text's idea about "regrets of inaction" connect to the story?
RI.9-10.2
PART A
22. Part A: What is the main idea of the paired text?
RI.9-10.1
PART B
23. Part B: Which sentence from the paired text best supports that main idea?
✍️ Writing
Use evidence, not just opinions. Strong writing shows both clear thinking and close reading.
Prompt A — Author's Craft
How does the writer use an adult narrator looking back to deepen the meaning of a childhood betrayal?
Use this structure: Point · Context and actual evidence · Explanation. Include at least one exact quotation with its paragraph number, and, if it helps, one idea from the paired text.
Prompt B — Theme
What does the story suggest about how unjust social divisions are kept alive — and about the cost of staying silent?
Sentence starter: The story suggests that unfair divisions survive because __________, and that silence __________.
Prompt C — Sentence Lab
Write three original sentences about the story:
one simple sentence using remorse
one compound sentence about the two boys
one complex sentence explaining why the friendship ends
🧠 Think Deeper
No teacher needed — Fred coaches every task here. Work through the analogies, then argue both sides, then carry the idea into the real world.
🔗 Analogies · reasoning
Part 1 — Analogies
Find the relationship in the first pair, then pick the choice that repeats it. These are auto-graded and explained.
Reasoning
KITE : STRING :: ?
Pick the pair with the same relationship — something that soars, held to earth by a single fragile connection.
Reasoning
THE NARRATOR'S SILENCE : TARIQ'S PUNISHMENT :: ?
Pick the pair where doing nothing still causes real harm to someone else.
Reasoning · L.9-10.4
REMORSE : GUILT :: RETICENT : ?
⚖️ Argue both sides · dialectic
Part 2 — Argue Both Sides
The narrator was only nine years old and terrified of his mother. Should he be held fully responsible for staying silent — or was he too young to be blamed?
Do this: write the strongest case for each side using a quotation, then end with your own verdict. Structure: On one hand… On the other hand… I conclude…
Fred's two-sided model: Fully responsible: The narrator knew the truth and felt the words "in my mouth" — "All I had to say was three words: It was me" (paragraph [6]) — yet chose silence and even "stepped back from the glass" so Tariq would not see him (paragraph [7]). He understood right from wrong and still let an innocent friend's family lose their home. Too young to blame: He was nine, alone, and frightened of a powerful parent and "the whole weight of the white wall" (paragraph [6]). Adults built the class system and his mother engineered the outcome she "expected and wanted"; a terrified child is not the architect of that injustice. Verdict: The strongest view holds the boy partly but not wholly responsible: his silence was a real moral failure, yet the adults who created the divide and pressured him bear the larger share — which is why the grown narrator, not the child, carries the lesson forward.
🌍 Real-world transfer
Part 3 — Carry It Into the Real World
The narrator's worst act was a silence — failing to speak up for someone being treated unfairly. Describe a real situation — at school, online, or in the news — where staying silent allows harm, and connect it to the story and the paired text.
Sentence starter: A real situation where silence allows harm is __________. This connects to The Kite Maker because __________.
Fred's model: A real parallel is bystander behavior in bullying: studies show that harm continues largely because onlookers, afraid of becoming targets themselves, stay quiet — while a single person speaking up can stop it. That mirrors the narrator, who had only to say "It was me" (paragraph [6]) but chose the safety of silence and let Tariq's family suffer. The paired text explains why such moments stick: "regrets of inaction... tend to haunt people most." The story and the article together argue that staying silent is itself a choice — and often the one we regret longest.