a ALABAMA

Transcription

a ALABAMA

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PLOT, CO NFLICT,
A N D SETTING
• In Fiction
• In Nonfiction
• In Poetry
• In Drama
• In Media
A
story can take m any d iffe re n t shapes, but all stories share som e
basic e le m e n ts. Like a b ricklaye r b u ild in g a w all, a w rite r builds
a sto ry layer by layer. T h e w rite r m ig h t sta rt w ith an in te re stin g
character and add an im p o rtan t event. Or, he or she m igh t sta rt by
d escrib in g a place far a w ay and see w here th a t leads. If the w riter
is successfu l, th e fin ish e d sto ry w ill capture the reader’s atte n tio n
and never let go.
ACTIVITY T h in k o f one o f yo u r favo rite sto rie s— it m ig h t be based
on fa ct, such as a book a b o u t an an cien t m ystery, or pure fan tasy,
such as th e classic sto ry Alice’s Adventures in Wonderland. A sk
y o u rse lf these qu estion s:
• W h at m ade the story interesting?
• W h at did the story m ake you feel?
• W h at part o f the story do you rem em ber m ost clearly?
In a sm all group, discuss your answ ers to the questions and
consider w h a t m akes a sto ry p ow erful.
A
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Lite rature and R e ad in g Center
W ritin g Center
V o ca b u la ry and S p e llin g Center
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ALABAMA
STANDARDS
LITERARY
ANALYSIS
Preview Unit Goals
• Identify and analyze plot elem ents, co n flicts, and se ttin g
• Identify fo reshado w ing
• A n alyze narrative no nfictio n and narrative poetry
READING
• D evelop strategies for reading, inclu ding m onitoring,
visu alizin g, and co nnecting
• M ake inferences, id e n tify sequence, and trace chronological
order
• Use te xt features to com prehend inform ational te xt
• Id e n tify au th o r’s purpose
W R IT IN G A N D
GRAM M AR
• W rite a short story
• Use com m as correctly in dates, addresses, and letters
• M aintain pronoun-antecedent agreem ent
• Identify and correct sentence fragm ents and run-on sentences
SPEAKING,
LISTENING,
AND VIEWING
:
.
• Deliver a narrative speech
• Identify and analyze visual and sound elem ents in film
■ JM M S
VOCABULARY
Understand and use base w ords, root w ords, and a ffix e s
Understand and use synonym s
ACADEMIC
VOCABULARY
plot
te xt features
co nflict
inferences
se ttin g
chronological order
fo resh ad o w in g
au th o r’s purpose
What Makes a Good Story?
Can the hero save the city from danger? W ill the lost hikers fin d th e ir w a y hom e?
G ood stories have the pow er to capture ou r a tte n tio n and to keep us w o n d e rin g
ab ou t w h a t w ill happen n ext. Read on to d iscover the parts behind all good
stories, w h e th e r th o se stories unfold on televisio n , in co n ve rsatio n s w ith frien d s,
or on the pages o f our favo rite books.
a
ALABAMA
STANDARDS
Part 1: Parts of a Story
READING & LIT STANDARDS
2 Interpret literary elements and
devices
5 Analyze short stories and novels
for characteristics
T h in k ab o u t tw o very d iffe re n t stories. O ne is ab o u t a city d etective in
ch arge o f so lv in g an im p o rta n t case. T h e other is ab o u t stran ge aliens
th a t invade the planet. Even stories as d iffe re n t as th e se have so m e th in g
in co m m o n — the p arts th a t m ake th e m tick. Th e se parts are the se ttin g,
ch aracters, and co n flicts, w h ich are described in the chart.
B A S IC P A R TS
EXAM PLES
SE T T IN G
Settin g is the tim e and place o f the
action. The time can be the past,
present, or future. It can also be a
4
i» >
a tropical island in the
present day
particular season or tim e o f day. The
a city park in the year 2086
place can be anyw here in the world
a palace in England in 1547
or in your im agination.
CHARACTERS
a 12-year-old girl
Characters are the people,
anim als, or im aginary creatures
w ho take part in the action. The
m ost im portant characters are
main characters. Less im portant
characters are minor characters.
a w izard w ith m ysterious
powers
C O N F LIC T
A girl is made fun o f by
her friends, (girl vs. friends)
A conflict is the struggle that a
character faces in a story. The struggle
can be between characters or between
a character and a force o f nature,
such as the weather. A conflict can
also be w ithin a character, as he or she
struggles w ith d ifficu lt choices.
24
a rainy day on the planet
Venus
U N IT l : PLOT, CO N FLICT , AN D SETTIN G
a baseball coach
a fa m ily’s pet dog
A fam ily seeks shelter from
a storm , (fam ily vs. storm)
A boy m ust decide between
tellin g the truth and lying to
protect his frien d ’s feelings,
(telling the truth vs. lying)
M O D EL 1: S E T T IN G A N D C H A R A C T E R S
In this excerpt, a w o m an panics w h en her gran d so n D ew e y disap pears.
N otice the d etails th a t describe the tim e and place o f the action.
fro m
Novel by
Betsy Byars
She rose and moved to the open doorway where she looked out over
the golden prairie.
“D ew ey!” she called, her voice breaking w ith anxiety. “D ew eeeeeee.”
W hen there was no answer, she went back to her rocking chair.
“D ewey M artin ,” she called from her chair. “Oh, D ew eeee
After a moment she went to stand in the doorway again. For as far as
she could see there was only the prairie, the long w aving line of grass on
the horizon w ith not one single cabin or ch im ney in sight.
The sun was dropping behind the horizon, and she knew how quickly
darkness would cover the land, how q uickly the colorful prairie would
become desolate and cold.
Close Read
1. W hat can you tell about
the se ttin g in w hich the
w om an lives? Find tw o
details that describe
her surroundings. One
detail has been boxed.
2. W hat do you learn
about the w om an from
the w ay she reacts to
her gran d so n ’s absence?
Support your answer.
M O D EL 2 : C O N F L IC T
A boy nam ed A aron has ju s t le ft his villa g e to sell his fa m ily ’s goat.
W h at u n exp ected co n flict w ill he face on his jo urn ey?
fro m
Zlateh the Goat
Short story by
Isaac Bashevis Singer
The sun was shining when Aaron left the village. Suddenly the
weather changed. A large black cloud w ith a bluish center appeared in
the east and spread itself rapidly over the sky. A cold w ind blew in w ith
it. The crows flew low, croaking. A t first it looked as if it would rain,
but instead it began to h ail as in summer. It was early in the day, but it
became dark as dusk. After a w hile the h ail turned to snow.
In his twelve years Aaron had seen all kinds of weather, but he had
never experienced a snow like this one. It was so dense it shut out the
light of the day. In a short tim e their path was com pletely covered. The
w ind became as cold as ice. The road to town was narrow and w inding.
Aaron no longer knew where he was.
Close Read
1. Find three details that
convey the dangers of
the w eather. One detail
has been boxed.i
2. In your own w ords,
describe the conflict
that Aaron is facing.
W hom or w hat is the
co nflict w ith?
r e a d e r ’s w o r k s h o p
25
Part 2: What Happens in a Story?
A story is m ore than its ind ivid u al parts. The real pow er o f a sto ry com es
from the a ctio n — w h a t happens as the sto ry develops. W h ile the action
varies from sto ry to story, m ost stories fo llo w a pattern called a plot. A
plot is the series o f events in a story. A typ ica l plot b egin s by in tro d u cin g
a ch aracter w h o has a co n flict. Su sp e n se builds to a tu rn in g point as the
ch aracter tries to resolve the co n flict. Sh o rtly a fte r th e co n flict is resolved,
the story com es to a close.
M ost plots have five stages, w hich are described in the graphic. Learning
about these stages can help you keep track o f a sto ry’s events and an sw er the
question “W h at happened?” w hen som eone asks you w h a t a story is about.
TH E STAGES OF A PLO T
C L IM A X
• Is the m ost exciting
part and a turning
point
R IS IN G A C T I O N
• Show s how the
conflict becom es
more d ifficu lt
• Builds suspense
• Makes the outcom e
o f the co nflict clear
F A L L IN G A C T IO N
• Eases the tension
• Show s how the
main character
resolves the
conflict
E X P O S I T IO N
• Introduces the
setting and the
characters
• Sets up or hints
at the conflict
R E S O L U T IO N
• Reveals how
everything
turns out
• Som etim es
ends w ith a
surprise tw ist
26
U N IT l : PLOT, CO N FL ICT , A N D SE T TIN G
Reader’s Workshop
M O D EL 1: E X P O S IT IO N
This story is ab o u t a y o u n g Ja p an e se -A m e rican girl. W h at do you learn
ab ou t the se ttin g and the co n flict in the e xp o sitio n o f the story?
from
THE
BRACELET
S h o rt sto ry by
Yoshiko Uchida
It was A pril 21, 1942. The United States and Jap an were at war, and
every Japanese person on the W est Coast was being evacuated by the
government to a concentration camp. M am a, m y sister Keiko, and I
were being sent from our home, and out of Berkeley, and eventually out
of California.
The doorbell rang, and I ran to answer it before m y sister could. I
thought maybe by some m iracle, a messenger from the government
m ight be standing there, tall and proper and buttoned into a uniform ,
come to tell us it was all a terrible m istake; that we w ouldn’t have to
io leave after all.
Jm
Close Read
1. W here and w hen does
th is sto ry take place?
2. Reread the boxed
details. Explain the
co n flict that the g irl’s
fa m ily has. H ow does
the girl feel about her
situation?
M O D EL 2 : R IS IN G A C T IO N
Billy is overjoyed w h en his m other buys him a bike fo r his birthday.
W h at happens w h en Billy rides his prized possession to school? Find
out by reading this exce rp t from the risin g action o f the story.
iron, You're N o t a W IN N E R
Unless Your Picture’s in the Paper
S h o rt sto ry by
Avi
The racks were not sufficient for all the bikes, so lots of them were
just dum ped on the ground. B illy w ouldn’t do that to his bike. He
leaned it carefully against a tree. The tree being in leaf, it shaded the
bike from a too-hot sun.
On W ednesday, right after three o’clock dism issal, when B illy cam e to
collect his bike, it was gone.
At first B illy thought he had just forgotten where he had left it, and
went searching. But as more and more kids claim ed their bikes and took
off, it became obvious that his bike w asn’t just gone, it had been stolen.
Close Read
1. Describe w h at you learn
aboui^Billy’s co nflict in
the boxed lines. W hat
is B illy’s initial reaction?
2. In lines 8- 9, Billy
concludes that his
problem is worse than
he first realized. How
does the conflict become
more complicated?
27
Part 3: Analyze the Literature
Jen n y has heard stories ab ou t a ferociou s boar— a w ild p ig — th a t roam s the
w ood s near her hom e. W ill she be the first person to com e fa ce -to -fa ce w ith
the dreaded creature? Use w h a t y o u ’ve learned in this w o rk sh o p to an alyze
the plot, co n flict, and se ttin g o f this su sp e n sefu l story.
B O A R O U T JH B R E
S h o rt sto ry by
Cynthia Rylant
Everyone in Glen M organ knew there was a w ild boar in the woods
over by the M iller farm. The boar was out beyond the splintery rail
fence and past the old black Dodge that somehow had ended up in the
woods and was m issing most of its parts.
Jenny would hook her chin over the top rail of the fence, tw irl a long
green blade of grass in her teeth and whisper, “Boar out there.”
A nd there were times she was sure she heard him . She im agined him
running heavily through the trees, ignoring the sharp thorns and briars
that raked his back and sprang away trem bling.
10
She thought he m ight have a golden horn on his terrible head. The
boar would run deep into the woods, then rise up on his rear hooves,
throw his head toward the stars and cry a long, clear, sure note into the
air. The note would glide through the night and spear the heart of the
moon. The boar had no fear of the moon, Jenny knew, as she lay in bed,
15 listening.
O
20
28
ne hot sum m er day she went to find the boar. No one in Glen
M organ had ever gone past the old black Dodge and beyond, as far
as she knew. But the boar was there somewhere, between those aw ful
trees, and his dark green eyes w aited for someone.
Jenny felt it was she.
U N IT l : PLOT, CO N FL ICT , A N D SET TIN G
Close Read
Exposition (lines 1- 15)
1. W here and w hen does
this story take place?
Find three details in
lines 1- 16 that help you
to visu alize the setting.
O ne detail has been
boxed]
Close Read
Rising Action
(lines 16 - 46)
2. Explain w h at Jenny
decides to do in lines
16 - 20 . W hat co n flict do
you th in k m igh t result
from her plan o f action?
Reader’s Workshop
25
30
35
40
45
50
M oving slowly over dam p brown leaves, Jen ny could sense her ears
tingle and fan out as she listened for thick breathing from the trees. She
stopped to pick a teaberry leaf to chew, stood a m inute, then went on.
Deep in the woods she kept her eyes to the sky. She needed to be
reminded that there was a world above and apart from the trees— a
world of space and air, air that didn’t linger all about her, didn’t press
deep into her skin, as forest air did.
Finally, leaning against a tree to rest, she heard him for the first
time. She forgot to breathe, standing there listening to the stam ping of
hooves, and she choked and coughed.
C ough ed!
And now the pounding was horrible, too loud and confusing for
Jenny. Horrible. She stood stiff w ith wet eyes and knew she could always
pray, but for some reason didn’t.
He came through the trees so fast that she had no tim e to scream or
run. A nd he was there before her.
His large gray-black body shivered as he w aited just beyond the
shadow of the tree she held for support. H is nostrils glistened, and his
eyes; but astonishingly, he was silent. He shivered and glistened and was
absolutely silent.
Jenny matched his silence, and her body was rigid, but not her eyes.
They traveled along his scarred, bristling back to his thick hind legs.
Tears spilling and flooding her face, Jen ny stared at the boar’s ragged
ears, caked w ith blood. H er tears dropped to the leaves, and the only
sound between them was his slow breathing.
Then the boar snorted and jerked. But Jenny did not move.
H igh in the trees a bluejay yelled, and, suddenly, it was over. Jenny
stood like a rock as the boar w ild ly flung his head and in terror bolted
past her.
/ W h e r. . . .
i | nd now, since that summer, Jenn y still hooks her chin over the old
rail fence, and she still whispers, “Boar out there.” But when she
leans on the fence, looking into the trees, her eyes are fu ll and she leaves
wet patches on the splintery wood. She is sorry for the torn ears of the
55 boar and sorry that he has no golden horn.
But m ostly she is sorry that he lives in fear of bluejays and little girls,
when everyone in Glen M organ lives in fear of him .
3. Reread lines 21- 34.
W hat details help to
build suspense about
w h at m igh t happen
next?
4. The co nflict becom es
clear in line 36. How do
Jenny and the boar react
to each other w hen they
fin a lly meet?
Close Read
Climax (lines 47- 50)
I
5. W hat is surprising about
w h at happens at the
clim ax, or the turning
point in the story?
Close Read
Falling Action and
Resolution (lines 51- 57)
6 . The tension eases after
Je n n y ’s encounter w ith
the boar. H ow has her
im pression o f the boar
changed?
29
Before Reading
The School Play
S h o rt S to ry by G a ry So to
□
What do you F E A R most?
ALABAMA
STANDARDS
KEY IDEA H ave you ever ju m p e d at the sig h t o f a h arm less bug?
Or, m ayb e you have w a ite d a lo n g tim e to ride a roller co aster
only to change your m ind w hen it w as your turn? The th in g s that
READING STANDARDS
1 Apply strategies to comprehend
frigh ten people range from big to sm all, from livin g to n o n livin g,
2 Interpret literary elements
fro m the seen to th e u nseen. In "Th e Sch o o l Play,” a stu d e n t
and devices
stru g g le s to overcom e a
fear m an y people face.
SURVEY W h at are you m ost afraid of? Som e o f the m ost com m on
fe ars people have are listed in th e survey. Rank th e fe ars fro m
one to ten, w ith one being the th in g you are m ost afraid of. Then
survey the class to fin d out w h a t is the m ost co m m on fear in your
classroom .
S U R V E Y
fa ce
Y our F e a r s *
Rank the following fears to see what scares you the most:
Heights
Failing a Test
Spiders and Insects
Being Bullied
Being in the Dark
Airplane Rides
Dentists
Public Speaking
Thunder and Lightning
Being in a Crowd
Author Online
• LITERA RY A N A LY SIS: PLOT
Everyth in g in a sto ry hap pen s fo r a reason. The series o f
events is the sto ry ’s
True to Life G ary
plot. The plot usually fo llo w s a pattern.
Soto d raw s upon
his ch ild h o o d
m e m o rie s o f
his fa m ily and
g ro w in g up in
• Exposition intro duces the ch aracters and setting. It m ay
also hint at w h a t the conflict, or problem , w ill be.
• Rising action sh o w s h ow the co n flict develops.
• The m ost e xcitin g part, or tu rn in g point o f the story, is the
Fresno, California,
as an in sp iration
fo r his w ritin g .
He is often asked
w h a t his fa m ily
climax. The outcom e o f the co nflict is decided at this tim e.
• Tension eases d u rin g the
falling action, and e ven ts unfold
as a result o f the clim ax.
• The
resolution is the fin a l point in the plot, in w h ich the
G a r y s o to
th in k s ab o u t his
w ritin g . He jo ke s th a t th e y d o n ’t read
m uch o f his w ork, “so th e y ’re not fu lly
aw are o f how th e y ’ve been brought to
the page.”
reader learns h ow e v e ryth in g tu rn s out.
A s you read “The School Play,” notice w h a t occurs in each
stage o f the sto ry ’s plot.
• READ IN G STRATEGY: M O N ITO R
A Star Is Born A t age ten, Soto w as
Have you ever read h a lfw a y th ro u gh a sto ry and realized
ca st in his sch o o l play. He had to
rem em ber one line: “ I have the glasses.”
But he w as so fascinated w ith the fake
beard he w a s w e a rin g th a t he fo rg o t
w h a t to say.
you ’ve forgotten w h at you ju s t read? To avoid this problem ,
monitor y o u r re a d in g by p a u sin g o c ca sio n a lly to ch eck
your understanding. O ne w a y to m onitor is to ask yo u rse lf
q u estio n s ab ou t w h a t you are reading. So m e tim e s y o u ’ll
need to reread to fin d the answ er. O th e r tim e s y o u ’ll find
J jjj*
the an sw e r later on in the story.
A s you read “The School Play,” record q u estio n s ab o u t
M O RE A B O U T THE A U TH O R
For more on Cary Soto, visit the
Literature Center at ClassZone.com.
w h a t is h a p p e n in g in a ch art like the one show n.
M if Questions
Answers
%
W hat is inside the. cardboard box?
A V O CA B U LA R Y IN C O N TEX T
G ary Soto uses the boldfaced w ords to help relate a stu d e n t’s
experience in a school play. To see how m any w ords you know,
replace each boldfaced w ord w ith a differen t w ord or phrase.
1.
2.
3.
4.
narrative about the background.
The au d ie n ce ’s relentless ta lk in g d istracts th e actors.
A m ap o f the W est is the m ain prop in the play.
Belinda w anted to smirk w hen the actor fo rg o t his lines.
Robert’s friend gives the
Background
The Donner Party In the spring o f 1846,
a group o f m en, w om en, and children
fro m Illin o is and n earby sta te s set
o u t fo r C alifo rn ia. G eo rge and Jacob
D on n er led the group.
W h ile try in g to cross the Sierra
N evada M o un tains in eastern California,
the D o n n er Party w a s trap p ed in a
snow storm . The travelers ran out of
food, and m em bers o f the group began
d y in g o f starvatio n . In desperation,
so m e o f th e m ate the bodies o f the
dead. O n ly h a lf the people m ade it
th ro u gh th a t grim w inter.
THE SCH OOL PLAY
31
n the school play at the end o f his sixth-grade year, all R obert Suarez
had to rem em ber to say w as, “N o th in g’s w rong. I can see,” to a pioneer
w o m an , w ho w as re a lly B e lin d a L op ez. In stead o f a p io n eer w o m an ,
B elin d a w as one o f the to ugh est girls since the b e g in n in g o f th e w orld.
She w as k n o w n to slap boys an d g rin d th e ir faces in to th e grass so
th at th ey bit into ch un ks o f w o rm y earth . M ore th an once R ob ert had
w itn essed B e lin d a sta rin g do w n th e ja n ito r’s p it b u ll, w h o lic k e d his
frothin g chops but d id n ’t dare m ess w ith her. ©
T h e class rehearsed for three w eeks, at first w ith o u t costum es. E arly
one m o rn in g M rs. B u n n in w obbled into the classroom lu g g in g a large
c ard b o ard box. She w ip e d her brow an d said , “T h a n k s for th e help,
R obert.”
Robert w as at his desk scribbling a b allp o in t tattoo th at spelled d u d e
on th e tops o f his k n u ck les. H e lo oked up an d stared , b lin k in g at his
teacher. “O h, d id you need some h elp ?” he asked.
ANALYZE VISUALS
X
10
32
U N IT
1:
PLOT, CO N FL ICT , A N D SE T TIN G
E xam in e the art on
page 33. In w h at w ay
do the e xaggerated
d e ta ils create a
hum orous effect?
o
PL OT: E X P O S I T I O N
W h at background
inform ation have you
learned about Robert?
20
30
40
She rolled her eyes at h im an d told h im to stop w ritin g on h is sk in .
“You’ll look lik e a crim in al,” she scolded.
R o b ert stu ffed h is h an d s in to h is p o ckets as he rose from h is seat.
“W h a t’s in the bo x?” he asked.
She m u ttered u n d er her b reath. She popp ed open th e tap ed top an d
brought out skirts, hats, snowshoes, scarves, an d vests. She tossed R obert
a red beard, w h ich he held up to his face, th in k in g it m ad e h im look
handsom e.
“I like it,” Robert said. H e sneezed and ran his han d across his m oist nose.
H is classm ates w ere co m ing into the classroom an d looked at R ob ert in
awe. “T h a t’s b ad,” R uben said. “W h a t do I g e t?”
M rs. B u n n in th re w h im a w rin k le d sh irt. R u b en raised it to h is ch est
an d said , “M y d ad co u ld w e a r th is. C a n I give it to h im afte r th e p la y
is do n e?”
M rs. B u n n in tu rn ed aw ay in silence.
M o st o f th e actors d id n ’t have s p e a k in g p arts. T h e y ju s t go t cu to u t
crepe-paper snow flakes to p in to their shirts or crepe-paper leaves to wear.
D u rin g the b lizzard in w h ich R ob ert delivered his lin e, B elin d a asked,
“Is there som ething w rong w ith yo ur eyes?” Robert looked at the audience,
w hich at the m om ent was a classroom o f em p ty chairs, a dented w orld globe
that had been dropped b y alm ost everyone, one lim p flag, one w astebasket,
and a picture o f G eorge W ash in gto n , w hose eyes follow ed yo u aro u n d the
room w hen you got up to sharpen yo ur pencil. Robert answered, “N o th in g’s
w rong. I can see.”
M rs. B u n n in , b itin g on th e en d o f her p e n cil, said , “L o u d er, b o th
o f y o u .”
B elin d a stepped up, nostrils fla rin g so th at the shadow s on her nose
quivered, an d said louder, “S ucka, is there so m eth in g w ro n g w ith yo u r
eye-b alls?”
“N o th in g ’s w rong. I can see.”
“Louder! M ak e sure the audience can hear yo u ,” M rs. B u n n in directed.
She tapped her pencil hard again st the desk. She scolded, “Robert, I’m not
go in g to tell yo u ag ain to q u it fo o lin g w ith the b eard .”
“It’s itchy.”
50 “W e can ’t do a n y th in g ab o ut th at. A ctors need p ro p s. You’re an actor.
N ow try a g a in .”
R obert an d B elin d a stood center stage as th e y w aited for M rs. B u n n in
to call “A c tio n !” W h e n she did, B elin d a approached Robert slowly. “S ucka
face, is there a n y th in g w ro n g w ith yo u r m u g ? ” B e lin d a asked. H er eyes
w ere squ in ted in anger. For a m om ent R ob ert saw his head g rin d in g into
the playgro u n d grass. 0
“N o th in g ’s w rong. I can see.”
34
prop (prop) n. an object
an actor uses in a play
o
PL OT: R I S I NG
ACTION
Reread lines 42- 56.
W hat co n flict, or
struggle , is developing?
R ob ert g ig g le d b eh in d his red b eard . B e lin d a p o p p ed h er g u m an d
sm irked. She stood w ith her han ds on her hips.
“W h at? W h a t d id yo u say?” M rs. B u n n in asked, p u llin g o ff her glasses.
“A re yo u ch ew in g gu m , B e lin d a ?”
“No, M rs. B u n n in ,” B elin d a lied. “I ju st forgot m y lin es.” Q
B elin d a tu rn ed to face the sn o w flake boys clu m p ed to gether in the
back. She rolled o ut her tongue, on w h ich rested a b all o f g ray gu m ,
depleted o f sweetness under her relentless chomp. She w hispered “sucka”
and giggled so th at her nose quivered d ark shadow s.
T h e play, T he L ast S tand, w as about the D onner p a rty ju st before th ey
got h u n g ry an d started ea tin g each other. E veryone w ho scored at least
tw elve out o f fifteen on th eir sp ellin g tests got to say at least one line.
Everyone else had to stan d an d be trees or sn ow flakes.
M rs. B u n n in w an ted the p lay to be a success. She co uld n’t risk having
kids w ith bad m em ories on stage. T h e n on speakin g trees and snow flakes
stood h u m m in g snow flu rrie s, b liste rin g w in d , an d h a il, w h ic h th e y
produced b y clack in g th eir teeth .
R o b ert’s m o th er w as p ro u d o f h im becau se he w as liv in g up to the
legend o f R o b ert D e N iro , for w h o m he w as n am ed . O ver d in n e r he
said, “N o th in g ’s w rong. I can see,” w h en his brother asked h im to pass
the dishtowel, their co m m u n al nap kin . H is sister said, “It’s yo ur tu rn to
do dishes,” and he said, “N o th in g’s w rong. I can see.” H is dog, Q ueenie,
begged h im for more th an w ater an d a dog biscuit. H e touched his dog’s
own h a iry beard an d said, “N o th in g ’s w rong. I can see.”
ne w arm sp rin g n ig h t, R o b ert la y on h is b ack in th e b ac k y ard ,
co un tin g shootin g stars. H e w as up to th ree w hen D avid, a friend
w ho w as re ally his brother’s friend, hopped the fence an d asked, “W h a t’s
the m atter w ith y o u ? ”
“N o th in g’s w rong. I can see,” Robert answ ered. H e sat up, feeling good
because the lin e cam e n atu rally, w ith o u t m uch th o ugh t. H e lean ed b ack
on his elbow an d asked D avid w h at he w an ted to be w hen he grew up. Q
“I don’t kn o w yet,” D avid said, p lu c k in g at the grass. “M ayb e a fighter
pilot. W h a t do yo u w an t to b e ? ”
“I w an t to gu ard the president. I could w restle the assassins an d be on
television. But I’d pin those dudes, and people w ould say, ‘T h a t’s h im , our
hero.’” D avid plu cked at a sta lk o f grass an d th o u g h t deeply.
Robert tho ugh t o f tellin g D avid th at he re ally w an ted to be som eone
w ith a su p ergreat m em o ry, w h o co u ld re c a ll facts th a t m o st p eo ple
thought were u n im p o rtan t. H e d id n ’t kn o w if there w as such a job, but
he tho ugh t it w o u ld be great to sit at hom e b y the telephone w a itin g for
scientists to c a ll h im an d ask h ard questions.
smirk (sm urk)
v. to smile
in an in sulting w ay
Q
MONITOR
W hat is the actual line
Belinda is supposed
to say?
relentless (rY-lent'IYs)
adj. refusing to stop or
give up
O
0
MONITOR
W hy does Robert
respond w ith his line
w hen som eone speaks
to him at home?
THE SCH O O L PLAY
35
he three w eeks passed quickly. T h e d ay before the play, R ob ert felt
h ap p y as he w alk e d hom e from school w ith no ho m ew ork. A s he
turned onto his street, he found a dollar flo atin g over the currents o f w in d.
“A b u ck ,” he scream ed to h im self. H e sn ap p ed it up an d lo o k ed for
others. B ut he d id n ’t fin d a n y m ore. It w as his lu c k y day, th o u g h . A t
recess he had hit a hom e ru n on a flu ke bunt— a flu ke because the catcher
had kicked the b all, ano ther p layer had th ro w n it into center field , an d
the pitcher w asn’t looking w hen Robert slowed dow n at th ird , then burst
hom e w ith dust fly in g b eh in d h im .
T h a t n ig h t, it w as his sister’s tu rn to do th e d ish es. T h e y h ad eaten
en ch ila d as w ith th e w o rks, so she slaved w ith sud s up to h er elb o w s.
Robert bathed in bubble bath, the suds peaked h igh lik e the D onner Pass.
H e th o ugh t about how fu ll he w as an d how those poor people h ad had
n o th in g to eat but snow. I can live on n o th in g , he th o u gh t an d w h istled
lik e w in d thro ugh a m oun tain pass, rak in g flat the suds w ith his p alm . Q
T h e next day, after lunch, he w as ready for the play, red beard in h an d
and his one lin e trem b lin g on his lips. Classes herded into the auditorium .
A s the actors dressed an d arg u e d ab o ut step p in g on each o th er’s feet,
Robert stood near a card b oard b arrel fu ll o f toys, w h isp erin g over an d
over to h im self, “N o th in g ’s w ro n g. I can see.” H e w as hot, itchy, an d
co nfused w h en he tied on the b eard . H e sneezed w h en a stran d o f the
beard entered his nostril. H e said louder, “N o th in g ’s w rong. I can see,”
but the words seem ed to get caugh t in the beard. “N o th in g, no, no. I can
see great,” he said louder, then under his breath because the words seem ed
w rong. “N o th in g’s w rong, can’t yo u see? N o th in g’s w rong. I can see yo u.”
W orried, he approached B elin d a an d asked if she rem em bered his lin e.
B allin g her hand into a fist, B elin da w arned, “Sucka, I’m gonna b u ry yo ur
u g ly face in the gro u n d i f yo u m ess up.” Q
“I w on’t,” Robert said as he w alk ed away. H e bit a n ail an d looked into
the barrel o f toys. A clow n’s m ask stared back at h im . H e prayed th at his
lin e w o u ld com e back to h im . H e w o u ld hate to d isap p o in t h is teacher
and d id n ’t lik e the th o ugh t o f his face b ein g rubbed into sp ik y grass.
T h e c u rtain p arted sligh tly, an d the p rin cip al cam e out s m ilin g onto
the stage. She said som e w ords abo ut p ioneer h isto ry an d th en , stern
faced, w arn e d the au d ien ce not to scrape th e ch airs on th e ju st-w ax ed
floor. T he principal then introduced M rs. B un nin, w ho told the audience
about how th ey had rehearsed for w eeks.
M ean w h ile, the class stood q u ie tly in place w ith lu n ch tim e sp ag h etti
on their breath. T h e y w ere ready. B elin d a h ad sw allow ed her g u m because
she k n ew this w as for real. T h e sn ow flakes clum p ed together an d b egan
how ling.
T
110
120
130
36
Q
MONITOR
T hink about how Robert
feels the day before the
play. H ow m igh t this
a ffe ct his perform ance?
Q
PL OT: R I S I NG
ACTION
How has the tension
increased now that it is
the day o f the play?
140
150
Robert retied his beard. B elind a, sm oothing her skirt, looked at h im
and said, “I f yo u kn o w w h at’s good for yo u , yo u ’d better do it rig h t.”
R obert grew nervous w h en the c u rta in p arted an d his classm ates w ho
w ere assigned to do snow, w in d , an d h ail broke into song.
Alfonso stepped forw ard w ith his n arrative about a blot on A m erican
history that w ould live w ith us forever. H e looked at the audience, lost for
a m inute. H e co n tin u ed b y sayin g th at if the D onner p a r ty co uld com e
back, h u n g ry from not eatin g for over a h u n d red years, th e y w o u ld be
sorry for w h at th ey h ad done.
T h e p la y b egan w ith som e boys in snow shoes s h u fflin g aro u n d the
stage, m u tte rin g th a t the b lizzard w o u ld cu t th em o ff from civ iliz atio n .
T h e y looked up, held out th eir h an d s, an d said in u n iso n ,1 “Snow .” O ne
stepped center stage and said, “I w ish I had never left the prairie.” A nother
one said, “C a lifo rn ia is ju st over there.” H e poin ted, an d som e o f the first
graders looked in the d irectio n o f the piano.
“W h a t are w e go in g to d o ?” one k id asked, b ru sh in g pretend snow off
his vest.
“I’m g ettin g p re tty h u n gry,” an o th er said , ru b b in g her stom ach.
1 . in unison
A N ALYZE VISUALS
W hat do the facial
expressions o f the
audience m em bers
su g gest about the
acto r’s perform ance?
narrative (nar'a-tTv)
n. a story
(yoo'nT-sen): at the same time.
THE SC H O O L PLAY
37
T h e audien ce seem ed to be fo llo w in g the play. A ribbo n o f sw eat ran
down Robert’s face. W h e n his scene cam e up, he staggered to center stage
160 and dropped to the floor, just as M rs. B u n n in h ad said, ju st as he had seen
R ob ert D e N iro do in th at m ovie abo ut a boxer. B e lin d a, b e n d in g over
w ith an “O h, m y,” yan k e d h im up so h ard th at so m eth in g click ed in his
elbow. She boom ed, “Is there a n y th in g w ro n g w ith yo u r ey es?”
R ob ert rub b ed his elbow , th en his eyes, an d said , “I can see n o th in g
w rong. W ro n g is n o th in g , I can see.” 0
“H ow are w e g o in g to get th ro u g h ? ” she boom ed, w rin g in g her
hands together at the audience, som e o f w hom had th eir m ouths taped
shut because th ey w ere kn o w n talkers. “M y h u sb an d needs a doctor.”
T h e d ram a advanced th ro ugh snow, w in d , an d h a il th at so u n d ed lik e
170 ch atterin g teeth.
B elin d a tu rn ed to R ob ert an d m u ttered , “You m ess-up. You’re go n n a
hate life.”
B ut R ob ert th o u gh t he’d done okay. A t least, he reaso ned to h im self,
I got the words right. Ju st not in the righ t order.
W ith his p a rt o f the p la y done, he jo in e d th e sn o w flak es an d trees,
chattering his teeth the loudest. H e how led w in d lik e a b ayin g h o un d and
snapped his fingers furiously in a snow f lu r r y H e trem bled from the cold.
T h e p lay ended w ith A lfonso sayin g th at if th e y cam e b ack to life, the
D onner p a r ty w o u ld be so rry for e a tin g each other. “It’s ju st not rig h t,”
iso he argued. “You go tta suck it up in bad tim es.” ©
R ob ert fig u re d th at A lfonso w as righ t. H e rem em b ered how one d ay
his sister h ad locked h im in the closet an d he d id n ’t eat or d r in k for five
hours. W h e n he got out, he h it h is sister, b u t not so h ard as to leave a
bruise. H e then ate three sandw iches an d felt a w hole lot better.
T h e cast then p arad ed up the aisle into the au d ien ce. B elin d a pin ch ed
R obert h ard , b ut o n ly once because she w as th in k in g th a t it co u ld have
been worse. As he passed a sm ilin g and relieved M rs. B u n n in , she p atted
R ob ert’s shoulder and said, “A lm o st p erfect.”
Robert w as happy. H e’d m ade it th ro ugh w ith o ut passing out from fear.
190 N ow the first and second graders w ere lo o k in g at h im an d clap p in g. H e
w as sure everyone w ondered w ho the actor w as b eh in d th at sm ooth voice
an d red, red beard. c^> 0
38
©
PL OT: C L I M A X
H ow is the delivery o f
Robert’s line a tu rn in g
point in the story?
©
PL OT: F A L L I N G
ACTION
W hat e ffe ct does
Robert’s delivery o f his
lines have on the end of
the play?
0
PL OT: R E S O L U T I O N
H ow do Robert,
Belinda, and Mrs.
Bunnin feel about
Robert’s perform ance?
rAfter Reading
Comprehension
1. Clarify Does rep eatin g his line a ga in and a ga in w h en he is at hom e help
Robert re m em b er it?
ALABAM A
STANDARDS
a
READING STANDARD
and devices
2. Clarify Reread lin e s 8 6 - 9 8 . W h a t does Robert w a n t to be w h e n he
gro w s up?
3. Summarize W h at h ap p e n s on th e day o f th e perform an ce?
Literary Analysis
4. Monitor Review th e ch art you fille d in as you read. W h ich q u e stio n s and
an sw e rs w ere m ost h elp fu l fo r u n d e rsta n d in g th e story? E xp la in yo u r
answ er.
5. Compare and Contrast Do you th in k Belinda is nervous ab ou t p erfo rm in g
in fro n t o f th e stu d e n t audience? C o m p are and co ntrast her actio n s w ith
Robert’s on th e d ay o f th e play.
6. Make Inferences H o w does th e au d ie n ce react to th e play?
Su p p o rt yo u r an sw e r w ith sp e cific d e ta ils fro m th e story.
7. Analyze Plot The plot o f “T h e School Play”
centers on Robert’s fear o f fo rg e ttin g his
Climax
line. G o back th ro u g h th e sto ry and m ake
a list o f im p o rta n t events. Place th e events
on a d ia g ra m like th e one sh o w n to id e n tify
w h a t h ap p e n s at each sta g e o f th e plot.
Extension and Challenge
8. Creative Project: Drama W ith a partner, ch o o se a p art o f th e sto ry to
act out. Rely on th e d e ta ils provided by Soto to a ccu rate ly p ortray th e
characters. Present yo u r p erfo rm an ce to th e class.
9. Inquiry and Research Th e W e stw ard E xp an sio n in th e 1 8 0 0 s w as m o stly
due to people’s desire to ow n land. Pioneers follo w ed sp e cific tra ils from
eastern states to territories in the W est. Research to find the trail used by
the D onner Party. U sin g a m ap you can w rite on, sketch th e trail and label
the D onner Pass, w h ich Robert describes in lin e n o .
R ESEA R CH LIN K S
For more on the Donner Party, visit the Research Center at ClassZone.com.
T H E S C H O O L PLAY
39
Vocabulary in Context
V O C A B U L A R Y PRACTICE
narrative
C h o o se th e lette r o f th e w ord or p h rase th a t has th e sam e , or n e a rly
the sam e, m e a n in g as the boldfaced w ord.
1. a th rillin g
prop
narrative: (a) a rg u m e n t, (b) story, (c) d ebate, (d) notice
relentless
2. prop fo r the play: (a) script, (b) co stu m e, (c) object, (d) d irecto r
3. relentless noise: (a) co n stan t, (b) d e a fe n in g , (c) frig h te n in g ,
smirk
(d) o ccasio n al
4. to smirk at so m eone: (a) stare rudely, (b) la u g h quietly, (c) yell loudly,
(d) sm ile d e fia n tly
V O C A B U L A R Y IN W R IT IN G
If you had put on th is play, h ow w o u ld you have d e sig n e d th e set? W rite a
paragraph d escrib in g you r ideas. Use at least tw o vo cab u lary w ord s in your
d escrip tio n . Here is an e xa m p le o f h o w you m ig h t begin.
EXA M PLE SEN TEN CE
I would have. ose.d soMe. kind o f prop for the. snowflakes inste.ad o f people,.
V O C A B U L A R Y STRATEGY: D EN O T A TIO N S A N D C O N N O T A T IO N S
A w o rd ’s
denotation is its literal m e a n in g — th a t is, th e m e a n in g fo u n d in a
connotation is the sh ad e s o f m e a n in g it m ay
a
ALABAM A
STANDARDS
d ictio n a ry d e fin itio n . A w o rd ’s
WRITING/LANGUAGE STANDARD
take on beyond its d ic tio n a ry d e fin itio n . It in c lu d e s all th e t h o u g h ts and
9 Utilize vocabulary skills
fe e lin g s th e w ord m ay b ring to p eo ple’s m inds. For e xam p le , th e vo ca b u la ry
w ord smirk does m ean “sm ile.” But smirk also carries n egative co n n o ta tio n s
o f sm u g n e ss or co nceited n ess. R e co g n izin g co n n o ta tio n s can im p ro ve both
yo u r re ad in g and w ritin g .
PRACTICE U sin g a dictionary, identify the denotative m e an in gs o f both w ords
in each pair. D ecid e w h ic h o f th e tw o w o rd s has a n e g a tiv e c o n n o ta tio n .
Then use it in a sentence to sh o w the n egative m ean in g.
1. a (serious, d u ll) speech
2 . her (funny, rid iculou s) hat
3. (obsessed, e n th u sia stic) a b o u t th e project
4. a (yo u th fu l, ch ild ish ) ou tlo o k
5. (im p a tie n t, eager) to ge t started
6 . a (tangy, bitter) taste
40
UNIT l: PLOT, CO N FL ICT , A N D SETTIN G
VO CABU LARY
PR A C TIC E
For more practice, go
to the Vocabulary Center
at ClassZone.com.
□
Reading-Writing Connection
SKILLS PRACTICE
Broaden y o u r u n d e rsta n d in g o f “T h e School Play” by re sp o n d in g to th e se
prom pts. Then co m p lete th e
Grammar and Writing exercise.
W R IT IN G P R O M P TS
SE LF-C H E C K
A. Short Response: Write a Review
A convincing review w ill...
Dram a critics w rite reviews o f plays to give their
opinion of a perform ance. In one paragraph,
w rite a review o f Robert’s play for his school
newspaper. Use your im agination to fill in the
details.
• identify the play’s
strengths and weaknesses
Long Response: Analyze the Ending
An interesting analysis
w ill...
The w ay characters deal w ith conflict affects
how the story ends. Write two or three
paragraphs explaining how the resolution of
the story would be different if Robert had not
overcome his fear o f being on stage.
• use evidence from the
story to support your
opinion
• provide a different but
believable clim ax
• explain the effect o f the
change on the fallin g
action and resolution
G RAM M A R A N D W R IT IN G
sentence fragment is e x a ctly w h a t it says
it is— a piece o f a sentence. A fra g m e n t lacks a subject (w h o m or w h a t the
sentence is about), a predicate (w h at th e su b je ct is or does), or both. D o n ’t
AVO ID SEN TEN CE FRAGM ENTS A
let th e p u n ctu a tio n at th e end o f a fra g m e n t fool you . W h a t m ig h t look
□
ALABAMA
STANDARDS
W RITING/LANGUAGE STANDARD
8.a Using the steps of the writing
process, including editing
like a se n te n ce is still a fra g m e n t if a co m p le te th o u g h t is not e xp resse d .
A fra g m e n t u su a lly can be co m b in e d w ith th e se n te n ce before it to m ake
a co m p lete sentence.
Original:
Robert w as cast in a play. A b o u t th e D o n n er Party.
Revised:
Robert w as cast in a play a b o u t th e D o n n er Party.
PRACTICE Rew rite th is paragraph, co rrectin g th e fo u r sentence frag m e n ts.
The story w o u ld end very differently. If Robert had fo rg o tte n his line
co m p letely. He m ig h t run o ff th e sta g e . L e a v in g B e lin d a to g o on
w ith o u t him . Belinda w ould be angry. At Robert. However, Mrs. Bunnin
w o u ld have an o th e r ch an ce n ext year. To direct a perfect school play.
For more help with fragments, see page R 64 in the G ra m m a r H andbook.
THE S C H O O L PLAY
41
Before Reading
The Good Deed
S h o rt S to ry by M ario n D an e B au e r
Can first
IMPRESSIONS
be trusted?
ALABAMA
STANDARDS
READING STANDARDS
KEY IDEA W henever you m eet som eone, you form an impression,
or idea o f w h a t th a t person is like. You base yo u r opinion on how
th e person looks, ta lk s, and acts. S o m e tim e s, a fte r you g e t to
know the person, you realize that your first im pression w as w rong.
2 Interpret literary elements,
In “The Good Deed,” a y o u n g girl fin d s o u t w h e th e r her first
including conflict
im pression o f so m eon e w a s accurate.
LIST IT T h in k o f so m eon e you have kn ow n fo r a year
or tw o . M ake a list o f w ord s th a t describe yo u r first
im pression o f th a t person. W hen you are fin ish e d ,
decide if yo u r im p re ssio n has ch a n ge d . M ake a
second list o f w ord s d escrib in g how you cu rren tly
feel ab o u t th a t person.
d n -t o n io
/■ Good
Z.
listener
Author Online
• LITERA RY A N A LY SIS: C O N FLIC T
Have you ever noticed th a t at least one ch aracte r in a story
alw ays faces som e sort o f problem or struggle? This struggle,
or
conflict, is w h a t m akes a story interesting. M an y stories
have m ore than one conflict. You can often iden tify conflicts
by noticing w hen characters stru gg le w ith
• their th o u g h ts or choices (internal)
• an o utside force such as an other ch aracte r (external)
A s you read “The G ood Deed,” look for e xam p le s o f co n flicts
th a t a ffe ct the characters.
0 READ IN G STRATEG Y: CO N N ECT
Stories introduce us to new people and so m e tim e s to new
places and tim e s. H ow ever, as you read a story, you m ay
find th a t you have had exp eriences or fe e lin g s sim ilar to the
ch aracters. You then
connect, or id e n tify, w ith e ve n ts or
situ atio n s in the story. By co n n e ctin g , you are b etter able
to u nderstand w h y the ch aracte rs do w h a t th e y do.
A s you read, use a ch art like the one sh ow n to record the
co nn ectio ns you m ake.
W hat Is Happening?
M if Connection
Heather is scared to -talk to
Miss B>enson.
1was nervous to Meet mi/ pen
p a l at the Senior Center for
the first time.
A V O CA B U LA R Y IN CO N TEX T
The au th o r uses th e se w ord s to sh o w h ow p o w erful first
impressions can be. See w h ich ones you alre ad y know .
A Life Spent Writing
M arion Dane Bauer
sp e n t m uch o f her
ch ild h o o d m akin g
up stories. Her first
w ritten w ork w as a
poem dedicated to
her ted d y bear. For
Bauer, w ritin g is
a habit. She says,
“ It’s w h a t I ge t up
in the m o rn in g to
M arion D ane Bauer
born 19 3 8
do.” In 1987 her e ffo rts w ere rewarded
w hen she received the N ew bery Honor
fo r her novel On My Honor.
Inspiration M an y e ven ts in B au er’s
life have inspired her w ritin g. But
she draw s her stories less from real
life th an fro m her need to co nn ect
w ith so m e o n e e lse ’s fe e lin g s. "It
m ay s ta rt w ith . . . a n ew sp ap e r
article, from so m e th in g overheard in
the gro ce ry store, or told to m e by a
frien d ,” she says. Then Bauer th in ks
a b o u t h o w to turn the in fo rm atio n
into a story. She e xp lain s, "It m ust
first pass th ro u gh m y ow n th o u gh ts
and fe e lin g s
And w h en it does,
th e sto ry is tru e. N ot b ecau se it
‘really h ap pen ed ,’ but because, for
me, it is real.”
Place each w ord in the correct co lu m n o f a ch art like the
one show n.
W ORD
a ccu sa tio n
im p a ired
pert
LIST
g e n e ric
in cre d ib ly
trite
Know W ell
Think I Know
M ORE A B O U T TH E A U TH O R
For more on Marion Dane Bauer,
visit the Literature Center at
ClassZone.com.
Know
L Don't
................
T H E G O O D DEED
43
M ario n Dane Bauer
iss B enson w as m y goo d deed for th e sum m er. E very g irl in ou r
scout troop w as assign ed som eone. M y frien d M e lo d y h ad M r.
S tengle. H e’s the oldest resid ent o f the R iv erv iew N u rsin g H o m e. H e
m ust be at least one h undred an d two. H e used to be a farm er, an d all he
ever talks about is the w eather. A nn e M arie got M rs. M ech lenb u rg. M rs.
M ech len b u rg has four ch ild ren , a ll u n d er five, an d k in d o f b ew ild ered ,
cocker spaniel eyes. L ike m aybe she doesn’t kn o w how th ey a ll got there.
B ut I w as assigned M iss Benson.
M iss Benson is old. N ot old lik e M r. Stengle, but old enough. A n d she’s
b lin d . “S igh t im p aired , H eather,” our scout leader said. B ut w h eth er yo u
say “sight im p aired ” or “b lin d ,” the tru th is, M iss Benson can ’t see a thing.
M
10
44
ANALYZE VISUALS
W hat do the lines and
colors in this painting
lead you to focus on?
im paired (Tm -pard')
adj. being in a less than
perfect condition
20
“W h a t do I d o ?” I asked. “W h a t do I say?” Q
“S ta rt w ith ‘h ello ,’” ou r sco ut lead er said , lik e th a t w as som e k in d
o f help. T h en she added, “S he’s a retired teacher. I’ll bet she’d ju st love
it i f yo u ’d read to her.” A n d she w as o ff ta lk in g to A n n e M a rie ab o ut
diapers.
T h e problem w as I’d never been alo n e w ith a b lin d person before.
C o m e to th in k o f it, I don’t suppose I’d ever even m et one. A n d the
thought o f try in g to ta lk to M iss Benson k in d o f scared m e. M elo d y and
A nne M arie and I all had the sam e num ber o f badges though, the m ost o f
anyone in the troop, and I w asn’t about to let either o f them get ahead o f
m e. So the next d ay I called M iss Benson— she sounded n o rm al enough
on the phone— then I set out to m eet her. ©
H
er place w asn ’t h ard to fin d . She lived in the ap artm en t b u ild in g
righ t next to the P ig g ly W ig g ly , o n ly a few blocks from m y house.
W h ic h m ean t I got there re a lly fast. Too fast. T h e n I k in d o f sto od in
front o f her door, w aitin g, tho ugh I co uld n ’t have said w h at I w as w aitin g
for. To figu re out w h at I w as g o in g to say, I guess. A fter “hello,” I m ean.
B ut before I even got aro un d to k n o ck in g , the door across the h a ll from
30 M iss Benson’s ap artm en t popped open an d th is girl I’d never seen before
stuck her head out.
“W h a t do yo u w a n t?” she said, lik e it w as her door I w as sta n d in g in
front of.
“I’m v isitin g M iss B enson,” I told her, w h ich w as p erfectly obvious.
T h e g irl h ad lo n g brow n h air. K in d o f a red d ish brow n. B u t it w as
a ta n g le d m ess. I’ll sw ear she’d p u lle d it in to a p o n y ta il th a t m o rn in g
w ithout ever passing it by a brush. “W h y are yo u visiting her?” she w anted
to know.
It w o u ld have sounded re ally d um b to say, “B ecause I’m a G irl Scout,
40 and she’s m y good deed for the sum m er.” So I said instead, “I’ve com e to
read to her.” A n d then I added, just in case this girl d id n ’t kn o w an y th in g
at all, “S he’s sight im p aired , yo u know .”
“No, she’s not,” the girl answ ered, w ith a toss o f th at tan gled hair. “I’ve
seen her. She’s b lin d as a bat.”
B eh in d th e g irl, from in sid e her ap artm en t, a w h o le lo t o f n oise w as
going on. It sounded lik e the beginn in gs o f W orld W ar III. O r lik e a herd
o f ru n aw a y horses m ayb e. Ju st th en tw o little k id s cam e h u r tlin g up to
the doorw ay and stopped to peer out from each side o f the girl. I co uld n ’t
tell w hether th e y w ere boys or girls or one o f each. T h e y looked k in d o f
50 gen eric. Is th a t th e w ord? T h e ir h a ir w asn ’t co m b ed either, an d .th eir
noses w ere snotty. . . . I decided m aybe read in g to a b lin d w o m an w asn ’t
so bad after all an d tu rn ed to k n o ck on the door.
46
UN IT
1:
PLOT, CO N FLICT , A N D SET TIN G
Q
CONNECT
Reread lines 1- 12.
T hink o f a tim e w hen
you felt nervous about
m eeting som eone. W hat
is ad ding to H eather’s
nervousness?
©
CONFLICT
W hat co nflict is H eathef
facing?
generic (ja-ner'Tk) adj.
having no p articularly
d istinctive or
no tew o rthy q u ality
“W ait,” the girl said. “I’ll com e w ith yo u .”
Ju st lik e th at she said it, as th o u gh she’d been invited.
A n d th e tru th w as, I d id n ’t k n o w w h e th er to be an n o ye d at her for
being so pushy or relieved that I d id n ’t have to go in there alone. W h a t if a
good deed d id n ’t co un t i f yo u h ad help? B ut th o u gh there w asn ’t a reason
in the w o rld for m e to do w h at th a t g irl said , I fo u n d m y s e lf sta n d in g
there w ith m y h an d in the air, w aitin g .
60
“Tell M am a I’ve gone across the h all,” the girl told the two snotty-nosed
kids. A n d she stepped out an d closed the door b eh in d herself.
“M a m a ,” I h e ard th e k id s yo d el as th e y stam p e d ed b ack in to th e
apartm ent. A n d then there w as n oth in g left to do but to kn o ck on M iss
Benson’s door.
T h e rest w asn ’t n e arly as h ard as I’d ex p ected . A fter a m o m en t a ta ll
w om an w ith curly, salt-an d-p epp er h air opened the door an d said , “You
m ust be H eather. C o m e in .” I co uld tell she co u ld n ’t see m e, because she
looked rig h t over m y h ead lik e th ere w as so m eth in g in te re stin g on the
w a ll across the way, but her voice d id n ’t s o u n d b lind .
70
I don’t kn o w w h at I m ean b y th at exactly, except th at she d id n ’t sound
lik e she w as m issin g a n y th in g at all. A n d I guess she w asn ’t, because w hen
the girl said, “H i!” an d follow ed m e into the ap artm en t M iss Benson
asked righ t away, “W h o ’s yo u r frien d ?”
O f course, I d id n ’t have a clue w ho m y “frien d ” w as, b u t she answ ered,
ju st as p ert as yo u please, “R isa. M y m om an d m e an d m y little
brothers”— so th e y w e r e boys— “just m oved in across the h a ll.”
“W elcom e, R isa,” M iss Benson replied. H er voice sort o f had a sm ile in it.
“I’m g lad to see yo u .”
Ju st lik e th at she said it. I ’m g la d to see y o u ! L ike she could,
so M iss Benson led the w ay, one h an d tra ilin g lig h tly across the fu rn itu re
she passed or som etim es ju st g razin g the w a ll. “I hope yo u don’t m in d if
we go to the kitch en ,” she ca lled back. “It’s the cheeriest p lace.”
T h e k itch en w as a ch ee ry p lace. T h e su n w as a ll sp read out across a
table m ade o u t o f som e k in d o f go ld en w o o d . A n d in th e m id d le o f the
table, sw eatin g coolness, sat a p itch er o f lem o n ad e an d a b ig b lue plate
heaped w ith o atm eal-raisin cookies. T h ere w ere glasses, too. Ju st tw o o f
them though.
“M m m m , co okies,” R isa said.
“H elp yo urselves, g irls,” M iss B enson told us. “I m ad e th em for y o u .”
90 A n d it w as a good th in g she exten ded the in v itatio n , because R isa alre ad y
had one in her han d.
M iss B enson w en t to th e cu p b o ard an d got o u t an o th er glass an d
began to pour lem onade for everyone. She stopped p o u rin g before she
overflow ed th e glasses too, th o u g h I c o u ld n ’t fig u re h ow she d id it.
pert (purt) adj.
o ffe nsively bold; saucy
THE G O O D DEED
47
100
I expected R isa to gobble her cookie, ju st the w a y she h ad grab b ed it
o ff the plate w ith o u t bein g in vited , but she d id n ’t. She ju st too k a couple
o f nibbles, then tu cked the rest into the p o cket o f her cutoffs. C a n yo u
im agin e that? A n o atm eal cookie in yo u r pocket?
“Tell m e about yourselves, g irls,” M iss Benson said , sittin g across from
us at the table, an d before I co uld even open m y m outh, R isa w as o ff an d
ru n n in g.
She to ld ab o u t her th ree little b ro th ers— th ere w as a b a b y I h a d n ’t
seen; he probably h ad a sn o tty nose too— an d abo ut ho w her m om had
moved to M in n eso ta for a better job, o n ly R isa d id n ’t lik e her m om ’s new
job because the boss w o u ld n ’t even let her tak e telephone calls from her
ch ild ren w hen she w as at w ork.
D etail o f B rea k fa st R oom II, M a rty W alsh. O il on panel, 24" x 24". © M a rty W alsh.
48
UN IT l : PLOT, CO N FL ICT , A N D SET TIN G
ANALYZE VISUALS
Does the d in in g ta b le
in this p ainting seem as
cheery as M iss Benson’s
kitchen? Explain.
I told M iss B enson ho w m a n y bad ges I’ d earn ed an d h o w m y p aren ts
and I had gone to D isn ey W o rld over spring break. I co uld tell, ju st b y the
w ay R isa looked at m e, th a t sh e’d never been n e ar a n y p lace lik e D isn ey
no W o rld an d th at she h ated m e for sa y in g I’ d been there. B u t w h a t w as I
supposed to do? It w as the tru th .
W h e n M iss B enson p u sh ed the co okies to w ard us an d said “H elp
yo u rse lf” again , q u ick as a flash , R isa too k ano th er co okie an d p u t th at
one in to her p o cket too. I fig u re d she m u st be sta sh in g th em for the
snotty-nosed brothers at hom e, and I w as alm ost im pressed. It w as k in d o f
nice o f her, really, to th in k o f her brothers th a t way. It m ad e m e w ish
I h ad a little brother or sister to take cookies hom e for, b u t if I h ad one,
I’d teach m in e h ow to use a tissue.
A n d th en I offered to read, so M iss B enson sent m e to her bed ro o m
120 to ch eck o u t her b oo ksh elf. I fo u n d a ta ll b lu e b ook— it lo o k ed k in d
o f tattered , so I fig u re d it h ad been aro u n d aw h ile an d w as, m ayb e, a
favorite— called S tories T hat N ever G row O ld. T here w as a picture on the
cover o f a w o m an w earin g a lon g dress read in g a book to som e ch ild ren .
W h en I cam e back w ith the book, R isa looked at it and said low, under
her breath, “D um m y. T h a t one’s for little k id s.”
I shrugged, like I d id n ’t care, but still m y cheeks w ent hot w hen I opened
it an d saw she w as rig h t. It w as a lot o f o ld -tim e y stories lik e “T h e L ittle
E ngine T h a t C o u ld ” an d “H an sel an d G retel” an d “W h y the B ear H as a
Stum py T ail,” things like that. Probably not w h at a grown-up, even one who
130 used to be a teacher, w ould w an t to hear.
B ut then M iss Benson asked, “W h a t book d id yo u g e t?” an d w h en I
told her, she clapped her han ds an d said, “P erfect!” So I shot R isa a look
and started to read. “‘B ru in , the yo u n g brow n bear, w as feelin g very
h u n gry.’” Q
R isa le an ed across th e co rn er o f th e tab le so she co u ld see th e p age
too. She even sta rte d s ile n tly sh ap in g th e w o rds w ith her m o u th as I
read, lik e she w as tastin g each one. I fig u red she m u st not be a v ery good
reader th o ugh , b ecause I’d given up re ad in g w ith m y lips w h en I w as in
the first grade.
140
As soon as I’d finished the sto ry I kn ew I w as righ t about her not being
a good reader, b ecause M iss B enson said , “O kay, R isa. W h y d o n ’t yo u
read the next o n e?”
W h ile I w as re ad in g , she c o u ld n ’t g et close en o u g h to th e bo ok, b u t
su d d en ly she c o u ld n ’t get aw a y from it fast en o u gh . “O h n o !” she said ,
p u sh in g aw ay from the table so h ard th at her ch air screeched ag a in st the
floor. “A nyw ay, yo u don’t w an t to hear an y m ore from th at old th in g. I’ll
do som eth in g else for yo u in stead .” ©
CONFLICT
Reread lines 124- 134 .
W hat evidence is
there that the tension
betw een H eather and
Risa has increased?
o
CONFLICT
W hy doesn’t Risa w ant
to read aloud?
THE G O O D DEED
49
M iss B enson’s face w as ro u n d an d soft. “W h a t do yo u w a n t to do
in ste ad ?” she asked, an d she folded her hands in her lap, w aitin g .
150
For a m om ent R isa looked around, w hipp ing that tan gled p o n ytail back
and forth lik e she w as ex p ectin g to fin d an id ea for so m eth in g she co uld
do h an g in g on the w all. T h en it m u st have com e to her, because her face
lit up and she settled b ack in her ch air. “H ow ab o ut,” she said, “i f I give
yo u an eye bouquet.”
“A n eye bouquet?” T h e w ay M iss Benson leaned forw ard yo u co uld tell
she w as exp ectin g som eth in g gran d .
An ey e b o u q u et? I tho ugh t. H o w d u m b !
B ut R isa explain ed. “I’ll m ak e a p ictu re for yo u w ith w ords.”
“W h a t a w on d erful id e a !” M iss Benson said.
160
A n d it w as a w o n d erful idea. I w ish ed I’d th o u gh t o f so m eth in g h a lf
as w onderful. T h o u gh M iss Benson seem ed to lik e the story I’d read w ell
enough.
R isa th o ugh t for a few seconds, then she began. “T h e lila c bushes are
bloo m ing in front o f the ap artm en ts.”
M iss Benson nodded. “It’s been years since I’ve seen those old lila c
bushes, but th e y ’re still there, are they? ”
“Yes,” R isa said. “A n d th e y ’re th at sh im m ery color, h alfw a y betw een
silver an d purple. You kn o w w h at I m e a n ?”
“Shim m ery. H alfw ay betw een silver an d p u rp le.” M iss Benson nodded
170 again . “T h a t’s it. T h a t’s it exactly. I can see th em now.”
I couldn’t stand being bested b y a girl w ho still read a little k id d y book
w ith her lips, so I ju m p ed in . I h a d n ’t e sp e c ia lly n o ticed th e bushes she
w as ta lk in g abo ut, b u t I’d seen lila c bushes a ll m y life. “T h e leaves are
sh ap ed lik e little h e a rts,” I said . “A n d th e y ’re g re en .” I co u ld see M iss
B enson w as w a itin g for so m eth in g m ore, so I ad d ed , k in d o f feebly,
“G reen lik e grass.”
But th at w asn’t an y good, and I kn ew it. W h a t could be m ore o rd in ary
th an “green lik e grass” ? It’s w h at m y E n glish teach er w o u ld c a ll tr ite .
“T h e green o f horses m u n ch in g,” R isa said, offering the w ords up lik e
iso a gift, and M iss Benson tip p ed her head b ack an d lau gh ed out loud.
“W ell,” I said, g ettin g up so fast I had to catch m y ch air to keep it from
tip p in g over. “I guess I’d b etter be going. M y fath er”— I lean ed h eav ily
on the w ord since it w as obvious R isa d id n ’t have one o f those— “told m e
he’d take m e an d m y friends to the beach th is w eeken d .” Q
It w asn’t a lie. D addy was ta k in g m e and M elo d y and A nn e M arie to the
beach, but not u n til S u n d ay afternoon. T h is w as Satu rd ay.
M iss B enson stood up too. “T h a n k yo u, H eath er,” she said , “for the
nice visit. I enjoyed it. I enjoyed it v ery m u ch .”
50
U N IT l : PLOT, CO N FL ICT , A N D SE T TIN G
tri te (trTt) adj. boring
because overused; not
fresh or original
Q
CONNECT
you w anted to leave a
place quickly. Compare
and contrast how you
left w ith how H eather
leaves.
190
200
“I’ll be b ac k ,” I p ro m ised . “I ’ll co m e an d read a g a in on M o n d a y.”
B y m yself, I w an ted to add, but I said in stead , “I’ll p u t yo u r book aw ay
before I go.” A n d I carried it b ack to the bedroom .
W h e n I got to the b o o k sh elf I stood lo o k in g at the em p ty space w here
the book h ad stood. R isa liv es r ig h t a cross th e b a ll, I w as th in k in g . W hat
i f sh e d e cid e s to c o m e back on h e r o w n ? M a y b e s h e ’l l e v e n d e c i d e to r e a d to
M iss B en son , a n d th is is th e book s h e ’ll w a n t, o n e th a t d o e s n ’t h a v e too m a n y
b ig w ords.
A n d th en there I w as, lo o k in g aro u n d for som e p lace to p u t th e b ook
w here she w o u ld n ’t fin d it. A fter all, M iss Benson h erself c e rta in ly w asn ’t
going to be w a n tin g to look at it ag a in w h ile I w as gone.
T h e w asteb ask et next to th e bo oksh elf, re c ta n g u la r an d deep an d
perfectly empty, w as just the right size. I slipped the book inside. It w ould
be safe there, w a itin g for m e. Q
Q
CONFLICT
W hy does Heather
decide to hide the book?
THE G O O D DEED
51
210
W h e n I got to the door, R isa w as there, stan d in g beside M iss Benson.
She h ad to go hom e too, she said , th o u gh I k n e w she d id n ’t have p lan s
for go in g anyw here special lik e the beach. B ut I said all the p olite th in g s
yo u ’re supposed to say to som eone y o u ’ve ju st m et, to her an d to M iss
Benson too, an d I left. M y good deed w as done for th e day.
O n m y w ay out o f the ap artm en t b u ild in g , I co u ld n ’t help but notice.
T he blooms on the lilac bushes w ere a crisp brown, the color o f tea. So the
girl w as a liar, too, besides b ein g a poor reader.
co up le o f d ays later w h en I cam e to v isit M iss B enson a g a in ,
I stopped in front o f her door, h a lf expecting R isa to pop out o f the
apartm en t across the h all. A ll seem ed q u iet over there th is tim e except
for cartoons b larin g from a TV . I breathed a sigh o f relief an d kn o cked
on M iss Benson’s door.
T his tim e the blue plate on the table held sugar cookies, cream y w hite,
ju st b e g in n in g to be brow n at the edges, an d sp ark lin g w ith sugar.
“I’ll get a book,” I said, after w e h ad each eaten a cookie an d sipped
som e cocoa, c h a ttin g ab o ut th is an d th at. A n d I h u rrie d o ff to M iss ‘
Benson’s bedroom to get Stories That N ever G row Old.
O n ly the book w asn ’t there.
I looked in the w astebasket, o f course. I even p icked it up an d tu rn ed
it upside dow n and shook it, as th o ugh so m eth in g as big as a book co uld
disappear. B ut the w astebasket w as em pty. Ju st the w a y it h ad been the
first tim e I’d com e into the room . I w ondered, in fact, w h y M iss Benson
had a w astebasket at a ll since she d id n ’t seem to p u t a n y th in g into it.
T h en I h u rried to the shelf. M ay b e M iss B enson h ad reached a h an d
into the b ask et an d fo u n d it th ere an d p u t it aw a y herself. O r m ayb e
som eone w ho cam e an d clean ed for her h ad discovered it. N o w th a t I
thought about it, a w astebasket w as about the dum best place in the w orld
to hide a book.
T h e space left b eh in d w h en I too k Stories That N ever G row O ld out,
righ t betw een tw o fatter books— A L iterary H istory o f E ngland a n d The
O xford C om panion to English L iterature — w as still there, em p ty, accusing.
You d id it! the space said. You’v e lost Miss Bensons book! Probably her fa vorite
A
220
230
book in all the world.
240
52
D id she em p ty her ow n w astebaskets ? She w o u ld n ’t have been able to
see w hat w as in there. O r m aybe som ebody else em p tied them for her and
th o ugh t, seeing it there, th at she m ean t to th ro w it away. M y h e art beat
faster just th in k in g about the possibilities. 0
T here w as n o th in g else to do, so I picked out another book, a collection
o f poem s b y R ob ert Frost, an d b rought th at out instead.
UN IT
1:
0
C O N F L IC T
Reread lines 227- 2 4 0 .
H ow has H eather’s
co nflict becom e m ore
com plicated?
250
260
270
280
“I have som e poem s,” I told M iss Benson, an d before she h ad a ch ance
to say w hether she w as d isap p oin ted th at I h ad n ’t b rough t the blue book,
I opened the co llection an d b egan to read.
“I’m go in g out to clean the p astu re sp rin g.”1
She settled back to listen, a sm all sm ile tip p in g the corners o f her m outh,
but though she looked perfectly happy, I co uldn’t get past feeling th at m aybe
she’d rather have heard Stories T hat N ever G row O ld.
I read several poem s— I especially liked the one about the boy w ho died
after c u ttin g h im se lf w ith a ch ain saw ; it w as so sad— but I kept feelin g
th is w eig h t in th e p it o f m y sto m ach . T h e blue b o o k w as gone. M iss
Benson had pro bably had it since she w as a little k id .
I guess I q u it re ad in g w ith o u t even n o ticin g I’d stopped, b ecause the
next th in g I k n ew M iss Benson w as sayin g, “H o w ab o ut an eye b ouquet
now? W h a t can yo u m ak e m e see?”
H er askin g took m e b y surprise, because I’d alread y proven on S atu rd ay
th at “eye bouquets” w eren’t re a lly m y th in g . W h e n I d id n ’t an sw er righ t
aw ay tho ugh , she said , “I’ll give yo u one first.”
“A ll righ t,” I said, th o ugh I co u ld n ’t help w o n d erin g w h at k in d o f eye
bouquet a b lin d w o m an co uld com e up w ith .
“F reckles,” she said , “an d h a ir th e color o f p u lle d ta ffy .2 G reen eyes,
a m isty green lik e the sea.”
For a m om ent I ju st sat there, feelin g dum b , u n til g rad u a lly w h at M iss
Benson h ad said b egan to d aw n , / h ad freckles, th o u gh I d id n ’t lik e to
th in k th e y w ere the first th in g a person saw. A n d m y h a ir . . . w ell, it’s
the color people lik e to c a ll “d ir ty b lon d ,” th o u g h I alw ays h ated th at
description. I keep m y h air as clean as an y b o d y’s. B ut i f yo u w ere b ein g
real nice, yo u co uld say it’s the color o f p u lled taffy. A n d m y eyes? W ere
th e y green lik e the sea? (I guess th a t w o u ld be b etter th a n green lik e
horses m u n ch in g.)
A n d then slowly, gradually, the tru th daw ned. M iss Benson had gotten
her eye bouquet from . . .
“R isa’s been here,” I said . It cam e o ut so u n d in g lik e an accu satio n .
“Yes. She cam e S u n d ay aftern oo n. Sh e’s a v e ry n ice girl. I’m sure the
tw o o f yo u are g o in g to be great frien ds.”
I ignored th at, abo ut R isa’s b ein g a nice g irl an d ab o ut the tw o o f us
being friends, because an id ea w as risin g in m e lik e d in n e r on a ro ckin g
boat. R isa had been in M iss B enson’s ap artm en t since the last tim e I’d
been there. T h e blue book w as gone from the place w here I’d h id d en it.
R isa had taken it. I alre ad y k n ew she w as a liar. N ow I k n ew she w as a
thief, too! ©
accusation
(ak'yo o -za'sh e n ) n. the
act o f charging som eone
w ith w ron gdo ing
©
C O N F L IC T
H ow does M iss Benson’s
eye bouquet increase
H eather’s co nflict w ith
Risa?
1. I’m go ing . . . pasture spring: the first line of Robert Frost's poem "The Pasture.” (See page 5 8 .)
2 . pulled taffy:
a boiled candy usually of molasses or brown sugar that is stretched until light-colored.
THE G O O D DEED
53
ANALYZE VISUALS
Does the girl in this
p ainting look more
like H eather or Risa?
Explain.
290
54
“O kay,” I said, “I can give you an eye bouquet. H air . . . ” I was going
to say Hair that’s n ever seen a brush , but som ething stopped me. Instead I
said, “H air the color of chestnuts.” I paused. T h at was pretty good. A nd
R isa’s hair was a nice reddish brown. “A nd eyes . . . eyes like little bits of
sky.” I didn’t even know I’d noticed those things about R isa— w hat a rich
color her hair was, tangled or not, and the brilliant blue of her eyes— until
I’d nam ed them , but even as I did, I was standing up.
“Sor . . . sorry,” I said, stu m b lin g over m y feet and m y tongue at the
same time. “I’m afraid I’ve got to go. I mean, there’s som ething I’ve got to
do. But I’ll be back. Tomorrow. I prom ise.”
M iss Benson stood too. “Is your daddy takin g you to the beach ag ain ?”
she asked.
U N IT
1:
300
310
320
330
“No . . . no.” I was backing toward the door. “Not today. H e’s w orking
today. But”— I’d reached the front door— “he’ll probably take us again
next weekend.”
“T h at’s nice.” M iss Benson had followed. “Com e back an ytim e, dear.
I like having you here.”
Come back a nytim e! She w ouldn’t say that when she found out her book
was missing. Then she w ould th in k I was the thief. Because I was the one
who’d had the book last, w asn’t I? She’d never th in k o f suspecting R isa
of stealing a book, R isa w ho’d refused to read, R isa w ith her pretty eye
bouquets.
As soon as M iss Benson closed the door behind me, I stalked across
the hall and knocked on R isa’s door . . . hard. I could hear the television
still, Road R unner3 cartoons, but no one answered. T he girl was h id in g
from me!
I knocked again, harder, and w hen still no one cam e, I turn ed the
handle. Surprised to find the door unlocked— some people are incredibly
careless!— I opened it slowly and peeked in. Two pairs o f sky-blue eyes
stared back at me from the couch. W ithout tak in g his thum b out of his
m outh, one of the little boys m um bled, “W h o ’re yo u ?”
“I’m a friend of R isa’s,” I lied. “Is she here?”
T h ey stared at one another and then, w ithout answ ering, turned back
to the TV.
“W here’s R isa?” I said more loudly.
The one who had talked before pulled his thum b out of his m outh this
time. “She took A ndrew and went,” he said. “She told us to sit right here.”
He gave me a w arn in g look. “She told us not to let anybody in, and w e’re
not supposed to talk to strangers.”
I stepped closer. W ho was Andrew? The baby, probably. A nd where was
their mother? W as she going to come m arching in, dem anding to know
w hat I was doing in her ap artm ent b u llyin g her little kids? N ot likely.
T his was M onday. She m ust be w orking. A nd R isa w as supposed to be
here takin g care o f the little boys. W ell, so m uch for counting on her for
anything. “W hen w ill she be back?” I demanded to know, stepping closer.
“She’s got som ething of m ine.”
No answer, so I moved betw een the couch and the coyote zoom ing
across the screen, facing down the two sm all, dirty-faced boys. A nd that’s
when I saw it. T he tattered blue book lay on the couch betw een them ,
open to a picture o f a cheerful train puffin g up a steep hill.
I snatched up the book. “W here did you get th is?”
incredibly
(Tn-kred'8-ble) adv.
unbelievably
3. Road Runner: a bird cartoon character w ho is constan tly chased but never cau gh t by W ile E. Coyote.
THE G O O D DEED
“R isa give it to us,” the talker replied. T he other one just leaned over
until he had almost toppled onto his side, trying to peer around me to see
the TV. M aybe he didn’t know how to talk.
“I’ll bet she d id ,” I said. I could have burst. T h at b u ttin ski girl who
thought she was so great was a thief. Just as I’d thought. O
The voice came from the doorway behind me. “M iss Benson gave it to
340 me, and I gave it to them .” I w hirled around to see R isa, stand in g there
holding an arm ful of baby. He was asleep w ith a fat cheek pressed against
her shoulder. R isa looked sm all under his w eight.
“Miss Benson gave it to me,” she said again, as though she knew I didn’t
believe her, “when I went over there on Sunday.”
“W here did you find it?” I dem anded to know.
“W h y did you hide it?” she countered.
The question hung in the air. The instant she asked, I realized I couldn’t
answer. W h y had I hidden the book anyway? Som ething about not w anting
Risa to horn in4 on m y good deed. W as that it? O
350
I tried another attack. “How come you went off and left your little
brothers? Som ething terrible could have— ”
She interrupted. “A ndrew was sick. H is tem perature got really high.
I couldn’t get hold of m y mom, so I went looking for a doctor.” As she said
it, she kind of staggered, like she couldn’t hold up that lump of a baby for
another m inute.
Suddenly I could see how scared she’d been, scared for the baby, scared
to go off and leave her brothers, probably scared to w alk into a strange
doctor’s office alone too. “Here,” I said, moving toward her. “Let me take
him . Is he going to be all righ t?”
360 W hen I lifted the baby aw ay from her, I could feel how hot he was.
A nd how heavy, too.
“Yeah.” She rubbed her nose w ith the back of her hand. H ad she been
crying? “The doctor gave him a shot. A nd he called m y m om too. Her
boss d id n ’t have an y choice. He had to let the doctor talk to her. She’s
com ing home real soon.”
I w alked over to the couch and laid the sleeping baby dow n beside
the other two boys. His cheeks were bright red. I took a tissue out o f m y
pocket and w iped his nose.
“I’ll bet M iss Benson w ould have come over to w atch the boys w hile
370 you went looking for the doctor,” I said. And for a moment we both stood
there, considering the word watch.
Risa nodded. “I didn’t think of that,” she said softly. But then she lifted
her chin and added, like it was w hat we were talkin g about still, “I found
her book in the wastebasket.”
4. horn in: to push one’s w ay in w ithout invitation.
56
U N IT l: PLOT, CO N FLICT, A N D SETTIN G
O
CONNECT
W h at experiences have
you had th a t help you
understand H e athe r’s
actions?
O
CONFLICT
H o w does R isa’s
question affe ct Heather?
“Did you tell her?”
R isa tossed her head. H er p retty chestnut h air had been brushed that
m orning, and it flowed w ith the movement like a horse’s tail. “O f course
not. W h at do you take me for?”
Som ething deep inside m y chest loosened a bit. Q
380 “M iss Benson said if I read out loud to m y brothers it w ill help me get
better. Better at reading, I m ean.” As R isa said it, a slow blush touched her
cheeks, m ade her ears flam e, even reached the roots o f her hair. A nd th at’s
w hy I knew she was telling the truth. Never in a thousand years w ould she
have adm itted that she needed help w ith reading except as a w ay o f letting
me know she hadn’t stolen the book. “I’m going to read to her som etim es
too,” she added.
“T h at’s . . . th at’s really great,” I stam m ered. A nd I knew it was. Really.
“You’ll be helping her, and she’ll be helping you. A k in d o f a good deed
both ways.”
390 “A good deed?” R isa laughed. “Is that w hat you call it?”
“R isa,” one o f the boys interrupted, the one I’d thought cou ld n’t talk,
“w ould you read to us some m ore?”
She looked sideways at me, and I knew that it was m e— snotty m e—
who’d kept her from reading out loud before. “W h y don’t we take turns
reading to them ?” I said. “T h at w ould be fun.”
R isa considered m y offer long and carefully. “O kay,” she said at last.
“Just so it doesn’t count as a good deed.”
“It doesn’t,” I said. “I promise.” c^> Q
O CONNECT
you realized your first
im pression o f som eone
w as w rong. H ow does
th a t experience help
you to understand how
H eather is feeling?
o CONFLICT
W hat is the resolution,
or end, o f the co nflict
betw een H eather and
Risa?
T H E G O O D DE ED
57
H eb er Valley P a stu res (2 0 0 5 ), D ouglas A agard. O il, 11" x 14". © 200 5 M eyer-M ilagro s G allery. A ll rights reserved.
ThePasture
Robert Frost
I’m going out to clean the pasture spring;
I’ll only stop to rake the leaves away
(And w ait to w atch the w ater clear, I may) :
I shan’t be gone long.— You come too.
5 I’m going out to fetch the little c alf
T h at’s standing by the mother. It’s so young
It totters when she licks it w ith her tongue.
I shan’t be gone long.— You come too.
58
U N IT l : PLOT, C O N F LIC T, AND SE TTIN G
After Reading
Comprehension
ALABAMA
STANDARDS
□
1. Recall H o w does H e ath e r m eet Risa?
READING STANDARD
2. Clarify Reread lines 2 6 0 -2 7 4 . W h y is M iss Benson able to describe Heather?
including conflict
3. Represent Sketch one o f the eye bouquets described in “The Good Deed.”
W hich o f the au th o r’s w ords helped you form a m ental picture o f the im age?
Literary Analysis
4. Connect R e vie w th e c o n n e ctio n s you m ad e in y o u r c h a rt w h ile re a d in g
“The Good Deed.” H o w do they help you u nderstand the ch aracters’ actions?
5.
ch a ra cte r’s stru g g le a g a in s t an o u tsid e force.
An
internal conflict take s place in sid e a
ch a ra cte r’s m ind. Create a "p o rtra it” o f H e ath e r
like the one sh o w n . Go back th ro u g h the
sto ry and record e xa m p le s o f th e intern al and
e xte rn al co n flicts she faces.
6.
1/rte.rna.l
Conflicts
Identify Conflicts An external conflict is a
/. Heather wants to
earn another badge.,
but she is scared
to visit lAiss
benson
I.
Make Inferences Reread lin es 274-276. Do you th in k M iss Benson is
aw are th a t there is a conflict b etw een H e a th e r and Risa?
7. Evaluate Resolution Do you th in k H e a th e r a cco m p lish e s her “good d e e d ”
by th e end o f th e story? Use e xa m p le s to su p p o rt yo u r answ er.
8.
Compare Literary Works In line 246, H eather b egin s to read Robert Frost’s
poem “The Pasture” to M iss Benson. Reread the entire poem on page 58.
Do you t h in k th e
speaker, or th e vo ice th a t ta lk s to th e reader, w o u ld
tre a t Risa th e w a y H e a th e r did, or th e w a y M iss B e n so n did? S u p p o rt
y o u r o p in io n w ith e xa m p le s fro m th e poem and “The G ood D eed.”
9. Big Question Activity In “T h e G ood D ee d ,” H e a th e r says e x a ctly w h a t she
th in k s a b o u t Risa. But w e d o n ’t a lw a ys kn o w w h a t Risa is t h in k in g . In a
sm all group, d iscu ss w h a t R isa ’s first
impression o f H e ath e r m ig h t have
been. H o w m ig h t R isa ’s im p re ssio n have ch a n ge d th ro u g h o u t th e story?
Su p p o rt yo u r responses w ith e xa m p le s fro m th e story.
10. Inquiry and Research W h a t c h a lle n g e s does a blind person face on a d a ily
basis? Research th e strate g ie s, tools, and resources a v a ila b le to help th e m
active ly p a rticip ate in every a sp e ct o f life, ju s t as M iss Benson does.
R ESEA R C H LIN K S
For more on challenges of the blind, visit the Research Center at ClassZone.com.
T H E G O OD DE ED
59
V O C A B U LA R Y PRACTICE
Sh o w th a t you u n d e rstan d th e vo ca b u la ry w o rd s by d e c id in g if each
accusation
sta te m e n t is tru e or false.
1.
2.
3.
4.
5.
6.
generic
A generic sh irt is hard to fin d .
If you give a pert answ er, o th er people w ill th in k you are q u ie t and shy.
A room th a t is incredibly n o isy is very loud.
A trite sta te m e n t u su a lly su g g e sts a n ew w a y o f lo o k in g at so m e th in g .
If m y a b ility to hear is impaired, I can hear very w ell.
A fa lse accusation a g a in st so m e o n e is likely to m ake th a t person angry.
impaired
incredibly
pert
trite
V O C A B U LA R Y IN W R IT IN G
W h at kinds o f th in g s m ig h t have m ad e H e ath e r n ervo us a b o u t m e e tin g M iss
Benson for th e first tim e? W rite a p aragrap h te llin g w h a t you th in k , u sin g at
least tw o vo ca b u la ry w ords. You could sta rt like th is.
ALABAMA
STANDARDS
a
EX A M PLE SEN TEN CE
9
because h^/ss &enson was a retired teacher, Heather Might have been
afraid that anything she said would sound trite .
Utilize vocabulary skills
V O C A B U LA R Y STRATEGY: S U F F IX E S
A suffix is a w ord part th a t ap p ears at the end o f a root or
Meanings
base w ord to fo rm a new w ord. S u ffix e s can ch a n g e a
w o rd ’s part o f speech. For e xam p le , the s u ffix in accusation
-er, -or
person or t h in g th a t
changes the verb accuse to a noun. If you can recogn ize the
-ance,
act or co n d itio n o f
base w ord, you can usually figu re out the m eaning o f the new
-ence, -ion,
word. See the chart for com m on su ffixe s and their m eaning.
-tio n , -atio n
PRACTICE For each boldfaced w ord, ide n tify th e base w ord
and its m eaning. Then use your kn ow led ge o f the w ord and
the in fo rm ation in the ch art to d efin e th e boldfaced w ord.
1. The su d d en noise broke his
concentration.
2. O ur sw im m in g instructor w as a teenager.
3. She received a w e e kly allowance fo r b u y in g lunch.
4. I have a lw a y s had a fascination w ith fro g s and to ad s.
60
U N I T 1: P L O T , C O N F L I C T , A N D S E T T I N G
3
VOCABULARY
PR A C TIC E
at ClassZone.com.
a
SKILLS PRACTICE
Increase y o u r u n d e rsta n d in g o f "Th e Good D ee d ” by re sp o n d in g to th e se
prom pts. Then co m p lete th e
W RITIN G PROM PTS
SELF-CH ECK
A. Short Response: Compare and Contrast
A strong response w ill. . .
O utw ardly, Heather treats M iss Benson
• include a topic sentence
that evaluates Heather’s
behavior
differently than she treats Risa. W rite one
paragraph com paring Heather’s behavior toward
M iss Benson w ith her behavior tow ard Risa.
• use exam ples from the
story to support your topic
sentence
B. Extended Response: Write a New Ending
W hat if Heather's impression o f Risa had been
correct and Risa had taken the book w ithout
asking Miss Benson? W rite a two- or three-
paragraph summary o f a possible new ending
An effective ending w ill...
• have a natural connection
w ith the rest of the story
• tie up all loose ends in the
story
to the story.
AVOID RUN-ON SENTENCES A ru n -o n se n te n ce is tw o or m ore se n te n ce s
period to m ake tw o
separate sentences, or use a comma and coordinating conjunction [and, but,
w ritte n as one se n te n ce . To co rrect th e error, use a
or) to d ivid e th e p arts o f th e run-on.
Original:
a
ALABAM A
STANDARDS
lO.b Using commas to correct
run-on sentences
H e ath e r p o lite ly says go o d b ye to M iss Benson, she b arges
into R isa’s hom e u n in vite d .
Revised:
H e ath e r p o lite ly says go o d b ye to M iss Benson, but she
b arges into Risa's hom e u n in vite d .
PRACTICE Rewrite the fo llo w in g sentences, m a kin g ch an ge s in pu nctu ation
and, if n ecessary, c a p ita liz a tio n to co rrect th e ru n -o n se n te n ce s. Add
co o rd in a tin g co n ju n ctio n s w h ere needed.
1. Risa w alked in th e door, she asked m e to give her th e book.
2 . I accused Risa o f ste a lin g th e book, she b lu sh e d and looked dow n.
3 . Risa told m e she p lan n ed to return th e book afte r she read it to her
brothers, she asked m e not to tell M iss Benson.
4 . I w a sn ’t sure w h a t to do, I re ally liked M iss Benson.
For more help with run-on sentences, see page R64 in the Grammar Handbook.
T H E G O O D DE ED
61
Before Reading
All Summer in a Day
S h o rt S to ry by Ray B ra d b u ry
What i f your whole
O R L D changed?
a
ALABAMA
STANDARDS
READING STANDARDS
KEY IDEA People often becom e co m fortab le in the fam iliar world
o f their fam ily, friends, and d aily routines. However, people m ove
and tra d itio n s change. W hen yo u r w orld ch an ge s, w h e th e r by a
little or a lot, it can have an im pact on your life. In “All Su m m er in
Interpret literary elements
and devices
a Day,” a y o u n g girl fe els lost in a n ew place.
2
SKETCH IT T h in k about the people, places, events, and ideas th at
are m ost precious to you. Create a sketch o f yo u r w orld, sh o w in g
so m e o f the th in g s th a t m ake it a special place. H o w w o u ld you
feel if any o f th e se th in g s disappeared?
Author Online
• LITERA RY A N A LY S IS : SETTIN G
Setting is not only where a story takes place but also when it
science fiction stories, the se ttin g is often the
takes place. In
distan t future. The im a g in ary w orld in w h ich the characters
live is based on real or p ossib le sc ie n tific d isco ve rie s and
inventions. This se ttin g usually causes the events o f the story
to unfold in an unexpected w ay. As you read “All Su m m er in
a Day,” look for clues th at tell you w hen and w here the story
takes place.
Review :
ad ven ture stories,
secret code rings,
and co m ic strips.
He started w ritin g
Ray Bradbury
born 1920
w orlds.
• READ IN G S K ILL: M A KE IN FER EN C ES
As a reader you are a detective. Details, events, and d ialogue
in a sto ry are yo u r clues. You put th e clu es to g e th e r w ith
make inferences, or m ake gu esses.
A s you read “All Su m m e r in a Day,” use an e q u atio n like
the one show n to record the inferences you m ake ab o u t the
ch aracte rs’ fe e lin g s and th e ir actions.
= Inference
C/oes from th e S to ry
+ M l / Knowledge.
Margot is not p art o f
th& group.
= Margot
+ N ot b&ing part
fee/s sad.
o f a group can
Make you fe d sad.
Review :
A s a boy in Illinois,
Ray Bradb u ry
had a passion for
fictio n to create
his ow n im a g in a ry
Conflict
you r ow n kn o w led ge to
Vivid Imagination
Creative Genius
W h ile so m e o f B ra d b u ry ’s m ost
fa m o u s stories are science fiction , he
d o e sn ’t th in k o f h im se lf as a science
fic tio n w riter. In stead , he th in k s o f
h im se lf as so m eon e w h o sim ply w rites
w h a t he sees, ju s t “throu gh a different
lens.” T h o u g h he w rite s ab o u t fu tu re
te ch n o lo g y and space travel, Bradbury
is a bit o ld -fa sh io n e d . He has never
learned to drive a car, preferring to get
around by rid in g a bicycle.
Background
Identify Cause and Effect
Beyond Summer W hen Bradbury
Ray Bradbury uses these w ords as he creates a w orld th at is
very d iffe re n t fro m ours. C o m p lete each sen ten ce w ith an
appropriate w ord from the list.
WORD
LIS T
a p p a r at us
resi li ent
sl acken
immense
savor
tumultuously
1. The leaves s h o o k
, and w e w ere scared.
2 . T h e _______p lan et o ffered m an y areas to explore.
3 . The stu rd y shelters are b u ilt to b e
4 . A fter the storm , the w in d began t o
Scientists learned a fe w years later that
this dense cloud cover did not result in
co n stan t rain, as occurs in B rad b u ry’s
story. Instead, the clouds appear to
tra p heat. T h e te m p e ra tu re at the
su rface o f the p lan et is ab ou t 86o°F,
w h ich is m uch to o hot fo r rainfall.
.
.
5 . T h e _______used to open the hatch w as broken.
6. She sat q u ie tly t o
w rote “All Su m m er in a D ay” in 1954,
very little w a s kn ow n ab ou t Venus.
T h e m yste rio u s p la n e t lay hidden
beneath a ve ry h eavy layer o f clouds.
e ve ry th in g around her.
M O RE A B O U T THE AU TH O R
AND BACKGROUND
To learn more about Ray Bradbury
and the planet Venus, visit the
A L L S U M M E R I N A DAY
63
RAY B R A D B U R Y
ead y?”
“R eady.”
“N o w ?”
boon.
“D o the scientists re ally know ? W ill it happen today, w ill it? ”
“Look, look; see for y o u r se lf!”
T he children pressed to each other lik e so m an y roses, so m an y w eeds,
interm ixed, p eerin g out for a look at the h id d en sun.
It rained.
10 It had been ra in in g for seven ye ars; th o u san d s upon th o u san d s o f
days com pounded an d filled from one end to the oth er w ith rain , w ith
the d ru m an d gu sh o f w ater, w ith the sw eet crystal fall o f showers an d
the concussion 1 o f storm s so h eavy th e y w ere tid a l waves com e over the
islands. A thousand forests had been crushed u nd er the rain an d grow n
up a thousand tim es to be crushed again . A n d this w as the w ay life was
forever on the planet Venus, and this w as the school room o f the children
of the rocket m en and wom en who had come to a rain in g w orld to set up
civilizatio n an d live out th eir lives. ©
CCp
U N IT
W hat w ords w ould you
use to describe this
photograph?
55
1. concussion (kan-kush'en): pounding.
64
ANALYZE VISUALS
1 : PLO T, C O N F L IC T, AN D SE TTIN G
©
SETTING
W hat do the d e tails
su g g e st about w here
and w hen the sto ry
takes place?
“It’s stopping, it’s sto p p in g!”
20 “Yes, y e s !”
M argo t stood ap art from them , from these ch ild ren w ho co uld never
rem em ber a tim e w h en there w asn ’t rain an d rain an d rain . T h e y w ere
a ll n in e years old, an d i f there h ad been a day, seven years ago , w h en
the sun cam e out for an h our an d show ed its face to the stu n n ed w orld,
th e y co u ld not re call. S o m etim es, at n ig h t, she h e ard th em stir, in
rem em brance, and she kn ew th ey w ere d ream in g an d rem em bering gold
or a yellow crayon or a coin large enough to buy the w orld w ith . She kn ew
th at th e y th o ugh t th e y rem em bered a w arm n ess, lik e a b lu sh in g in the
face, in the body, in the arm s and legs and trem bling hands. But then they
30 alw ays aw oke to th e ta ttin g d r u m ,2 th e endless s h a k in g d o w n o f clear
bead necklaces upon the roof, the w alk , the gardens, the forest, an d their
dream s w ere gone.
A ll d ay yesterday th ey had read in class, abo ut the sun. A bo ut how lik e
a lem on it w as, an d how hot. A n d th ey had w ritten sm all stories or essays
or poem s about it:
A SCIENCE
^ CO N NECTIO N
Exploration o f Venus
began w ith a "flyb y"
spacecraft from the
Soviet Union in 1961 and
another from the United
States in 1962. Since
then, o rbitin g spacecraft
and robotic equipm ent
have provided pictures
and inform ation about
conditions on Venus.
“I th in k the sun is a flower,
T h a t bloom s for ju st one hour.”
T h a t w as M a rg o t’s poem , read in a q u iet voice in th e s till classro om
w h ile the rain w as fallin g outside.
40 “Aw, you d id n ’t w rite th a t!” protested one o f the boys.
“I d id ,” said M argo t. “I d i d .”
“W illia m !” said the teacher.
But th at w as yesterday. N ow, the rain w as slackening, an d the ch ild ren
were crushed to the great th ic k w indow s.
“W h e re ’s teach er?”
“S he’ll be back.”
“S he’d better hurry, w e’ll m iss it ! ”
T h e y tu rn ed on them selves, lik e a feverish w h eel, all tu m b lin g spokes.
M arg o t stood alone. She w as a v e ry frail g irl w ho looked as i f she had
50 been lost in the rain for years an d the rain h ad w ash ed out the blue from
her eyes an d th e red from her m o u th an d the y e llo w from her h air. She
w as an old photograph d usted from an alb um , w h iten ed away, an d i f she
spoke at all her voice w o uld be a ghost. N ow she stood, separate, starin g at
the rain and the loud w et w orld beyond the h uge glass.
“W h a t’re y o u lo o k in g a t? ” said W illia m .
M arg o t said n o th in g.
2. ta ttin g drum : a continuous, soft, beating sound.
66
U N IT l : PLOT, CO N F LIC T, AND SE TTIN G
slacken (slak'en) v. to
slow dow n or lessen
“S p eak w hen yo u ’re spoken to.” H e gave her a shove. B ut she d id not
m ove; rather, she let h erself be m oved o n ly by h im an d n o th in g else.
T h e y edged aw ay from her, th e y w o u ld not look at her. She felt th em
60 go away. A n d this w as because she w ould play no gam es w ith them in the
echoing tu n n els o f the u n d ergro u n d city. If th ey tag ged her an d ran , she
stood b lin k in g after them an d d id not follow. W h e n the class san g songs
about happiness an d life an d gam es, her lips b arely m oved. O n ly w h en
they sang about the sun and the sum m er did her lips move, as she w atched
the drenched w indow s.
A n d then, o f course, the biggest crim e o f all w as th at she had com e here
o nly five years ago from E arth , an d she rem em bered the sun an d the w ay
the sun w as an d the sky w as, w hen she w as four, in O hio. A n d they, th ey
had been on Venus all th eir lives, an d th e y h ad been o n ly tw o years old
70 w hen last the sun cam e out, an d h ad lo ng since forgotten the color an d
heat o f it an d the w ay th at it re ally w as. B ut M arg o t rem em bered. ©
“It’s lik e a penny,” she said once, eyes closed.
“N o it’s n o t!” the ch ild ren cried.
“It’s lik e a fire,” she said, “in the stove.”
“You’re ly in g ; yo u don’t rem em ber! ” cried the ch ild ren .
B ut she rem em b ered an d stood q u ie tly ap a rt from a ll o f th em an d
w atched the pattern ing w indow s. A n d once, a m onth ago, she had refused
to shower in the school shower-room s, had clutched her hands to her ears
and over her head, scream in g the w ater m u stn ’t touch her head. So after
so th at, d im ly , d im ly , she sensed it, she w as d ifferen t an d th e y k n e w her
difference an d kept away. Q
T h ere w as ta lk th a t her fath er an d m o th er w ere ta k in g h er b ack to
E arth next year; it seem ed v ital to her th at th e y do so, th o u g h it w o u ld
m ean the loss o f th o usands o f dollars to her fam ily. A n d so, the ch ild ren
hated her for a ll these reasons, o f big an d little consequence. T h e y hated
her p ale, snow face, her w a itin g silen ce, her th in n ess an d h er possible
future.
“G et aw ay!” T h e boy gave her another push. “W h a t’re yo u w aitin g for?”
T h en , for the first tim e, she tu rn ed an d looked at h im . A n d w h at she
90 w as w a itin g for w as in her eyes.
“’W ell, don’t w ait aro un d h e re !” cried the boy, savagely. “You w on ’t see
n o th in g !”
H er lips m oved.
“N o th in g !” he cried . “It w as a ll a jo k e, w asn ’t it? ” H e tu rn e d to the
other ch ild ren . “N o th in g ’s h ap p en in g today. Is it? ”
T h e y a ll b lin k ed at h im an d then, u n d erstan d in g, lau g h ed an d shook
their heads. “N o th in g, n o th in g !”
© CONFLICT
W hat is the conflict
betw een M argot and
her classm ates?
Q
M A K E INFERENCES
W hy does M argot refuse
to take a shower?
67
“O h, b ut,” M arg o t w hispered, her eyes helpless. “B ut, this is the day,
the scientists p red ict, th ey say, th ey k now , the sun . . .”
100 “A ll a jo k e !” said the boy, an d seized her roughly. “H ey, everyone, le t’s
put her in a closet before teacher co m es!”
“N o,” said M argo t, fallin g back.
T h e y surged about her, cau gh t her up, an d bore her, p ro testin g, and
th en p le ad in g , an d then c r y in g , b ack into a tu n n e l, a room , a closet,
where th ey slam m ed and locked the door. T h e y stood looking at the door
and saw it trem ble from her b eatin g and th ro w in g herself again st it. T h e y
heard her m u ffled cries. T h en , sm ilin g , th e y tu rn ed an d w en t out an d
back dow n the tu n n el, ju st as th e teacher arrived. Q
“Ready, c h ild re n ?” She glan ced at her w atch,
no
“Y es!” said everyone.
“A re w e all h ere?”
“Y es!”
T h e rain slackened s till m ore.
T h e y crow ded to the huge door.
he rain stopped.
It was as if, in the m idst o f a film co ncerning an avalanche, a tornado,
a hurricane, a vo lcan ic eruption, so m eth in g h ad , first, gone w ro n g w ith
the sound apparatus, thus m u fflin g an d fin a lly c u ttin g o ff a ll noise, all
o f the blasts an d repercussions an d th u n d ers, an d then, secondly, ripped
120 the film from the projector an d in serted in its place a p eacefu l tro p ical
slide w hich d id not move or trem or. T h e w orld ground to a stan d still. T h e
silence w as so immense an d un believab le th at yo u felt th at yo u r ears had
been stuffed or yo u had lost yo u r h e arin g altogeth er. T h e ch ild ren p u t
th eir han ds to th eir ears. T h e y stood ap art. T h e door slid b ack an d the
sm ell o f the silent, w aitin g w orld cam e in to them .
T h e sun cam e out. Q
It w as the color o f fla m in g bronze an d it w as v e ry large. A n d the sk y
around it was a blazing blue tile color. A nd the ju n gle burned w ith sun ligh t
as the ch ild ren , released from th eir spell, rush ed out, y e llin g , in to the
130 sum m er-tim e.
“Now, don’t go too far,” called the teacher after th em . “You’ve o n ly one
hour, yo u know. You w o u ld n ’t w an t to get cau g h t o u t!”
But th ey w ere ru n n in g an d tu rn in g th eir faces up to the sk y an d feelin g
the sun on their cheeks lik e a w arm iron; th e y w ere ta k in g o ff th eir jackets
and le ttin g the sun b urn th eir arm s.
“O h, it’s better th an the sun -lam ps, isn ’t it? ”
68
U N IT
1 : PLOT, C O N F L IC T , AND SE TTIN G
0
C A U S E A N D E FF EC T
W hat happens to
M argot as a result o f the
other children’s dislike
o f her?
ap p aratu s (ap'8-rat'as)
n. a device or set o f
equip m ent used fo r a
sp ecific purpose
im m ense (T-m ens') adj.
e xtre m ely big; huge
Q
SETTING
W hat do the children
learn about their w orld
w hen the sun com es
out?
“M u ch , m uch b e tte r!”
T h e y stopped ru n n in g and stood in the great ju n g le th at covered Venus,
th at grew an d never stopped gro w in g, tumultuously, even as yo u w atch ed
140 it. It w as a nest o f octopuses, clu sterin g up g reat arm s o f flesh -lik e w eed,
w avering, flow erin g in this b rie f spring. It w as the color o f rubber an d ash,
this ju n g le, from the m an y years w ith o u t sun . It w as the color o f stones
an d w hite cheeses an d in k . Q
T h e children lay out, lau gh in g , on the ju n g le m attress, an d heard it sigh
an d sq u e ak u n d er them , resilient an d aliv e. T h e y ran am o n g the trees,
th ey slipped an d fell, th e y push ed each other, th e y p layed h id e-an d -seek
an d tag , but m ost o f a ll th e y sq u in ted at th e sun u n til tears ran do w n
their faces, th ey p u t th eir han ds up at th at yellow n ess an d th at am azin g
blueness, and th ey breathed o f the fresh fresh a ir an d listen ed and listen ed
150 to the silence w h ich suspended them in a blessed sea o f no so und an d no
m otion. T h e y looked at ev eryth in g an d savored everyth in g . T h en , w ild ly,
lik e an im als escaped from th eir caves, th ey ran and ran in sho utin g circles.
T h e y ran for an hour an d d id not stop ru n n in g . Q
A n d then—
In the m id st o f th eir ru n n in g , one o f th e girls w ailed .
Everyone stopped.
T h e girl, stan d in g in the open, held out her h an d .
“O h, look, look,” she said, trem b lin g.
T h e y cam e slo w ly to look at her opened p alm .
tu m u ltu o u sly
(td o-m u l'cho o -es'le)
adv. in a w ild or
disorderly w ay
Q
SETTING
W hat is unusual about
the plants on Venus?
resilie nt (rT-zTl'ysnt) adj.
fle xib le and sp ringy
savor (sa'var) v. to take
great pleasure in
Q
C A U S E A N D E FF EC T
H ow do the children
react to the change in
the weather?
69
160
In the center o f it, cupp ed an d huge, w as a sin gle rain drop.
She began to cry, lo o k in g at it.
T h e y glan ced q u ic k ly at the sky.
“O h. O h.”
A few cold drops fell on th eir noses an d th eir cheeks an d th eir m ouths.
T he sun faded behind a stir o f m ist. A w in d blew cool aro un d them . T h e y
tu rn ed an d started to w a lk b ack to w ard th e u n d erg ro u n d ho use, th eir
hands at th eir sides, th eir sm iles v a n ish in g away.
A boom o f thunder startled them and like leaves before a new hurricane,
th ey tum bled upon each other an d ran. L ig h tn in g stru ck ten m iles away,
170 five m iles away, a m ile, a h alf-m ile. T h e sk y d arken ed into m id n ig h t in
a flash.
T h e y stood in the doo rw ay o f the u n d ergro u n d for a m om en t u n til it
was rain in g hard. T hen th ey closed the door and heard the gig an tic sound
o f the rain fa llin g in tons an d avalan ches everyw here an d forever.
“W ill it be seven m ore y e a rs?”
“Yes. Seven.”
T h en one o f them gave a little cry.
“M a rg o t!”
“W h a t? ”
iso
“S he’s still in the closet w here w e locked her.”
“M argo t.”
T h e y stood as if som eone h ad driven th em , lik e so m a n y stak es, into
the floor. T h e y looked at each other and then looked away. T h e y glan ced
out at the w orld th at w as ra in in g now an d ra in in g an d ra in in g stead ily.
T h e y co uld not m eet each o th er’s glan ces. T h e ir faces w ere solem n an d
pale. T h e y looked at th eir h an ds an d feet, th eir faces dow n.
“M argo t.”
O ne o f the girls said, “W ell . . . ?”
N o one m oved.
190 “Go on,” w hispered the girl.
T h e y w alk e d slo w ly dow n th e h a ll in th e so u n d o f co ld rain . T h e y
turned thro ugh the d oorw ay to the room , in the sound o f the storm an d
thunder, lig h tn in g on their faces, blue an d terrible. T h e y w alk ed over to
the closet door slo w ly an d stood b y it.
B ehind the closet door w as o n ly silence.
T h e y unlocked the door, even m ore slow ly, an d let M arg o t out. c^> g j
70
U N I T 1: P L O T , C O N F L I C T , A N D S E T T I N G
Q
M A K E INFERENCES
How m ig h t the children
feel tow ard M argot now
th a t they too have seen
the sun?
After Reading
Comprehension
a
1. Recall H o w often does th e sun sh in e on Venus?
ALABAMA
STANDARDS
READING STANDARD
2. Clarify W h y is M argo t th e o n ly ch ild w h o re m em b ers th e sun?
and devices
2
3. Summarize W h a t h ap p e n s to M a rgo t w h ile th e te a ch e r is o u t o f the
classroom ?
Literary Analysis
4. Make Inferences Review the inferences th a t you recorded as you read the
story. W ere a n y o f y o u r id e as w ro n g or in c o m p le te b ased on w h a t you
learned later on in th e story? A d ju st yo u r e q u a tio n s as needed.
5. Identify Cause and Effect A ca u se -a n d -e ffe ct re la tio n sh ip occu rs w h en
one event cau ses an other event to happen. W h at events in th e story and
prior to th e story lead to M a rg o t’s u n h ap p in e ss?
6. Analyze Setting T h in k a b o u t
Sunny Dai\ on t a rt h
Sonny Day on Venus
w h a t h ap p e n s on a su n n y day
in yo u r
The children
p rep a re by
doing activities
about th e sun.
world. H o w w o u ld th a t
d ay be d iffe re n t fro m th e one in th e
story? U se a Y ch a rt to
\
compare and
contrast w h ich d e tails m ig h t sta y th e sam e
and w h ich m ig h t be d iffe re n t. Use yo u r ch art
to e xp la in h ow th e se ttin g a ffe cts th e
plot, or
seq uen ce o f events, in “All S u m m e r in a Day.”
Sim ilarities
Children enjoy
tinv\e in th e sun.
7. Examine Conflict An external conflict is a stru g g le betw een a character
and an o u tsid e force. An internal conflict h ap p e n s w h en a ch aracte r is
at odds w ith his or her fe e lin g s. Reread lin es 182-196. Are th e ch ild ren
fa c in g an e xte rn al or intern al co n flict as th e y w a lk to th e clo se t and
u n lo ck th e door for M argot?
8. Draw Conclusions Co n sid e rin g w h a t you kn ow ab ou t M argot, how do you
th in k she w ill respond to th e o th e r ch ild re n w h e n th e y open th e clo se t
door? G ive e xa m p le s from th e story to su p p o rt yo u r answ er.
9 .^ ^
SCIENCE CONNECTION V e n u s an d Earth have often been
referred to as “tw in planets.” Research Venus and Earth to learn
m ore a b o u t th e ir sim ila ritie s and differences.
For more on Venus and Earth, visit the Research Center at ClassZone.com.
Venus
Earth
A L L S U M M E R IN A DAY
71
For each set, cho o se the w ord th a t d iffers m ost in m e a n in g
apparatus
from th e o th er w ords.
savor
immense
slacken
1. (a) prepare, (b) appreciate, (c) enjoy, (d) savor
resilient
2. (a) a p p lian ce , (b) device, (c) ap p aratu s, (d) op erato r
tumultuously
3 . (a) slacken, (b) lessen, (c) decrease, (d) e n larg e
4 . (a) e no rm ou s, (b) im m e n se, (c) g ig a n tic , (d) d ista n t
5 . (a) tu m u ltu o u sly, (b) carefully, (c) th o u g h tfu lly , (d) c a u tio u sly
6. (a) elastic, (b) nervous, (c) fle xib le , (d) resilient
Pretend th a t you are one o f M a rg o t’s classm ate s. W h at did you th in k w ou ld
happen w h en th e sun cam e out? W rite a p aragrap h e x p la in in g y o u r ideas,
u sin g tw o or m ore v o cab u lary w ord s. You could sta rt like this.
ALABAM A
STANDARDS
a
Utilize vocabulary skills, including
synonyms
9
I thought the rain would slacken, but I never believed that rt would reaJI\j stop.
V O C A B U LA R Y STRATEGY: USE TH E BEST SYN O N YM
A
synonym is a w ord th at has the sam e or sim ila r m e a n in g to an o th e r w ord.
C o m m o n w o rd s like big have m a n y sy n o n y m s. H ow ever, not all o f th e m
Synonyms for big
m ean e xa ctly the sam e th in g . In th is story, for e xam p le , th e w ord immense
hefty
gives a m ore detailed sense o f the se ttin g th an the co m m on w ord big w ould
give. In a
thesaurus (a book or e le ctro n ic to o l used to fin d sy n o n y m s) or
oversized
syn o n ym fin d e r, immense m ig h t be gro u p e d w ith w o rd s like enormous,
sp acio u s
gigantic, huge, and massive.
vast
PRACTICE C h o o se the syn o n ym fro m th e box th a t best fits th e m e a n in g
o f each sentence. Use a d ic tio n a ry or th e sa u ru s if you need help.
1. T h e ______ poster did not fit into th e sm all fram e.
2 . T h e ______ th e a te r e a sily held th e 6 o o stu d en ts.
3 . Fields o f w h e a t stretch ed fo r m ile s across the
4. The
72
p ackage w as hard to lift.
U N IT l : PLOT, C O N F L IC T, AND SETTIN G
p lain s.
VOCABULARY
PR A C TIC E
at ClassZone.com.
a
SKILLS PRACTICE
Explore the influ en ce o f se ttin g in “All Su m m e r in a D a y” by re sp o n d in g to
these prom pts. Then co m p lete the
Grammar and Writing exercise
SELF-CHECK
W R ITIN G PROM PTS
An engaging letter w ill...
Short Response: Write a Letter
How m ight M argot see her world on Venus?
Write a one-paragraph letter from M argot to her
• be consistent w ith details
from the story
grandparents on Earth describing her new home.
• use words and phrases that
create a vivid description
A logical response w ill. . .
B. Extended Response: Analyze Science Fiction
“All Sum m er in a D ay” is considered science
fiction. Reread the definition o f science fiction
on page 63. Then w rite two or three paragraphs
• include a clear opening
statem ent
• use specific exam ples to
support your explanation
that use details from the story to clearly explain
w hy the story is an exam ple o f science fiction.
G RAM M A R A N D W R ITIN G
commas in the correct place w hen
dates, addresses, and letters. Follow th e se gu id elin e s:
USE CO M M AS CO RRECTLY Be sure to put
w ritin g
a
ALABAMA
STANDARDS
• In dates: Use a co m m a betw een the day and the year. Use a co m m a afte r
10
Use punctuation correctly
the year if the sentence co ntinu es.
• In addresses: Use a co m m a b e tw e e n th e city or to w n and th e sta te or
country. Use a com m a after the state or co un try if the sentence continues.
• In letters: Use a com m a afte r the gre e tin g o f a casual letter and afte r the
clo sin g w ord before the sign atu re in a casual or business letter.
Original:
W e landed on V en u s on M arch 21 3 0 4 4 afte r m o n th s o f
travel.
Revised:
W e landed on V en u s on M arch 21,3044, afte r m o n th s o f
travel.
PRACTICE Rew rite the letter and add the m issin g com m as.
Dear G ran d m a and G randpa
I m iss you. M om and Dad say th at I m ig h t return to Akron O hio n ext year.
The sp ace craft leaves on M ay io 3050. I ca n ’t w a it to see you both.
Love
M argo t
For more help with commas, see page R49 in the G ra m m a r H and book.
A L L S U M M E R IN A DAY
73
Reading for Settling in Space
agazine Article, page 75
Information I •• OMnline
Article, page 76
• Illustrations, page 80
All
Summer
'»«Dav
W hat’s the Connection?
In “All Su m m e r in a Day,’’ you read ab o u t people liv in g in a colony on
Venus. But w h a t’s V enus really like? W h at w o u ld it be like to live in
a space colony? Stu d y the articles and im ag e s on the next fe w pages
Use with "All Summer
in a Day," page 64.
to g e t th e scien ce fa cts a b o u t th e se scie n ce fictio n se ttin g s.
Skill Focus: Use Text Features
K n o w in g h o w to use te x t fe a tu re s w ill h elp yo u fin d fa c ts in an
o
ALABAM A
STANDARDS
article.
Text features are th in g s such as title s and illu stration s that
call atte n tio n to im p o rta n t in fo rm a tio n . T h e y can tell you w h a t
READING STANDARDS
an article w ill be about, m ake key term s noticeable, and sh o w the
Apply strategies that include
comparing to comprehend
informational materials
o rg a n iza tio n o f a se le ctio n . For e xam p le :
3
•A
title or headline id e n tifie s th e top ic.
•A
subheading— a h e ad in g w ith in an article — sig n a ls th e start o f a
B.e Previewing text features
n ew to p ic or sectio n and id e n tifie s w h a t it w ill be ab o u t.
• Bulleted lists (like th is one) d istin g u ish item s o f equal im p ortan ce.
• Graphic aids— such as illu stra tio n s, d ia g ra m s, an d m a p s— m ay
sh o w people, places, th in g s, or even ideas.
See w h a t you can learn from the te xt featu res in the sele ctio n s th a t
follow . Take notes in a ch a rt like th e one sh o w n here.
Selection
Text Feature
What 1 Learn or \n-fer
"Weather That’s
Gut o f This
W orld'
Title- ”W eather That’s
Gut o f This W orld1"
This a rticle will
probably be about wild
w eather or w eather on
another planet.
1 “S pace
S ettlem ents
"Artists Views
' o f a Space
Colony
74
U N IT l : PLOT, C O N F L IC T , AND SETTIN G
Subheadings <£
bulleted Items:
/. What is an Orbital
S pace Colony'!
Graphic Aid-
/. giant
sp a cecra ft
th a t travels endlessly
through space
s>
Weather That’s Out
of This World! Alan Dyer
If you think Earth’s weather is wild,
just wait until you see what it’s like elsewhere in the solar system.
Hot, Sizzling Venus
q
“This is VTN—th e Venus Television N etwork— w ith the latest fo reca st
fo r the secon d p la n et fro m the Sun: h ot today, hot tom orrow, a n d hot the
fo llo w in g day. It w ill also be cloudy, w ith no sign o f any sunshine. Take
y o u r glass um brella— w e ’re in f o r m ore a cid ra in .”
If there were meteorologists on Venus, th at’s the k in d o f forecast they
w ould have to give. Venus is a n asty place to live. T h in k o f the hottest
OCUS ON FORM
A science article
is a short piece of
nonfiction about a
scientific subject.
The au th o r’s purpose
for w ritin g a science
article is usually to
inform or explain.
Science articles often
use te xt features
to help present
inform ation more
clearly.
O
USE T E X T FE A T UR E S
W hat do you learn from
th is su bhead ing? Record
th is inform ation in your
chart.
d ay you can rem em ber. T h en im agin e w h at it w o u ld be lik e if it were
10 tim es hotter— th at’s w hat it’s lik e on Venus.
10
Venus is the hottest planet in the solar system . T h e tem perature at its
surface is a searing 860 degrees Fahrenheit, day and night. T he superhigh
tem perature surprised m an y astronom ers, w ho once th o ugh t M e rcu ry
w ould be hotter, since it is closer to the S un . B ut Venus has so m ethin g
v ery im p o rtan t th a t M e rc u ry lack s— -an atm osphere. U n lik e E a rth ’s
atm osphere, w hich is m ade o f oxygen and nitrogen, the air on Venus is
m ostly carbon dioxide gas, one o f the so -called greenhouse gases. Like
the glass in a greenhouse, carbon dioxide in the air traps heat co m in g
from the Sun. W ith no place to go, the heat builds up. In the case o f
Venus, its th ick carbon dioxide b lan ket has m ade the planet so hot that
20 some m etals, such as lead, w ould m elt on its surface.
A d d in g to Venus’s un pleasant w eather is a co nstant drizzle from the
th ick clouds th at surround the planet. But it’s not w ater th at falls from
the sk y there. Instead, the rain is m ade o f droplets o f su lfu ric acid , a
corrosive liq u id th at burns an y th in g it touches. Betw een the b listering
heat an d the siz z lin g acid rain , V enus’s w eath er is m u ch w orse th an
anythin g we could fin d on Earth.
READING FO R IN FO RM A TIO N
75
BACK
FO R W A R D
REFRESH
Settlements
U SE T E X T F E A T U R E S
Preview this article to
identify the subheadings
in it. W rite these in
yo ur chart, leaving
space betw een them
for notes. Then, as you
read the article, jo t down
w hat you learn from the
paragraphs that follow
each subheading. Use
bullets to list each key
point.
76
A Giobus
W hat Is an Orbital Sp ace Colony? □
A n o r b i t a l s p a c e c o l o n y is a g i a n t s p a c e c r a f t b i g e n o u g h t o live
in. O r b i t a l c o l o n i e s will t r a v e l e n d l e s s l y t h r o u g h s p a c e w h i l e t h e
fo lk s in s id e play, w o r k , a n d s o c i a li z e .
W hat Will Life Be Like?
L i v i n g i n s i d e a s p a c e c o l o n y will, in m a n y w a y s , b e like living o n
E a r t h . P e o p l e will h a v e h o u s e s o r a p a r t m e n t s . T h e y will g o t o
w o r k a n d t o s c h o o l . T h e r e will b e s h o p s , s p o r t s t e a m s , c o n c e r t s
a n d m o v i e s . P e o p l e will g o t o p a r t i e s w i t h t h e i r f r i e n d s , j u s t like
o n E a r t h . H o w e v e r , t h e r e will a l s o b e m a n y d i f f e r e n c e s .
U N IT l : PLO T, C O N F L IC T , AND SETTIN G
Reading for Information
r ......
BACK
<
FO R W A R D
►
STO P
ii
REFRESH
o
HOM E
P R IN T
FmTI
- ■ 'V
:...1
r i
T o d a y w e live o n t h e o u t s i d e o f a p l a n e t . E a r t h is t h o u s a n d s o f
k i l o m e t e r s a c r o s s , s o b i g t h a t it l o o k s like w e a r e living o n a f l a t
s u r f a c e . I n s t e a d o f living o n t h e o u t s i d e o f a h u g e p l a n e t , s p a c e
s e t t l e r s will live i n s i d e v e r y l a r g e s p a c e c r a f t . T h e s p a c e c r a f t will
b e l a r g e e n o u g h f o r p e o p l e t o t a k e a g o o d w a lk , b u t n o t s o big
t h a t it will l o o k like y o u live o n a f l a t s u r f a c e . P e o p l e will live o n
th e inside of s p h e r e s , cylin d ers, a n d t o r u s e s (o r d o n u t s h a p e s ] .
T h e s e s h a p e s a r e ideal f o r s p a c e c o lo n ie s b e c a u s e c o lo n ie s
m u s t r o t a t e t o p r o d u c e p s e u d o -g ra v ity , o r f a ls e gravity.
20
T h e a i r a n d w a t e r w e n e e d t o live is p r o d u c e d n a t u r a l l y h e r e
o n E arth . On a s p a c e c o lo n y m illions of t i m e s s m a ll e r t h a n
E a r t h , w e will n e e d t o c o n s t a n t l y m o n i t o r t h e a i r a n d w a t e r a n d
t a k e q u i c k a c t i o n if a n y t h i n g b e g i n s t o g o w r o n g . O t h e r w i s e , t h e
e n tire p o p u lation w o u ld b e e n d a n g e r e d within a m a t t e r of h o u rs .
H e re on E arth, m a n y p e o p le feel th e y c a n u s e th in g s an d
t h r o w t h e m a w a y . T h e r e a r e p l e n t y o f m a t e r i a l s all a r o u n d u s .
□ n a s p a c e c o l o n y , e v e r y a t o m will b e p r e c i o u s , s o r e c y c l i n g will
b e a w a y o f life. N o t h i n g , e x c e p t p e r h a p s t h e m o s t t o x i c w a s t e s ,
will b e t h r o w n a w a y . E v e r y t h i n g w ill b e e n d l e s s l y r e c y c l e d ,
30 e s p e c i a l l y w a t e r . W a s t e w a t e r will r u n t o t h e o u t s i d e o f t h e
s p a c e c r a f t , w h e r e s u n l i g h t will s t e r i l i z e t h e w a s t e , a f t e r w h i c h
e v e r y t h i n g will b e u s e d a g a i n .
A g r i c u l t u r e will b e d i f f e r e n t t o o . O n E a r t h , h u g e f a r m s t a k e
a d v a n t a g e o f soil a n d w a t e r c o n d i t i o n s t o g r o w t h e f o o d w e
n e e d t o l i ve. O n a s p a c e c o l o n y , f o o d will b e g r o w n in s m a l l ,
carefully co n tro lled r o o m s w h e r e c o n d itio n s a r e k e p t p e r f e c t fo r
t h e c r o p s b e i n g g r o w n . T h i s will l e a d t o a b u n d a n t c r o p s , s o t h e
a r e a n e e d e d f o r a g r i c u l t u r e will b e f a r s m a l l e r t h a n o n E a r t h .
77
STOP
REFRESH
HOME
PR
How W ill W e Build One?
40 N o o n e h a s e v e r b u i l t a s p a c e c o l o n y , a n d it will
b e v e r y d i f f i c u l t t o d o . B u i l d i n g c i t i e s in s p a c e
w ill r e q u i r e m a t e r i a l s , e n e r g y , t r a n s p o r t a t i o n ,
c o m m u n i c a t i o n s , life s u p p o r t , a n d r a d i a t i o n
Q
p ro tectio n . Q
Reread the sentence in
lines 41- 4 4 . Then skim
the boldfaced term s in
the bulleted list that
follow s it. W hat do you
notice about the order
o f the term s in the list?
• M a t e r i a ls L aunching m a te ria ls
f r o m E a r t h is v e r y e x p e n s i v e , s o b u lk
m a t e r i a l s will h a v e t o c o m e f r o m t h e
M oon or asteroid s and c o m e ts n ear
E arth.
50 • E n e r g y S o l a r e n e r g y is a b u n d a n t a n d
r e l i a b l e . M a s s i v e s t r u c t u r e s will b e
n e e d e d to c h a n g e su n lig h t into la rg e
a m o u n ts of electrical p o w e r fo r
settlem en t use.
• T r a n s p o r t a t i o n P r e s e n t launch c o s ts
a r e v e r y high, r a n g in g f r o m $ 2 , 0 0 0
t o $ 14,000 p e r p o u n d . To s e t t l e
s p a c e , m u c h b e tte r launch vehicles
w o u ld b e n e e d e d to avoid s e r io u s
60
d a m a g e t o E a r t h ’s a t m o s p h e r e f r o m
t h e t h o u s a n d s , p e r h a p s m illions,
of lau n ch es required.
• C o m m u n ic a tio n s C o m p a re d to th e
o th er req u irem en ts, com m unication
is r e la t i v e ly e a s y . M u c h o f o u r c u r r e n t
c o m m u n i c a t i o n s — cell p h o n e s ig n a ls ,
fo r e x am p le — a lrea d y p a s s th ro u g h
satellites.
78
BACK
FO RW ARD
S'
REFRESH
HOM E
P R IN T
... . fVfTTf
4
►
• Life S u p p o r t P e o p l e will n e e d air,
70
w ater, food, an d r e a s o n a b le
t e m p e r a t u r e s t o s u r v i v e . In s p a c e
s e ttle m e n ts , a relatively sm all,
c l o s e d s y s t e m m u s t p r o v i d e all o f
t h e s e t o s u p p o r t life.
• R ad iatio n P ro te c tio n C osm ic rays
and s o la r fla r e s c r e a te d eadly
r a d i a t i o n in s p a c e . T o p r o t e c t life,
s e ttle m e n ts m u s t b e sh ield ed fr o m
m o s t in co m in g rad iation .
80
How Big W ill the Colonies Be?
S i n c e s p a c e c o l o n i e s a r e f o r p e r m a n e n t living,
not just a fe w m o n th s ’ w ork , th e y a re ex p e c te d
t o b e a b o u t 1 0 0 t i m e s l a r g e r t h a n t o d a y ’s s p a c e
s ta tio n s . C u rre n tly available m a te r ia ls co u ld b e
u s e d t o build c o l o n i e s t h a t w o u l d b e h o m e t o a
population of te n o r tw e n ty th o u s a n d p eo p le.
D e s ig n s e v e n e x is t f o r c o lo n ie s t h a t w o u ld fit
m i l l i o n s o f p e o p l e , b u t t h e f i r s t c o l o n i e s w ill
a lm o s t c e rta in ly b e sm aller.
90
R ight now , s p a c e c o lo n ie s a r e ju st an idea,
but so m e d a y s p a c e colon ies m a y c ris s c ro s s
t h e s o l a r s y s t e m , p ro v id in g h o m e s f o r a trillion
p e o p l e . W h a t a n a c h i e v e m e n t t h a t will b e . ©
© SC IE N C E A R TICLE
What do you think the
au th o r’s purpose was
for writing this science
article?
R E A D IN G F O R I N F O R M A T I O N
79
4
SECTION 3
A R T I S T S ’ V I E W S OF A
SPACE COLONY
A s s c ie n tis ts explore th e possibilities
of how to colonize s p a c e , m an y of th e
c o n c e p t s t h e y p r e s e n t t o t h e p u b lic c a n
b e d i f ficult t o v i s u a l i z e . For t h a t r e a s o n ,
a r t i s t s o f t e n w o r k w ith s c i e n t i s t s t o h e l p
c o n v e y th eir id e a s. Here, a rt is t s h a v e
illustrated inside a n d o u ts id e v ie w s o f
a p o s s ib le s p a c e colony.
B
Exterior view of a space colony Q
What details of life in a
space colony do these
graphic aids help you
visualize?
Interior view of a space colony
80
U N IT l : PLOT, C O N F LIC T, AND SETTIN G
Comprehension
1. Recall W h a t d o y o u l e a r n a b o u t V e n u s f r o m t h e V e n u s T e l e v i s i o n N e t w o r k
“b r o a d c a s t”?
2. Summarize B r i e f l y d e s c r i b e t h e m a i n f e a t u r e s o f t h e o r b i t a l s p a c e c o l o n y
s h o w n in t h e t w o i l l u s t r a t i o n s o n p a g e 8 0 .
Critical Analysis
3. Use Text Features “ S p a c e S e t t l e m e n t s ” is m a d e u p o f s e v e r a l s e c t i o n s .
I d e n t i f y e a c h s e c t i o n b y its subheading a n d s u m m a r i z e its m a i n i d e a s .
4. Identify Characteristics of Form W h a t a r e t h r e e c h a r a c t e r i s t i c s o f “ S p a c e
S e t t l e m e n t s ” t h a t m a k e it a science article? E x p la i n .
5. Draw Conclusions C o n s i d e r w h a t y o u k n o w o f n e i g h b o r h o o d s o n E a r t h
and w h a t y o u h a ve learned a b o u t orbital sp ace colonies. Do yo u think th e
illu stratio ns o f an o rb ita l s p a c e c o lo n y a re realistic? W h y o r w h y n o t?
a
Read for Information: Compare and Contrast
READING STANDARDS
W R I T I N G PR O M PT
W hen you
ALABAMA
STANDARDS
Apply strategies that include
comparing to comprehend
informational materials
3 .e Previewingtextfeatures
3
compare and contrast, you identify the w ays in w hich tw o
or more subjects are alike and different. Com pare and contrast one of
the out-of-this-w orld settings in “W eather T h a t’s O ut o f This W orld!”
and “Space Se ttlem e n ts” w ith the se ttin g in Ray Bradb u ry’s story “All
Sum m er in a Day.”
To a n s w e r th is p ro m p t, c h o o s e o n e o f t h e t w o places y o u ju s t read a b o u t —
t h e real V e n u s o r a n o rbital s p a c e co lony. T h en f o l l o w t h e s e steps:
1. R e r e a d t h e i n f o r m a t i o n y o u g a t h e r e d a b o u t t h e p l a c e y o u c h o s e a n d
B r a d b u r y ’s d e s c r i p t i o n o f t h e s e t t i n g in “All S u m m e r in a D a y . ”
2. U s i n g a V e n n d i a g r a m , r e c o r d d e t a i l s t h a t d e s c r i b e e a c h s e t t i n g .
3. L o o k a t y o u r d i a g r a m t o s e e w h e t h e r t h e r e a r e m o r e s i m i l a r i t i e s o r
differences b e tw e e n th e t w o settings.
4. In a s e n t e n c e , t e l l w h e t h e r y o u r
c h o s e n s e t t i n g a n d B r a d b u r y ’s
a re m o r e alike o r m o r e d i ff e r e n t.
Then su p p o rt yo u r s ta te m e n t by
p o in tin g o u t specific sim ilarities
and differences.
/ M y Chosen /
^\B>radi>urifs\
/ Setting ( c /W/ „ S e t t i n g
j
I
I
J
--------- --------------------
81
Lob’s Girl
S h o rt S to ry by Jo a n A iken
How powerful is
LOYALTY?
O
ALABAM A
STANDARDS
READING STANDARDS
l.c Identifying sequence of events
and devices
2
KEY IDEA H as there ever been a tim e w h e n so m e o n e stood by
you w h en you really needed a friend? If so, then you kn o w h ow
im p o rtan t
loyalty, or devotion, can be. A reliable friend or fa m ily
m em ber can help you overcom e the to u gh e st problem s. In "Lob’s
G irl,” a girl and her fa m ily d isco ve r ju s t h o w p o w e rfu l lo y a lty
can be.
WEB IT Create a w eb o f the people and th in g s to w h ich you
are loyal. Then e xp lain h o w you sh o w yo u r lo yalty to each.
82
listen to h&r.
Author Online
• LITERA RY A N A LY S IS : FO R ESH A D O W IN G
W h at is it th a t m akes you w a n t to co n tin u e re a d in g a
story? Som etim es w riters build e xcitem en t and curiosity
by p ro vid in g a h in t a b o u t so m e th in g th a t w ill h appen
later in the story. T h is hin t is kn ow n as
foreshadowing.
Foreshad o w in g m ay ap p ear in
• w h a t the ch aracters say ("/ wish we could play with him
every day.’’)
• w h a t the ch aracters do (Don came home very late and
grim-faced.)
• d escriptions o f se ttin g (narrow ; steep, twisting hillroad)
A s you read “Lob’s Girl,” look for e xam p le s o f foresh ad ow ing.
• READ IN G S K ILL: ID E N T IF Y SEQ U EN CE
A story’s events are presented in a sp ecific order, or
sequence.
Certain w ords and phrases can help you id e n tify the sequence
o f events, such as
the n e xt day
at h alf-p ast nine
by th a t aftern oo n
then
at the sam e m o m en t
a fe w m in u tes later
A s you read, record th e sto ry ’s se q u e n ce o f e ve n ts on a
tim eline like the one show n. A bove each event, record the
clue w ord s or phrases th a t sign al it.
"It b&gari'
.
*
Sand if M&&ts L ob
on the, b&ach.
>
The boldfaced w ords help Joan Aiken tell th e sto ry o f a very
determ ined dog. To sh o w h ow m an y you alread y know ,
provide a d e fin itio n fo r each b oldfaced w ord.
1.
2.
3.
4.
5.
6.
agitated ow n er searches fo r his lost pet.
W hen th e y see the dog, the children erupt w ith joy.
The d o g is reluctant to leave his n ew friends.
A s he turn s to leave, the d og looks melancholy.
The d o g licks his ow n er as if to atone fo r ru n n in g aw ay.
He runs decisively tow ard his beloved n ew ow ner.
The
Spinner of Tales
Jo a n Aiken g r e w
u p in E n g l a n d
and w as hom eschooled by her
m o t h e r until t h e
a g e o f 12. S i n c e s h e
w a s o ften alone
as a child, s h e h a d
trouble m aking
Joan Aiken
friends w h e n she
1 9 2 4 -2 0 0 4
left h o m e for
boardin g school. Sp en d in g m o s t o f
her free tim e w riting, she co m pleted
h e r f i r s t n o v e l b y t h e t i m e s h e w a s 16.
Royal Recognition A s a n a d u l t , A i k e n
b e c a m e f a m o u s f o r w r i t i n g s t o r i e s fu l l
o f suspen se, m ystery, delightfully bad
villains, c h a r m i n g h e r o e s a n d h ero in es,
a n d s p o o k y s u r p r i s e s . In 1 9 9 9 Q u e e n
E l i z a b e t h II m a d e A i k e n a m e m b e r
o f t h e O r d e r o f t h e B r i t i s h E m p i r e in
recognition o f her contributions to
c h i l d r e n ’s l i t e r a t u r e .
For more on Joan Aiken, visit the
Background
A Fishing Village Life in a f i s h i n g
village revolves a ro u n d th e sea, and
m a n y o f th e village resid en ts are
fisherm en. S o m e fisherm en stay out
at sea for days, w h ile o thers set o u t
each m orning or evening, depending
o n t h e tid e a n d w e a t h e r . Tourism
p ro v id e s o t h e r j o b s f o r t h e villagers.
Tourists a re a t t r a c t e d t o t h e u n spoiled
b e a u ty o f th e coastline and th e
c h a r m o f t h e v i l l a g e . In “ L o b ’s Girl,”
th e d au g h ter o f a fisherm an m eets a
t o u r i s t w h o c h a n g e s h e r life f o r e v e r .
l o b ’s g i r l
83
T
1
5
Lo b s i l l
Joan
Aiken
om e people choose th eir dogs, an d som e dogs choose th e ir people.
T h e P engelly fa m ily had no say in the choosing o f L ob; he cam e to
them in the second way, an d v ery decisively.
It began on the beach, the sum m er w hen S an d y w as five, D on, her older
brother, tw elve, an d the tw in s w ere th ree. S a n d y w as re a lly A le x a n d ra ,
because her grandm o ther had a b eau tifu l picture o f a queen in a d iam o n d
tiara and h igh collar o f pearls. It h u n g b y G ran n y Pearce’s kitchen sin k and
was as fam iliar as the doorm at. W h e n San d y w as born everyone agreed that
she was the liv in g spit 1 o f the picture, and so she w as called A lexan d ra and
10 S an d y for short. Q
O n th is su m m er d a y she w as ly in g p e a c e fu lly re a d in g a co m ic an d
not k eep in g an eye on th e tw in s, w ho d id n ’t need it becau se th e y w ere
occupied in seeing w hich o f them could w rap the m ost seaweed around the
other one’s legs. Father— B ert P engelly— an d D on w ere up on the H a rd 2
p ain tin g the bottom boards o f the boat in w h ich Father w en t fish in g for
pilchards .3 A n d M oth er— Jean P engelly— w as g ettin g ah ead w ith m ak in g
the C h ristm as p u d d in gs because she never felt easy in her m in d if th ey
S
d e cisive ly (dY-si'sTv'le)
adv. in a clear, definite
w ay
□
SEQUENCE
W hat clue w ords signal
the first im po rtan t
event?
A NALYZE VISUALS
W hat can you infer
about the do g based on
the d etails in the im age?
1. the livin g spit: an exact likeness, often worded as "the spitting image.”
2. Hard: a landing place for boats.
3. pilchards (pTI'cherdz): small fish similarto sardines.
84
U N IT l: PLOT, C O N F L IC T , AND SETTIN G
Illustrations b y K eiler Sensenbrenner.
20
30
86
weren’t m ade and safely put aw ay by the end o f A ugust. As usual, each
member of the fam ily was happily getting on w ith his or her own affairs.
Little did they guess how soon this state o f things w ould be changed by
the large new member who was going to erupt into their m idst.
Sandy rolled onto her back to m ake sure that the tw ins were not
clim bing on slippery rocks or g ettin g cut off by the tide. A t the sam e
moment a large body struck her forcibly in the midriff, and she was covered
by flying sand. Instinctively she shut her eyes and felt the sand being wiped
off her face by som ething that seemed like a w arm , rough, dam p flannel.
She opened her eyes and looked. It was a tongue. Its owner was a large and
bouncy young Alsatian, or German shepherd, w ith topaz eyes, black-tipped
prick ears, a thick, soft coat, and a bushy, black-tipped tail.
“Lob /” shouted a m an farther up the beach. “Lob, come h ere!”
But Lob, as if trying to atone for the surprise he had given her, went on
licking the sand off Sandy’s face, w agging his tail so hard w hile he kept on
knocking up more clouds of sand. His owner, a gray-haired m an w ith a
lim p, w alked over as q u ick ly as he could and seized h im by the collar.
“I hope he didn’t give you a fright?” the m an said to Sandy. “He m eant
it in play— he’s only young.”
U N IT l : PLOT, C O N F L IC T , AN D SE TTIN G
erupt (T-rupt') v. to
release one’s anger or
enthusiasm in a sudden,
noisy w ay
atone (0 -ton') v. to seek
pardon; to make up for
ANALYZE VISUALS
W hat d e tails do
you notice in this
illustration?
“Oh, no, I th in k he’s b e a u t i f u l said Sandy truly. She picked up a bit of
driftw ood and threw it. Lob, w hisking easily out o f his m aster’s grip, was
after it like a sand-colored bullet. He cam e back w ith the stick, beam ing,
and gave it to Sandy. A t the sam e tim e he gave him self, though no one
else was aware of this at the tim e. But w ith S a n d y too, it was love at first
sight, and when, after a lot more stick-throw ing, she and the tw ins joined
Father and Don to go home for tea, they cast m any a backw ard glance at
Lob being led firm ly aw ay by his master.
“I w ish we could play w ith him every day,” Tess sighed.
“W h y can’t w e?” said T im .
Sandy explained. “Because M r. D odsworth, who owns him , is from
Liverpool, and he is only staying at the Fisherm an’s Arm s till Saturday.”
“Is Liverpool a long w ay off?”
“R ight at the other end of E ngland from C ornw all, I’m afraid.”
It was a C orn ish4 fish in g v illag e w here the P en gelly fam ily lived,
w ith rocks and cliffs and a strip o f beach and a little round harbor,
and p alm trees grow ing in the gardens o f the little w hitew ash ed
stone houses. T h e v illag e w as approached by a narrow, steep, tw istin g
h illro ad and guarded by a notice th at said l o w g e a r f o r v h m i l e s ,
m
DANGEROUS TO C Y C LIST S. ©
o
he Pengelly children went home to scones w ith Cornish cream and jam,
thinking they had seen the last of Lob. But they were much m istaken.
The whole fam ily was playing cards by the fire in the front room after supper
when there was a loud thum p and a crash of china in the kitchen.
“M y C hristm as p u d d in gs!” exclaim ed Jean, and ran out.
“Did you put T N T in them , th en ?” her husband said.
But it was Lob, who, fin d in g the front door shut, had gone around to
the back and bounced in through the open kitch en w indow , w here the
puddings were cooling on the sill. L u ck ily on ly the sm allest w as knocked
down and broken.
Lob stood on his hind legs and plastered Sandy’s face w ith licks. Then
he did the same for the tw ins, who shrieked w ith joy.
“W here does this friend of yours come from ?” inquired M r. Pengelly.
“H e’s staying at the Fisherm an’s A rm s— I m ean his owner is.”
“Then he m ust go back there. Find a bit of string, Sandy, to tie to his
collar.” Q
I
SOCIAL STUDIES
CONNECTION
Cornw all is a county in
southw estern England.
Liverpool is a large city
in northern England.
FORESHADOWING
Reread line 56.
H ow m igh t this
be an exam ple o f
foreshadow ing?
T
Q
SEQUENCE
W hat happens after
Lob’s ow ner takes him
back to Fisherm an’s
Arm s? As you read,
record the events on
yo u rtim e lin e .
4. Cornish: in or from the English county Cornwall.
l o b ’s g i r l
87
“I w onder how he found his w a y h ere,” M rs. P e n g elly said , w h en the
reluctant Lob had been led w h in in g aw ay and S an d y h ad ex p lain ed about
th eir afternoons gam e on the beach. “F ish erm an ’s A rm s is rig h t ro u n d the
other side o f the harbor.”
L o b ’s ow ner scolded h im an d th an k e d M r. P en gelly for b rin g in g h im
back. Jean Pengelly w arned the children that th ey had better not encourage
Lob an y more if th ey m et h im on the beach, or it w ould o n ly lead to more
80 trouble. So they d u tifu lly took no notice o f h im the next d ay u n til he spoiled
their good resolutions by dash in g up to them w ith jo yfu l barks, w ag g in g his
tail so hard that he w inded Tess and knocked T im ’s legs from under him .
T h e y h ad a h ap p y day, p la y in g on the sand.
T h e next d ay w as Saturday. S an d y had found out th at M r. D odsw orth
w as to catch the h alf-p ast-n in e tra in . She w en t o u t secretly, d o w n to
the statio n , no d d ed to M r. H o sk in s, th e statio n m aster, w h o w o u ld n ’t
dream o f ch argin g an y local for a platform ticket, an d clim bed up on the
footbridge that led over the tracks. She d id n ’t w an t to be seen, but she d id
w an t to see. She saw M r. D odsw orth get on the train , accom panied b y an
90 unhappy-looking Lob w ith drooping ears and tail. T h en she saw the train
slide aw ay out o f sight around the next h eadland, w ith a melancholy w ail
th at sounded lik e L o b ’s last good-bye.
S an d y w ish ed she h a d n ’t h ad th e id ea o f c o m in g to th e statio n . She
w alk ed hom e m iserably, w ith her shoulders hun ched an d her han ds in her
pockets. For the rest o f the day, she w as so cross and u n lik e herself th at Tess
and T im were quite surprised, and her m other gave her a dose o f sen n a .5
w eek passed. T h en , one ev en in g, M rs. P en g elly an d the yo u n ger
ch ild ren w ere in the front room p la y in g snakes an d lad d ers .6 M r.
Pengelly and D on had gone Fishing on the even ing tide. If yo u r father is
100 a fish erm an , he w ill never be hom e at th e sam e tim e from one w eek
to the next.
Suddenly, h isto ry rep eatin g itself, there w as a crash from the kitch en .
Je an P en gelly leap ed up, c ry in g , “M y b la ck b erry je lly !” She an d the
children had spent the m orn in g p ickin g an d the afternoon b o ilin g fruit.
But Sandy was ahead o f her mother. W ith flushed cheeks and eyes like
stars she had d arted into the kitch en , w here she an d Lob w ere h u g g in g
one another in a frenzy o f joy. A bout a yard o f his tongue w as out, an d he
w as lic k in g every p art o f her th at he co uld reach.
“G ood h eaven s!” exclaim ed Jean . “H o w in the w orld d id h e get h ere?”
110 “H e m ust have w alk ed ,” said Sandy. “L ook at his feet.”
A
5. senna (sen'a): medicine made from the leaves of senna, a tree or shrub that grows in warm regions.
6. snakes and ladders: a board game in which game pieces climb ladders and slide down.
88
re lu ctan t (rT-luk'tant)
adj. u n w illin g
m elan ch o ly
(m e l'a n -k o l'e ) adj. sad;
g lo om y
T h ey were worn, dusty, and tarry. One had a cut on the pad.
“T h ey ought to be bathed,” said Jean Pengelly. “Sandy, run a bowl of
w arm water w hile I get the disinfectant.”
“W h at’ll we do about him , M o ther?” said Sandy anxiously.
M rs. Pengelly looked at her daughter’s pleading eyes and sighed.
“He m ust go back to his owner, of course,” she said, m akin g her voice
firm . “Your dad can get the address from the Fisherm an’s tomorrow, and
phone him or send a telegram . In the m eantim e he’d better have a long
d rink and a good m eal.”
Lob w as very grateful for the d rin k and the m eal, and m ade no
objection to having his feet washed. Then he flopped down on the hearth
rug and slept in front of the fire they had lit because it was a cold, w et
evening, w ith his head on Sandy’s feet. He was a very tired dog. He had
w alked all the w ay from Liverpool to Cornwall, which is more than four
hundred m iles.
T he next day M r. Pengelly phoned L ob’s owner, and the follow ing
m orning M r. D odsworth arrived off the night train, decidedly put out,7
to take his pet home. T h at parting was worse than the first. Lob w hined,
Don w alked out of the house, the twins burst out crying, and Sandy crept
up to her bedroom afterw ard and lay w ith her face pressed into the quilt,
feeling as if she were bruised all over.
Jean Pengelly took them all into Plym outh to see the circus on the next
day and the tw ins cheered up a little, but even the hour’s ride in the train
each w ay and the L iberty horses8 and perform ing seals could not cure
Sandy’s sore heart.
he need not have bothered, though. In ten days’ tim e Lob was back—
lim ping this tim e, w ith a torn ear and a patch m issing out of his furry
coat, as if he had m et and tangled w ith an enem y or two in the course of
his four-hundred-m ile w alk.
Bert Pengelly rang up Liverpool again. M r. D odsw orth, w hen he
answered, sounded weary. He said, “T h at dog has already cost me two
days that I can’t spare aw ay from m y work— plus endless tim e in police
stations and drafting newspaper advertisements. I’m too old for these ups
and downs. I th in k w e’d better face the fact, M r. Pengelly, that it’s your
fam ily he w ants to stay w ith — that is, if you w ant to have h im .”
Bert Pengelly gulped. He was not a rich m an, and Lob was a pedigreed
dog.9 He said cautiously, “H ow m uch w ould you be asking for h im ?”
S
7. put out: annoyed.
8. Liberty horses: groups of trained horses, often all white or all black, that perform simultaneously
on vocal or visual command.
9. pedigreed (ped'T-gred') dog: dog whose ancestry is known and recorded, making the dog more valuable.
“G ood heavens, m an, I’m not su gg estin g I’d s ell h im to yo u. You m ust
have h im as a gift. T h in k o f the tra in fares I’ll be saving. You’ll be d o in g
150 m e a good tu rn .” Q
“Is he a b ig eater?” B ert asked doubtfully.
B y th is tim e th e ch ild ren , b reath less in the b ac k g ro u n d lis te n in g to
one side o f this conversation, had realized w h at w as in the w in d an d were
d an cin g up an d dow n w ith th eir han ds clasp ed b eseechingly.
“O h, not for his size,” L o b ’s ow ner assured B ert. “Two or th ree p ounds
o f m eat a d ay an d som e vegetables an d g rav y an d b iscu its— he does very
w ell on th at.”
A lexandra’s father looked over the telephone at his daughter’s sw im m in g
eyes an d tre m b lin g lips. H e reach ed a d ecisio n . “W e ll, th en , M r.
160 D odsw orth,” he said briskly, “w e’ll accept yo ur offer and th a n k yo u very
m uch. T he children w ill be overjoyed and you can be sure Lob has come
to a good home. T h e y’ll look after h im and see he gets enough exercise.
But I can tell you,” he ended firm ly, “if he w ants to settle in w ith us, he’ll
have to learn to eat a lot o f fish .”
So th at w as how Lob cam e to live w ith the P en gelly fam ily. E verybody
loved h im an d he loved th em a ll. B u t there w as never a n y q u estio n who
cam e first w ith him . H e w as S an d y’s dog. H e slept b y her bed an d follow ed
her everyw here he w as allow ed.
in e years w ent by, an d each su m m er M r. D o d sw o rth cam e b ack
to stay at the F isherm an’s A rm s an d call on his erstw hile dog. Lob
alw ays m et h im w ith recognition an d d ig n ifie d pleasure, acco m p an ied
h im for a w a lk or tw o — but show ed no signs o f w is h in g to re tu rn to
Liverpool. H is p lace, he in tim a te d , w as d e fin ite ly w ith th e P en gellys.
In the course o f n in e years Lob ch an ged less th a n Sandy. A s she w ent
into her teens he becam e a little slower, a little stiffer, there w as a touch
o f gray on his nose, b ut he w as still a han dso m e dog. H e an d S a n d y still
loved one ano ther d ev o ted ly Q
O ne evening in O ctober all the sum m er visitors had left, an d the little
fish in g town looked em p ty an d secretive. It w as a w et, w in d y dusk. W h en
180 the children cam e hom e from school— even the tw in s w ere at h igh school 10
now, and D on w as a fu ll-fled ged fish erm an — Je an P engelly said, “S a n d y
yo ur A u n t R ebecca says she’s lonesom e because U ncle W ill H oskins has
gone out traw lin g ,11 and she w ants one o f you to go and spend the evening
w ith her. You go, dear; yo u can take yo u r hom ew ork w ith yo u .”
S an d y looked far from en thusiastic.
Q
SEQUENCE
W hat event fin a lly leads
Lob's ow ner to give him
to the Pengelly fam ily?
Q
SEQUENCE
Note on your tim eline
the nine-year break
in the sto ry afte r Lob
cam e to live w ith the
Pengellys. W hat do you
th in k happened during
that tim e?
N
10 . high school: In Great Britain, students g o to high school when they are about 11 years old.
11. traw lin g (tro'ITng): fish in g w ith a net pulled behind a boat along the sea bottom .
90
“C an I take Lob w ith m e?”
“You know A unt Becky doesn’t really like dogs— Oh, very w ell.” M rs.
Pengelly sighed. “I suppose she’ll have to put up w ith him as w ell as you.”
R eluctantly Sandy tidied herself, took her schoolbag, put on the dam p
190 raincoat she had just taken off, fastened Lob’s lead to his collar, and set
off to w alk through the dusk to A unt B ecky’s cottage, w hich was five
m inutes’ clim b up the steep h ill. Q
T he w in d was how ling through the shrouds12 o f boats draw n up on
the H ard.
“Put some cheerful m usic on, do,” said Jean Pengelly to the nearest
tw in. “A n yth in g to drown that wretched sound w hile I m ake your d ad ’s
supper.” So Don, who had just come in, put on some rock m usic, loud.
W hich was w hy the Pengellys did not hear the truck hurtle down the hill
and crash against the post office w all a few m inutes later. ©
2°° T~~'\ r. Travers was drivin g through C o rn w all w ith his w ife, ta k in g a
J L / late holiday before patients began com ing down w ith w inter colds
and flu. He saw the sign that said s t e e p h i l l , l o w g e a r f o r i 1/: m i l e s .
D utifu lly he changed into second gear.
“W e m ust be nearly there,” said his w ife, looking out of her window.
“I noticed a sign on the coast road that said the Fisherm an’s A rm s was
Q
FORESHADOWING
W hy m ight the narrator
be d raw ing attention to
the steep hill again?
FORESHADOWING
Reread lines 195- 19 9 .
W hat m igh t the
description of the crash
suggest?
12. shrouds (shroudz): ropes or cables on a boat’s m ast, the vertical pole that supports the sails.
AN ALYZE VISUALS
W hat details in the
illustration su gg e st that
the hill is steep?
l o b ’s g i r l
91
two miles. W h at a narrow, dangerous hill! But the cottages are very pretty—
Oh, Frank, stop, stop! There’s a child, I’m sure it’s a child— by the w all
over th ere!”
Dr. Travers jam m ed on his brakes and brought the car to a stop. A little
210 stream ran down by the road in a shallow stone culvert,13 and h a lf in the
water lay som ething that looked, in the dusk, like a pile o f clothes— or
was it the body of a child? M rs. Travers was out o f the car in a flash, but
her husband was quicker.
“D on’t touch her, E m ily !” he said sharply. “She’s been hit. C an ’t be
more than a few m inutes. Rem em ber that truck that overtook us h a lf a
m ile back, speeding like the devil? Here, quick, go into that cottage and
phone for an am bulance. T he g irl’s in a bad way. I’ll stay here and do
w hat I can to stop the bleeding. D on’t waste a m inute.”
Doctors are expert at stopping dangerous bleeding, for they know the
220 right places to press. This Dr. Travers was able to do, but he didn’t dare do
more; the girl was lyin g in a queerly crum pled heap, and he guessed she
had a num ber of bones broken and that it w ould be h igh ly dangerous to
move her. He watched her w ith great concentration, wondering where the
truck had got to and w hat other dam age it had done.
M rs. Travers was very quick. She had seen plenty o f accident cases and
knew the im portance o f speed. T he first cottage she tried had a phone;
in four m inutes she was back, and in six an am bulance was w ailin g down
the hill.
Its attendants lifted the child onto a stretcher as carefully as if she were
230 made of fine thistledow n.14 T he am bulance sped off to Plym outh— for the
local cottage hospital did not take serious accident cases— and Dr. Travers
went down to the police station to report w hat he had done.
He found that the police alread y knew about the speeding truck—
w hich had suffered from loss o f brakes and ended up w ith its radiator
h alfw ay through the post-office w all. T he driver w as concussed1' and
shocked, but the police thought he was the only person injured— until Dr.
Travers told his tale.
t half-past nine that n igh t A unt R ebecca H oskins was sittin g by
her fire th in k in g aggrieved thoughts about the inconsiderateness16
240 of nieces who were asked to supper and never turned up, w hen she was
startled by a neighbor, who burst in, exclaim ing, “Have you heard about
Sandy Pengelly, then, Mrs. Hoskins? Terrible thing, poor little soul, and
A
13. culvert (kul'vart): a gutter or tunnel that runs along or under a road.
14. thistledow n (thTs'ol-doun'): the soft, fluffy part of a thistle, a plant with a prickly stem and purple flowers.
15. concussed (ksn-kuscT): suffering from a concussion, an injury that results from being struck in the head.
16. aggrieved th o u gh ts about the inconsiderateness: offended feelings over the thoughtlessness.
92
U N IT l: PLOT, C O N F L IC T, AND SETTIN G
th e y don’t kn o w i f she’s lik e ly to live. Police have got th e tru c k d river th at
h it her— ah, it d id n ’t o u gh t to be allo w ed , sp eed in g th ro u g h the place lik e
that at u m p ty m iles an hour, th ey ought to ja il h im for life— not th at th at’d
be an y com fort to poor B ert an d Je a n .” (JJ
H o rrified , A u n t R ebecca p u t on a coat an d w en t dow n to her brother’s
house. She found the fam ily w ith w h ite shocked faces; B ert and Je an w ere
abo ut to drive o ff to th e h o sp ital w h ere S a n d y h ad been tak en , an d th e
250 tw ins were cryin g bitterly. Lob w as nowhere to be seen. B ut A u n t R ebecca
was not interested in dogs; she d id not in q u ire ab o ut h im . O
“T h a n k the Lord you’ve come, Beck,” said her brother. “W ill yo u stay the
night w ith D on and the tw ins ? D on’s out loo king for Lob and heaven knows
w hen w e’ll be back; w e m ay get a bed w ith Je an ’s m other in P lym outh.” Q
“O h, if o n ly I’d never in v ited the poor ch ild ,” w aile d M rs. H o skin s.
B ut B ert an d Je an h ard ly h eard her.
T h at n igh t seem ed to last forever. T h e tw in s cried them selves to sleep.
D on cam e hom e v e ry late an d grim -faced . B ert an d Je an sat in a w a itin g
room o f the W estern C o u n ties H o sp ital, b u t S a n d y w as u n co n scio u s,
260 th ey were told, an d she rem ain ed so. A ll th at co u ld be done for her w as
done. She w as given tran sfu sio n s to replace a ll th e b loo d she h ad lost.
T h e broken bones w ere set an d put in slings an d cradles.
“Is she a h e alth y girl? H as she a good c o n stitu tio n ?”17 th e em ergen cy
doctor asked.
“Aye, D octor, she is th a t,” B ert said hoarsely. T h e lu m p in Je a n ’s th ro at
prevented her from an sw erin g ; she m erely nodded.
“T h en she o u gh t to have a ch ance. B ut I w o n ’t co nceal from yo u th at
her co n ditio n is v ery serious, unless she shows signs o f co m in g o ut from
this co m a .”18
270 B ut as ho ur succeed ed hour, S a n d y show ed no sign s o f reco verin g
consciousness. H er parents sat in the w a itin g room w ith h ag g ard faces;
som etim es one o f them w o uld go to telephone the fam ily at hom e, or to
tr y to get a little sleep at the hom e o f G ran n y Pearce, not far away.
A t noon next d ay Dr. and M rs. Travers w ent to the Pengelly cottage to
inquire how S an d y w as doing, but the report w as gloom y; “S till in a very
serious co n d itio n .” T h e tw in s w ere m iserab ly u n hap p y. T h e y forgot th at
th e y h ad som etim es called th eir elder sister bossy an d o n ly rem em bered
how often she h ad shared her pocket m o n ey w ith them , how she read to
them and took th em for picnics an d helped w ith th eir hom ew ork. N ow
280 there w as no Sandy, no M o th er an d D ad, D on w en t aro u n d w ith a gray,
shuttered face, an d worse still, there w as no Lob. Q
Q
SEQUENCE
W hat sequence of
events caused the
accident?
o FORESHADOWING
W here m igh t Lob be?
Q
SEQUENCE
W ho is out looking for
Lob? Record this event
on yo u rtim e lin e .
o
SEQUENCE
How long has Lob been
m issing?
17. constitution: physical makeup.
18 . coma: a sleeplike state in w hich a person cannot sense or respond to light, sound, o rto u ch .
l o b ’s g i r l
93
he W estern Counties H ospital is a large one, w ith dozens of different
departm ents and five or six connected buildings, each w ith three or
four entrances. By that afternoon it becam e noticeable that a dog seemed
to have taken up position outside the hospital, w ith the fixed intention of
getting in. Patiently he w ould try first one entrance and then another, all
the w ay around, and then begin again. Som etim es he w ould get a little
w ay inside, following a visitor, but anim als were, o f course, forbidden, and
he was always k in d ly but firm ly turned out again. Som etim es the guard
290 at the m ain entrance gave him a pat or offered him a bit o f sandw ich—
he looked so w et and beseeching and desperate. But he never ate the
sandwich. No one seemed to own him or to know where he cam e from;
Plym outh is a large city and he m ight have belonged to anybody.
At tea tim e G ranny Pearce cam e through the pouring rain to bring a
flask of hot tea to her daughter and son-in-law. Just as she reached the
m ain entrance the guard was gently but forcibly shoving out a large,
agitated, soaking-w et A lsatian dog.
“No, old fellow, you can n ot come in. H ospitals are for people, not
for dogs.”
300 “W hy, bless m e,” exclaim ed old M rs. Pearce. “T h at’s Lob! Here, Lob,
Lobby bo y!”
Lob ran to her, w hining. M rs. Pearce w alked up to the desk.
“I’m sorry, m adam , you can’t bring that dog in here,” the guard said.
M rs. Pearce was a very determ ined old lady. She looked the porter in
the eye.
“Now, see here, young man. T hat dog has w alked tw enty m iles from St.
K illan to get to m y granddaughter. Heaven knows how he knew she was
here, but it’s plain he knows. And he ought to have his rights! He ought to
get to see her! Do you know,” she went on, bristling, “that dog has w alked
310 the length of England— tw ice — to be w ith that girl? A nd you th in k you
can keep him out w ith your fid d lin g rules and regulation s?”
“I’ll have to ask the m edical officer,” the guard said weakly.
“You do that, young m an.” G ranny Pearce sat down in a determ ined
manner, shutting her umbrella, and Lob sat patiently dripping at her feet.
Every now and then he shook his head, as if to dislodge som ething heavy
that was tied around his neck.
Presently a tired, thin, in telligent-loo king m an in a w hite coat cam e
downstairs, w ith an impressive, silver-haired m an in a dark suit, and there
was a low-voiced discussion. G ranny Pearce eyed them , biding her tim e.
320 “F ran kly . . . not m uch to lose,” said the older m an. T he m an in the
w hite coat approached G ranny Pearce.
“It’s strictly against every rule, but as it’s such a serious case we are
m akin g an exception,” he said to her quietly. “B ut on ly ou tside her
bedroom door— and only for a m oment or two.”
T
94
agita ted (aj'T-tat'ad)
adj. disturbed; upset
ag ita te v.
W ith o u t a word, G ranny Pearce rose and stum ped upstairs. Lob
followed close to her skirts, as if he knew his hope lay w ith her.
T h ey w aited in the green-floored corridor outside Sand y’s room. T he
door was half-shut. Bert and Jean were inside. Everything was terribly quiet.
A nurse cam e out. T he w hite-coated m an asked her som ething and she
330 shook her head. She had left the door ajar and through it could now be seen
a high, narrow bed w ith a lot of gadgets around it. Sandy lay there, very flat
under the covers, very still. Her head was turned away. A ll Lob’s attention
was riveted on the bed. He strained toward it, but G ranny Pearce clasped
his collar firmly.
“I’ve done a lot for you, m y boy, now you behave yourself,” she whispered
grimly. Lob let out a faint whine, anxious and pleading.
At the sound o f that w hine, Sandy stirred just a little. She sighed and
moved her head the least fraction. Lob w h in ed again. A nd then Sand y
turned her head right over. Her eyes opened, looking at the door.
340 “Lob?” she m urm ured— no more than a breath of sound. “Lobby, boy?”
AN ALYZE VISUALS
W hat mood, or feeling,
does this illustration
create?
fN ,
l o b ’s g i r l
95
The doctor by G ranny Pearce drew a quick, sharp breath. Sandy moved
her left arm — the one that was not broken— from below the covers and
let her hand dangle down, feeling, as she always did in the m ornings, for
Lob’s furry head. T he doctor nodded slowly.
“A ll right,” he whispered. “Let him go to the bedside. But keep a hold
of him .”
G ranny Pearce and Lob moved to the bedside. N ow she could see Bert
and Jean , w hite-faced and shocked, on the far side o f the bed. But she
didn’t look at them. She looked at the smile on her granddaughter’s face as
350 the groping fingers found Lob’s w et ears and gently pulled them . “Good
boy,” whispered Sandy, and fell asleep again.
G ranny Pearce led Lob out into the passage again. There she let go of
him , and he ran off sw iftly down the stairs. She w ould have followed him ,
but Bert and Jean had come out into the passage, and she spoke to Bert
fiercely.
“/don’t know w hy you were so foolish as not to bring the dog before!
Leaving him to find the w ay here him self—”
“But, M other! ” said Jean Pengelly. “T h at can’t have been Lob. W h at
a chance to take! Suppose Sandy hadn’t— ” She stopped, w ith her
360 handkerchief pressed to her m outh.
“Not Lob? I’ve known that dog nine years! I suppose I ought to know
m y own granddaughter’s dog?”
“Listen, Mother,” said Bert. “Lob was killed by the same truck that hit
Sandy. Don found h im — when he w ent to look for S an d y’s schoolbag.
He w as— he was dead. Ribs all smashed. No question of that. Don told
me on the phone— he and W ill H oskins rowed a h a lf m ile out to sea
and sank the dog w ith a lum p of concrete tied to his collar. Poor old boy.
Still— he was getting on. C o u ldn ’t have lasted forever.”
“Sank him a t sea? Then w hat— ?”
370 Slowly old M rs. Pearce, and then the other two, turned to look at the
trail of dripping-wet footprints that led down the hospital stairs.
In the Pengellys’ garden they have a stone, under the palm tree. It says:
“Lob. Sandy’s dog. Buried at sea.” c^>
96
Comprehension
a
1. Recall W h a t cau se s th e a ccid e n t th a t in ju res Sandy?
ALABAM A
STANDARDS
READING STANDARD
2. Clarify W here does Mr. D o d sw o rth live?
3. Summarize H o w does Lob sh o w his loyalty to w ard Sandy?
Literary Analysis
4. Make Inferences Reread lin es 8 4 - 9 6 . W h y do you th in k Sa n d y w ish e s she
had not go n e to th e train statio n to see Lob leave?
5. Identify Sequence Review yo u r tim e lin e to fin d th e p oint in th e story
w h en you learned w h a t h ap pen ed to Lob. W h en did S a n d y ’s b roth er Don
m ost likely fin d Lob? Su p p o rt yo u r a n sw e r w ith evid en ce fro m th e story.
6. Identify Foreshadowing G o back
th ro u g h th e sto ry to fin d d e tails
th a t fo re sh a d o w w h a t h ap pen ed
to Lob. Record th e h in ts and w h a t
H/'/rts
"Everif hcm and ihe.fi he shook his head, as if
■to dislodqe. somthing heavy -that was ii&d
around his neclc dims 3/5- 3/6J
W h at
Happen&d
h appened to him in a d iag ram
like th e one sh o w n .
7. Analyze Setting The se ttin g has a
stro n g in flu en ce on the events in
the story. C o m p are and co ntrast
the d etails o f th e se ttin g on th e day Sa n d y m eets Lob and on th e e ve n in g
o f the accident. H o w do th e se ttin g s in flu e n ce th e
plot o f th e story?
8. Readers’ Circle W h at if Mrs. Pen gelly h ad n ’t let San d y take Lob w ith her to
A u n t Rebecca’s house? In a sm all group, d iscu ss h o w th is w o u ld affe ct the
rest o f th e sto ry S u p p o rt yo u r resp on ses w ith evid en ce fro m th e story.
9.
SOCIAL STUDIES CONNECTION Mr. D o d sw o rth has to travel
from Liverpool to Cornw all every tim e Lob runs aw ay to the Pengellys.
Review the m ap on page 87. Research to find the nam es o f other cities Mr.
D odsw orth m ig h t travel th ro u gh on his w ay to pick up Lob.
For more on Great Britain, visit the Research Center at ClassZone.com.
L O B S GIRL
97
V O C A B U LA R Y PRA CTICE
A n sw e r each q u estio n to sh o w yo u r u n d e rsta n d in g o f th e v o c a b u la ry w ords.
1.
2.
3.
4.
5.
6.
If a person is ab o u t to
agitated
erupt, is th a t person a n g ry or calm ?
atone
reluctant to see a m ovie, have I heard good or bad th in g s a b o u t it?
Does a b aseb all team decisively w in a g a m e by one run or six runs?
Do people sh o w th e y are agitated by ta k in g a nap or by ye llin g ?
W ould so m eon e w h o is melancholy sit alone in a corner or dance?
W ould you atone fo r an action th a t is p ra ise w o rth y or u n la w fu l?
If I am
decisively
erupt
melancholy
reluctant
H ave you kn o w n or read ab o u t an o th e r loyal pet or an im a l? W rite a
p aragrap h id e n tify in g the a n im a l and e x p la in in g h o w its a ctio n s sh o w
loyalty. Use tw o or m ore v o ca b u la ry w ords. Here is a sa m p le b e g in n in g .
Mi/ p et
rabbit Hoppif is r&lucta/rt to go outside unless I go with hm.
V O C A B U LA R Y STRATEG Y: LITE R A L A N D FIG U R A TIV E M E A N IN G S
literal m e a n in g o f a w ord is its m ost co m m o n and b asic d e fin itio n . O ver
tim e, th o u gh , som e w ords take on figurative m e a n in g s th a t e xp an d the basic
The
d e fin itio n . For e xa m p le , th e literal m e a n in g o f erupt is “to e x p lo d e fro m a
a
ALABAM A
STANDARDS
LITERATURE STANDARD
5.b Identifying figurative language
v o lca n o w ith fire and n oise.” N o w erupt is also used fig u ra tiv e ly to refer to
a person or a n im a l “e x p lo d in g ” w ith e m o tio n . W h e n yo u e n c o u n te r w o rd s
th a t have both a literal and fig u ra tiv e m e a n in g , use co n te xt clu es to help you
recognize w h ich m e a n in g the w rite r intends.
PRACTICE E xp la in th e fig u ra tiv e m e a n in g o f each b o ld faced w o rd .
Then e xp la in h o w th is m e a n in g relates to th e w o rd ’s literal m e a n in g .
1. A fter the can d idate's su p p o rt increased, he w on by a landslide.
2. The fa m ily created a w arm cocoon o f a ffe ctio n in w h ich th e ir ch ild ren
thrived.
3. Everyone relied on Mrs. C asey to be th e pillar o f th e vo lu n te e r group.
4. The children stampeded out o f th e classro o m , h ap p y th a t th e school
d ay w as over.
5. C a llin g hom e d aily w as th e crutch th a t helped M aria g e t th ro u g h her
loneliness.
98
U N IT l : PLOT, C O N F L IC T , AND SE TTIN G
VO CABU LARY
PR A C TIC E
at ClassZone.com.
a
SKILLS PRACTICE
Broaden yo u r u n d e rsta n d in g o f “ Lob’s G irl” by re sp o n d in g to th e se prom pts.
Then co m p lete th e
W RITIN G PROM PTS
SELF-CHECK
A. Short Response: Write an Evaluation
A strong evaluation w ill..
Much o f the story focuses on how Lob showed
his loyalty tow ard Sandy. Do you thin k Sandy
is equally loyal to Lob? In one paragraph, give
your evaluation.
B. Extended Response: Write a Newspaper Article
Write a two- or three-paragraph newspaper
article reporting how people respond to San d y’s
curious recovery. Include reactions from the
Pengelly fam ily, Dr. Travers, and the hospital
staff.
• m ake a ju d g m e n t about
Sandy's loyalty tow ard
Lob
• support the evaluation
w ith evidence from the
text
An effective newspaper
article w ill...
• include responses from a
variety of people
• use specific details from
the story
G RAM M AR A N D W R I T I N G
PUNCTUATEP 05SE5SIVE5 CORRECTLY T h e p o sse ssiv e fo rm o f a nou n sh o w s
o w n e rsh ip or re la tio n sh ip . W h e n fo rm in g a p o sse ssiv e n ou n , be su re to put
the
apostrophe in the correct place. A m isplaced apostrop h e can be co n fu sin g.
Follow these g u id e lin e s for p u n ctu a tin g possessive n ouns correctly:
a
ALABAMA
STANDARDS
10 Use punctuation correctly,
including apostrophes to show
possession
• Singular nouns: Add an ap o stro p h e and s, even if th e w ord e n d s in s
•
(.Sandy’s dog, octopus’s body).
Plural nouns ending in s: A dd an ap o stro p h e {patients’beds).
•
Plural nouns not ending in s: A dd an ap o stro p h e and s (fisherm en’s boat).
Original:
Revised:
S a n d y w as w a lk in g to her a u n ts ’ co ttage , [only one aunt)
S a n d y w as w a lk in g to her a u n t’s co ttage .
PRACTICE Co rrect th e p ossessive n o u n s in th e fo llo w in g sen ten ces.
1. Dr. Travers’ w ife called fo r an am b u la n ce .
2 . The fa m ily s ’ d o g is m issin g .
3 . Both nurses sh ifts at th e h o sp ital are e n d in g .
4 . The police said th a t th e steep hill is a d a n g e r to peoples safety.
For more help with possessives, see page R50 in the Grammar Handbook.
L O B S GIRL
99
Great
Reads
Bud, Not Buddy
H is to ric a l N ovel by C h ris to p h e r Paul C u rtis
Meet Christopher Paul Curtis
C h risto p h e r Paul C u rtis k n e w fro m an e a rly a g e th a t he
w an ted to be a w riter. “I m u st have been 10 or 11 years old,”
he rem em bers. “ I said to m y brothers and sisters,'O n e day, I’m
g o in g to w rite a book.’” They ju s t laugh ed at him . For a long
tim e, it looked like C u rtis’s sib lin gs w ere right. He w orked fu ll
tim e at an auto facto ry for 13 years and had little tim e to write,
Fin ally, C u rt is ’s w ife co n v in ce d h im to q u it his jo b . W ith
Christopher Paul Curtis
born 1954
tim e to fo cu s on his life ’s d re am , C u rtis tu rn e d his atte n tio n
to w ritin g The Watsons Co to Birmingham — 7963. The novel
w as nam ed a N ew b erry H onor Book. Bud, Not Buddy received
Other Books by
Christopher Paul Curtis
• The Watsons Go to
Birm ingham — 7963
• Mr. Chickee’s Funny
M oney
both th e N e w b e ry M ed al an d th e Coretta Scott K in g Aw ard.
Try a Historical Novel
G re at
historical novels m ake th e p ast co m e alive by m ix in g
referen ces to real e ven ts, p eople, an d p lace s w ith fic tio n a l
p lo ts and ch a ra cte rs. Bud, Not Buddy ta k e s p lace in C u r t is ’s
h om etow n o f Flint, M ich igan , d u rin g th e G reat D epression o f
the 1930s. It w as a tim e w hen jo b s w ere hard to find and m any
A m e ric a n s w ere w ith o u t fo o d , w a rm c lo th in g , an d shelter.
Th e sto ry is b ased on C u r t is ’s g ra n d fa th e r, w h o tra v e le d
th ro u g h o u t M ic h ig a n as a b ig -b a n d leader. Bu t even w ith
a fa m ily co n n e ctio n to th e story, C u rtis still need ed to do
so m e research before w ritin g his novel. “O f course, I w a sn 't
aro u n d in th e 1930s,” C u rtis notes. “ I read n e w sp a p e rs and
m agazin e s, and w atch ed m ovies from th a t tim e.”
Read a Great Book
Tim es are hard w h en ten-year-old Bud, an orphan, runs aw ay
from a horrible foster hom e. W ith on ly a m u sic flyer to
g u id e him , he is d eterm ined to fin d the m an he’s convinced
is his father. First, th o u g h , he has to ge t so m e m u ch needed food.
fro m
BUD;
NOT BUDDY
U h-oh. M y eyes opened an d I co uld see the sun
b eh in d the branch o f a C h ristm as tree.
I ju m p ed up, folded m y b lan ket in sid e m y suitcase, h id it an d
started ru n n in g the six or seven blocks dow n to the m issio n .
I tu rn ed the co rn er an d said , “W h e w !” T h ere w ere s till p eo ple
lin ed up w aitin g . I started w alk in g alo n g the lin e. T h e en d w as a lo t
farther aw ay than I tho ugh t. T h e lin e tu rn ed all the w ay aro u n d two
corners, then crossed over one street before I saw the last person.
Shucks. I w alk ed up to get b eh in d h im .
10 H e said , “L in e’s closed. T h ese here folks are th e last o n e s.” H e
p o in ted at a m an stan d in g next to a w o m an w ho was carryin g a baby.
I said, “B ut sir . . .”
H e said, “B ut n o th in g. L in e’s closed. T h ese here folks are the last
o n es.”
It w as tim e to start ly in g . If I d id n ’t get an y food no w I’d have to
steal so m eth in g o u t o f so m eo n e’s g arb age or I w o u ld n ’t be ab le to
eat u n til the m ission opened for supper.
I said, “Sir, I— ”
T h e m an raised his h an d an d said , “Look, k id , everyb o d y’s got
20 a sto ry an d ev eryb o d y kn o w s th e ru les. T h e lin e closes at seven
o’clo ck. H o w ’s it fair to these p eo p le w h o b een here sin ce five
o’clo ck th at yo u can sleep u n til”— he loo ked at his w ristw atch —
“u n til seven-fifteen, then com e b ustin g dow n here expecting to eat?
§ K at
p -
V - * ■
jfe - '
~
r - '
.
•
•
-
101
GREAT READS
.
.
.
You think you got some kind o f special privilege just ’cause you’re
skinny and raggedy? Look in the line, there’s lots o f folks look just
like you, you ain’t the worst.
“Supper starts at six p .m ., but you see how things is, if you plan
on getting fed you better be in line by four. N ow get out o f here
before I get rough w ith yo u .”
30
Shucks, being hungry for a whole day is about as bad as it can
get. I said, “B u t . . . ”
He reached into his pocket and pulled som ething out that looked
like a heavy black strap and slapped it across his hand. U h-oh, here
we go again.
He said, “T h at’s it, no more talk, you opened your m outh one
tim e too many. You rotten kids today don’t listen to no one, but
I’m a show you som ething that’ll improve your hearing.” He slapped
the strap on his hand and started w alking toward me.
I was w rong when I said being hu ngry for a d ay is about as bad as
40 it can get, being hungry plus having a big knot on your head from a
black leather strap w ould be even worse.
I backed aw ay but only got two steps before I felt a gian t w arm
hand wrap around m y neck from behind. I looked up to see whose
doggone hand was so doggone big and w hy they’d put it around m y
neck.
A very tall, square-shaped m an in old blue overalls looked down
at me and said, “Clarence, w hat took you so long?”
I got ready to say, “M y nam e’s not C larence and please don’t
choke me, sir, I’ll leave,” but as soon as I opened m y m outh he gave
50 m y head a shake and said, “I told you to hurry back, now where you
been?” He gave me a shove and said, “Get back in line w ith your
m om m a.”
I looked up and down the lin e to see w ho was supposed to be
m y m om m a w hen a w om an pointed her finger at her feet and said,
“Clarence, you get over here right now.” There were two little kids
hanging on to her skirt.
I w alked over to w here she was and she gave m e a good hard
sm ack on the head. Shucks, for someone who was ju st pretending
to be m y m om m a she sure did slap me a good one.
60
I said, “O w !”
T he big square m an who’d grabbed m y neck looked at the m an
w ith the strap and said, . . Like you said, these kids today don’t
listen to nobody.”
T h e strap m an looked at the size o f the m an w ho called me
C larence and w alked back to the end o f the line.
W hen the overall m an got back in line I said, ‘T h an k you, sir,
I really tried to get— ” But h e popped me in the back o f the head,
hard, and said, “Next tim e don’t be gone so lo n g.”
T he two little kids busted out laughing and said, “N yah-nyah70 nyah-nyah-nyah, C larence got a lickin’, C larence got a lickin’.”
I told them , “Shut up, and don’t call me— ” T hen both m y
pretend poppa and m y pretend m om m a sm acked m y head.
She looked at the people direct behind us and said, “Mercy, when
they get to be this age . . . ”
T he people weren’t too happy about me taking cuts in the line,
but w hen they looked at how big m y pretend daddy was and they
saw how hard him and m y pretend m om m a were going upside m y
head they decided they w ouldn’t say anything.
I was grateful to these people, but I w ished they’d quit popping
so me in the head, and it seems like w ith all the names in the w orld
they could’ve come up w ith a better one for me than Clarence.
I stood in line w ith m y pretend fam ily for a long, long tim e.
Everybody was very quiet about standing in line, even m y pretend
brother and sister and all the other kids. W h en we fin ally got
around the last corner and could see the door and folks going in
it seemed like a bubble busted and people started laughing and
talking. The m ain thing people were talking about was the great big
sign that was hanging over the building.
It showed a gigantic picture of a fam ily of four rich w hite people
90 sitting in a car driving somewhere. You could tell it was a fam ily
’cause they all looked exactly alike. T he only difference am ongst
them was that the daddy had a big head and a hat and the m om m a
had the same head w ith a w om an’s hat and the girl had two big
yellow pigtails com ing out from above her ears. T h ey all had big
shiny teeth and big shiny eyes and big shiny cheeks and big shiny
smiles. Shucks, you’d need to squint your eyes if that shiny fam ily
drove anywhere near you.
100
You could tell they were rich ’cause the car looked like it had
room for eight or nine more people in it and ’cause they had movie
star clothes on. The w om an was w earing a coat w ith a h u n k o f fur
around the neck and the m an was w earing a suit and a tie and the
kids looked like they were w earing ten-dollar-apiece jackets.
W rit about their car in fancy letters it said, t h e r e ’s n o p l a c e
LIKE AM ERICA TODAY!
M y pretend daddy read it and said, “U h-uh-uh , w ell, you got to
give them credit, you w ouldn’t expect that they’d have the nerve to
come down here and tell the tru th .”
W h en w e fin ally got into the b u ild in g it was w orth the w ait.
T he first th in g yo u noticed w hen you got inside was how big the
110 place was, and how m any people were in it and how q uiet it was.
T he only sound you could hear was w hen someone scraped a spoon
across the bottom o f their bowl or pulled a chair in or put one back
or when the people in front o f you dragged their feet on the floor
m oving up to where they were spooning out the food.
After w e’d picked up our spoons and bowls a lady dug a big mess
o f oatm eal out o f a giant pot and swopped it dow n into our bowls.
She sm iled and said, “I hope you enjoy.”
M e and m y pretend fam ily all said, “T h an k you, m a’am .” Then a
m an put two pieces o f bread and a apple and a big glass o f m ilk on
120 your tray and said, “Please read the signs to your children. T h an k
yo u .”
W e all said, “T h ank you, Sir.” T hen we w alked past some signs
someone’d stuck up on the w all.
One said, p l e a s e d o n o t s m o k e , another said, p l e a s e e a t a s
q u i c k l y a n d q u i e t l y a s p o s s i b l e , another one said, p l e a s e b e
CONSIDERATE AND PATIENT
CLEAN UP AFTER YOURSELF
n e ig h b o r s w i l l b e e a t in g a f t e r y o u ,
YOUR
and the last one said,
WE
ARE TERRIBLY SORRY BUT WE HAVE NO W ORK AVAILABLE.
M y pretend daddy read the signs to m y pretend brother and sister
130 and we all sat at a long table w ith strangers on both sides o f us.
The oatmeal was delicious! I poured some o f m y m ilk into it so it
w ouldn’t be so lu m py and m ixed it all together.
M y pretend m other opened her pocketbook and took out a little
brown envelope. She reached inside o f it and sprinkled som ething
104
on m y pretend brother’s and sister’s oatm eal, then said to them , “I
know that’s not as m uch as you n orm ally get, but I w anted to ask
you if you m inded sharing some w ith C larence.”
T h ey pouted and gave me a couple o f d irty looks. M y pretend
mother said, “G ood,” and em ptied the rest o f the envelope over m y
140 oatm eal. Brown sugar!
Shucks, I didn’t even m ind them calling me Clarence anym ore. I
said “T h an k you, M om m a, m a’am .”
She and m y pretend d ad d y laughed and he said, “It took you
long enough to catch on, C larence.” He acted like he was going to
sm ack me again but he didn’t.
A fter w e’d finished all our food we pu t our bowls up and I
thanked m y pretend fam ily again, I asked them, “Are you going to
be com ing back for supper?”
M y pretend m om m a said, “No, dear, we only come here mornings.
150 But you make sure you get here plenty early, you hear?”
I said, “Yes, M om m a, I m ean, m a’am .”
I w atched them w alking away. M y pretend brother looked back at
me and stuck out his tongue, then reached up and took m y pretend
m other’s hand. I couldn’t really blam e him , I don’t th in k I’d be real
happy about sharing m y brown sugar and m y folks w ith an y strange
kids either. c^>
Keep Reading
Poor Bud— on his ow n, stru g g lin g to find food and a place to
sleep. T h in k ab ou t w h a t you have learned ab ou t Bud from
his experience in the m ission. W ill he succeed in fin d in g his
father? Read the rest o f Bud, Not Buddy to fin d out. As Bud
continues on his journey, he w ill have to overcom e hunger, fear,
and prejudice. W ill his stru g g le be w o rth it in the end?
Lemony Snicket’s A Series
of Unfortunate Events
Media
Study
from
Fi Im CI i p o n
(o)
MediaSm art d vd
What makes your heart
POUND?
a
ALABAM A
STANDARDS
COMMUNICATION STANDARD
17 Use listening skills
j
KEY IDEA M o vie s have th e p o w e r to p u ll an a u d ie n ce into an
im a g in a ry w orld.
Excitement b u ild s as ch aracte rs face d ifficu lt
p ro b le m s in d a n g e ro u s s e ttin g s . Y o u ’ ll w a tc h a sce n e fro m
Lemony Snicket’s A Series o f Unfortunate Events to see h o w
m oviem akers brought an odd, in terestin g w orld to the b ig screen
Background
Unhappily Ever After “ If you are inte reste d in stories w ith
h a p p y e n d in g s ,y o u w o u ld be b etter o ff re a d in g so m e
oth er book.”
So b egin s The Bad Beginning, th e first book in A Series o f
Unfortunate Events, a p o p u lar g ro u p o f novels by an au th o r
w h o calls h im s e lf Lem o n y Sn icke t. The u n fo rtu n a te events
o f th e title h appen to th e th ree B au d e laire ch ild re n — V iolet,
Klaus, and Su n n y— w h o are sent to live w ith a d ista n t relative
n am ed C o u n t O la f w h e n th e ir p a re n ts are kille d in a fire.
C o u n t O la f is d e te rm in e d to g e t his h an d s on th e ch ild re n ’s
inheritance, even if he has to take extrem e m easures to do so.
In 2 0 04, m oviem akers brought the B au d elaires’ adventures to
m ovie theaters.
Media Literacy: Setting and Conflict in Movies
W riters often m ake th e ir sto rie s rich e r by v iv id ly d e s c rib in g th e
setting
w h ere th e e ve n ts ta ke place. For e xa m p le , d a n g e ro u s s e ttin g s can add a
conflict for characters. In a m ovie, you
d on’t have to rely on a w ritten description. M oviem akers can use visual and
sound techniques to reveal th e se ttin g and co n flict to th e ir au d ie n ce . You
sense o f e xcitem en t and create m ore
ge t to w a tch and listen as th e e x c itin g even ts un fold before yo u r eyes.
^
FILM T E C H N IQ U E S
Visual
A shot is a sin gle,
co ntinu ou s vie w
film ed by a cam era.
A sh o t includes all the
action that happens
until the m ovie cuts to
the next shot.
| STRATEGIES FOR V IE W IN G
• Look for long shots, w hich provide a w ide vie w o f a scene.
The y can be used to e sta b lish se ttin g. Long sh ots can
also m ake the co n flict more e xcitin g by sh o w in g d an ge r
approach from far away.
• W atch for close-up shots, w h ich sh ow the d etails o f a
person or object. In an e xcitin g scene, th e y can sh o w the
characters’ em otions as the conflict builds. They can also
focus on a sm all detail that can affect the plot.
• Notice the use of medium shots, w hich show one or more
characters from the w aist up. They can be used to show how
characters interact and how they feel about each other.
Sound
The sounds in a movie
consist o f music,
sound effects, and
dialogue. Sound can
be used to m ake you
happy, sad, scared, or
excited.
Listen to the music, and notice how it ch an ge s. An
e xcitin g scene w ill often have fast, m en acin g m usic th at
increases your sense o f danger.
N otice the sound effects, such as the ru m b lin g noise o f a
train . As the d an ge r b u ild s in a scene, the sound effects
m ay ge t faste r and louder.
W hen liste n in g to the dialogue, notice both w h a t
ch aracters say and how th e y say it. Tone o f voice can
reveal em otions.
M E D IA STUD Y
107
Viewing Guide fo r
© MediaSmart d vd
• Film: Lemony Snicket’s
A Series o f Unfortunate Events
• Director: Brad Silberling
• Genre: Adventure fantasy
• Running Time: 4 minutes
Lemony Snicket’s A Series
of Unfortunate Events
In th is scene, th e d a sta rd ly C o u n t O la f uses a rem ote control to
lock th e B au d e laire child re n in his car after p a rk in g it on tra in
tracks. The children m ust use their w its and special tale n ts to foil
O la f’s plans. V iolet is an inventor, Klaus has read m any books on
m any subjects, and th e baby, Sunny, has her ow n su rp risin g skills
Pay attention to the risin g e xcite m e n t as you w atch the scene.
You can w atch the clip m ore than once, then use these questions
to help you analyze it.
NO W V IEW
FIRST VIEW ING:
Comprehension
1. Recall W hy d o e sn ’t Mr. Poe u n derstan d the d a n ge r the
children are in w hen he ta lk s to V io let on the car phone?
2. Clarify How do the children pull the track-sw itching lever so
that the train m isses the car?
CLOSE VIEW ING:
Media Literacy
3. Identify Conflict W hat is the conflict in the scene, and how
do the children first become aware of the danger they are in?
4. Analyze Shots Think about the m om ent in the scene after
Violet gets off the phone w ith Mr. Poe. The train is bearing
down on the children and they can’t get out of the car. W hy
do you think the director chose this m om ent to show a closeup of Violet?
5. Evaluate Sound Listen ca re fu lly to the m usic and sound
effects in the scene. W h at part o f the scene is the m ost
exciting? W hat sound elem ents m ake it exciting?
6. Analyze Setting T h rou gh ou t the movie, Violet, Klaus, and
Su n n y find them selves in d angerous places and situations.
W hich details in this scene’s setting make it exciting to you?
Media Study
Write or Discuss
Evaluate Suspense T h in k about the racing train scene you view ed. Do you
th in k the m oviem akers do a good jo b o f b u ild in g suspense? Are the film
techn iq ues you learned about used effectively? W rite a brief e valuation of
the scene. Is it as e xcitin g as other m ovies y o u ’ve enjoyed? T h in k ab ou t the
fo llo w in g parts o f the scene:
• the typ e s o f sh o ts and th e le n gth o f sh o ts
• the use o f m u sic and so un d e ffects
• the d a n ge rs in th e se ttin g th a t th re ate n th e ch ild re n
Produce Your Own Media
M E D IA T O O L S
Create a Storyboard Im agin e you're a director and y o u ’ve been asked to m ake
a m ovie based on one o f th e sto rie s in th is u n it. W ork w ith a p artn er
to create a sto ryb oard fo r th e m ost e x c itin g scene fro m a story you read.
A
&
For help with creating a
storyboard, visit the Media
Center at ClassZone.com
storyboard is a device used to plan the sh o o tin g o f a m ovie. It is m ade up of
d ra w in g s and b rie f d e scrip tio n s o f w h a t h ap p e n s in each sh o t in a scene.
HERE’S HOW Here are a fe w su g g e stio n s for m a kin g your storyboard:
• Im a gin e th e scene h a p p e n in g in yo u r head before you b egin . D escrib e
w h a t you see to yo u r partner.
• T h in k a b o u t th e c h a ra c te rs’ e m o tio n s and th e se ttin g . U se w h a t you
learned ab ou t
camera shots to decide w h a t types o f sh ots w ill w o rk best.
• D raw th e sh o ts th a t sh o w w h a t h ap pen s in fo u r to six in d ivid u a l fram e s.
• W rite a b rie f d e scrip tio n o f w h a t is h a p p e n in g u n d e r each d ra w in g .
In clud e a n y
dialogue or sound effects y o u ’d hear.
STUDENT MODEL
Tech Tip
Try using a computer drawing
program to make the frames
for the storyboard.
KJaus says,
"Violet, I don't Mean to
rush i/ou ..
The e/fs head swinqs
around the track
swrtcher.
Close-up of Violets
swilinq face.
hAediuM shot o f
1— one) shot of-the
approaching -train. The
Music is fast and exciting.
The train ruMbles bif
loudlu. tAediuM shot o f
Viol&t and Klaus pullini)
the strap.
Klaus and Violet.
M EDIA STUD Y
109
from
Woodsong
M e m o ir by G a ry Pau lsen
Does nature demand
RESPECT?
a
ALABAM A
STANDARDS
and devices
6 Identify author's purpose
KEY IDEA N atu re can be a p o w e rfu l force. It m ig h t be a
th u n d e rsto rm ru m b lin g in th e n igh t, a w a v e cra sh in g on to
the beach, or a lion’s m ig h ty roar. In W oodsong, G ary Paulsen
shares a lesson he learned ab o u t
respect fo r nature.
2
QUICKWRITE T h in k a b o u t yo u r m o st m e m o ra b le or in tense
encounter w ith nature. D escribe this exp erience in a jo urn al
entry. W h at did you learn from the experience?
• LITERA RY A N A LY SIS: SETTIN G IN N O N FIC TIO N
Like all authors o f
memoirs, G ary Paulsen w rite s ab ou t real
events o f his life. Since these even ts actu a lly h appened to
him, Paulsen is able to give specific details about the
setting.
He includes d escrip tio n s o f
• the location and ch a n g in g seasons
• his su rro u n d in gs in the rem ote w ild e rn e ss o f M in n esota
A s you read, look fo r d etails th a t sh o w you w h a t it’s like to
live in the w ild erne ss. Then th in k ab o u t h o w the se ttin g
a ffe cts Paulsen’s d aily life.
• READ IN G S K ILL: ID E N T IF Y A U TH O R ’S PU RPO SE
A person can have m an y reasons fo r w ritin g. For e xam p le ,
a w riter m ig h t aim to
• explain or provide in fo rm atio n a b o u t a to p ic or event
• share th o u g h ts or fe e lin g s ab o u t an issue or event
• persuade people to th in k or act in a certain w a y
• e ntertain the reader w ith a m o vin g story
Even w h en w rite rs have several go als, th e y often have one
m ain reason fo r w ritin g. T h is is called the
author’s purpose.
A s you read, use a chart to record clues about Paulsen’s m ain
purpose fo r w ritin g his m em oir.
Author On[ine
Into the Woods
For G a ry Paulsen,
th e w o o d s w ere
often an escape
from an unhappy
h om e in a sm all
M innesota tow n.
A cco rd in g to
Paulsen, “all the
hassles o f life
G ary Paulsen
w ere ve ry q u ickly
born 1939
fo rg o tte n ” in the
w o o d s. H is w ild e rn e ss ad ven tu res
and love o f nature appear in m uch of
his w ork.
Another Escape Paulsen discovered
the jo y o f read in g d u rin g his teen age
years. O ne very cold n ight, he ducked
into a p u blic lib rary to w arm up. The
lib rarian o ffe re d him a lib rary card
and recom m en d ed a book. Paulsen
discovered th at books, like the w oods,
provided a w a y fo r him to g e t aw ay
fro m it all, exp lo re n ew w orlds, and
learn a b o u t him self.
Authors Purpose.
£xp!ain/)nforM
Back to Nature In his book Woodsong,
Share. Thoughts Persuade. Entertain
G ary Paulsen uses these w ords to help relate an event that
ta u g h t him a lesson. For each num bered w ord or phrase,
choose the w ord from th e list th a t is clo se st in m ean in g.
WORD
coherent
hi b e r na t io n
s c avenge
L IS T
eject
n o v el t y
t ruc e
1. th ro w out
3 . fin d lefto vers
5 . sensible
2 . agree m en t
4 . new th in g
6. sleep
Paulsen describes his life in the w oods
o f northern M innesota. In this region,
p eo ple are scarce, but w ild an im a ls
are p le n tifu l. It is h om e to tim b e r
w o lve s, w h ite -ta ile d deer, beavers,
and b lack bears. Pau lsen lived there
w ith his w ife and son in a cabin w ith
no p lu m b in g or e le ctricity. D u rin g
th is tim e , Pau lsen raised d o g s and
train e d fo r the Iditarod, the fa m o u s
tra n s-A la ska d o gsle d race.
M ORE A B O U T THE A U TH O R
For more on Cary Paulsen, visit the
WOODSONG
111
Woodsong
G ary Paulsen
e have b ear trouble. B ecause w e feed p rocessed m eat to th e dogs,
there is alw ays the sm ell o f m eat over the kennel. In the sum m er it
can be a bit h ig h 1 because the dogs lik e to “save” their food som etim es for
a d ay or tw o or four— b u ry in g it to d ig up later. W e live on the edge o f
wilderness, and consequently the m eat sm ell brings an y num ber o f visitors
from the woods.
S ku n ks abo un d, and foxes and coyotes an d wolves an d w easels— all
predators. W e once h ad an eag le live over th e k en n el for m ore th a n a
w eek, scavenging from the dogs, an d a crazy group o f ravens has p re tty
10 m uch taken over the p up p y pen. R avens are protected b y the state, an d
th e y seem to k n o w it. W h e n I w a lk to w ard th e p u p p y p en w ith the
buckets o f m eat, it’s a toss-up to see w ho gets it— the pups or th e birds.
T h ey have actu ally pecked the puppies aw ay from the food pans u n til they
have gone th ro ugh and taken w h at th e y w an t. ©
W
AN A LYZE V ISU A LS
Exam ine the painting
closely. W hat do you
see?
scavenge (skav'an j) v.
to search for discarded
scraps
© SETTIN G
Reread lines 1- 14 . W hat
description does Paulsen
give of life at the edge o f
the w ilderness?
1. it can be a bit high: the smell can be rather strong.
112
Ursus, Susan Brearey. O il and w ax on wood w ith beech le a f and
birch bark, 11 Vs" x 11" x P/s". © Susan Brearey represented
by G erald Peters G allery, San ta Fe, N ew M exico.
A N A LYZE V ISU A LS
W h at d e tails in the
p ain tin g su g ge st that
the house is in the
w ilderness?
/
G old en A u tu m n (1901), Stanislav Joukovski. O il on canvas, 87.5 cm x 107.5 cm . M useum o f A rt, Serpukhov,
Russia. © Bridgem an A rt Library.
Spring, when the bears come, is the worst. T hey have been in hibernation
through the winter, and they are hu ngry beyond caution. T he m eat smell
draws them like flies, and we frequently have two or three around the kennel
at the same time. Typically they do not bother us much— although m y wife
had a bear chase her from the garden to the house one m orning— but they
20 do bother the dogs.
T hey are so big and strong that the dogs fear them, and the bears trade
on this fear to get their food. It’s com m on to see them scare a dog into
his house and take his food. Twice we have had dogs killed by rough bear
swats that broke their necks— and the bears took their food.
W e have evolved an uneasy peace w ith them , but there is the problem
of fam iliarity. T he first tim e you see a bear in the kennel it is a novelty,
but when the same ones are there day after day, you w ind up nam ing some
of them (old N otch-Ear, B illy-Jo, etc.). T here gets to be a too-relaxed
attitude. W e started to treat them like pets.
30 A m ajor m istake.
There was a large m ale around the kennel for a w eek or so. He had a
white streak across his head, w hich I guessed was a w ound scar from some
hunter— bear hunting is allowed here. He wasn’t all that bad, so we didn’t
m ind him . He w ould frighten the dogs and take their hidden stashes now
and then, but he d id n ’t harm them , and we becam e accustom ed to him
hanging around. W e called him Scarhead, and now and again we w ould
joke about him as if he were one of the yard anim als. Q
114
U N IT l : PLOT, C O N F L IC T , AN D SE TTIN G
hib ern atio n
(h l'b e r-n a 'sh sn ) n. the
state o f being inactive
through the w inter
no velty (nov'al-te) n.
so m e th in g new and
unusual
o
A U T H O R ’S PURPO SE
W hy does Paulsen tell
you about the fa m ily ’s
nicknam e fo r the bear?
At this tim e we had three cats, forty-tw o dogs, fifteen or tw en ty
chickens, eight ducks, nineteen large w hite geese, a few b an ty hens . . .
40 ten fryers w hich w e’d raised from chicks and couldn’t (as m y wife put it)
“snuff and eat,” and six woods-wise goats. Q
The bears, strangely, didn’t bother any of the yard anim als. There must
have been a rule, or some order to the w ay they lived, because they would
hit the kennel and steal from the dogs but leave the chickens and goats
and other yard stock com pletely alone— although you w ould have had a
hard tim e convincing the goats of this fact. T he goats spent a great deal of
tim e w ith their back hair up, w huffing and blow ing snot at the bears—
and at the dogs, who would gladly have eaten them. The goats never really
believed in the truce.
here is not a dum p or landfill to take our trash to, and so we separate
I it— organic, in organic2— and deal w ith it ourselves. W e burn the
paper in a screened enclosure, and it is fairly efficient; but it’s impossible
to get all the food particles off w rapping paper, so when it’s burned, the
food particles burn w ith it.
A nd give off a burnt food sm ell.
A nd nothing draws bears like burning food. It m ust be that they have
learned to understand hum an dum ps— where they spend a great deal of
tim e foraging. A nd they learn am azingly fast. In A laska, for instance, the
bears already know that the sound o f a moose hunter’s gun m eans there
60 w ill be a fresh gut pile when the hunter cleans the moose. T h ey come at a
run when they hear the shot. It’s often a close race to see if the hunter w ill
get to the moose before the bears take it away. . . . Q
Because w e’re on the south edge of the wilderness area, we try to w ait
u ntil there is a northerly breeze before we burn, so the food sm ell w ill
carry south, but it doesn’t always help. Sometimes bears, wolves, and other
predators are already south, w orking the sheep farm s dow n w here it is
more settled— they take a terrible toll3 of sheep— and we catch them on
the w ay back through. Q
T h at’s w hat happened one Ju ly m orning.
70 Scarhead had been gone for two or three days, and the breeze was right,
so I w ent to burn the trash. I fired it off and w ent back into the house
for a m om ent— not more th an two m inutes. W h en I cam e back out,
Scarhead was in the burn area. His tracks (directly through the tomatoes
in the garden) showed he’d come from the south.
50
Q SETTIN G
W h at w ords show that
Paulsen has a personal
connection to the
setting?
truce (troos) n. an
agreem en t to end an
argum en t or fig h t
Q A U T H O R ’S PURPOSE
W hy do you thin k
Paulsen w ants you to
know these fa cts about
bears?
Q SETTIN G
H ow is Paulsen's
kn ow ledge o f the
w ilderness useful to
him?
2 . organic, inorganic: Organic refers to plant or anim al m aterial that breaks dow n naturally. Inorganic
refers to m an-m ade m aterial that will not break dow n naturally.
3 . take a terrible toll: destroy a large number.
W OODSONG
115
H e w as h av in g a gran d tim e. T h e fire d id n ’t bother h im . H e w as try in g
to reach a p aw in aro un d the edges o f flam e to get at w h atever sm elled so
good. H e had torn th in gs ap art quite a bit— ripped one side o ff the b u rn
enclosure— and I w as h av in g a bad day, an d it m ade m e m ad.
I w as stan d in g across the b u rn in g fire from h im , an d w ith o u t
80 th in k in g — because I w as so used to h im — I p icked up a stick, th rew it at
h im , and yelled, “G et out o f here.”
I have m ade m an y m istakes in m y life, an d w ill prob ab ly m ak e m an y
more, but I hope never to th ro w a stick at a bear again .
In one ro llin g m otio n— the m uscles seem ed to m ove w ith in the sk in
so fast th at I co u ld n ’t take h a lf a breath— he tu rn ed an d cam e for me.
W hat w ords w ould you
use to describe the bear
in this w ork o f art?
116
U N IT
1: P L O T , C O N F L I C T , A N D S E T T IN G
90
100
110
Close. I could sm ell his breath and see the red around the sides of his eyes.
Close on me he stopped and raised on his back legs and hu n g over me,
his forelegs and paws hanging down, w eaving back and forth gently as he
took his tim e and decided w hether or not to tear m y head off.
I could not move, w ould not have tim e to react. I knew I had nothing
to say about it. One blow w ould break m y neck. W hether I lived or died
depended on him , on his thin kin g, on his ideas about me— w hether I was
worth the bother or not.
I did not th in k then.
Looking back on it, I don’t rem em ber having one coh eren t thought
when it was happening. A ll I knew was terrible menace. H is eyes looked
very sm all as he studied me. He looked dow n on me for w hat seem ed
hours. I did not move, did not breathe, did not th in k or do anything.
And he lowered.
Perhaps I was not w orth the trouble. He lowered slow ly an d turned
back to the trash, and I w alked backw ard h alfw ay to the house and then
ran— anger grow ing now— and took the rifle from the gun rack by the
door and cam e back out.
He was still there, ru m m agin g through the trash. I w orked the bolt
and fed a cartridge in and aim ed at the place w here you k ill bears and
began to squeeze. In raw anger, I began to take up the four pounds of
pull necessary to send death into him . Q
And stopped.
K ill him for what?
T h at thought crept in.
K ill him for what?
For not k illin g me? For lettin g me know it is w rong to throw sticks at
four-hundred-pound bears? For not hurting me, for not killin g me, I should
k ill him ? I lowered the rifle and ejected the shell and put the gun away.
I hope Scarhead is still alive. For what he taught me, I hope he lives long and
is very happy, because I learned then— looking up at him w hile he made up
his m ind whether or not to end me— that when it is all boiled down, I am
nothing more and nothing less than any other anim al in the woods.
Q
coherent (ko-hTr'ent) adj.
clear; logical
Q A U T H O R ’S PURPOSE
Reread lines 10 0 - 107.
W hat em otion is Paulsen
fe e lin g at this point in
the story?
eject (T-jekt') v. to throw
out from inside
o
A U T H O R ’S PURPOSE
W hat does Paulsen now
thin k about his place in
nature?
WOODSONG
117
NEWSPAPER ARTICLE G a ry P a u lse n ’s love o f n atu re is n o t lim ite d to th e
w ild e rn e ss. In th is article, based on an in te rv ie w w ith C a ro lin e Scott, Paulsen
describes a typical day on his sailboat, on w h ich he lives alone m ost o f the year.
THE SU N D AY T IM ES
A Life in the Day of
Gary Paulsen
A
t 5:30 a . m . I have a bowl of oatm eal,
then I go to work. First up, I stow all
the gear away. Then I take the covers off
the sails and fire the engine up to get out
of the harbor. I hate the motor— once it’s
off, there’s silence. I have a steering vane so
I can go below and cook or sit and write.
Sailing is an inherently beautiful thing.
To me it’s like dancing w ith the w ind and
the water; it’s like running w ith wolves— a
perfect m eeting of m an and nature. . . .
On the boat there is nothing, and I know
I work better that way. I think that the writer
in the city, with the traffic and the parties
and the theater, is at a disadvantage, because
the distractions are so enormous. I work in
the city when I have to, but I find it really
hard. I don’t need much. The way I live is
nobody’s idea of luxury, but that’s the way
I like it. I use a battery to charge m y laptop
and I just head out to sea. Sometimes I go
150 miles out and 150 miles back; sometimes
I head out and keep right on going. . . .
I write all morning, then I have a twohour break to answer m ail. I get around
400 letters a day from children and I have a
secretary in New York who helps me answer
them all. I owe a great deal to dogs and
a great deal to children, and I try to help
both of those species. A lot of what I write
is fiction based on m y life. . . . I spent m y
whole childhood running away. A lot of kids
know this through m y books, so I look for
m ail from kids in the same situation. It helps
them to know you care. I’ll try and get in
touch w ith their school to let them know
this child is in trouble. I’m aware I m ight
be the only person they’ve told. I got a letter
once from a girl who said, “M y only friends
in the world are your books.”. . .
I don’t get lonely. There was a time when
I [wished I had] somebody who I could turn
to and say, “Look at th at!” I’d be leaning
over the bow strip to touch the dolphins
sw im m ing alongside the boat. One time,
three of them somersaulted in the air and
crashed into the water, which was golden
w ith the sinking sun. It was the most
beautiful thing, and I felt so happy I just
wanted to tell someone. But I realized that
I’m telling it through my w riting the whole
time. . . .
I used to think I should be fulfilled by
awards or by earning a m illion dollars,
but w ith age has come some kind of selfknowledge. M y rewards are less tangible:
they’re the killer whales who reared up out of
the water to look at me. Or a 15-knot w ind
across m y beam. Those are my moments of
pure joy.
Comprehension
1. Recall W h a t sm ell d raw s th e bears to P a u lse n ’s cabin?
a
2 . Clarify W h y does Scarhead sh o w up the day Paulsen burns the trash even
6
ALABAM A
STANDARDS
LITERATURE STANDARD
Identify a u th o r's purpose
th o u g h th e w in d is b lo w in g a w a y fro m th e w ild ern e ss?
3. Su m m a rize W h a t h ap p e n s w h en Paulsen co n fro n ts Scarhead?
Literary Analysis
4. M ake Inferences Reread lin es 4 2 -4 9 . W h y d o n ’t th e bears b other th e
yard an im als?
5. Exam in e S e ttin g Go back th ro u g h th e se le ctio n and fin d d e ta ils th a t
describe th e se ttin g . Keep tra ck o f th e d e ta ils in a ch art like th e one
sh o w n . W h ich o f th e se d e tails seem m ost vivid to you?
Oe.ta.Hs About Setting
Location
Seasons
Surroundings
6 . A n a lyze A u th o r’s Purpose R eview th e clu es you recorded in yo u r ch art
as you read Woodsong. W h a t is P au lse n ’s m ain purp ose for s h a rin g his
e xperience? S u p p o rt yo u r a n sw e r w ith e xa m p le s fro m th e m em oir.
7. M ake Ju d g m e n ts Reread lin es 115-118. Do you agree w ith Paulsen
re ga rd in g th e lesson he learned a b o u t respect fo r nature? E xp la in yo u r
answ er.
8. C om pare Literary W orks C o n sid e r th e n e w sp a p e r article on p age 118.
Pau lsen ’s se ttin g has ch a n ge d , but has th is affected th e w a y he lives his
life? Com pare and contrast P au lse n ’s w a y o f life in Woodsong w ith his
d escrip tion o f his d aily rou tine in “A Life in th e D ay o f G a ry P au lsen .”
N ote sp e cific e xa m p le s fro m both sele ctio n s.
9. Creative Project: A rt Sketch th e area w h ere Paulsen lives, u sin g d e tails
fo u n d in th e m em oir.
10. In q u iry and Research Paulsen e xp lain s th a t bears are ve ry h u n g ry in the
spring after hibernating through the winter. Research to find out m ore about
the hibernation process. In tw o or three p aragrap hs, e xp lain w h y a bear
hibernates, how it prepares fo r h ib ern ation , and w h a t h ap pen s to its body.
For more on bears and hibernation, visit the Research Center at ClassZone.com.
WOODSONG
119
coherent
Choo se th e letter o f the w ord or phrase th a t best co m p le te s each sen ten ce.
1. A coherent m e ssage (a) is very lo n g, (b) m akes sense, (c) is a su rp rise .
eject
2. A bear m ig h t scavenge in (a) g a rb a g e , (b) stream s, (c) caves.
hibernation
3 . H ibernation involves (a) g ro w lin g , (b) e a tin g , (c) re stin g.
novelty
4. En em ies w h o call a truce (a) go to w ar, (b) sto p fig h tin g , (c) sin k a ship.
5. A fter I eject the CD-RO M , I (a) put it aw ay, (b) play it, (c) buy it.
scavenge
6 . A bear w o u ld be a novelty in (a) a zoo, (b) th e w ild e rn e ss, (c) a house.
truce
W h y d id n ’t Scarh ead h u rt Paulsen? W rite a p aragrap h te llin g w h a t you
th in k, u sin g tw o or m ore v o ca b u la ry w ord s. You m ig h t b egin th is way.
Scarhead called a truce, when he -turned a\Maij froM Vaulsen.
a
ALABAM A
STANDARDS
9
Utilize vocabulary skills
V O C A B U LA R Y STRATEGY: P R E F IX E S A N D TH E LA TIN ROOT j e d
A prefix is a w ord part th a t ap p ears at th e b e g in n in g o f a
M e a n in g
base w ord to form a new w ord. For e xam p le , co n sid e r the
w ord uneasy (un + easy) in line 25 o f Woodsong. Un- is a
e-, ex-
fro m ; o u t o f
p re fix th a t m ea n s “ n ot,” so uneasy m ean s “ not easy.”
in-
in ;in to
pro-
fo rw ard ; in fro n t o f
re-
back; a g a in
su b -
under; d ow n
Prefixes m ay also be added to roots, w h ich are w ord parts
th a t ca n ’t stan d alone. The v o ca b u la ry w ord eject co n ta in s
th e Latin root ject, w h ich m e a n s “to th ro w .” T h is root is
co m b in ed w ith vario u s p re fixe s to form E n glish w ord s. To
understand the m e an in g o f w ord s co n ta in in g ject, use yo u r
kn o w led ge o f th e root’s m e a n in g and th e m e a n in g s o f the
prefixes used w ith it.
PRACTICE Use the in fo rm atio n in th e ch art and th e m e a n in g o f th e root ject
to w rite a d efin itio n for each boldfaced w ord.
1. The em peror subjected his people to a h arsh g o ve rn m e n t.
2. Dad keeps his an tiq u e m ovie projector in th e b ase m e n t.
3. T h is injection w ill protect you from th e illn ess.
4. The actor rejected th e role offered to him .
120
VOCABULARY
P R A C TIC E
at ClassZone.com.
Increase yo u r u n d e rsta n d in g o f Woodsong by re sp o n d in g to th e se prom pts.
Then co m p lete th e
a
W R IT IN G P R O M P TS
SE LF-C H E C K
A. Short Response: Analyze Author’s Purpose
A clear analysis w ill...
Paulsen says that the bear gave him more
respect for nature and tau g h t him that he is ju st
another anim al in the woods. In one paragraph,
explain how this lesson m ight change the w ay
Paulsen w ill interact w ith nature in the future.
B. Extended Response: Write a Scene
W hat do you think Scarhead m ight have been
thinking during the confrontation w ith Paulsen?
In two or three paragraphs, rewrite the scene
from Scarhead’s perspective.
• include details about the
setting
• dem onstrate an
understanding of the
author’s purpose
A creative scene w ill...
• refer to events from
Paulsen’s memoir
• be consistent with
Scarhead’s behavior in
the memoir
MAINTAIN PRONOUN-ANTECEDENT AGREEMENT A pronoun is a w ord th a t
is used in place o f a noun or a n o th e r pronoun. The w ord th a t th e p ronoun
refers to is its
SKILLS PRACTICE
antecedent. For exam ple, notice how the pronoun his refers to
the antecedent Cary in the fo llo w in g sentence: Cary walked out o f his house.
P ro n o u n s sh o u ld a lw a y s
a
ALABAMA
STANDARDS
8.a U sing th e s te p s o f th e w riting
process, including editin g
agree in number w ith th e ir a n te ce d e n ts. Be
careful w h en u sin g antecedents like anyone, nobody, no one, and somebody.
These w ords should alw ays be paired w ith sin g u la r pronouns. In the revised
se n te n ce , n otice h o w th e s in g u la r p ro n o u n (in y e llo w ) and th e s in g u la r
an te ce d en t (in green) agree in num ber.
Original:
Revised:
So m e b o d y th re w a stick, and th e y yelled, “G et out o f here.”
So m e b o d y th re w a stick, and he ye lled , “G e t o u t o f here.”
PRACTICE Correct th e fo llo w in g p ro n o u n -a n te ce d e n t errors.
1. A n yo n e in th is situ a tio n w o u ld have tu rn e d to face th e ir enem y.
2 . For w h a t seem ed like an hour, n ob o d y m oved from th e ir spot.
3 . So m e o n e had to be reasonable. T h e y w o u ld need to w a lk away.
4 . No one w an te d th e ir life cut sh o rt th a t d a y
For more help with pronouns, see page R52 in the Grammar Handbook.
WOODSONG
121
Before Reading
The Horse Snake
From th e M e m o ir The Land I Lost
by H u yn h Q u a n g N h u o n g
When is there strength in
NUMBERS?
a
ALABAM A
STANDARDS
1.c
Identifying s eq u e n c e o f events
5 Analyze nonfiction for
d istinguish in g ch aracteristics
KEY IDEA No m a tte r w h o yo u are, life w ill p re se n t you w ith
ch alle n ge s. Perhaps y o u ’ll face clanger fro m a n atu ral disaster.
Perhaps y o u ’ll fin d you have m ore w o rk th an you can do. O r
m aybe yo u 'll be asked to carry e m o tio n a l b u rd en s th a t seem
im p o ssib ly heavy. W ill you be stro n g e n o u g h to ta ke on every
challenge alone? In “The Horse Snake,” a co m m u n ity depends on
teamwork to face a th reat th a t is to o big fo r ju s t one person.
LIST IT W ith a gro u p o f c la ssm a te s, m ake a list o f g o a ls and
challenges th at w ould be easier to m eet if you w orked w ith a team
rather than by yourself. Discuss w h y team w o rk w ould help bring
success in each situation .
Author On|ine
• LITER A R Y A N A LY SIS: N A R R A TIV E N O N FIC TIO N
Narrative nonfiction te lls tru e sto rie s a b o u t e ve n ts th a t
really happened. To m ake th e se events in te restin g, w rite rs
use m an y o f the ele m e n ts fo u n d in sh o rt stories, such as
•a
•
conflict, or stru g g le betw een o p p o sin g forces
suspense, or the fe e lin g o f e xcite m e n t or ten sio n th a t
m akes you eager to fin d o u t w h a t hap pen s n e xt
“The H orse Sn ake ” is a typ e o f narrative n o n fictio n called a
memoir, in w h ich the w rite r tells true stories from his or her
life. A s you read, notice how the author exp lain s the co nflict
and creates suspense.
Review :
Foreshadowing
• READ IN G S K ILL: TRACE C H R O N O LO G IC A L O RD ER
O fte n , w riters o f narrative n o n fictio n p resent e ven ts in the
sam e order in w hich th e y happened in real life. This is called
chronological order, or tim e order. To recognize tim e order,
look fo r clue w ords th a t tell w h en even ts occurred, such as
a fe w seconds later, shortly after midnight, or the next day.
As you read, use a tim eline to track the order o f events and
the tim e o f day each event occurred.
Village Life
G ro w in g up in a
sm all village in
V ietnam , H uynh
Q u an g N h u o n g w a s
ten d in g rice fields
by the tim e he w as
six years old. He
also w atched over
his fa m ily ’s w ater
H uynh Q u a n g N huo ng
buffaloes, including
1936-2001
his favorite, Tank.
There w ere no stores, cars, or televisions
in th e v illa g e . For e n te rta in m e n t,
H u yn h , his fa m ily , and his n eigh b o rs
liste n ed to one an o th e r tell stories.
W hen he w as older, Huynh received a
scholarship to Saigon University, and he
left hom e. He planned to return to his
village as a teacher.
Distant Memories Instead, H uynh w as
The a u th o r uses the listed w o rd s to help sh o w th e fe a r
drafted into the arm y o f South V ietnam
in the 1960s. A fte r being paralyzed by a
bullet, he traveled to the United States
fo r tre a tm e n t. H u yn h never returned
to V ie tn a m . H ow ever, his m em oirs,
poem s, and plays brought his m em ories
o f V ie tn am and the stories he heard
caused by a d an ge ro u s snake. To see h ow m an y you know,
there to audiences in the United States.
com plete each phrase w ith the correct w ord fro m th e list.
Wildlife in the Highlands “The Horse
Friend bangs on door
•
Niqhi
>
Sn ake ” is a ch ap ter in H u y n h ’s m em oir
WORD
assume
nocturnal
stealthily
The Land I Lost. The m em o ir is set
LIST
gait
petrify
succumb
in H u y n h ’s ch ild h o o d v illa g e , w h ich
w a s su rrounded by ju n g le on one side
and m o u n ta in s on the other. H uynh
d escrib es the realities o f liv in g close
to fa sc in a tin g and d an ge ro u s anim als.
1. O ne look at the d eadly snake c o u ld
2 . It w a s a
3. W e m u s t
anyone.
an im al, so it w as seldom seen in d ayligh t.
re sp o n sib ility fo r killin g th e snake.
4 . To be safe, m ake sure you approach the s n a k e
.
5 . So you d o n ’t scare it, w a lk w ith a quiet, c a r e fu l_____.
6. A fter a hard fig h t, you m ig h t ge t the an im al t o _____.
Jj|
M ORE A B O U T THE AUTHO R
For more on Huynh Quang Nhoung,
visit the Literature Center at
ClassZone.com .
T H E H O R SE SNAKE
123
Huynh Quang Nhuong
D
espite all his courage there was one creature in the jungle that Tank
always tried to avoid— the snake. A nd there was one kind of snake
that was more dangerous than other snakes— the horse snake. In some
areas people called it the bamboo snake because it was as long as a fullgrown bamboo tree.1 In other regions, the people called it the thunder
or lig h tn in g snake, because it attacked so fast and w ith such power
that its victim had neither tim e to escape nor stren gth to figh t it. In
our area, we called it the horse snake because it could move as fast as a
thoroughbred.
1. a full-grow n bam boo tree: A ctu ally , a b a m b o o t r e e c an g ro w a s ta ll a s 120 fe e t!
124
W hat does this photo
su gg e st about the
im portance o f the horse
snake in relation to the
village?
One night a frightened friend of our fam ily’s banged on our door and
asked us to let him in. W hen crossing the rice field in front of our house
on his w ay home from a wedding, he had heard the unm istakable hiss of
a horse snake. W e becam e very w orried; not only for us and our friend,
but also for the cattle and other anim als we raised. Q
It was too far into the night to rouse all our neighbors and go to search
for the snake. But m y father told m y cousin to blow three tim es on his
buffalo horn,2 the signal th at a dangerous w ild beast w as loose in the
ham let. A few seconds later we heard three long quivering sounds o f a
horn at the far end of the ham let3 answ ering our w arning. W e presum ed
that the whole ham let was now on guard. 0
I stayed up that night, listenin g to all the sounds outside, w hile m y
father and m y cousin sharpened th eir h u n tin g knives. Sh o rtly after
m idnight we were startled by the frightened neighin g o f a horse in the
rice field. Then the night was still, except for a few sad calls of noctu rn al
birds and the occasional roaring of tigers in the jungle.
io
20
Q C H R O N O LO G IC A L
O RD ER
Reread lines 10 - 1 4 .
W hat is the first event
in this selection? Record
the event and the tim e
o f day on your tim eline.
o
W hat are the people in
the ham let in co nflict
w ith? Think about
w h at th e y are guardin g
against.
no cturn al (nok-tur'nal)
adj. active at night
T
30
40
he next d ay early in the m orn ing all the able-bodied m en o f the
ham let gathered in front o f our house and divided into groups of
four to go and look for the snake. M y father and m y cousin grabbed their
lunch and joined a searching p a rty Q
T hey found the old horse that had neighed the night before in the rice
field. The snake had squeezed it to death. Its chest was smashed, and all
its ribs broken. But the snake had disappeared.
Everybody agreed that it was the work of one of the giant horse snakes
which had terrorized our area as far back as anyone could remember. The
horse snake usually eats sm all gam e, such as turkeys, m onkeys, chickens,
and ducks, but for unknown reasons sometimes it w ill attack people and
cattle. A fu lly grow n horse snake can reach the size o f a k in g p yth o n .4
But, u n lik e pythons, horse snakes have an extrem ely poisonous bite.
Because of their bone-breaking squeeze and fatal bite they are one of the
most dangerous creatures o f the uplands.
T he m en searched all day, but at n ig h tfall th ey gave up and w ent
home. M y father and m y cousin looked very tired w hen they returned.
M y grandm other told them to go righ t to bed after th eir d in n er and
that she w ould w ake them up if she or m y m other heard an y un u su al
sounds. ©
2. buffalo horn: T h e h o rn s o f w a te r b u ff a lo a re s o m e t im e s u s e d t o p ro d u c e m u sic o r o th e r s o u n d s .
3. ham let: a sm all v illag e.
4. king python: larg e, h e a v y s n a k e t h a t c a n g ro w t o a le n g th o f 20 f e e t a n d kills its p re y by s q u e e z in g
it t o d e a th .
126
N ARRATIVE
N O N FICTIO N
ORDER
W hat w ords or phrases
in this paragraph help
you understand the
order o f events?
o
N ARRATIVE
N O N FIC TIO N
In w h at w ay does the
m en’s return at nigh tfall
add to the suspense?
The m en w ent to bed and the wom en prepared to stay up all night.
M y m other sewed torn clothing and m y grandm other read a novel she
had just borrowed from a friend. A nd for the second night in a row, they
allowed m y little sister and me to stay awake and listen w ith them for
as long as we could. But hours later, seeing the w orry on our faces, m y
grandm other put aside her novel and told us a story:
Once upon a tim e a happy fam ily lived in a sm all village on
the shore of the South C h in a Sea. T h ey respected the laws of
the land and loved their neighbors very m uch. T he father and
his oldest son were woodcutters. T he father was quite old, but
he still could carry home a heavy load o f wood.
One day on his w ay home from the jungle he was happier
than usual. He and his son had discovered a w ild chicken
nest containing twelve eggs. N ow he w ould have som ething
special to give to his g ran d ch ild ren w hen th ey p u lled his
shirtsleeves and danced around him to greet him w hen he
cam e home.
The father looked at the broad shoulders o f his son and
his steady gait under a very heavy load o f wood. He sm iled.
H is son was a good son, and he had no doubt that w hen he
becam e even older still his son w ould take good care of him
and his wife.
As he was th in k in g this he saw his son suddenly throw the
load of wood at a charging horse snake that had come out of
nowhere. T he heavy load o f w ood crashed into the sn ake’s
head and stunn ed it. T h at gave them enough tim e to draw
their sharp w oodcutting knives. But instead o f attack in g the
horse snake from the front, the elder shouted to his son to run
behind the big bush o f elephant grass nearby w hile he, who
was a little too old to run fast, jum ped into the front end of
the bush. Each tim e the snake passed by h im the old m an
m anaged to hit it w ith his knife. He struck the snake m an y
tim es. F in ally it becam e w eak and slowed dow n; so he cam e
out o f his h id in g place and attacked the snake’s tail, w hile his
son attacked the snake’s head. The snake fought back furiously,
but fin a lly it su ccu m b ed to the w ell-co o rd in ated attack of
father and son.
W hen the snake was dead, they grabbed its tail and proudly
dragged it to the edge o f their village. Everyone rushed out to
( 0 SO C IA L STU D IES
X C O N N ECTIO N
The uplands, or the
central highlands,
o f Vietnam are a
m ou ntain ou s area
bordering Laos and
C am bodia.
g a it (gat) n. m anner
o f w alkin g or m oving
on foot
succum b (ss -k u m ') v.
to give in; die
T H E H O R SE SNAKE
127
see their prize. T h ey all argued over who w ould have the honor
of carrying the snake to their house for them.
The old woodcutter and his son had to tell the story of how
they had killed the snake at least ten tim es, but the people never
tired of hearing it, again and again. T h ey all agreed that the old
w oodcutter and his son were not on ly brave but clever as w ell.
Then and there the villagers decided that when their chief, also a
brave and clever m an, died, the old woodcutter was the only one
who deserved the honor of replacing him . Q
90
hen m y grandm other finished the story, m y little sister and I
became a bit more cheerful. People could defeat this dangerous
snake after all. T he silent darkness outside becam e less threatening.
N evertheless, we were still too scared to sleep in our room, so m y
mother made a m akeshift bed in the sitting room, close to her and our
grandmother.
W
Q FO R ESH A D O W IN G
W hat does the
g ra n d m o th e r’s story
su ggest about the w ay
the co nflict between the
people and the snake
m igh t be resolved?
W hat m ood, or fee ling,
does this w ork o f art
create?
128
W hen we woke up the next m orning, life in the ham let had alm ost
returned to normal. The snake had not struck again that night, and the
farmers, in groups of three or four, slowly filtered back to their fields.
Then, late in the afternoon, hysterical cries for help were heard in the
direction of the western part of the ham let. M y cousin and m y father
grabbed their knives and rushed off to help. Q
It was M in h , a farm er, who w as cryin g for help. M in h , like m ost
farmers in the area, stored the fish he had caught in the rice field at the
end of the rainy season in a sm all pond. T hat day M in h ’s wife had wanted
a good fish for dinner. W h en M in h approached his fish pond he heard
110 w hat sounded like someone tryin g to steal his fish by using a bucket to
em pty w ater from the pond. M in h was very an gry and rushed over to
catch the thief, but when he reached the pond, w hat he saw so p etrified
him that he fell over backward, speechless. W hen he regained control he
crawled aw ay as fast as he could and yelled loudly for help.
The th ief he saw was not a person but a huge horse snake, perhaps the
same one that had squeezed the old horse to death two nights before. The
snake had hooked its head to the branch o f one tree and its tail to another
and was splashing the w ater out of the pond by sw in gin g its body back
and forth, like a ham m ock. Thus, when the shallow pond became dry, it
120 planned to sw allow all the fish.
A ll the villagers rushed to the scene to help M in h , and our village
ch ief q uick ly organized an attack. He ordered all the m en to surround
the pond. Then two strong young m en approached the snake, one at its
ta il and the other at its head. As th ey crept closer and closer, the snake
assum ed a strik in g position, its head about one m eter above the pond,
and its ta il sw ayin g from side to side. It w as read y to strike in either
direction. As the two young m en m oved in closer, the snake w atched
them . Each m an tried to draw the attention o f the snake, w hile a third
m an crept s te a lth ily to its side. Su dden ly he struck the snake w ith his
130 long knife. T he surprised snake shot out o f the pond like an arrow and
knocked the young m an unconscious as it rushed by. It broke through
the circle o f m en and w ent into an open rice field. But it received two
more w ounds on its w ay out. ©
The village ch ief ordered all the w om en and children to form a long
line between the open rice field and the ju n g le and to yell as lo u d ly as
they could, hoping to scare the snake so th at it w ould not flee into the
jungle. It w ould be far easier for the m en to fight the w ounded snake in
an open field than to follow it there.
But now there was a new difficulty. T he snake started heading toward
140 the river. N orm ally a horse snake could beat an y m an in a race, but since
this one was b ad ly w ounded, our ch ief was able to cut o ff its escape by
ioo
O RD ER
Reread lines 1 0 0 - 10 5 .
W hen are the cries for
help heard? M ark the
tim e and the event on
y o u rtim e lin e .
p e trify (p e t'ra -fl')
v. to paralyze w ith
asto nish m ent or fear
V ISU A L V O CA B U LA R Y
ham m o ck n. canvas
or heavy n e ttin g hung
betw een tw o supports
and used as a sw in gin g
bed
assum e (9-soom') v. to
take on
ste a lth ily (stel'tha-le)
adv. secretly; sneakily
Q N ARRATIVE
N O N FICTIO N
A t w h at points are you
an xio u s or excited to
learn w h at happens
next? Note the details
that create the suspense.
T H E H O RSE SNAKE
129
150
sending h alf his men running to the river. Blocked off from the river and
jungle, the snake decided to stay and fight. ©
The hunting p arty surrounded the snake again, and this tim e four of
the best men attacked the snake from four different directions. The snake
fought bravely, but it perished. D uring the struggle one of the men received
a dislocated shoulder, two had bruised ribs, and three were m om entarily
blinded by d irt throw n by the snake. L u ck ily all o f them succeeded in
avoiding the fatal bite of the snake.
W e rejoiced that the danger was over. But we knew it w ould only be a
matter of time until we would once again have to face our most dangerous
natural enemy— the horse snake.
130
© N ARRATIVE
N O N FICTIO N
W hy is this a turning
point o f the co n flict
betw een the people
and the snake?
Comprehension
1. Recall W h y is th e horse sn ake m ore d a n g e ro u s th a n oth er snakes?
a
ALABAMA
STANDARDS
LITERATURE STANDARD
2. Clarify W h y does the gra n d m o th e r tell the story ab o u t the fath e r and son
w h o face a horse snake?
3. Represent Reread lin es 10 6 - 120 . Use d e ta ils fro m th e se le ctio n to d raw
w h a t M inh sees w h en he go es to his pond.
Literary Analysis
4. U n derstand C h ro n o lo gica l O rder O ver w h a t period o f tim e do th e events
in th is sele ctio n ta ke place? Use yo u r tim e lin e to fig u re it out. T h e n note
w h en m ost o f th e e ven ts occur.
5. M ake Inferences H u yn h does not d ire ctly state w h a t he w as d o in g d u rin g
the b attle w ith th e horse sn ake. Reread lin es 121-149. W h a t do you th in k
his role w a s in th e battle? Su p p o rt yo u r inferen ce w ith evid en ce fro m the
selection.
6 . A n a lyze N arrative N o n fictio n In “T h e H orse Sn a k e ,” each o f
th e tw o fo rces th a t are in co n flict has so m e a d v a n ta g e s over
th e other. On a scale like th e one sh o w n , note th e d iffe re n t
q u a litie s th a t m ake th e sn ake an d th e c o m m u n ity stro n g .
H o w does th e b alan ce o f q u a litie s create suspense?
7. D raw C o n clu sio n s W h a t role did te a m w o rk play in d e fe a tin g th e snake?
Use e vid en ce from th e se le ctio n to su p p o rt yo u r answ er.
8 . Creative Project: M usic M o viem akers often use m u sic to add suspense to
their film s. If you w ere d irectin g a m ovie o f “The Horse Sn ake,” w h a t kind
o f m u sic w o u ld you w a n t to a cco m p a n y each scene? T h in k a b o u t w h a t
in stru m e n ts and rh yth m s sh o u ld be used. C o n sid e r at w h a t p oin ts the
m u sic should be loud or soft. As th e director, w rite re co m m e n d atio n s to
yo u r com poser.
9. A
X
S O C IA L S T U D IE S C O N N E C T IO N
Read “ Le M at V illa g e H o ld s On
to S n a k e C a tc h in g T ra d itio n ” on p a ge 133. T h e n do research to fin d
ou t m ore a b o u t v illa g e life an d c u ltu ra l tra d itio n s in V ie tn a m . D is p la y
yo u r fin d in g s in a poster.
For more on Vietnam , visit the Research Center at ClassZone.com.
T H E H O R S E SN A K E
131
Choose the letter o f the w ord or phrase th a t is not related in
assume
m e a n in g to the o th er w ords.
petrify
gait
stealthily
1. (a) pace, (b) step, (c) gait, (d) feet
succumb
nocturnal
2. (a) stealth ily, (b) secretly, (c) slyly, (d) sw iftly
3 . (a) frig h te n , (b) petrify, (c) co nfu se , (d) h o rrify
4 . (a) sunny, (b) n octu rn al, (c) m o o n lit, (d) d ark
5 . (a) take on, (b) m ove on, (c) u n de rtake , (d) a ssu m e
6. (a) su ccu m b , (b) reject, (c) refuse, (d) th ro w a w ay
If you lived in th e villa g e , w h a t fe ars w o u ld you have a b o u t th e horse snake?
W rite a p aragrap h te llin g w h a t you th in k . Use at least tw o v o ca b u la ry w ord s.
Here is an e xa m p le o f h ow you m ig h t b egin.
EXAMPLE SENTENCE
I w o u ld be M o st f e a r f u l o f the. h o rse , sn a ke e n te rin g Mif hoM e
stealthily
d u rin g t h e night.
V O C A B U LA R Y STRATEGY: W O RD O R IG IN S
M any w ords th a t w e use every day have in te restin g histories. For e xam ple,
the vo ca b u la ry w ord petrify can be traced back to a Latin w ord th a t m ean s
“rock.” If you sa w so m e th in g th a t petrified you, do you th in k it w o u ld m ake
a
ALABAM A
STANDARDS
you freeze in place like a rock?
D ic tio n a rie s o ften p rovid e in fo rm a tio n a b o u t a w o rd ’s o rig in in an
etymology at th e end o f th e d ic tio n a ry entry. E ty m o lo g ie s can h elp you
understand the m ean in g o f an English w ord by relating the u n fam iliar w ord
to so m e th in g you know. The e ty m o lo g y is in brackets in th e e n try sh o w n .
ballot (bal'8t) intr. v. to cast a vote. [From Italian ballotta, small ball or pebble.
Italian citizens once voted by casting a small ball or pebble into one of several
boxes.]
PRACTICE Look up th e e ty m o lo g y o f each w ord in a d iction ary. Then w rite
the origin o f each w ord and e xp lain h ow the histo ry w ill h e lp y o u rem em ber
the m e a n in g.
1. a lg o rith m
132
2 . h ip p o p o ta m u s
3 . radar
4 . safari
VOCABULARY
PR A C TIC E
at ClassZone.com.
Reading fo r Information
R A D IO T R A N S C R IP T In “T h e H o rse S n a k e ,” v illa g e rs fig h t o ff a large sn ake th a t
th re a te n s th e ir co m m u n ity. In th e fo llo w in g radio tra n s c rip t,y o u ’ll read a b o u t a
m odern V ie tn a m e se v illa g e th a t p rides its e lf on its tra d itio n o f c a tc h in g snakes.
R A D I O T H E V O I C E O F V I E T N A M _____________________________
Le Mat V illage Holds On to
Snake C atching Tradition
Le Mat on the outskirts of Hanoi has long b een
famous for its tradition of catching snakes. Le Mat
villagers, regardless of their age and gender, all
know how to catch snakes. Although the trade is
fading and many villagers now make a living from
other jobs, local people’s skills and love for catching
snakes remain strong. Many can talk with visitors for
hours about their village’s unigue tradition.
Legend has it that snake catching in the village dates back to the 11th
century. King Ly Thai Tong's daughter was carried away by a giant
snake when she was on a boat on the Duong River. The King announced
that anyone who found his daughter's body would be rewarded.
A villager from Le Mat, Hoang Due Trung, went to the part of the river
where the princess was taken away. Trung killed the snake and brought
back the princess’s body. The King kept his prom ise and rew arded
Trung, but he refused the rew ard and just asked the King to allow Le
Mat’s poor villagers to reclaim and settle in the area west of Thang Long
Citadel. Under the leadership of the young man, villagers were able to
turn a swampy area full of wild grass and poisonous snakes into a fertile
and prosperous land. This is now the area of Ngoc Khanh, Lieu Giai,
Cong Vi, and Kim Ma in Hanoi. Hoang Due Trung taught the villagers
how to catch snakes and was recognized as the Genie of Le Mat. . . .
Le Mat villagers know well the difference betw een poisonous and
harm less snakes. They also know the characteristics of each snake
species, and they all agree that snakes that do not react guickly are
maybe the most dangerous. Despite the passage of time and changes in
their lives, Le Mat people still love their special tradition and continue to
catch any snake they see.
READ IN G FOR IN FO R M A T IO N
133
The Walrus and the Carpenter
N a rra tive Poem by Lew is C arro ll
Have you ever been
F OOL ED?
□
ALABAMA
STANDARDS
READING STANDARDS
and devices
KEY IDEA It can be fu n to trick p e o p le — to w a tch th e ir fa ce s as
you co n vin ce th e m to b elieve th a t so m e th in g w a c k y is a ctu a lly
true. It can even be fu n to be tricke d . H as an yo n e ever told you
th a t you w ere g o in g so m e w h e re b o rin g w h e n in fa c t you w ere
headed to a surprise party? But not all tricks are fu n or funny. In
“The W alrus and the Carpenter,” w e see how easy it is to be fooled
into d o in g so m e th in g unw ise.
CHART IT W ith a grou p o f classm ates, d iscu ss w h a t typ e s o f tricks
are h arm less and fu n and w h a t typ e s o f tricks can be h arm fu l and
cruel. Use a ch art like the one sh ow n to note yo u r ideas.
Ha.rMle.ss
HarM-Fv!
• LITERA RY A N A LY SIS: N A RR A TIV E PO ETRY
All p oem s use w o rd s ca re fu lly to create ce rta in e ffe c ts.
"The W alrus and the C arpen ter” is a
narrative poem, w hich
m eans th a t in a d d itio n to u sin g w o rd s carefu lly, it te lls a
story. To do so, the poem uses the sam e narrative elem ents
th a t any w o rk o f fictio n does, such as
• se ttin g
• ch aracters
• plot
Id e n tifyin g these ele m e n ts w ill help you u n d e rstan d the
ideas in a narrative poem .
A s you read “The W alrus and the Carpenter,” note d etails
about the settin g, characters, and plot events in a story m ap
like the one show n.
Author On[ine
A New Name
In 1865 a British
m an nam ed Charles
Lu tw id ge D odgson
published his first
book fo r children,
Alice’s Adventures
in Wonderland.
In stead o f u sin g
his nam e, how ever,
D o d g so n ch o se
a “pen n am e,” a
m ade-up nam e. The book w as a huge
su ccess, and th e pen nam e, Lew is
Carroll, becam e ve ry fam ou s.
Children’s Entertainer D o d gso n
en jo ye d e n te rta in in g ch ild ren
th ro u g h o u t his life. A s th e e ld e st
son in a fa m ily o f 11, he m ade up
g a m e s fo r his b ro th ers and sisters.
A s an a d u lt, he to ld sto rie s and
• READ IN G STRATEGY: V IS U A LIZ E
fo llo w these steps:
d re w p ictu re s fo r th e ch ild ren he
b e frie n d e d — in c lu d in g a re al-life
Alice. By train in g, D odgson w as a
m athem atician, and even in this field
he o fte n fo cu sed on y o u n g people.
He used his m ath skills to m ake up
• Pay atte n tio n to the d escrip tio n s on the page.
p u zzle s and brainteasers.
• Take tim e to fo rm m en tal im a g e s based on th e w o rd s in
Poetic Lessons In th e 1800s in G reat
You’re about to read a poem w ith a vivid se ttin g and som e
very unusual, fan tastical characters. You’ll probably enjoy the
poem m ore and understand it better if you can
visualize, or
picture in you r m ind, the se ttin g and characters. To visualize,
the descriptions.
• Use yo u r im ag in atio n to fill in the blanks.
A s you read Lew is C arro ll’s poem , pay a tte n tio n to details
th a t w ill help you visu alize the sto ry the poem is tellin g.
Britain , children w ere o fte n required
to m em o rize long, b orin g poem s th a t
ta u g h t le sso n s a b o u t h o w y o u n g
people should behave. In “The W alrus
and th e Carpenter,” Carroll m akes fun
o f th is ap p roach to edu cation . But he
m ig h t have slipped in a good lesson
fo r children at the sam e tim e.
MORE A B O U T THE AUTHO R
For more on Lewis Carroll, visit the
THE W ALRUS AND THE CARPENTER
135
The _
alms
and the
arpenter
Lewis C a rr o ll
The sun was shining on the sea,
Sh in in g w ith all his m ight:
He did his very best to m ake
T he billows1 smooth and bright—
5 A nd this was odd, because it was
T he m iddle o f the night. Q
10
H ow w ould you describe
the se ttin g in this
illustration?
Q V ISU A LIZE
w ords help you to
visualize the scene?
The moon was shining su lkily,2
Because she thought the sun
H ad got no business to be there
A fter the day was done—
“It’s very rude of him ,” she said,
“To come and spoil the fu n !”
G
The sea was w et as w et could be,
The sands were d ry as dry.
15 You could not see a cloud because
No cloud was in the sky:
No birds were flyin g overhead—
There were no birds to fly. ©
N A RR A TIV E PO ETRY
W hat have you
learned so far about
the tim e, place, and
w eather conditions of
the se ttin g? Record
details in your graphic
organizer.
1. billow s: large waves.
2. sulkily: in a gloom y, pouting way.
136
Illu stratio n s by S ir Jo h n T en n iel from
T h ro u gh th e L ook in g-G la ss by Lewis Carroll.
The W alrus and the C arpenter
20
W ere w alk in g close at hand:
T hey wept like an yth in g to see
Such quantities o f sand:
“If this were only cleared away,”
T h ey said, “it w ou ld be g ran d !” Q
25 “If seven m aids w ith seven mops
Swept it for h a lf a year,
Do you suppose,” the W alrus said,
“T h at they could get it clear?”
“I doubt it,” said the Carpenter,
30
A nd shed a bitter tear.
“O O ysters, come and w alk w ith u s!”
The W alrus did beseech.3
“A pleasant w alk, a pleasant talk,
A long the briny4 beach:
35 W e cannot do w ith more than four,
To give a hand to each.”
The eldest O yster looked at him ,
But never a word he said:
The eldest O yster w inked his eye,
40
A nd shook his heavy head—
M ean in g to say he did not choose
To leave the oyster-bed.
But four young Oysters hurried up,
A ll eager for the treat:
45 T heir coats were brushed, their faces washed,
T h eir shoes were clean and neat—
A nd this was odd, because, you know,
T h ey hadn’t an y feet.
3 . beseech: to beg anxiously.
4 . briny: containing a fair am ount o f salt.
138
NA RRA TIVE PO ETRY
W hat characters have
you met? Note them in
your graphic organizer.
Add new characters as
they are introduced in
the poem.
Four other Oysters followed them ,
50
A nd yet another four;
A nd thick and fast they cam e at last,
A nd more, and more, and more—
A ll hopping through the frothy waves,
A nd scram bling to the shore.
55 T he W alrus and the C arpenter
W alked on a m ile or so,
A nd then they rested on a rock
C onveniently low:
A nd all the little O ysters stood
60
A nd w aited in a row. Q
Q
VISUALIZE
Reread lines 55- 6 0 . Tell
w h at you see in your
m ind. W hy m ight it be
im po rtan t that the rock
is “conveniently lo w ”?
“T he tim e has com e,” the W alrus said,
“To talk of m any things:
O f shoes— and ships— and sealing-w ax—
O f cabbages— and kings—
65 A nd w hy the sea is boiling hot—
A nd whether pigs have w ings.”
“But w ait a bit,” the Oysters cried,
“Before we have our chat;
For some o f us are out o f breath,
70
A nd all o f us are fat!”
“No h u rry !” said the Carpenter.
T h ey thanked him m uch for that.
“A lo af of bread,” the W alrus said,
“Is w hat we chiefly need:
75 Pepper and vinegar besides
Are very good indeed—
Now, if you’re ready, O ysters dear,
W e can begin to feed.” Q
o
N ARRA T IV E POETRY
W h a t’s happening at
this point in the poem?
Note the plot events in
TH E W ALRUS AND THE CARPENTER
139
“But not on u s !” the O ysters cried,
so
T urning a little blue.
“A fter such kindness, that w ould be
A dism al’ th in g to d o !”
“The night is fine,” the W alrus said.
“Do you adm ire the view ?” Q
85
90
95
ioo
105
N A RRA TIVE PO ETRY
The c lim a x o f a plot
is the tu rn in g point.
W hat do the O ysters
fin a lly fig u re out in lines
79- 8 0 ?
“It was so kind of you to come!
A nd you are very n ic e !”
T he C arpenter said nothing but
“C ut us another slice.
I w ish you were not quite so d eaf—
I’ve had to ask you tw ic e !”
“It seems a sham e,” the W alrus said,
“To play them such a trick.
A fter w e’ve brought them out so far,
A nd m ade them trot so quick! ”
The C arpenter said nothing but
“T he butter’s spread too thick! ”
“I weep for you,” the W alrus said:
“I deeply sym pathize.”
W ith sobs and tears he sorted out
Those of the largest size,
H olding his pocket-handkerchief
Before his stream ing eyes. Q
Q V ISU A LIZE
“O O ysters,” said the Carpenter,
“You’ve had a pleasant run!
Shall we be trotting home ag ain ?”
But answer cam e there none—
A nd this was scarcely odd, because
T h ey’d eaten every one.
5.
140
o
U N IT l: PLOT, C O N F L IC T , A ND SE TT IN G
dism al: particularly bad; dreadful.
Picture in your m ind
the W alrus crying w hile
so rtin g the O ysters.
W hat details in the
poem help you to do so?
After Reading
Comprehension
1. Recall W h at do th e W alru s and th e C arp e n te r in vite th e O yst:ers to do?
2. Clarify W h at trick do th e W alru s and th e C arp e n te r play on t he O ysters?
a
ALABAMA
STANDARDS
READING STANDARD
Literary Analysis
3. Make Inferences Reread lin es 37 -42. W h y m ig h t th e e ld e st C)yste r have
lived lo n ge r th a n an y o f th e oth er o ysters in th e o yste r bed?
4. Visualize A stanza is a gro u p o f lin es w ith in a poem . Choo se
VJords and
Phrases from
the PoeM
a sta n za on p age 138 and d escrib e th e m en tal p ictu re you
form w h en you read it. Then use a d ia g ra m like th e one
sh o w n to note w h a t helped you visu a lize .
Details froM
Mi/ Imagination
5. Identify Rhyme The rep etition o f a so un d at th e en d s o f
d ifferen t w o rd s— as in knows and rose— is called rhyme. The
Description o f
the Picture in
My tAind
w o rd s at th e end s o f lines 2 ,4 , and 6 rhym e. W h ich w o rd s in
lines 7-12 rhym e? W h ich w o rd s rhym e in lin es 13-18? Look
th ro u gh th e rest o f th e poem and d escrib e an y pattern you
notice.
6. Evaluate Narrative Poetry U sin g th e sto ry m ap th a t you created as you
read, su m m a rize “The W alru s and th e Carpenter.” Tell w h a t h ap pen ed ,
w here it hap pen ed , and w h o to o k part. Do you fin d th e e ven ts in the
poem fu n n y or d istu rb in g ? Exp la in yo u r reaction.
7. Interpret the Message O n th e b asis o f th is poem , w h a t do you th in k
Carroll m ig h t ad vise y o u n g people to do to avoid b e in g tricked? Use
evidence from th e poem to su p p o rt yo u r answ er.
8. Readers’ Circle W ith a partner, look over th e fictio n and n o n fictio n you
have read in th is u n it. D ecid e w h ic h se le ctio n m ig h t serve as a go od b asis
for a n arrative poem and w hy. Then d iscu ss h o w th e se le ctio n w o u ld
ch a n ge if told in poem form . W ould it be fu n n ie r, or m ore serious?
9. Creative Project: Drama Poem s often lend th e m se lv e s to b e in g read
aloud. Put to g e th e r a cast o f c la ssm a te s to read “The W alru s and the
Carpenter.” A ssig n one person to be th e narrator and o th ers to perform
the sp e a k in g parts. Then do a d ra m a tic re a d in g o f th e poem .
TH E W ALRUS AND TH E CARPEN TER
141
The Prince and the Pauper
N ovel by M ark T w ain
D ra m a tize d b y Jo e lle n Bland
□
Who would you BE
i f you could?
ALABAMA
STANDARDS
READING STANDARDS
including conflict
KEY IDEA M o st o f us can n am e at least one person w h o has a
life w e so m etim es envy. This person m ay be an actor, an athlete,
a singer, or even a friend. How ever, you m ig h t not e n v y him or
her if you kn e w w h a t his or her life w a s really like. In The Prince
and the Pauper, tw o ch aracters learn u n e xp e cted lessons ab ou t
th e m se lve s and each other w h en th e y
trade places.
ROLE-PLAY W ith a classm ate, choose tw o fam o u s people w hose
lives you adm ire. M ake a list o f questions you w ould w a n t to ask
them and th in k o f the an sw e rs the people w ou ld give. Be sure
to go beyond the o b v io u s— not e v e ry th in g in th e ir lives w ou ld
be p erfect. Then take tu rn s b ein g th e in te rvie w e r and present
yo u r interview s o f the fam o u s people to the class.
• LITERA RY A N A LY SIS: C O N FLIC T IN D RA M A
plot revolves around
conflict. Since dram a is m ean t to be perform ed
In dram a, as in sh o rt stories, th e
a central
by actors, a dram a’s co nflict usually unfolds through action
and d ialo gue (conversation betw een characters).
U nlike a book, w h ich has chapters, a play is d ivid ed into
acts and scenes. The play you are about to read takes place
in e igh t scenes th a t revolve around tw o boys w h o sw itch
identities. A s you read, notice how the co n flict becom es
m ore com plicated.
• READ IN G STRATEGY: REA D IN G A PLAY
In a dram a,
stage directions provide key in fo rm atio n th a t
Boyhood Adventures
Tw o o f M ark
Tw ain’s best-know n
w orks focus on the
ad ven tu res, or
m isadventures, o f
tw o y o u n g boys—
H uckleberry Finn
and Tom Saw yer.
In developing these
stories, Tw ain drew
upon his ow n
Mark Twain
1835-1910
readers w ould norm ally see or hear in a perform ance, such as
experiences and those o f his childhood
• the se ttin g, scenery, and props [Westminster Palace,
frie n d s. M an y o f his ta le s take place
alon g the M ississippi River, w here Twain
England, Scene i, line 2)
• the m usic, sound e ffe cts, and lig h tin g [Fanfare o f trumpets
is heard, Scene 3, line 282)
sp e n t m uch o f his tim e as a child and
y o u n g adult.
Have Pen, Will Travel Tw ain loved to
• the ch aracte rs’ m ovem ents, behavior, or w a ys o f sp e akin g
[surprised, standing up quickly, Scene 4, line 345)
A s you read the play, record e xam p le s o f sta g e d irections
and tell w h a t th e y help you to u nderstand.
A
Author On|ine
Stage Direction
Type o f Direction
W hat It Tells Me
Fanfare, o f
trump&ts is heard
(Scene 3, line. 282)
Sound effects
Someone is
entering.
travel. His fre q u e n t trip s th ro u gh o u t
th e U n ited S ta te s and to Europe
resulted in a series o f fu n n y and clever
stories. Tw ain set so m e o f his novels,
in clu d in g The Prince and the Pauper,
in En gland , w h ere he w as greatly
adm ired. Tho ugh he w rote The Prince
and the Pauper as a novel, Joellen Bland
later adapted th e sto ry as a play.
MORE A B O U T THE A U T H O R
For more on Mark Twain, visit the
V O CA B U LA R Y IN C O N TEX T
The b oldfaced w o rd s help tell th e sto ry o f tw o boys tra d in g
Background
places. To see h ow m an y you know , replace each w ord w ith
True Royalty The prince in T w a in ’s
a d iffe re n t w ord or w ord s th a t have the sam e m eaning.
story is based on Edward, son o f King
Henry VIII o f England. A fter H e n ry’s
d eath in 1547, th e n in e -year-old
Edw ard to o k th e throne, beco m in g
Kin g Edward VI.
1.
2.
3.
4.
5.
6.
successor.
Tom looked like a prince, but he w as a pauper.
An affliction seem ed to m ake th e prince fo rg e tfu l.
The kin g began to d ou b t th a t his son w as sane.
The boy had no recollection o f w h ere he put the seal.
W as he the real prince or an impostor?
The kin g exp ected his son to be his
T H E PR IN C E AN D T H E PAUPER
143
THE
M A R K T W A IN
Dramatized by Joellen Bland
CHARACTERS
Edward, Prince of Wales
Tom Canty, the Pauper
Lord Hertford
Lord St.John
King Henry VIII
Herald
Miles Hendon
John Canty, Tom’s father
Hugo, a young thief
Two Women
Justice
Constable
Jailer
Sir Hugh Hendon
Two Prisoners
Two Guards
Three Pages
Lords and Ladies
Villagers
SCENE ONE
Time: 1547.
Setting: 'Westminster Palace, England. Gates lea d in g to cou rtya rd a re a t
right. Slightly to the left, o f f cou rtya rd a n d inside gates, in terior o f p a la ce
anteroom 1 is visible. There is a cou ch w ith a rich robe dra ped on it, screen
at rear, bellcord, mirror, chairs, a n d a table w ith b ow l o f nuts, a n d a large
gold en seal on it. P iece o f a rm or hangs on on e wall. Exits a re rear a n d
downstage.
1.
144
anteroom (a n 'te - r o o m ') : an outer room that leads to another room and is often used as a w aiting room.
U N IT l: PLOT, C O N F L IC T , A N D SE T T IN G
Photographs by Crown M edia
D istribution, LLC.
At Curtain Rise: Two G uards — on e a t right,
on e a t left— stand in fr o n t o f gates, a n d several
10 V illagers h over nearby, strain in g to see into
cou rtyard w here Prince m ay be seen through
fen ce, p laying. Two W om en en ter right.
Tom. If it please you, Your H ighness, when
I am not able to beg a penny for our supper,
he treats me to beatings.
50
ist Woman. I have walked all m orning just to
have a glimpse of W estm inster Palace.
2 nd Woman. M aybe if we can get near enough
Tom. Very little, Your Highness. A good priest
who shares our house in O ffal C ou rt has
taught me from his books.
to the gates, we can have a glim pse o f the
young Prince. (Tom C anty, d irty a n d ragged,
com es ou t o f cro w d a n d steps close to ga tes)
20
Prince. Do you have a pleasant life in O ffal
C ourt?
Tom. I have always dream ed of seeing a real
Prince! {Excited, h e presses his nose against ga tes)
ist Guard. M in d your m anners, you young
beggar! ( Seizes Tom by collar a n d sends him
spraw ling into crow d. V illagers laugh, as Tom
slow ly gets to his feet.)
60
Tom. In summer, we run races and swim in the
river, and we love to w allow in the mud.
Prince (sighing, w istfully). If I could w ear your
clothes and play in the m ud just once, w ith no
one to forbid me, I th in k I could give up the
crown!
Villagers (shoutin g to geth er). Long live the
Prince of W ales! (G uards open gates a n d Tom
slow ly passes through, as i f in a d rea m )
Prince (to Tom). You look tired, and you have
been treated cruelly. I am E dw ard, Prince of
W ales. W h at is your name?
70
Prince. Com e into the palace w ith me, Tom.
(Prince leads Tom into anteroom . V illagers
p an tom im e conversation, a n d a ll but a f e w exit.)
40 W here do you live, Tom?
Tom. Oh, Your H ighness, it is not proper for
me to w ear such clothes.
Tom. In the city, Your Highness, in O ffal Court.
80
Tom. Yes, Your H ighness.
Prince. How does your father treat you?
2. features and bearing: parts o f the face and w ays o f stan ding or w alking.
146
Tom (shaking his h ea d ). A nd if I could w ear
your fine clothes just once, Your H ighness . . .
Prince. W ould you like that? Com e, then.
W e shall change places. You can take off your
rags and put on m y clothes— and I w ill put on
yours. (He leads Tom b eh in d screen, a n d they
return shortly, each w ea rin g the oth er’s clothes.)
Let’s look at ourselves in this m irror, (leads
Tom to m irror)
Tom (looking a rou nd in aw e). Tom Canty, Your
Highness.
Prince. O ffal C ourt? T h at is an odd name.
Do you have parents?
Tom. Pleasant enough, Your H ighness, save
when I am hungry. W e have Punch and Ju d y
shows, and sometim es we lads have fights in
the street.
Prince (eagerly). I should like that. Tell me more.
Prince ( rushing to gates). How dare you treat
a poor subject o f the K ing in such a m anner!
Open the gates and let him in! (As V illagers see
Prince, they take o f f their hats a n d bow low.)
30
Prince (shocked). W h at! Beatings? M y father
is not a calm m an, but he does not beat me.
(looks a t Tom thoughtfully) You speak well and
have an easy grace. Have you been schooled?
Prince (excitedly, as he looks in m irror). Heavens,
do you not see it? W e look like brothers! W e
have the same features and bearing.2 If we went
about together, dressed alike, there is no one
who could say which is the Prince of W ales and
which is Tom C anty!
100 ist Guard. Take that, you little beggar, for the
trouble you have m ade for me w ith the Prince.
(V illagers roar w ith laughter.)
Tom (dra w in g back a n d rubbing his h a n d ). Your
H ighness, I am frightened. . . .
Prince ( pick ing h im self up, tu rn in g on G uard
furiously). I am Prince of W ales! You shall hang
Prince. Do not worry, (seeing Tom rub his hand)
Is that a bruise on your hand?
for layin g your hand on me!
90 Tom. Yes, but it is a slight thing, Your Highness.
Prince (angrily). It was sham eful and cruel of
that guard to strike you. Do not stir a step
until I come back. I com m and you! (H epicks
up gold en Seal o f E ngland5 a n d carefully p u ts it
into p iece o f armor. He then dashes ou t to gates.)
Open! U nbar the gates at once! (2nd G uard
opens gates, a n d as Prince runs out, in rags, 1st
G uard seizes him , boxes him on the ear, a n d
knocks him to the ground?)
110
ist Guard (presen tin garm s; mockingly). I salute
Your Gracious H ighness! (Then, angrily, 1st
G uard shoves Prince roughly a sid e) Be off,
you m ad bag o f rags! (P rince is su rrou n d ed
by V illagers, w ho hustle him o ff)
Villagers (a d lib ,Aas they exit, shouting). M ake
w ay for His Royal Highness! M ake w ay for the
Prince o f W ales! H a il to the Prince! (etc.)
Tom (a d m irin g h im self in m irror). If only the
boys in O ffal C ou rt could see m e! T h ey w ill
3 . Seal o f England: a device used to stam p a special design, usually a picture o f the ruler, onto a
docum ent, thus in dicating that it has royal approval.
4 . ad lib: talk together about w hat is go in g on, but w itho ut an actual script.
T H E P R IN C E AND TH E PAUPER
147
not believe me when I tell them about this.
{looks a ro u n d anxiously) But w here is the
Prince? {Looks cautiously into courtyard. Two
Guards im m ediately snap to attention a n d salute.
He quickly ducks back into anteroom as Lords
Hertford a n d St. John en ter a t rear.)
120
130
K in g
{beck oning Tom close to him ). Now, m y
Hertford {going tow ard Tom, then stopping a n d
b ow in g low ). M y Lord, you look distressed.
W h at is wrong?
son, Edward, m y prince. W h at is this? Do you
mean to deceive me, the King, your father, who
loves you and treats you so kindly?
Tom {trem bling). Oh, I beg of you, be m erciful.
I am no Prince, but poor Tom C an ty of O ffal
C ourt. Please let me see the Prince, and he w ill
give m y rags back to me and let me go unhurt.
{kneeling) Please, be m erciful and spare me!
Tom {dropping to his knees). You are the King?
Then I have no hope!
Hertford {puzzled a n d d istu rb ed ). Your
Highness, on your knees? To me? {bows quickly,
then, aside to St. John) T he Prince has gone
m ad! W e m ust inform the K ing, {to Tom)
A m om ent, your H ighness. (H ertford a n d
St. John exit rear.)
148
140
Tom. O h, there is no hope for me now. T h ey
w ill hang me for certain ! (H ertford a n d St.
Jo hn re-enter, su pp ortin g K ing. Tom w atches
in a w e as they help him to couch, w here h e sinks
dow n wearily.)
K in g {stunned). M y child, you are not well.
Do not break your father’s old heart. Say you
know me.
150
Tom. Yes, you are m y lord the K ing, whom
God preserve.
K in g. True, that is right. Now, you w ill not
deny that you are Prince of W ales, as they say
you did just a w hile ago?
Tom. I beg you, Your Grace, believe me. I am
the lowest of your subjects, being born a pauper,
and it is by a great m istake that I am here. I am
too young to die. Oh, please, spare me, sire!
160
King (am azed). Die? Do not talk so, m y child.
You shall not die.
Tom (gra tefu lly). God save you, m y kin g! A nd
now, m ay I go?
King. Go? W here w ould you go?
Tom. Back to the alley where I was born and
bred to misery.
King. M y poor child, rest your head here. (He
holds Tom jr h ead a n d pats his shoulder, then turns
to Hertford a n d St. John.) A las, I am old and
ill, and m y son is mad. But this shall pass. M ad
170 or sane, he is m y heir and shall rule England.
Tomorrow he shall be installed and confirm ed
in his princely dignity! Bring the Great Seal!
Hertford (bow ing low). Please, Your Majesty, you
took the Great Seal from the C hancellor two
days ago to give to H is H ighness the Prince.
King. So I did. (to Tom) M y child, tell me,
where is the Great Seal?
Tom (trem bling). Indeed, m y lord, I do not
know.
iso King. Ah, your afflictio n hangs heavily upon
you. ’Tis no matter. You w ill rem em ber later.
Listen, carefully! (gently, but firm ly) I command
you to hide your affliction in all w ays that
be w ith in your power. You shall deny to no
one that you are the true prince, and if your
m em ory should fail you upon any occasion of
state, you shall be advised by your uncle, the
Lord Hertford.
Tom (resigned). T he K ing has spoken. T he
190 K ing shall be obeyed.
King. A nd now, m y child, I go to rest. (He
stands weakly, a n d Hertford leads him off, rear.)
Tom (wearily, to St. John). M ay it please your
St. John. So it please Your H ighness, it is for
you to com m and and us to obey. But it is wise
that you rest, for this evening you m ust attend
the Lord M ayor’s banquet in your honor. (He
p u lls bellcord, a n d T hree Pages en ter a n d kneel
200 b efore Tom.)
Tom. Banquet? (Terrified, he sits on couch a n d
reaches f o r cup o f water, b ut 1st Page instantly
seizes cup, drops on on e knee, a n d serves it to him.
Tom starts to take o f f his boots, but 2nd Page
stops him a n d does it f o r him. He tries to rem ove
his cape a n d gloves, a n d 3rd Page does it f o r him.)
I wonder that you do not try to breathe for me
also! (Lies dow n cautiously. Pages cover him w ith
robe, then back aw ay a n d ex it)
210 St. John
(to Hertford, as he enters). Plainly, what
do you think?
Hertford. Plainly, this. T he K ing is near death,
m y nephew the Prince o f W ales is clearly m ad
and w ill m ount the throne m ad. God protect
England, for she w ill need it!
St. John. Does it not seem strange that madness
could so change his m anner from w hat it used
to be? It troubles me, his saying he is not the
Prince.
220 Hertford. Peace, m y lord! If he were an
im postor and called him self Prince, that would
be n atu ral. But w as there ever an impostor,
who being called Prince by the K ing and court,
denied it? Never! T his is the true Prince gone
m ad. A nd tonight all London shall honor him .
(H ertford a n d St. John exit. Tom sits up, looks
a rou n d helplessly, then gets up.)
Tom. I should have thought to order something
to eat. (sees b ow l o f nuts on table) A h! Here are
230 some nuts! (looks a rou nd, sees G reat S eal in
arm or, takes it out, looks a t it curiously) T h is
w ill m ake a good nutcracker. (He takes b ow l o f
nuts, sits on cou ch a n d begins to crack nuts w ith
Great Seal a n d eat them , as curtain falls.)
lordship to let me rest now?
T H E P R IN C E AND T H E PAUPER
149
SCENE TW O
Time: Later that night.
Setting: A street in London, near O ffal Court.
P layed before the curtain.
At Curtain Rise: Prince limps in, dirty a n d tousled.
He looks a rou n d wearily. S everal Vi 11agers pass
240 by, p u sh in g against him.
Prince. I have never seen this poor section of
London. I m ust be near O ffal C ourt. If I can
only fin d it before I drop! (John C a n ty steps
ou t o f crow d, seizes Prince roughly.)
Canty. O ut at this tim e of night, and I w arrant
you haven’t brought a farth in g5 home! If that
is the case and I do not break all the bones
in your m iserable body, then I am not John
C anty!
250 Prince
(eagerly). Oh, are you his father?
Canty. His father? I am y o u r father, and—
Prince. Take me to the palace at once, and
your son w ill be returned to you. T he K ing,
m y father, w ill m ake you rich beyond your
wildest dreams. Oh, save me, for I am indeed
the Prince of W ales.
260
Canty (staring in am azem ent). Gone stark m ad!
But m ad or not, I’ll soon fin d where the soft
places lie in your bones. Com e home! (starts to
d rag Prince o f f )
SCENE THREE
Setting: Sam e as S cen e 1, w ith a d d ition o f
d in in g table, set w ith dishes a n d goblets, on raised
270 platform . Throne-like ch a ir is a t h ea d o f table.
At Curtain Rise: A banquet is in progress. Tom,
in royal robes, sits a t h ea d o f table, w ith Hertford
a t his righ t a n d St. John a t his left. Lords a n d
Ladies sit a rou n d table ea tin g a n d talking softly.
Prince (struggling). Let me go! I am the Prince
of W ales, and the King shall have your life for
this!
Canty (angrily). I’ll take no more o f your
m adness! (raises stick to strike, b u t Prince
stru ggles f r e e a n d runs off, a n d C a n ty runs
a fter him )
Tom (to H e rtfo rd ). W h at is this, m y Lord?
(holds up a plate)
Hertford. Lettuce and turnips, Your H ighness.
Tom. L ettuce and turnips? I have never seen
them before. A m I to eat them?
280
Hertford (discreetly). Yes, Your H ighness, if
you so desire. (Tom begins to ea t f o o d w ith
his fin gers. Fanfare o f trum pets6 is heard, a n d
H erald enters, carrying scroll. All turn to look.)
5. farth in g: a form er British coin w orth one-fourth o f a British penny.
6. fanfare of trum pets: a short tune or call, usually in dicating that som ething im po rtant is about to occur.
150
Miles {taking Prince by the arm ). Com e, lad,
before the crowd remembers us. I have a room
at the inn, and you can stay there. {He hurries
o f f w ith stu n n ed Prince. Tom, led by Hertford,
en ters co u rtya rd up rear. V illagers see them .)
Herald { readingfrom scroll). His M ajesty, K ing
H enry VIII, is dead! The King is dead! {All rise
a n d turn to Tom, w ho sits, stunned.)
All {together). The K ing is dead. Long live the
King! Long live Edward, King of England! {All
bow to Tom. H erald bows a n d exits.)
Villagers {together). Long live the K ing! {They
fa l l to th eir knees as curtains close)
290 Hertford
{to Tom). Your M ajesty, we m ust call
the council. C om e, St. John. (H ertford a n d
St. John lea d Tom o f f a t rear. Lords a n d Ladies
follow , talking a m on g themselves. At gates, dow n
right, V illagers en ter a n d m ill about. Prince
enters right, p ou n d s on gates a n d shouts .)
Prince. O pen the gates! I am the Prince of
Wales! Open, I say! A nd though I am friendless
w ith no one to help me, I w ill not be driven
from m y ground.
300 Miles Hendon
SCENE FOUR
Setting: M iles’ room a t the inn. At right is table
330 set w ith dishes a n d bow ls o f fo o d , a cha ir a t each
side. At left is bed, w ith table a n d cha ir next to
it, a n d a w indow . C andle is on table.
At Curtain Rise: M iles a n d Prince approach table.
Miles. I have had a hot supper prepared. I’ll bet
you’re hungry, lad.
{entering through cro w d ).
Though you be Prince or not, you are indeed
a gallant lad and not friendless. Here I stand
to prove it, and you m ight have a worse friend
than M iles Hendon.
ist Villager. ’Tis another prince in disguise. Take
the lad and dunk him in the pond! {He seizes
Prince, but M iles strikes him with fla t o f his sword.
Crowd, now angry, presses fo rw a rd threateningly,
w hen fan fa re o f trumpets is heard offstage. Herald,
310 carrying scroll, enters up left a t ga tes)
Prince. Yes, I am . It’s kin d o f you to let me stay
w ith you, M iles. I am tru ly Edward, K ing of
E ngland, and you shall not go unrewarded.
{sits a t table)
340 Miles
{to him self). First he called him self Prince,
and now he is K ing. W ell, I w ill hum or him .
{starts to sit)
Prince {angrily). Stop! W ould you sit in the
presence o f the King?
Miles {surprised, stan d in g up quickly). I beg
your pardon, Your M ajesty. I was not thinking.
{Stares u ncertain ly a t Prince, w ho sits a t table,
expectantly. M iles starts to uncover dishes o f food ,
serves Prince a n d fills glasses.)
Herald. M ake w ay for the K ing’s m essenger!
{ readingfrom scroll) H is M ajesty, K ing H enry
VIII, is dead! T he K ing is dead! {He exits right,
repeating message, a n d V illagers stand in stunned
silen ce)
Prince {stunned). T he K ing is dead!
350 Prince. M iles, you have a gallan t w ay about you.
ist Villager {shouting). Long live Edward, K ing
of England!
Villagers {together). Long live the King!
320 {shouting, a d lib) Long live K ing Edward!
Heaven protect Edward, K ing of England! {etc)
A re you nobly born?
Miles. M y father is a baronet, Your M ajesty.
Prince. T hen you m ust also be a baronet.
Miles {shaking his h ea d ). M y father banished
me from home seven years ago, so I fought in
7 . baronet: a rank o f honor in Britain, below a baron and above a knight.
TH E PR IN C E AND TH E PAUPER
151
the wars. I was taken prisoner, and I have spent
the past seven years in prison. N ow I am free,
and I am returning home.
Prince. You have been sh am efully w ronged!
360 But I w ill m ake things right for you. You have
saved me from injury and possible death. N ame
your reward and if it be w ithin the compass of
m y royal power, it is yours.
Miles (pausing briefly, then dropping to his knee).
Since Your M ajesty is pleased to hold m y simple
d u ty w orthy o f rew ard, I ask that I and m y
successors m ay hold the privilege of sitting in
the presence of the King.
Prince (taking M iles’ sword, tapping him lightly
370 on each shoulder). R ise and seat yourself.
(returns sw ord to M iles, then rises a n d goes over
to b ed )
Miles (rising). He should have been born a
king. He plays the part to a m arvel! If I had
not thought of this favor, I m ight have had to
stand for weeks, (sits d ow n a n d begins to eat)
Prince. Sir M iles, you w ill stand guard w hile I
sleep? (lies dow n a n d instantly fa lls asleep)
Miles. Yes, Your M ajesty. (W ith a ru efu l look
380 a t his uneaten supper, he stands up.) Poor little
chap. I suppose his m ind has been disordered
w ith ill usage, (covers Prince w ith his cape)
W ell, I w ill be his friend and watch over him .
(Blows ou t candle, then yaw ns, sits on chair next
to bed, a n d fa lls asleep. John C an ty a n d H ugo
appear a t window , p eer arou nd room, then enter
cautiously through window. They lift the sleeping
Prince, staring nervously a t M iles.)
Canty (in lou d whisper). I swore the day he was
390 born he w ould be a th ief and a beggar, and I
won’t lose him now. Lead the w ay to the camp
Hugo! (C an ty a n d Hugo carry Prince o f f right,
as M iles sleeps on a n d curtain falls.)
SCENE FIVE
Time: Two weeks later.
Setting: C ountry village street.
Before Curtain Rise: V illagers walk about.
C anty, H ugo, a n d Prince enter.
Canty. I w ill go in this direction. H ugo, keep
m y m ad son w ith you, and see that he doesn’t
400 escape again! (exits)
Hugo (seizing Prince by the arm ). He won’t
escape! I’ll see that he earns his bread today,
or else!
Prince (p u llin g a w a y). I w ill not beg w ith you,
and I w ill not steal! I have suffered enough in
this m iserable com pany o f thieves!
Hugo. You shall suffer more if you do not do as
I tell you! (raises clen ch ed fist a t Prince) Refuse
if you dare! (W om an enters, carrying w rapped
4io bundle in a basket on h er arm .) W ait here until
I come back. (Hugo sneaks a lon g a fter W om an,
then snatches her bundle, runs back to Prince, a n d
thrusts it into his arm s) Run after me and call,
“Stop, th ief!’’ But be sure you lead her astray!
(Runs off. Prince throw s d ow n bundle in disgust)
Woman. H elp! T hief! Stop, thief! (rushes a t
Prince a n d seizes him, ju s t as several V illagers
enter) You little thief! W h at do you m ean by
robbing a poor w om an? Som ebody bring the
420 constable! (M iles enters a n d w a tch es)
ist Villager (gra b b in g Prince). I’ll teach him a
lesson, the little v illain !
Prince (stru gglin g ). Take your hands off m e! I
did not rob this w om an!
Miles (stepping ou t o f cro w d a n d p u sh in g man
back w ith the f l a t o f his sw ord ). Let us proceed
gently, m y friends. T h is is a m atter for the law.
Prince (springing to M iles’ side). You have come
just in time, Sir M iles. Carve this rabble to rags!
430 Miles. Speak softly. Trust in me and all shall
go w ell.
152
U N IT l : PLO T, C O N F L IC T , AND SETTIN G
Justice (lea n in gd ow n to W om an). Good woman,
do you know that when one steals a thing above
the value of thirteen pence, the law says he shall
hang for it?
Constable (en terin g a n d reachin g f o r Prince).
Com e along, young rascal!
Miles. Gently, good friend. He shall go
peaceably to the Justice.
Prince. I w ill not go before a Justice! I did not
do this thing!
470 Woman
not hang the poor boy for the whole world! Save
me from this, your worship. W h at can I do?
Miles (taking him aside). Sire, w ill you reject
the laws of the realm , yet dem and that your
440 subjects respect them?
Justice (gra vely). You m ay revise the value,
since it is not yet w ritten in the record.
Woman. T hen call the pig eight pence, your
worship.
Prince (calm er). You are right, Sir M iles.
W hatever the K ing requires a subject to suffer
under the law, he w ill suffer h im self w hile he
holds the station of a subject. (Constable leads
them o f f right. Villagers follow . C urtain .)
480
SCENE SIX
Setting: O ffice o f the Justice. A high bench is
a t center.
At Curtain Rise: Justice sits b eh in d bench.
Constable enters w ith M iles a n d Prince,
450 fo llo w ed by V illagers. W om an carries w rapped
bundle.
Constable (to Justice). A young thief, your
worship, is accused of stealing a dressed pig
from this poor wom an.
460
(upset). Oh, w hat have I done? I would
Justice. So be it. You m ay take your property
and go. (W om an starts o f f a n d is fo llo w ed by
C onstable. M iles fo llo w s them cautiously dow n
righ t)
Constable (stopping W o m an ). Good wom an,
I w ill buy your pig from you. (takes coins fro m
pocket) Here is eight pence.
Woman. Eight pence! It cost me three shillings
and eight pence!
Constable. Indeed! T hen come back before his
worship and answer for this. The lad must hang!
Woman. No! N o! Say no more. Give me the
eight pence and hold your peace. (Constable
490 hands h er coin s a n d takes pig. W om an exits,
angrily. M iles returns to b en ch )
Justice (look ing d ow n a t Prince, then W om an).
M y good w om an, are you absolutely certain
this lad stole your pig?
Justice. T he boy is sentenced to a fortnight8 in
the com mon jail. Take him away, C onstable!
(Justice exits. Prince gives M iles a nervous gla n ce)
Woman. It was none other than he, your
worship.
Miles (fo llo w in g C onstable). Good sir, turn
your back a m om ent and let the poor lad
escape. He is innocent.
Justice. Are there no witnesses to the contrary?
(All shake their heads.) T hen the lad stands
convicted, (to W om an) W h at do you hold this
property to be worth?
Woman. Three shillings and eight pence, your
worship.
Constable (ou tra ged ). W h at? You say this to
me? Sir, I arrest you in—
500 Miles. Do not be so hasty!
(slyly) T he pig you
have purchased for eight pence m ay cost you
your neck, m an.
8. fo rtnight: 14 days.
T H E PR IN C E AND TH E PAUPER
153
Constable ( lau ghin g nervously ). A h, but I was
m erely jesting w ith the wom an, sir.
Miles. W ould the Justice th in k it a jest?
540
Constable. Good sir! The Justice has no more
sym pathy w ith a jest than a dead corpse!
(p erp lex ed ) Very well, I w ill turn m y back and
see nothing! But go quickly! (exits)
510 Miles
Miles (sitting, w ith h ea d in hands). Oh, m y
dear Edith . . . now w ife to m y brother H ugh,
against her w ill, and m y poor father . . . dead!
ist Prisoner. At least you have your life, sir. I am
sentenced to be hanged for killin g a deer in the
K ing’s park.
(to Prince). Com e, m y liege.9 W e are free
to go. A nd that band o f thieves sh all not set
hands on you again, I swear it!
Prince (wearily). C an you believe, Sir M iles, that
in the last fortnight, I, the K ing o f E ngland,
have escaped from thieves and begged for food
on the road? I have slept in a barn w ith a calf! I
have washed dishes in a peasant’s kitchen, and
narrowly escaped death. And not once in all m y
w anderings did I see a courier10 searching for
520 me! Is it no m atter for commotion and distress
that the head of state is gone?
Miles (sadly, aside). Still busy w ith his pathetic
dream , (to Prince) It is strange indeed, m y
liege. But come, I w ill take you to m y father’s
home in Kent. W e are not far away. There you
m ay rest in a house w ith seventy rooms! Come,
I am all im patience to be home again! (They
exit, M iles in ch eerfu l spirits, Prince look ing
puzzled, as curtains close.)
SCENE SEVEN
530 Setting:
Village ja il. Bare stage, w ith barred
w in d ow on on e wall.
At Curtain Rise: Two Prisoners, in chains, are
onstage. Jailer shoves M iles a n d Prince, in chains,
onstage. They struggle a n d protest.
Miles. But I tell you, I am M iles H endon! M y
brother, Sir H ugh, has stolen m y bride and m y
estate!
9 . my liege (lej): m y lord.
10. courier (koor'e-ar): m essenger.
154
Jailer. Be silent! Impostor! Sir H ugh w ill see
that you pay w ell for claim ing to be his dead
brother and for assaulting him in his own
house! (exits)
2 nd Prisoner. A nd I m ust hang for stealing a
yard o f cloth to dress m y children.
550 Prince
(m oved ; to Prisoners). W h en I m ount
m y throne, you shall all be free. A nd the laws
that have dishonored you shall be swept from
the books, (tu rn in g away) Kings should go to
school to learn their own laws and be merciful.
ist Prisoner. W h at does the lad m ean? I have
heard that the K ing is m ad, but m erciful.
2 nd
Prisoner. He is to be crowned at
W estm inster tomorrow.
Prince (violently). K ing? W h at K ing, good sir?
560
ist Prisoner. W hy, we have only one, his most
sacred m ajesty, K ing Edward the Sixth.
2 nd Prisoner. A nd whether he be m ad or not, his
praises are on all m en’s lips. He has saved m any
innocent lives, and now he means to destroy the
crudest laws that oppress the people.
Prince (tu rn in g away, shaking his h ea d ). How
can this be? Surely it is not that little beggar
boy! (Sir H ugh enters w ith Jailer.)
Sir Hugh. Seize the impostor!
570 Miles (^ J a ile r pulls
him to his feet). H ugh, this
has gone far enough!
Sir Hugh. You w ill sit in the public stocks for
two hours, and the boy w ould join you if he
were not so young. See to it, jailer, and after
two hours, you m ay release them . M eanw hile,
I ride to London for the coronation!" (Sir
H ugh exits a n d M iles is b ustled ou t by Jailer.)
Prince. Coronation! W h at does he mean? There
can be no coronation without me! (curtain falls.)
SCENE EIGHT
Time: C oronation Day.
Setting: O utside ga tes o f W estm inster Abbey,
p la yed before curtain. P ain ted screen or f l a t a t
rear represents Abbey. Throne is in center. Bench
is near it.
At Curtain Rise: Lords a n d Ladies crow d Abbey.
O utside gates, G uards d riv e back ch eerin g
V illagers, a m on g them M iles.
Miles (d istra u ght). I’ve lost h im ! Poor little
chap! He has been swallowed up in the crowd!
590
(F anfare o f trum pets is heard, then silence.
H ertford, St. John, Lords a n d Ladies en ter
slowly, in a procession, fo llo w ed by Pages, one o f
w hom carries crow n on a sm all cushion. Tom
fo llo w s p rocession, look ing a b ou t nervously.
Suddenly, Prince, in rags, steps ou t fro m crowd,
his h a n d raised.)
Prince. I forbid you to set the crown of England
upon that head. I am the K ing!
Hertford. Seize the little vagabond!
600 Tom. I forbid it! H e is the K ing!
(kneels before
Prince) O h, m y lord the K ing, let poor Tom
C a n ty be the first to say, “Put on your crown
and enter into your own right again.” (Hertford
a n d several Lords look closely a t both boys.)
Hertford. T h is is strange indeed, (to Tom) By
your favor, sir, I w ish to ask certain questions
o f this lad.
11. coronation: the act o f crow ning som eone king or queen. In England coronations usually take place at a
large church in London called W estm inster Abbey.
T H E PR IN C E AND T H E PAUPER
155
Prince. I w ill answer tru ly whatever you m ay
ask, m y lord.
6io Hertford. But if you have been well trained, you
m ay answer m y questions as well as our lord the
King. I need a definite proof. ( thinks a m om ent )
Ah! W here lies the Great Seal of England? It has
been missing for weeks, and only the true Prince
of Wales can say where it lies.
Prince (fir m ly ). I w ill not have it so. But for
him , I would not have m y crown, (to Tom) M y
poor boy, how was it that you could remember
where I hid the Seal, when I could not?
Tom (em barrassed) . I did not know w hat it was,
m y K ing, and I used it to . . . to crack nuts. (All
650 laugh, a n d Tom steps back. M iles steps forw a rd ,
starin g in am azem ent.)
Tom. W ait! W as the seal round and thick, w ith
letters engraved on it? (Hertford nods.) I know
where it is, but it was not I who put it there.
T he righ tful K ing shall tell you. {to Prince)
620 T h in k , m y K ing, it was the very last th in g
you did that day before you rushed out of the
palace w earing m y rags.
Prince (pausing). I recall how we exchanged
clothes, but have no reco llectio n of hiding the
Great Seal.
Miles. Is he really the King? Is he indeed the
sovereign o f E ngland, and not the poor and
friendless Tom o’ B edlam 131 thought he was?
(He sinks dow n on b en ch ) I wish I had a bag to
hide m y head in!
ist Guard (rushing up to him ). Stand up, you
mannerless clown! H ow dare you sit in the
presence of the K ing!
660 Prince. Do not touch h im ! He is m y tru sty
servant, M iles H endon, who saved me from
shame and possible death. For his service, he
owns the right to sit in m y presence.
Tom (eagerly). Rem em ber when you saw the
bruise on m y hand, you ran to the door, but
first you hid this thing you call the Seal.
Miles (bow ing, then kneeling). Your M ajesty!
Prince (suddenly). A h! I remember! (to St. John)
630 Go, m y good St. John, and you shall find the
Great Seal in the armor that hangs on the w all
in m y chamber. (St. John hesitates, but a t a n od
fro m Tom, hurries off.)
Tom (pleased). R igh t, m y K ing! N ow the
scepter12 of England is yours again. (St. John
returns in a m om en t w ith Great Seal.)
640
All (shouting). Long live E dw ard, K ing of
England! (Tom takes o f f his cape a n d throws it
over Prince s rags. Trumpetfa n fa re is heard. St.
John takes crow n a n d pla ces it on Prince. All
kneel.)
Hertford. Let the sm all impostor be flu ng into
the Tower!
670
Prince. R ise, Sir M iles. I com m and th at Sir
H ugh H endon, who sits w ith in this h all, be
seized and put under lock and key until I have
need o f him . ( beckons to Tom) From w hat I
have heard, Tom C anty, you have governed
the realm w ith royal gentleness and m ercy in
m y absence. H enceforth, you sh all hold the
honorable title o f K ing’s W ard! (Tom kneels
a n d kisses P rinces h a n d ) A nd because I have
suffered w ith the poorest of m y subjects and felt
the cruel force of unjust laws, I pledge m yself to
a reign of m ercy for all! (All bow low, then rise.)
All (shouting). Long live the K ing! Long live
Edward, K ing of E ngland! (curtain)
12. scepter (sep'tsr): a baton or other em blem o f royal authority.
IB. Tom o’ Bedlam : an insane person, such as som eone hospitalized at St. M ary o f Bethlehem Hospital, or
Bedlam Hospital, in London.
156
After Reading
Comprehension
1. Recall H o w do m ost o f th e a d u lts e xp la in th e b o ys’ cla im s th a t th e y are
a
ALABAM A
STANDARDS
READING STANDARD
not w h o th e y ap p ear to be?
2. Clarify E xp lain h o w th e co n sta b le tricks th e w o m a n into se llin g th e pig.
including conflict
H o w does M iles use th e tric k to ge t Edw ard released?
3. Summarize H o w has E d w ard ’s e xp erie n ce as a p au p e r in flu e n ce d him ?
Literary Analysis
4. Make Inferences Scan th e p lay to fin d e xa m p le s o f h o w M iles tre ats
the prince and h o w th e m em b ers o f th e royal co u rt tre at Tom . W h at
m o tivates th e ir b eh avio r to w ard th e boys?
5. Analyze Character Tom ’s b eh avio r at co u rt lead s people to believe th e
“ p rin ce ” is m ad. W h y does Tom behave th is w ay?
6.
Analyze Conflict in Drama Use a ch art like th e one sh o w n to su m m a rize
the m ain events o f each scene. T h is w ill help you see h o w th e co n flict
develops over the course o f the play. In w h ich scene is th e co n flict
resolved?
Scene /•■ The guards Mistake the Prince for Tom, and the King thinks
that Tom is the Prince.
Scene I-
7. Evaluate Stage Directions Look over th e sta g e d ire ctio n s you listed in yo u r
ch art. W h ich ones seem ed m ost n ecessary fo r u n d e rsta n d in g th e play?
8.
Evaluate Resolution W h at lesso n s did th e boys learn a b o u t th e m se lv e s
and each o th er by trading places?
9. Inquiry and Research D u rin g th e tim e o f H e n ry V III and Edw ard VI, th e
British kin g w as very p o w erfu l. Sin ce th e n , th e pow er o f th e royal fa m ily
has decreased. Research H e n ry V lll’s reign and co m p are it w ith th a t o f
Q ueen Elizab eth II. Focus on h o w royal p ow ers and re sp o n sib ilitie s have
ch a n ge d over tim e . Present yo u r fin d in g s to th e class.
/jjj| R E S E A R C H L I N K S
< & / ? For more on British royalty, visit the Research Center at ClassZone.com .
King Henry VIII
TH E PR IN C E AND TH E PAUPER
157
Short Story
Writing
Workshop
W h at u n u su al places did th e sto rie s in th is u n it take you to? W h a t stra n g e
characters did you m eet there, and w h a t co n flicts did you find? In this w orkshop,
y o u ’ll have a ch an ce to in ve n t a se ttin g , ch aracte rs, and a plo t o f yo u r ow n.
Follow each step in the
Writer’s Road Map to learn how.
w r i t e r ’s r o a d m ap
Short Story
W R IT IN G P R O M P T 1
Writing from Your Imagination Write a short story
K E Y T R A IT S
1. I D E A S
set in an interesting place. Make sure that your story
has a plot, a conflict, and one or more characters.
• Creates dearly described
characters and an interesting
Settings to Consider
• Uses details to help the reader
picture the setting, characters, and
events
• an exotic place, such as a jungle or a desert island
• an everyday place where something unusual
happens
• a place you have wanted to visit, such as the
Pyramids or a space station
plot
• Has a central conflict and provides
an ending for that conflict
• Includes
dialogue
2. O R G A N IZ A T IO N
Writing from Literature Choose a story from this
unit that you especially liked. Write a story that
has a similar plot but different characters and a
different setting.
Stories to Consider
• “The School Play” (characters participating in a
school event, such as a science fair, a play, or a
festival)
• “All Summer in a Day” (characters living in an
alien world)
• “Lob’s Girl” (extraordinary behavior of a pet)
W R IT IN G TO O LS
For prewriting, revision, and
editing tools, visit the Writing
158
U N IT l : PLOT, CO N F LIC T, AND SE TTIN G
• Follows a dear sequence of events
3. V O I C E
point of view
• Uses the active voice
• Has a consistent
4 . W O R D C H O IC E
• Uses
sensory language
5. S E N T E N C E F L U E N C Y
• Varies
sentence beginnings
6 . C O N V E N T IO N S
correct grammar, spelling,
and punctuation
• Uses
1: Analyze a Student Model
Sarah Edelstein
(©
C LA S S Z O N E.C O M
r.3 .
1
I s)
Finding a Solution
K E Y T R A IT S IN A C T IO N
One day last fall, Sarah was cutting through the park on the way
Uses senso ry lan guage
and varies sentence
b e g in n in g s to keep the
reader interested.
home from school. She was daydreaming about big, shiny spaceships
with bright lights, heat shields, and huge engines. In her mind, she
stepped inside one of the spaceships. It was cold and shiny like a new
refrigerator but had dozens of flashing panels.
Sarah was still daydreaming when she heard a loud “Pssst” coming
from behind some bushes. She stopped and noticed some red lights
blinking. In the distance, she thought she saw a silver spaceship.
Shocked, Sarah just stood there until the same voice spoke again. It
—
Includes precise details
to show the reader w hat
the se ttin g is like.
said, “Don’t be afraid. I’m harmless! And I need your help!”
Standing in front of Sarah was a light-blue spacewoman. Pale, pink
eyes bulged from her large, oval head. Her tiny body was blinking blue
and orange like a fast-food sign. She said to Sarah in a squeaky but firm
voice, “I really need you. I have only enough Lekterol to last another
day. If I don’t drink more soon, I’ll stop blinking and die! You know, on
my home planet, Utemore, Lekterol is just like water.”
The sto ry has clearly
described characters
and a central co nflict
(the spacew om an w ill
die unless Sarah helps
her).
Sarah was so stunned that she couldn’t move.
“Look,” continued the spacewoman. “I’m Meena. I’m just like any
Earth mom you know. I just want to get home to see my kids. I know
Lekterol can be made on your planet, and you’ve just got to get me
some.”
Once again, Sarah could barely speak. Meena seemed like an okay
lady, and Sarah wanted to help. Still, where would Sarah ever find
D ialo gu e helps make
the story dram atic and
entertaining.
Lekterol ? W hat was Lekterol, anyway? And how could she possibly
explain why she needed it?
Finally, Meena begged, “Please hurry! M y life depends on it!”
W RITIN G W ORKSHOP
159
This time Sarah said, “Okay, I’ll help you.” Then she raced home
and searched the Internet for information on Lekterol. She found only
four hits, but one of them gave the formula. Then Sarah knew what to
30
do. She would ask her Aunt Cindy, a scientist, to make the Lekterol in
Keeps a consistent
third-person po int o f
v ie w and uses the active
voice.
her lab.
Sarah raced to Xygen BioProducts. W hen she got to the lab, she was
out of breath. “Aunt Cindy, you have to make something for m e!” she
panted.
35
Her aunt asked so many questions that Sarah had to explain why
Has an interesting plot
w ith a clear sequence o f
events.
she needed the Lekterol. She could tell Aunt Cindy didn’t believe her.
Finally, her aunt gave in and said, “Okay, Sarah. I’m only going to
do this because Lekterol is harmless, and I don’t see how it can hurt
anyone.” Then she patted Sarah’s shoulder gently and said, “But really,
40
honey, you should try to get a grip on yourself.”
“You’re so right, Aunt Cindy,” Sarah said in her most serious voice.
Then she raced out of the lab.
Ten minutes later, Sarah was back at the spaceship.
“Oh, you wonderful Earthling!” Meena shouted when she saw Sarah
45 waving two bottles of Lekterol.
In another minute, Meena had drunk the Lekterol and entered her
spaceship. Before she closed the door, though, she called back, “You
saved my life! Please visit me anytime on Utemore.”
Sarah waved and said, “You bet I w ill.” Then Sarah smiled and
50
watched the spaceship disappear. She walked the rest of the way home,
wondering how she could get to Utemore.
160
U N IT l : PLOT, C O N F LIC T , AN D SE TTIN G
Provides an endin g for
the conflict.
□
Part 2: Apply the Writing Process
^^PRE W RITING
Writing Workshop
8.a U sing th e ste p s o f th e w riting
process
1
W hat S h o u ld 1 D o?
1. Find an idea.
W hat D oes It L o o k Like?
M ake a long list o f "w h at if” q u e stio n s— on
you r ow n or w ith a friend. H ig h lig h t the one
What if a character got on a bus or train and got
o ff on a strange, island?
you like best.
What if a spaceship landed right here in Colby Park?
See page 16 4 : "W hat If” Q uestions
What if mi/ cat were leading a bunch o f other cats to
tv\ake a better world for thenn all?
What ifI took a trip to the center o f the Barth and
found soMething new there?
2. Figure out what happens.
Jot dow n so m e ideas fo r the ch aracters,
se ttin g, and plot o f yo u r story. Use a chart
like this one to keep track o f yo u r th o u g h ts.
Characters
Sarah
Setting
the park
an alien
a lab
Plot
Sarah finds an alien in the park.
The alien is out o f something she needs to get
home. (What does the alien need?)
Sarah gets what the alien needs.
The alien returns home.
3. Map your story.
T h in k th ro u gh the plot before you start
w ritin g. Then m ake a flo w ch art like the one
show n here. If you prefer, you can m ake an
ou tlin e or a list o f events instead o f a flo w
chart.
Is it hard to come up with a great plot?
Don’t worry about making it perfect now.
More ideas may come to you as you write,
and you can always change plot details later.
m
W RITIN G W ORKSHOP
161
^
DRAFTING
W hat S h o u ld 1 Do?
%
1. Come up with a creative beginning.
W hat D oes It Lo o k Lik e?
^
.
Capture yo u r reader’s interest righ t
Sensory language
aw ay. You can use se n sory d etails to
Sarah was daydreaMing about big, shiny spaceships with
bright lights, heat shields, and huge engines.
introduce the se ttin g or the characters,
or you can sta rt out w ith d ialogue.
D ialogue
"Vsssti I need your help1." a voice called from behind
the bushes.
2.
Decide on a point of view.
A character in yo u r sto ry can tell the
story u sin g I. This kind o f first-person
narrator draw s yo u r readers in. A thirdperson narrator is o u tside the sto ry and
^
One day last fall, I was cutting through the park on My
way hoMe froM school.
refers to ch aracters as she, he, and they.
This typ e o f narrator gives a broad v ie w
Third-person point o f view
o f characters and events.
One day last fall, Sarah was cutting through the park on
her way hoMe froM school.
Either point of view is fine. Just be
sure to stick to one or the other.
3. Make the order of events clear.
First-person point o f view
^
Use w ords and phrases th a t tell your
reader w h en th in g s happened and how
Then she raced out o f the lab.
Ten Minutes later, Sarah was back at the spaceship.
m uch tim e passed.
4. Solve the central conflict.
A co nflict is a problem to solve. If you
don’t have a conflict, you d on’t have a
story. Rem em ber th at the sto ry’s e nd in g
m ust sh o w how the co nflict is resolved.
Before revising, consult the key
traits on page 158 and the rubric and
peer-reader questions on page 16 4 .
m
162
U N IT l : PLOT, C O N F L IC T, AN D SE TTIN G
^
In another Minute, tAeena had drunk the L-ekterol and
entered her spaceship, before she dosed the door,
ih m 9h- sh& catkd back: "You 5w
M&
on Utewore.
m
Vkas& v/s/i
Writing Workshop
1. Make the dialogue seem real.
n
I ,
I ,i
i. i
.
,
• Read aloud the d ialo gu e in yo u r story.
[Bracket] w ord s and phrases th a t d o n ’t
sound as if the ch aracters w o u ld really
^
“
Oh, you wonderful Barthlinq1. Meena shouted
y f Thanks for your help, Meena saidJ when she saw
Sarah waving two bottles o f Lekterol
say them .
• Revise yo u r d ialo gu e by a d d in g
co n tractio n s, sla n g , e xcla m a tio n s,
or phrases th a t m atch th e sp e a ke r’s
ch aracteristics.
2. Make sure the sequence is clear.
f - V J h e n s h e g o t t o t h e la b ,
• A sk a peer reader to underline places w here
the order o f e ven ts is co n fu sin g.
• A dd tra n sitio n s to m ake the sequence clear.
Sarah raced to Xygen £>ioProducts)fShe was out o f
breath. "Aunt Cindy, you have to M a k e soMethmg for
M e1." she panted.
See page 164: Ask a Peer Reader
3. Use the active voice.
• W hen the su b je ct acts (Sarah wrote the
story), the verb is in the active voice. But
if the su b je ct is acted upon (The story was
written by Sarah), the verb is in the passive
voice— and th at can m ake w ritin g seem dull.
• Look fo r sen ten ces you w rote in the passive
voice. C o nsid er ch a n g in g th e m to active
voice.
4. Include descriptive details.
• H ig h lig h t d escrip tive d etails in yo u r story.
• If you d o n ’t have m uch h ig h lig h tin g , add
details to tell yo u r reader w h a t th e se ttin g
and ch aracters look like and h o w the
e ven ts so un d and feel.
Passive voice
The Internet w a s
se a rch e d by
Sarah,
w h o w a s t r y in g
t o f in d in fo r M a tio n on L - e k t e r o /.
Active voice
Sarah
se a rch e d th e
Internet f o r
in fo r M a tio n
on L - e k t e r o l
pink e y e s b u lg e d f r o M h e r la r g e h e a d .
Standing in front o f Sarah w a s a light-blue
sp a c e w o M a n . Her tiny body w a s blinkingKblue a n d
— P a le ,
o ra n g e lik e a f a s t - f o o d sign.
to Sarah tn a squeaky but f ir M voice^
She said^
really need you
W R IT IN G W ORKSHOP
163
Apply the Rubric
A strong short story. . .
2f has clearly described characters
and an inte restin g plot
0
uses d ialogue
Ef m akes the sequence o f events
easy to fo llo w
0 uses sen sory lan g u age and
sp e cific details to sh o w the
characters, se ttin g, and events
121 keeps a co nsiste n t point o f v ie w
“What If” Questions
What if I set th e sto ry in an old castle?
What if I told th e sto ry fro m a stray d o g ’s
point o f view ?
What if th e action to o k place in a labo ratory
under the sea?
What if a ch aracte r w alked th ro u gh a w all into
an o the r universe?
What if it snow ed every day fo r 15 years, and
nob od y kn e w w hy?
0 varies how sen ten ces begin
ef uses the active voice m ost o f the
tim e
includes a central co n flict and an
e n d in g th a t resolves th a t co n flict
Ask a Peer Reader
• W hat is the conflict in m y story, and
Check Your Grammar
• M o st stories use th e past tense.
Sarah raced home. She. searched the
Internet fo r information on Lekterol. Then
she knew what to do.
how is it resolved?
• W hat is believable or interesting
about my characters?
• Do I need to make the sequence
clearer? If so, where?
• Even if you describe even ts in the p ast tense,
yo u r ch aracte rs m ay still speak in th e present
tense.
"Iju st want to get home to see
m i \ kids.
• Where do I need to add sensory
language, dialogue, or details?
n me
For publishing options, visit the
W riting Center at ClassZone.com.
A SSESSM EN T PREPARA TIO N
For w riting and gram m ar assessm ent practice,
go to the Assessm ent Center at ClassZone.com .
164
U N IT
1 : PLO T, C O N F L IC T, AND SE TTIN G
Telling a Story
Follow these g u id e lin e s to share the sto ry you ju s t w rote.
Planning the Story
1. Decide on the mood. Is yo u r sto ry scary? Funny?
Su sp en sefu l? H e artw arm in g ? T h in k o f a w ord or tw o th a t
describe its overall m ood. Keep th a t d escrip tion in m ind as
you plan yo u r p resen tation . K n o w in g the m ood w ill help
you decide w h a t m usic or oth er e ffe cts to add, w h a t to
em p h asize, and w h ere to pause.
2. Add effects. W h at so und e ffe cts or m u sic could you add to
yo u r presentation? For e xam p le , if you are try in g to create
a cheerful m ood, you m ig h t play so m e h ap py m u sic in the
b ackgrou n d . If you w a n t to create a m ood o f fear, you m ig h t
add eerie, creepy so unds. You m ig h t also use p ictu re s— o f
spacesh ip s, deep -sea creatures, or oth er a n im a ls or objects
th a t m atch yo u r sto ry content.
3. Learn your story. Your goal is to tell, not read, yo u r story. If
you can, m em orize yo u r story. Create notes or cue cards to
have ready in case you fo rg e t a n yth in g.
4. Be dramatic. T h in k o f w a ys to keep yo u r au d ien ce interested.
You m ig h t include ge stu res, such as raisin g one arm as you
descibe a sp acesh ip ta k in g off. C o nsid er raisin g or low erin g
yo u r voice w h en sp e a kin g d ialo g u e th a t is e sp ecially d ram atic
or te n sio n -fille d .
Telling the Story
1. Look at the audience. D o n ’t be afraid to refer to yo u r notes
2.
3.
or cards as you speak. Still, be sure to look at yo u r aud ien ce
m ost o f the tim e. Practice h o ld in g the notes or cards in a w ay
th a t allo w s you to keep yo u r head up as you read them .
Practice with your props. Be sure to practice at least once
w ith all yo u r m usic or oth er props, so yo u r tim in g w ill be
sm ooth w h en you perform .
Rehearse in front of someone. H ave so m e o n e listen to you
as you rehearse. A sk fo r feed b ack. Repeat th e rehearsals until
you feel ready to tell yo u r sto ry to a real audience.
See page R8o: Evaluate an Oral Presentation
W R IT IN G WO RKSHO P
165
Assessment
Practice
Reading Comprehension
DIRECTIONS
Read this selection and answer the questions that follow.
The Fish Story
Mary Lou Brooks
ASSESS
The practice test item s
on the next few pages
m atch skills listed
on the Unit Goals
page (page 23) and
addressed throughout
this unit. Taking this
practice test will
help you assess your
know ledge of these
skills and determ ine
your readiness for the
Unit Test.
REVIEW
After you take the
practice test, your
teacher can help you
identify any skills you
need to review.
Plot Stages
Setting
Conflict
Sequence
Make Inferences
Synonym s
Suffixes
Com m as
Pronoun-Antecedent
Agreem ent
Run-on Sentences
ASSESSM ENT
O N LIN E
&
For more assessment
practice and test-taking
tips, go to the Assessment
Center at ClassZone.com.
166
U N IT l : PLOT,
I know w hat I’m going to be w hen I grow up— unem ployed. “Face it,
E rnie,” m y dad always says. “T he w ay you mess up every job, you have a
great future— as a b u m .”
H e’s probably right. M y first sum m er job was cutting the neighbor’s
lawn. T he m ower got aw ay from me and ate ten tom ato plants. Another
tim e, I forgot to close the w indows w hen I washed M r. H am m er’s car. T he
weeds I pulled out o f M rs. M iller’s garden turned out to be flowers.
So I was really surprised w hen the Bensons asked me to look after their
house w hile they were aw ay on vacation. T he Bensons are new on the
10 block. I guess they hadn’t heard about m e yet.
“W e’re leaving on M onday,” explained M rs. Benson. “You’ll start on
Tuesday. Just bring in the newspapers and the m ail.” T h at didn’t sound
too hard. Even / could probably handle this job.
“And feed Jaws once a day,” M rs. Benson added.
“Ja w s? ’ I gulped. D id they have a pet shark or something?
M rs. Benson laughed. “T h at’s w hat the twins nam ed their goldfish.”
O n Tuesday, I had baseball practice. So I was late getting to the
Bensons’. I put the m ail and the newspaper on the hall table. T h en I
headed for the fishbowl. Jaws was floating on top o f the water.
20
I m oaned. M y first day on the job, and I killed the dum b fish! N ot even
the A rm y w ould w ant me now. T h at’s w hat m y dad w ould say— after he
stopped yelling.
Now w ait a m inute, Ernie, I said to myself. T his little fellow cou ld still
be alive. His eyes are open. He could be in a coma. I bent down very close
to the water.
“Jaw s!” I yelled. “It’s m e, Ernie, your babysitter. If you can hear me,
blink once.” He didn’t.
I touched him w ith m y finger. He was cold, stiff, and very slimy. “Face
it, E rnie,” I said out loud. “T his is one dead fish you have here.”
30
T h at night, I lay awake a long tim e tryin g to figure out w h y that dum b
fish died. I didn’t overfeed him . I never had a chance to feed him at all.
C O N F L IC T, AN D SE TTIN G
a
ARM T
S K IL L S PRACTICE
W hen I finally fell asleep, I had a nightm are. T he shark from Ja w s was
chasing me. He was w earing a six-shooter. “You bum ped off m y kin fo lk,”
he yelled. “D raw !”
I didn’t tell m y parents about Jaws. Every day, I w ent over to the
Bensons’ as though nothing was wrong. I had until Sunday. T h at’s when
the Bensons were com ing home. W h y rush things?
On Saturday, I rem em bered that Jaws was still in the fishbowl. I was
about to toss him into the garbage. Suddenly, I had a great idea. I slipped
40 Jaws into a baggie and ran to the nearest pet store.
“I’d like another goldfish exactly like this one,” I told the owner. T hen I
held up the baggie.
The owner glared at me. H alf an hour later, he was still glaring. T h at’s
how long it took to find a perfect m atch. I paid the owner and headed
back to the Bensons’ house.
W hen I got there, I cleaned the fishbowl and added fresh water. Soon,
Jaws II was in his new home. But instead o f sw im m ing around, he just
stared at me.
“W h at you did was w rong,” those tin y black eyes seemed to say.
50 The Bensons arrived hom e at 1:55 Sunday afternoon. I w atched from
m y bedroom w indow as they piled out o f their car. A t 2 :13 , m y m om
called up the stairs.
“Ernie,” she said, “M rs. Benson is here.” C aught! I trudged down the
stairs to face the music.
M rs. Benson was sitting at the kitchen table w ith m y parents. “Here’s
the boy behind the Great Goldfish Sw itch,” she said.
I felt like running. But M rs. Benson put her arm around m y shoulder.
“T hat was very thoughtful, E rnie,” she said. “M onday was so crazy I
didn’t have tim e to pick up another fish. I’ve been dreading telling the
60 twins that Jaws died. Thanks to you, I w on’t have to .”
She handed me m oney in an envelope. “T his is for house-sitting,” she
said. “There’s som ething extra for the new Jaws. You hear so m any w ild
stories about kids these days. It’s nice to know one who is responsible.”
M om looked so proud I thought she m ight cry. But D ad had a funny
look on his face. I think he was tryin g not to laugh.
A SS E SSM E N T PRACTICE
Comprehension
DIRECTIONS
Answer these questions about “The
Fish Story. ”
5 . W hat conflict does Ernie face after he
buys the new fish?
A He feels guilty for replacing Jaws.
1. W hich event causes a conflict for
Ernie on his new job?
B The new fish doesn’t look like Jaws.
B mowing over ten tomato plants
C He is sorry he took the job at the
Bensons.
C finding Jaws floating on top of the
water
D He wants to keep the new fish for
himself.
A forgetting to feed Jaws
D meeting the Bensons when they return
from vacation
6. W hat do you learn about Ernie in the
exposition of the story?
A He does not want to work when he
grows up.
2. W hich event happens first in the story?
A Ernie has a nightmare about the shark
from the movie Jaws.
B He has messed up several jobs.
C He would like to go on vacation.
B Ernie runs to the pet store to buy a new
fish.
C Ernie learns how the fish got its name.
D The Bensons go away for their
vacation.
D He loves to take care of fish.
7. During what time of year does the story
take place?
3. The setting of the story is
A the Bensons’ vacation home
C winter
B fall
D spring
C a fishing village
You can infer that Mrs. Benson dreads
telling the twins that the goldfish died
because they might
D a local pet store
A refuse to believe her
B a neighborhood
4. The climax of the story occurs when
A Ernie goes downstairs to see Mrs.
Benson and “face the music”
B the new fish stares at Ernie with “those
tiny black eyes”
8.
A summer
B figure it out for themselves
C get upset at the news
D blame Ernie for its death
9 . W hen does Ernie run to the pet store?
A when he sees the Bensons returning
C Ernie dreams about “the shark from
Jaws ”
B the day before the Bensons return
D the weeds Ernie pulled up “turned out
to be flowers”
D after Mrs. Benson pays him
C as soon as he finds Jaws dead
Assessment Practice
a
ARM T
S K IL L S PRACTICE
Open-Ended Items
10 . W hich event happens in the resolution
of the story?
A Ernie buys a new fish.
B Ernie’s mom is proud of him.
C The Bensons offer Ernie a job.
D Ernie accepts the death of the fish.
11. Which event occurs during the rising
action and increases the tension in the
story?
A Ernie goes to baseball practice before
he goes to the Bensons’ house.
B Ernie’s Dad looks like he has to keep
himself from laughing.
Write two or three sentences to
answer each question.
SHORT ANSW ER
1 4 . W hat important events in the story lead
up to Ernie’s nightmare about the shark
from the movie Jaws?
1 5 . Identify two clues that show the story
takes place in modern times.
Write a short paragraph to answer this
question.
ESSAY
1 6 . Describe the conflict Ernie feels in
lines 1-13. W ith what thoughts or choices
does he struggle?
C The pet store owner takes a long time
to find a matching fish.
D Mrs. Benson hands Ernie an envelope
with money in it.
1 2 . W hen Ernie thinks, “Even I could
probably handle this job,” you can infer
that he
A is proud of his reputation
B is unsure of himself
C wants to impress Mrs. Benson
D feels lucky to have a job
1 3 . W hich phrases in the story help you
identify the order of events?
A wait a minute, once a day, headed for
B on Tuesday, on Saturday, at 2:13
C blink once, long time, nearest pet store
D going to be, coming home, getting to
169
Vocabulary
Use context clues and you r
knowledge o f synonyms to answer the follow in g
questions about words in “The Fish Story. ”
DIRECTIONS
1. W hich word is a synonym for the
underlined word in the following
sentence?
“‘I’ve been dreading telling the twins that
Jaws died.’”
A anticipating
C fearing
B avoiding
D planning
sentence?
“He was cold, stiff, and very slimy.”
A oily
C squashy
B spongy
D bumpy
sentence?
DIRECTIONS Use context clues and you r
knowledge o f base ivords and suffixes to answer
the follow in g questions.
5. W hat is the meaning of the word probably
as it is used in line 4?
“He’s probably right.”
A in a certain way C in all likelihood
B not at all
D at some point
6. W hat is the meaning of the word exactly
as it is used in line 41 ?
“‘I’d like another goldfish exactly like this
one,’ I told the owner.”
A in every way
C somewhat
B greater than
D almost
7. W hat is the meaning of the word
thoughtful as it is used in line 58?
‘“That was very thoughtful, Ernie,’ she
said.”
A acting with a strong purpose
“The owner glared at me.”
B having many thoughts on a topic
A looked
C gawked
C performing a task carelessly
B scowled
D gazed
D showing concern for others
sentence?
“I trudged down the stairs to face the
music.”
8. W hat is the meaning of the word
responsible as it is used in line 63?
“‘It’s nice to know one who is
responsible.’”
A able to be relied upon
A clumped
C crept
B likely to give an answer
B galloped
D stole
C forced to carry out a duty
D ready to react to suggestions
Assessment Practice
a
ARM T
S K IL L S PRACTICE
Writing & Grammar
Use you r knowledge o f w riting and
grammar to answer the follow in g questions.
DIRECTIONS
1. W hich one of the following sentences
shows correct comma usage?
4. W hat is the correct way to rewrite the
following run-on sentence?
Some apples are red some apples are
green.
A The Smiths stayed, in Orlando Florida
with their friends.
A Some apples are red, some apples are
green.
B The Smiths stayed in Orlando, Florida
with their friends.
B Some apples are red and, some apples
are green.
C The Smiths stayed in Orlando Florida,
with their friends.
C Some apples are red, and some apples
are green.
D The Smiths stayed in Orlando, Florida,
with their friends.
D Some apples are red, Some apples are
green.
2. W hich one of the following sentences
shows correct comma usage?
A Benjamin Franklin was born, on
January 17 1706 in Boston.
B Benjamin Franklin was born on
January 17 1706, in Boston.
C Benjamin Franklin was born on
January 17, 1706 in Boston.
D Benjamin Franklin was born on
January 17, 1706, in Boston.
3. W hat is the correct way to rewrite the
following run-on sentence?
Big cars are nice they are expensive to own.
A Big cars are nice, they are expensive to
own.
5 . Choose the correct pair of pronouns to
complete the following sentences.
No one wanted to spend
time doing
homework. The students wanted to leave
time free for other things.
A their; his
C his; his
B his; their
D their; their
6. Choose the correct pair of pronouns to
complete the following sentences.
In the math contest, everybody had to
turn i n
answers. If a student didn’t
do th is,
test would be disqualified.
A her; her
C her; their
B their; their
D their; her
B Big cars are nice, but they are expensive
to own.
C Big cars are nice, But they are expensive
to own.
D Big cars are nice and they are expensive
to own.
171
More
Great Reads
Ideas for Independent Reading
W h ich q u e stio n s fro m U n it i m ade an im p re ssio n on you?
C o n tin u e e x p lo rin g w ith th e se books.
What do you fear most?
Before We Were Free
Coraline
Trouble Don’t Last
by Julia Alvarez
by Neil Gaiman
by Shelley Pearsall
Anita’s father is plotting
to overthrow their country’s
cruel dictator. Now Anita
has become a prisoner
in her own house. Not
even her diary is safe!
W hat will happen now
that everything has gone
wrong?
Coraline is bored in her
fam ily’s huge old house.
But then she finds a door
that leads to another
world. There she finds
parents who look just like
hers, but with some very
scary differences.
Eleven-year-old Samuel
has been a slave all his
life. Late one night, a
slave named Harrison
pulls Samuel from his bed.
Together, they run north—
to Canada and freedom.
Their journey is one of joy
and fear.
Can first impressions be trusted?
The Kidnapped Prince:
Life of Olaudah Equiano
The View from Saturday
by Olaudah Equiano
Nobody knows how
Mrs. Olinski chose the
four students on her
sixth-grade academ ic
bowl team , or w hat the
secret to their success is.
What connects these four
students’ lives and helps
them unite as a real team?
Olaudah Equiano was
just a little boy when he
was stuffed into a sack
and made a slave. Eleven
years later he had won his
freedom and gone on to
write an autobiography
that helped end slavery.
by E. L. Koningsburg
When Zachary Beaver
Came to Town
by Kimberly Willis Holt
When Zachary Beaver, the
world’s fattest boy, stops in
Antler,Texas,Toby lines up
to gawk at him. Zachary is
snobby and rude and huge,
but there’s som ething
else about him that will
change Toby forever.
How powerful is loyalty?
Tae’s Sonata
by Sheila Burnford
by Haemi Balgassi
by Terry Pratchett
Taeyoung, an eighth-grade
Korean American, wants
to be like everyone else.
She's embarrassed when
she's assigned to work on
a South Korea report with
Josh, the most popular boy
in school. Can she find a
way to fit in while being
loyal to her culture?
Tiffany’s little brother has
been kidnapped by an evil
queen. Armed with only
a frying pan and a lot of
comm on sense,Tiffany
marches into Fairyland to
figh t its monsters, rescue
her brother, and save her
world.
When the Hunters left
their pets with a friend,
they never suspected one
of the dogs would get so
homesick that he would try
to return home. Can two
dogs and a cat survive a
250 -mile trek through the
wilderness to get back to
the fam ily they love?
172
U N IT
The Wee Free Men
The Incredible Journey
1 : PLO T, C O N F L IC T, AN D SE TTIN G
Share W/jdt You Kno
W Which CHARACTERS
are unforgettable?
Som e o f the
characters w e m ee t in b ooks and m o vie s are so
p o w e rfu l th a t th e y b eco m e p art o f our cu ltu re. T h in k a b o u t
fictio n a l ch aracters such as Little Red R id in g-H o o d , A ladd in , or
Zorro. The ir stories are told again and again , e n te rta in in g each
new gen eration .
ACTIVITY In a sm all group, m ake a list o f u n forgettab le characters
from T V sh ow s, books, or m ovies. D escribe th e ap p earan ce and
behavior o f each one. Then co nsid er the fo llo w in g q uestions:
• W hat w as you r first im pression o f the character?
• Did your opinion o f the character chan ge as you learned more
about him or her? If so, in w h a t way?
• W h at m akes a character unforgettable?
tfe
AitCSw**
Ifw W ™
A
CLASSZO N E.CO M
Lite rature and R e ad in g Center
W ritin g Ce n te r
V o ca b u la ry and S p e llin g Center
S.
ALABAM A
STANDARDS
LITERARY
ANALYSIS
Preview Unit Goals
• Identify and analyze first-person and third-person point of view
• Identify and analyze character traits and characterization
• Compare characters
• Identify and analyze symbols
READING
• Develop reading strategies including visualizing, predicting,
and connecting
• Identify author’s purpose
• Take notes and generate research questions
W R I T I N G A ND
GRAM M AR
• Write a description of a person
• Use present, past, and future verb tenses correctly
• Use comparative and superlative forms of adjectives and
adverbs correctly
• Use subject and object pronouns correctly
SPEAKING,
LISTENING,
AND VIEWING
VOCABULARY
• Conduct an interview
• Analyze visual elements, sound, and dialogue in television
• Analyze television techniques that establish character
• Understand and correctly use words that are easily confused
• Use context clues to help determine the meaning of words
and phrases
• Use word roots and affixes to help determine word meaning
ACADEMIC
VOCABULARY
• first-person point of view
• character
• third-person point of view
• symbol
• characterization
• co n text clues
UNIT 2
Character and Point of View
Ch aracters in literature can be ju s t as fa sc in a tin g as people in yo u r ow n life.
Like real people, ch aracte rs can be p a in fu lly shy, rude, or co urageou s. Som e
ch aracters in sta n tly d raw you in, w h ile others g e t on yo u r nerves. W h y do you
□
react so stro n g ly to the people you m eet on th e page? C h aracte r and point o f
v ie w are the ele m e n ts th a t in flu en ce yo u r im p ression s.
ALABAMA
STANDARDS
Part 1: Who Tells the Story?
READING STANDARDS
1 Apply strateg ies, including
in te rp retin g ch aracters
2
Interpret literary e le m e n ts
an d devices
Su p p ose tw o o f yo u r closest frie n d s g o t into a heated arg u m e n t recently.
You heard ab ou t the a rg u m e n t from each friend and from an inn ocen t
b ystan de r w h o overheard every w ord. H o w w o u ld the three acco u n ts differ?
A s th is e xam p le sh ow s, w/io tells a sto ry is ju s t as im p o rta n t as what th a t
narrator is th e voice th a t tells the story. A
w rite r’s choice o f narrator is kn o w n as point of view. T h is ch art e xp la in s tw o
sto ry is ab ou t. In literature, th e
p oints o f view .
FIR S T -P E R S O N P O IN T OF V IE W
T H IR D -P E R S O N P O IN T OF V IE W
The narrator
The narrator
• is a character in the
story
• uses the w ords I, me,
and my to refer to
him self or herself
STORY \
J
• tells his or her own thoughts,
opinions, and feelings
• does not know w h at other
characters are thin kin g and feeling
Example
I was flying along when I spotted
sparks exploding on the street
below. The evil ShockBlaster was
attacking innocent people! Time
for me to come to the rescue again.
Angry and annoyed, I realized that
talented superheroes like me never
get the day off.
176
U N I T 2 : A N A L Y Z I N G C H A R A C T E R A N D P O I N T OF V I E W
• is not a character
in the story
• uses w ords like
he, she, and they
to refer to the
characters
• can reveal the thoughts, opinions,
and feelin gs o f one or more
characters
Example
As D ynamyte zoomed toward the
explosion, a billion thoughts raced
through his mind. He wondered
why villains always started trouble
on his day off.
From a roof above the
panicked crowd, ShockBlaster saw
Dynamyte swooping across the
sky toward him. “H im again?”
ShockBlaster muttered.
M O D EL 1: F IR S T -P E R S O N P O IN T OF V IE W
The novel Walk Two Moons is ab o u t a 13-year-old girl nam ed
Salam an ca. People call her Sal fo r short. O ne day, her m other leaves
hom e forever, p ro m p tin g Sal to deal w ith so m e co n fu sin g fe e lin g s.
/romW
alk
Tw © M
oons
Novel by Sharon
Creech
W hen my mother left for Lewiston, Idaho, that April, my first
thoughts were, “How could she do that? How could she leave m e?”
As the days went on, many things were harder and sadder, but some
things were strangely easier. W hen my mother had been there, I was like
a mirror. If she was happy, I was happy. If she was sad, I was sad. For the
first few days after she left, I felt numb, non-feeling. I didn’t know how
to feel. I would find myself looking around for her, to see what I might
want to feel.
STORY
Close Read
1. Reread the boxed
sentences. Find the
pronouns that show the
first-person point of
view.
2 . How does her m other’s
departure initially affect
Sal? Find two details
that reveal Sal’s feelings.
M O D EL 2 : T H IR D -P E R S O N P O IN T OF V IE W
Becky believes she w as born to play golf. A fte r practice one day, she
encounters an elderly n e igh b o r nam ed Dona Carm en M aria. N otice
w h a t the th ird -p e rso n n arrator reveals a b o u t B e ck y’s th o u g h ts.
fromHow Becky Garza
Learned Golf
Short story by Gary Soto
Dona Carmen M aria reached for one of the clubs in the bag. She said
it was like a sword. She poked the air and laughed to herself.
Becky didn’t smile. She was hot, thirsty, and uneasy with the old
woman who again started to play with the mole on her throat. But
Becky’s parents had always taught her to respect elders. And she had to
respect Dona Carmen M aria because, if not, Becky feared the old woman
would walk down the street and report her incivility. Becky could see
herself grounded until she was as old as Dona Carmen M aria herself.
Close Read
1. How can you tell that
this story is told from
the third-person point
of view ? Support your
answer.
2. Does Becky seem to
like Dona Carmen
M aria? Find details
that describe Becky’s
thoughts and feelings
about her neighbor.
177
Part 2: The People on the Page
W hen you m eet so m eon e for the first tim e, you fo rm an im pression based on
certain clues, such as how the person looks, talks, or acts. Sim ilar clues can
help you ge t to kn o w ch aracters in literature. By n o ticin g im p o rta n t details,
you can infer a ch a ra cte r’s traits, or qualities, like sh yn ess or frien d lin e ss. To
form a co m p lete picture o f a ch a ra cte r’s person ality, you have to consider all
the details th a t the w rite r has included.
W riters use fo u r m eth od s to develop th e ir ch aracters. Use the q u estio n s
and e xam p le s sh ow n to help you u n derstan d one su p erh ero’s personality.
M ETHO DS OF C HARACTERIZATIO N
EXAM PLES
c h a r a c t e r ’s
Sparks of fire sizzled in
D ynam yte’s hair whenever he
was getting ready to show off. He
smiled confidently and flexed his
muscles for the crowd.
PH YSIC A L A PP EA R A N C E
A character’s look can influence your
first impression of him or her. Ask:
• W hat does the character look like?
• W hat facial expressions or gestures
does he or she make?
c h a r a c t e r ’s t h o u g h t s , s p e e c h
,
Dynamyte forgot about his day off
when he realized how important
he was to the city. “This is what
happens when you’re the only one
capable of saving the world,” he
boasted as he prepared to show off
some more.
A N D A C TIO N S
A character’s own words and actions
can reflect his or her personality. Ask:
• W hat is the character good at?
bad at?
• W hat kinds of thin gs w orry him or her?
• How does he or she act tow ard others?
O T H E R C H A R A C T E R S ’ R E A C T IO N S
ShockBlaster cringed in fear
as he saw Dynamyte speeding
toward him. “I must escape! I’ll
never w in a battle against him.”
One way to learn about a character is to
note how others feel about him or her.
Ask:
• How do others treat the character?
• W hat do they say about him or her?
N A R R A T O R ’ S D IR E C T C O M M E N T S
The narrator may directly tell you
about a character’s personality. Ask:
• W hat qualities does the narrator say
the character has?
• Does the narrator adm ire the
character?
178
UNIT
2 : A N A L Y Z I N G C H A R A C T E R A N D P O I N T OF V I E W
►
D ynam yte’s talent and skill
made up for his bad attitude.
He made saving the world look
so easy!
Reader’s Workshop
M ET H O D 1: P H Y S IC A L A P P E A R A N C E
t
In this fable, three princes co m p e te fo r the love o f a princess nam ed
M eliversa. A s you read, look fo r d escrip tio n s o f M e live rsa’s appearance.
/rom
The Fable oft'm
Three Princes
Short story by
Isaac Asimov
That night there was a great feast, and the three princes were the
guests of honor.
The emperor, seated on a splendid throne at the head of the table,
greeted them. Next to him was the princess Meliversa, and she was
indeed as beautiful as the sun. Her hair was long and the color of com
silk. Her eyes were blue and reminded everyone of the sky on a bright
spring day. Her features were perfectly regular and her skin was flawless.
But her eyes were empty, and her face was expressionless.
Q
i
t
Close Read
1. Find three details that
describe M eliversa’s
beauty. One detail has
been boxed.
2. Reread line 8. W hat
do you learn about
M eliversa from this
description?
M ETH O D 2: T H O U G H T S A N D A C T IO N S
M ary is su pposed to be p a rticip a tin g in T a-N a-E -K a, a cu stom o f the
Kaw N ation o f N ative A m erican s. T a-N a-E -K a is a te st in w h ich y o u n g
people m u st su rvive five days alone in the w o o d s. M ary th in ks the
trad ition is silly, so she secretly spends the five days in a restaurant.
Ta-Na- -K a
Short story by
10
Mary Whitebird
I was sorry when the five days were over. I’d enjoyed every minute
with Ernie. He taught me how to make Western omelets and to make
Chili Ernie Style (still one of my favorite dishes). And I told Ernie all
about the legends of the Kaw. I hadn’t realized I knew so much about
my people.
But Ta-Na-E-Ka was over, and as I approached my house, at about
nine-thirty in the evening, I became nervous all over again. W hat if
Grandfather asked me about the berries and the grasshoppers? And my
feet were hardly cut. I hadn’t lost a pound and my hair was combed.
“They’ll be so happy to see me,” I told myself hopefully, “that they
won’t ask too many questions.”
Close Read
1. Consider M ary’s choice
to secretly skip Ta-N a-EKa. W hat do her actions
tell you about her?
2 . Look at the boxed
descriptions of M ary’s
thoughts. How does
she feel about what
she’s done?
179
,o
M ET H O D 3 : O TH ER C H A R A C T E R S
In this excerpt, C a m m y is liste n in g to her cousin P a tty A n n play the
piano. A s you read, notice how C a m m y reacts to P a tty Ann.
fro m
Novel by Virginia
Hamilton
She [Cammy] couldn’t sit still. Being there with her cousin made her
as angry as she could be.
Good at everything, Cam m y thought to Patty Ann’s back. In school,
at home, at her piano. Miss Goody-goody.
The music stopped abruptly. Patty Ann turned the page of a small
notebook next to her music. The page was blank. She’d come to the end
of her lessons. She closed the book. Closed her music books, too. She
closed the piano top over the piano keys. To Cammy, everything she did
was like chalk scraping on a blackboard.
Close Read
1. Does Cam m y like Patty
Ann? How can you tell?
2. Reread the boxed text.
W hat impression of
Patty Ann do you get
from Cam m y’s reaction
to her?
M ETH O D 4 : N A R R A T O R ’S C O M M EN T S
It
Som etim es, the narrator d irectly tells readers w h a t a ch aracte r is like.
A s you read this excerpt, th in k ab ou t how you w ou ld describe the
soldier based on w h a t the narrator tells you ab o u t him .
fro m
The Kings Dragon
Short sto ry by
10
180
Jane Yolen
There was once a soldier who had fought long and hard for his king.
He had been wounded in the war and sent home for a rest.
Hup and one. Hup and two. He marched down the long, dusty road,
using a crutch.
He was a member of the Royal Dragoons. His red-and-gold uniform
was dirty and torn. And in the air of the winter’s day, his breath plumed
out before him like a cloud.
Hup and one. Hup and two. Wounded or not, he marched with a
proud step. For the Royal Dragoons are the finest soldiers in the land
and— they always obey orders.
UNIT
Close Read
1. Look at the narrator’s
com m ents in the boxed
sentences. W hich word
would you say does not
describe the soldier?
a. loyal
b. lazy
c. proud
2 . Does the narrator seem
to respect the soldier?
Explain.
Reader’s Workshop
M eet A n a sta sia Krupnik, one o f Lois L o w ry ’s m ost m em o rable ch aracters. For
h om ew ork last n igh t, A n ta sta sia had to w rite a poem . Now , she m u st read it
in fro n t o f her entire class. Use w h a t y o u ’ve learned to an alyze th is excerpt.
[
°mA|\|ASt a s IA K r UPN|K
Novel by
Lois Lowry
Anastasia had begun to feel a little funny, as if she had ginger ale
inside of her knees. But it was her turn. She stood up in front of the class
and read her poem. Her voice was very small, because she was nervous.
Close Read
1. Is this story told from
the first-person or the
third-person point of
view ? How can you tell?
hush
i
5
hush the sea-soft night is aswim
with wrinklesquirm creatures
listen (!)
to them m ove smooth in the moistly dark
here in the whisperwarm w et
That was Anastasia’s poem.
“Read that again, please, Anastasia, in a bigger voice,” said Mrs.
Westvessel.
So Anastasia took a deep breath and read her poem again. She used
the same kind of voice that her father did when he read poetry to her,
drawing some of the words out as long as licorice sticks, and making
15 some others thumpingly short.
The class laughed.
Mrs. Westvessel looked puzzled. “Let me see that, Anastasia,” she
said. Anastasia gave her the poem.
Mrs. Westvessel’s ordinary, everyday face had about one hundred
20 wrinkles in it. W hen she looked at Anastasias poem, her forehead and
nose folded up so that she had two hundred new wrinkles all of a sudden.
“Where are your capital letters, Anastasia?” asked Mrs. Westvessel.
Anastasia didn’t say anything.
“Where is the rhyme?” asked Mrs. Westvessel. “It doesn’t rhyme at all.”
25
Anastasia didn’t say anything.
‘W hat kind of poem is this, Anastasia?” asked Mrs. Westvessel. “Can
you explain it, please?”
Anastasia’s voice had become very small again, the way voices do,
sometimes. “It’s a poem of sounds,” she said. “It’s about little things that
30 live in tidepools, after dark, when they move around. It doesn’t have
sentences or capital letters because I wanted it to look on the page like
small creatures moving in the dark.”
10
2. Is Anastasia someone
who feels comfortable
in front of large crowds?
Cite details to support
your answer.
3. W hat impression of Mrs.
W estvessel do you get
from the boxed details?
4. Reread lines 12-15 and
28 -3 2. W ould you
describe Anastasia as
a thoughtful, creative
person or as someone
who doesn’t take her
assignm ents seriously?
RE A DE R’S W O RK SH O P
181
Before Reading
Eleven
S h o rt S to ry by San d ra C isn e ro s
a
Is AG E more
than a number?
ALABAMA
STANDARDS
READING STANDARDS
1 Apply stra te g ie s to c o m p re h e n d
2 Interpret literary e le m e n ts
a n d devices
KEY IDEA For so m e people, a b irth d ay is an e xcitin g , fe stive event.
W ith each increase in
age, th e y feel m ore m atu re. For oth ers, a
b irth d a y is ju s t th e d ay th e y w ere born. Inside, th e y m ay not feel
an y d iffe re n t th an th e y did th e d ay before. In “ Eleven,” a y o u n g
girl stru g g le s w ith w h a t it m ean s to g ro w older.
WEB IT Think about w h at y o u r
age m eans to you. Create a w eb
o f m ean in gs th at you co nn ect to
b ein g yo u r age. C o n sid e r h ow
the w eb w o u ld ch an ge if you
w ere one year older or younger.
• LITERARY A N A LYSIS: FIRST-PERSO N PO IN T OF V IEW
Have you ever listened to a stran ge r tell a story? You often
learn a great deal ab o u t the personality, exp eriences, and
op inion s o f th a t person. W hen you read a sto ry told from
first-person point of view, the narrator is a ch aracte r in the
story. You learn w h at happens as the narrator experiences it.
A s you read “ Eleven,” n otice h o w th e o n ly in fo rm a tio n
you receive com es from the narrator. T h in k ab ou t how th at
a ffe cts w h a t you kn ow ab o u t the ch aracters and events.
• READ IN G STRATEGY: CO N N ECT
Characters, se ttin gs, and events in a story m ay rem ind you
o f people you know, places y o u ’ve been, fe e lin g s you 've had,
or other stories y o u ’ve read. W hen you
connect w ith a story
or parts o f a story, you use yo u r kn o w led ge and experiences
to help you better understand w h a t you are reading.
As you read “Eleven,” com plete a chart like the one show n.
Record d etails from the sto ry and how th e y rem ind you o f
exp erie n ces fro m yo u r ow n life.
Author Online
Escaping Through
Fairy Tales Sandra
C isn e ro s g re w
up in a b ilingu al
hom e, sp e a kin g
E n g lish to her
m o th e r and
S p a n ish to her
father. For th a t
reason, d iffe re n t
Sandra Cisneros
a sp e c ts o f
born 1954
la n g u a g e becam e
m ore n oticeab le to her.
A s a child, Cisn eros enjoyed reading
fa ir y ta le s. Sh e loved th e sty le o f
la n g u a g e used, and in tim e she began
w ritin g her o w n sto rie s and poem s.
C isn e ro s’s m o th e r m ade sure th a t her
d a u g h te r had th e sp ace and q u ie t
t h a t she need ed in ord er to w rite ,
even in a h o u se w ith six b rothers.
Ra.che,l‘s birthdcaf
Mi/ Conn&ctions
wakes up feeling like shes
1 rewewber th a t on mi/ llth
still ten
birthday 1 didn’t feel any
Writing to Be Heard Cisn eros w a s shy
different.
as a child, m uch like Rachel in "Eleven.”
Sandra Cisneros uses the w ords in the list to help tell the story
o f a yo u n g girl’s d ifficu lt experience in school. Com plete each
phrase w ith the appropriate w ord from the list.
WORD
alle y
e xce p t
in visib le
ra g g e d y
M O RE A B O U T TH E A U TH O R
For more on Sandra Cisneros, visit the
LIST
1.
fo r m ath, the girl did w ell in school.
2 . She f e lt
Sh e co m p a re s w h o she w a s as a
ch ild — a q u iet person w h o w a s never
asked to sp eak in class— to the w riter
she is now . She notes, “ I am fin d in g
th a t w ith w o rd s I have the pow er to
m ake p eo p le liste n , to m ake th e m
th in k in a n e w w a y
It’s a pow erful
th in g to m ake people listen to yo u .”
a m o n g the crow ds o f stu d en ts.
3 . Her o ld ,_____ clothes em b arrassed her.
4 . A fte r school, she ran hom e th ro u gh th e b a c k
.
ELEVEN
183
hat they don’t understand about birthdays and what they never tell
you is that when you’re eleven, you’re also ten, and nine, and eight,
and seven, and six, and five, and four, and three, and two, and one. A nd
w hen you w ake up on your eleventh b irth d ay you expect to feel eleven,
but you don’t. You open your eyes and ev eryth in g ’s ju st lik e yesterday,
only it’s today. And you don’t feel eleven at all. You feel like you’re still ten.
A nd you are— underneath the year that m akes you eleven.
Like some days you m ight say som ething stupid, and that’s the part of
you th at’s still ten. Or m aybe some days you m igh t need to sit on your
10 m am a’s lap because you’re scared, and th at’s the p art o f you th at’s five.
A nd m aybe one day when you’re all grown up m aybe you w ill need to cry
like if you’re three, and that’s okay. T h at’s w hat I tell M am a when she’s sad
and needs to cry. M aybe she’s feeling three.
Because the w ay you grow old is kin d of like an onion or like the rings
inside a tree trun k or like m y little wooden dolls that fit one inside the
other, each year inside the next one. T h at’s how being eleven years old is.
You don’t feel eleven. Not right away. It takes a few days, w eeks even,
sometim es even m onths before you say Eleven w hen they ask you. A nd
you don’t feel sm art eleven, not until you’re alm ost twelve. T h at’s the w ay
20 it is. Q
W
184
UNIT
A N A LYZE VISU ALS
Based on the colors and
details in this painting,
how do you th in k th e
girl is feeling?
□
CONNECT
The narrator shares
her feelings and
thoughts about her
birthday. Have you
ever felt like this?
D etail o f R oo m 13, L os E stu d ia n tes
(2 0 0 4 ), Jose R am irez. M ixed m edia
on canvas, 47" x 19".
O nly today I w ish I didn’t have only eleven years rattling inside me like
pennies in a tin B and-A id box. T oday I w ish I was one hundred and two
instead of eleven because if I was one hundred and two I’d have know n
w hat to say w hen M rs. Price put the red sw eater on m y desk. I w o u ld ’ve
known how to tell her it w asn’t m ine instead of just sitting there w ith that
look on m y face and nothing com ing out of m y m outh.
“W hose is th is?” M rs. Price says, and she holds the red sw eater up in
the air for all the class to see. “W hose? It’s been sitting in the coatroom for
a m onth.”
30
“Not m ine,” says everybody “Not m e.”
“It has to belong to somebody,” M rs. Price keeps saying, but nobody can
remember. It’s an u gly sw eater w ith red plastic buttons and a co llar and
sleeves all stretched out like you could use it for a jum p rope. It’s m aybe a
thousand years old and even if it belonged to me I w ouldn’t say so.
M aybe because I’m skinny, m aybe because she doesn’t lik e m e, that
stupid Sylvia Saldivar says, “I th in k it belongs to Rachel.” A n u gly sweater
like that, all raggedy and old, but M rs. Price believes her. M rs. Price takes
the sweater and puts it right on m y desk, but when I open m y m outh
nothing comes out. 0
40
“T h at’s not, I don’t, you’re n o t . . . Not m ine,” I fin ally say in a little
voice that was m aybe me when I was four.
“O f course it’s yours,” M rs. Price says. “I rem em ber you w earin g it
once.” Because she’s older and the teacher, she’s righ t and I’m not.
N ot m ine, not m ine, not m ine, but M rs. Price is alread y tu rn in g to
page thirty-tw o, and m ath problem num ber four. I don’t know w hy but all
of a sudden I’m feeling sick inside, like the part of me th at’s three w ants to
come out of m y eyes, only I squeeze them shut tight and bite down on m y
teeth real hard and try to rem em ber today I am eleven, eleven. M am a is
m aking a cake for me for tonight, and when Papa comes home everybody
50 w ill sing H appy birthday, happy birthday to you.
But w hen the sick feeling goes aw ay and I open m y eyes, the red
sweater’s still sitting there like a big red m ountain. I move the red sweater
to the corner of m y desk w ith m y ruler. I move m y pencil and books and
eraser as far from it as possible. I even move m y chair a little to the right.
Not m ine, not m ine, not m ine.
In m y head I’m th in kin g how long till lunchtim e, how long till I can
take the red sweater and throw it over the schoolyard fence, or leave it
hanging on a parking meter, or bunch it up into a little ball and toss it
in the alley. Except when m ath period ends M rs. Price says loud and in
60 front of everybody, “Now, Rachel, that’s enough,” because she sees I’ve
shoved the red sweater to the tippy-tip corner of m y desk and it’s hanging
all over the edge like a w aterfall, but I don’t care.
186
UNIT
ra g ge d y (rag'T-de) adj.
tattered or worn out
© FIRST-PERSO N POINT
OF VIEW
W hat have you learned
about the narrator
so far?
alle y (al'e) n. a narrow
street behind or
between buildings
except (Tk-sept') prep.
but; however
“Rachel,” M rs. Price says. She says it like she’s getting m ad. “You put
that sweater on right now and no more nonsense.”
«T)
•>
»
But it s not—
“N ow !” M rs. Price says. Q
his is w hen I w ish I w asn ’t eleven, because all the years inside of
me— ten, nine, eight, seven, six, five, four, three, two, and one— are
pushing at the back of m y eyes when I put one arm through one sleeve
70 of the sweater that sm ells like cottage cheese, and then the other arm
through the other and stand there w ith m y arms apart like if the sweater
hurts me and it does, all itchy and fu ll o f germs that aren’t even m ine.
T h at’s when everything I’ve been holding in since this m orning, since
when M rs. Price put the sweater on m y desk, fin ally lets go, and all o f a
sudden I’m crying in front of everybody. I w ish I was in visib le but I’m
not. I’m eleven and it’s m y birthday today and I’m cryin g like I’m three
in front of everybody. I put m y head down on the desk and b ury m y face
in m y stupid clown-sweater arms. M y face all hot and spit com ing out of
m y mouth because I can’t stop the little anim al noises from com ing out of
so me, until there aren’t any more tears left in m y eyes, and it’s just m y body
shaking like when you have the hiccups, and m y whole head hurts like
when you d rin k m ilk too fast. Q
But the worst p art is righ t before the b ell rings for lunch. T h at
stupid Phyllis Lopez, who is even dum ber than Sylvia Saldivar, says she
remembers the red sweater is hers! I take it off right aw ay and give it to
her, only M rs. Price pretends like everything’s okay. Q
Today I’m eleven. There’s a cake M am a’s m aking for tonight, and when
Papa comes home from w ork w e’ll eat it. T here’ll be candles and presents
and everybody w ill sing H appy birthday, happy birthday to you, Rachel,
90 only it’s too late.
I’m eleven today. I’m eleven, ten, nine, eight, seven, six, five, four,
three, two, and one, but I w ish I was one hundred and two. I w ish I was
anything but eleven, because I w ant today to be far away already, far away
like a runaw ay balloon, like a tin y o in the sky, so tin y-tin y you have to
close your eyes to see it.
Q FIRST-PER SO N POINT
OF VIEW
W hat impression of Mrs.
Price does Rachel give
the reader?
T
in visib le (Tn-vTz'e-bel)
adj. not able to be seen
Q CONNECT
Reread lines 67-82.
W hich of your own
experiences help you to
understand w hy Rachel
gets so upset?
o
FIRST-PERSO N POINT
OF VIEW
Reread lines 83-8 6.
How does the firstperson point of view
affect w hat you know
about Sylvia and Phyllis?
ELEVEN
187
Comprehension
1. Recall Rachel uses m an y d ifferen t co m p a riso n s to d escrib e w h a t it is like
to g ro w older. N am e one o f th e co m p a riso n s she m akes.
2. Recall W h a t th o u g h ts does Rachel have a b o u t th e sw e a te r as she is
p u ttin g it on?
3. Clarify H o w is the issue o f th e sw e a te r fin a lly settled?
Literary Analysis
4. Make Inferences W h a t is it a b o u t g r o w in g o ld e r th a t R ache l fin d s
d is a p p o in tin g ? U se e x a m p le s fro m th e sto ry to su p p o rt y o u r an sw e r.
5. Connect Look at the chart you filled in as you read. H o w do th e co nn ectio ns
you m ade help you to u nderstand Rachel's th o u g h ts and experiences?
6.
Analyze Plot Reread lines 35-41. Im a g in e th a t Rachel is bold in ste ad o f
tim id . H o w m ig h t she have reacted w h en M rs. Price put th e sw e a te r on
her desk?
7. Analyze a Minor Character M in o r c h a ra c te rs h elp ca rry o u t th e a ctio n
o f a story. M rs. Price is a m in o r c h a ra c te r in “ E le v e n ,” b u t sh e p la y s an
im p o rta n t part in th e story. H o w do you th in k M rs. Price w o u ld d escrib e
the incid e n t w ith th e sw eater? Use d e ta ils from th e sto ry to su p p o rt
yo u r answ er.
8.
Evaluate First-Person Point of View As th e narrator o f th e story, Rachel
sh ares m a n y o f her th o u g h ts and fe e lin g s. H ow ever, she is not ab le to tell
us th e th o u g h ts and fe e lin g s o f th e o th e r ch a ra cte rs. U s in g a c h a rt like
th e one sh o w n , note w h a t yo u learn ed th ro u g h th e sto ry ’s first-p e rso n
point o f v ie w and w h a t you w o u ld still like to know .
W hat 1 [-earned from
Rachel
W hat 1 Would Like.
to Know
9. Creative Project: Art The red sw eater is an im p o rtan t part o f “ Eleven.” H o w
did you picture it in yo u r m ind as you read th e story? U sin g colored pencils,
m arkers, or crayons, create a picture o f th e sw e ate r as you im a g in e d it.
10 .
Big Question Activity R e v isit th e a c tiv ity on p a ge 182. T h is tim e , th in k
a b o u t h o w Rachel m ig h t have fille d out a w eb a b o u t her age. Use d e tails
fro m th e sto ry to co m p lete R a ch e l’s w eb.
188
a
ALABAMA
STANDARDS
READING STANDARD
2 In terp ret literary e le m e n ts
an d devices
alley
Choo se the letter o f th e w ord or phrase th a t is m o st clo se ly related to the
boldfaced w ord.
except
1.
except: (a) not in c lu d in g , (b) w ith , (c) as w ell as, (d) plus
2 . invisible: (a) im p o ssib le , (b) w h ite , (c) unseen , (d) un w ell
3 . alley: (a) h igh w ay, (b) n arro w path, (c) p a rk in g lot, (d) fre e w ay
4. raggedy: (a) shabby, (b) tidy, (c) e le ga n t, (d) b e au tifu l
invisible
raggedy
W h at surprised you m ore in th is story, the w ay M rs. Price behaved or th e w ay
Rachel behaved? W rite a p aragrap h e x p la in in g w h a t you th in k. Use at least
tw o vo ca b u la ry w ords. You could sta rt th is way.
I was surprised that Mrs. Price caused so Much trouble over a raggedy sweater.
V O C A B U LA R Y STRATEG Y: EA SILY C O N FU S E D W O RD S
ALABAMA
STANDARDS
So m e w o rd s so u n d or look so s im ila r th a t it is e a sy to m isu se th e m . An
□
e xa m p le o f a c o n fu sin g p air o f w o rd s is th e vo ca b u la ry w ord except and th e
w ord accept. T h o u g h th e se w o rd s have d iffe re n t m e a n in g s ,y o u m ay have
to be ca re fu l to ch o o se th e co rrect one. O th e r c o n fu s in g p airs have sim ila r
m e a n in g s as w e ll as sim ila r sp e llin g s. If you are not su re w h ic h w ord you
shou ld be u sin g , it is a good idea to ch e ck d e fin itio n s in a d ictionary.
PRACTICE C h o o se th e w ord or p h rase in p a re n th e se s th a t co rre ctly
co m p le te s each se n te n ce .
1. The (affect, effect) o f th e h u rrican e w a s fe lt 150 m ile s away.
2 . M y fa th e r offered m e so m e good (advise, advice), but I d id n ’t listen
to him .
3 . Luis w as (all ready, alread y) to have his p h o to grap h taken.
4. W a sh in g to n ’s (cap ital, cap ito l) b u ild in g is a b e a u tifu l sig h t.
5 . C o rin n e ’s fa m ily m oved (farther, fu rth e r) a w a y fro m th e city.
J9
VOCABULARY
P R A CTICE
at ClassZone.com.
ELEVEN
189
Ghost of the Lagoon
S h o rt S to ry by A rm s tro n g Sp e rry
□
What makes a HE RO ?
ALABAMA
STANDARDS
READING STANDARDS
KEY IDEA M an y d iffe re n t p eo p le can be co n sid e re d heroes.
A p e rso n ’s heroes m ig h t in clu d e w e ll-k n o w n sp o rts fig u re s,
firefighters, survivors o f disaster, teachers, or respected friends and
hero, w ith his or her bravery, inner strength, or kindness,
1 Apply strategies, including
relatives. A
making predictions
gives us inspiration for our everyday lives. In “G h ost o f the Lagoon,”
and devices
a boy fa ce s a d iffic u lt situ a tio n w ith heroic skill and co u rage .
CHART IT Think o f three heroic
Heroes
people you know . W rite their
n am es in a c h a rt like th e one
Verson
Actions
Qualities
sh o w n . T h e n id e n tify the
1. Aunt Qw&n
h&lps injured
animals
kind, funny
actio n s and personal q u alities
that m ake them heroes to you.
z.
• LITERARY A N A LYSIS: TH IR D -P ER SO N PO IN T OF V IEW
W hen a sto ry is told from the
the
third-person point of view,
narrator is not a ch aracter in the sto ry but is o b se rv in g
from the outside. Because o f this, the th ird -p e rso n narrator
is o fte n a b le to reveal m ore in fo rm a tio n a b o u t all th e
ch aracte rs’ th o u g h ts, fe e lin g s, and actio n s than any sin gle
character from the sto ry could reveal.
A s you read “The G host o f the Lagoon,” look for details the
narrator provides ab o u t the m ain character.
0 READ IN G STRATEG Y: PR ED ICT
W riters o fte n give th e ir readers clu es to help th e m
predict,
Story Lover A s a
boy g ro w in g up
in C o n n e cticu t,
A rm stro n g Sperry
loved liste n in g to
his g ra n d fa th e r's
w o n d e rfu l tale s
o f th e Sou th Sea
Islan d s. In 1925,
a fte r s tu d y in g
a rt in co lle g e
,
..
Armstrong Sperry
1897-1976
or m ake a reason ab le g u e ss ab o u t, w h a t m ig h t h ap p e n in
and w o rk in g
a story. A s a reader, you co m b in e d e ta ils fro m th e sto ry
as an illu stra to r, Sp e rry headed to
the Sou th Pacific. He sp ent several
m o n th s on th e island o f Bora Bora,
ch arm ed by th e isla n d ’s b eau ty and
culture. He w a s inspired by its brave
people, w h o rebuilt th e ir island after
it w as destroyed by a hurricane during
Sp e rry ’s tim e there.
w ith yo u r ow n kn o w led ge and exp erience to help you m ake
p redictions a b ou t w h a t you are reading.
A s you read, use a chart like the one show n to w rite dow n
you r predictions and the clues from the sto ry th a t helped you
m ake them .
A
Author On|ine
My Vre.dic.iion
Clue.s in Story
Mako will use his
harpoon during the. story.
Mako is clever, the harpoon he
Made is sharp and has five iron
spears.
V O CA B U LA R Y IN C O N TEX T
A rm stro n g Sperry uses the b oldfaced w ord s to help tell an
adventure story. Use co n te xt clues to figu re out the m eaning
World Traveler Sperry returned to the
U nited States and se ttled in Verm ont,
but he c o u ld n ’t resist g o in g back to
sea. H e set sail aga in , tra v e lin g the
w o rld in search o f ideas fo r stories.
T h e b ooks an d sto rie s Sp e rry w rote
o fte n have ch a ra cte rs w h o , like the
people o f Bora Bora, overcom e a great
ch alle n ge w ith stre n gth and courage.
o f each o f the boldfaced w ords.
1.
2.
3.
4.
5.
6.
pursuit o f a frig h te n in g sea creature.
It had a lw ays m ade the calm , w a te ry lagoon its hom e.
Creatures w ou ld so m e tim es hide in g a p s in the reef.
The hunter w as fe e lin g tense fro m stress.
M ako had sp ent a restless n ig h t w o rryin g.
He fe lt very vulnerable in his sm all, flim s y boat.
The boy ran o ff in
M O RE A B O U T THE AU TH O R
For more on Armstrong Sperry, visit the
Background
Pacific Island Bora Bora, w h e re th is
sto ry ta k e s place, is one o f m ore than
100 sm all island s in French Polynesia in
th e so uth ern P acific O cean. The island
is a lm o st c o m p le te ly su rro u n d e d by
co ral reefs and is know n for the crystal
clear w a te rs o f its lagoon.
G H O S T OF T H E L A G O O N
191
A r m s t ro n g S p e r r y
he island of Bora Bora, where M ako lived, is far aw ay in the South
Pacific. It is not a large island— you can paddle around it in a single
day— but the m ain body of it rises straight out o f the sea, very high into
the air, like a castle. W aterfalls trail down the faces o f the cliffs. As you
look upward, you see w ild goats leaping from crag to crag.
M ako had been born on the very edge of the sea, and most of his w aking
hours were spent in the waters of the lagoon, which was nearly enclosed by
the two outstretched arms of the island. He was very clever w ith his hands;
he had made a harpoon that was as straight as an arrow and tipped w ith
10 five pointed iron spears. He had m ade a canoe, hollowing it out o f a tree.
It wasn’t a very big canoe— only a little longer than his own height. It had
an outrigger, a sort of balancing pole, fastened to one side to keep the boat
from tipping over. The canoe was just large enough to hold M ako and his
little dog, Afa. T h ey were great companions, these two. Q
192
UNIT
A N A LYZE VISU A LS
W hat sense does this
painting give you of
the story’s setting?
lagoon de-goon') n. a
shallow body of water
separated from a
larger body of water by
sandbars or other barriers
© T H IR D -P ER S O N
PO INT OF VIEW
Reread lines 6 -14 W hat does the narrator
reveal about Mako?
D etail o f N ew M o o n R isin g, Peter
Sickles. © Peter Sickles/SuperStock.
ne evening M ako lay stretched at full length on the pandanus m ats ,1
listening to G randfather’s voice. Overhead, stars shone in the dark
sky. From far off came the thunder o f the su rf on the reef.
T he old m an w as sp eakin g o f Tupa, the ghost o f the lagoon. Ever
since the boy could rem em ber, he had heard tales o f this terrible
20 monster. Frightened fisherm en, retu rn in g from the reef at m id n igh t,
spoke o f the ghost. Over the evening fires, old m en told endless tales
about the monster.
Tupa seem ed to th in k the lagoon o f Bora Bora belonged to him .
T he natives left presents o f food for him out on the reef: a dead goat,
a chicken, or a pig. T he presents alw ays disappeared m ysteriously, but
everyone felt sure that it was Tupa who carried them away. Still, in spite
of all this food, the nets o f the fisherm en were torn d u rin g the night,
the fish stolen. W h at an appetite Tupa seemed to have!
Not m any people had ever seen the ghost o f the lagoon. G randfather
30 was one of the few who had.
“W h at does he really look like, G randfather?” the boy asked, for the
hundredth time.
The old m an shook his head solemnly. T he ligh t from the cook fire
glistened on his white hair. “Tupa lives in the great caves of the reef. He
is longer than this house. There is a sail on his back, not large but terrible
to see, for it burns w ith a white fire. Once, when I was fishing beyond the
reef at night, I saw him come up right under another canoe— ”
“W h at happened th e n ?” M ako asked. He h a lf rose on one elbow.
T his was a story he had not heard before.
40 The old m an’s voice dropped to a whisper. “Tupa dragged the canoe
right under the water— and the water boiled w ith w hite flam e. The three
fisherm en in it were never seen again. Fine sw im m ers they were, too.” Q
G randfather shook his head. “It is bad fortune even to speak o f Tupa.
There is evil in his very nam e.”
“But K ing O pu N ui has offered a rew ard for his capture,” the boy
pointed out.
“T h irty acres o f fine coconut land, and a sa ilin g canoe as w ell,”
said the old m an. “But who ever heard o f layin g hands on a ghost?”
M ak o ’s eyes glistened. “T h irty acres o f lan d and a sa ilin g canoe.
50 How I should love to w in that rew ard !”
G randfather nodded, but M a k o ’s m other scolded her son for such
foolish talk. “Be quiet now, son, and go to sleep. G randfather has told
you that it is bad fortune to speak o f Tupa. A las, how w ell w e have
learned that lesson! Your father— ” She stopped herself.
1.
194
pandanus ( p a n - d a 'n e s ) m ats: m ats m ade from the fiber o f leaves from a palm like tree.
UN I T 2 : ANALYZI NG C H A R A C T E R AND P OI NT OF V I E W
reef (ref) n. a ridge of
rocks, sand, or coral that
rises to the surface of a
body of water
((p S O C IA L STU D IES
X C O N N E C TIO N
O nly six m iles long,
Bora Bora is one of
the “Society Islands”
of French Polynesia
in the South Pacific.
Q PREDICT
Reread lines 3 1-4 2.
W hat kind of creature
do you think Tupa is?
Note this inform ation
on your chart.
A N A LYZE VISUALS
W hat do the de tails in
this painting tell you
about the three men?
D etail ok F ish erm en , F in isterre (1951), K eith V aughan. O il on canvas, 91.4 cm x 71.1 cm . Private collection.
© B ridgem an A rt Library. © 2 00 8 A rtists R igh ts So ciety (A R S ), N ew York/DACS, London.
“W h at o f m y fath er?” the boy asked quickly. A nd now he sat up
straight on the mats.
“Tell him , G randfather,” his m other w hispered.
The old m an cleared his throat and poked at the fire. A little shower
of sparks w hirled up into the darkness.
6o “Your father,” he explained gently, “was one o f the three fisherm en
in the canoe that Tupa destroyed.” H is words fell upon the air like stones
dropped into a deep well.
M ako shivered. He brushed back the hair from his dam p forehead.
Then he squared his shoulders and cried fiercely, “I shall slay Tupa and
win the king’s rew ard!” He rose to his knees, his slim body tense, his eyes
flashing in the firelight. Q
“H u sh !” his m other said. “Go to sleep now. Enough of such foolish
talk. W ould you bring trouble upon us a ll? ”
M ako lay dow n ag ain upon the m ats. He rolled over on his side
70 and closed his eyes, but sleep was long in com ing.
T he p alm trees w hispered above the d ark lagoon, and far out on
the reef the sea thundered.
tense (tens) adj.
nervous; feeling strain
Q
PREDICT
Consider the
conversation between
the characters and what
you know so far about
Mako. W hat do you
think is going to happen?
Add this information to
your chart.
195
he boy was slow to w ake up the next m orning. T h e ghost o f Tupa
had played through his dream s, m aking him restless. A nd so it was
alm ost noon before M ako sat up on the m ats and stretched him self.
He called Afa, and the boy and his dog ran down to the lagoon for their
m orning sw im . 0
W hen they returned to the house, w ide-aw ake and hungry, M ako ’s
m other had food ready and w aiting,
so
“These are the last of our bananas,” she told him . “I w ish you w ould
paddle out to the reef this afternoon and brin g back a new b u n ch .”
The boy agreed eagerly. N o th in g pleased him m ore th an such an
errand, w hich would take him to a little island on the outer reef, h a lf
a m ile from shore. It was one o f M ako’s favorite playgrounds, and there
bananas and oranges grew in great plenty.
“Com e, A fa,” he called, gulpin g the last m outhful. “W ere going on
an expedition.” He picked up his long-bladed knife and seized his spear.
A m inute later, he dashed across the w hite sand, where his canoe was
drawn up beyond the w ater’s reach.
90 Afa barked at his heels. He was all w hite except for a black spot over
each eye. W herever M ako went, there w ent A fa also. N ow the little dog
leaped into the bow of the canoe, his tail w agging w ith delight. The boy
shoved the canoe into the water and climbed aboard. Then, picking up his
paddle, he thrust it into the water. The canoe shot ahead. Its sharp bow
cut through the green water of the lagoon like a knife through cheese.
A nd so clear was the w ater that M ako could see the coral gardens, forty
feet below him , grow ing in the sand. T he shadow o f the canoe moved
over them.
A school of fish swept by like silver arrows. He saw scarlet rock cod
io o w ith ruby eyes and the head of a conger eel 2 peering out from a cavern
in the coral. T he boy thought suddenly o f Tupa, ghost o f the lagoon.
On such a bright day it was hard to believe in ghosts of an y sort. T he
fierce sunlight drove away all thought of them. Perhaps ghosts were only
old m en’s stories, anyw ay!
M ako’s eyes came to rest upon his spear— the spear that he had made
w ith his own hands— the spear that was as straight and true as an arrow.
He remembered his vow of the night before. C ould a ghost be killed w ith
a spear? Some night, w hen all the v illag e w as sleeping, M ako swore
to him self that he w ould find out! He w ould paddle out to the reef and
no challenge Tupa! Perhaps tonight. W h y not? He caught his breath at the
thought. A shiver ran down his back. His hands were tense on the paddle. ©
2.
196
rock cod . . . conger eel: Rock cod is a type o f saltw ater fish, and a conger eel is a large eel.
UN I T 2 : ANALYZI NG C H A R A C T E R AND P OI NT OF V I E W
restless (rest'ITs) adj.
unable to sleep or rest
© T H IR D -P ER S O N
PO INT OF VIEW
Reread lines 73-77.
W hat is the narrator
able to reveal about
Mako that the other
characters in the story
w ouldn’t know?
V IS U A L V O C A B U L A R Y
coral (kor'el) n. a type
of m arine anim al, the
skeletons of w hich build
up a rocklike underwater
structure called a reef
© T H IR D -P E R S O N
PO INT OF VIEW
Reread lines 105 - 111.
H o w do you learn
w h a t M a k o is thinking
even tho ugh he hasn't
spoken?
As the canoe drew aw ay from shore, the boy saw the coral reef that,
above all others, had always interested him . It was o f w hite coral— a long
slim shape that rose slig h tly above the surface o f the w ater. It looked
very much like a shark. There was a ridge on the back that the boy could
pretend was a dorsal fin, w hile up near one end were two dark holes that
looked like eyes!
T im es w ith o ut num ber the boy had practiced sp earin g this
m ake-believe shark, aim in g always for the eyes, the most vu ln erab le
120 spot. So true and straight had his aim become that the spear w ould pass
right into the eyeholes w ithout even touching the sides of the coral. M ako
had nam ed the coral reef Tupa. Q
T h is m orn ing, as he paddled past it, he shook his fist and called ,
“Ho, M ister Tupa! Ju st w ait till I get m y bananas. W h en I come back,
I’ll m ake short w ork of y o u !”
Afa followed his m aster’s words w ith a sharp bark. He knew M ako
was excited about som ething.
The bow of the canoe touched the sand o f the little island where the
bananas grew. Afa leaped ashore and ran b ark in g into the ju n gle, now
130 on this trail, now on that. C louds of sea birds w hirled from their nests
into the air w ith an gry cries.
M ako clim bed into the shallow water, w aded ashore, and pulled his
canoe up on the beach. Then, picking up his banana knife, he followed
Afa. In the jungle the light was so dense and green that the boy felt as
if he were m oving underw ater. Ferns grew h igh er th an his head. T he
branches o f the trees formed a green roof over him . A flock of parakeets
fled on sw ift w ings. Som ew here a w ild pig crashed throu gh the
undergrowth while Afa dashed away in p u rsu it. M ako paused anxiously.
Arm ed only w ith his banana knife, he had no desire to meet the w ild pig.
140 The pig, it seemed, had no desire to meet him , either.
Then, ahead o f him , the boy saw the broad green blades of a banana
tree. A bunch o f banan as, golden ripe, w as grow ing out o f the top.
At the foot o f the tree he m ade a nest o f soft leaves for the bunch
to fall upon. In this w ay the fruit w ouldn’t be crushed. Then w ith a swift
slash of his blade he cut the stem . T he banan as fell to the earth w ith
a dull thud. He found two more bunches.
T h en he thought, “I m igh t as w ell get some oranges w h ile I’m here.
Those little ru sty ones are sweeter th an an y th at grow on Bora B ora.”
So he set about m aking a net out o f palm leaves to carry the oranges.
150 As he worked, his swift fingers m oving in and out am ong the strong green
leaves, he could hear Afa’s excited barks off in the jungle. T h at was just
like Afa, always barking at som ething: a bird, a fish, a w ild pig. He never
caught an yth ing, either. Still, no boy ever had a finer com panion.
dorsal fin (dor'sal fin ) n.
the main fin on the back
of a fish or shark
vulnerable
(vu l'nar-e-bel) adj. open
to attack or damage
Q PREDICT
Reread lines 118-122.
Based on the description
of the coral, w hat do
you predict will happen
next? W rite your
prediction on your chart.
pu rsu it (per-soot') n.
the act of follow ing
or chasing
197
The palm net took longer to m ake than M ako had realized. By the time
it was finished and filled w ith oranges, the ju n gle w as dark and gloomy.
N ight comes q u ickly and w ithout w arn in g in the islands o f the tropics.
M ako carried the fruit down to the shore and loaded it into the canoe.
T hen he w h istled to A fa. T he dog cam e b o un d in g out o f the bush,
w agging his tail.
160 “H u rry !” M ako scolded. “W e w on’t be home before the d ark com es.”
T he little dog leaped into the bow o f the canoe, and M ako cam e
aboard. N ight seemed to rise up from the surface of the water and swallow
them. On the distant shore of Bora Bora, cook fires were being lighted.
T he first star tw in k led ju st over the d ark m oun tains. M ako d ug his
paddle into the water, and the canoe leaped ahead.
The dark w ater was alive w ith phosphorus .3 T he bow o f the canoe
seemed to cut through a pale liquid fire. Each dip o f the paddle trailed
streamers of light. As the canoe approached the coral reef, the boy called,
“Ho, Tupa! It’s too late tonight to teach you your lesson. But I’ll come
170 back tomorrow.” T he coral shark glistened in the darkness. 0
A nd then, suddenly, M ak o ’s breath caugh t in his throat. H is hands
felt w eak. Ju st beyond the fin o f the coral Tupa, there w as another
fin — a huge one. It had never been there before. A nd— could he believe
his eyes? It was moving.
The boy stopped p ad d lin g. He dashed his hand across his eyes.
A fa began to bark furiously. T h e great w hite fin , shaped lik e a sm all
sail, glow ed w ith phosphorescent ligh t. T h en M ako knew . H ere was
Tupa— the real Tupa— ghost o f the lagoon! Q
His knees felt weak. He tried to cry out, but his voice died in his throat,
iso T he great shark was circling slow ly around the canoe. W ith each circle,
it moved closer and closer. Now the boy could see the phosphorescent glow
of the great shark’s sides. As it moved in closer, he saw the yellow eyes, the
gill slits in its throat.
Afa leaped from one side of the canoe to the other. In sudden anger
M ako leaned forw ard to grab the dog and shake him soundly. A fa
w riggled out o f his grasp as M ako tried to catch h im , and the sh ift
in weight tipped the canoe on one side. The outrigger rose from the water.
In another second they w ould be overboard. T he boy threw his w eight
over quickly to balance the canoe, but w ith a loud splash Afa fell over into
190 the dark water.
M ako stared after him in dismay. The little dog, instead o f sw im m ing
back to the canoe, had headed for the distant shore. A nd there w as the
great w hite shark— very near.
3 . phosphorus (fo s'fa r-ss): a substance that glow s w ith a yellow ish or w hite light.
198
U N I T 2 : ANALYZING C H A R A C T E R AND P OI NT OF V I E W
© T H IR D -P E R S O N
PO INT OF VIEW
Reread lines 16 6 -17 0 .
How would this
paragraph be different
if M ako were telling
the story?
□
PRED ICT
W hat do you think Mako
w ill do next? W rite your
prediction on your chart.
200
210
“Afa! Afa! Com e back! Com e q u ic k ly !” M ako shouted.
The little dog turned back toward the canoe. He was sw im m ing w ith
all his strength. M ako leaned forward. C ould A fa m ake it? Sw iftly the boy
seized his spear. Bracing himself, he stood upright. There was no weakness
in him now. H is dog, his com panion, was in danger of instant death.
Afa was sw im m ing desperately to reach the canoe. The w hite shark had
paused in his circling to gather speed for the attack. M ako raised his arm ,
took aim . In that instant the shark charged. M ako’s arm flashed forward.
A ll his strength was behind that thrust. The spear drove straight and true,
right into the great shark’s eye. M ad w ith pain and rage, Tupa w hipped
about, lashing the w ater in fury. T he canoe rocked back and forth. M ako
struggled to keep his balan ce as he drew back the spear by the cord
fastened to his w rist.
He bent over to seize Afa and drag him aboard. Then he stood up, not
a m om ent too soon. O nce ag ain the sh ark charged. O nce ag ain M ako
threw his spear, this tim e at the other eye. T he spear found its m ark.
Blinded and w eak from loss o f blood, Tupa rolled to the surface, turned
slightly on his side. W as he dead?
A N A LYZE VISUALS
How does the shark
shown com pare with
your mental picture
of Tupa?
199
M ako knew how clever sharks could be, and he was taking no chances.
Scarcely daring to breathe, he paddled toward the still body. He saw the
faintest motion of the great tail. The shark was still alive. T he boy knew
that one flip of that tail could overturn the canoe and send him and Afa
into the water, where Tupa could destroy them .
Sw iftly, yet calm ly, M ako stood upright and braced h im self firm ly.
Then, m urm uring a silent prayer to the shark god, he threw his spear for
the last time. Downward, swift as sound, the spear plunged into a w hite
220 shoulder. Q
Peering over the side of the canoe, M ako could see the great fish turn
over far below the surface. Then slowly, slowly, the great shark rose to the
surface o f the lagoon. There he floated, h a lf on one side.
Tupa was dead.
ako flung back his head and shouted for joy. H itching a strong
I lin e about the sh ark ’s tail, the boy began to paddle tow ard
the shore o f Bora Bora. T he dorsal fin , b u rn in g w ith the w h ite fire
of phosphorus, trailed after the canoe.
M en were runn ing down the beaches of Bora Bora, shouting as they
230 leaped into their canoes and put out across the lagoon. T heir cries reached
the boy’s ears across the water.
“It is Tupa— ghost of the lagoon,” he heard them shout. “M ako has
killed h im !”
T h at night, as the tired boy lay on the pandanus m ats listen in g to
the distant thunder of the sea, he heard Grandfather singing a new song.
It was the song which would be sung the next day at the feast which King
Opu N ui w ould give in M ako’s honor. T he boy saw his m other bending
over the cook fire. T he stars leaned close, w in k in g like frien d ly eyes.
Grandfather’s voice reached him now from a great distance, “T h irty acres
240 of land and a sailing canoe . . .” c^>
200
o
P R ED IC T
How do you predict
the story w ill end?
Comprehension
1. Recall W here does M ako spend m ost o f his tim e?
2. Recall W h at w eap o n does M ako use in his b attle w ith Tupa?
3. Clarify W h at m akes M ako so d e te rm in e d to kill Tupa?
a
ALABAMA
STANDARDS
READING STANDARD
m aking predictions
Literary Analysis
4. Predict Look at th e ch art you m ade w h ile re ad in g. M atch th e p re d ictio n s
you m ad e w ith w h a t h a p p e n e d in th e story. W h ich o f yo u r p re d ictio n s
w ere correct?
5. Understand Cause and Effect A sto ry ’s e ve n ts are related by ca u se and
effect w h en one event becom es th e cau se o f another. Reread lin es 147-156.
W h at effect does M ako ’s decision to g a th e r o ran ges have on th e story?
6.
Examine Conflict M ako ’s battle w ith th e sh a rk is an e xa m p le o f external
conflict, th e stru g g le b e tw e e n a ch a ra c te r an d an o u tsid e force. W h a t
internal conflict, or s tru g g le w ith in a c h a ra c te r’s m in d , does M ako fa ce
w h en A fa fa lls into th e w ater?
7. Analyze Third-Person Point of View Skim th ro u g h th e story, fo c u s in g on
d e scrip tio n s o f M ako. Use a ch a rt like th e one sh o w n to note in fo rm a tio n
provided by th e
narrator th a t M ako m ig h t not have inclu d e d if he w ere
te llin g th e story.
tAakos Thoughts
8.
Mako’s Fe.eJings
tAakos Actions
Evaluate Character H o w does M ako d e m o n strate th e q u a litie s o f a hero?
Exp la in yo u r a n sw e r u sin g d e ta ils fro m th e story.
9. ( f e SOCIAL STUDIES CONNECTION Bora Bora is one o f m ore th a n
JL
2 5 ,0 0 0 isla n d s in th e S o u th Pacific. T h e se isla n d s are broken up
into three m ajo r gro u p s: M e lan e sia, M icro n esia, and Polyn esia. Do so m e
research to learn m ore a b o u t th e isla n d s in one o f th e se gro u p s. Look
fo r in fo rm a tio n a b o u t h o w th e isla n d s w ere fo rm e d , th e ir clim a te and
v e g e ta tio n , and th e cu ltu ra l h isto ry o f th e p eo ple w h o live there.
For more on the islands of the South Pacific, visit the Research Center
at ClassZone.com.
201
lagoon
restless
pursuit
tense
reef
vulnerable
Sh o w th a t you u n d e rstan d th e v o ca b u la ry w o rd s by d e c id in g if
each sta te m e n t is true or false.
1.
2.
3.
4.
5.
A person w h o is
restless has a hard tim e re la xin g .
lagoon is an e n o rm o u s body o f w ater.
If a vase is fra g ile , it is vulnerable to b e in g d a m a ge d .
The leader in a race is the one in pursuit o f th e o th er racers.
A reef is a p a rkin g lot for cars.
6 . A tense m o m e n t is one th a t m ake s people lau gh .
A
Im a gin e you are M ako. W rite a p aragrap h d e scrib in g h o w you fe lt w h e n you
w ere fig h tin g Tupa. Use at least th ree v o ca b u la ry w o rd s. Here is a sa m p le o f
h ow you m ig h t begin.
I fe.lt venj vulnerable, while I was fighting Tupa.
V O C A B U LA R Y STRATEGY: W O RD S C O N N EC T ED W IT H W A TER
The vo ca b u la ry w ord lagoon is th e nam e fo r a ce rtain kind o f w ate r body.
A reef is th e nam e fo r a kind o f stru ctu re fo u n d in th e w ater. Le a rn in g oth er
w ords co nn ected w ith w ate r can help you to be m ore sp e cific w h e n sp e a k in g
□
ALABAM A
STANDARDS
and w ritin g a b o u t the e n viro n m en t.
PRACTICE M atch each w ord w ith its m e a n in g , u sin g a d ic tio n a ry if needed.
1. current
2 . levee
3.
4.
5.
6.
202
tid e
canal
strait
bay
UNIT
a. m a n -m a d e w aterw ay, d u g across land
b. part o f th e sea e x te n d in g into th e land
c. d irection al flo w o f w a te r
d. h igh ban k to keep a river from o v e rflo w in g
e. rise and fall o f the ocean, caused by the pull o f th e m oon
f. narro w w a te rw a y co n n e ctin g tw o b odies o f w ate r
VOCABULARY
P R A C TIC E
at ClassZone.com.
Increase yo u r u n d e rsta n d in g o f “G h o st o f th e L a g o o n ” by re sp o n d in g to
th e se prom pts. Then co m p lete th e
a
SKILLS PRACTICE
W RITIN G PROM PTS
SELF-CHECK
A. Short Response: Make a Prediction
A reasonable prediction
w ill...
After the upcom ing feast in his honor, M ako’s life
may change. W rite a one-paragraph prediction
about w h at M ako’s future w ill hold now that
he’s seen as a hero. Use details from the story to
support your w riting.
• show understanding of a
hero’s role in a com m unity
• build on the ending of the
story
B. Extended Response: Write a Scene
An effective scene w ill...
How w ould the story have been different if it
had focused on the th o u g h ts and fe e lin g s o f a
• show another side of the
character
character other than Mako? Choose a scene in
the story and, in two or three paragraphs, retell
it through the eyes o f Mother, Grandfather, or
even Afa.
• be consistent with the
rest of the story
GRAMMAR AND W RITING
USE CORRECT PRONOUN CASE Personal p ro n ou n s have su b je ct and object
cases, and th e tw o are o ften used inco rre ctly, e s p e c ia lly in co m p o u n d
subject pronoun (/, she, he, we, or
they) if the pronoun is part o f a co m p ou n d su b je ct. Use an object pronoun
su b je cts and co m p o u n d o b jects. Use a
a
ALABAMA
STANDARDS
12
Apply grammar conventions with
nominative and objective pronouns
[me, her, him, us, or them) if the pronoun is part o f a com pound object. (You
and it fu n ctio n as both su b je ct and ob je ct pron ou n s.)
Original:
Revised:
Afa and m e are g o in g to th e islan d to g e t b an an a s.
Afa and I are g o in g to th e islan d to ge t b an an a s.
[The pronoun is part o f a compound subject, so it should
be I, not me.)
PRACTICE C h oo se th e correct p ronoun to co m p le te each sentence.
1. (They, Them ) and th e ir fa m ilie s lived in fe ar o f th e "m on ster.”
2 . (He, H im ) and Afa fo u n d Tupa th a t n ig h t.
3 . The m en sh o u ted to M ako and (he, him ).
4 . (We, Us) and ou r fa m ilie s w ere gla d th a t th e m o n ste r w as gone.
Fo r
m o r e h elp w it h p r o n o u n c a s e s, see p a c e
R 53
in t h e
Grammar
Handbook.
203
Tuesday of the Other June
S h o rt S to ry by N o rm a Fo x M azer
How do you deal with a
BULLY?
□
ALABAMA
STANDARDS
KEY IDEA A bully can turn yo u r life into a n ig h tm a re . A ll yo u r
th o u g h ts becom e fo cu sed on th e n e x t a w fu l encounter. A d vice
fo r d e a lin g w ith a b ully is often to “w a lk aw ay.” W hen a ctu a lly
READING STANDARDS
and devices
d e a lin g w ith a bully, how ever, m an y p eo ple dream o f sta n d in g
up fo r th e m se lve s. In “T u e sd ay o f the
O th e r Ju n e ,” y o u ’ll read a b o u t a girl
w h o becom es the targe t o f a bully.
LIST IT Im a gin e th a t yo u r best frien d
is b ein g b othered by a b u lly and has
com e to you fo r help. W h at advice
swa
S'si
e f ° r beaJista
w rth a BuJ/y
!■ T e ll your parents
wha-t is h a p p e n
w ou ld you give? Prepare a sh o rt list
o f su g ge stio n s.
S ECTI ON C
For Better or For Worse
- wrr~... 7 .................-.. .......
THE STAR J O U R N A L
C5
by Lynn Johnston
- ...................... v.1
F o r B e tte r o r F o r W orse © 1983 Lynn Johnston P roductions. D istributed by
U niversal Press Syndicate. R eprinted w ith perm ission. A ll rights reserved.
• LITERA RY A N A LY SIS: C H A R A C T ER IZ A T IO N
M any stories hold our a tte n tio n because w e w a n t to find
ou t w h a t h ap p e n s to th e ch a ra cte rs. T h e w a y a w rite r
creates and help s us g e t to k n o w his or her ch a ra cte rs
is called
characterization. For e xam p le , a w rite r m ay
• describe the ch aracte r’s appearance
• present the character’s w ords, th o u gh ts, and actions
• p resen t o th er ch a ra c te rs’ th o u g h ts a b o u t and re actio n s
to the ch aracte r
• m ake direct co m m e n ts ab ou t the ch aracte r’s p erson ality
Author On[ine
Writing for Pleasure
By th e age o f
13, N orm a Fox
M azer kn ew th at
sh e w a n te d to
becom e a w riter.
W ith th a t goal in
m ind, she becam e
editor o f her high
school n ew sp ap e r
a n d Served as a
A s you read th is story, notice w h a t you learn ab o u t each
ch aracter and h ow th a t in fo rm atio n is presented.
Certain details in a story help you
visualize, or form a m ental
picture of, w h a t takes place. N otice w a ys in w h ich the w riter
helps you picture in yo u r m ind the th in g s b ein g described.
A s you read, fill in a ch art like the one show n.
Details
W hat 1 Visualise
Mother coMbs Junes hair.
a Mother coMbing her
daughters hair in front
o f a Mirror and sMiling
Review :
Predict
The b o ld fa ced w o rd s help to tell th e sto ry o f a g ir l’s
e n co u n te r w ith a bully. R e state each se n te n ce u sin g
a d iffe re n t w ord or w ord s fo r the b o ldfaced term .
1.
2.
3.
4.
5.
6.
The scary situ atio n put her in a
daze.
torment her.
Fear w a s reflected in her emerald eyes.
June had no devoted frien d s to help her out.
The y o u n g g irl’s body w e n t rigid w ith terror.
Finally, she put on a dazzling d isp lay o f courage.
Her enem y loved to
N orm a Fox M azer
born 1931
co rre sp o n d en t fo r
her to w n ’s n ew sp ap e r as w ell.
Success M azer w e n t on to w rite
fictio n , and afte r the success o f her
firs t book, she co n tin u e d w ritin g
novels fo r y o u n g people. Today she
is a w e ll-k n o w n p rize -w in n in g w riter
o f fictio n fo r y o u n g ad u lts. V ie w in g
lite ra tu re as a w a y o f m a k in g sense
o f the w orld, she w rites about the real
p rob lem s te e n age rs face.
Building Characters M azer carefu lly
d e v e lo p s her ch a ra c te rs before
intro du cin g them to her readers.
She says, “T h e re co m e s a tim e w h en
I u n d e rsta n d m y ch a ra c te rs so w ell
th a t I kn ow e x a c tly how th e y w ill act
and react at an y m om en t, and th a t’s
w o n d e rfu l.” M a z e r’s se n se o f her
c h a ra c te rs h elp s th e m co m e alive
in her w ritin g .
/ jj|
M ORE A B O U T TH E A U TH O R
For more on Norma Fox Mazer, visit the
T U E S D A Y OF T H E O T H E R J U N E
205
uesday
O ther
June
Norma Fox Mazer
e good, be good, be good, be good, m y Ju n ie,” m y m other sang
fcP as she com bed m y h air; a song, a story, a croon, a plea. “It’s just
you and me, two women alone in the world, June d arlin g of m y heart,
we have enough troubles getting by, we surely don’t need a single one
more, so you keep your sweet self out of fighting and all that bad stuff.
People can be little-hearted, but turn the other cheek, smile at the world,
and the w orld’ll surely smile back.”
W e stood in front of the m irror as she combed m y hair, com bed and
brushed and smoothed. H er head cam e just above m ine, she said when
10 I grew another inch she’d stand on a stool to brush m y hair. “I’m not
giving up this pleasure!” A nd she laughed her long honey laugh. Q
M y m other was A pril, m y grandm other had been M ay, I w as June.
“A nd someday,” said m y m other, “you’ll have a daughter o f your own.
W h at w ill you nam e her?”
“Ja n u a ry !” I’d y ell w hen I was little . “F eb ruary! No, N ovem b er!”
M y m other laughed her honey laugh. She had little em erald eyes that
w arm ed me like the sun.
A N A LYZE VISUALS
“
20 6
W hat sense do you get
of the personalities
of the two girls in this
painting?
o
VISU ALIZE
Reread lines 8 -11.
W hat details help you
form a mental picture
of w hat is happening?
Note them in your chart.
em erald (em 'sr-eld) adj.
of a rich green color
D etail o f F ir e a n d I c e (2 0 0 4 ), B rian C alv in .
A crylic on canvas, 48" x 60". C ourtesy o f Anton
K ern G allery, N ew York. © B rian C alv in .
Every day w hen I w ent to school, she w ent to w ork. “Som etim es
I stop what I’m doing,” she said, “lay down m y tools, and stop everything,
20 because all I can th in k about is you. W ondering w hat you’re doing and
if you need me. Now, Junie, if anyone ever bothers you— ”
“— I w alk away, run away, come on home as fast as m y feet w ill take
me,” I recited.
“Yes. You come to me. You just bring me your trouble, because I’m here
on this earth to love you and take care of you.” 0
I was safe w ith her. S till, som etim es I w oke up at n igh t an d heard
footsteps slowly creeping up the stairs. It wasn’t m y mother, she was asleep
in the bed across the room, so it was robbers, thieves, and m urderers,
creeping slowly . . . slowly . . . slow ly toward m y bed.
30
I stuffed m y hand into m y mouth. If I screamed and woke her, she’d
be tired at w ork tomorrow. T he robbers an d thieves fille d the w arm
darkness and slipped across the floor more q u ie tly th an cats. R ig id
under the covers, I stared at the sh iftin g d ark an d bit m y knuckles
and never knew w hen I fell asleep again. Q
In the m orning we sang in the kitchen. “Bill Grogan’s goat! W as feelin’
fine! Ate three red shirts, right off the lin e !” I m ade sandwiches for our
lunches, she made pancakes for breakfast, but all she ate was one pancake
and a cup of coffee. “G otta fly, can’t be late.”
I w anted to be rich and take care o f her. She w orked too h ard ; her
40 pretty hair had gray in it that she joked about. “Someday,” I said, “I’ll buy
you a real house, and you’ll never w ork in a pot factory again .” ©
“Such delicious plans,” she said. She checked the windows to see if they
were locked. “Do you have your k ey?”
I lifted it from the chain around m y neck.
“And you’ll come right home from school and— ”
“— I won’t light fires or let strangers into the house, and I w on’t tell
anyone on the phone that I’m here alone,” I finished for her.
“I know, I’m just your old w o rryw art m other.” She kissed me
tw ice, once on each cheek. “But you are m y June, m y only June, the
50 only Ju n e.”
S
he was wrong; there was another June. I met her when we stood next
to each other at the edge of the pool the first day of sw im m ing class
in the C om m unity Center.
“W h at’s your n am e?” She had a deep grow ly voice.
“June. W h at’s yours?”
She stared at me. “June.”
“W e have the same nam e.”
20 8
© C H A R A C T E R IZA T IO N
Reread lines 24-25.
W hat do the m other’s
words tell you about her?
rigid (rTj'Td) adj. stiff;
not m oving
Q V IS U A LIZ E
picture the nights
w hen June gets scared?
Record them in your
chart.
© C H A R A C T E R IZ A T IO N
W hat do you learn
about June through
her descriptions of her
mother?
“No we don’t. June is m y nam e, and I don’t give you perm ission to use
it. Your nam e is Fish Eyes.” She pinched me hard. “Got it, Fish Eyes?”
60 The next Tuesday, the O ther Ju n e ag ain stood next to me at the edge
of the pool. “W h at’s your n am e?”
June.
“W rong. Your— nam e— is— Fish— Eyes.”
June.
“Fish Eyes, you are really stupid.” She shoved me into the pool.
The sw im m ing teacher looked up, frow ning, from her chart. “No one
in the water yet.”
Later, in the locker room, I dressed q u ickly and w rapped m y w et suit
in the towel. T he O ther June p u lled on her jean s. “You guys see that
70 bathing suit Fish Eyes was w earing? Her mother found it in a trash can.”
CCT
55
<CT
55
Left panel of L e P lo n g eu r (P a p er P o o l 18) (1978), D avid H ockney. C olored and pressed paper pulp. 7 2"xlV\".
© David Hockney/Bradford A rt G alleries and M useum s, W est Yorkshire, U nited K ingdom /Bridgem an A rt Library.
AN A LYZE VISUALS
How do the details in
this work of art connect
w ith the story?
“She did n o t!”
The O ther June grabbed m y fingers and tw isted. “W here’d she find
your bathing suit?”
“She bought it, let me go.”
“Poor little stupid Fish Eyes is cryin g. O h, boo hoo hoo, poor little
Fish Eyes.”
After that, everyone called me Fish Eyes. A nd every Tuesday, wherever
I was, there was also the O ther June— at the edge o f the pool, in the pool,
in the locker room. In the water, she swam alongside me, blow ing and
80 huffing, kno cking into me. In the locker room, she stepped on m y feet,
pinched m y arm s, hid m y blouse, and knotted m y braids together. She
had large square teeth; she was shorter than I was, but heavier, w ith bigger
bones and square hands. If I m et her outside on the street, carryin g her
bathing suit and towel, she’d w alk toward me, sm iling a square, friendly
sm ile. “Oh w ell, if it isn’t Fish Eyes.” T hen she’d punch me, blam ! her
whole solid w eight h ittin g me. Q
I didn’t know w hat to do about her. She was train in g me like a dog.
A fter a few weeks of this, she only had to look at me, only had to growl,
“I’m going to get you, Fish Eyes,” for m y heart to slink like a whipped dog
90 down into m y stomach. M y arm s were covered w ith bruises. W h en m y
m other noticed, I m ade up a story about tripping on the sidew alk. Q
M y weeks were no longer Tuesday, W ednesday, Thursday, and so
on. Tuesday was Awfulday. W ednesday was Badday. (The Tuesday bad
feelings were still there.) Thursday was Betterday and Friday was Safeday.
Saturday was Goodday, but Sunday was Toosoonday, and M onday—
M onday was nothing but the day before Awfulday.
I tried to slow down tim e. Especially on the weekends, I stayed close
by m y mother, doing everything w ith her, shopping, cooking, cleaning,
going to the laundrom at. “Aw, sweetie, go play w ith your friends.”
100 “No, I’d rather be w ith you.” I w o u ldn ’t look at the clock or listen
to the radio (th ey were alw ays te llin g you the date and the tim e).
I did special m agic things to keep the day from going away, rapping m y
knuckles six times on the bathroom door six times a day and never, ever
touching the chipped place on m y bureau. But always I woke up to the
day before Tuesday, and always, no m atter how m any tim es I circled the
worn spot in the living-room rug or counted twenty-five cracks in the
ceiling, M onday disappeared and once again it was Tuesday. Q
The Other June got bored w ith calling me Fish Eyes. Buffalo Brain came
next, but as soon as everyone knew that, she renamed me Turkey Nose.
210
Q C H A R A C T E R IZA T IO N
Reread lines 77-8 6 .
W hat m ethods has
the writer used to
show readers w hat the
characters are like?
Q PREDICT
Based on w hat you
know about June
the narrator up to this
point, how do you think
she w ill deal w ith the
O ther June?
Q V ISU A LIZE
W hat details about
the house suggest that
June and her mother
don’t have a lot of
m oney? Record them
in your chart.
no
N ow at night it w asn’t robbers creeping up the stairs, but the O ther
Ju n e, com ing to to rm e n t me. W h en I fin a lly fell asleep, I dream ed
of kicking her, punching, biting, pinching. In the m orning I remembered
m y dream s and felt brave and strong. A nd then I rem em bered all the
things m y mother had taught me and told me.
Be good, be good, be good; it’s just us two women alone in the world . . .
Oh, but if it weren’t, if m y father w asn’t long gone, if w e’d had someone
else to fall back on, if m y m other’s m other and daddy weren’t dead all
these years, if m y father’s daddy w anted to know us instead of being glad
to forget us— oh, then I w ould have punched the O ther June w ith a frisky
120 heart, I w ould have grabbed her arm at poolside and bitten her like the
dog she had m ade o f me.
One night, when m y m other cam e home from work, she said, “Junie,
listen to this. W e’re m ovin g!”
A laska, I thought. Florida. Arizona. Someplace far aw ay and wonderful,
someplace w ithout the O ther June.
'‘W ait till you hear this deal. W e are going to be caretakers,
trouble-shooters for an eight-fam ily apartm ent building. Fifty-six Blue
H ill Street. Not janitors; we don’t do any of the heavy work. A pril and
June, Trouble-shooters, Incorporated. If a tenan t has a com plaint
130 or a problem, she comes to us and we either take care of it or call the
janitor for service. A nd for th at little bit o f w ork, we get to live rent
fre e !” She swept me around in a dance. “O kay? You like it? I d o !”
So. N ot anyw here else, really. A ll the sam e, m aybe too far to go
to sw im m ing class? “C an we move right away? T oday?”
“G im m e a break, sweetie. W e’ve got to pack, do a thousand things.
I’ve got to line up someone w ith a truck to help us. Six weeks, Saturday
the fifteenth.” She circled it on the calendar. It was the Saturday after
the last day of sw im m ing class.
oon, we had boxes lyin g everywhere, filled w ith clothes and towels
and glasses w rapped in newspaper. Bit by bit, we cleared the rooms,
leaving only w hat we needed right now. The dining-room table staggered
on a bunched-up rug, our bureaus inched toward the front door like
patient cows. O n the calendar in the kitchen, m y m other m arked off
the days u n til we m oved, but the on ly days I tho ught about were
Tuesdays— Aw fuldays. N othing else was real except the too fast passing
of time, moving toward each Tuesday . . . away from Tuesday . . . toward
Tuesday. . . . Q
to rm en t (tor'm ent') v.
to cause severe distress
to the body or mind
S
Q V ISU A LIZE
W hich words in the
descriptions of the table
and bureaus helpyou
picture the objects in
your m ind? Add them
to your chart.
211
And it seemed to me that this would go on forever, that Tuesdays w ould
come forever and I w ould be forever trapped by the side o f the pool, the
150 O ther June w hispering Buffalo Brain Fish Eyes T urkey Nose into m y ear,
w h ile she ground her elbow into m y side and sm iled her square sm ile
at the sw im m ing teacher.
A nd then it ended. It was the last day o f sw im m in g class. T h e last
Tuesday. W e had all passed our tests, and, as if in celebration, the O ther
June only pinched me twice. “And now,” our sw im m ing teacher said, “all
of you are ready for the A dvanced C lass, w hich starts in just one m onth.
I have a sign-up slip here. Please put your nam e down before you leave.”
Everyone but me crowded around. I went to the locker room and pulled on
m y clothes as fast as possible. T h e O ther Ju n e burst th rou gh the door
160 just as I was leaving. “Goodbye,” I yelled, “good riddance to bad trash !”
Before she could pinch me again, I ran past her and then ran all the w ay
home, sin gin g, “G oodbye . . . goodbye . . . goodbye, good riddance
to bad trash !”
L
ater, m y mother carefully untied the blue ribbon around m y sw im m ing
class diplom a. “Look at th is! W ell, isn’t this w o nd erful! You are on
your way, you m ight turn into an O lym pic sw im m er, you never know
w hat life w ill bring.”
“I don’t w ant to take more lessons.”
“Oh, sweetie, it’s great to be a good sw im m er.” But then, looking into
170 m y face, she said, “No, no, no, don’t worry, you don’t have to.”
T he next m orning, I woke up h u n g ry for the first tim e in w eeks.
No more sw im m ing class. No more Baddays and A w fuldays. No more
Tuesdays of the Other June. In the kitchen, I made hot cocoa to go w ith
m y m other’s corn m uffins. “It’s W ednesday, M om ,” I said, stirring the
cocoa. “M y favorite day.”
“Since w hen?”
“Since this m orn ing.” I turn ed on the radio so I could hear the
announcer tell the tim e, the tem perature, and the day.
Thursday for breakfast I made cinnam on toast, Friday m y mother made
iso pancakes, and on Saturday, before we moved, we ate the last slices of
bread and cleaned out the peanut butter jar.
“Some breakfast,” T illy said. “H ello, you m ust be Ju n e.” She shook
m y hand. She was a friend of my mother’s from work; she wore big hoop
earrings, sandals, and a sk irt as d a z z lin g as a rainbow . She cam e
in a truck w ith John to help us move our things.
John shouted cheerfully at me, “So you’re moving.” A n enormous m an
w ith a face covered w ith little brown bum ps. W as he afraid his voice
w ouldn’t travel the distance from his m outh to m y ear? “You looking
212
d a zzlin g (daz'lTng) adj.
beautiful; am azing
dazzle v.
at m y m oles ?’7 he shouted, and he heaved our big green flowered chair
190 down the stairs. “Don’t worry, they don’t bite. H a, ha, h a !” Behind him
came m y mother and T illy balancing a bureau between them, and behind
them I carried a lamp and the round, flowered M exican tray that was m y
mother’s favorite. She had found it at a garage sale and said it was as close
to foreign travel as we w ould ever get. O
The night before, we had loaded our car, stuffing in bags and boxes
until there was barely room for the two o f us. But it was only when we
were in the car, when we drove past A bdo’s Grocery, w here they alw ays
gave us credit ,1 when I turned for a last look at our street— it was only
then that I understood we were tru ly going to live somewhere else, in
200 another apartment, in another place mysteriously called Blue H ill Street.
T illy ’s truck followed our car.
“Oh, I’m so excited,” m y m other said. She laughed. “You’d th in k
we were going across the country.”
O ur old car wheezed up a long steep hill. Blue H ill Street. I looked from
one side to the other, tryin g to see everything.
M y m other drove over the crest o f the h ill. “A nd now— ta d a !— our
new home.”
o
CHARACTERIZATION
W hat does June’s
m other’s attitude about
the tray tell you about
her personality?
1. credit: an agreem ent to tru st in som eone’s ability and intention to pay fo r som ething at a later date.
213
“W h ic h house? W h ich o n e?” I looked out the w in d o w and w h at
I saw was the O ther June. She was sprawled on the stoop of a pink house,
210 lounging back on her elbows, legs outspread, her jaws w orking on a w ad
of gum . I slid down into the seat, but it was too late. I was sure she had
seen me.
M y m other turned into a drivew ay next to a big w hite b u ild in g w ith
a tin y porch. She leaned on the steering w heel. “See that w indow there,
that’s our living-room window. . . and that one over there, th at’s your
bedroom. . . .”
W e went into the house, down a dim , cool hall. In our new apartm ent,
the wooden floors clicked under our shoes, and m y m other showed me
everything. Her voice echoed in the em pty rooms. I followed her around
220 in a daze. H ad I im agined seeing the Other June? M aybe I’d seen another
girl who looked like her. A double. T h at could happen. Q
“Ho yo, where do you w ant this chair?” John appeared in the doorway.
W e brought in boxes and bags and beds and stopped only to eat pizza and
d rink orange juice from the carton.
“June’s so quiet, do you th in k she’ll adjust all righ t?” I heard T illy say
to m y mother.
“Oh, definitely. She’ll m ake a w onderful adjustm ent. She’s just getting
used to things.”
But I thought that if the O ther June lived on the sam e street as I did,
230 I w ould never get used to things.
daze (daz) n. a condition
in w hich one cannot
think clearly
o
VISU ALIZE
W hich details help you
picture w hat it looks like
inside the house and
how it feels to be there?
Record them in your
chart.
T
240
hat night I slept in m y own bed, w ith m y own pillow and blanket,
but w ith floors that creaked in strange voices and w alls w ith cracks
I didn’t recognize. I didn’t feel either happy or unhappy. It was as if I were
w aiting for something.
M onday, when the principal o f Blue H ill Street School left m e in
Mr. M orrisey’s classroom, I knew w hat I’d been w aiting for. In that room
full of strange kids, there was one person I knew. She sm iled her square
smile, raised her hand, and said, “She can sit next to me, M r. M orrisey.”
“Very nice of you, June M . OK, June T, take your seat. I’ll try not
to get you two Junes m ixed up.”
I sat down next to her. She pinched m y arm . “Good riddance to bad
trash,”'she mocked.
I was back in the Tuesday sw im m in g class, o n ly now it was worse,
because every day w ould be Awfulday. T he pinching had already started.
Soon, I knew, on the playground and in the halls, kids w ould pass me,
grin ning. “H iya, Fish Eyes.”
214
UNIT
A N A LYZE VISU ALS
How does this painting
compare with your
mental picture of June’s
new neighborhood?
D etail o f P o trero (2 0 0 5 ), M ichael Shankm an.
O il on canvas, 18" x 72". © 200 5 M ichael
S h an k m an . A ll righ ts reserved.
215
The O ther June followed me around during recess that day, droning
in m y ear, “You are m y slave, you m ust do everything I say, I am your
master, say it, say, ‘Yes, master, you are m y m aster.”’
250
I pressed m y lips together, clapped m y hands over m y ears, but w ithout
hope. W asn’t it only a m atter o f tim e before I said the hateful words?
“H ow was school?” m y mother said that night.
“OK.”
She put a pile of towels in a bureau drawer. “T ry not to be sad about
m issing your old friends, sw eetie; there’ll be new ones.”
T he next m orning, the O ther June was w aitin g for me w hen I left
the house. “D id your m other get you that blouse in the garbage du m p ?”
She butted me, shoving me against a tree. “D on’t you speak anym ore,
Fish Eyes?” G rabbing m y chin in her hands, she pried open m y m outh.
260 “Oh, ha ha, I thought you lost your tongue.”
W e went on to school. I sank down into m y seat, m y head on m y arms.
“June T, are you all right?” M r. M orrisey asked. I nodded. M y head was
alm ost too heavy to lift.
The O ther June went to the pencil sharpener. R ound and round she
whirled the handle. W alking back, looking at me, she held the three sharp
pencils like three little knives.
Someone knocked on the door. M r. M orrisey went out into the hall.
Paper planes burst into the air, flyin g from desk to desk. Someone turned
on a transistor radio. A nd the O ther June, com ing closer, sm iled and
270 licked her lips like a cat sleepily preparing to gulp down a mouse. Q
I remembered m y dream of kicking her, punching, biting her like a dog.
T hen m y m other spoke q u ic k ly in m y ear: Turn the other cheek,
m y Ju n ie; sm ile at the world, and the w orld ’ll surely sm ile back.
But I had turned the other cheek and it w as slapped. I had sm iled
and the world hadn’t smiled back. I couldn’t run home as fast as m y feet
would take me, I had to stay in school— and in school there was the Other
June. Every morning, there would be the Other June, and every afternoon,
and every day, all day, there w ould be the O ther June. Q
She frisked down the aisle, stabbing the pencils in the air toward me. .
280 A boy stood up on his desk and bowed. “M y fans,” he said, “I greet you.”
M y arm twitched and throbbed, as if the Other June’s pencils had already
poked through the skin. She cam e closer, sm iling her Tuesday sm ile.
“No,” I whispered, “no.” The word took wings and flew me to m y feet,
in front of the Other June. “Noooooo.” It flew out of m y m outh into her
surprised face.
T he boy on the desk tu rn ed tow ard us. “You said so m ething, m y
devoted fans ? ”
216
Q
VISUALIZE
How does this
comparison help you
to describe the scene
and the Other June?
Add this inform ation
to your chart.
o
PREDICT
W hat does June’s new
attitude suggest about
w hat m ight happen?
devoted (dT-vo'tTd)
adj. very loyal; faithful
devote v.
D etail o f F ir e a n d I c e (2 0 0 4 ), B rian C a lv in . A cry lic on canvas, 4 8 " x 60". C o u rte sy o f A nton K ern G allery,
N ew York. © B rian C alvin .
“N o,” I said to the O ther Ju n e. “O h, no! No. No. No. No m ore.”
I pushed away the hand that held the pencils.
290 The O ther Ju n e’s eyes opened, popped w ide like the eyes of somebody
in a cartoon. It m ade me laugh. T he boy on the desk laughed, and then
the other kids were laughing, too.
“No,” I said again, because it felt so good to say it. “No, no, no, no.”
I leaned toward the Other June, put m y Finger against her chest. Her cheeks
turned red, she squawked som ething— it sounded like “Eeeraaghyou!”—
and she stepped back. She stepped aw ay from me.
The door banged, the airplanes disappeared, and M r. M orrisey walked
to his desk. “OK. OK. Let’s get back to work. Kevin C lark, how about
it? ” K evin ju m p ed o ff the desk an d M r. M o rrisey picked up a piece
300 o f chalk. “A ll righ t, class— ” H e stopped and looked at me and the
O ther June. “You two Junes, w hat’s going on there?”
I tried it again . M y fin ger ag ain st her chest. T h en the words.
“No— more.” And she stepped back another step. I sat down at m y desk.
“June M ,” M r. M orrisey said.
She turned around, starin g at h im w ith th at big-eyed cartoon look.
A fter a m om ent she sat down at the desk w ith a loud slapping sound.
Even M r. M orrisey laughed.
A nd sitting at m y desk, tw irlin g m y braids, I knew this was the last
Tuesday of the O ther June. c^> Q
© C H A R A C T E R IZ A T IO N
How has June changed
since the beginning of
the story?
217
Connect: Poem
PRIMER
RITA DOVE
In the sixth grade I was chased home by
the G atlin Kids, three skin n y sisters
in rolled-down bobby socks .1 H issing
B rain iac! A nd Mrs. Stringbean!, they trod m y heel.
5 I knew m y body was no big deal
but never thought to retort :2 w ho’s
callin g w ho skinny? (Besides, I knew
they’d beat me up.) I survived
their shoves across the schoolyard
10 because m y five-foot-zero m other drove up
in her C addie 3 to shake them down to size.
N othing could get me into that car.
I took the long w ay home, swore
I’d show them all: I w ould grow up.
1. bobby socks: 1940s and 1950s term for socks reachin g ju st above
the ankle.
2. retort: answ er back in a sharp way.
3 . Caddie: Cadillac, a type o f car.
218
Comprehension
1. Recall W h at is Ju n e ’s m o th e r’s approach to d e a lin g w ith life’s d ifficu lties?
a
ALABAMA
STANDARDS
READING STANDARD
2. Recall W h at u n p le a sa n t d isco ve ry does Ju n e m ake on m o v in g day?
3. Represent Reread lin e s 9 2 - 9 6 . C re ate a w e e k ly c a le n d a r s h o w in g th e
and devices
days o f th e w e e k and Ju n e ’s n ickn a m e fo r each.
Literary Analysis
4. Visualize Look at th e ch a rt you m ade as you read. C h o o se the d etail th a t
is clearest in yo u r m ind and sketch it. Exp la in h o w th e in fo rm a tio n from
yo u r ch a rt helped you to m ake yo u r sketch.
5. Identify Characterization T h in k a b o u t th e
w a ys in w h ic h each o f th e tw o Ju n e s is
described in th e story. Fill in a ch art like the
one sh o w n u sin g e xa m p le s from th e story.
6.
Analyze the Main Character T h in k a b o u t
the typ e o f person Ju n e is. H o w does her
p e rso n a lity a ffe ct th e co u rse o f e ve n ts in
the story? N ote w h e th e r th e p red ictio n s
yo u m ad e a b o u t her a ctio n s w ere correct
and w h e th e r th e y fit her p erso n ality.
June
Other June
Appearance.
Ch ara cters
Thoughts/Actions
Other Characters
Reactions/CoMMents
N a rra to r’s Direct
CoMMents About
Character
7. Evaluate Character Traits A c h a ra c te r’s
tra its are th e q u a litie s sh o w n by th e
ch aracte r. You learn a b o u t a c h a ra c te r th ro u g h h is or her th o u g h ts ,
a ctio n s, a p p e a ra n ce , an d w o rd s. Based on w h a t yo u k n o w a b o u t th e
O th e r Ju n e ’s tra its, d o e s sh e se em like a b e lie v a b le ch a ra cte r? U se
e xa m p le s fro m th e sto ry to su p p o rt yo u r answ er.
8.
Compare Literary Works Reread Rita D o ve ’s poem on p age 218. H o w is th e
speaker, or voice, o f th e poem like Ju n e th e narrator? U se e xa m p le s from
each se lection to su p p o rt yo u r answ er.
9. Readers’ Circle G e t to g e th e r w ith a sm a ll g ro u p an d d is c u ss th e w a y
Ju n e d e a ls w ith th e O th e r Ju n e . D iscu ss th e o th e r w a y s sh e co u ld have
responded, as w e ll as th e w a y her m o th e r m ig h t react to her behavior.
Did Ju n e do th e righ t th in g ?
10. Big Question Activity Look back at the list you created on page 2 0 4 . If a
friend cam e to you now and asked for advice, w ou ld you still give the sam e
suggestion s? If your ideas ab ou t d e a lin g w ith
bullies have ch an ged , update
your list. Explain in w ritin g w h y yo u r ideas have or have not ch an ged .
219
daze
Cho o se th e letter o f th e w ord or phrase you w o u ld a sso ciate
w ith each boldfaced v o cab u lary w ord.
emerald
rigid
dazzling
1. Emerald is a sh ad e o f (a) gray, (b) blue, (c) green.
2. A person in a daze is (a) excited , (b) co nfu se d , (c) good
torment
devoted
at sports.
3.
4.
5.
6.
(a) An enem y, (b) A vacatio n , (c) A prize m ig h t
torment you.
rigid fla gp o le (a) sw ays in the w in d , (b) does not m ove, (c) fa lls over.
A dazzling lig h t is (a) dim , (b) harsh, (c) b righ t.
Som eon e w h o is devoted to you is (a) very fond o f you, (b) co nfu se d by
The
yo u r d ecisio n s, (c) u n w illin g to stick up for you.
Did you e xp e c t th e O th e r Ju n e to react th e w a y sh e did at th e end o f th e
story? W rite a p a ra g ra p h e x p la in in g y o u r o p in io n , u s in g tw o or m ore
v o ca b u la ry w o rd s. Here is a sa m p le o f h o w you m ig h t begin.
Peop/e who iorM&ni oihers are often cowards.
V O C A B U LA R Y STRATEGY: FIG U R A TIV E LA N G U A G E IN C O N T E X T
Figurative language is la n g u a g e used to exp ress ideas in an im a g in a tiv e
way. O ften, one idea or th in g is b e in g co m p ared to another. In th is story,
a c h a ra c te r’s sk irt is said to be “as d a z z lin g as a rain b o w .” T h is fig u ra tiv e
co m p a riso n h elp s you see th e sk irt in a n ew and in te re s tin g w ay. A t th e
a
ALABAM A
STANDARDS
READING STANDARD
l.b Using context clues to
determine meaning
sam e tim e , t h in k in g o f th e q u a litie s o f a ra in b o w — its b rig h tn e ss and
b e a u ty — can help you u n d e rsta n d w h a t th e w ord dazzling m e a n s. The
com pariso n provides context clues to help you interpret th e m e a n in g o f an
u n kn o w n w ord.
PRACTICE Explain the com parison b ein g m ade in each sentence. Then w rite
a d e fin itio n fo r each boldfaced w ord.
1.
2.
3.
4.
220
pugnacious as a boxer preparing for a ch am p io n sh ip bout.
His d o g w as as recalcitrant as a ch ild w h o refused to go to sleep.
The three y o u n g children w ere loquacious, like ch a tte rin g m onkeys.
T h a t vo lcan o is as dormant as a h ib e rn a tin g bear.
Jerem y w as as
UNIT
V O CA BU LA R Y
P R A C T IC E
at ClassZone.com.
a
SKILLS PRACTICE
D eepen y o u r u n d e rsta n d in g o f “T u e sd ay o f th e O th e r Ju n e ” by re sp o n d in g to
these prom pts. Then co m p lete th e
W R ITIN G PROM PTS
SELF-CHECK
A. Short Response: Analyze the Message
A good letter w ill. . .
June seem s to be unable to tell her m other
about the bullying she is experiencing. W rite a
one-paragraph letter th at June m igh t w rite to
• contain informal lan
guage that reflects their
close relationship
her mother explaining w hat has been happening
to her.
• include specific details
from the story
B. Extended Response: Write a Description
A strong description w ill..
“Tuesday o f the O ther June” focuses on the
• state specific words,
thoughts, and actions of
the character
main character’s feelings o f helplessness and
anxiety. Im agine how June m ight feel after
finally standing up to the O ther June. W rite two
or three paragraphs describing June’s thoughts,
• match w hat is already
known about June’s
character traits
feelings, and actions after the encounter.
USE C O R R ECT VERB TENSE V erb te n se s are used to s h o w th a t e ve n ts or
past tense is used fo r an event or actio n
th a t has alread y occurred. T h e present tense is used fo r an event or action
th a t occurs in th e m o m e n t or regularly. T h e future tense is used to refer to
a ctio n s occur at ce rtain tim e s. The
a
ALABAM A
STANDARDS
12
Apply grammar conventions with
consistent verb tense
an event or action th a t has not yet occurred. W hen you w rite, it is im p o rtan t
to use th e correct te n se and not sw itch it in ap p ro priately.
Original:
Revised:
W h en th e m o th e r w e n t to w ork, she th in k s a b o u t June.
W h en th e m o th e r w e n t to w ork, she th o u g h t a b o u t June.
(The second part o f the sentence needs a past tense verb.)
PRACTICE C h o o se th e correct verb te n se to co m p lete each sentence.
1. Ju n e w a ke s up every n ig h t w o rry in g a b o u t robbers, but in th e m o rn in g
she and her m o th e r (sin g , sa n g ) to geth er.
2 . Ju n e dreaded T uesd ays becau se she (has, had) to go to sw im m in g class.
3 . A s her m o th e r (drives, drove) over th e hill, Ju n e sees th e O th e r June.
4 . Jun e w ill m eet up w ith th e O th e r Ju n e soon, and she (h an d les, w ill
handle) the situ a tio n differently.
Fo r
m o r e h elp w it h v e r b t e n s e s , see pa g e
R56 i n
the
G ra m m a r H andbook.
221
Reading for The Problem with Bullies
Information I F e a t u r e A r t i c l e
W hat’s the Connection?
In the sh o rt sto ry you ju s t read, a y o u n g girl becom es th e ta rg e t o f a
bully. In the
feature article you are a b o u t to read, Sean Price take s a
closer look at the problem o f b u llyin g.
Skill Focus: Take Notes
Use with "Tuesday of the
Other June,” page 206.
W hen you
take notes, you record the m o st im p o rta n t in fo rm atio n
from w h a te ve r you are reading. You m ig h t record th is in fo rm atio n in
a grap h ic o rgan ize r or in a sim p le ou tlin e. T h e choice is up to you.
How ever, be sure to pick a fo rm a t you can refer back to easily.
a
ALABAMA
STANDARDS
RESEARCH/INOUIRY STANDARDS
14.a Taking n o te s to g ath er,
su m m arize in fo rm atio n
14.b D e term in in g d e ta ils th ro u g h
q u e stio n in g
Previewing the article — lo o kin g at its title , su b h e ad in gs, to p ic
sentences, and grap h ic aid s— can help you decide on a fo rm at. For
e xam p le , by p re vie w in g “The Problem w ith Bullies,” you can see th a t
this featu re article covers the fo llo w in g in fo rm atio n :
• sta tistics a b o u t b u llyin g
• form s o f b u llyin g
• the roots o f b u llyin g
• the e ffe cts o f b u llyin g
• the sto p p in g bullies
In preparation fo r ta k in g notes on th e se su b to p ics, you m ig h t set up a
grap h ic o rgan ize r like th e one sh ow n .
222
(F)ocus
f
ON
fo rm
"The Problem with
Bullies” is a feature
article, a nonfiction
article found in
a newspaper or
magazine. It gives
readers ideas and
inform ation about a
high-interest topic.
The PROBLEM with
BULLIES
by Sean Price
B
y sixth grade, Karen had experienced her share of hardships. She
had just been adopted by a family in Chattanooga, Tennessee,
after spending six years in foster care. Naturally shy and quiet, Karen
also struggled with a slight speech impediment .1 She had only one
good friend.
1. speech im pedim ent: a physical condition that m akes it difficu lt for a person to speak clearly.
READING FOR INF O RM AT IO N
223
o
FE A T U R E ARTICLE
Reread lines 15-19.
Then reread the Focus
on Form on page 223.
W hat makes bullying a
good topic for a feature
article? Explain.
o
TAKE NOTES
In the appropriate
section of your graphic
organizer, restate the
information in lines
2 0 -2 2 . Keep in mind
that this study does
not prove that being a
bully causes a person to
become a crim inal.
All this made Karen (not her real name) an easy target for a bully.
Her tormentor,2 a popular girl at school, loved to taunt Karen about the
way she spoke and about her home life.
“She made fun of the fact that I was a foster kid and that my mother
10 didn’t take care of me,” says Karen.
Sometimes the abuse was physical. The bully might shove Karen or
throw one of her shoes in the toilet. Even after the other girl received
several suspensions and detentions for her bullying, she refused to give
Karen a break.
Millions of U.S. teens understand what Karen went through. A study
by the National Institute of Children’s Health and Human Development
found that more than 16 percent of students in grades 6 -12 say that
they have been bullied. Nineteen percent said that they had been
bullies themselves. ©
20
It’s not just the victims who are hurt by bullying. Another study found
that 60 percent of the bullies in grades 6 -9 will be convicted of a
criminal act by age 24! 0
At one time, bullying was considered just a natural part of growing
up. Today, authorities see it as a serious health crisis. It is estimated
that bullying keeps 160,000 kids out of school each day.
What Is Bullying?
Bullying takes many forms: gossip, snubbing, put-downs, threats,
and violent attacks. Its roots lie in the difference of power between
the bullies and their victims. Bullies tend to be confident, impulsive,
30 and popular. Victims tend to be withdrawn and have few friends.
Many bullies come from homes where they are neglected or abused.
Bullying allows them to exercise power that’s denied to them at
home.
Boys and girls bully differently. Boys tend to use threats and physical
violence. Girl bullies rely more on backbiting (cruel comments), social
exclusion, and spreading false rumors. Cyberbullying, a newer form of
harassment, allows bullies to humiliate3 their peers with e-mail and blog
postings.
2. torm entor: a person w ho is the source o f harrassm ent, annoyance, or pain.
3 . hum iliate: to lower the pride, dignity, or self-respect o f another.
224
UNIT
For victims, being bullied damages self-esteem. Bullying expert
40 Marlene Snyder says that fear of bullies also makes class time much
more trying for the victims. “They’re sitting there trying to survive, not
being able to really learn,” she says.
Karen’s frequent complaints about the bullying finally brought her
some relief. She and her tormentor were given separate class
schedules for eighth grade.
Karen believes the other girl may have been threatened with
expulsion. Whatever happened, the bully now ignores Karen. Life is
easier to handle. And yet the bullying has left its mark.
“School’s still stressful,” Karen says. “I’m always on the watch to
50 see who’s coming toward me.” Q
Q TA KE N O TES
In your graphic
organizer, note the
effects of bullying that
are included in this
section.
R E A D IN G FOR IN F O R M A T IO N
225
Stopping Bullies
0
TA KE N OTES
W hat inform ation does
this section provide
about stopping bullies?
Take notes in your
graphic organizer.
In recent years, many schools have implemented4 effective antibullying
programs. Denny Middle School in Seattle, Washington, launched such
a program recently. Already there have been signs of progress. Craig
Little, a student, saw a new student being taunted by a group of fellow
seventh-graders. The lead bully wouldn’t let the boy pass.
Instead of standing by, Craig acted. He said, “You guys leave him
alone, and let him go.” Craig then escorted the boy away from the
group. The lead bully and the new student have since made up. “I talked
6o to both of them [later], and they’re all right with each other,” Craig said.
“They’re kind of becoming friends.” 0
4 . im plem ented: put into effe ct or carried out.
226
Comprehension
1. Recall H o w m any stu d en ts do au th orities estim ate are out o f school each
day because o f bullying?
2. Summarize B rie fly d e scrib e w h a t h ap p e n e d to K aren and h o w the
problem w as resolved.
Critical Analysis
3. Improve Your Notes H o w m ig h t you use th e to p ic se n te n ce in line 34 to
help you o rgan ize yo u r notes? Explain w h a t you w ould add to yo u r grap hic
o rgan izer and w h ere you w ou ld add it.
4. Evaluate a Feature Article A stro n g fe atu re article exp lo res a to p ic o f high
interest and p resents new ideas or useful in fo rm atio n ab o u t th e topic. In
yo u r opinion, is th is featu re article strong? Explain.
Read for Information: Develop Research Questions
a
ALABAMA
STANDARDS
RESEARCH/INOUIRY STANDARDS
W RITING PROMPT
14 .a Taking n o te s to gather,
s u m m a riz e inform ation
Choose one o f the fo llo w in g bulleted topics. Then develop a short list
of research questions to learn more about it.
• statistics about bullying
• form s of bullying
• roots o f bullying
14 .b D e term ining d e ta ils th ro u g h
q u e stio n in g
• effects of bullying
• stopping bullies
Research questions are q uestions ab ou t a top ic th a t really can ’t be answ ered
w ith ju s t a ye s or a no. F o llo w th e se step s to help you se le ct y o u r to p ic and
develo p research q u e stio n s a b o u t it.
1. Review yo u r notes ab ou t each top ic. U sin g
a d iffe re n t co lo r ink, add a n y th in g else yo u
a lre a d y kn o w a b o u t th e to p ic th a t yo u th in k
is im p o rta n t or useful.
2. Choose the topic that interests you m ost, and
w rite it at the top o f a piece o f paper.
3. Below your topic, w rite the w ords Who, What,
When, Where, Why, and How in a colum n.
N ext to each, w rite the questions about your
topic that begin w ith th at w ord. Circle those
that you are m ost interested in answ ering.
4. If tim e allow s, use the q u estion s y o u ’ve
developed to research your topic.
READING FOR INF O RM A TIO N
227
President Cleveland, Where Are You?
Comparing
Characters
S h o rt S to ry by R o b e rt C o rm ie r
Aaron’s Gift
S h o rt S to ry by M yron Levo y
What would you do fo r
your FA M I LY ?
a
ALABAM A
STANDARDS
KEY IDEA T h e w ord fa m ily m ean s d iffe re n t th in g s to
J
READING STANDARDS
d iffe re n t people. It m ig h t m ean parents, sib lin gs, cousins,
or gra n d p a re n ts. It can also m ean close, tru ste d frie n d s.
A lth o u g h you m ay not a lw a ys u n d e rstan d or agree w ith
1 Apply strateg ies, including
in te rp retin g c h aracters an d
c o m p a rin g /c o n tra stin g
the people you call fam ily, you are there fo r th e m in tim e s
o f need, and th e y are th e re fo r y o u . In each o f th e tw o
2 Interpret literary e le m en ts
and devices
stories you are a b o u t to read, a boy does so m e th in g nice
fo r so m e o n e in his fam ily.
QUICKWRITE T h in k o f a tim e w h e n you h elped so m e o n e
through a hard tim e or w hen som eone did so m e th in g special
fo r you . W rite a fe w se n ten ces a b o u t th a t experience.
C c u jp O h f S
<ôo•
1 -7%,-s
Covpor\ jS
Co a pan fs
Author On|ine
• LITERA RY A N A LY S IS : CH A R A CTER
A good sh o rt sto ry has b elievab le ch aracte rs. U su ally the
sto ry fo cu ses on one or tw o
main characters. W e observe
a character’s traits, or qualities, in a story in the sam e w ays
w e observe som eone’s traits in life. We com e to understand
a sto ry ’s ch aracters th rou gh
• w h a t th e y say, th in k, and do
• the co n flicts th e y face
• the choices th e y m ake and the actio n s th e y take
In th e sto rie s yo u are a b o u t to read, pay a tte n tio n to th e
traits, problem s, and actions o f each o f the m ain characters.
%
READ IN G STRATEGY: SET A PU RPO SE FOR REA D IN G
W hen you
set a purpose for reading, you d e te rm in e yo u r
reasons fo r re ad in g one or m ore w o rks. You r p u rp o se fo r
reading the fo llo w in g tw o sto rie s is to fin d th e sim ila ritie s
and d iffe re n ce s b e tw e e n th e ir m ain ch a ra cte rs. A fte r
reading the firs t story, begin fillin g in th e chart.
3err\j
Aaron
W hat are the characters
tra iis?
W hat problems dots he.
\
W hat choices does he Make?
Robert Cormier:
Young Poet
R o b e rt C o rm ie r
w as p ublished for
th e fir s t tim e at
a g e 12, w h e n a
local paper printed
som e o f his poem s.
C o rm ie r later
w ro te fo r a
Robert Cormier
n ew sp ap e r before
1925-2000
b e c o m in g on e o f
th e firs t w rite rs to create literature
fo r y o u n g ad u lt readers.
Myron Levoy:
Inspired Writer
W h ile w o rk in g
at th e N e w Yo rk
Public Library w hen
he w as 16, M yron
Levoy cam e across
an e x h ib it o f th e
o rig in a l h a n d
w ritte n poem s o f
Ed w in A rlin g to n
n
Myron Levoy
bo rn ’ 9 3 °
Ro b in so n . U pon
se e in g “M in iv e r C h e e vy,” w h ich he
Review :
Connect
I •
II
had ju s t stu d ie d in sch o o l, he kn e w
in stan tly th at he w anted to be a writer.
Corm ier and Levoy use the listed w ords to help tell the stories
o f tw o boys. To see w hich w ords you already know, fill in the
M ORE A BO U T THE AU TH O R
For more on Robert Cormier and
Myron Levoy, visit the Literature
chart. Then w rite a sentence u sin g each w ord you know.
WORD
allot
frenzied
skirm ish
LIST
assassinate
incred ulous
sta lem ate
contem p t
m assacre
d ivulge
obsess
Know W ell
''
Think 1 Know
Don't Know
j
229
P R E SID E N T
CL
;
)
WHERE ARE YOU?
- ROBERT CORMIER -
hat was the autum n of the cow boy cards— Buck Jones and Tom
Tyler and H oot Gibson and especially Ken M a yn ard .1 T h e cards
were available in those five-cent packages o f gu m : p in k sticks, three
together, covered w ith a sweet w hite powder. You couldn’t blow bubbles
w ith that particular gum , but it couldn’t have m attered less. T he cowboy
cards were im portant— the pictures o f those rock-faced m en w ith eyes
of blue steel. Q
On those w ind-sw ept, leaf-tum bling afternoons, we gathered after
school on the sidew alk in front o f L em ire’s D rugstore, across from
10 St. Jude’s Parochial School, and we swapped and bargained and matched
for the cards. Because a Ken M ayn ard serial 2 was playing at the Globe
every Saturday afternoon, he was the most popular cowboy o f all, and
one of his cards was worth at least ten of any other kind. Rollie Trem aine
had a treasure of th irty or so, and he guarded them jealously. H e’d match
you for the other cards, but he risked his Ken M ayn ards on ly w hen the
other kids threatened to leave him out of the com petition altogether.
You could almost hate Rollie Tremaine. In the first place, he was the only
son of Auguste Tremaine, who operated the Uptown D ry Goods Store, and
he did not live in a tenement but in a big white birthday cake of a house on
20 Laurel Street. He was too fat to be effective in the football gam es between
T
1. Buck Jones . . . Kent M aynard: w ell-know n m ovie cowboys w ho developed their skills in rodeos
and W ild W est show s or as stuntm en.
2. serial (sTr'e-al): a m ovie appearing in w eekly parts.
230
o
C H A R A C TE R
Reread lines 1-7.
W hat do you learn
about the narrator?
A N A LYZ E V ISU A LS
Examine the photograph.
W hat can you infer
about the boys?
Comparing Characters
the Frenchtown Tigers and the North Side Knights, and he made
us constantly aware of the jingle of coins in his pockets. Fie was able
to stroll into Lemire’s and casually select a quarter’s worth of cowboy
cards while the rest of us watched, aching w ith envy.
Once in a w hile I earned a nickel or dim e by ru n n in g errands
or w ashing w indow s for blind old M rs. Belander, or by fin d in g
pieces of copper, brass, and other valuable m etals at the dum p and
sellin g them to the ju n k m an . T he coins clutched in m y hand,
I w ould race to Lem ire’s to buy a cowboy card or two, hoping that
30 Ken M ayn ard w ould stare boldly out at me as I opened the pack.
A t one time, before a disastrous m atching session w ith Roger Lussier
(m y best friend, except where the cards were involved), I ow ned five
Ken M aynards and considered m yself a m illionaire, of sorts.
One week I was particularly lucky; I had spent two afternoons washing
floors for M rs. Belander and received a quarter. Because m y father had
worked a full week at the shop, where a rush order for fancy combs had been
received, he allo tted m y brothers and sisters and me an extra dim e along
w ith the usual ten cents for the Saturday-afternoon movie. Setting aside
the movie fare, I found m yself w ith a bonus of thirty-five cents, and I then
40 planned to put Rollie Tremaine to shame the following M onday afternoon.
M onday was the best day to bu y the cards because the can d y m an
stopped at Lemire’s every M onday morning to deliver the new assortments.
There was nothing more exciting in the world than a fresh batch o f card
boxes. I rushed home from school that day and hurriedly changed m y
clothes, eager to set off for the store. As I burst through the doorway, letting
the screen door slam behind me, m y brother A rm and blocked m y way. Q
H e w as fourteen, three years older th an I, and a freshm an at
M onum ent H igh School. He had recen tly becom e a stranger to me
in m any w ays— indifferent to such m atters as cow boy cards and the
50 Frenchtown Tigers— and he carried h im self w ith a m ysterious d ig n ity
that was fractured now and then w hen his voice began shooting off
in all directions like some kin d o f vocal firew orks .3
“W ait a m inute, Jerry,” he said. “I w ant to talk to you.” He m otioned
me out o f earshot of m y m other, who was busy supervising the usual
after-school sk irm ish in the kitchen.
I sighed w ith im patience. In recent m onths A rm an d had become
a figu re o f authority, sid in g w ith m y father and m other occasionally.
As the oldest son, he sometimes took advantage of his age and experience
to issue rules and regulations. Q
3 . his voice . . . vocal firew orks: Because A rm and’s voice is changing, its pitch varies unexpectedly from
high to low.
232
allo t (8-lot') v. to parcel
out; distribute
CONNECT
Think about a tim e
when you were looking
forward to something.
W hy do you think the
narrator is so excited
about the new cards?
skirm ish (skur'm Tsh) n. a
m inor battle or conflict
C H A R A C TE R
Reread lines 4 7-59 .
W hat does his attitude
toward Arm and tell you
about Jerry?
60
“How much m oney have you go t?” he whispered.
“You in some kin d o f trouble?” I asked, excitem ent risin g in me as
I remembered the blackm ail plot of a movie at the Globe a m onth before.
He shook his head in annoyance. “Look,” he said, “it’s Pa’s b irth d ay
tomorrow. I th in k we ought to chip in and buy him som ething . . .”
I reached into m y pocket and caressed the coins. “H ere,” I said
carefully, p u llin g out a nickel. “If we all give a nickel, we should have
enough to buy him som ething pretty nice.”
He regarded me w ith contempt. “R ita already gave me fifteen cents,
and I’m throw ing in a quarter. A lbert handed over a dim e— all th at’s left
70 of his birthday money. Is that all you can do— a n ickel?”
“Aw, come on,” I protested. “I haven’t got a single Ken M ayn ard left,
and I was going to buy some cards this afternoon.”
“Ken M a yn ard !” he snorted. “W h o ’s more im portant— him or your
father?”
His question was unfair because he knew that there was no possible
choice— “m y father” had to be the only answer. M y father w as a huge
m an who believed in the things of the spirit. . . . He had worked at the
M onument Comb Shop since the age of fourteen; his booming laugh— or
grum ble— greeted us each n igh t w hen he returned from the factory,
so A steady worker when the shop had enough work, he quickened w ith gaiety
on Friday nights and w eekends . . . and he w as fond o f m ak in g long
speeches about the good things in life. In the m iddle of the Depression ,4
for instance, he p aid cash for a piano, o f a ll th in g s, and in sisted th at
m y tw in sisters, Yolande and Yvette, take lessons once a w eek.
I took a dim e from m y pocket and handed it to A rm and.
“T h anks, Jerry,” he said. “I hate to take your last cent.”
“T h at’s all right,” I replied, turning away and consoling m yself w ith the
thought that tw enty cents was better than nothing at all.
contem pt (ksn-tem pt') n.
the feeling produced by
som ething disgraceful
or worthless; scorn
hen I arrived at Lem ire’s, I sensed disaster in the air. Roger Lussier
was kick in g disconsolately at a tin can in the gutter, and R ollie
Trem aine sat sullen ly on the steps in front o f the store.
“Save your m oney,” Roger said. H e had know n about m y plans
to splurge on the cards.
“W h at’s the m atter?” I asked.
“There’s no more cowboy cards,” Rollie Trem aine said. “The com pany’s
not m aking any more.”
4. D epression: During the 1 9 3 0 s, the United States suffered an econom ic crisis known as the Great
Depression. Banks and businesses all over the country were forced to close, and poverty and
unem ploym ent were widespread.
PRE SID EN T CLEVE LAND , W H E R E ARE YOU?
233
“T h ey’re going to have President cards,”
Roger said, his face tw istin g w ith disgust.
He pointed to the store window. “L oo k!”
100 A placard in the w indow an nounced:
“Attention, Boys. W atch for the N ew Series.
Presidents of the United States. Free in Each
5 -C ent Package of C aram el Chew.”
“President card s?” I asked, dism ayed.
I read on: “C ollect a C om plete Set and
Receive an O fficial Im itation M ajor League
Baseball Glove, Embossed with Lefty Grove’s5
Autograph.”
Glove or no glove, who could become
no excited about Presidents, o f all things?
R ollie T rem aine stared at the sign.
“Benjam in Harrison, for crying out loud,” he
said. “W h y w ould I w ant Benjam in H arrison
when I’ve got tw enty-tw o Ken M ayn ard s?”
I felt the w arm th o f g u ilt creep over me.
W h ela n ’s D r u g S tore, 4 4 th S tr e e t a n d E igh th A ven u e, M a n h a tta n
I jingled the coins in m y pocket, but the sound
(F ebru ary 7, 1936), Berenice Abbott.
was hollow. No more Ken M aynards to buy.
“I’m going to buy a M r. Goodbar,” Rollie
Trem aine decided.
120 I was w itho ut appetite, indifferent even to a B aby R uth,
w hich was m y favorite. I thought of how I had betrayed A rm an d
and, worst o f all, m y father.
“I’ ll see you after supper,” I called over m y shoulder to Roger
as I hurried away toward home. 1 took the shortcut behind the church
although it involved leaping over a ta ll wooden fence, and I zigzagged
recklessly through M r. T hibodeau’s garden, tryin g to outrace m y guilt.
I pounded up the steps and into the house, only to learn that A rm and had
already taken Yolande and Yvette uptown to shop for the birthday present.
© CH ARACTER
I pedaled m y bike furiously through the streets, ignoring the indignant
Jerry is suddenly
130 horns of automobiles as I sliced through the traffic. Finally I saw A rm and
concerned about finding
and m y sisters emerge from the M onum ent M en’s Shop. M y heart sank
his brother. W hy is he
when I spied the long, slim package that A rm and was holding. ©
feeling this way?
“D id you buy the present yet?” I asked, although I knew it was too late.
“Just now. A blue tie,” A rm and said. “W h a t’s the m atter?”
“N othing,” I replied, m y chest hurting.
5 . Lefty G rove’s: belonging to Lefty Grove, a Hall o f Fame pitcher for the Philadelphia A’s (Athletics)
and the Boston Red Sox between 1925 and 1941.
234
He looked at me for a long m om ent. A t first his eyes w ere hard,
but then th ey softened. H e sm iled at m e, alm ost sadly, an d touched
m y arm . I turned aw ay from him because I felt naked and exposed.
“It’s all righ t,” he said gently. “M ayb e yo u ’ve learned so m eth in g.”
140 T he words were gentle, but th ey held a curious d ig n ity, the d ig n ity
rem aining even when his voice suddenly cracked on the last syllable.
I w ondered w hat w as h appenin g to m e, because I d id not know
w hether to laugh or cry.
S
ister A n gela w as am azed w hen, a w eek before C h ristm as vacation,
everybody in the class subm itted a h isto ry essay w o rth y o f a h igh
m ark— in some cases as high as A minus. (Sister A ngela did not believe that
anyone in the world ever deserved an A.) She never learned— or at least she
never let on that she knew — we all had become experts on the Presidents
because of the cards we purchased at Lemire’s. Each card contained a picture
150 of a President and, on the reverse side, a sum m ary of his career. W e looked
at those cards so often that the biographies im printed themselves on our
minds w ithout effort. Even our street-corner conversations were filled w ith
such information as the fact that James M adison was called “The Father of
the Constitution,” or that John Adam s had intended to become a m inister.
The President cards were a roaring success, and the cowboy cards were
q uickly forgotten. In the first place, we did not receive gum w ith the
cards, but a kin d o f chew y caram el. T he caram el could be tucked into
a corner o f your m outh, b u lgin g your cheek in m uch the sam e m anner
as wads of tobacco bulged the mouths of baseball stars. In the second place,
160 the com petition for collecting the cards was fierce and frustrating— fierce
because everyone was intent on being the first to send aw ay for a baseball
glove and fru stratin g because alth o u gh there w ere o n ly th irty-tw o
Presidents, including F ranklin D elano Roosevelt,6 the variety at Lem ire’s
was at a m inim um . W h en the deliverym an left the boxes of cards at the
store each M onday, we often discovered that one entire box was devoted
to a single President— two weeks in a row the boxes contained nothing
but Abraham Lincolns. One w eek Roger Lussier and I were the heroes of
Frenchtown. W e journeyed on our bicycles to the N orth Side, engaged
three boys in a m atching bout, and returned w ith five new Presidents,
170 in cluding C hester A lan A rth ur, who up to that tim e had been m issing.
Perhaps to sharpen our desire, the card com pany sent a sample glove to
Mr. Lemire, and it dangled, orange and sleek, in the window. I was h alf sick
w ith longing, thinking of m y old glove at home, which I had inherited from
6. Franklin Delano Roosevelt: president o f the United States from 1933 to 1945; president at the tim e
o f this story.
PRE SID EN T C LEV EL AND , W H E R E ARE YOU?
235
Arm and. But Rollie Trem aine’s desire for the glove outdistanced m y own.
He even got M r. Lem ire to agree to give the glove in the w indow to the
first person to get a complete set of cards, so that precious tim e w ouldn’t
be wasted w aiting for the postm an. ©
W e were delighted at R ollie T rem aine’s frustration, especially since
he was only a substitute player for the Tigers. O nce, after spending fifty
iso cents on cards— all of w hich tu rn ed out to be C alv in C o o lid ge— he
threw them to the ground, p u lled some d ollar b ills out o f his pocket,
and said, “T he heck w ith it. I’m going to buy a glove!”
“Not that glove,” Roger Lussier said. “Not a glove w ith L efty Grove’s
autograph. Look w hat it says at the bottom o f the sign.”
W e all looked, although we knew the words by heart: “T h is Glove
Is Not For Sale A nyw here.”
R ollie T rem aine scram bled to pick up the cards from the sidew alk,
po uting more th an ever. A fter th at he w as q u ie tly obsessed w ith the
Presidents, hugging the cards close to his chest and refusing to tell us how
190 m any more he needed to complete his set. Q
I too was obsessed w ith the cards, because th ey had become things
of comfort in a world that had suddenly grown dism al. After C hristm as,
a layoff at the shop had thrown m y father out of work. He received no
paycheck for four weeks, and the only income we had was from A rm an d’s
after-school job at the Blue and W h ite G rocery Store— a job he lost
fin ally when business dw indled as the layo ff continued.
A lthough we had enough food and cloth in g— m y father’s credit had
alw ays been good, a m atter o f pride w ith him — the in ac tiv ity m ade m y
father restless and irritable. . . . The twins fell sick and went to the hospital to
200 have their tonsils removed. M y father was confident that he would return to
work eventually and pay off his debts, but he seemed to age before our eyes.
W
hen orders again were received at the comb shop and he returned
to work, another disaster occurred, although I was the only one
aware of it. A rm and fell in love.
I discovered his situation by accident, w hen I happened to pick up
a piece of paper that had fallen to the floor in the bedroom he and I shared.
I frowned at the paper, puzzled.
“D ear Sally, W h en I look into your eyes the w orld stands still . . .”
T he letter w as snatched from m y hands before I fin ish ed read in g it.
210 “W h a t’s the big idea, snooping aro u n d ?” A rm an d asked, his face
crimson. “C an ’t a g u y have an y privacy?”
236
© CH ARACTER
W hat do you learn
about Jerry through
his thoughts about
the glove?
obsess (e b -s e s') v.
to occupy the mind of
Q CO N NECT
Think about a tim e when
you were com peting for
so m ethingyou really
wanted. In w hat way
does that experience
help you understand
how Jerry and his friends
are feeling?
H ow does this
photograph com pare
w ith your m ental picture
o f Jerry and his friends?
H e had never m en tio n ed p riv acy before. “It w as on th e floor,” I said .
“I d id n ’t kn o w it w as a letter. W h o ’s S a lly ? ”
H e flu n g h im se lf across the bed. “You tell an yb o d y an d I’ll m u ck alize
yo u,” he threatened. “S a lly K now lton.”
N obody in Frenchtow n h ad a n am e lik e K now lton.
“A girl from the N o rth S id e ?” I asked, incredulous.
H e rolled over an d faced m e, anger in his eyes, and a k in d o f despair, too.
“W h a t’s the m atter w ith that? T h in k she’s too good for m e ? ” he asked.
220 “I’m w arn in g yo u , Jerry, if yo u tell an yb o d y . . .”
“D on’t w orry,” I said. Love had no p a rtic u la r place in m y life; it seem ed
an u n n e ce ssary w aste o f tim e . A n d a g irl from th e N o rth S id e w as so
rem ote th at for a ll p ractical purposes she d id not exist. B ut I w as curio us.
“W h a t are yo u w ritin g her a letter for? D id she leave tow n or so m eth in g ?”
“She hasn’t left tow n ,” he answ ered. “I w asn ’t go in g to send it. I ju st felt
lik e w ritin g to her.”
I was glad th at I had never becom e involved w ith love— love th at brought
desperation to yo u r eyes, th at caused yo u to w rite letters yo u d id not p lan
to send. S h ru gg in g w ith indifference, I began to search in the closet for the
230 old baseball glove. I found it on the shelf, u n d er som e old sneakers. T h e
w ebbing w as torn an d the p ad d in g gone. I th o ugh t o f the stin g I w o u ld feel
when a sharp grounder slapped into the glove, and I w inced.
incredulous
(Tn -krej's-les) adj.
unbelieving
P R E S I D E N T C L E V E L A N D , W H E R E A R E YOU ?
237
“You tell an y b o d y abo ut m e an d S a lly an d I’ll— ”
“I know . You’ll m u ck aliz e m e.”
I d id not divulge h is secret an d often sh ared h is agon y, p a r tic u la r ly
w hen he sat at the supper table and left m y m other’s special butterscotch pie
untouched. I had never realized before how terrible love co uld be. B ut m y
compassion was short-lived, because I had other thin gs to w o rry about: report
cards due at E astertim e; the loss o f incom e from old M rs. Belander, w ho had
240 gone to live w ith a daughter in Boston; and, o f course, the Presidents. 0
Because a stalemate h ad been reached, the President cards were the
dom inant force in our lives— m ine, Roger Lussier’s an d R ollie T rem ain e’s.
For three weeks, as the baseball season approached, each o f us had a com plete
set— com plete except for one President, Grover C leveland. Each tim e a box
o f cards arrived at the store, w e h u rrie d ly bo u gh t th em (as h u rrie d ly as our
funds allow ed) and tore o ff the w rapp ers, o n ly to be co nfronted b y Jam es
M onroe or M a rtin Van Buren or som eone else. B ut never Grover C leveland,
never th e m an w h o h ad been the tw en ty-seco n d an d th e tw e n ty-fo u rth
President o f the U nited States. W e argu ed about Grover C levelan d . Should
250 he be placed betw een C hester A lan A rth u r and B enjam in H arriso n as the
tw enty-second President, or did he belong betw een B enjam in H arrison and
W illia m M cK in ley as the tw enty-fourth President? W as the card co m pany
p laying fair? Roger Lussier brought up a h o rrifyin g possibility— d id w e need
two Grover Clevelands to com plete the set?
In d ign an t, w e storm ed L em ire’s an d protested to the harassed
storeowner, w ho had long since vowed never to stock a new series.
M u tterin g angrily, he searched his bills an d receipts for a list
o f rules.
“A ll righ t,” he ann oun ced . “Says here yo u o n ly need one
260 G rover C levelan d to fin ish the set. N ow get out, a ll o f yo u,
unless yo u’ve got m on ey to spend.”
O u tsid e th e store, R o llie T rem ain e p icked up an em p ty
tobacco tin and scaled it across the street. “Boy,” he said. “I’d
give five dollars for a Grover C lev elan d .”
W h e n I re tu rn ed hom e, I fo u n d A rm an d s ittin g on the
piazza 7 steps, his ch in in his h an d s. H is m o od o f d ejectio n
m irrored m y ow n, an d I sat dow n beside h im . W e d id not say
an y th in g for a w h ile.
“W an t to th ro w the b all a ro u n d ?” I asked.
270 H e sighed, not b o th erin g to answ er.
“You sick ?” I asked.
7. pia zza (pe-az's): a porch or balcony, usually with a roof.
238
d iv u lg e (dT-vulj') v.
to reveal, especially
so m e th ing private or
secret
CH ARACTER
H ow does Jerry feel
about Arm and and his
troubles?
stalem ate (stal'm at') n.
a situation in w hich no
one playing a gam e is
able to win
H e stood up an d h itch ed up his trousers, p u lled at h is ear, an d finallytold m e w hat the m atter w as— there w as a big dance next w eek at th e h ig h
school, the S p rin g P rom enade, an d S a lly h ad asked h im to be her escort.
I shook m y head at the fo lly o f love. “W ell, w h a t’s so bad abo ut th a t? ”
“H ow can I take S a lly to a fan cy d an c e ?” he asked desperately. “I’d have
to b u y her a corsage . . . A n d m y shoes are p ra c tic a lly fa llin g ap art. Pa’s got
too m an y w orries now to b u y m e new shoes or give m e m oney for flow ers
for a girl.”
280 I nodded in sym p ath y. “Y eah,” I said. “L oo k at m e. B aseb all tim e is
alm o st here, an d a ll I’ve got is th at old glove. A n d no G rover C lev elan d
card y e t . . .”
“G rover C le v e la n d ?” he asked. “T h e y ’ve got som e o f those up on the
N o rth Side. Som e k id w as te llin g m e th ere’s a store th a t’s go t th em . H e
says th e y ’re lo o k in g for W arren G . H a rd in g .”
“H oly sm o ke!” I said. “I’ve got an extra W arren G. H a r d in g !” Pure jo y
sang in m y veins. I ran to m y b icycle, sw u n g in to the seat— an d fo un d
th at the front tire w as flat.
“I’ll help yo u fix it,” A rm an d said.
290 W ith in h a lf an hour I was at the N orth Side D rugstore, where several
boys w ere m a tc h in g card s on th e sid e w a lk . S ile n tly b u t b lis s fu lly
I shouted: President G rover C lev elan d , here I com e!
A
fter A rm a n d h ad le ft for th e d an c e, a ll d ressed up as i f it w ere
Sunday, the sm all green box co n tain in g the corsage under his arm ,
I sat on the railin g o f the piazza, lettin g m y feet dangle. T h e neighborhood
w as q u iet b ecau se th e F ren ch to w n T ig e rs w ere at D a g g e tt’s F ield ,
p racticin g for the first b aseb all g am e o f the season.
I th o ugh t o f A rm an d an d the rid icu lo u s expression on h is face w h en
h e’d stood before the m irro r in th e bedroom . I’d avoided lo o k in g at his
300 new black shoes. “Love,” I m u ttered .
Spring had arrived in a sudden stam pede o f apple blossoms an d fragrant
breezes. W in do w s h ad been thro w n open an d dust mops had ban ged on
the sills all d ay long as the w om en busied them selves w ith housecleaning.
I was puzzled b y m y lethargy. W asn’t spring supposed to m ake ev eryth in g
bright an d gay?
I turned at the sound o f footsteps on the stairs. R oger Lussier greeted
me w ith a sour face.
“I th o ugh t yo u w ere p racticin g w ith the T igers,” I said.
“R ollie T rem ain e,” he said. “I ju st co u ld n ’t stan d h im .” H e slam m ed his
310 fist again st the railin g . “Jeez, w h y d id he have to be the one to get
P R E S I D E N T C L E V E L A N D , W H E R E A R E YOU ?
239
a Grover Cleveland? You should see h im show ing off. H e w on’t let an ybo d y
even touch th at glove. . . .”
I felt lik e B en ed ict A rn o ld 8 an d k n e w th a t I h ad to confess w h a t
I h ad done.
“Roger,” I said, “I got a Grover C levelan d card up on the N o rth Side.
I sold it to R o llie T rem ain e for five dollars.” ©
“A re yo u crazy?” he asked.
“I needed th at five dollars'* It w as an — an em ergency.”
“B o y !” he said , lo o k in g do w n at th e gro u n d an d sh a k in g his head.
320 “W h a t d id yo u have to do a th in g lik e th a t for? ”
I w atched h im as he tu rn ed aw ay an d b egan w a lk in g dow n th e stairs.
“H ey, R o g e r!” I called.
H e squin ted up at m e as if I w ere a stranger, som eone h e’d never seen
before.
“W h a t? ” he asked, his voice flat.
“I had to do it,” I said. “H onest.”
H e d id n ’t answer. H e headed tow ard the fence, searching for the board
w e had loosened to give us a secret passage.
I th o ugh t o f m y father and A rm an d an d R o llie T rem ain e an d G rover
330 C leveland an d w ished th at I co uld go aw ay som eplace far away. B ut there
w as no place to go.
R oger found the loose slat in th e fence an d slip p ed th ro u g h . I felt
betrayed: W eren’t you supposed to feel good w hen yo u did som ething fine
and noble? O
A m om ent later, two han ds grip p ed the top o f the fence an d R o ger’s
face appeared. “W as it a real em ergen cy?” he yelled .
“A real o n e !” I called . “S o m eth in g im p o rta n t!”
H is face dropped from sight an d his voice reached m e across the yard :
“A ll righ t.”
340 “See yo u tom orrow ! ” I yelled .
I sw u n g m y legs over the ra ilin g a g a in . T h e g ath e rin g d u sk b egan
to soften the sharp edges o f the fence, th e rooftops, th e d ista n t ch urch
steeple. I sat there a long tim e, w a itin g for the good feelin g to com e.
8.
240
Benedict Arnold: an American general who became a traitor to his country during the Revolutionary War.
U N IT 2 : ANALYZING C H A R A C T E R AND P O IN T OF V IE W
© CH ARACTER
W hat does Je rry’s
confession tell you
about the kind o f
person he is?
o
CO N NECT
W hat connection can
you make that helps
you understand how
Jerry is feeling?
After Reading \
Comprehension
1. Recall W h y is e a c h o f t h e b o y s e a g e r t o g a t h e r a c o m p l e t e s e t o f
President cards?
a
ALABAM A
STA N D A RD S
READING STANDARD
2. Recall W h a t is t h e n a m e o f t h e d r u g s t o r e w h e r e t h e F r e n c h t o w n b o y s
usually bu y th e President cards?
and devices
3. Clarify H o w d o e s J e r r y g e t t h e G r o v e r C l e v e l a n d c a r d ?
Literary Analysis
4. Describe the Main Character T h i n k a b o u t h o w y o u w o u l d d e s c r i b e J e r r y
t o s o m e o n e w h o h a s n ’t r e a d “ P r e s i d e n t C l e v e l a n d , W h e r e A r e Y o u ? ” W h a t
a r e h i s m o s t i m p o r t a n t traits?
5. Examine Motivation T h r o u g h t h e e v e n t s in h i s fam ily l ife, J e r r y is
d e v e l o p i n g a s e n s e o f v a l u e s . W h a t d o y o u t h i n k is J e r r y ’s m o t i v a t i o n , o r
r e a s o n , f o r s e llin g t h e c a r d ? Focus o n his t h o u g h t s , fe e lin g s , a n d a c tio n s .
6 . Analyze a Minor Character M i n o r c h a r a c t e r s h e l p c a r r y o u t t h e a c t i o n o f
a story. T h e y a ls o h e lp y o u le a rn m o r e a b o u t t h e m a i n c h a r a c te r . A r m a n d
is a m i n o r c h a r a c t e r , y e t h e p l a y s a m a j o r r o l e in t h e s t o r y . H o w d o e s
A rm an d 's ch a ra c te r help y o u learn m o re a b o u t Jerry?
7. Analyze the Main Character A t a t u r n i n g p o i n t in t h e s t o r y , A r m a n d s a y s
t o J e r r y , “ It’s all r i g h t . M a y b e y o u ’v e l e a r n e d s o m e t h i n g . ” W h a t d o y o u
th in k Jerry has learn ed by th e e n d o f th e story?
N o w t h a t y o u h a v e r e a d a b o u t J e r r y , s t a r t f i l l i n g in y o u r c h a r t . A d d
i n f o r m a t i o n t h a t h e l p s y o u u n d e r s t a n d J e r r y ’s c h a r a c t e r .
3 e rr\j
Aaron
W h a t are. the.
c-haract&r s tra its ?
he face?
whether to spend his
Money on his fathers
present or buy cards
W h a t choices does
to sell the card to Rollie
W h a t probl&MS does
he Make?
P R E S I D E N T C L E V E L A N D , W H E R E A RE YOU ?
241
A a r o n ’s
GIFT
M yron Levoy
A
aron K andel had com e to T om pkins S quare P ark to roller-skate, for
the streets near Second Avenue were alw ays too crowded w ith children
and peddlers and old ladies an d b ab y buggies. T h o u g h few ch ild ren had
bicycles in those days, alm ost every ch ild owned a p air o f roller skates. A n d
A aron w as, it m ust be said, a C lass A , trip le-fantastic roller skater. ©
A aro n sk ated b ack an d fo rth on th e w id e w a lk w a y o f th e p ark ,
p re ten d in g he w as an aviato r in an a ir race z o o m in g aro u n d p y lo n s ,1
w h ic h w ere a c tu a lly tw o lam p p o sts. D u rin g h is th ird lap aro u n d th e
raceco u rse, he n o ticed a p igeo n on th e grass, b e h av in g v e ry stran g e ly.
10 A aron skated to the lin e o f benches, th en clim b ed over onto th e law n .
T h e pigeon w as try in g to fly, but a ll it co uld m an ag e w as to flu tte r an d
tu rn round an d round in a large circle, as i f it w ere p erfo rm in g a frenzied
d an ce. T h e le ft w in g w as o n ly h a lf open an d w as b e a tin g in a clu m sy,
je rk in g fashion; it w as clearly broken.
L uckily, A aro n h ad n ’t eaten the cookies he’d stu ffed into h is p o cket
before h e’d gone c la c k in g d o w n th e th ree flig h ts o f stairs fro m his
ap artm en t, his skates alre ad y on. H e broke a co okie into sm all crum bs
an d tossed som e tow ard the pigeon. “H ere pidge, here p id ge,” he called .
T h e pigeon spotted the cookie crum bs an d , after a m om ent, stopped
20 th rash in g about. It folded its w in g s as best it co uld , but the broken w in g
still stuck h a lf out. T h en it stru tted over to the crum b s, its head b obb ing
forth-back, forth-back, as if it were m arch in g a little in front o f the rest o f
the body— perfectly norm al, except for th at half-open w in g w h ich seem ed
to m ak e the bird stagger sidew ays every so often.
1.
242
p ylo n s
( p T 'lo n z ') :
© CH ARACTER
W hat do you learn about
the m ain character in
the first paragraph?
fre n zie d (fren'zed) adj.
w ild ly excited; frantic
A N A L Y Z E V IS U A L S
Exam ine the painting.
W hat can you infer
about the people and
their location?
towers m arking turning points for airplanes in a race.
U N I T 2 : ANALYZING C H A R A C T E R AND P O IN T OF V IE W
D etail o f T he R o ck efeller C en ter, N ew York (1941),
Israel L itw ak. O il on canvas. © M useum o f the C ity
o f N ew York/Bridgem an A rt Library.
T h e pigeon began eatin g the crum bs as A aron q u ic k ly u n b u tto n ed his
sh irt and p u lled it off. V ery slowly, he edged tow ard the bird , m a k in g little
kissin g sounds lik e the ones he h eard his gran d m o th er m ak e w hen she fed
the sparrows on the b ack fire escape.
T h en su d d en ly A aro n p lu n ged . T h e sh irt, in b o th h an d s, cam e dow n
30 lik e a torn p arach u te. T h e pigeon b eat its w in g s, b u t A aro n h eld th e sh irt
to th e gro u n d , an d the bird c o u ld n ’t escape. A aro n felt u n d er th e sh irt,
gently, and gen tly took hold o f the w o u n d ed pigeon.
“Yes, yes, p id ge,” he said, v ery softly. “T h ere’s a good boy. G ood pigeon,
good.”
T h e pigeon stru ggled in his h an d s, but little b y little A aro n m an ag ed
to soothe it. “G ood boy, p id ge. T h a t’s yo u r n ew n am e. P idge. I’m g o n n a
take yo u hom e, Pidge. Yes, yes, ssh. G ood boy. I’m g o n n a fix yo u up. Easy,
Pidge, easy does it. Easy, boy.” 0
A aron squeezed th ro u gh an o p en in g betw een the row o f benches and
40 skated slow ly out o f the p ark, w h ile h o ld in g the p igeon c a re fu lly w ith
both han ds as i f it w ere one o f h is m o th er’s rare, precious cups from the
old country. H ow fast the pigeon ’s h eart w as b eatin g ! W as he afraid ? O r
d id all pigeons’ hearts beat fast?
It w as fortunate th at A aro n w as an excellent skater, for he had to skate
six blocks to his ap artm en t, over broken pavem ent an d sud d en gratin g s
and curbs an d cobblestones. B ut w hen he reached hom e, he asked N oreen
C allah an , w ho was p layin g on the stoop, to take o ff his skates for h im . H e
w ould not chance go in g up th ree flig h ts on roller skates th is tim e.
“Is he sick ?” asked N oreen.
50 “Broken w in g ,” said A aron. “I’m go n n a fix h im up an d m ak e h im into
a carrier pigeon 2 or so m eth in g.”
“C an I w atc h ?” asked N oreen.
“W atch w h at?”
“T h e operation. I’m go n n a be a nurse w hen I grow up.”
“O K ,” said A aron. “You can even help. You can help hold h im w h ile I
fix h im up.”
A aro n w asn ’t q u ite c e rta in w h at his m o th er w o u ld say ab o u t his
new found pet, but he w as p re tty sure he k n ew w h at his gran d m o th er
w o u ld th in k . H is g ran d m o th er h ad liv ed w ith th em ever sin ce his
60 gran d fath er had d ied th ree years ago. A n d she fed the sparrow s an d jays
an d crows and robins on the back fire escape w ith every spare crum b she
could fin d . In fact, A aro n no ticed th at she som etim es created crum bs
2.
244
carrier pigeon: a pigeon trained to carry m essages from place to place.
U N IT 2 : ANALYZING C H A R A C T E R AND P O IN T OF V IE W
o
CH ARACTER
W hat do you learn
about Aaron through
his treatm ent o f the
pigeon?
cobblestone
(kob 'al-sto n') n. a stone
used to pave roads or
w alkw ays
w here th e y d id n ’t exist, b y sq u eezin g an d te arin g pieces o f her b reak fast
roll w hen his m other w asn ’t lo o k in g.
A aron d id n ’t re a lly u n d erstan d his gran d m o th er, for he often saw her
b y the w in d o w h av in g lo n g co nversations w ith th e b ird s, te llin g th em
about her days as a little girl in the U krain e. A n d once he saw her take her
m irror from her handbag and hold it out toward the birds. She told A aron
th at she w an ted th em to see how b e au tifu l th e y were. V ery stran ge. B ut
70 A aron d id kn o w th at she w o u ld love P idge, because she loved ev eryth in g .
To his surprise, his m other said he co uld keep the pigeon, tem p orarily,
because it w as sick, and we w ere all strangers in the lan d o f E g yp t ,3 an d it
m igh t not be bad for A aron to have a pet. T em porarily.
T h e w in g w as su rp risin g ly ea sy to fix , for th e b re ak show ed c le a rly
an d P idge w as re m a rk a b ly p atien t an d s till, as i f he k n e w he w as b ein g
helped. O r perhaps he w as ju st ex h au sted from a ll th e th ra sh in g abo ut
he had done. Two Popsicle sticks served as sp lints, an d strips from an old
undershirt w ere used to tie them in place. A n o ther strip held the w in g to
the b ird ’s body. Q
so A aron’s father arrived hom e an d stared at the pigeon. A aro n w aited for
the expected storm . B ut in stead , M r. K an d el asked , “W h o d i d th is ? ”
“M e,” said A aron. “A n d N oreen C a lla h a n .”
“S o p h ie!” he called to his w ife. “D id yo u see th is! Ten years old an d it’s
better th an Dr. Belasco co uld do. H e’s a g e n iu s!”
A S O C I A L S T U D IE S
X C O N N E C T IO N
Now a country in
eastern Europe, Ukraine
w as under the rule of
Russia du ring the late
nineteenth and early
tw entieth centuries.
Q
CO N N ECT
Th in k o f a tim e you saw
an anim al in need. W hy
do you thin k Aaron
decides to help Pidge?
A
s the days passed, A aron began tra in in g P idge to be a carrier pigeon.
H e tie d a little card b o ard tu b e to P id g e ’s le ft leg an d stu c k tin y
ro lled -u p sheets o f p ap er w ith secret m essages in to it: T h e E n em y Is
A ttack in g at D aw n. O r: T h e G uns A re H id d en in the T ru n k o f the C ar.
O r: V in cen t D eM arco Is a B ritish Spy. T h en A aron w o u ld set Pidge dow n
90 at one end o f the liv in g room an d put som e popcorn at the o ther end. A n d
Pidge w o uld w ad d le slo w ly across the room , co o in g softly, w h ile the ends
o f his bandages trailed alo n g the floor.
A t the other end o f the room , one o f A aron’s friends w o uld take out the
m essage, stic k a n ew one in , tu rn P id g e aro u n d , an d a im h im at th e
popcorn th at A aro n put do w n on his side o f th e room .
A n d Pidge grew fat an d contented on all the popcorn an d crum b s and
corn an d crackers an d A aro n ’s gran d m o th er’s b reakfast rolls.
A aron had told all the ch ild ren ab o ut P id ge, but he o n ly let his v e ry
best frien ds com e up an d p la y c a rrie r p igeo n w ith h im . B u t te llin g
io o everyone had been a m istake. A group o f older boys from dow n the block
3 . we were all... Egypt: a Bible reference: “Love ye therefore the stranger: for ye were strangers in the
land of Egypt” (Deuteronom y 10:19).
A A R O N S GIFT
245
had a club— A aro n ’s m other called it a g an g — an d A aro n h ad lo nged to
jo in as he had never longed for a n y th in g else. To be w ith th em an d share
their secrets, the secrets o f older boys. To be able to enter th eir clubhouse
shack on the e m p ty lo t on the n ext street. To k n o w th e p assw ord an d
sw ear the secret oath. To belong. ©
bout a m onth after A aron h ad b ro u gh t the pigeon hom e, C a rl, the
g a n g leader, w a lk e d over to A aro n in th e stree t an d to ld h im he
co uld be a m em ber if h e’d b rin g the pigeon dow n to be the club m ascot.
A aron co u ld n ’t believe it; he im m ed ia tely raced hom e to get P idge. B ut
no his m other told A aron to stay aw ay from those boys, or else. A n d A aron,
m iserable, argued w ith his m other and pleaded an d cried an d coaxed. It
w as no use. N ot w ith those boys. No. Q
A aron’s m other tried to ch an ge the subject. She told h im th at it w ould
soon be his g ra n d m o th e r’s six tie th b irth d ay, a v e ry sp ec ial b irth d a y
in d eed , an d a ll th e fa m ily from B ro o k lyn an d th e E ast S id e w o u ld be
co m ing to their ap artm en t for a d in n er and celebration. W o u ld A aro n try
to b u ild so m eth in g or m ak e so m eth in g for G ran d m a? A present m ade
w ith his ow n h an d s w o u ld be n ice. A d eco rated box for her h a irp in s
or a crayon p ictu re for her room or a n y th in g he lik ed .
120 In a flash A aron kn ew w hat to give her:
Pidge! Pidge w o u ld be her present! Pidge
w ith his w in g h ealed , w ho m ig h t be able
to c a rry m essages for her to the doctor
or his A u n t R ach e l or o th er p eo ple his
g ran d m o th er seem ed to go to a lot.
It w o u ld be a su rp rise for everyon e.
A nd Pidge w o uld m ake up for w h at had
happened to G randm a w hen she’d been
a little girl in the U k rain e, w herever th at w as.
A
13°
W hat do you learn
about Aaron?
CO N NECT
Reread lines 10 6 - 112.
T hink about w h y Aaron
is so upset. W hat
connection can you
m ake that helps you
understand his reaction?
La C olom b e, Pablo Picasso. Embossed, cut out an d painted
copper, pencil strokes, 1534" x 10%". © 2 0 0 8 E state of
Pablo Picasso/Artists R igh ts So ciety (A R S), N ew York.
/ '" '\ fte n , in the even in g, A aro n ’s g ran d m o th er
v v w ould ta lk about the old days long ago in the
U k ra in e , in the sam e w ay th a t she ta lk e d to th e b irds on th e b ack fire
escape. She h ad liv ed in a v illa g e n ear a p lace c a lle d K ish in ev 4 w ith
hundreds o f other poor p easan t fam ilies lik e her ow n. T h in g s h a d n ’t been
too bad under som eone called C zar A lexan d er the Seco nd ,5 w hom A aron
alw ays p ictured as a ta ll han dsom e m an in a gold unifo rm . B ut A lexan d er
4 . Kishinev (kTsh's-nef'): a city that is now the capital of the country of Moldova and is known today as
Chisinau.
5. Czar (zar) Alexander the Second: emperor of Russia from 1855 to 1881.
246
© CH ARACTER
U N IT 2: ANALYZING CHARACTER A ND PO IN T OF VIEW
the Second w as assassinated, an d A lexan d er the T h ir d ,6 w h o m A aron
pictured as an u g ly m an in a b lack cape, becam e the czar. A n d the Jew ish
people o f the U k ra in e had no peace anym ore.
140 O ne day, a th u n d e rin g o f horses w as h eard co m in g to w ard th e v illa g e
from the directio n o f K ishinev. “T h e C o ssacks! T h e C o ssac k s!” som eone
had shouted. T h e czar’s horsem en! Q u ick ly, q u ickly, everyone in A aro n ’s
gran dm o ther’s fa m ily had clim b ed dow n to the cellar th ro ugh a little trap
door hidden u n d er a m at in the b ig cen tral room o f th eir shack. B ut his
gran d m o th er’s pet goat, w h om she’d loved as m uch as A aron loved Pidge
an d m ore, h ad to be left above, b ecau se if it h ad m ad e a so u n d in the
cellar, th ey w o u ld never have lived to see the n ext m o rn in g. T h e y a ll h id
un der the w ood in the w o od b in an d w aited , h a rd ly b reath in g.
S uddenly, from above, th e y h eard shouts an d calls an d scream s at a
150 distan ce. A n d th en the noise w as in th eir house. Boots p o u n d in g on the
floor, and everyth ing breakin g and crashing overhead. T h e sm ell o f sm oke
and the shouts o f a dozen m en.
T h e terror w en t on for an hour, an d th en th e so u n d o f horses’ hooves
faded into the distance. T h e y w aited another hour to m ake sure, and then
the father w en t up out o f the c e llar an d the rest o f the fa m ily follow ed.
T h e door to th e h ouse h ad been torn from its h in g e s, an d ev ery p iece
o f furniture was broken. Every w indow , every dish, every stitch o f clothing
w as to tally destroyed, an d one w a ll h ad been co m pletely bashed in. A n d
on the floor w as the goat, ly in g quietly. A aro n ’s gran d m o th er, w ho w as
160 ju st a little girl o f eight at the tim e, h ad w ep t over the goat a ll d ay an d all
n igh t an d co uld not be consoled.
B ut th e y h ad been lu cky. For oth er houses h ad b een b u rn ed to the
g ro u n d . A n d ev eryw h ere, not go ats alo n e, nor sheep, b u t m en an d
w om en an d ch ild ren la y q u ie tly on th e gro u n d . T h e w ord for th is sort
o f massacre, A aro n had learn ed , w as p ogrom . It h ad been a pogro m .
A n d the m en on th e horses w ere C o ssacks. H ated w ord. C o ssacks. Q
nd so Pidge w o uld replace th at goat o f long ago. A pigeon on Second
A venue w here no one needed trap doors or secret escape passages
or w o o d p iles to h id e u n d er. A p igeo n for h is g ra n d m o th e r’s six tie th
170 birthday. Oh wing, heal quickly so m y grandm other can sen d y o u fly in g
A
assassinate
(e -sa s'e -n a t') v.
to m urder by
surprise attack for
political reasons
massacre (m as'e-ker)
n. the act o f killing a
num ber o f helpless
hum ans or anim als
Q
CH ARACTER
W hat does
A aron’s interest
in his grandm other’s
childhood tell you
about him?
to everyw h ere she w ants!
But a few days later, A aron m et C arl in the street again. A n d C arl told
A aron that there was going to be a m eetin g th at afternoon in w h ich a m ap
was going to be d raw n up to show w here a secret treasure la y b u ried on
6.
Alexander the Third: emperor of Russia from 1881 to 1894.
a a r o n ’s g i f t
247
Compare th is painting
to your m ental picture
o f Aaron and Pidge.
H ea d w ith a B ir d I I (1971), Pablo Picasso. O il on canvas, 55 cm x 4 6 cm . Private collection.
© B ridgem an A rt L ib rary © 2 0 0 8 Estate o f Pablo Picasso/Artists R igh ts So ciety (A R S), N ew York.
the em p ty lot. “B rin g th e p ig eo n an d yo u can co m e in to th e sh ack.
W e got a badge for you. A n ew k in d a m em bership b ad ge w ith a secret
code on the b ack .”
A aron ran hom e, his h eart p o u n d in g alm o st as fast as th e p igeo n ’s.
H e too k P idge in his h an d s an d ca rried h im out th e door w h ile his
iso m other w as b u sy in the kitchen m a k in g stuffed cabb age, his fath er’s
favorite dish. A n d by the tim e he reached the street, A aron had decided
to take the bandages off. Pidge w o uld look lik e a real pigeon again , an d
none o f the older boys w o u ld lau g h or c a ll h im a b u n d le o f rags. ©
248
U N IT 2: ANALYZING CHARACTER AND PO IN T OF VIEW
CHARACTER
W hat does A a ro n ’s
choice to jo in the boys
tell you about him?
G ently, gen tly he removed the bandages an d the splints an d p ut them
in his p o ck et in case he sh o u ld n eed th em a g a in . B ut P id ge seem ed
to hold his w in g p ro perly in place.
W h e n he reached the e m p ty lot, A aro n w alk e d up to the shack, then
hesitated. Four b igger boys w ere there. A fter a m o m en t, C a rl cam e out
an d co m m an d ed A aro n to h an d P idge over.
190 “Be ca refu l,” said A aron . “I ju st took the b an d ages off.”
“O h sure, d o n ’t w o rry,” said C a rl. B y no w P id ge w as used to people
h o ld in g h im , an d he rem ain ed ca lm in C a r l’s h an d s.
“OK,” said C arl. “Give h im the badge.” A n d one o f the older boys han ded
A aron his badge w ith the code on the back. “N ow lig h t the fire,” said C arl.
“W h a t . . . w h at fire ? ” asked A aron.
“T h e fire. You’ll see,” C a rl answ ered.
“You d id n ’t say n o th in g abo ut a fire ,” said A aro n . “You d id n ’t say
n o th in g to— ”
“H e y !” said C arl. “1’m the lead er here. A n d yo u don’t ta lk unless I tell
200 yo u th at yo u have p ’m ission. L igh t the fire, A l.”
T h e boy n am ed A l w en t out to the side o f the shack, w here som e w ood
an d card b o ard an d old n ew sp ap ers h ad b een p ile d in to a h u ge m o u n d .
H e stru ck a m atch an d held it to th e new spapers.
“OK,” said C arl. “Let’s get ’er good and hot. Blow on it. E verybody blow.”
A aro n ’s eyes stu n g from the sm oke, but he b lew alo n gsid e th e others,
go in g from side to side as the sm oke sh ifted to w ard th em an d away.
“L et’s fan it,” said A l.
In a few m in u tes, th e fire w as c ra c k lin g an d g lo w in g w ith a b righ t
yello w -o ran ge flam e.
210 “G et m e the rope,” said C arl.
O ne o f the boys b ro u gh t C a rl som e co rd an d C a rl, w ith o u t a w ord,
w o u n d it tw ic e aro u n d th e p igeo n , so th a t its w in g s w ere tig h t a g a in st
its body.
“W h a t . . . w h a t are yo u d o in g !” sh o u ted A aro n . “Y ou’re h u r tin g
his w in g !”
“D on’t w o rry abo ut his w in g ,” said C arl. “W e ’re go n n a th ro w h im into
the fire. A n d w h en w e do, w e’re g o n n a sw ear an o ath o f lo y a lty to — ”
“N o! N o!” shouted A aro n , m o v in g to w ard C a rl. ©
“G rab h im !” ca lled C a rl. “D on’t let h im get the p ig e o n !”
220 But A aron had leaped right across the fire at C arl, ta k in g h im com pletely
by surprise. H e th rew C arl b ack ag a in st the sh ack an d h it o ut at his face
w ith both fists. C arl slid dow n to the ground, and the pigeon rolled out o f
his hands. A aron scooped up the pigeon and ran, pretending he w as on roller
skates so th at he w o u ld go faster an d faster. A n d as he ran across the lot he
© CH ARACTER
W hat does A aro n’s
reaction to the boys’
plan reveal about him?
a a r o n ’s g i f t
249
pulled the cord o ff Pidge and tried to fin d a place, a n y place, to h id e h im .
But the boys were on top o f him , and the pigeon slipped from A aron’s hands.
“G et h im !” shouted C arl.
A aro n th o u gh t o f th e w orst, th e m ost h orrib le th in g he co u ld shout
at the boys. “C o ssac k s!” he scream ed . “You’re a ll C o ssa c k s!”
230 Two boys held A aron b ack w h ile the others tried to catch th e pigeon.
Pidge flu tte red alo n g th e g ro u n d ju st o u t o f reach, s k itte rin g one w a y
an d th en the other. T h e n th e boys cam e at h im from tw o d ire ctio n s.
B ut su d d en ly P idge beat his w in g s in rh y th m , an d rose up, up, over the
roof o f the nearest tenem ent, up over Second A venue tow ard the p ark.
W ith the pigeon gone, the boys tu rn ed tow ard A aron and tack led h im
to the gro u n d an d p u n ch ed h im an d tore his clothes an d p u n ch ed h im
som e m ore. A aro n tw iste d an d tu rn e d an d k ic k e d an d p u n c h ed b ack,
sh o u tin g “C o ssacks! C o ss a c k s !” A n d som ehow th e w ord gave h im the
stren gth to tear aw ay from them .
T
240 T \ T hen A aro n reached hom e, he tried to go past the kitch en q u ic k ly
W
so his m other w o u ld n ’t see his bloo d y face an d torn clo th in g. But
it w as no use; his fath er w as hom e from w o rk e a rly th a t n ig h t an d w as
seated in the liv in g room . In a m o m en t A aro n w as su rro u n d ed b y his
m other, father, an d g ran d m o th er, an d in an o th er m o m en t he h ad to ld
them ev eryth in g th at h ad h appened, the w ords tu m b lin g o ut betw een
his broken sobs. Told them o f the present he had p lan n ed , o f the pigeon
for a goat, o f th e g a n g , o f th e b ad ge w ith th e secret co de on th e b ack,
of the shack, and the fire, and the pigeon’s flig h t over the tenem ent roof.
A n d A aron’s gran d m o th er kissed h im and th an k ed h im for his present
250 w h ich w as even better th an the pigeon.
“W h a t present?” asked A aron , try in g to stop the series o f sobs.
A n d his gran d m o th er opened her p o cketb o o k and h an d ed A aro n her
m irro r and asked h im to look. B ut all A aro n saw w as his d irty , b ru ised
face and his torn sh irt.
A aron th o ugh t he understood, an d then, ag ain , he th o u g h t he d id n ’t.
H ow co uld she be so h ap p y w hen there re ally w as no present? A n d w h y
pretend th at there w as?
Later th at n igh t, ju st before he fell asleep, A aron tried to im ag in e w h at
his gran dm o th er m ig h t have done w ith the pigeon. She w o u ld have fed
260 it, an d she c e rta in ly w o u ld have talk e d to it, as she d id to a ll the birds,
and . . . and then she w ould have let it go free. Yes, o f course P idge’s flig h t
to freedom m ust have been the g ift th at h ad m ad e h is g ran d m o th er so
happy. H er go at has escaped from th e C o ssacks at last, A aro n th o u gh t,
h a lf d ream in g. A n d he fell asleep w ith a sm ile. c^>
250
Com paring Characters
After Reading \
Comprehension
a
1. Recall W h a t is A a r o n d o i n g w h e n h e f i n d s t h e w o u n d e d p i g e o n ?
ALABAM A
STA N D A RD S
READING STANDARD
2. Recall H o w d o A a r o n ’s m o t h e r a n d f a t h e r r e a c t w h e n h e b r i n g s t h e
pigeon h o m e ?
interpreting characters and
com pa ri ng/contrasti ng
3. Summarize W h a t h a p p e n s w h e n A a r o n g o e s t o t h e s h a c k ?
Literary Analysis
4. Describe the Main Character T h r o u g h his t h o u g h t s , f e e l i n g s , a n d a c t i o n s ,
w h a t h a v e y o u l e a r n e d a b o u t A a r o n ’s v a l u e s a n d p e r s o n a l i t y traits?
5. Examine Motivation W h a t is A a r o n ’s m o t i v a t i o n , o r r e a s o n , f o r g i v i n g
Pidge t o his g r a n d m o t h e r a s a g ift?
6 . Analyze Flashback T h e s t o r y o f A a r o n ’s g r a n d m o t h e r ’s p a s t is a
fla sh b a ck — a description o f a c o n ve rsation or e v e n t th a t to o k place
b e f o r e t h e b e g i n n i n g o f t h e s t o r y . H o w is t h e f l a s h b a c k i m p o r t a n t t o y o u r
u n d e r s t a n d i n g o f A a r o n ’s family — a n d o f t h e e v e n t s in t h e s t o r y ?
7. Interpret R e r e a d l i n e s 6 5 - 7 0 . In t h i s p a s s a g e , A a r o n t e l l s u s t h a t h i s
g r a n d m o t h e r w o u ld hold a m irro r t o w a r d birds so t h a t t h e y could see
h o w b e a u tifu l t h e y w e re . W h y, a t t h e e n d o f th e story, d o e s s h e hold a
m irror o u t fo r A a ro n ?
N o w t h a t y o u h a v e r e a d a b o u t A a r o n , f i n i s h f i l l i n g in y o u r c h a r t . A d d t h e
f i n a l q u e s t i o n a n d a n s w e r it.
J e rry
Aaron
he face?
whether to spend his
Money on his fathers
present or buy cards
to join the dub or obey
his Mother
W h a t choices does
to sell the card to Rollie
• to fix the bird's wing
W h a t are the.
c h a ra c te rs tr a it s ?
W h a t problems does
he Make?
• to join the boys dub
[
In w h a t ways are th e characters
siM ilar and d ifferen t?
P R E S I D E N T C L E V E L A N D , W H E R E A R E Y OU ? / A A R O N ’S G I F T
251
V O C A B U L A R Y P R A C T IC E
Synonyms a r e t w o o r m o r e w o r d s t h a t h a v e t h e s a m e m e a n i n g .
Antonyms a r e w o r d s t h a t h a v e o p p o s i t e m e a n i n g s . D e c i d e
w h e t h e r t h e w o r d s in e a c h p a i r a r e s y n o n y m s o r a n t o n y m s .
allot
incredulous
assassinate
contempt
1. s k i r m i s h / b a t t l e
massacre
obsess
2. m a s s a c r e / s l a u g h t e r
divulge
3. s t a l e m a t e / p r o g r e s s
4. in c r e d u lo u s / b e lie v in g
frenzied
skirmish
stalemate
5. f r e n z i e d / c a l m
6. d ivulge/ expo se
7. c o n t e m p t / a d m i r a t i o n
8. allot/dispense
9. assassin a te / k ill
10. o b s e s s / w o rry
T h i n k a b o u t s o m e o n e y o u k n o w w h o is s i m i l a r t o e i t h e r J e r r y o r A a r o n .
D e s c r i b e t h e p e r s o n u s i n g t h r e e o r m o r e v o c a b u l a r y w o r d s f r o m t h e list. Y o u
could sta rt th is w ay.
Ju st like. Je rri/,
/hi/
friend Andre, will obs&ss ov&r things like trading cards.
V O C A B U LA R Y STRA TEG Y: C O N T E X T CLU ES
Context clues m a y b e f o u n d in t h e w o r d s , s e n t e n c e s , a n d p a r a g r a p h s t h a t
su rroun d an u n k n o w n w o rd . T h ese clues can help y o u in terp re t u n fam iliar
w o r d s a n d i d e a s in s t o r i e s t h a t y o u r e a d . Examples a r e o n e t y p e o f c o n t e x t clue.
In " A a r o n ’s G i f t , ” f o r i n s t a n c e , y o u c a n f i g u r e o u t t h e m e a n i n g o f frenzied f r o m
t h e o t h e r d e s c r i p t i o n s o f t h e b i r d ’s m o v e m e n t s . E x a m p l e c l u e s a r e i n t r o d u c e d
b y s i g n a l w o r d s like such as, especially, including, like, a n d fo r example.
a
ALABAM A
S TA N D A R D S
READING STANDARD
l.b Using context clues to determine
meaning
PRACTICE U s e t h e e x a m p l e c l u e t o h e l p y o u d e f i n e e a c h b o l d f a c e d w o r d .
1. L o o k f o r a periodical, s u c h a s a w e e k l y o r m o n t h l y m a g a z i n e .
2. H e w a s g u i l t y o f m a n y peccadillos, i n c l u d i n g l e t t i n g t h e s c r e e n d o o r
slam shut.
3. S h e w a s f o n d o f q u o t i n g maxims like “ H a s t e m a k e s w a s t e . ”
4 . E l e n a l o v e s crudites, e s p e c i a l l y c e l e r y s t i c k s a n d b a b y c a r r o t s .
252
U N IT 2: ANALYZING CHARACTER AND P O IN T OF VIEW
VO CABU LARY
P R A C T IC E
at ClassZone.com.
Writing for Assessment
" •1 u
'
_
1. REA D TH E P R O M P T
%«!•_vi ' ' r i
'yj\\ r j& tiw il i
You’ve ju st read tw o stories about boys m akin g d ifficu lt choices. In w ritin g
assessm ents, you will often be asked to com pare and contrast tw o w orks that
are sim ilar in some way, such as tw o short stories w ith sim ilar characters.
4 STRATEGIES IN ACTION
PROM PT
In three paragraphs, compare Jerry in
“President Cleveland, Where Are You?”
to Aaron in “Aaron’s Gift.” Consider each
character’s traits, the conflicts he faces,
and the choice or choices he has to make.
Use details from each of the two stories to
support your response.
/• ^ ^&&d to identify the si Mitarities
Md differences between the
boys.
z. I should include examples froM the
stories about the boys personal
qualities, problems, and choices to
support my ideas.
2. P L A N YO UR W R IT IN G
Using the chart you filled in as you read, identify the w ays
in which the characters are alike and different. Then think
about how to present these sim ilarities and differences.
• Decide on a main idea for your response.
• Review the stories to find details that support your ideas.
• Create an outline to organize your response. This sam ple
outline shows one w ay to organize your paragraphs.
I Introduce
Characters and
Main Idea
II. Compare Conflicts
They face.
III. Compare Choices
T ty Make
3. D R A FT YO UR R E S P O N S E
Paragraph i Include the title and author of each story. Introduce each main
character and sum m arize his traits. Also include your main idea.
Paragraph 2 Explain the problem s that each character faces, using exam ples
from the stories. Include your position on w hether the boys’ co nflicts are
sim ilar or different.
Paragraph 3 Explain the choices each character makes. Then explain how the
boys are sim ilar and different based on the choices they make.
Revision Make sure it’s alw ays clear w hich boy you are w ritin g about by using
names when appropriate and not overusing the pronoun he.
P R E S I D E N T C L E V E L A N D , W H E R E A R E Y OU ? / A A R O N ’S G I F T
253
from
Smdllville
T e l e v i s i o n C l i p o n { j d ) M ediaSm art dvd
What is a characters
ÎDENTITY?
a
ALABAM A
S TAN D A RD S
17 Use listening skills for
remembering significant details
KEY IDEA O n e o f t h e m o s t e n j o y a b l e t h i n g s a b o u t w a t c h i n g TV
is g e t t i n g t o k n o w i n t e r e s t i n g c h a r a c t e r s . T h i n k a b o u t y o u r
f a v o r i t e T V c h a r a c t e r . W h a t m a k e s h i m o r h e r s e e m li k e a r e a
p e r s o n ? To e x p l o r e h o w T V m a k e s c h a r a c t e r s b e l i e v a b l e , y o u
w i l l w a t c h a s c e n e t h a t s h o w s a superhero d e a l w i t h a p r o b l e m
yo u m a y h a ve faced yourself.
Background
Teen of Steel F a n s o f S u p e r m a n k n o w h i m a s t h e “ m a n o f
s t e e l . ” He u s e s his a m a z i n g p o w e r s t o s a v e o r d i n a r y p e o p l e
f r o m d i s a s t e r . T h e T V s e r i e s Smallville is a b o u t S u p e r m a n
b e fo r e h e b e c a m e a h ero. T he s h o w f o c u s e s o n his se c re t
i d e n t i t y o f C l a r k K e n t . It p o r t r a y s C l a r k a s a r e a l t e e n a g e r
s t r u g g l i n g t o f i t in, r a t h e r t h a n a s a p e r f e c t h e r o .
C l a r k h a s b e e n r a i s e d b y h i s a d o p t i v e p a r e n t s in
Sm allville, Kansas. T hey fo u n d him as a to d d le r
a f t e r h e c r a s h e d t o E a r t h in a s p a c e s h i p .
N o w C l a r k is a t e e n a g e r , a n d d o e s n ' t
a lw a y s a g r e e w i t h his p a r e n t s ’ a d v ic e
o n h o w t o c o n t r o l his n e w l y d e v e l o p e d
superpow ers.
Media Literacy: TV Characters
W h e n s t u d y i n g f i l m o r TV, it h e l p s t o t h i n k o f m o v i e m a k e r s a s s t o r y t e l l e r s
w h o use pictures as w ell as w o rd s. W rite rs use physical description,
d ia lo g u e , a n d c h a r a c t e r s ’ t h o u g h t s a n d a c t io n s t o m a k e t h e m real. V isu a l
sto ry te lle rs u se facial ex p re ss io n s , b o d y la n g u a g e , a n d c a m e r a s h o ts a n d
m o v e m e n t t o b r i n g t h e i r c h a r a c t e r s t o life.
^ D E V E L O P IN G TV C H A R A C T E R S
^
Physical Appearance
• facial expressions
• body language
• costumes
• height, weight,
a n d build
Behavior
• actions
• dialogue
• attitude
• interactions w i t h
others
it:
Camera Shots
• close-up shot:
a detailed v ie w
th at can focus on a
p e r s o n ’s f a c e o r h a n d
• medium shot:
s h o w in g o n e or
m ore characters
fro m th e w a is t up
\
1
W i
~
w
1
i
*
HI
Camera Movement
• fo llo w s th e action
o f a scene
• changes th e view
o f a character to
reveal e m o tio n
STRATEGIES FOR A N A LYZIN G CH A RA CTER DEVELOPM EN T
• F o l l o w a c h a r a c t e r ’s e m o t i o n s t h r o u g h o u t a s c e n e . T h e a c t o r ' s facial
expressions a n d body language w i l l r e v e a l h o w h e o r s h e f e e l s a b o u t
people and events.
• P a y a t t e n t i o n t o t h e a c t o r s ’ costumes. In a T V s h o w , c l o t h i n g c a n g i v e
y o u c l u e s t o a c h a r a c t e r ’s p e r s o n a l i t y a n d b a c k g r o u n d .
• B e a w a r e o f t h e t y p e s o f s h o t s t h e d i r e c t o r c h o o s e s . Close-ups a r e o f t e n
u s e d t o r e v e a l a c h a r a c t e r ’s f e e l i n g s . Medium shots c a n s h o w h o w
characters react to others.
• W a t c h f o r camera movement. N o t i c e t h e c a m e r a m o v e in c l o s e t o f o c u s
o n a f a c i a l e x p r e s s i o n a s a c h a r a c t e r ’s m o o d c h a n g e s o r e m o t i o n r i s e s .
M E D I A S TU DY
255
Viewing Guide fo r
© MediaSmart dvd
• TV Ser ies: Smallville
• Director: G re g B eem an
• G e n r e : Sci-fi a d v e n t u r e
• R u n n i n g Time: 4 m i n u t e s
Smallville
T h e Smallville s e r i e s b e g i n s w h e n C l a r k K e n t is j u s t s t a r t i n g t o
d e v e l o p t h e s u p e r p o w e r s t h a t w ill m a k e h im S u p e r m a n . He
s t r u g g l e s t o c o n t r o l h i s p o w e r s a n d a c t like a n o r m a l t e e n a g e r .
His p a r e n t s h a v e d e c i d e d t h a t t h e b e s t t h i n g f o r h i m is t o k e e p
h i s g i f t s a s e c r e t , s o t h a t h e c a n g r o w u p t o l i v e a n o r m a l life.
A s y o u w a t c h t h e s c e n e , p a y a t t e n t i o n t o c h a n g e s in C l a r k ’s
e m o t i o n s . W a t c h his fac ia l e x p r e s s i o n s a n d b o d y la n g u a g e .
N otice w h e n he s ta n d s tall a n d p ro u d , a n d w h e n h e slo u c h e s
W a t c h t h e s c e n e s e v e r a l t i m e s , a n d k e e p t h e s e q u e s t i o n s in m i n d
FIRST VIEWING: Comprehension
1. C l a r i f y W h y d o e s n ' t C l a r k ’s f a t h e r w a n t h i m t o j o i n t h e
football te a m ?
2. R e c a l l W h a t c a u s e s C l a r k t o u s e his p o w e r s t o s c o r e t h e
t o u c h d o w n t h e s e c o n d t i m e h e g e t s t h e b a l l?
CLOSE VIEWING: Media Literacy
Id en tify B o d y L a n g u a g e W h e n Clark runs o n t o t h e fo o tb a ll
f i e l d , h e s t a n d s ta ll, w i t h his c h e s t p u f f e d o u t . H o w d o y o u
th in k he feels at this m o m e n t?
I d e n t i f y E m o t i o n In t h e b a r n w i t h h i s f a t h e r , C l a r k g o e s
th ro u g h m a n y e m o tio n s . Give an e x a m p le o f o n e and
d e s c r i b e h o w y o u k n o w w h a t h e is f e e l i n g . C o n s i d e r t h e
acting and th e cam era sh ots and m o v e m e n t.
A n a l y z e C h a r a c t e r E ven t h o u g h t h e y a r e in a n a r g u m e n t ,
it is c l e a r t h a t C l a r k l o v e s a n d r e s p e c t s his f a t h e r . H o w
is t h a t s h o w n in t h e s c e n e ? T h i n k a b o u t t h e s e p o i n t s :
• th e actors’ bod y lan gu ag e and to n e o f voice w h e n th e y argue
• C l a r k ’s f a c i a l e x p r e s s i o n s w h e n h e t a l k s t o his f a t h e r
• t h e r e a so n t h e c o ach yells a t Clark
Media Study
Write or Discuss
Evaluate Character Y o u ’v e r e a d t h a t t h e c r e a t o r s o f Smallville s e t o u t t o
m a k e Clark K en t a real t e e n w i t h real p ro b le m s . T hink a b o u t t h e s c e n e
y o u v i e w e d . U s e w h a t y o u l e a r n e d a b o u t appearance, behavior, a n d camera
work t o w r i t e a b r i e f e v a l u a t i o n o f C l a r k ’s c h a r a c t e r . D o y o u t h i n k t h e s h o w ’s
c r e a t o r s s u c c e e d e d in m a k i n g C l a r k s e e m like a r e a l t e e n ? Did h e r e a c t t h e
w a y y o u w o u l d h a v e in h i s s i t u a t i o n ? T h i n k a b o u t
• c h a n g e s in C l a r k ’s e m o t i o n s
• C l a r k ’s r e l a t i o n s h i p w i t h h i s d a d
• C l a r k ’s d e c i s i o n t o p l a y f o o t b a l l
Produce Your Own Media
Create a Character Gallery I m a g i n e y o u ’v e b e e n h i r e d t o c a s t t h e a c t o r s
f o r a n e w TV s h o w . You w ill n e e d a c t o r s w h o c a n s h o w m a n y d if f e r e n t
em otio n s. C reate a p h o to gallery using y o u r classm ate s as stars of
t h e n e w s h o w . Take f o u r d i f f e r e n t p ic tu re s o f a c la s s m a t e , s h o w i n g f o u r
different em otio ns.
M E D I A TOOLS
For help with creating
a character gallery,
visitthe Media Center
at ClassZone.com.
HERE’S HOW U s e t h e s e t i p s a s y o u c r e a t e a n d p r e s e n t y o u r g a l l e r y :
• H a v e y o u r a c t o r s u s e t h e facial expressions a n d body language
t e c h n i q u e s y o u n o t i c e d in t h e Smallville s c e n e .
• T h i n k a b o u t close-ups a n d medium shots. C l o s e - u p s a r e p e r f e c t f o r
c a p tu r in g facial e x p re ss io n s . M e d i u m s h o ts w o r k b e t te r fo r p o s tu r e
and o th er body language.
• H ave t h e rest o f t h e class try t o g u e ss t h e a c to rs ’ e m o tio n s .
Tech Tip
Try using a computer graphics
program to present the
galleries as a slideshow.
STUDENT MODEL
M E D I A S TU DY
257
Role-Playing and Discovery
P erson al Essay by Je rry P in kn ey
What makes a perfect
SATURDAY?
a
ALABAM A
S TAN D A RD S
LITERATURE STANDARDS
5 Analyze nonfiction for
distinguishing characteristics
KEY IDEA A t t h e b e g i n n i n g o f e a c h w e e k , s o m e p e o p l e a r e a l r e a d y
l o o k i n g f o r w a r d t o S a t u r d a y . F o r m a n y , S a t u r d a y is a w e l c o m e
b r e a k f r o m t h e i r w e e k d a y r o u t i n e . It's a t i m e t o r e l a x a n d s p e n d
t h e i r free time w i t h f a m i l y a n d f r i e n d s . R e a d “ R o l e - P l a y i n g a n d
D isc o v e ry ” to learn w h a t Je rry P in kn ey has to sa y a b o u t s o m e
o f t h e b e s t S a t u r d a y s o f his y o u t h .
DISCUSS W i t h y o u r c l a s s m a t e s , t a l k a b o u t y o u r f a v o r i t e w e e k e n d
a c t i v i t i e s . T a k e t u r n s e x p l a i n i n g w h y e a c h a c t i v i t y is i m p o r t a n t
to yo u . T hen rank th e activities to s e e w h ic h a re t h e m o s t popular.
Author Online
• LIT E R A R Y A N A L Y S IS : P E R S O N A L ESSA Y
N o n fic tio n w r i t i n g in c lu d e s m a n y f o r m s . For e x a m p l e ,
t h e r e a re b io g r a p h ie s a n d a u t o b i o g r a p h i e s t h a t tell us
a b o u t t h e lives o f f a m o u s p e o p le . T h e re a re a rtic le s t h a t
g i v e u s i n f o r m a t i o n a b o u t t h e w o r l d a r o u n d us. T h e r e a r e
a l s o e s s a y s . A n essay is a s h o r t n o n f i c t i o n w o r k t h a t d e a l s
w i t h a s i n g l e s u b j e c t . A n e s s a y in w h i c h a w r i t e r p r e s e n t s
his o r h e r t h o u g h t s o r f e e l i n g s a b o u t a s u b j e c t is c a l l e d
a personal essay.
A s y o u read “Role-Playing a n d D iscovery,” look fo r th e
w a y s J e r r y P i n k n e y e x p r e s s e s his t h o u g h t s o r f e e l i n g s .
0 R E A D IN G S K IL L : ID E N T IF Y A U T H O R ’S P U R P O S E
T h e author’s purpose is t h e r e a s o n o r r e a s o n s t h a t a n a u t h o r
has fo r w ritin g a particular w o rk . A u th o rs w rite to inform
or explain, to e x p re ss th o u g h t s or feelin gs, to p ersu ad e,
or to e n t e rta in . Id en tifyin g t h e a u th o r's p u r p o s e will help
y o u b e tte r u n d e rsta n d w h a t y o u a re reading.
As y o u read, find rea so n s or clues th a t s u g g e s t th e
a u t h o r ’s p u r p o s e f o r w r i t i n g t h i s e s s a y . R e c o r d e a c h r e a s o n
o r c l u e in t h e p r o p e r c o l u m n o f a c h a r t like t h e o n e s h o w n .
To Inform
To Express
or Explain
Thoughts or
To Persuade
To E ntertain
Feelings
A V O C A B U L A R Y IN C O N T E X T
In " R o l e - P l a y i n g a n d D i s c o v e r y , ” J e r r y P i n k n e y u s e s t h e
b o l d f a c e d w o r d s t o h e lp h im w r i t e a b o u t p a r t o f his
c h i l d h o o d . To s e e w h i c h o n e s y o u k n o w , s u b s t i t u t e a w o r d
w ith a sim ilar m e a n i n g fo r e a c h b o ld fa c e d te r m .
Street Artist
A s o n e o f six
children g ro w in g
u p in a c r a m p e d
r o w h o u s e in
Philadelphia, Jerry
Pinkney had to
search fo r places
w h e r e he could
draw . W h e n he
Jerry Pinkney
w as n, he w orked
born 1939
at a new sstand.
To p a s s t h e t i m e , h e w o u l d m a k e
s k e t c h e s o f p e o p l e p a s s i n g by.
O ne o f th o se people happen ed
to be a c a rto o n is t. He recogn ized
P i n k n e y ’s t a l e n t a n d e n c o u r a g e d
h i m t o p u r s u e a c a r e e r in a r t .
Busy Illustrator A m o n g m a n y
o th e r projects, Pinkney has created
i l l u s t r a t i o n s f o r National Geographic
a n d th e N ational Parks Service.
H e h a s a l s o d e s i g n e d 12 p o s t a g e
s t a m p s f o r t h e U.S. P o s t a l S e r v i c e Black
H eritage series. H ow ever, Pinkney
is b e s t k n o w n a s a n i l l u s t r a t o r o f
c h i l d r e n ’s b o o k s , m a n y o f w h i c h a r e
b y a n d a b o u t A f r i c a n A m e r i c a n s . He
has produced over 8 0 books and w on
a n u m b e r o f a w a r d s f o r his w o r k .
For more on Jerry Pinkney, visit the
1I
1. T h e impressionable c h i l d w a s e a s i l y c o n v i n c e d .
2. T h e c r o w d ’s intensity i n c r e a s e d w i t h e a c h t o u c h d o w n .
3. S h e a n s w e r e d his q u e s t i o n w i t h a resounding “ N o ! ”
4. T h e b l i z z a r d h a d a profound e f f e c t o n t h e s m a l l t o w n .
ROLE-PLAYING AND DISCOVERY
259
JERRY PIN KN EY
n Saturdays, after household chores were finished, I would meet
i p up with my best friends. O ff we would rush to the movies. Tickets
were ten cents, and there was always a double feature. I was most excited
when there were westerns. As a young boy growing up in Philadelphia,
Pennsylvania, I dreamed of exploring the early frontier.
M y friends and I played at being cowboys and explorers. W ith much
enthusiasm and intensity, we inhabited the characters portrayed on the
silver screen. We fashioned our costumes and gear from what we could
find at home or purchase from the local five-and-dim e store. I would
10 whittle out of wood a bowie knife modeled after the one Jim Bowie had
at his side while defending the Alam o. I would then take m y turn
at being Roy Rogers, the cowboy, or Daniel Boone,1 the famous pioneer,
journeying through the rugged wilderness. Q
1.
W hat can you infer
about Bill Pickett from
this poster?
intensity (Tn-ten'sY-te)
n. extrem e am ount
o f e nergy or fee lin g
□
A U T H O R ’S P U R P O SE
Notice the details the
author provides. W hy
does he o ffe r readers
this inform ation?
Jim Bowie... Roy Rogers... Daniel Boone: Bowie (1796-1836) and Boone (1734-1820) were fam ous
historical figures of the Am erican West. Roy Rogers (1911-1998) w as a movie and television cowboy
from the 1930s through the 1960s.
260
U N IT 2: ANALYZING CHARACTER AND PO IN T OF V IE W
The Bull-dogger (1923), Ritchey Lithography
Corporation. Library of Congress.
The N o r m a n Fil m Mf g .C o .
PRESEN TS
BILL PICKETT
THE BULL-DOGGER
Deaih D e fy in g fea 6s o f Courage and Skill.
TH RILLS! LAUGHS TOO!
Produced bq NORMAN FILM M FG. CO .
JA C K S O N V IL L E , FLA .
■
If anyone had asked at that time if my excitement was due to an
early interest in history, my answer would have been a resounding,
“N o !” However, looking back, I realize that answer would not
have been entirely true. Yes, we did have fun, and yes, our flights
into the past seemed to be more about action than about learning
history, but that role-playing seeded my interest in discovery. W hen
20 I learned as an adult that one out of three cowboys was black or
Mexican, that discovery was moving and profound.
I do wonder, though, how we would have been affected as young
boys if, at that impressionable tim e, we had known about Nat
Love, a cowboy; Bill Pickett, a rodeo cowboy; Jim Beckwourth,
a fur trader; or Jean Baptiste Du Sable, the explorer— all persons
of African descent. c^> Q
NAT LOVE
(1854 - 1921 )
Love b e c a m e f a m o u s
f o r his skill a s a r a n g e
rider and m a rk s m a n .
He w a s a l s o f l u e n t in
S p a n i s h , a n d h e h a d his
a u to b io g ra p h y published
in 1 9 0 7 .
262
resounding
(rT-zound'Tng) adj.
unm istakable; loud
profound (pre-found')
adj. very deep or great
impressionable
(Tm -p resh 'e-n e-b al) adj.
easily influenced
© P E R S O N A L E SSA Y
W hy did Pinkney save
such a strong statem ent
for the last paragraph?
JEAN BAPTISTE
POINTE
DU SABLE
JIM
BECKW OURTH
(1745- 1818 )
Beckwourth w orked
as a tra p p er and
fu r trader, as well
as a scout and m ule
driver for th e
U.S. A r m y .
Du S a b l e , a t r a p p e r
a n d t r a d e r , w a s b o r n in
Haiti. He is c r e d i t e d
as b e i n g t h e f o u n d e r o f
t h e city o f Chicago.
U N I T z: A N A L Y Z I N G C H A R A C T E R A N D P O I N T O F V I E W
(1800 - 1866 )
Comprehension
a
1. Recall W h o d i d J e r r y P i n k n e y a n d h i s f r i e n d s p r e t e n d t o b e ?
ALABAM A
S TA N D A RD S
LITERATURE STANDARD
2. Recall W h a t w a s J e a n B a p t i s t e D u S a b l e m o s t f a m o u s f o r ?
3. Clarify W h e r e d i d t h e a u t h o r a n d h i s f r i e n d s g e t t h e i r c o s t u m e s ?
Literary Analysis
4. Make Inferences R e r e a d l i n e s 2 2 - 2 6 . If, a s a y o u n g b o y , P i n k n e y h a d
k n o w n a b o u t t h e m e n “o f A f r i c a n d e s c e n t ” h e m e n t i o n s , h o w d o y o u t h i n k
it m i g h t h a v e a f f e c t e d h i m ?
5. Identify Author’s Purpose L o o k b a c k a t t h e n o t e s y o u m a d e o n y o u r c h a r t .
W h a t d o y o u t h i n k w a s t h e a u t h o r ’s p u r p o s e f o r w r i t i n g t h i s e s s a y ?
6 . Analyze Cause and Effect O n e c a u s e c a n
h a v e m a n y e ffe c ts . W h a t e f fe c t s did roleplaying h a ve on th e a u th o r? M a k e a d ia g ra m
like t h e o n e s h o w n , a n d fill in t h e e m p t y
boxes using in fo rm ation
E ffect
fro m t h e essay.
CAUSE
Attends cowboy Movies with
his friends in his free time
E ffect
Effect
Role-plays the Movie,
7. Evaluate a Personal Essay
cowboys
and explorers
In m o s t p e r s o n a l e s s a y s ,
with his friends
th e a u th o r uses an inform al,
con versation al style to
e x p r e s s his o r h e r t h o u g h t s a n d fe e lin g s . Do y o u t h i n k P in k n e y d o e s th is ?
Explain y o u r a n s w e r u s i n g d e t a i l s f r o m t h e e s s a y f o r s u p p o r t .
8 . Creative Project: Music S o m e s t o r i e s a b o u t li f e in t h e A m e r i c a n W e s t
h a v e b e e n k ep t alive t h r o u g h so n g s. C re a te y o u r o w n s o n g te llin g a b o u t
o n e o f t h e c o w b o y s o r e x p l o r e r s m e n t i o n e d in t h e e s s a y , o r c h o o s e
a n o th e r. P re s e n t y o u r p iece t o t h e class.
9. Inquiry and Research M a n y p e o p l e b e c a m e f a m o u s f i g u r e s o f t h e
A m erican W est. The actors w h o portrayed th e m on sta g e and screen
b e c a m e fa m o u s , too. Read th e n e w s p a p e r article on p a g e 265. T hen do
s o m e research to learn a b o u t f a m o u s m e n a n d w o m e n o f th e A m e ric a n
W est. C h oo se o n e person and find o u t w h a t m a d e him or h er n otable.
S h a r e y o u r fin d in g s w i t h t h e class.
RESEARCH LIN KS
For more on fam ous men and wom en of the Am erican West, visit the Research
A n n ie O akley, co w g irl
ROLE-PLAYING AND DISCOVERY
263
C h oo se th e letter o f th e phrase th a t best co n n ects w ith each b old faced w ord .
impressionable
1. impressionable: (a) a n o l d w o m a n s e w i n g , (b) a v a n f i l l e d w i t h c a m p i n g
s u p p l i e s , (c) a n e a g e r y o u n g s t u d e n t
intensity
profound
2 . intensity: (a) a s e v e r e t h u n d e r s t o r m , (b) a r e l a x i n g p i e c e o f m u s i c ,
(c) a t i r e d f a c t o r y w o r k e r
resounding
3. profound: (a) a v e r y n o i s y c r o w d , (b) a v e r y m o v i n g s t o r y ,
(c) a v e r y m i l d i n f e c t i o n
4. resounding: (a) a n e r v o u s s p e a k e r , (b) a l o u d c h e e r , (c) a r e l a x i n g w a l k
T h i n k b a c k t o p l a y i n g y o u r f a v o r i t e g a m e w h e n y o u w e r e a c h i l d . D i d it
influence th e ideas or interests yo u h a v e n o w ? W rite a b o u t t h e g a m e a n d h o w
it a f f e c t e d y o u , u s i n g a t l e a s t t w o v o c a b u l a r y w o r d s . Y o u c o u l d s t a r t like t h i s .
ALABAM A
S TA N D A R D S
a
meaning
As a child, I played checkers with great intensity.
V O C A B U L A R Y S T R A T E G Y : T H E L A T IN R O O T p r e S S
T h e v o c a b u l a r y w o r d impressionable c o n t a i n s t h e L a ti n
r o o t press, w h i c h m e a n s “t o p u s h d o w n . ” T h i s r o o t is
u s e d t o f o r m a larg e n u m b e r o f English w o r d s . U se y o u r
k n o w le d g e o f w h a t th is root m e a n s, a lo n g w ith c o n te x t
c l u e s in t h e s e n t e n c e o r p a r a g r a p h , t o i n f e r t h e m e a n i n g
o f unfam iliar w ords.
im pressionable
pressure
PRACTICE C h o o s e t h e w o r d f r o m t h e w e b t h a t b e s t c o m p l e t e s
e a c h s e n t e n c e . C o n s id e r w h a t y o u k n o w a b o u t t h e Latin r o o t
a n d t h e o t h e r w o r d p a r t s s h o w n . R efer t o a d i c t i o n a r y if y o u
n e e d help.
1. T h e
policies o f t h e g o v e r n m e n t c a u s e d t h e p e o p le t o rebel.
2. M a n y s t u d e n t s
t h e m s e l v e s t o e x c e l in b o t h s p o r t s a n d s c h o o l .
3. T h e l a w y e r g o t in t r o u b l e f o r t r y i n g t o
4. I f a ( n )
im p o rta n t evidence.
is p u n c t u r e d , a i r o r g a s m a y l e a k o u t .
5. A f t e r h i s f a t h e r ’s d e a t h , h e s u f f e r e d f r o m s e v e r e
264
UN IT 2 : ANALYZING CHARACTER AND P O IN T OF VIEW
VO CABU LARY
P R A C T IC E
at ClassZone.com.
M AG AZIN E ARTICLE In “ R o l e - P l a y i n g a n d D i s c o v e r y , ” y o u r e a d a b o u t t h e
h e ro e s w h o in flu e n c e d Je rry Pinkney. The fo llo w in g m a g a z i n e article will tell y o u
m o r e a b o u t A f r i c a n - A m e r i c a n c o w b o y s in h i s t o r y a n d in f i l m .
BY
B I L L GWALTNEY
The image of the American cowboy
has become synonymous w ith the
West. Yet decades of Hollywood
westerns, popular tales, and even
operas and classical music have given
the world an impression of cowboys
that is incorrect in m any ways. One
major inaccuracy is the absence of
black cowboys. It is estimated that
there were as m any as 9,000 cowboys
working cattle in the West during
the 1800s.
H istorian Kenneth Wiggins Porter
located lists of trail herd outfits that
prove, on the average, cowboys were
63 percent white, 25 percent African
American, and about 12 percent
Mexican American. A documented
1877 trail outfit listed seven white
cowboys, two black cowboys, a black
cook, and a Mexican-American horse
w rangler (a cowboy who herds saddle
horses). An 1874 cattle crew was
made up entirely of black cowboys
w ith a white trail boss.
Life as a cowboy answ ered the
c all for adventure, the need for
re g u lar pay, and a chance to live
the free life of a “cowpuncher.” The
n ature of the job m ade it difficult
for racism to tak e hold as it had
in m an y other aspects of A m erican
As the country w arm ed to
western heroes, however, A frican
A m ericans saw themselves w ritten
out of the script. It would be up to
people such as black film director
Oscar M icheaux to create black
westerns. One actor who becam e
w idely known in black A m erica
was singing cowboy Herb Jeffries,
whose movie nicknam e w as the
“Bronze Buckaroo. Jeffries’s movies
included plots sim ilar to those of
w hite westerns and even included a
sidekick.
As the 1960s changed America,
so too did they change the western
movie. M any Hollywood westerns,
including Lonesome Dove, Silverado,
and The Quick and the Dead, have
depicted A frican Americans as a
regu lar p art of their story lines.
R EADING FOR INFO RM AT ION
265
The Red Guards
F r o m t h e M e m o i r Red Scarf Girl
b y Ji-li J i a n g
What happens when
F R E E D O M vanishes?
□
ALABAM A
S TAN D A RD S
READING STANDARD
and devices
KEY IDEA T h e U n i t e d S t a t e s is k n o w n a s “t h e l a n d o f t h e f r e e . ”
Its l a w s s t a t e t h a t c i t i z e n s c a n t r a v e l w h e r e t h e y like, w o r s h i p
as th e y w ish, an d en joy w h a te v e r m usic an d b ook s th e y choose.
B u t w h a t i f t h o s e l a w s s u d d e n l y c h a n g e d ? In “T h e R ed G u a r d s , ”
y o u ’ll r e a d a b o u t a girl s t r u g g l i n g w i t h t h e l o s s o f f r e e d o m s s h e
once took for granted.
DISCUSS W i t h a g r o u p o f c l a s s m a t e s , t a l k a b o u t t h e f r e e d o m s
th a t y o u m o s t cherish. Do y o u read a n e w s p a p e r each day?
Do y o u w a t c h t h e television p ro g ra m s y o u w a n t to? Can y o u g o into
a b o o k s t o r e a n d b u y a n y b o o k y o u c h o o s e ? Talk a b o u t w h a t
it m e a n s t o b e a b l e t o d o t h e s e t h i n g s — a n d w h a t it w o u l d m e a n
to n o t be a b le to.
•
L IT E R A R Y A N A L Y S IS : A U T H O R ’S P E R S P E C T IV E
A n a u t h o r ’s p e r s o n a l f e e l i n g s a b o u t a s u b j e c t a f f e c t t h e w a y
h e o r s h e w r i t e s a b o u t it. T h e c o m b i n a t i o n o f i d e a s , v a l u e s ,
feelings, and beliefs t h a t s h a p e t h e w a y an a u th o r looks a t
a t o p i c is c a l l e d t h e author’s perspective. In n o n f i c t i o n , y o u
c a n i d e n t i f y t h e a u t h o r ’s p e r s p e c t i v e b y p a y i n g a t t e n t i o n t o
• direct s t a t e m e n t s by t h e a u t h o r t h a t tell w h a t h e or s h e
thinks, feels, or cares a b o u t
• w o rd s he or she uses to describe people, events, and things
A s y o u r e a d “T h e R e d G u a r d s , ” l o o k f o r w a y s t h e a u t h o r
s h o w s h e r p e r s p e c t i v e o n e v e n t s in h e r c h i l d h o o d .
0 R E A D IN G S T R A T E G Y : ID E N T IF Y S Y M B O L
A symbol is a p e r s o n , p l a c e , o r t h i n g t h a t s t a n d s f o r
s o m e t h i n g else. A sunrise, fo r e x a m p le , m ig h t b e a s y m b o l
o f h o p e o r a n e w b e g i n n i n g . To i d e n t i f y s y m b o l s , l o o k f o r
• things th a t th e a u th o r m e n tio n s o v e r an d over
• objects th a t se e m to have g reat im p o rta n c e to th e a u th o r
A s y o u re a d "The Red G u a r d s ,” lo o k f o r o b j e c t s t h a t s e r v e
as sy m b o ls. Think a b o u t t h e ideas ea ch s y m b o l re p re se n ts.
R e c o r d y o u r t h o u g h t s in a c h a r t like t h e o n e s h o w n .
SifMbo!
Stands For
butterfly
fr&edoM, beautif
Review: Make Inferences
T h e w o r d s in C o l u m n A h e l p tell a b o u t a f r i g h t e n i n g e v e n t .
To s e e h o w m a n y y o u k n o w , m a t c h e a c h w o r d in C o l u m n A
w i t h t h e w o r d in C o l u m n B t h a t is c l o s e s t in m e a n i n g .
Column A
Column B
1. z e a l o u s
a. h a r s h
2. i n d i s t i n c t
3. l e n i e n c y
b. t h r e a t e n i n g l y
c. t a k e
4. a g g r e s s i v e l y
d. u n c l e a r
5. a c r id
e. m e r c y
6. c o n f i s c a t e
f. e n t h u s i a s t i c
Author Online
Tough Times
Ji-li J i a n g ’s
(je-le jyan g) h a p p y
c h i l d h o o d in
S h a n g h a i, China,
b ecam e o n e o f fear
w hen M ao Zedong
(m ou' dzu'dong')
t o o k o v e r China.
B ecause o f th eir
Ji-li Jiang
w e a lth , Jiang and
born 1954
her fam ily w e re
treated harshly by su p p o rters o f th e
Chinese g o v e rn m e n t for years.
Bridging the Gap J i a n g m o v e d t o
t h e U n i t e d S t a t e s in 1 9 8 4 . S h e w r o t e
Red Scarf Girl t o s h a r e h e r c h i l d h o o d
m e m o r ie s o f th e C ultural Revolution.
“By telling m y story,” Jiang says, “ I h o p e
t h a t p e o p le will learn a b o u t t h e Cultural
R evolution a n d m a k e su re t h a t such a
te rrib le e v e n t will n e v e r h a p p e n again.”
Background
The Cultural Revolution In 1 9 6 6
C o m m u n ist Chairm an M ao Zedong
b e g a n his a t t e m p t t o t r a n s f o r m
C h i n a ’s g o v e r n m e n t . H e e n l i s t e d t h e
h elp o f t e e n a g e s t u d e n t s k n o w n as
t h e Red G u a r d s . S q u a d s o f Red G u a r d s
w e n t fro m h o u se to h o u se seeking
t o g e t rid o f all “f o u r o l d s ”— a n y t h i n g
t h a t r e p r e s e n t e d old ideas, old culture,
old c u s to m s , a n d old habits. T h ese
searches w e n t on for several years
a n d d e s t r o y e d m i l l i o n s o f l ives .
M ORE A BO U T THE AU THO R
AND BACKGROUND
For more on Ji-li Jiang and the
Cultural Revolution, visit the
T H E RED GUARDS
J
267
THE
RED
GUARDS
Ji-li Jia n g
In th e fo llo w in g excerpt, J i- li J ia n g is 12 y ea rs old, a n d th e C u ltu ra l R evolu tion
is u n derw ay. A t fi r s t a lo ya l fo llo w e r o f C hairm an M ao, J i- li s p e rsp ectiv e ch a n ges
a fte r h er la te g r a n d fa th e r ’s status as a w ea lth y la n d lo rd b eco m es k n ow n . M a o ’s
g o v e r n m e n t con sid ers la n d lord s a n d th eir fa m ilie s p o ssib le en em ies o f th e p eop le.
N ow cla ssified by th e R ed G uards as h a v in g su sp iciou s sta tu s,” th e J ia n g fa m ily
lives in fea r.
M
om go t hom e from w o rk th a t ev en in g lo o k in g n ervo u s. She
w h isp ered to D ad an d G ran d m a , an d as soon as w e fin ish e d
din n er, she told us to go o u tsid e an d play.
“W e have so m eth in g to ta k e care of,” she said . I k n e w th is h ad
som ething to do w ith the C u ltu ra l Revolution. I w ished she w o u ld just
say so. W e were too old to be fooled lik e little ch ildren. B ut I d id n ’t say
a n y th in g an d w ent outside w ith the others. ©
W h en it w as nearly dark, Ji-yu n an d I w ent back hom e, leaving Ji-yo n g 1
w ith his friends.
10 As w e en tered th e a p a rtm e n t, I sm elled sm o ke, acrid an d ch o k in g .
I looked aro u n d in ala rm . B ut G ran d m a w as s ittin g alo ne in th e m a in
room , sh o w in g no sign o f w orry.
“G randm a, is there a fire?” w e shouted anxiously. “D on’t you sm ell the
sm oke ? ”
© A U T H O R ’S
P E R S P E C T IV E
The author is an adult
but w rites the events as
a yo u n g girl. W hy m ight
this help the reader
better understand her
perspective than if she
had w ritten the events
as an adult?
acrid (ak'rTd) adj.
harsh and sharp
in taste or odor
W h at m ood, or fee ling,
do the colors in this
p ainting help create?
1.
268
Ji-yun (je -y u n ). . . Ji-yong (je-yon g ): the author’s younger sister and brother.
S e p tem b e r (2 0 0 3 ), H u n g Liu. O il on
canvas, 66" x 66". © H u n g Liu.
“Hush, hush!” Grandma pulled us to her quickly. “It’s nothing. They’re
just burning some pictures.” We looked puzzled. “Your mother heard
today that photos of people in old-fashioned long gowns and m andarin
jackets are considered fourolds.2 So your parents are burning them in the
bathroom.”
20 “C an we go w atch?” I loved looking at pictures, especially pictures
of all those uncles and aunts I had never met.
Grandma shook her head. I w inked at Ji-yun, and we both threw
ourselves into her arms, begging and pleading. As always, she gave in, and
went to the bathroom door to ask Mom and Dad.
Mom opened the door a crack and let us in.
The bathroom was filled with thick smoke that burned our eyes and
made us cough. Dad passed us a glass of water. “W e can’t open the
window any wider,” he said. “The neighbors might notice the smoke and
report us.”
30 Mom and Dad were sitting on sm all wooden stools. On the floor
was a tin washbowl full of ashes and a few pictures disappearing into
flames. At D ad’s side was a stack of old photo albums, their black covers
stained and faded with age. Dad was looking through the albums, page
by page, tearing out any pictures that might be fourolds. He put them
in a pile next to Mom, who put them into the fire.
I picked up one of the pictures. It was of Dad, sitting on a camel, when
he was about six or seven years old. He was wearing a wool hat and pants
with suspenders, and he was laughing. Grandma, looking very young and
beautiful and wearing a fur coat, was standing beside him. Q
40 “Mom, this one doesn’t have long gowns or anything,” Ji-yun said.
“C an’t we keep it?”
“The Red Guards might say that only a rich child could ride a camel.
And besides, Grandma’s wearing a fur coat.” She threw it into the fire.
Mom was right, I thought. A picture like that was fourolds.
The flames licked around the edges of the picture. The corners curled
up, then turned brown. The brown spread quickly toward the center,
swallowing Grandma, then the camel, and fin ally D ad’s woolen hat.
Picture after picture was thrown into the fire. Each in turn curled,
melted, and disappeared. The ashes in the washbowl grew deeper. Finally
50 there were no more pictures left. Mom poured the ashes into the toilet
and flushed them away. Q
That night I dreamed that the house was on fire. . . .
2 . m a n d a r in j a c k e t s . . . fo urold s: M andarin jackets are fancy jackets w ith narrow, stand-up collars.
They were one of the "fourolds”— old ideas, old culture, old custom s, and old habits— that were
forbidden during the Cultural Revolution.
270
Q
M A K E IN F E R E N C E S
W hat does this
inform ation su g ge st
about how Ji-li’s fath er
used to live?
Q
ID E N T IF Y S Y M B O L
Consider w h at the
photographs sym bolize
to the Red Guards.
W hat m igh t the
photographs sym bolize
to the Jian g fam ily?
Record this inform ation
in your chart.
arly in the m o rn in g Song Po-po 3 rush ed u p stairs to tell us the news.
A ll th e n eigh b o rs w ere s a y in g th a t a k n ife h ad been fo u n d in th e
co m m u n al 4 garb age bin. T h e N eigh borhood D ictatorsh ip G roup had
declared this to be an illegal w eapon, so the entire bin h ad been searched
an d som e in c o m p letely b u rn e d p ic tu res fo u n d . In one o f th e m th e y
reco gn ized m y F o u rth A u n t .5 B ecau se m y F o u rth U n cle h ad fle d to
H ong Kong right before Liberation, her fam ily w as on the N eighborhood
60 P arty C o m m ittees list o f black fam ilies .6 T h e w eapon w as au to m atically
associated w ith th e p ictu res, an d th a t w as en o u gh for S ix-F in gers 7 to
report to the p o w erful N eigh b o rh o o d P a rty C o m m itte e .8
A ll d ay w e w ere terrified . G ran d m a an d the th ree o f us w en t to the
p ark im m e d ia te ly after b reakfast. T h is tim e none o f us w an ted to play.
W e just sat togeth er on G ran d m a’s bench.
“W ill the R ed G uards co m e?” Ji-y u n asked.
“M ayb e th ey w ill, sw eetie,” G ran d m a answ ered. “W e ju st d on’t kn ow .”
She took out her k n ittin g . I tried to to do the sam e, but I kept fin d in g
m yself starin g into space w ith no idea o f w here I w as in the pattern. Ji-y u n
70 and Ji-yo n g ran o ff to p lay b ut alw ays cam e b ack to the bench after a few
m inutes. A t four o’clock G randm a sent m e to see if an y th in g w as hap penin g
at home.
I cau tio u sly w alk ed into the alley, alert for a n y th in g u n u su al, b u t there
w as no sound o f d ru m s or gongs or noise at all. T h e m op w as s till on the
balcony .9 1 looked into our lane. T here were no trucks. E verything seemed
calm , and I told G ran d m a it w as safe to go hom e. 0
M om an d D ad both cam e hom e earlier th an u su al. D in n er w as short
and n early silent. Soon after d in n e r w e tu rn ed the ligh ts o ff an d got into
bed, hoping th at the d ay w o u ld end p e ace fu lly after all. I la y for a long
so w h ile w ith o u t sleep in g b u t f in a lly d rifte d in to a restless doze. W h e n
I heard poun din g on the door dow nstairs, I w as not sure w hether it w as real
or a dream .
It w as real.
I h eard m y co usin Y ou-m ei ask bravely, “W h o ’s th e re ?”
E
© A U TH O R ’S
W hat w ords and
phrases show the
intense fe e lin g the
author experienced
th a t day?
3. Song Po-po (song po-po): Jiang fa m ily ’s dow nstairs neighbor, friend, and form er housekeeper.
4 . communal: used by everyone in the building.
5. Fourth Aunt: Ji-li Jiang’s aunt. "Fourth” m eans the fourth child born to the parents.
6.
Because my... black families: The author's uncle had gone to Hong Kong (at that tim e independent
from China) ju s t before Chairm an M ao established his governm ent. Because of this, the Com m unist
Party officers in charge of the neighborhood listed the fa m ily as opponents of Com m unism .
7.
Six-Fingers: the nicknam e for Mr.
six fingers on one of his hands.
8.
Neighborhood Party Committee: the Com m unist Party officers in charge of a neighborhood.
Ni, chairm an of the Neighborhood Dictatorship Group, w ho had
9 . The mop ... balcony: a signal used by the Jiangs to indicate to fa m ily m em bers returning home that
the Red Guards were not in the house.
T H E R E D G U A RD S
Does this painting
give you a positive or
negative sense o f the
Red Guards?
D etail of W om en W arriors I (2 0 0 4 ), H ung Liu. O il on canvas, 24" x 42". © H u ng Liu.
Six-Fingers’s voice replied, “The Red Guards. T hey’re here to search
your house. Open u p !”
They rushed into Fourth A unt’s apartm ent downstairs.
At first we could not hear much. Then we heard more: doors
slam m ing, a cry from H ua-hua,10 crash after crash of dishes breaking
90 overhead, and the indistinct voices of the Red Guards.
By this tim e we were all awake, but no one turned on a light or
said anything. We all lay and held our breaths and listened, tryin g to
determine what was going on downstairs. No one even dared to turn over.
M y whole body was tense. Every sound from my Fourth A unt’s room
made me stiffen with dread.
T
h irty minutes passed, then an hour. In spite of the fear I began
to feel sleepy again.
I was jolted awake by shouts and thunderous knocks. Someone was
shouting D ad’s name. “Jiang Xi-reng!u Get up! Jiang X i-reng!”
10. Hua-hua
(h w a -h w a ):
11. Jiang Xi-reng (jyang
272
You-m ei’s daughter; Fourth A un t’s granddaughter.
she-reng ):
J i-li’s father, like other people in China, is called by his surnam e first.
in d istin ct
(Tn'dT-stYngkt') adj.
not clearly recognizable
or understandable
D ad w en t to the door. “W h a t do yo u w a n t? ”
“O pen u p !” Six-Fingers shouted. “T h is is a search in passing! T h e R ed
G uards are go in g to search yo u r hom e in p assin g.”
W e often asked som ebody to b uy som ething in passing or get inform ation
in passing, but I had never h eard o f search in g a house in passing.
D ad opened the door.
T h e first one in w as S ix-F in g ers, w e a rin g an u n d e rsh irt an d d ir ty
blue shorts an d flip -flo p s. B eh in d h im w ere abo ut a dozen teen aged R ed
G uards. T h o u g h the w eath er w as s till q u ite w arm , th e y a ll w ore tig h tly
belted arm y un ifo rm s. T h e ir leader w as a zealous, loud-voiced g irl w ith
no short h air an d large eyes. Q
“W h a t’s yo u r relation sh ip w ith the Jian g s liv in g d o w n stairs?” the g irl
yelled, her h an d aggressively on her hip.
“H e is her brother-in-law,” Six-Fingers answ ered before D ad co uld open
his m outh.
“O h, so yo u ’re a close relative,” she said, as if she o n ly now realized that.
“Leniency for confession, severity for resistance! H an d over yo u r w eapons
now, or w e w ill be forced to search the house.” She stood up straigh t an d
ioo
stared at D ad.
“W h a t w eap o n s?” D ad asked calm ly. “W e have no— ”
120 “S e a rc h !” She cut D ad o ff w ith a shouted order an d shoved h im aside.
A t the w ave o f her arm the R ed G uards b eh in d her storm ed in. W ith o u t
sp ea k in g to each other, th e y sp lit in to th ree groups an d ch arg ed to w ard
our draw ers, cab in ets, an d chests. T h e flo o r w as in s ta n tly strew n w ith
th eir contents.
T h e y d em an d ed th at M o m an d D ad open a n y th in g th a t w as lo cked ,
w h ile w e ch ild ren sat on our beds, starin g in p aralyzed fascination. To m y
surprise, it w as not as frig h ten in g as I had im ag in ed th ro u gh the w eeks
o f w aitin g. O n ly L ittle W h ite 12 w as p an ick ed b y the crow d an d the noise.
She scurried am on g the open chests u n til she w as kicked b y a R ed G uard.
130 T h en she ran up into the attic an d d id not com e dow n. Q
I w atch ed one b o y g o in g th ro u g h th e w ard ro b e. H e to o k each p iece
o f clothing o ff its han ger an d th rew it onto the floor b eh in d h im . H e w ent
ca refu lly th ro u gh a draw er an d u n ro lled the n e atly p aired socks, tossing
them over his shoulder one b y one.
I tu rn e d m y h ead an d saw an o th er b o y o p e n in g m y d esk d raw er.
H e sw ept h is h a n d th ro u g h it an d ju m b le d e v e ry th in g to g eth er before
rem o vin g th e d raw er an d tu r n in g it u p sid e d o w n on th e flo o r. B efore
he co u ld ex am in e th e co n ten ts, an o th er one c a lle d h im aw a y to h elp
move a chest.
zealous (ze l'ss) adj.
eager and enthusiastic
Q
Reread lines 10 6 - 110 .
W hy do you th in k the
Red Guard is m ade up
m ostly o f teenagers?
aggressively
(o-gres'Tv-le) adv. in
a m anner sh ow ing
readiness to attack
leniency (le'ne-en-se)
n. tolerance; gentleness
Q
Jian g stares “in
paralyzed fascinatio n.”
W hy is the experience
not as frigh te n in g as
she had im agined it
w ould be?
12. Little White: the Jiang fam ily's cat.
T H E RED GUARDS
273
140
A ll m y treasures w ere scattered on th e floor. T h e b u tte rfly fell out
o f its glass box; one w in g w as cru sh ed u n d er a b o ttle o f glass b ead s.
M y co llectio n o f c a n d y w rap p ers h ad fallen o ut o f th e ir n oteb o o k an d
w ere crum p led u n d er m y stam p alb u m .
M y stam p a lb u m ! It h ad been a b irth d a y g ift fro m G ra n d m a w h en
I started school, an d it w as m y d earest treasure. For six years I h ad been
g e ttin g can celed stam ps from m y frien ds, c a re fu lly so ak in g th em to get
every bit o f envelope paper off. I h ad co llected th em one b y one u n til I
had com plete sets. I had even bought som e inexpensive sets w ith m y own
allow ance. I loved m y collection, even tho ugh I k n ew I should not. W ith
150 the start o f the C u ltu ra l R evolution all the stam p shops w ere closed dow n,
because stam p co llec tin g w as co n sid ered b o u rg eo is .13 N ow I ju s t k n ew
so m eth in g terrible w as g o in g to h ap p en to it. 0
I looked at th e R ed G u ard s. T h e y w ere s till b u sy m o v in g th e chest.
I slipped o ff the bed an d tiptoed across the room . If I co uld h id e it before
th ey saw m e . . . I stooped dow n an d reached for the book.
“H ey, w h at are yo u d o in g ?” a voice dem anded. I spun aro un d in alarm .
It w as the R ed G uard leader.
“I . . . I d id n ’t do an yth in g ,” I said g u iltily, m y eyes strayin g tow ard the
stam p alb um .
160 “A stam p alb u m .” She p icked it up. “Is th is y o u rs?”
I nodded fearfully.
“You’ve got a lot o f fourolds for a k id ,” she sneered as she flip p e d
th ro u gh it. “F oreign stam ps too,” she rem arked . “You little x en o p h ile .”14
“I . . . I’m not . . . ” I blushed as I fu m b led for w ords.
T h e g irl looked at Ji-y o n g an d J i-y u n , w ho w ere s till s ittin g on th eir
beds, w atch in g, and she tu rn ed to another R ed G uard. “G et the kids into
the bathroom so th e y don’t get in the w ay o f the revolution.” She th rew
th e stam p alb u m c a su a lly in to th e b ag o f th in g s to be confiscated an d
w en t back dow nstairs. She d id n ’t even loo k at m e. Q
170 Inside the bathroom w e co uld still hear the b an g in g o f fu rn itu re an d
the sh o u tin g o f th e R ed G u ard s. J i- y u n la y w ith her h ead in m y lap ,
q u ietly sobbing, an d Ji-yo n g sat in silence.
A fter a long tim e the noise d ied dow n. D ad opened the bathroom door,
and w e fea rfu lly cam e out.
T h e ap artm en t w as a m ess. T h e m id d le o f the floor w as strew n w ith
the contents o f the overturned chests an d draw ers. F la lf o f the clothes had
been taken away. T h e rest were scattered on the floor along w ith som e old
IB.
bourgeois (b<56r-zhwa'): related to m em bers o f the m iddle class— that is, to people like m erchants
or professionals. Those labeled bourgeois were considered suspicious by the Com m unist Party.
14. xenophile (zen'e-fTD: person who loves foreigners and foreign objects.
274
0
A U T H O R ’S
Reread lines 140-152
W hat do you learn
about the au th o r’s
attitu de tow ard the
Cultural Revolution?
confiscate (kon'fT-skat')
v. to take and keep
so m e th in g that belongs
to som eone else
□
ID E N T IF Y S Y M B O L
The stam p album
sym bolizes som ething
d iffe re nt to Jian g than
it does to the leader
o f the Red Guards.
In your chart, record
w hat it sym bolizes
to each o f them .
copper coins. The chests themselves had been thrown on top of each other
when the Red Guards decided to check the walls for holes where weapons
!0 could be hidden. Grandma’s German clock lay upside down on the floor
with the little door on its back torn off.
I looked for my things. The wing of the butterfly had been completely
knocked off the body. The bottle holding the glass beads had smashed,
and beads were rolling all over the floor. The trampled candy wrappers
looked like trash.
And the stamp album was gone forever. c^> Q
O
ID E N T IF Y SY M B O L
How does the stam p
album act as a sym bol
here, not only for Jiang,
but also for the reader?
W hat d e tails in this
piece o f art are also
m entioned in the
m em oir?
W ild flow er (2003), H ung Liu. Five-color lithograph w ith gold le a f and collage, Ed. 2 0, 25" x 19". © H ung Liu.
T H E R E D G UA RD S
275
INTERVIEW In “T h e R e d G u a r d s , ” y o u r e a d a b o u t s o m e o f Ji-li J i a n g ’s
e x p e r i e n c e s d u r i n g t h e C u l t u r a l R e v o l u t i o n . In t h e f o l l o w i n g i n t e r v i e w ,
sh e explains her reasons for sh aring her story w ith y o u n g readers.
BACK
4
FO R W A R D
►
STO P
ll
REFRESH
HOM E
e
P R IN T
r7^71
□
Why did you write Red Scarf Girl
for young people instead of adults?
In 1 9 8 4 1 m o v e d t o t h e S t a t e s . T h e f i r s t
year, I lived w i t h a n A m e r i c a n fa m ily.
T h e y w e r e v e r y i n t e r e s t e d in m y l i f e
in C h i n a . U s i n g m y l i m i t e d E n g l i s h ,
I shared s o m e o f m y stories w ith th e m .
O ne d ay th e y g ave m e a present, a
book , T he D iary o f A n n e Frank. Inside
t h e y w r o t e : “ In t h e h o p e t h a t o n e d a y
w e w i l l r e a d t h e d i a r y o f Ji-li J i a n g . ” O f
course, I w a s v e r y m o v e d by th e story,
a n d also, I w a s in sp ired t o w r i t e m y
o w n s t o r y t h r o u g h a l i t t l e g i r l ’s e y e s ,
instead o f as an ad u lt looking back.
H o n e s t l y s p e a k i n g , I d i d n ’t t a r g e t m y
r e a d e r s b e f o r e I w r o t e it, b u t I a m g l a d
it t u r n e d o u t t o b e a c h i l d r e n ’s b o o k .
I u s e d t o b e a t e a c h e r in C h i n a . If m y
b o o k h a s a n i m p a c t o n t h e kids w h o
r e a d it, I w i l l f e e l m o s t r e w a r d e d . . .
W hy did you leave China?
A fte r th e Cultural R evolu tion , th in g s
d i d n ’t c h a n g e m u c h . R ig id p o l i c i e s a n d
restrictions kept m e fro m ach ievin g
m y dream : to enter the Shanghai
D ra m a In stitute. I w a s n o t a llo w e d
276
'I; : ; ':
to audition. W h e n th e universities
re-opened, I passed th e exam , but
b e c a u s e o f m y f a m i l y ’s p o l i t i c a l
situ ation , I w a s o n ly a c c e p te d into
a less p re s tig io u s u n iv e rsity . A f t e r
frustration upon frustration, w h e n
Am erica op en ed th e door to students
f r o m C hina, I d e c id e d t o g o t o t h e
U nited States. A t th a t tim e, m y only
option w a s to g o o verseas and stu d y
in A m e r i c a . . . .
Ji-li means “ lucky and beautiful,”
a name your parents carefully selected
for you. Do you consider yourself lucky?
Yes, I c o n s i d e r m y s e l f q u i t e lucky.
D e s p i t e e v e r y t h i n g I e x p e r i e n c e d in
China, I h a v e n e v e r lacked fo r love f r o m
m y fam ily, m y friends, and also G od.
A f t e r s u rv iv in g t h e C ultural R evolution,
Ifind m y se lf m o re sensitive to th e
b e a u t y o f n a t u r e a n d t h e h u m a n spirit.
I a m g r a t e f u l f o r h a v i n g m y m i n d in
peace, grateful to have experienced
o th e r c u ltu res a n d lifestyles, a n d
especially g rate fu l th a t I h ave b een
able to d o so m e th in g m ean in g fu l and
en joyable to m e.
X
Comprehension
1. Recall W h y d o Ji-li J i a n g ’s m o t h e r a n d f a t h e r b u r n t h e p h o t o g r a p h s ?
2. Recall W h a t a r e t h e a u t h o r , h e r g r a n d m o t h e r , a n d h e r b r o t h e r a n d s i s t e r
w o r r y i n g a b o u t w h i l e t h e y ’r e a t t h e p a r k ?
□
ALABAM A
STA N D A RD S
READING STANDARD
and devices
3. Clarify W h y d o t h e R ed G u a r d s s e a r c h F o u r t h A u n t ’s a p a r t m e n t ?
Literary Analysis
4. Draw Conclusions T h e l i v e s o f Ji-li J i a n g a n d h e r f a m i l y h a v e c h a n g e d
b e c a u s e o f t h e C u l t u r a l R e v o l u t i o n . W h a t p e r s o n a l r i g h t s a n d freedoms
h a v e t h e y lost?
5. Examine Author’s Purpose R e r e a d t h e i n t e r v i e w w i t h Ji-li J i a n g o n p a g e
2 7 6 . W a s Ji-li J i a n g ’s r e a s o n f o r w r i t i n g h e r memoir t o i n f o r m o r e x p l a i n ,
to persuade, to entertain , or a com b in atio n o f th ese? S u p p ort you r
a n s w e r w ith in fo rm a tio n fr o m t h e selection .
6 . Identify Author’s Perspective O n a c h a r t
like t h e o n e s h o w n , d e s c r i b e t h e a u t h o r ’s
p ersp ective on ea ch topic.
7. Analyze Symbol L o o k a t t h e d i a g r a m y o u
c o m p l e t e d w h i l e r e a d i n g “T h e R ed G u a r d s . «
Explain h o w t h e s y m b o l s a n d w h a t t h e y
m e a n help yo u to u n d e rs ta n d th e e v e n ts
t h a t J i a n g is w r i t i n g a b o u t .
Topic.
Perspective
he.r faMilijs
e.xpe.rie.nc.e.
-the. Cultural
R&voh/tion
8. Inquiry and Research In h e r m e m o i r , Ji-li J i a n g c a l l s h e r s t a m p c o l l e c t i o n
h e r “d e a r e s t t r e a s u r e . ” S t a m p c o l l e c t i n g is a c o m m o n p a s t i m e , b u t p e o p l e
c o l l e c t all s o r t s o f i t e m s . D o r e s e a r c h t o f i n d o u t s o m e o f t h e o t h e r i t e m s
t h a t p e o p l e collect. P r e s e n t y o u r f i n d i n g s t o t h e class.
9. ( t t SO C IA L ST U D IE S C O N N E C T IO N T h e C u l t u r a l R e v o l u t i o n b e g a n
X in C h i n a in 1 9 6 6 . T h i s s e t u p a p e r i o d o f c h a o s a n d b l o o d s h e d t h a t
l a s t e d f o r y e a r s . C o n d u c t r e s e a r c h t o f i n d o u t w h a t l i f e is l i k e in C h i n a
t o d a y H o w h a v e th in g s c h a n g e d ? W h e n did t h e y c h a n g e ? S h a r e y o u r
findings w ith y o u r classm ates.
RESEARCH LIN KS
For more on modern Chinese culture, visit the Research Center at ClassZone.com.
Street in modern-day
Shanghai, China
T H E R E D G UA R D S
277
C h o o s e t h e w o r d in e a c h i t e m t h a t is n o t r e l a t e d in m e a n i n g t o t h e
o th er w ords.
acrid
aggressively
1. (a) s h a r p , (b) b i t t e r , (c) a c r i d , (d) b l a n d
confiscate
2. (a) l e n i e n c y , (b) d i s p l e a s u r e , (c) p a t i e n c e , (d) f o r g i v e n e s s
3. (a) c a l m l y , (b) a g g r e s s i v e l y , (c) c o o l l y , (d) p e a c e f u l l y
indistinct
4 . (a) e x c i t e d , (b) e a g e r , (c) z e a l o u s , (d) p r e j u d i c e d
5. (a) c o r r e c t , (b) c o n f i s c a t e , (c) s e i z e , (d) c l a i m
leniency
6 . (a) u n c l e a r , (b) b l u r r e d , (c) i n s p e c t , (d) i n d i s t i n c t
zealous
I m a g i n e y o u a r e Ji-li J i a n g . In o n e p a r a g r a p h , e x p l a i n t h e w o r s t p a r t a b o u t
t h e R ed G u a r d s ’ v i s i t u s i n g a t l e a s t t w o v o c a b u l a r y w o r d s . H e r e is a s a m p l e
beginning.
ALABAM A
S TA N D A RD S
a
To see strangers confiscate ml/ belongings \ajcls terrible.
V O C A B U L A R Y S T R A T E G Y : P R E F IX E S T H A T M E A N “ N O T ”
A p r e f i x is a w o r d p a r t t h a t a p p e a r s a t t h e b e g i n n i n g o f a b a s e
w o r d t o f o r m a n e w w o r d . O n e e x a m p l e is t h e v o c a b u l a r y w o r d
indistinct (in + distinct). T h e p r e f i x in- is o n e o f s e v e r a l p r e f i x e s
t h a t can m e a n “not.” Look a t t h e c h a rt t o s e e o t h e r p re fix e s
t h a t can m e a n “not,” a n d t o se e w h a t o th e r m e a n in g s t h e s e
p r e f i x e s m a y h a v e . To f i g u r e o u t t h e m e a n i n g o f a w o r d t h a t
contains a prefix and a base w o rd , th in k o f th e m e a n in g o f
each w o rd p a rt separately. Then u se this in fo rm a tio n , as w ell
a s a n y c o n t e x t clues th a t m ig h t be available, to d e fin e t h e w o rd .
Meanings
dis-
not; o p p o site o f
in-
n o t ; in
un-
not
m is-
not; incorrectly or bad ly
non-
not; o p p o s ite o f
PRACTICE U s e t h e s e s t r a t e g i e s t o d e t e r m i n e t h e m e a n i n g o f e a c h
n u m b e r e d w o r d . T h e n u s e e a c h w o r d in a s e n t e n c e t h a t s h o w s its
m eaning.
1. d i s a g r e e
2.
3.
4.
5.
278
nonfiction
unlikely
incurable
m isunderstand
V O CABU LARY
P R A C T IC E
at ClassZone.com.
1
a
S K IL L S PRACTICE
D e e p e n y o u r u n d e r s t a n d i n g o f “T h e R e d G u a r d s ” b y r e s p o n d i n g t o t h e s e
p r o m p t s . T h e n c o m p l e t e t h e Grammar and Writing e x e r c i s e .
W RITING PROM PTS
I
SELF-CHECK
A. Short Response: Evaluate Perspective
H o w d o e s Ji-li J i a n g r e a c t t o h e r l o s s o f
freedom a t t h e h a n d s o f t h e R e d G u a r d s ?
W r i t e one paragraph d e s c r i b i n g h e r t h o u g h t s
and feelings.
A strong evaluation w ill...
• include a s u m m a r y o f her
reactions
B. Extended Response: Write a News Article
T h e a u t h o r ’s d e s c r i p t i o n o f e v e n t s in h e r
c h i l d h o o d is f u l l o f e m o t i o n . T h e d e s c r i p t i o n
w o u l d b e d i f f e r e n t if a j o u r n a l i s t f r o m t h e
United States, fo r ex a m p le , w e r e w ritin g a b o u t
it y e a r s later. W r i t e a two- or three-paragraph
news article a b o u t t h e R e d G u a r d s s e a r c h i n g
th e Jiang fa m ily h o m e.
A reliable news article
w ill...
• p re se n t th e fac ts clearly
a n d logically
• use exam ples from the
selection
• a n s w e r t h e q u e s t i o n s Who?
What? When? Where? Why?
a n d How?
G R A M M A R A N D W R IT IN G
COMPARE CORRECTLY A d j e c t i v e s a n d a d v e r b s h a v e s p e c i a l f o r m s t h a t a r e
u s e d t o m a k e c o m p a r i s o n s . U s e t h e comparative form t o c o m p a r e t w o
p e o p l e o r t h i n g s . U s e t h e superlative form t o c o m p a r e t h r e e o r m o r e p e o p l e
o r t h i n g s . For m o s t o n e - s y l l a b l e a d j e c t i v e s a n d a d v e r b s , a d d er t o f o r m t h e
c o m p a r a t i v e a n d e s t t o f o r m t h e s u p e r l a t i v e . For m o s t t w o - s y l l a b l e a d j e c t i v e s
a n d a d v e r b s , u s e more i n s t e a d o f e r a n d most i n s t e a d o f est.
Original:
J i - y u n w a s t h e y o u n g e s t o f t h e t w o g ir ls .
Revised:
J i - y u n w a s t h e y o u n g e r o f t h e t w o g ir ls .
a
ALABAM A
STA N D A RD S
8.a Using t h e steps of t h e writing
PRACTICE C o m p l e t e t h e f o l l o w i n g s e n t e n c e s w i t h t h e c o r r e c t f o r m o f t h e
adjective or adverb.
1. O f all h e r c o u s i n s , Y o u - m e i w a s t h e ( b r a v e r , b r a v e s t ) .
2. J i - y u n a n d J i - y o n g w e r e b o t h s l e e p i n g , b u t Ji-li w a s ( m o r e , m o s t ) r e s t l e s s .
3. O n e g irl y e l l e d ( m o r e l o u d l y , l o u d l i e r ) t h a n t h e o t h e r .
4. O u t o f all h e r p o s s e s s i o n s , t h e s t a m p a l b u m w a s w h a t Ji-li w a s ( s a d d e r ,
sa d d e s t) a b o u t losing.
F o r m o r e h e l p w i t h c o m p a r a t i v e a n d s u p e r l a t i v e f o r m s , see p a c e
th e
R58
in
Grammar Handbook.
T H E R E D G UA R D S
279
Life Doesn’t Frighten Me
Poem by M aya A ngelou
On Turning Ten
P o e m b y Bi l l y C o l l i n s
How do we know w e’re
G R O W N UP?
a
ALABAM A
S TA N D A RD S
READING STANDARDS
and devices
KEY IDEA W h e n w e h e a r s o m e o n e d e s c r i b e d a s “grown up,”
w e k n o w it r e f e r s t o m o r e t h a n j u s t t h e p e r s o n ’s a g e . A l o n g
w ith a g e c o m e n e w responsibilities, g r e a te r in d e p e n d e n c e , and,
s o m e t i m e s , h e s i t a t i o n . T h e p o e m s y o u ’re a b o u t t o r e a d e x p l o r e
th e e x citem en t— and challenges— th a t g ro w in g up can present.
QUICKWRITE W h a t a r e s o m e w a y s y o u t h i n k y o u ' v e g r o w n u p
o ve r th e last f e w ye a rs? C on sid er a n y responsibilities yo u 'v e ta k e n
on, such as caring fo r a p e t or d o in g certain chores. W rite t h e s e
d o w n in y o u r j o u r n a l . T h e n d e s c r i b e h o w y o u f e e l in g e n e r a l a b o u t
g r o w i n g up.
•
Author Online
L IT E R A R Y A N A L Y S IS : S P E A K E R
J u s t a s a s h o r t s t o r y h a s a narrator, a p o e m h a s a speaker,
o r v o i c e t h a t “t a l k s ” t o t h e r e a d e r . T h e s p e a k e r m a y b e t h e
p o e t o r a f i c t i o n a l c h a r a c t e r . (B e a w a r e t h a t e v e n w h e n
a p o e m u s e s t h e p r o n o u n s I o r me, it d o e s n o t a l w a y s m e a n
t h e p o e t is t h e s p e a k e r . ) I d e n t i f y i n g t h e s p e a k e r , a n d
u n d e r s t a n d i n g h i s o r h e r s i t u a t i o n , is a n e s s e n t i a l p a r t
o f discovering th e m e a n in g o f a p o em .
A s y o u r e a d e a c h p o e m t h a t f o l l o w s , l o o k f o r c l u e s in t h e
t i t l e a n d in i n d i v i d u a l li n e s t h a t h e l p y o u d e t e r m i n e w h o t h e
s p e a k e r is a n d w h a t his o r h e r s i t u a t i o n is like.
• R E A D IN G S T R A T E G Y : R E A D IN G P O E T R Y
A p o e m c a n tell a t a l e o r p r o v i d e a m e s s a g e , j u s t a s a s h o r t
s t o r y c a n . To g a i n a b e t t e r u n d e r s t a n d i n g o f w h a t a p o e m
is s a y i n g , u s e t h e s e s t r a t e g i e s :
• Reread the poem. A f t e r r e a d i n g t h e p o e m t h e f i r s t t i m e ,
r e a d it a g a i n . W i t h e a c h r e a d i n g , y o u m a y d i s c o v e r i m a g e s
o r i d e a s y o u h a d n ’t n o t i c e d b e f o r e .
• Read the poem aloud. P o e t r y is m e a n t t o b e h e a r d a s
w e l l a s r e a d . R e a d i n g it a l o u d w i l l h e l p y o u h e a r t h e p o e m ' s
song-like qualities an d u n d e rsta n d th e im p o rta n c e o f
li n e b r e a k s .
• Take notes. R e c o r d a n y w o r d s , p h r a s e s , o r l i n e s y o u f i n d
particularly interesting. Jot d o w n c o m m e n ts or q u e stio n s
y o u m i g h t h a v e a b o u t t h e s p e a k e r o r t h e p o e m ’s m e a n i n g .
R e a d "Life D o e s n ' t F r i g h t e n M e ” a n d "On T u r n i n g T e n ” t h r e e
t i m e s . D u r i n g e a c h r e a d i n g , u s e a c h a r t like t h e o n e s h o w n
to record a n y im a g e s or ideas t h a t help y o u u n d e r s ta n d t h e
s p e a k e r a n d t h e p o e m ’s m e a n i n g .
f"----------- ----- -
"L ife Doesn't
Frighten
Is t Reading
Znd Reading
:ir d Reading
(aloud)
Me"
The. speaker s&e.tv\s
pretty brave.
“On Turning Ten'
Maya Angelou:
Universal Voice
Though best known
for her w riting,
M aya A ngelou
(an'ja-loo') h a s also
w o rk e d as a dancer,
a si n g e r , a n a c t r e s s ,
a cook, and e v e n a
streetcar conductor.
A lthough her
w r i t i n g is s h a p e d b y
her e x p erien ces as an African Am erican,
t h e topics a n d issues A n g e lo u deals w ith
re m a in universal. Her ability to identify
w i t h a w i d e r a n g e o f p e o p le h a s led to
A n g e l o u ’s p o p u l a r i t y . S h e n o t e s ,
“ In all m y w o r k , w h a t I t r y t o s a y is t h a t
a s h u m a n b e i n g s w e a r e m o r e a li k e
th a n w e a re unalike.”
Billy Collins:
Champion of
Poetry K n o w n f o r
his s e n s e o f h u m o r
and entertain in g
p o e try readings,
Billy C o l l i n s is
lo v e d b y critics
and readers
a li k e . H e h a s w o n
Billy Collins
num erous awards
born 1941
f o r his p o e t r y
a n d has se rv e d as U nited S ta tes Poet
L a u re a te ( 2 0 0 1 - 2 0 0 3 ) . Collins th in k s
th a t p o e try should be e v eryw h ere, not
j u s t in t h e c l a s s r o o m : “ I b e l i e v e p o e t r y
b e l o n g s in u n e x p e c t e d p l a c e s — in
elevators and on buses and subw ays,”
h e o n c e said.
MORE A B O U T THE AU T H O R
For more on these poets, visit the
J
281
Life Of esn’l
Frighten Me
Maya A n g e l o u
Shadow s on the w all
N oises dow n the h all
Life doesn’t frigh ten m e at all
B ad dogs b ark in g lo u d
5 B ig ghosts in a cloud
Life doesn’t frigh ten m e at all.
M ean o ld M o th er G oose
Lions on the loose
T h e y don’t frigh ten m e at all ©
10 D ragons b reath in g flam e
O n m y co u n terp an e 1
T h a t doesn’t frigh ten m e at all,
1. counterpane: a bedspread.
282
U N I T 2: A NALYZI NG C H A R A C T E R A N D P O I N T OF V I E W
Does the girl in this
photograph look
frightened? Explain.
© SPEA KER
d e tails give clues about
the age o f the speaker?
I go boo
M ak e th em shoo
15 I m ak e fun
W ay th ey run
I w o n’t cry
So th ey fly
I ju st sm ile
20 T h e y go w ild Q
T ough guys in a figh t
A ll alo ne at n ig h t
Q R E A D IN G P O E T R Y
Read lines 13-20 aloud.
Notice how the poem ’s
structure changes here,
w ith the lines becom ing
shorter. W hat e ffect
does this change have
on yo ur reading?
25 Panthers in the p ark
Strangers in th e d ark
N o, th ey d on’t frigh ten m e at all.
T h a t new classroom w here
Boys all p u ll m y h air
30 (K issy little girls
W ith th eir h air in curls)
T h e y d on’t frigh ten m e at all.
D on’t show m e frogs an d snakes
A n d listen for m y scream ,
35 If I ’m afraid at all
It’s o n ly in m y dream s.
I’ve got a m ag ic ch arm
T h a t I keep up m y sleeve,
I can w a lk the ocean floor
40 A n d never have to breath e. Q
Life
N ot
N ot
Life
284
doesn’t frigh ten m e at all
at all
at all.
doesn’t frigh ten m e at all.
U N I T 2: A NALYZI NG C H A R A C T E R A N D P O I N T O F V I E W
© SPEA KER
W h at do these lines tell
you about the speaker’s
personality?
O n T u r n '^
T h e w hole id ea o f it m akes m e feel
lik e I’m co m in g dow n w ith so m eth in g,
so m eth in g w orse th an a n y stom ach ache
or the headaches I get from read in g in b ad lig h t—
5 a k in d o f m easles o f the spirit,
a m um ps o f the p sych e ,1
a d isfig u rin g ch icken pox 2 o f the soul. ©
© SPEAKER
Reread the title and
lines 1- 7. W hat em otions
is the speaker feeling,
and why?
1. psyche ( s l ' k e ) : the spirit or soul.
2 . disfiguring chicken pox: Like m easles and m um ps, chicken pox was once
a com m on childhood disease. It caused pockmarks to appear on the skin,
som etim es leaving scars behind.
LIFE d o e s n ’t F R I G H T E N M E / O N T U R N I N G T E N
285
You tell m e it is too early to be lo o k in g back,
b ut th at is because yo u have forgotten
10 the perfect sim p licity o f b ein g one
an d the b eau tifu l co m p lexity intro d uced by tw o. Q
But I can lie on m y bed an d rem em ber every d ig it.
A t four I w as an A rab ian w izard .
I co uld m ak e m yself invisible
15 b y d rin k in g a glass o f m ilk a certain w ay.
A t seven I w as a soldier, at n in e a prince.
B ut now I am m o stly at the w in d o w
w atc h in g the late afternoon ligh t.
B ack then it never fell so so lem n ly
20 ag ain st the side o f m y tree house,
an d m y bicycle never lean ed ag a in st the garage
as it does today,
all the d ark blue speed d rain ed out o f it. Q
25
T h is is the b e g in n in g o f sadness, I say to m yself,
as I w a lk th ro u g h the universe in m y sneakers.
It is tim e to say good-bye to m y im a g in a ry friends,
tim e to tu rn the first b ig num ber.
It seems o n ly yesterd ay I used to believe
there w as n o th in g un d er m y sk in b ut ligh t.
30 If yo u cu t m e I w o u ld shine.
B ut now w hen I fall upon the sid ew alks o f life,
I sk in m y knees. I bleed. ©
U N I T 2: ANALYZI NG C HA RA C T E R A N D P O I N T OF V I E W
© SPEA KER
To w hom do you thin k
the speaker is ta lk in g
in lines 8- 11?
Q
R E A D IN G P O ET R Y
W hat fe e lin g s do
these lines convey?
© SPEAKER
W hat does the speaker
learn about him self?
After Reading
Comprehension
1. Recall In “ Life D o e s n ’t F r i g h t e n M e , ” w h a t a r e t h r e e t h i n g s t h e speaker
i s n ’t a f r a i d o f ?
2. Recall In t h e f i r s t stanza, o r g r o u p o f l i n e s , in “ O n T u r n i n g T e n , ” w h a t
is t u r n i n g t e n b e i n g c o m p a r e d t o ?
a
ALABAM A
S TA N D A RD S
READING STANDARD
and devices
3. Summarize H o w d o e s t h e s p e a k e r o f “O n T u r n i n g T e n ” f e e l a b o u t t u r n i n g
o n e y e a r older?
Literary Analysis
4. Make Inferences H o w m i g h t t h e p o e m s ’ s p e a k e r s a n s w e r t h e q u e s t i o n
“ H o w d o w e k n o w w e ’r e grown up?”
5. Interpret Lines T h e s p e a k e r in “ O n T u r n i n g T e n ” s a y s , “A t f o u r I w a s a n
A r a b i a n w i z a r d ” a n d "At s e v e n I w a s a s o l d i e r , a t n i n e a p r i n c e . ” W h a t
is t h e s p e a k e r r e f e r r i n g t o in t h e s e l i n e s ?
6.
Monitor Understanding L o o k b a c k a t t h e c h a r t o f y o u r f i r s t , s e c o n d , a n d
th ird r e a d in g s o f t h e p o e m s . Explain h o w y o u r u n d e r s t a n d i n g o f t h e
p o e m s a n d t h e i r s p e a k e r s c h a n g e d w i t h e a c h r e a d i n g . W h i c h l i nes, w o r d s ,
or phrases had th e g reatest effect on you?
7. Compare and Contrast Speakers
Think a b o u t t h e situ a tio n e a c h
speaker faces and th e attitude each
o n e e x p r e s s e s . In w h a t w a y s a r e
t h e s p e a k e r s alike a n d d iffe r e n t?
U s e a c h a r t like t h e o n e s h o w n
to record y o u r th o u g h ts.
W ho is th e speaker?
8.
or she face?
Make Judgments D o y o u t h i n k
t h e s p e a k e r o f “ Life D o e s n ’t
F r i g h t e n M e ” i s n ’t r e a l l y a f r a i d ?
Use e x a m p le s fro m th e p o e m
to su pport you r answer.
" L ife Doesn’t
Frighten
"On Turning Ten"
Me”
1 think t h e
sp ea k er is a
girl.
W h a t situation does he
9. Speaking and Listening B a s e d o n w h a t y o u ’v e l e a r n e d a b o u t t h e p o e m s ’
speakers, h o w do yo u th in k th eir voices w o u ld so u n d ? Perform a reading
o f o n e o f th e p o e m s fo r y o u r class. U se a t o n e o f vo ice t h a t a llo w s t h e
s p e a k e r ’s a t t i t u d e t o c o m e a c r o s s in y o u r r e a d i n g .
LIF E D O E S N ’T F R I G H T E N M E / O N T U R N I N G T E N
287
Writing
Workshop
I
**
H a v e y o u e v e r r e a d a d e s c r i p t i o n o f a p e r s o n o r a c h a r a c t e r a n d sa i d , “ I k n o w
s o m e o n e j u s t like t h a t ! ” M a y b e y o u h a v e r e a d a s h o r t s t o r y like “ E l e v e n ”
or “President Cleveland, W h e r e A re Y o u ?” and w is h e d t h a t y o u could m e e t
o n e o f t h e c h a r a c t e r s b e c a u s e t h e y a r e d e s c r i b e d s o v iv i d ly. To l e a r n h o w t o
d e s c r i b e a p e r s o n o r a c h a r a c t e r , f o l l o w t h e W r i t e r ’s R o a d M a p .
W R IT E R 'S R O A D M A P
Describing a Person
W R ITIN G PR O M PT 1
Writing from Your Life Write a focused description
of a person. Your description should have many
details and should tell why the person is important
to you.
People to Consider
• a person you know very well
• a person who has influenced you
• a fam ily member or neighbor w ho helped you
K E Y TRAITS
1. ID EA S
• Identifies the person or character
• Focuses on a main impression
of the person or character
2. O R G A N IZ A T IO N
• Has a clear organization, with
an introduction, a body, and
a conclusion
• Uses transitions to connect ideas
W R ITIN G PR O M PT 2
Writing from Literature The literature in this
unit is full of vivid characters. Choose one of the
characters you read about. Describe that person
as clearly as you can.
Characters to Consider
• Mako in “Ghost of the Lagoon”
• June, the narrator in “Tuesday of the Other June”
• Jerry in “President Cleveland, Where Are You?”
&
288
WRITING TOOLS
• Provides any background
information the reader may need
3. VOICE
• Has a direct and respectful tone
4. W ORD CH O IC E
• Uses sensory details to show
the reader w hat the person
or character is like
5. SE N T EN C E F L U E N C Y
• Varies the lengths of sentences
to make the description lively
and interesting
6. C O N V EN TIO N S
• Uses correct grammar, spelling,
and punctuation
Part 1: Analyze a Student Model
Billy Mayhew
0a[te©ISSE#i Andrew Jackson Middle School
‘-
s
'
I
I
M
) J t UWC. l Unr l
Uncle Edward
K E Y TRAITS IN ACTIO N
W hen m y friends see me, th ey say, “Hey, B illy !” or “W h a t’s
happening?” T hey sm ile, and sometimes they pat me on the shoulder.
W hen m y uncle Edward sees me, he looks me straight in the eye and
says, “W illia m .” He says it w ithout a sm ile. It’s as if he’s tryin g out the
5 name for the first time and m aking sure it fits me. The w ay he greets me
—
Introduction identifies
the person and gives
a main impression of
him : he is serious and
in control.
is just the w ay he always is— serious and in control.
Uncle Edward is a stern m an in his sixties. He has w avy silver hair,
which is the only soft-looking part of him . He stands as straight as a
chimney. Even when Uncle Edward watches TV, he sits straight in his
10 chair and never even leans back. H is shirts feel as stiff as cardboard,
and you’ll never catch him w ith his sh irt untucked. In fact, he looks
The high lighted sensory
details show rather
than tell w h at Uncle
Edw ard is like. The tone
is respectful w ith ou t
being stuffy.
like a soldier, even though he was never in the m ilitary.
T he w ay Uncle Edward stands and moves lets you know that he isn’t
the kin d of g u y you call Eddie, or even Ed. A ll the people I know call
15 him Edward, or else they call him M r. M ayhew. I’m guessing he never
got slapped on the back either. Probably the closest anyone cam e to
doing that was giving him a good, firm handshake.
Uncle Edward has always been the kind o f gu y who m akes the rules
or m akes sure that no one else breaks them . H e used to be a forem an
20 at M cK inley C hem ical in Lawson, so he got good at barking out orders.
T he workers there probably did everyth in g he said, the m inute he said
Background information
gives the reader
interesting details about
Uncle Edward.
it. He has the voice o f a general, too. It’s loud and couldn’t be clearer.
W hen he tells me w hat to do, it never sounds like maybe. For example,
when Uncle Edward says to me, “G et me th at book” or “Answ er the
25 door,” I always jum p right up. I don’t ever w ait to find out w hat w ould
happen if I took m y time.
W RITING WORKSHOP
289
No one in our fam ily ever seems to go against what Uncle Edward says.
He makes the decisions. W hen we’re at the fam ily picnic, if Uncle Edward
D iffe re n t sentence
lengths keep the w ritin g
from so u n d in g choppy
or droning.
says it’s time to eat, it’s time to eat. If he says it’s time for the annual relay
30 race, then we start the annual relay race. Every Thanksgiving, we eat when
Uncle Edward likes to eat, 4:00 sharp. M y mom always says, “Oh, Billy,
it doesn’t really m atter to us, but it matters to him .”
__
Although Uncle Edward is tough on the outside, he has a soft center
Transitions connect
just like m y favorite candy bar. N obody could tell that from his voice
ideas and help make
the overal organization
clear.
35 or looks. Still, I know it’s there because I can tell he w ants me to come
see him . For exam ple, he alw ays has m y favorite cookies in the house,
but he never eats an y him self. H e also alw ays asks me about m y life.
—
H e’ll even sm ile if I tell h im I got a good grade or a great h it at the
last baseball gam e. W hen I leave, I know he’s sorry to see me go. Even ~~
40 though he m ight not show it, when he says “W illia m ,” I th in k he really
means “Good to see you, Billy.”
290
UN IT 2: ANALYZING CHARACTER AND PO IN T OF VIEW
__
The conclusion
sum m arizes the
description and presents
a new w ay o f looking
at Uncle Edward.
Writing Workshop
a
8.a Using the steps of the
writing process
^PR EW R ITIN G
What Should 1Do?
1
1. Think of a person to write about.
M a k e a list o f p e o p l e w h o s t a n d o u t in
y o u r m e m o r y . J o t d o w n w h a t is s p e c i a l
or im p o r ta n t a b o u t each. H ighlight th e
oneyou w a n t to w rite about.
c a Think about people you love, people
who drive you crazy, and people you respect.
Consider fictional characters and famous
people, too.
2. Find a focus.
W h a t is t h e m a i n p o i n t y o u w a n t t o m a k e
a b o u t t h i s p e r s o n ? For e x a m p l e , is h e f u n n y
a n d i n t e r e s t i n g ? Is s h e a g r e a t a t h l e t e ?
Freew rite a b o u t y o u r subject.
^
P&rson
W h a t Is Important
QrandMa YJz-
sm a rt
Unde Edward
stern and ser/oos
M rs. RoManek
terrific, creative teacher
Scott
loyal friend who really
knows Me
and kind
serious, in control a ll -the, -time
• sounds like a general or soMething
• tells everybody what to do at the faM/ly picnic
Words- 'William' (not '"billy),''Answer the door,
"It’s t/Me to eat"
Actions■Makes the rules, gives coMMands, sits up
straight even when hes watching television
tJHM If you are writing about someone you
know, you might want to interview him or
her. See page 295 for interviewing tips.
C D Avoid cliches, which are overused
expressions. See page 294 for examples of
cliches and of fresh, original expressions.
|
• doesn’t sMile when he says hello
3. Gather information.
M a k e a list o f w h a t t h e p e r s o n d o e s a n d s a y s .
B e s u r e e a c h d e t a i l in y o u r li s ts h e l p s t o s h o w
t h e f o c u s y o u d e c i d e d o n in s t e p 2.
4. Think about sensory details.
W h a t sound s, sights, a nd o th e r details d o e s
t h i s p e r s o n b r i n g t o m i n d ? List d e t a i l s t h a t
will m a k e y o u r r e a d e r w a n t t o k e e p re a d in g .
What Does It Look Like?
^
sight: stands
and sits straight,
v has wavy hair
sound-- loud,
dear voice that
barks out orders
Unde.
Edward
touch- s tiff
shirts
WRITING WORKSHOP
291
1. Capture your reader’s attention.
M a k e a bold beginning. Use s e n s o ry
details, exciting dialogue, a q u o ta tio n ,
o r a c o n tra s t to invite y o u r re a d e r
to read on.
Are you stuck trying to come up
with a great beginning? Try writing the
rest of your paper first and then coming
back to the introduction.
2. Show, don’t tell.
D o n ’t j u s t w r i t e “ h e is n i c e ” o r " s h e
is w e i r d . ” I n s t e a d , q u o t e w o r d s , s u c h
a s “ I’ ll d o t h a t f o r y o u , M a r t h a , ” o r
d e s c rib e a ctio n s, su ch as drin k in g milk
w i t h g r a v y in it. In t h i s e x c e r p t , t h e
w r i t e r s h o w s h o w his u n c l e c a n s e e m
a little bit scary.
3. Include some sensory details.
A d d s o m e o f t h e details y o u listed w h ile
p rew ritin g . Be su re t o u s e m o r e t h a n
j u s t visual d etails. For e x a m p l e , y o u
m ig h t include so u n d s a n d te x tu r e s y o u
associate w ith th e person.
4. Write a satisfying conclusion.
Your e n d in g can b e a final bit o f
d e s c r i p t i o n . It c a n r e v e a l a l e s s o n t h a t
t h e p e r s o n t a u g h t y o u . It c a n a l s o a d d
a n e w b u t re la te d idea.
Before revising, consult the key
peer-reader questions on page 294 .
292
S en sory details
He stands straight, walks tall, and shouts coMMands.
M l/ Unde. Fdward is the. Most serious person 1 know.
Contrast
When My friends see Me, they say, "Hey, frilly1.”
or "What's happening?“ They sM/le. When Mij uncle
Edward sees Me, he looks m& straight in the eife
and says, “WilliaM.’ He says it without a SM/le.
When he tells Me what to do, it never sounds like Maybe.
For exaMple, when Unde Fdward says to Me, "Get Me
that book' or “Answer the door, I alwaysjuMp right up.
Unde F-dward is a stern Man. He has wavy silver hair
This is the only soft-looking p a rt o f hi m . He stands
as straight as a chiMney. His shirts fe d as s t iff as
cardboard, and you II never catch hiM with his shirt
untucked.
Although Unde Fdward is tough on the outside, he is
really a kind person. I can tell he wants Me to coMe see
hiM. He also always asks Me about My life. When I leave,
I know hes sorry to see Me go. Fven though he Might not
show it, when he says “WilliaM, 1 think he really Means
“Good to see you, frilly
U N I T 2! A N A L Y Z I N G C H A R A C T E R A N D P O I N T O F V I E W
Writing Workshop
'
R E V I S I N G A N D E D IT IN G
What Should 1Do?
Stick to w hat’s important.
• R e r e a d y o u r e s s a y . D o all t h e d e t a i l s r e l a t e
to th e m ain idea y o u w a n t t o give y o u r
re a d er a b o u t this p erso n ?
He Makes -the decisions. When were at -the faMily
picnic, i f Unde Edward says its tiMe -to eat, it’s tiMe
I f he says it s time for the annual relay race, then
we start the annua! relay race.
• Cross o u t u n re la te d in fo rm a tio n so th a t
y o u r description stays fo c u se d on y o u r
m a in idea.
2. Add background information.
• S o m e tim e s w riters leave o u t inform ation
th at th e reader needs. Ask a peer reader
t o [bracket] p a rts o f y o u r e s s a y th a t are
unclear.
• A dd e x p la n a tio n s or details to help y o u r
re a d e r fo llo w y o u r thinking.
See page 294: A sk a Peer Reader
3. Strike the right tone.
• Read y o u r e s sa y aloud. Do p a rts s e e m to o
form al or slangy?
• C h oo se w o rd s th a t m ak e y o u r description
respectful and th ou g h tfu l.
4. Add variety to your sentences.
• Choose a paragraph and count th e num ber
o f w o r d s in e a c h s e n t e n c e . A r e m o s t
sentences a b o u t th e sa m e length?
• Revise o r c o m b in e s e n te n c e s to c re a te
a pleasing rh y th m o f long and sh ort
sentences.
j
^
P e e r r e a d e r ’s q u e s t i o n : H o w o l d is U n c l e E d w a r d ?
Unde Edward is a stern Man^ /n his sixties.
P e e r r e a d e r ’s q u e s t i o n : W h a t k i n d o f w o r k did
Uncle E dw ard do?
He used to be a foreMan at McKinley CheMicaJ, so
^4e got good at barking out orders. CThe workers
there probably did everything he said, the Minute
he said r tJ
Although Unde Edward is tough on the outside,
he has a soft center ju st like My favorite candy bar.
which
Unde Edward has wavy silver hairiThh is the only
soft-looking p a rt o f Him. He stands as straight
as a ch/Mney.
WRITING WORKSHOP
293
Apply the Rubric
A strong description of a person
or ch a ra cte r...
21
identifies th e p erso n or c h a racter
and fo cu ses on a m ain im pression
o f him or her
has an introduction, a body, and
a conclusion
uses se n so ry details to s h o w
r a t h e r t h a n tell a b o u t t h e p e r s o n
or character
izf i n c l u d e s h e l p f u l b a c k g r o u n d
inform ation
e f m a i n t a i n s a t o n e t h a t is d i r e c t
and respectful
s h o w s h o w ideas are related
by using transitions
0
k e e p s t h e d e s c rip tio n lively
by varying sen ten ce lengths
Ask a Peer Reader
• W h a t is i m p o r t a n t a b o u t t h e p e r s o n
or character I have described?
• Is m y d e s c r i p t i o n c l e a r l y o r g a n i z e d ?
If n o t , w h i c h p a r t s d o I n e e d t o
im prove?
Avoid Cliches
Cliche: U n c l e E d w a r d h a s a big heart.
Rewrite: A l t h o u g h U n c l e E d w a r d is t o u g h
o n t h e o u t s i d e , h e h a s a s o f t c e n t e r j u s t like
m y f a v o r i t e c a n d y bar.
Cliche: H e is neat as a pin.
Rewrite: Y o u ’ll n e v e r c a t c h h i m w i t h his s h i r t
untucked.
Cliche: H e calls the shots.
Rewrite: If U n c l e E d w a r d s a y s i t ’s t i m e t o e a t ,
i t ’s t i m e t o e a t .
Check Your Grammar
• Use a c o m m a a fte r an in tro d u ctory phrase.
In fact, he looks like. a soldier.
• U s e a c o m m a in a c o m p o u n d s e n t e n c e .
H& always has my favorite cookies in the
house, but he never eats any hiMS&lf.
See page R49: Q uick Reference: Punctuation
• Do I n e e d to a d d b a c k g ro u n d
i n f o r m a t i o n ? If so, w h e r e ?
v Y n r,n ^
n me
P U B L IS H IN G O P T IO N S
Writing Center at ClassZone.com.
A S S E S S M E N T P R E P A R A T IO N
For w riting and gram m ar assessm ent practice,
go to the Assessment Center at ClassZone.com.
294
□
17 Use listening skills for
remembering significant details
Conducting an Interview
W h e n y o u i n t e r v i e w s o m e o n e , y o u s e e t h e w o r l d t h r o u g h his o r h e r
eyes. Read on to find o u t h o w to g e t th e m o s t o u t o f an interview .
Planning the Interview
1. Find a person to interview. C h o o s e s o m e o n e w h o t r u l y
i n t e r e s t s y o u . F o r e x a m p l e , i f y o u li k e i g u a n a s , y o u m i g h t
i n t e r v i e w t h e o w n e r o f a l o c a l p e t s t o r e . If y o u w a n t t o
k n o w m o r e a b o u t y o u r fa m ily history, y o u m ig h t in te rv ie w
a grandparent.
2. Set up the interview. Call, w r i t e , o r e - m a i l t h e p e r s o n . G i v e
y o u r n a m e, y o u r school, an d y o u r reason fo r th e interview .
If y o u w a n t t o m a k e a v i d e o o r a u d i o r e c o r d i n g , b e s u r e t o a s k
p e r m i s s i o n f o r t h a t , t o o . If t h e p e r s o n a g r e e s , a s k w h e n a n d
w h e r e yo u can d o th e interview . You m ig h t m e e t th e person
in a p u b l i c p l a c e o r c o n d u c t t h e i n t e r v i e w b y t e l e p h o n e ,
e-m ail, or in stan t m e ss a g e .
3. Prepare for the interview. If n e c e s s a r y , r e a d a b o u t y o u r
s u b j e c t . W r i t e a l o n g list o f q u e s t i o n s . A v o i d q u e s t i o n s t h a t
c a n b e a n s w e r e d w i t h a s i m p l e “y e s ” o r “ n o . ” A s k , “ H o w d i d
y o u f e e l d u r i n g y o u r f i r s t d a y a t s e a ? ” n o t , “ Did y o u like y o u r
first day at se a?”
Conducting the Interview
1. Listen carefully. T a k e n o t e s , e v e n i f y o u a r e r e c o r d i n g t h e
i n t e r v i e w . If y o u a r e c o n d u c t i n g t h e i n t e r v i e w in p e r s o n ,
m ake fre q u e n t eye co n tact w ith th e person during th e
q u e s t i o n s a n d t h e a n s w e r s . It’s o k a y t o a s k , “C a n y o u g i v e
m e a m o m e n t to w rite th at d o w n ?”
2. Ask follow-up questions. D u r i n g t h e i n t e r v i e w , r e m e m b e r
t o say, “ P le a se tell m e m o r e a b o u t t h a t , ” o r t o a sk “W h y ? ”
3. Be courteous. S h o w i n t e r e s t a n d e n t h u s i a s m d u r i n g t h e
interview . W h e n yo u are done, say th an k you. Send th e
person a han d w ritten thank-you note afterw ard .
4. Write it up. Y o u r t e a c h e r w i l l t e l l y o u h o w t o d o t h i s . Y o u r
w o r k m i g h t t a k e t h e f o r m o f a s u m m a r y , a t r a n s c r i p t (a w o r d f o r - w o r d “s c r i p t ” t e l l i n g w h a t w a s said), o r a s e l f - a s s e s s m e n t
o f w h a t w e n t right or w ro n g .
See page R82: Evaluate an Interview
WRITING WORKSHOP
295
Assessment
Practice
DIRECTIONS
from
Read these selections and answer the questions that follow.
Phoenix Farm
Jane Yolen
A SS E SS
The practice te s t item s
on th e next f e w pages
m a t c h skills l i s t e d
on t h e Unit G o als
p a g e ( p a g e 175) a n d
addressed th rou g h o u t
t h i s u n i t . T a k in g t h i s
p ractice t e s t will
help you assess yo u r
know ledge of th ese
skills a n d d e t e r m i n e
your readiness for
t h e U n i t Test.
R E V IE W
After you take th e
practice test, yo u r
te a c h e r can help you
i d e n t i f y a n y skills y o u
n e e d t o review.
•
•
•
•
•
•
Point o f V ie w
Characters
Characterization
Visualize
C o ntext Clues
Easily C o n f u s e d
W ords
• Verb Tenses
• Com parative and
Superlative Forms
• Pronoun Cases
ASSESSM ENT
O N LIN E
So we got ready to head for Grandmas farm up in the valley, with only
the clothes we’d been wearing; our cat, Tambourine; and M am a’s track
medals, all fused together. She found them when the firefighters let us go
back upstairs to sort through things. N icky grabbed a souvenir, too.
His old basketball. It was flat and blackened, like a pancake someone left
on the stove too long.
I looked around and there was nothing I wanted to take. Nothing.
All that I cared about had made it through the fire: M am a, Nicky, and
Tam. It was as if we could start afresh and all the rest of it had been
10 burned away. But as we were going down the stairs— the iron stairs, not
the wooden ones inside, which were all gone— I saw the most surprising
thing. On the thirteenth step up from the bottom, tucked against the
riser, was a nest. It was unburnt, unmarked, the straw that held it the
rubbed-off gold of a wheat field. A piece of red string ran through it,
almost as if it had been woven on a loom. In the nest was a single egg.
It didn’t look like any egg I’d ever seen before, not dull white or tan
like the eggs from the store. Not even a light blue like the robin’s egg
I’d found the one sum m er we’d spent w ith Grandma at the farm.
This was a shiny, shimm ery gray-green egg w ith a red vein— the red
20 thread— cutting it in half.
“Look!” I called out. But M am a and N icky were already in the car,
w aiting. So w ithout thinking it all the w ay through— like, what was
I going to do with an egg, and what about the egg’s mother, and what
if it broke in the car or, worse, hatched— I picked it up and stuck
it in the pocket of m y jacket. Then, on second thought, I took off the
jacket and made a kind of nest of it, and carefully carried the egg and
m y jacket down the rest of the stairs.
W hen I got into the car, it was the very first time I had ever ridden
in the back all alone without complaining. And all the way to the farm,
30 I kept the jacket-nest and its egg in my lap. All the way.
For more assessment
296
U N IT 2: ANALYZING CHARACTER AND PO IN T OF VIEW
a
ARMT
SKILLS PRACTICE
Dallas a n d Florida, a broth er a n d sister, h a ve co m e fr o m an orp ha n age w h ere
they w ere badly treated. They a re sta yin g in th e h o m e o f S airy a n d Tiller.
from
Ruby Holler
S h a ro n C re e ch
“Look at this p lace!” D allas said. “You ever seen an y th in g so am azing?
A ll these trees? A ll these hills? Is th at a creek over there?”
“D allas, don’t yo u go fallin g for sw eet ta lk an d trees an d creeks. W e’ve
got to be read y to flee for the h ills an d catch th at train , yo u hear?”
“I hope yo u don’t m in d the sleep in g arran g em en ts,” S airy said, as th ey
stepped onto the front porch.
“W h ere are yo u p u ttin g us?” F lo rid a asked. “In the hog pen ?”
“T h e h o g p en ?” T ille r said . “I ’m afraid w e d o n ’t h ave a co ck am am ie
hog pen. I suppose w e co u ld b u ild yo u one th o u g h , if yo u w an ted . ”
10 “You got a snake p it?”
“A snake p it?” T ille r said. “You h an k e rin g after a slim y snake p it?”
“N o ,” F lorida said.
“D on’t m in d th at saggin g p o rch ,” S airy said, le ad in g the w ay insid e.
“A nd our place is k in d o f sm all, I kn o w .” She p au sed to sm ooth a q u ilt
covering a chair. “You’ll be u p stairs.”
“In the attic?” F lorid a said. “You got a d u sty co bw ebb y attic up there?”
S airy m otioned to the w ooden ladder. “It’s a loft. See? U p there— it’s kind
o f open to everything down below. I hope yo u don’t m ind. A ll our kids slept
up there together. I’m sorry w e don’t have separate room s for y o u .”
20 F lorida an d D allas scram b led up the lad d er in to the lig h t, a iry loft.
W in d o w s o verlo o ked th e trees o u tsid e an d th e deep b lu e m o u n ta in s
beyond. T h ere w ere four beds in the room , each covered w ith a b rig h tly
co lored q u ilt: h u n d re d s o f p atch es o f red an d o ran ge an d y e llo w an d
b rillian t green stitch ed together.
D allas gazed o u t at the trees. I t ’s lik e a treehou .se u p h ere. A tre eh o u se
w ith beds.
“U p here? Is th is w h ere yo u m e a n ?” F lo rid a c a lle d d o w n to Sairy.
“In this b ig huge place? O r is there a cupboard? You g o in g to p u t us in
a cupboard?”
ASSESSMENT PRACTICE
297
“I though t yo u m igh t sleep in those beds. W ell, n o t all o f them . Two o f
them . I hope that’s okay,” S airy said. “I hope yo u’ll be com fortable up there.”
D allas sank onto one soft bed. “F lorida, this is lik e flo atin g on a cloud.
nr
ir y one.
Florida stretched out on another bed. “Probably has bugs in it,” she said,
ju m p in g up again. “W h a t’s the catch? A re th ey go in g to fatten us up like
H ansel and G retel an d stick us in the oven?”
“D allas, Florida, could you please com e dow n here?”
“See?” F lorida said. “I bet th ey’re g o in g to p u t us to w o rk now. W e re
probably goin g to have to d ig a w ell or so m eth in g.”
D ownstairs, S airy and T iller h ad laid the table w ith a yellow tablecloth.
S pread across it w as a sliced h am , w arm ap p lesau ce sp rin k le d w ith
cin n am o n , h o t corn bread, an d green beans. Four places w ere set.
I t’s a fea st, D allas thought. F or kings a n d q u een s a n d v ery im p o rta n t p eop le.
“You h av in g co m p an y? W e h ave to go o u tsid e n o w ?” F lo rid a said .
“T his is for us,” S airy said. “For the four o f us. Two o f us and two o f y o u .”
Comprehension
A nswer these questions a b o u t the
excerpt fr o m the story “P hoenix Farm. ”
DIRECTIONS
1. W hich one of these details helps you
3 . You can tell that this story is told from
the first-person point o f view because
the narrator
visualize the destruction from the fire?
A calls herself “I”
A “M am a’s track medals, all fused
together” (lines 2- 3 )
B does not take part in the story’s action
B “his old basketball” (line 5)
D is not a character in the story
C “a piece of red string” (line 14)
D “the jacket-nest and its egg” (line 30 )
2 . W h ich phrase from the story helps
you visualize the egg?
A “tucked against the riser” (lines 12—13)
B “woven on a loom” (line 15)
C “not even a light blue” (line 17)
D “shiny, shimmery gray-green” (line 19)
C knows what other characters are feeling
4 . If this story were told from the thirdperson point o f view,
A the reader w ould learn about the
characters from an outside observer
B the story w ould include more
descriptive details
C the narrator w ould be a character
in the story
D all o f the inform ation w ould come
from the m ain character
Assessment Practice
a
5 . W hen the narrator m akes a nest for
ARMT
SKILLS PRACTICE
10. W h ich detail helps you visualize the loft
the egg, she shows that she
in Sairy and T iller’s house?
A loves her home
A “slim y snake p it” (line 11)
B acts before she thinks
B “dusty cobwebby attic” (line 16)
C needs a pet to care for
C “treehouse w ith beds” (lines 25 —26 )
D is gentle and caring
D “big huge place” (line 28 )
A nswer these questions a b ou t the
excerpt fr o m the n o v el R uby Holler.
DIRECTIONS
6 . You can tell that this story is told from
DIRECTIONS
A nsw er this question a b o u t both
selections.
11. W hich experience do the m ain characters
in both excerpts have in common?
the third-person point of view because
the narrator
A eating a feast
A includes all the characters’ dialogue
B m oving to new homes
B is not a character in the story
C losing their homes to fire
C reveals one character’s actions
D finding old souvenirs
D describes his or her own thoughts
7. The questions Florida asks Sairy show that
she and Dallas
A have had problems in life
Open-Ended Items
W rite tw o or th ree sen ten ces
to an sw er this question.
SHORT ANSWER
B are alike in m any ways
C have a close relationship
D have learned to trust people
8 . The w ay Sairy treats the children shows
that she is
A selfish
C gruff
B tim id
D kind
9 . T he description o f the quilts on the
children’s beds in lines 22-24 helps you
visualize a home that is
12 . In “Phoenix Farm ,” w hat does the
narrator reveal about herself w hen
she says, “A ll that I cared about had
made it through the fire: M am a, Nicky,
and Tam”?
Write a sh ort paragraph
to a n sw er this question.
ESSAY
13 . In Ruby Holler, how do Dallas and Florida
react to their new home? Use examples
from the story to support your answer.
A simple but welcom ing
B too fancy for children
C dusty and run down
D crowded with old furniture
299
Vocabulary
DIRECTIONS Use contex t clues to an sw er th e
fo llo w in g questions.
1. W hat is the most likely m eaning o f the
word fused, in line 3 o f the excerpt from
“Phoenix Farm”?
A tied
Use contex t clu es to help y o u an sw er
th e fo llo w in g questions a b o u t w ords th a t are
easily confused.
DIRECTIONS
5. Choose the correct word to fill in the
blank in the following sentence.
B melted
T he teacher wrote the answers on a clean
o f paper.
C knotted
A piece
D nailed
B peace
2 . W h at is the most lik ely m eaning of the
word sh im m ery in line 19 o f the excerpt
from “Phoenix Farm”?
A shaky
C peas
D appease
6 . Choose the correct word to fill in the
B fragile
C precious
Sophie w anted a tr e a t,
D gleam ing
A two
.
B to
3 . W hat is the most likely m eaning o f the
word f l e e in line 4 o f the excerpt from
Ruby H oller?
A climb
C too
D tow
7. Choose the correct word to fill in the
B march
C run
T he w hite marble had a thin b lu e ____
across the m iddle.
D hide
4 . W h at is the most likely m eaning o f the
word scra m b led in line 20 of the excerpt
from Ruby H oller?
A clim bed quickly
B shouted loudly
C walked clum sily
D crawled slowly
A vein
B vane
C vain
D van
Assessment Practice
a
ARMT
SKILLS PRACTICE
Writing & Grammar
DIRECTIONS
R ead this passage a n d a n sw er th e questions th a t follow .
( 1) I had a horrible week. (2 ) On M onday, I was the sadder girl in m y class.
(3 ) M y dog Z iggy eats garbage and was ill. (4 ) T he next day, me and m y
friends got in trouble for talking. ( 5) T he school called our parents, and
us and our parents had to m eet w ith the teacher. (6 ) I am cheerfuller today
than I was yesterday, though. (7 ) The sun is shining, and Ziggy wagged his tail.
( 8) After school, him and me w ill go to the park together. (9 ) He is the most
great dog ever!
1 . Choose the correct superlative to replace
the underlined word in sentence 2 .
5 . Choose the correct comparative to replace
A most sadder
C more sadder
A most cheerful
B most saddest
D saddest
B more cheerful
2 . Choose the correct verb tense to replace
A ate
C is eating
B w ill be eating
D w ill eat
3 . Choose the correct w ay to rewrite the
underlined words in sentence 4 .
A them and me
B they and me
C cheerfullest
D more cheerfuller
6 . Choose the correct verb tense to replace
the underlined words in sentence 7 .
A w ill wag
C is w agging
B had wagged
D was w agging
7. Choose the correct w ay to rewrite the
C m y friends and me
A he and me
C him and I
D m y friends and I
B he and I
D me and him
4 . Choose the correct w ay to rewrite the
8 . Choose the correct superlative to replace
the underlined words in sentence 9 .
A us and them
A most greatest
C greater
B we and our parents
B more great
D greatest
C us and they
D our parents and us
301
More
Great Reads
W h ich q u e stio n s fro m U n it 2 m ad e an im p re ssio n on you?
What makes a hero?
The B readw inner
H eck, Superhero
A S in g le Shard
by Deborah Ellis
by M artine Leavitt
by Linda Sue Park
Parvana is only 11 w hen
th e T a lib a n orders all
th e g irls and w o m en in
A fg h a n istan to stay in
th e ir houses. W hen her
fath er is arrested, som eone
m u st feed her fam ily. W ill
Parvana be able to do it?
H eck’s m om needs a
hero to help her out. But
Heck is o n ly a kid, and
so m e tim e s even the m ost
w o n d erful good deed in
th e w orld c a n ’t ch an g e a
boy into a sup erhero — or
can it?
Tree-ear, an orphan in
12 th -c e n tu ry Korea, is a
potter's apprentice. W hen
so m e th in g goes w rong
on a jo u rn e y to th e King's
C o u rt,Tre e-ear m u st learn
th a t th e re ’s m ore th a n one
w ay to show true courage.
How do you deal with a bully?
Blubber
In d ig o ’s Star
by Ju d y Blum e
by H ilary M cKay
Jill d oesn’t really th in k
ab out it w hen her w hole
class picks on Linda. She
even helps. But w hen
W endy, the class leader,
m akes Jill the next target,
Jill gets a taste o f b u llyin g
from the v ic tim ’s side.
On Indigo's first day back
at school, the bullies
are alread y w a itin g for
him . He is saved by the
d istractio n o f Tom, a
new boy in his class. W ill
th e tw o be able to w ork
to g eth er to survive?
M olly M o o n ’s Incredible
B ook o f H yp n otism
b y Georgia Bying
N obody likes M olly
M oon— not even th e other
o rphans. They call her Bog
Eyes and Drono. She's also
alw ays g ettin g pu nished.
Then one day M o lly fin d s
a book on hyp n o tism th at
ch an g es her life.
What would you do for your family?
302
UNIT
2:
A rte m is Fowl
Bird
The M ouse and H is Child
by Eoin Colfer
b y A ngela Johnson
by Russell Hoban
Tw elve-year-old A rtem is is
the genius son of a crim inal
m asterm ind. He decides
to steal the fairies' gold to
restore his fa m ily ’s fortune
and finance his fath er’s
rescue operation— if his
father is still alive.
W h a t w o uld you do to
get yo u r fath er back?
Bird leaves her m other
and takes a bus to Acorn,
A lab am a , to hide out in
a shed and spy on her
stepfather. W ill she get
him to com e hom e?
Does a w in d -u p m ouse
need a m o ther? T h is one
th in k s he does. Follow a
toy m o use and his father
as th e y hide from the evil
M a n n y Rat and search for
a fa m ily all th e ir own.
A N A L Y Z I N G C H A R A C T E R A N D P O I N T OF V I E W
UNDERSTANDING
THEME
In Fiction
Share What You Know
■
TT/y
lat are life’s big
LESSONS?
W h at do you th in k o f w h en you hear the w ord lessons? You m ig h t
p icture a chalkboard and a te xtb o o k , or sta rt sw e a tin g at the
th o u g h t o f a quiz. But it is also possible to learn valu ab le lessons
on a Satu rd ay w h ile h a n g in g ou t w ith yo u r frien d s. For instance,
you m ig h t learn the im p o rtan ce o f n u rtu rin g a frie n d sh ip in
order to help it grow . You can even learn lessons w h ile reading
a p ow erful book or w a tc h in g a g rip p in g m ovie. The m essages
ab o u t life and h u m an nature th a t w rite rs and d irectors convey
th ro u gh th e ir w o rk are called th em e s. The th e m e s th e y share
can keep you fro m h a v in g to learn lessons the hard w ay.
ACTIVITY C h oo se a book, poem , or m ovie th a t ta u g h t you one o f
life ’s big lessons. Share yo u r choice w ith a sm all grou p and ta lk
ab o u t w h y th is m essage is im p o rta n t to you. H ave other m em bers
o f the gro u p learned sim ilar lessons?
8M
it 8#B
liis t!
LA SSZO N E.C O M
3
Literature and Reading Center
Writing Center
Vocabulary and Spelling Center
—
□
A LA B A M A
STAN DARD S
LITERARY
ANALYSIS
Preview Unit Goals
Understand the difference between a topic and a them e
Identify and analyze them e and recurring them e
Read and evaluate historical fiction
Analyze characters, including traits, words, and actions
READING
Develop strategies for reading, including predicting,
visualizing, and setting a purpose
Make inferences
Com pare and contrast
Identify main ideas and details; synthesize inform ation
W R IT IN G A N D
GRAM M AR
W rite an analysis essay
Com bine sentences by using compound subjects and
predicates
Use com m as and coordinating conjunctions correctly when
com bining sentences
SPEAKING,
LISTENING,
AND VIEWING
VOCABULARY
Participate in a group discussion
Use context clues to determ ine the m eaning of words with
m ultiple m eanings
Understand and use base words and suffixes to determ ine
word m eaning
r
ACADEMIC
VOCABULARY
topic
main idea and details
them e
synthesize
recurring them e
sentence com bining
Understanding Theme
“W in n in g isn ’t e ve ryth in g.” “ Follow yo u r heart.” You've p rob ab ly learned
lessons like th e se at one tim e or another. You r ow n exp erie nce is u su ally the
best teacher, but literature can also co m m u n ica te im p o rta n t tru th s, or them es.
A th em e is a m essage a b o u t life or hu m an nature th a t a w rite r w a n ts readers to
u n derstan d . In th is w o rksh o p , y o u ’ll learn h o w to fig u re out w h a t the stories,
a
ALABAMA
STANDARDS
READING STANDARDS
interpreting characters
and devices
poem s, and plays you read really m ean.
Part 1: Topic Versus Theme
Have you heard the fa iry tale ab o u t the d u cklin g w h o d o e sn ’t fit in? His
sib lin gs call him the “u gly d u c k lin g ” because he looks d iffe re n t from them .
In the end, the d u cklin g discovers th a t he is a ctu a lly a b eau tifu l sw an.
The sto ry o f the u gly d u cklin g is a b o u t b ein g d iffe re n t. But th is is not the
th e m e o f the story. It is sim p ly a to p ic— one or tw o w ord s th a t sum up w h a t
the sto ry is about. The th e m e is the w rite r’s m essage about the topic. “ It’s
im p o rta n t to accept people fo r w h o th e y are” or “ D iffe re n ces are w h a t m ake
people sp e cial” are tw o possible th e m e s o f the story.
W h ile a to p ic can be described in a w ord or tw o , it take s a co m p lete
sentence to describe a them e, as y o u ’ll notice in the fo llo w in g exam ple.
EXAM PLE
The Drum
Poem by Nikki Giovanni
daddy says the wodd is
a drum tight and hard
and i told him
i’m gonna beat
out my own rhythm
306
UNIT 3: UNDERSTANDING THEME
T O P IC S
• individuality
• being you rself
THEM E STATEM ENTS
• It’s im portant to be yourself.
• People should march to their
ow n rhythm .
• Individuality is about doing your
own thing.
M O D E L 1: T H E M E IN A ST O R Y
M any fa b le s teach lessons ab o u t hum an nature th ro u gh the actio n s o f
anim al characters. These lessons co m m u n icate im p o rta n t th e m es. As
you read this fable, notice the m istake the d o g m akes.
The Dog and His Reflection
Fable by Aesop
A dog who thought he was very clever stole a steak from a butcher
shop. As he ran off with it in his teeth, he crossed a bridge that spanned
a small, still river.
As he looked over the side of the bridge and into the water, he saw his
own reflection, but he thought it was another dog.
“Hmm,” thought the dog, “that other dog has a nice, juicy steak
almost as good as the one I have. He’s a stupid-looking dog. If I can
scare him, perhaps he’ll drop his steak and run.”
This seemed to the dog to be a perfect plan. But as he opened his
mouth to bark, he dropped his steak into the water and lost it.
C lo se Read
1. Explain how the dog
loses the steak he stole
from the butcher.
2. W hat lesson can
readers learn from the
dog’s failed plan to get
another steak when he
already had one? State
the them e of this fable
in a sentence.
M O D E L 2 : T H E M E IN A P O EM
This poem has a m essage a b o u t the to p ic o f beauty.
The Stray Cat
C~
Poem by Eve M erriam
It’s just an old alley cat
that has followed us all the way home.
It hasn’t a star on its forehead,
or a silky satiny coat.
No proud tiger stripes, no dainty tread,
no elegant velvet throat.
It’s a splotchy, blotchy
city cat, not a pretty cat,
a rough little tough little bag of old bones.
“Beauty,” we shall call you.
“Beauty, come in.”
Close Read
1. Notice the w ay the cat is
described. Would most
people consider this cat
beautiful? Explain.
2. Reread the boxed] lines.
Choose the statem ent
that best expresses this
poem’s theme.
a. Beauty is something
that everyone can
agree on.
b. Different people have
different ideas about
w hat is beautiful.
307
Part 2: Clues to Theme
In som e fo lk tale s and stories, the th e m e is d irectly stated by a ch aracter or
the narrator. In m ost w orks o f literature, th o u g h , the th e m e is not usu ally
revealed in the form o f a direct statem en t. A s a reader, you need to infer, or
guess, the them e. To m ake a reasonable guess, you have to co nsid er certain
clues. The e le m e n ts in the ch art can all serve as clues.
T H E C LU E S
TITLE
The title m ay hint at a them e by high ligh tin g an
im portant idea, setting, or character. Ask:
• To w hat in the story does the title refer?
• W hat ideas does the title em phasize?
A story’s plot often focuses on a conflict that is
im portant to the them e. Ask:
• W hat conflicts do the characters face?
• How are the conflicts resolved?
CHARACTERS
Characters can reflect a them e by how they act and
w hat they learn. Ask:
• W hat are the main characters like? (Notice w hat
they do and say.)
• How do the characters deal w ith the conflicts?
• How do the characters change?
• W hat lessons do the characters learn?
A setting can suggest a them e because of the
conflicts it creates for the characters. Ask:
• W hat co nflicts does the settin g create?
• How do the characters feel about their
surroundings?
308
Reader’s Workshop
As you read this fo lk tale, use the clues you ju s t learned ab o u t to help you
uncover the them e. The Close Read q u estio n s w ill gu id e you.
Gombei
and the T *
Wild Ducks
Japanese folk tale retold by Y oshiko Uchida
5
10
15
20
25
Once long ago, in a sm all village in Japan, there lived a m an whose
name was Gombei. He lived very close to a wooded marsh where w ild
ducks came each winter to play in the water for m any long hours. Even
when the w ind was cold and the m arsh waters were frozen, the ducks
came in great clusters, for they liked Gombei s marsh, and they often
stayed to sleep on the ice.
Just as his father had done before him , Gombei made his living by
trapping the w ild ducks w ith simple loops of rope. W hen a duck stepped
into a loop, Gombei sim ply pulled the rope tight and the duck was
caught. A nd like his father before him , Gombei never trapped more
than one duck each day.
“After all, the poor creatures come to the m arsh never suspecting that
they w ill be caught,” G om bei’s father had said. “It w ould be too cruel to
trap more than one at a tim e.”
And so for all the years that Gombei trapped, he never caught more
than one duck a day.
One cold w inter m orning, however, Gombei woke up w ith a dreary
ache in his bones. “I am grow ing too old to work so hard, and there
is no reason to continue as m y father did for so m any years,” he said
to himself. “If I caught one hundred ducks all at once, [I could lo af for
ninety-nine days w ithout w orking at all.’
Gombei wondered w hy he hadn’t done this sooner. “It is a brilliant
idea,” he thought.
The very next m orning, he hurried out to the m arsh and discovered
that its waters were frozen. “Very good! A fine day for trapping,” he
m urmured, and quickly he laid a hundred traps on the icy surface. The
sun had not yet come up and the sky was full of dark clouds. Gombei
knelt behind a tree and clutched the ends of the hundred rope traps as
he shivered and w aited for the ducks to come.
Close Read
1. W hich character does
the title suggest is
im portant to watch?
As you read, look for
details that show what
this character is like and
how he changes.
2. Reread the [boxed [text.
W hat impression doyou
have of Gom bei? Explain
whether you see any
problems with his plan.
309
Slowly the sky grew lighter and Gombei could see some ducks
flying toward his marsh. He held his breath and watched eagerly as
they swooped down onto the ice. They did not see his traps at all and
gabbled noisily as they searched for food. One by one as the ducks
stepped into his traps, Gombei tightened his hold on the ropes.
35
“One— two— three—“ he counted, and in no time at all, he had
ninety-nine ducks in his traps. The day had not even dawned and
already his work was done for the next ninety-nine days. Gombei
grinned at his cleverness and thought of the days and weeks ahead
during which he could loaf.
40
“One more,” he said patiently, “just one more duck and I will have a
hundred.”
30
he last duck, however, was the hardest of all to catch. Gombei
waited and waited, but still there was no duck in his last trap. Soon
the sky grew bright for the sun had appeared at the rim of the wooded
45 hills, and suddenly a shaft of light scattered a rainbow of sparkling
colors over the ice. The startled ducks uttered a shrill cry and almost as
one they fluttered up into the sky, each trailing a length of rope from its
legs.
Gombei was so startled by their sudden flight, he didn’t let go of the
50
ropes he held in his hands. Before he could even call for help, he found
himself swooshed up into the cold winter sky as the ninety-nine wild
ducks soared upward, pulling him along at the end of their traps. . . .
Soon one hand began to slip, a little at first, and then a little more.
He was losing his grip on the ropes! Slowly Gombei felt the ropes slide
55
from his numb fingers and finally, he was unable to hold on any longer.
He closed his eyes tight and murmured a quick prayer as he plummeted
pell-mell down to earth. The wild ducks, not knowing what had
happened, flew on trailing their ropes behind like ribbons in the sky.
As Gombei tumbled toward the ground, however, a very strange
60 thing began to take place. First, he sprouted a bill, and then feathers
and wings, and then a tail and webbed feet. By the time he was almost
down to earth, he looked just like the creatures he had been trying to
trap. Gombei wondered if he were having a bad dream. But no, he was
flying and flapping his wings, and when he tried to call out, the only
65 sound that came from him was the call of the wild duck. He had indeed
become a wild duck himself. Gombei fluttered about frantically, trying
to think and feel like a duck instead of a man. At last, he decided there
was only one thing to do.
“If I am to be a wild duck, I must live like one,” he thought, and he
70 headed slowly toward the waters of a marsh he saw glistening in the sun.
310
UNIT 3: UN D E R ST AN D I N G T HEM E
C lose Read
3. W hat happens to
Gom bei as a result
of his actions?
4. In lines 6 9 -70 , Gom bei
returns to a fam iliar
setting— a marsh— but
there is nothing fam iliar
about the situation he’s
in. W hat conflict do you
think he’s about to have?
Reader’s Workshop
He was so hungry he sim ply had to find som ething to eat, for he had
not even had breakfast yet. He swooped down to the m arsh and looked
about hungrily. But as he w addled about th in kin g only of his em pty
stomach, he suddenly felt a tug at his leg. He pulled and pulled, but he
75 could not get away. Then he looked down, and there wound around his
leg was the very same kind of rope trap that he set each day for the w ild
ducks of his marsh.
“I wasn’t harm ing anything. A ll I wanted was some food,” he cried.
But the m an who had set the trap could not understand w hat Gombei
80 was trying to say. He had been trapped like a w ild anim al and soon he
would be plucked and eaten.
“Oh-h-h-h me,” Gombei w ailed, “now I know how terrible it is for
even one w ild duck to be trapped, and only this m orning I was tryin g to
trap a hundred poor birds. I am a w icked and greedy m an,” he thought,
“and I deserve to be punished for being so cruel.”
85
As Gombei wept, the tears trickled down his body and touched the
rope that was wound tigh tly about his leg. The moment they did, a
wonderful thing happened. The rope that was so secure suddenly fell
apart and Gombei was no longer caught in the trap.
“I’m free! I’m free!” Gombei shouted, and this tim e he wept tears
90
of joy. “How good it is to be free and alive! How grateful I am to have
another chance,” he cried.
As the tears rolled down his face, and then his body, another strange
and marvelous thin g happened. First, his feathers began to disappear,
and then his bill, and then his tail and his webbed feet. F inally he was
95
no longer a duck, but had become a hum an being once more. . . .
ever again w ill I ever trap another living thin g,” Gombei vowed
when he reached home safely. Then he went to his cupboard and
threw out all his rope traps and burned them into ash.
“From this moment on, I shall become a farmer,” he said. “I w ill till
100
the soil and grow rice and wheat and food for all the living creatures of
the land.” A nd Gombei did exactly that for the rest of his days.
As for the w ild ducks, they came in ever-increasing numbers, for now
they found grain and feed instead of traps laid upon the ice, and they
105 knew that in the sheltered waters of G om bei’s m arsh they w ould always
be safe.
Close Read
5. Examine the [boxed]
text. W hat does Gombei
realize about him self
and his plan? Explain
what has caused the
change in his attitude.
6. Reread lines 9 7-10 2.
W hy does Gom bei
decide to become
a farm er after he is
m agically freed?
7. Think about the
lesson that Gom bei
has learned. Choose
a topic shown and
w rite a statem ent that
expresses a them e of
the story.
• freedom
• treatm ent of others
• understanding others’
problems
311
The Dog of Pompeii
Sh o rt S to ry by Lou is U n te rm e y e r
a
What would you R I S K
fo r someone else?
ALABAMA
STANDARDS
READING STANDARDS
2 Interpret literary elements and
devices
5 Analyze short stories for
characteristics
KEY IDEA Som e people take risks fo r the e xcite m e n t o f it, w h e th e r
th e y are try in g a new skate b o ard in g trick or a u d itio n in g fo r a play.
O th ers, such as a stu d e n t e n te rin g a sp e llin g bee, take risks h o p in g
to gain a rew ard. In “The D o g o f Pom peii,” one ch aracte r risks his
life sim p ly to help so m eon e else.
LIST IT Brainstorm a list o f situatio n s in w h ich you w ou ld be w illin g
to take a risk for an other person. Co m pare yo u r lists w ith tho se o f
yo u r classm ates. W h at d ifferen ces and sim ilaritie s do you see?
• LITERARY AN A LY S IS : THEME VER SU S TOPIC
M o st stories center around a th em e , or an overall m essage
about life th a t the w rite r shares w ith readers. A sto ry ’s
them e is d iffe re n t from its topic, or w h a t the sto ry is about.
Topic
Length
Exam ple
can u s u a lly be sta te d in a
love
w o rd or tw o
Theme
m ore c o m p le x th a n a
Love can help
to p ic; u s u a lly d e scrib e d in
pe o p le so lv e th e ir
a sen te n ce
d iffe re n ce s.
One to p ic o f “The D o g o f P o m p eii” is frien d sh ip . A s you read,
look fo r the larger m essage the au th o r w a n ts to share.
• READING STRATEGY: RE ADIN G HIS TO RIC A L FICTION
W riters o f historical fictio n use a co m b in atio n o f real and
m ade-up se ttin gs, events, and ch aracters from the past.
The story you are ab o u t to read uses a real place, the tow n
o f Pom peii, as its settin g. It also describes a real event—
a vo lcan ic eruption. As you read, m ake a list o f d etails th a t
the au th or uses to m ake the sto ry ’s se ttin g and even ts com e
alive. Be sure to include in fo rm atio n ab o u t food, clo th in g,
tran sp o rtatio n , houses, e n te rtain m e n t, and so on.
R eview : M onitor
A V O C A B U L A R Y IN C O N TEX T
Louis U nterm eyer uses the fo llo w in g w ord s to craft his
tale o f an an cien t city. To see h ow m an y you know , try to
com plete each phrase w ith the appropriate w ord.
W ORD
agonize
dislodge
L IS T
corrupt
em erge
ponder
1. The sh a k in g is able t o ______ huge boulders.
2 . The c itiz e n s
over w h a t is h ap p e n in g in th e ir tow n.
3 . The y w o n d er w h en th e y c a n
4 . The lava begin s t o
from hiding.
the soil, m a kin g it unusable.
5 . M odern a rc h a e o lo g ists______ the to w n ’s ruins.
Author On|ine
Passion fo r Poetry
T h o u g h as a
y o u n g m an he
w orked several
jo b s w ith in his
fa m ily ’s je w e lry
b usiness, Louis
U n te rm eye r w as
also co n sta n tly
w ritin g . He
e ve n tu a lly retired
Louis U n term eyer
1885-1977
fro m th e je w e lry
b u siness in order to devote m ore tim e
to w ritin g . A lth o u g h U nterm eyer
w ro te m an y stories, poetry w as his
tru e passion. D u rin g his lifetim e, he
pu blish ed m ore th an io o books and
developed frie n d sh ip s w ith fa m o u s
poets such as Robert Frost and E. E.
C u m m in g s.
Background
M ount V e su viu s Erupts In the
ye ar a .d . 79, the vo lcan ic m ountain
V esu viu s (vY -so o 've -0 s) erupted in
so uth ern Italy. It poured b u rn in g lava
and ashes over th e co u n trysid e and
buried the n earby cities o f Pom peii
(p o m -p a ') and H ercu lan eu m
(h u r'k y a -la 'n e -e m ). O f Pom peii's
e stim ated p o p u lation o f 2 0 ,0 0 0 , at
least 2 ,0 0 0 w ere killed. Pom peii lay
u n distu rb ed fo r alm o st 1,700 years,
until its ruins w ere discovered in the
la t e is o o s . The rem ains o f the city,
preserved by vo lcan ic ash, present a
p icture o f life in th e Rom an Em pire, as
if it had been frozen in tim e.
MORE A B O U T THE AUTHO R
AND BACKGROUND
To learn more about Louis Untermeyer
and Mount Vesuvius, visit the
T H E D O G OF P O M P E I I
313
The
Doe of
1 Pompeii
Louis Untermeyer
ito an d his dog B im bo lived (if y o u co uld c a ll it liv in g ) u n d er the
w a ll w here it joined the in n er gate. T h e y re ally d id n ’t live th ere; th ey
ju st slept there. T h e y lived anyw h ere. Pom peii w as one o f the gayest o f the
old L atin tow ns, but alth o u g h T ito w as never an u n h ap p y boy, he w as not
ex actly a m erry one. T h e streets w ere alw ays liv ely w ith sh in in g chariots
an d brigh t red trap p in g s ;1 the o p en -air theaters rocked w ith la u g h in g
crow ds; sham battles an d ath letic sports w ere free for the ask in g in the
great stad ium . O nce a ye ar the C aesar 2 visited the pleasure city, an d the
firew orks lasted for d ays; the sacrifices in the fo ru m 3 w ere b etter th a n a
10 show. B ut T ito saw none o f these th in gs. H e w as b lin d — h ad been b lin d
from b irth . H e w as kn o w n to everyone in the poorer quarters. B ut no one
could say how old he w as, no one rem em bered his parents, no one co uld
tell w here he cam e from . B im bo w as ano th er m ystery. As lo ng as people
co uld rem em ber seeing T ito — about tw elve or th irteen years— th e y had
seen B im bo. B im bo h ad never left his side. H e w as not o n ly dog but
nurse, pillow , p laym ate, m other, an d father to T ito . Q
ANALYZE VISUALS
M a k e i nferences about
T
life in Pompeii based on
the details in this image.
Q
H I S T O R I C A L FICTION
Reread lines 3 -10 . W hich
details in this passage
tell you that this story
takes place in the past?
1. trappings: ornam ental coverings or decorations.
2 . the Caesar: the Roman emperor.
3 . forum : the public square or m arketplace of an ancient Roman city.
314
Illustrations © 1997 by G reg R uhl.
Did I say Bimbo never left his master? (Perhaps I had better say
comrade, for if anyone was the master, it was Bimbo.) I was wrong.
Bimbo did trust Tito alone exactly three times a day. It was a fixed
20 routine, a custom understood between boy and dog since the beginning
of their friendship, and the way it worked was this: Early in the morning,
shortly after dawn, while Tito was still dreaming, Bimbo would disappear.
W hen Tito woke, Bimbo would be sitting quietly at his side, his ears
cocked, his stump of a tail tapping the ground, and a fresh-baked bread—
more like a large round roll— at his feet. Tito would stretch himself;
Bimbo would yawn; then they would breakfast. At noon, no matter where
they happened to be, Bimbo would put his paw on Tito’s knee, and the
two of them would return to the inner gate. Tito would curl up in the
corner (almost like a dog) and go to sleep, while Bimbo, looking quite
30 important (almost like a boy), would disappear again. In h alf an hour
he’d be back with their lunch. Sometimes it would be a piece of fruit
or a scrap of meat; often it was nothing but a dry crust. But sometimes
there would be one of those flat, rich cakes, sprinkled with raisins and
sugar, that Tito liked so much. At suppertime the same thing happened,
although there was a little less of everything, for things were hard to
snatch in the evening with the streets full of people. Besides, Bimbo didn’t
Compare and contrast
this im age with your
mental picture of the
city of Pompeii.
316
approve of too much food before going to sleep. A heavy supper made
boys too restless and dogs too stodgy— and it was the business of a dog to
sleep lightly with one ear open and muscles ready for action. 0
But whether there was much or little, hot or cold, fresh or dry, food was
always there. Tito never asked where it came from and Bimbo never told
him. There was plenty of rainwater in the hollows of soft stones; the old
egg-woman at the corner sometimes gave him a cupful of strong goat’s
m ilk; in the grape season the fat winemaker let him have drippings of the
mild juice. So there was no danger of going hungry or thirsty. There was
plenty of everything in Pompeii if you knew where to find it— and if you
had a dog like Bimbo.
s I said before, Tito was not the merriest boy in Pompeii. He could
not romp with the other youngsters and play hare and hounds and I
spy and follow-your-master and ball-against-the-building and jackstones
and kings and robbers with them. But that did not make him sorry for
himself. If he could not see the sights that delighted the lads of Pompeii,
he could hear and smell things they never noticed. He could really see
more with his ears and nose than they could with their eyes. W hen he and
Bimbo went out w alking, he knew just where they were going and exactly
what was happening.
“Ah,” he’d sniff and say as they passed a handsome villa, “Glaucus
Pansa is giving a grand dinner tonight. T hey’re going to have three kinds
of bread, and roast pigling, and stuffed goose, and a great stew— I think
bear stew— and a fig pie.” And Bimbo would note that this would be a
good place to visit tomorrow.
Or, “H ’m,” Tito would murmur, h alf through his lips, h alf through
his nostrils. “The wife of M arcus Lucretius is expecting her mother. She’s
shaking out every piece of goods in the house; she’s going to use the best
clothes— the ones she’s been keeping in pine needles and camphor4— and
there’s an extra girl in the kitchen. Come, Bimbo, let’s get out of the dust!”
Or, as they passed a small but elegant dwelling opposite the public
baths,5 “Too bad! The tragic poet is ill again. It must be a bad fever this
time, for they’re trying smoke fumes instead of medicine. W hew! I’m glad
I’m not a tragic poet!”
Or, as they neared the forum, “M m -m ! W hat good things they have in
the macellum today!” (It really was a sort of butcher-grocer-marketplace,
but Tito didn’t know any better. He called it the macellum.) “Dates from
o
THEM E VERSU S
TO PIC
How does Bimbo show
his loyalty to Tito?
( ^ S O C IA L STU D IES
i C O N N ECTIO N
A
Tjifrtfflig® Sea
The city of Pompeii
was located in w hat is
now southern Italy. In
the year a . d . 79, this
region was part of the
Roman Empire.
4 . cam phor (kam 'far): a stron g-sm elling substance used to keep m oths away.
5. public baths: large public com plexes w ith locker rooms, steam rooms, and bathing pools kept at
different tem peratures. In m any parts o f the Roman Empire, a trip to the public baths w as a daily
ritual for m any people.
317
A frica, an d salt oysters from sea caves, an d cu ttlefish , and n ew honey, an d
sw eet onions, an d — u g h !— w ater-buffalo steaks. C o m e, le t’s see w h a t’s
w h at in the fo ru m .” A n d B im bo, ju st as curio us as his co m rade, h u rried
on. B eing a dog, he tru sted his ears an d nose (lik e T ito ) m ore th a n his
eyes. A n d so the tw o o f th em entered the center o f Pom peii. ©
T he forum w as the p art o f the tow n to w h ich everyb ody cam e at least
so once d u rin g each day. It w as the central square, an d ev eryth in g happened
here. T here w ere no private houses; all w as public— the ch ief tem ples, the
gold and red bazaars, the silk shops, the tow n h all, the booths belo nging
to the weavers an d jew el m erchants, the w ea lth y w oolen m arket, the shrine
o f the household gods. E veryth in g glittered here. T h e b u ild in gs looked as
if th ey were new — w hich, in a sense, th ey were. T h e earth q u ak e o f tw elve
years ago had brought dow n all the old structures, and since the citizens o f
Pom peii were am bitious to rival N aples an d even R om e, th ey h ad seized the
o p p o rtun ity to rebuild the w hole tow n. A n d th ey had done it a ll w ith in a
dozen years. T here w as scarcely a b u ild in g th at w as older th an T ito.
90 '' I ' ito had heard a great d eal about the earth q u ak e, th o ugh b ein g abo ut
1 a year old at the tim e, he co uld scarcely rem em ber it. T h is p a rtic u la r
quake had been a lig h t one— as earth q u ak es go. T h e w eaker houses had
been shaken dow n; p arts o f the outw orn w a ll h ad been w recked ; b u t there
w as little loss o f life, an d the b rillia n t new P om peii h ad taken th e place
o f the old. N o one k n ew w h at caused these earth q u ak es. R ecords showed
th ey had happened in the n eighborhood since the b e g in n in g o f tim e.
Sailors said th at it w as to teach the lazy c ity fo lk a lesson an d m ak e them
appreciate those w ho risked the dangers o f the sea to b rin g th em lu xu ries
an d protect th eir tow n from invaders. T h e priests said th at the gods took
ioo this w ay o f show ing th eir an ger to those w ho refused to w orship pro perly
an d w ho failed to b rin g en o ugh sacrifices to the altars an d (th o u gh th e y
d id n ’t say it in so m an y w ords) presents to the priests. T h e tradesm en
said th at the foreign m erchants h ad corru p ted the gro u n d an d it w as no
longer safe to traffic in im p o rted goods th at cam e from stran ge places an d
carried a curse w ith them . Everyone h ad a d ifferent ex p lan atio n — an d
everyone’s explanation w as louder an d sillier th an his n eigh b o r’s.
T h e y w ere ta lk in g about it th is afternoon as T ito an d B im bo cam e
out o f the side street into the p u b lic square. T h e forum w as the favorite
prom enade 6 for rich an d poor. W h a t w ith the priests arg u in g w ith the
no po litician s, servants d oin g the d a y ’s shopping, tradesm en c ry in g th eir
w ares, w om en d isp layin g the latest fashions from G reece an d E gypt,
ch ildren p la yin g hid e-an d -seek am o n g the m arble colum n s, knots o f
6.
318
promenade (prom 'a-nad'): a public place for w alking and socializing.
U N IT 3 : U N D E R ST AN D IN G THEM E
Q TH EM E V ERSU S
TO PIC
infer that Bimbo is
im portant to Tito?
corrupt (ke-rupt') v. to
cause som ething to
change from good
to bad
soldiers, sailors, peasants from the provinces— to say n o th in g o f those w ho
m erely cam e to lo u n ge an d look on— th e square w as crow ded to its last
inch. H is ears even m ore th an his nose g u id ed T ito to the place w here the
ta lk w as loudest. It w as in front o f the sh rin e o f the household gods th at,
n a tu ra lly enough, the householders w ere a rg u in g . Q
“I tell yo u ,” ru m b led a voice w h ich T ito reco gn ized as b ath m aster
R u fu s’s, “there w on ’t be an o ther earth q u ak e in m y lifetim e or yours. T here
120 m ay be a trem ble or tw o, b u t earth q u ak es, lik e lig h tn in g s, never strike
tw ice in the sam e p lace.”
“D o th ey n o t?” asked a th in voice T ito h ad never heard. It h ad a h igh ,
sharp rin g to it, an d T ito k n ew it as the accen t o f a stranger. “H o w abo ut
the tw o towns o f S ic ily th at have been ru in e d th ree tim es w ith in fifteen
years b y the erup tions o f M o u n t E tna? A n d w ere th e y not w arn ed ? A n d
does th at co lu m n o f sm oke above V esuvius m ean n o th in g ?”
“T h a t? ” T ito co uld h ear the g ru n t w ith w h ich one questio n answ ered
another. “T h a t’s alw ays there. W e use it for ou r w eath er gu id e. W h e n
the sm oke stands up straig h t, w e kn o w w e’ll have fair w eath er; w hen it
130 flattens out, it’s sure to be fo ggy; w h en it d rifts to the east— ”
“Yes, yes,” cu t in the edged voice. “I’ve h eard about yo u r m o u n tain
barom eter .7 B ut the co lu m n o f sm oke seem s hu n d red s o f feet h igh er th an
usual, an d it’s th ic k e n in g an d sp read in g lik e a sh ad o w y tree. T h e y say in
N aples— ”
“O h, N ap les!” T ito kn ew this voice b y the little squeak th at w en t w ith it.
It w as A ttilio , the cam eo 8 cutter. “ T hey ta lk w h ile w e suffer. L ittle help w e
got from them last tim e. N aples com m its the crim es, an d Pom peii pays the
price. It’s becom e a proverb w ith us. Let th em m in d th eir ow n business.”
“Yes,” gru m b led R u fu s, “an d others, too.”
140 “V ery w ell, m y co n fid en t frien d s,” responded the th in voice, w h ich
now sounded cu rio u sly flat. “W e also have a proverb— an d it is th is:
Those w ho w ill not listen to m en m ust be tau g h t b y the gods. I say no
m ore. B ut I leave a last w arn in g . R em em ber the h o ly ones. L oo k to yo u r
tem ples. A n d w h en the sm oke tree above V esuvius grow s to the shape o f
an um b rella pine, look to yo u r lives.”
T ito co uld h ear the air w h istle as the sp eaker d rew his toga about h im ,
and the q u ick sh uffle o f feet told h im the stran ger h ad gone.
“N ow w h at,” said the cam eo cutter, “d id he m ean b y th a t? ”
“I w onder,” gru n ted R u fu s. “I w onder.”
150 T ito w ondered, too. A n d B im bo, his head at a th o u g h tfu l an gle, looked
as if he h ad been d o in g a h eavy piece o f p o n d erin g . B y n ig h tfa ll the
Q H IS T O R IC A L FICTIO N
Reread lines 10 8-115.
Note im portant details
about the forum. W hat
does the description
tell you about life in
Pompeii?
ponder (pon'dar) v. to
think seriously about;
reflect on
7. m ountain barom eter: A barom eter is an instrum ent for m easuring the pressure o f air and predicting
w eather changes. The people o f Pom peii used the sm oke from the volcano as a sort o f barometer.
8. cam eo: a shell or gem w ith a picture carved on it.
319
argument had been forgotten. If the smoke had increased, no one saw it
in the dark. Besides, it was Caesar’s birthday, and the town was in holiday
mood. Tito and Bimbo were among the merrymakers, dodging the
charioteers who shouted at them. A dozen times they almost upset baskets
of sweets and jars of Vesuvian wine, said to be as fiery as the streams
inside the volcano, and a dozen times they were cursed and cuffed. But
Tito never missed his footing. He was thankful for his keen ears and
quick instinct— most thankful of all for Bimbo.
160 They visited the uncovered theater, and though Tito could not see
the faces of the actors, he could follow the play better than most of the
audience, for their attention wandered— they were distracted by the scenery,
the costumes, the by-play, even by themselves— while Tito’s whole attention
was centered in what he heard. Then to the city walls, where the people of
Pompeii watched a mock naval battle in which the city was attacked by the
sea and saved after thousands of flam ing arrows had been exchanged and
countless colored torches had been burned. Though the thrill of flaring
ships and lighted skies was lost to Tito, the shouts and cheers excited him as
much as any, and he cried out with the loudest of them.
170 The next morning there were two of the beloved raisin and sugar cakes
for his breakfast. Bimbo was unusually active and thumped his bit of a
tail until Tito was afraid he would wear it out. The boy could not imagine
whether Bimbo was urging him to some sort of game or was trying to tell
him something. After a while, he ceased to notice Bimbo. He felt drowsy.
Last night’s late hours had tired him. Besides, there was a heavy mist in
the air— no, a thick fog rather than a mist— a fog that got into his throat
and scraped it and made him cough. He walked as far as the marine gate
to get a breath of the sea. But the blanket of haze had spread all over the
bay, and even the salt air seemed smoky. 0
iso
He went to bed before dusk and slept. But he did not sleep well. He had
too many dreams— dreams of ships lurching in the forum, of losing his
way in a screaming crowd, of armies marching across his chest, of being
pulled over every rough pavement of Pompeii.
He woke early. Or, rather, he was pulled awake. Bimbo was doing
the pulling. The dog had dragged Tito to his feet and was urging the
boy along. Somewhere. W here, Tito did not know. His feet stumbled
uncertainly; he was still h alf asleep. For a while he noticed nothing except
the fact that it was hard to breathe. The air was hot. And heavy. So heavy
that he could taste it. The air, it seemed, had turned to powder, a warm
190 powder that stung his nostrils and burned his sightless eyes.
hen he began to hear sounds. Peculiar sounds. Like anim als under
the earth. Hissings and groanings and muffled cries that a dying
creature might make dislod gin g the stones of his underground cave.
T
320
Q TH EM E V E R SU S
TO PIC
Reread lines 170 -174.
Notice the w ay Tito
reacts to Bimbo’s
behavior. In w hat
w ay does his reaction
suggest that som ething
has changed?
dislodge (dTs-loj') v.
to move from a settled
position
200
There was no doubt of it now. The noises came from underneath. He not
only heard them— he could feel them. The earth twitched; the twitching
changed to an uneven shrugging of the soil. Then, as Bimbo h alf pulled,
half coaxed him across, the ground jerked away from his feet and he was
thrown against a stone fountain.
The water— hot water— splashing in his face revived him . He got to
his feet, Bimbo steadying him, helping him on again. The noises grew
louder; they came closer. The cries were even more anim al-like than
before, but now they came from human throats. A few people, quicker of
foot and more hurried by fear, began to rush by. A fam ily or two— then a
section— then, it seemed, an arm y broken out of bounds. Tito, bewildered
though he was, could recognize Rufus as he bellowed past him , like a
water buffalo gone mad. Time was lost in a nightmare. Q
ANALYZE VISUALS
W hat kind of mood, or
feeling, do the colors
and facial expressions in
this illustration create?
Q
MONITOR
Cl ari fy w hy the w ater in
the fountain is so hot.
321
It was then the crashing began. First a sharp crackling, like a monstrous
snapping of twigs; then a roar like the fall of a whole forest of trees; then
an explosion that tore earth and sky. The heavens, though Tito could not
210 see them, were shot through with continual flickerings of fire. Lightnings
above were answered by thunders beneath. A house fell. Then another. By
a miracle the two companions had escaped the dangerous side streets and
were in a more open space. It was the forum. They rested here awhile—
how long he did not know.
Tito had no idea of the time of day. He could fe e l it was black— an
unnatural blackness. Som ething inside— perhaps the lack of breakfast
and lunch— told him it was past noon. But it didn’t matter. N othing
seemed to matter. He was getting drowsy, too drowsy to w alk. But w alk
he must. He knew it. And Bimbo knew it; the sharp tugs told him so.
220 Nor was it a moment too soon. The sacred ground of the forum was safe
no longer. It was beginning to rock, then to pitch, then to split. As they
stumbled out of the square, the earth w riggled like a caught snake, and
all the columns of the temple of Jupiter came down. It was the end of
the world— or so it seemed. Q
H IST O R IC A L FICTIO N
W hich details show you
how the eruption has
affected the forum and
the tow n?
AN A LYZE V ISU A LS
W hat do the actions
of the people in this
illustration suggest
about the eruption?
To w alk was not enough now. They must run. Tito was too frightened
to know what to do or where to go. He had lost all sense of direction. He
started to go back to the inner gate; but Bimbo, straining his back to
the last inch, almost pulled his clothes from him. W hat did the creature
want? Had the dog gone mad?
230 Then, suddenly, he understood. Bimbo was telling him the way out—
urging him there. The sea gate,9 of course. The sea gate— and then the
sea. Far from falling buildings, heaving ground. He turned, Bimbo
guiding him across open pits and dangerous pools of bubbling mud, away
from buildings that had caught fire and were dropping their burning
beams. Tito could no longer tell whether the noises were made by the
shrieking sky or the agonized people. He and Bimbo ran on— the only
silent beings in a howling world.
New dangers threatened. A ll Pompeii seemed to be thronging toward
the marine gate; and, squeezing among the crowds, there was the chance
240 of being trampled to death. But the chance had to be taken. It was growing
harder and harder to breathe. W hat air there was choked him. It was all
dust now— dust and pebbles, pebbles as large as beans. They fell on his
head, his hands— pumice stones10 from the black heart of Vesuvius. The
mountain was turning itself inside out. Tito remembered a phrase that
the stranger had said in the forum two days ago: “Those who w ill not
listen to men must be taught by the gods.” The people of Pompeii had
refused to heed the warnings; they were being taught now— if it was not
too late.
Suddenly it seemed too late for Tito. The red hot ashes blistered his
250 skin; the stinging vapors tore his throat. He could not go on. He staggered
toward a small tree at the side of the road and fell. In a moment Bimbo was
beside him. He coaxed. But there was no answer. He licked Tito’s hands,
his feet, his face. The boy did not stir. Then Bimbo did the last thing he
could— the last thing he wanted to do. He bit his comrade, bit him deep in
the arm. W ith a cry of pain, Tito jumped to his feet, Bimbo after him. Tito
was in despair, but Bimbo was determined. He drove the boy on, snapping
at his heels, worrying his way through the crowd; barking, baring his teeth,
heedless of kicks or falling stones. Sick with hunger, half dead with fear and
sulphur11 fumes, Tito pounded on, pursued by Bimbo. How long he never
260 knew. At last he staggered through the marine gate and felt soft sand under
him. Then Tito fainted. . . . Q
9.
agonize (ag's-nlz') v. to
suffer extrem e physical
or mental pain
X SCIEN CE
^ .C O N N E C T IO N
M ount Vesuvius is a
type of volcano called
a composite volcano.
W hen composite
volcanoes erupt, they
release not only pieces
of rock but also clouds of
hot ash and toxic gases.
Q M O NITO R
C larify w hy Bimbo bites
Tito in line 255.
sea gate: a gate in the city wall, leading to the sea.
10.
pumice (pum 'Ts) stones: lightw eight rocks form ed from lava.
11.
sulphur (sul'fsr): a pale yellow substance that produces a choking fum e w hen burned.
323
omeone was dashing seawater over him. Someone was carrying him
toward a boat.
“Bimbo,” he called. And then louder, “Bim bo!” But Bimbo had
disappeared.
Voices jarred against each other. “H urry— hurry!” “To the boats!”
“Can’t you see the child’s frightened and starving!” “He keeps calling for
someone!” “Poor boy, he’s out of his m ind.” “Here, child— take th is!”
They tucked him in among them. The oarlocks creaked; the oars
270 splashed; the boat rode over toppling waves. Tito was safe. But he wept
continually.
“Bim bo!” he wailed. “Bimbo! Bim bo!”
He could not be comforted.
S
ighteen hundred years passed. Scientists were restoring the ancient
city; excavators were working their way through the stones and trash
that had buried the entire town. M uch had already been brought to
light— statues, bronze instruments, bright mosaics,12 household articles;
even delicate paintings had been preserved by the fall of ashes that had
taken over two thousand lives. Columns were dug up, and the forum was
280 beginning to em erge.
It was at a place where the ruins lay deepest that the director paused.
“Come here,” he called to his assistant. “I think we’ve discovered the
remains of a building in good shape. Here are four huge millstones that
were most likely turned by slaves or mules— and here is a whole w all
standing with shelves inside it. W hy! It must have been a bakery. And
here’s a curious thing. W hat do you think I found under this heap where
the ashes were thickest? The skeleton of a dog!”
“A m azing!” gasped his assistant. “You’d think a dog would have had
sense enough to run away at the time. And what is that flat thing he’s
290 holding between his teeth? It can’t be a stone.”
“No. It must have come from this bakery. You know it looks to me like
some sort of cake hardened with the years. And, bless me, if those little
black pebbles aren’t raisins. A raisin cake almost two thousand years old!
I wonder what made him want it at such a moment.” O
“I wonder,” murmured the assistant, c w
E
12.
324
mosaics (m o-za'Tks): designs form ed from inlaid pieces o f stone or glass.
em erge (T-murj') v. to
come into view
o
TH EM E V E R SU S
TO P IC
Reread lines 288 -294 .
W hat do Bimbo’s
last actions tell you
about him ?
After Reading
Comprehension
1. Recall W hen does Bim bo leave Tito alone?
a
ALABAMA
STANDARDS
READING STANDARD
2. Recall W h y is th e stra n g e r in th e fo ru m w orried a b o u t th e co lu m n o f
and devices
sm oke co m in g from V esuviu s?
3. C la rify W h at is th e source o f th e fu m e s and ash e s th a t h u rt Tito?
Literary Analysis
4. M ake Inferences Reread lin es 2 8 8 -2 9 0 . W h y d id n ’t B im b o have "sense
e n o u gh to run a w a y ” w h en M o u n t V e su viu s erupted?
5. U nderstand H istorical Fiction Look back at th e list o f d etails you recorded
as you read the story. E xp lain w h y th e se ttin g is so im p o rta n t in th e story.
6 . Id en tify Th em e K ee p in g the
topic o f frie n d sh ip in m in d , note
im p o rta n t d e tails a b o u t Tito and
B im b o ’s th o u g h ts and a ctio n s in
a w eb like th e one sh o w n . Then,
in th e center, w rite a sen ten ce
e xp re ssin g th e sto ry ’s th e m e.
7. A nalyze Foreshadow ing A clue
or hint a b o u t so m e th in g th a t w ill
happen later on in a story is called
fo re sh ad o w in g. Reread th e conversation betw een Rufus and th e stran ge r in
the forum in lines 118-134. W h at events are fo resh ad ow ed in th is passage?
8 . Evaluate a C haracter A lth o u g h h isto rical fictio n can co n tain m ad e -u p
d eta ils and ch aracters, th e sto ry sh o u ld seem as th o u g h it re ally could
have h appened. C o n sid e r w h e th e r B im b o ’s behavior, both before and
after th e v o lcan o erupts, is b elievable. S u p p o rt yo u r answ er.
9.
S C IE N C E C O N N E C T IO N
There are m an y fa m o u s vo lcan o e s
in th e w orld w ith lo n g and vivid h isto ries. M an y are at risk o f
e ru p tin g a g a in in the near or d ista n t fu tu re. Research one o f th e se
volcan oes, and prepare a b rief d escrip tio n o f one e ru p tio n and its effects.
Exp lain th e w a ys in w h ich th is e ru p tio n w a s sim ila r to or d iffe re n t from
th e one th a t destroyed Pom peii. Sh are yo u r d escrip tio n w ith th e class.
R E S E A R C H L IN K S
For more on volcanoes, visit the Research Center at ClassZone.com.
325
Choo se the letter o f the situ a tio n you w o u ld co n n e ct w ith each
boldfaced w ord.
1 . ago n ize : (a) go on a lon g, b o rin g drive, (b) su ffe r th ro u g h a death in the
fam ily, (c) listen to an a m u sin g sp eaker
2 . corrupt: (a) a dad w o rk in g ove rtim e, (b) a p o litician ta k in g bribes,
(c) a child s w im m in g
3. d islo d ge: (a) v isit a n atio n al park, (b) loosen a sto n e fro m a w all,
(c) lend a frien d cash
4. em erge: (a) birds b u ild in g nests, (b) tu lip s g ro w in g in sp rin g ,
(c)
cars e n te rin g a tu n n e l
5. ponder: (a) m a k in g a hard d ecisio n , (b) ca n o e in g in a lake,
(c)
m issin g a m e e tin g
W rite ab ou t ho w you feel and w h a t you m u st do, u sin g tw o or m ore
□
v o ca b u la ry w ords. You could sta rt like this.
l.b Using context clues to
Su p p ose th a t you are in Pom peii, and th e vo lcan o is b e g in n in g to erupt.
ALABAM A
STANDARDS
READING STANDARD
determine meaning
There, is no tiMe to ponder the best escape route froM this city.
V O C A B U L A R Y STRATEGY: THE LATIN ROOT r u p t
The v o ca b u la ry w ord corrupt co n ta in s th e Latin root rupt, w h ich
m eans "to break.” (This root is also fo u n d in the sto ry in th e w ord
disruption
a b r u p t ly
eruption.) The root rupt is used to form a n u m b e r o f E n glish
w ords. To u n d e rstan d the m e a n in g o f w o rd s w ith rupt, use yo u r
kn o w led ge o f w h a t th is root m eans. If you need m ore help, look for
co n te xt clu es in the sen ten ce or p aragrap h .
PRACTICE Choo se a w ord from th e w e b th a t best co m p le te s each
sentence. Use co n te xt clu es or, if necessary, a dictionary.
1. He go t so fa r into debt th a t he w e n t
.
2. Because she w a s angry, she ended th e c o n v e rsa tio n
3. The y w o u ld not stop ta lk in g , so fin a lly I had t o
.
the m .
4 . T h e ________ in the w ate r pipe caused liquid to leak out.
5. A bee fle w in the open w in d o w , c a u sin g a ( n )
326
in th e classro o m .
VO CABU LARY
P R A C TIC E
at ClassZone.com.
SKILLS PRACTICE
□
Sh o w yo u r u n d e rsta n d in g o f “T h e D o g o f P o m p e ii” by re sp o n d in g to the
fo llo w in g prom pts. Then co m p lete th e G ra m m a r and W ritin g exercise.
W R IT IN G PRO M P TS
S E LF-C H EC K
A. Sh o rt Response: Create a D ialo gu e
Suppose Bim bo had the ability to speak and had
A strong dialogue w ill...
• draw on evidence from the
told Tito about his plan to risk another trip into
Pompeii. W hat kind of conversation w ould he
and Tito have had? Think about the characters’
story about how the tw o
characters felt about each
friendship and the story’s them e. Then w rite a
brief dialogue in w hich the tw o friends share
• have Tito express him self
in a w ay sim ilar to the w ay
he speaks in the story
other
their tho ugh ts at that m om ent.
A detailed response w ill...
B. Extended Response: W rite a N ew s Report
Im agine w hat a person living in a tow n near
Pompeii w ould have seen or heard w hen
Vesuvius erupted. W rite a tw o-to-threeparagraph news report about the tragic event.
Be sure to include the m ajor events o f the day,
• use specific details from
the story
• give readers an accurate
picture of the situation
as well as details about the w arn in g signs.
GRAMMAR AND W RITING
PUNCTUATE DIALOGUE CORRECTLY Co rre ctly p u n ctu a te d d ia lo g u e helps
readers kn o w w h ich ch aracte r in a story is sp e a k in g . D ia lo g u e is set o ff from
the rest o f th e te x t w ith q u o ta tio n m arks. It is often preceded or fo llo w e d by
a
ALABAMA
STANDARDS
10
Use punctuation correctly
phrases like he sa id or she asked, sep arated fro m th e q u o ta tio n s by a com m a.
A period or co m m a at th e end o f a se n te n ce o f d ia lo g u e sh o u ld be placed
insid e the end q u o tatio n m arks.
O rig in a l:
Revised:
Tito said I d o n ’t w a n t you to go, Bim bo.
Tito said, “ I d o n ’t w a n t you to go, B im bo.”
PRACTICE Rew rite th e fo llo w in g se n ten ces. Correct th e m isp lace d
p u n ctu a tio n m arks and in sert a n y m is sin g m arks.
1. “ Bim bo, I need you to be m y eyes said Tito.”
2 . B im bo said, “You w ill m ake o th e r frie n d s”.
3 . Tito said “You are m y best frie n d .”
4 . I w ill a lw a ys be yo u r frien d , B im b o replied.
Fo r
m o r e h elp w it h p u n c t u a t in g d ia l o g u e , see pa g e
R50
in t h e
Cram m ar
Handbook.
327
Reading for Pompeii and Vesuvius
Information i •• ON no linn f ice tAiornt icBleo,opk aEgxec e33r p4t , p a g e 3 2 9
F ife
Dog of
' Pompeii
i U S =_£T
You've ju s t read “T h e D o g o f P o m p e ii,” a sto ry th a t ta ke s place on th e
d ay th a t M o u n t V e su v iu s e ru p ts and b uries Pom p eii in ash. N o w you
w ill learn m ore a b o u t th is h isto rical event an d w h a t th e fu tu re m ay
1!
I ll
1 Sag?
What's the Connection?
__
j a g - »V-- ■
---:
Use with “The Dog of
Pompeii,” page 314.
hold fo r th o se cu rren tly liv in g in th e sh a d o w o f M o u n t V esu viu s.
Skill Focus: Synthesize
W hen you learn so m e th in g a b o u t a to p ic ,y o u add th e new
in fo rm a tio n to yo u r overall kn o w le d g e . In o th e r w ords, you
a
ALABAMA
STANDARDS
RESEARCH/INQUIRY STANDARDS
13 Utilize resource materials for
supporting evidence
14.a Taking notes to gather,
summarize information
syn th esize in fo rm a tio n — or put to g e th e r facts, d etails, and ideas
from d iffe re n t so u rces— to g a in a b etter u n d e rsta n d in g o f a to p ic
th a n you w o u ld have if you relied o n ly on one source.
O n th e n e xt fe w p a g e s,y o u w ill be asked to syn th e size in fo rm a tio n
a b o u t Pom p eii and M o u n t V esu viu s. To g e t starte d , su m m a rize w h a t
you learned a b o u t th e city o f Pom peii and th e e ru p tio n o f V e su viu s
from “The D o g o f Pom peii.” Then g a th e r a d d itio n a l fa cts and d e tails
fro m th e se le ctio n s th a t follo w . A lso, n otice h o w yo u r o rig in a l
u n d e rsta n d in g o f th e sto ry ch a n g e s. Record yo u r n otes in a ch art
like th e one started here.
Source
Information About.
PoMpeii
"Ihe Dog ofVoMpeii’
•
It was a rich and
lively city filled
with open-air
theaters, shops,
golden chariots,
and tourists.
• It often had
earthquakes.
In Search ofVoMpeii
"Italians Trying to
Vr event a Modern
VoMpe.il'
328
Information About
Mount Vesuvius
• A colum o f SMoke
usually stood above
it, which the people
ofVoMpeii used to
tell the weather.
• Before the eruption,
the colum got Much
taller and thicker.
(fjo cu s ON form
t
In S e a r c h
of
An inform ational text
is w ritten m aterial
that provides factual
inform ation. News
articles, encyclopedia
entries, tim elines,
and nonfiction books
are exam ples of
inform ational texts.
P o m p e ii
by
G io v a n n i C a s e l l i
Pompeii:The Evidence
M uch o f our know ledge o f R om an life com es from the evidence
unco vered at P o m p eii. S p le n d id h o u ses, b e a u tifu l p a in tin g s,
sculptures o f bronze an d m arble, fine glass, m etal, an d p o ttery
bear w itness not o n ly to a city that perished in one day, b u t also
to a lo n g-v an ish ed c iv iliz atio n .
A visit to Pom peii is like en terin g a tim e m achine: yo u can see
w id e streets still w ith th e ru ts cu t in th e p av in g stones b y the
wheels o f chariots, the entrance to a shop w ith graffiti on the w all
beside it, the baths and gran d houses w ith their w all paintings and
10 co lo n n ad ed gard en s. B u t, above a ll, th ere are th e p eo p le o f
P om peii, o v erw h elm ed as th e y trie d to escape th e h o rro r th at
overtook their city. Across n early 2,000 years, their tw isted bodies
are v iv id w itnesses o f w h at h ap p en ed on A u g u st 2 4 , a . d . 7 9 . Q
SYNTHESIZE
W hat do you learn
about the city of
Pompeii in this passage?
Record this information
in your chart.
READING FOR INFORMATION
329
FORUM BATHS
Much of Pompeii had
running water, carried
in by lead pipes under
the streets. Public bath
complexes used central
furnaces to heat the water.
House of the Tragic Poet
Central baths
Temple of Jupiter (Capitol)
Temple of Venus
Government buildings
Q SYN TH ESIZE
In "The Dog of Pompeii,”
Tito and Bimbo rest for
a tim e in the forum.
Locate the forum on the
diagram. How far away
from the forum does the
nearest sea gate appear
to be? W hat other places
on the diagram do you
recall from the story?
330
FORUM
The Forum was Pompeii’s
main public space.
Crowds gathered to
shop in the marketplace,
worship at the temples,
listen to speeches, or visit
government offices and
courthouses, ( jj
Gladiator barracks
TEM PLE OF ISIS
Ancient Pompeiians
participated in a variety of
religions. This temple was
dedicated to an Egyptian
goddess.
Uncovering Pompeii
In D ecem ber 1860 , V icto r E m m anu el II, k in g o f the n e w ly u n ited
Italy, app ointed G iuseppe Fiorelli D irector o f the E xcavations at
Pom peii. T h e era o f scien tific excavation h ad begun.
Fiorelli divid ed the c ity in to quarters, or regions, an d gave every
block and b u ild in g a n u m b er— a system w h ich is still used to d a y
A rchaeologists from all over the w o rld cam e to see F io relli’s w o rk at
20 Pom peii.
Slo w ly and carefully, soil an d vo lcan ic debris w ere rem oved. T h e
position o f every fragm en t o f plaster an d b rickw o rk w as recorded
and then restored to its o rig in al place. C h arred w o o d w as replaced
b y fresh tim ber.
■Nola gate
•Sarno gate
Grand palestra
Unexcavated
Swimming pool
Nucerian gate
S Y N TH ESIZE
A M PH ITH EA TER
The am phitheater was
where thousands of
Pompeiians gathered
to see gladiators,
athletic competitions,
and other forms of
entertainm ent. Q
In “The Dog of Pompeii,”
Tito and Bimbo attend
the performance of
a play in an “uncovered
theater.” W hat do the
photo and caption
here add to your
understanding of
this place?
■.. 1
RE ADING FOR INFORMATION
331
A Tragic Day
W hen the volcano Vesuvius erupted on August 24, a . d . 79, it destroyed
a rich and thickly populated part of southern Italy. We know this from
the archaeological discoveries at Herculaneum and Pompeii. But, more
remarkably, we know what the disaster was actually like for the people
who lived in the region.
30 The young Roman nobleman Pliny the Younger witnessed the
eruption and wrote a letter that is the earliest known account of such a
tragedy. As people screamed and struggled to escape the horror, Pliny
described the eruption as looking like “a pine tree, for it shot up to a
great height in the form of a trunk, which extended itself at the top into
several branches.”
COMPOSITE VOLCANO
A composite volcano is a cone-shaped
volcano built up of layers of lava and
layers of rock fragments. Composite
volcanoes have violent eruptions for
two reasons. First, expanding gases
trapped in rising magma tend to cause
explosions. Second, hardened lava
from earlier eruptions often plugs
openings in these volcanoes. This rock
must be blown out of the way before
any more magma can escape.
During an eruption, volcanic gases
can mix with rock fragments and stay
near the ground. The mixture forms a
pyroclastic flow, which is a dense cloud
of superhot gases and rock fragments
Q SYN TH ESIZE
In "The Dog of Pompeii,”
Tito experiences intense
heat. W hat does the
caption here reveal
about the scientific
reasons for this heat?
332
UNIT 3: UND ER STANDING THEME
that races downhill.Q
A S u r v iv o r ’s L e tte r
“A sh es now fa ll upon us, th ough a s yet not in grea t
quantity. I looked behind me; g r o s s d a rk n ess p ressed
upon o u r rear, an d cam e ro llin g over the lan d after u s
lik e a torrent . . . d a rk n e ss overspread us, not lik e that
of a m oonless or cloudy n ight, but o f a room w hen it is
shut up, an d the lam p is put out. You could h ear the
sh rie k s o f women, the c r y in g o f children, an d the
shouts o f m en; some w ere se e k in g th eir children,
others th eir paren ts, others th eir w ives or
h usban ds . . . one lam en tin g h is ow n fate, another that
of h is fa m ily . . . m an y liftin g their h an d s to the gods;
but the g rea ter p a rt im a g in in g that there w ere no
go d s left and that the la st an d etern al n ig h t w as come
upon the world.” Q
This description from Pliny the Younger’s letter to Tacitus is
as vivid now as when he wrote it almost 2,000years ago.
Q S Y N TH ESIZE
W hat details from Pliny’s
letter give you a sense
of w hat Pompeii was
like during the a . d . 79
eruption? Record this
inform ation in your
chart.
333
- —
BACK
<
FO RW ARD
►
STOP
II
REFRESH
O
HO M E
P R IN T
177171
A
□
X
Italians Trying
to Prevent a
Modern Pompeii
by Ellen Hale, USA TODAY
SA N S E B A S T IA N O A L V E S U V IO , Ita ly — C o n c e rn e d th a t to o m a n y
p e o p le n o w cro w d th e sid e s o f th e a c tiv e v o lc a n o , a u th o ritie s here
h ave la u n ch e d a bold p lan to p re v e n t a re p e a t o f th e c a ta stro p h ic
e x p lo s io n t h a t w ip e d o u t P o m p e ii a n d sm o th e re d th o u s a n d s o f its
re sid e n ts n e a rly 2 ,0 0 0 y e a rs ago .
A u th o r it ie s h o p e to th in th e ra n k s o f re s id e n ts so t h e y can be
e v a c u a te d w h e n M o u n t V e s u v iu s e ru p ts a g a in . T h e y are d o in g th is
by o ffe rin g cash in ce n tive s to m ove, d e m o lish in g th e illegal b u ild in g s
th a t h ave sp ro u te d on its fla n k s , an d e s ta b lis h in g a n a tio n a l p ark at
10 its top .
It’s o n ly a m atte r o f tim e before th e vo lcan o d oes erupt, scien tists say.
“ It w o n 't be to m o rro w , it w o n ’t be n e x t m o n th , an d m a y b e it
w o n 't be n e x t year. B u t it is o v e rd u e ,” sa y s G io v a n n i M a c e d o n io ,
d ire c to r o f V e s u v iu s O b s e rv a to ry , th e in s titu te re sp o n sib le fo r
SYN TH ESIZE
m o n ito rin g th e vo lcan o . W h e n it b lo w s, M ace d o n io w arn s, it could
Add information about
m odern-day M ount
Vesuvius and the
surrounding towns to
your chart. Consider
whether the modern
situation is sim ilar to
or different from the
situation in ancient
times.
be w ith th e p o w e r o f “te n s o f h u n d re d s o f a to m ic b o m b s.”
334
V e su v iu s last eru pte d in 1944. Lava d estro yed so m e o rch ard s and
h o m e s an d 26 p e o p le w e re k ille d
R e sid e n ts p u t p o ts on th e ir
h e a d s to p ro te c t a g a in s t ro cks s h o o tin g th ro u g h th e air, b u t th e
20 ru m b lin g s so o n stille d . V e s u v iu s h as been q u ie t sin c e ___
U N I T 3: U N D E R S T A N D I N G T H E ME
D u rin g th e v o lc a n o ’s 6 0 -y e a r slu m b e r, h o w eve r, sp ra w l fro m
n e a rb y N a p le s h a s sp ille d o u t; n e a rly 6 0 0 ,0 0 0 p e o p le n o w live in
th e 18 to w n s in th e sh a d o w o f th e v o lca n o . Q
...... 1
|
Comprehension
1. Recall A cco rd in g to the online article, how m an y people could be a ffe cte d
by an eruption o f M o un t V esu viu s today?
2 . C la rify Reread page 331. D escribe th e syste m Fiorelli used fo r labe lin g
Pom peii d u rin g its e xcavatio n .
3. Su m m arize W rite a b rief su m m a ry o f the even ts Pliny th e Yo u nger
describes in his letter on page 333.
Critical Analysis
4. M ake Inferences A bout Info rm atio n al Text Reread the d escrip tion o f
co m p osite volcan o e s on page 332. Based on the d etails in P lin y’s letter,
w h a t part o f the volcan o's eru ption m ig h t he have w itn essed? Explain.
5. Syn th esize Based on e ve ryth in g you have read, predict the fu tu re o f the
region around M o un t V esuviu s. S u p p o rt yo u r prediction u sin g d etails and
e xa m p le s from the selection s.
a
Read for Information: Evaluate Historical Fiction
ALABAMA
STANDARDS
RESEARCH/INQUIRY STANDARDS
W R I T IN G PRO MPT
13 Utilize resource materials for
supporting evidence
“The Dog o f Pom peii” is a m ade-up story. However, Louis Unterm eyer
includes real people, places, and events to help bring his story to life. Based
on the information you have just read, evaluate Louis Untermeyer's accuracy
in describing Pompeii before, during, and after M ount Vesuvius erupted.
14 .a Taking notes to gather,
summarize information
To a n sw e r th is prom pt, you w ill need to do th e fo llo w in g:
1. Skim th ro u gh "The D o g o f Po m p eii” to create a list o f the m ain e ven ts and
d escriptive d etails U n term eyer includes.
2 . Review the in fo rm atio n al te x ts to see w h e th e r th e e ven ts and d escrip tive
d etails in the sto ry m atch w h a t is th o u g h t to have occurred in Pom peii
w hen V esu viu s a ctu a lly erupted.
3. Rate the sto ry ’s accuracy. Su p p o rt yo u r ratin g w ith e vid en ce fro m the
sto ry and in fo rm atio n al te xts.
True to the. Facts?
Support -For Decision
1. The ForuM was
the. c&ntraJ square.
xi
tAap on paae VbO
1
1
1 1
2.
1
Story Bv&nt or Detail
335
Nadia the Willful
S h o rt S to ry by Sue A le x a n d e r
Can M E M O R I E S
keep the past alive?
A LA B A M A
STAN D ARD S
READING STANDARDS
KEY IDEA M em ories are h ow w e hold on to people w e have
know n, places w e have been, and th in g s w e have done. A s tim e
go es by, th o se m em ories can fad e unless w e fin d w a ys to keep
them fresh. In “ N adia the W illfu l,” a ch aracte r take s action to
comparing/contrasting
m ake sure th a t a precious m e m o ry w ill last.
including conflict
QUICKWRITE T h in k a b o u t a h ap py or im p o rta n t
occasion you w a n t to rem em ber. It m ig h t be a
w ed d in g, a birthday, or a day sp e n t w ith frien d s.
W rite dow n so m e ideas ab o u t how you can
preserve th is m em ory.
Ke&P<*S M e m o r ie s
A live
/■ Take p h o t o s
Z ^ ak& * scrapbook
• LITERARY A N ALY SIS: CON FL ICT A N D THEM E
If you have a co n flict, it m eans you have a stru g g le . The
stru gg le m ig h t be w ith so m eon e else, w ith nature, or even
w ith yourself. In a story, the m ain co n flict a ffe c ts w h a t the
characters th in k and do, so the co n flict often helps e xp ress a
them e, or m essage ab o u t life. To see how a co n flict relates
to a sto ry ’s them e, ask y o u rs e lf the fo llo w in g q u estion s:
• W h at co n flicts does the ch aracte r face?
• H o w does the ch aracter respond to th e se co nflicts?
• H o w are the co n flicts resolved?
A s you read “ N adia the W illfu l,” notice th e se co n flicts and
w h a t th e y reveal ab o u t the sto ry ’s them e.
• READING SKILL: COMPARE A N D C ON TRA ST
W hen you com pare and contrast, you id e n tify the w ays in
w hich tw o or m ore th in g s are alike and d iffe re n t. C o m p arin g
and co n trastin g characters can help you better u nderstand a
story. For exam ple, in “ N adia the W illfu l,” the character N adia
shares som e traits w ith her fa m ily and other m em b ers o f her
Author Onjine
W ritin g from
Life Sue A lexan d er
w ro te “ N adia the
W illfu l” to exp ress
her sad n e ss ab ou t
th e death o f her
o w n brother. She
w a s afraid th a t if
she set the sto ry
in the p resen t day,
Sue A le xan d e r
it w o u ld be too
born 1933
p ain fu l to w rite.
She kn e w th a t it “w ou ld have to take
place so m e w h e re fa r aw ay, preferably
in an o th e r culture.” The story took
a b o u t fo u r m o n th s to w rite, excep t for
the first paragrap h, w h ich to o k m uch
longer. A le xa n d e r says, “ I m u st have
rew ritten it 50 tim e s before I fou n d
th e righ t w o rd s fo r th a t paragrap h.”
co m m unity. O ther parts o f N adia’s
MORE ABOUT THE AUTHOR
For more on Sue Alexander, visit the
p ersonality are unique.
A s you read the story, use a
grap hic o rgan ize r like the one sh ow n
to record sim ilaritie s and d iffe re n ces
Background
b etw een N adia, Tarik, and H am ed.
The Sahara D esert The Sahara,
Sue A lexa n d e r uses the fo llo w in g w ords to help tell how one
fa m ily deals w ith sorrow . To see h ow m an y w ords you know ,
rew rite each sentence u sin g a d iffe re n t w ord or phrase in
place o f the vo cab u lary w ord.
W ORD
banish
clan
console
gracio usn ess
LIST
1. N adia lives in a clo se -kn it fa m ily clan.
2. Her fa th e r’s gracio u sn ess fa d e s a w ay in his sorrow .
3. She w a n ts som eone to console her after her brother’s
w h ich is th e se ttin g fo r th is story, is
th e large st d esert in the w orld. It is
located in north ern A frica and covers
a b o u t 3.5 m illion sq u are m iles— an
area a b o u t as large as the United
States. It is so m e tim e s called “the
sea w ith o u t w ater.” Food and w ate r
are scarce, san d sto rm s are com m on,
and te m p e ratu re s can reach 130°
Fah ren h eit d u rin g the day. D espite
its harsh clim ate, th e Sahara supports
a p p ro xim a te ly 2.5 m illion people,
as w ell as m an y kinds o f p lan ts and
an im als.
death.
4. N adia does not w a n t her fa th e r to banish anyone.
NADIA THE W ILLFU L
337
NADIA
•fT H E -r
WILLFUL
Sue A
lexan d er
n the lan d o f the d riftin g sands w here the B ed o u in m ove th eir tents
to follow the fertile grasses, there lived a girl w hose stubbornness an d
flash in g tem per caused her to be kn o w n th ro ugh o u t the desert as N ad ia
the W illfu l.
N ad ia’s father, the sh eik 1 T arik, w hose kin d n ess an d graciousness
caused his nam e to be praised in every tent, d id not kn o w w h at to do w ith
his w illfu l daughter.
O n ly H am ed, the eldest o f N ad ia’s six brothers an d T a rik ’s favorite son,
could calm N ad ia’s tem per w hen it flashed.
10 “O h, a n g ry one,” he w o u ld say, “sh all w e see how long yo u can stay th at
w a y ?” A n d he w o u ld lau gh an d tease an d p u ll at her d ark h air u n til she
laughed back. T h en she w o u ld follow H am ed w herever he led. Q
O ne d ay before daw n , H am ed m ounted h is fath er’s great w h ite stallio n
and rode to the w est to seek new g raz in g gro u n d for the sheep. N ad ia
stood w ith her father at the edge o f the oasis 2 an d w atch ed h im go.
H am ed d id not return.
I
338
1.
sheik (shek): a leader o f an Arab fam ily or village.
2.
oasis: a fertile or green spot in a desert or w asteland, m ade so by the presence o f water.
W hat can you infer
about the girl in this
im age?
graciousness
(g ra'shas-nas) n. the
condition of being
pleasant, courteous,
and generous
Q COM PARE AND
C O N TR A ST
Reread lines 8 -12 . W hat
do you learn about the
personalities of Nadia
and Ham ed?
adia rode behind her father as he traveled across the desert from
oasis to oasis, seeking Hamed.
Shepherds told them of seeing a great white stallion fleeing before the
20 pillars of wind that stirred the sand. And they said that the horse carried
no rider.
Passing merchants, their camels laden with spices and sweets for the
bazaar,3 told of the emptiness of the desert they had crossed.
Tribesmen, strangers, everyone whom Tarik asked, sighed and gazed
into the desert, saying, “Such is the w ill of A llah.”4
At last Tarik knew in his heart that his favorite son, Hamed, had been
claimed, as other Bedouin before him, by the drifting sands. And he told
Nadia what he knew— that Hamed was dead.
Nadia screamed and wept and stamped the sand, crying, “Not even
30 A llah w ill take Hamed from m e!” until her father could bear no more and
sternly bade her to silence.
Nadia’s grief knew no bounds. She walked blindly through the oasis,
neither seeing nor hearing those who would console her. And Tarik was
silent. For days he sat inside his tent, speaking not at all and barely tasting
the meals set before him. Q
Then, on the seventh day, Tarik came out of his tent. He called all his
people to him, and when they were assembled, he spoke. “From this day
forward,” he said, “let no one utter H am ed’s name. Punishment shall be
swift for those who would remind me of what I have lost.”
40 H am ed’s mother wept at the decree. The people of the clan looked at
one another uneasily. A ll could see the hardness that had settled on the
sheik’s face and the coldness in his eyes, and so they said nothing. But
they obeyed.
Nadia, too, did as her father decreed, though each day held something
to remind her of Hamed. As she passed her brothers at play, she
remembered games Hamed had taught her. As she walked by the women
weaving patches for the tents and heard them talking and laughing, she
remembered tales Hamed had told her and how they had made her laugh.
And as she watched the shepherds with their flock, she remembered the
50 little black lamb Hamed had loved.
Each memory brought H am ed’s name to Nadia’s lips, but she stilled
the sound. And each time that she did so, her unhappiness grew until,
finally, she could no longer contain it. She wept and raged at anyone and
anything that crossed her path. Soon everyone at the oasis fled at her
approach. And she was more lonely than she had ever been before. Q
N
340
3.
bazaar (be-zar'): in M iddle Eastern countries, an outdoor m arket o f sm all shops.
4.
Allah (al'0): the nam e for God in the Islam ic religion.
SO C IA L STU D IES
? C O N N EC TIO N
The Bedouin are a tribe
of people who live in the
deserts of Africa and the
M iddle East. They are
nomads, or wanderers,
who live in tents and
move from place to
place seeking pasture
for their livestock.
console (ken-sol') v. to
ease som eone’s sorrow;
to comfort
COM PARE AND
C O N TR A ST
Note the sim ilarities and
differences between
how Nadia and Tarik
react to H am ed’s death.
clan (klan) n. a fam ily
group; a group united
by common interests or
qualities
Q C O N FLIC T AND
THEM E
Reread lines 51-55. W hat
conflict does Tarik’s
decree cause for N adia?
ne day, as Nadia passed the place where her brothers were playing,
she stopped to watch them. They were playing one of the games that
Hamed had taught her. But they were playing it wrong.
W ithout thinking, Nadia called out to them. “That is not the way!
60 Hamed said that first you jump this way and then you jump back!”
Her brothers stopped their game and looked around in fear. Had Tarik
heard Nadia say Hamed s name? But the sheik was nowhere to be seen.
“Teach us, Nadia, as our brother taught you,” said her smallest brother.
And so she did. Then she told them of other games and how Hamed
had taught her to play them. And as she spoke of Hamed, she felt an
easing of the hurt within her.
So she went on speaking of him.
O
NADIA THE WILLFUL
341
She went to where the women sat at their loom5 and spoke of Hamed.
She told them tales that Hamed had told her. And she told how he had
made her laugh as he was telling them.
At first the women were afraid to listen to the w illful girl and covered
their ears, but after a time, they listened and laughed with her.
“Remember your father’s promise of punishm ent!” Nadia’s mother
warned when she heard Nadia speaking of Hamed. “Cease, I implore you!”
Nadia knew that her mother had reason to be afraid, for Tarik, in his
grief and bitterness, had grown quick-tempered and sharp of tongue. But
she did not know how to tell her mother that speaking of Hamed eased
the pain she felt, and so she said only, “I w ill speak of my brother! I w ill!”
And she ran away from the sound of her mother’s voice. ©
She went to where the shepherds tended the flock and spoke of Hamed.
The shepherds ran from her in fear and hid behind the sheep. But Nadia
went on speaking. She told of H am ed’s love for the little black lamb and
5.
loom: a tool used for m aking thread or yarn into cloth by w eaving strands together at right angles.
© C O N FLIC T AND
THEM E
Reread lines 6 9 -79 .
How has Nadia changed
her response to Tarik’s
order?
W hat kind of m ood, or
feeling, do the details in
this im age create?
how he had tau gh t it to leap at his w h istle. Soon the shepherds left o ff
their h id in g an d cam e to listen . T h e n th ey told th eir ow n stories o f
H am ed and the little b lack lam b .
T h e m ore N ad ia spoke o f H am ed , the clearer his face b ecam e in her
m in d . She co uld see his sm ile an d the lig h t in his eyes. She co uld h ear his
voice. A n d the clearer H a m e d ’s voice an d face becam e, the less N ad ia h u rt
inside and the less her tem per flash ed . A t last, she w as fille d w ith peace.
90 But her m other w as still afraid for her w illfu l daughter. A g a in an d
ag ain she sought to q u iet N ad ia so th at T a rik ’s bitterness w o u ld not be
tu rn ed ag ain st her. A n d ag a in an d ag a in N ad ia tossed her head an d w en t
on sp eak in g o f H am ed .
Soon, all w ho listen ed co uld see H a m e d ’s face clearly before them .
ne day, the yo u n gest shepherd cam e to N ad ia’s tent, c a llin g , “C o m e,
N ad ia! See H a m e d ’s black lam b ; it has grow n so b ig an d stro n g !”
B ut it w as not N ad ia w ho cam e o ut o f the tent.
It w as T arik.
O n the sh eik ’s face w as a look m ore fierce th an th at o f a desert haw k,
100 an d w hen he spoke, his w ords w ere as sharp as a scim itar.
“I have forbidden m y son’s n am e to be said. A n d I prom ised
p u n ish m en t to w hoever d iso beyed m y co m m an d . So sh all it be. Before the
sun sets an d the m oon casts its first shadow on the sand, yo u w ill be gone
from this oasis— never to retu rn .”
“N o !” cried N ad ia, h e arin g her fath er’s w ords.
“I have sp o k en !” roared the sheik. “It sh all be d o n e !” Q
T rem b lin g, the shepherd w en t to gather his possessions.
A n d the rest o f the clan looked at one ano th er u n easily an d m uttered
am on g them selves.
no
In the hours th at follow ed, fear o f b ein g b an ish ed to the desert m ade
everyone tu rn aw ay from N ad ia as she tried to tell th em o f H am ed an d
the th in gs he had done an d said.
A n d the less she w as listen ed to, the less she w as able to recall H a m e d ’s
face and voice. A n d the less she recalled , the m ore her tem per raged
w ith in her, d estro yin g the peace she h ad found. Q
B y even ing, she co uld stan d it no longer. She w en t to w here her father
sat, starin g into the desert, an d stood before h im .
“You w ill not rob m e o f m y brother H a m e d !” she cried , stam p in g her
foot. “I w ill not let y o u !”
120 T arik looked at her, his eyes colder th an the desert n igh t.
But before he co uld u tter a w ord, N ad ia spoke ag ain . “C a n yo u recall
H am e d ’s face? C a n yo u s till h ear his v o ice?”
VISUAL VO CABU LAR Y
O
scim itar (sTm'T-ter) n.
an Asian sword with a
curved cutting edge
Q
COMPARE AND
CONTRAST
Reread lines 10 1-10 6 .
Note Tarik’s attitude
in this passage. In
w hat way does Tarik’s
response remind you of
N adia?
banish (ban'Ysh) v. to
send away; to exile
Q
CONFLICT A N D
THEME
W hat effect does the
shepherd’s punishm ent
have on the clan and on
Nadia?
NADIA THE W ILLFUL
343
Tarik started in surprise, and his answer seemed to come unbidden to
his lips. “No, I cannot! Day after day I have sat in this spot where I last
saw Hamed, trying to remember the look, the sound, the happiness that
was my beloved son— but I cannot.”
And he wept.
Nadia’s tone became gentle. “There is a way, honored father,” she said.
“Listen.”
130 And she began to speak of Hamed. She told of walks she and Hamed
had taken and of talks they had had. She told how he had taught her
games, told her tales, and calmed her when she was angry. She told m any
things that she remembered, some happy and some sad.
And when she was done with the telling, she said gently, “Can you not
recall him now, Father? Can you not see his face? Can you not hear his
voice:
Tarik nodded through his tears, and for the first time since Hamed had
been gone, he smiled. Q
“Now you see,” Nadia said, her tone more gentle than the softest of the
140 desert breezes, “there is a way that Hamed can be with us still.”
The sheik pondered what Nadia had said. After a long time, he spoke,
and the sharpness was gone from his voice.
“Tell my people to come before me, Nadia,” he said. “I have something
to say to them.”
W hen all were assembled, Tarik said, “From this day forward, let my
daughter Nadia be known not as w illful, but as wise. And let her name be
praised in every tent, for she has given me back my beloved son.”
And so it was. The shepherd returned to his flock, kindness and
graciousness returned to the oasis, and Nadia’s name was praised in
150 every tent. And Hamed lived again— in the hearts of all who
remembered him. c^>
344
0
COM PARE AND
C O N TR A ST
Does this passage show
more of Nadia and
Tarik’s sim ilarities or
their differences?
a
Comprehension
1. Recall W h at is H am ed d o in g w h e n he d isap p e ars?
ALABAM A
STANDARDS
READING STANDARD
2. C la rify W h y does Tarik forb id his people to ta lk a b o u t H am ed?
3. Su m m a rize W h a t h ap p e n s to m ake Tarik send th e sh eph erd aw ay?
Literary Analysis
4 . M ake Inferences Reread lin e s 145-147. W h a t does Tarik m ean w h e n he
says th a t N adia “ has given m e back m y beloved so n ” ?
5. Com pare and C ontrast Ch aracters Look a g a in at th e g ra p h ic o rg a n ize r
you filled in as you read. T h in k ab o u t N adia's and T a rik’s p erso n alitie s,
attitu d e s, reactions, and roles in th e story. Are th e y m ore sim ila r or m ore
different? S u p p o rt yo u r answ er.
6 . A n a ly ze C o n flict and Th e m e Recall th a t th e co n flict o f a sto ry often helps
e xp ress the sto ry ’s th e m e . Use a ch art like th e one sh o w n to exp lo re th e
co n flict in “ N adia th e W illfu l.” Then w rite a th e m e sta te m e n t fo r th e story.
7. Evaluate Th e m e A th e m e sh o u ld be m ore th a n ju s t th e a u th o r’s o p in io n .
It sh ou ld also exp ress an idea ab o u t h u m an n ature th a t everyone can
u n derstan d . Does Sue A le x a n d e r’s m e ssa g e a b o u t m em ories w o rk w ell as
a them e? E xp lain w h y or w h y not.
8 . S p e a k in g and Liste n in g N ad ia fo u n d th a t th e best w a y to keep her
b ro th er’s m em o ry alive w as to tell sto rie s a b o u t him . W ith a partner,
create yo u r ow n m em o rab le stories. Take tu rn s in te rv ie w in g each oth er
a b o u t in te re stin g parts o f yo u r lives. Then ch oo se one or tw o stories
a b o u t y o u r p artn er to share w ith th e class.
9. ( f e
X
S O C IA L S T U D IE S C O N N E C T IO N M odern life th re a te n s to ch a n g e
th e tra d itio n a l life style o f th e n o m a d ic B ed ou in . Research h o w th e
Bedouin w ay o f life has ch a n g e d over tim e . W h a t tra d itio n s have th e y
been able to keep?
R ESE A R C H L IN K S
For more on Bedouin culture, visit the Research Center at ClassZone.com.
j
NADIA THE W ILLFUL
345
banish
Cho o se the letter o f th e w ord or phrase th a t m ean s a b o u t th e sam e as each
boldfaced vo ca b u la ry w ord.
clan
1. m em b er o f the d a n : (a) n eigh b o rh o o d , (b) troop, (c) club,
(d)
console
fa m ily
2 . console the sad child: (a) p u n ish , (b) co m fort, (c) praise, (d) tease
graciousness
3 . the h o st’s graciousness: (a) idea, (b) kin d ness, (c) sched u le,
(d)
m em ory
4. banish th e traitor: (a) force out, (b) catch, (c) trick, (d) ign o re
“ N adia th e W illfu l” sh o w s how fa m ily m em b ers can learn from one another.
W rite a p aragrap h ab o u t a tim e you learned so m e th in g from so m e o n e in
a
ALABAM A
STANDARDS
yo u r fam ily. Use at least one vo ca b u la ry w ord. You could sta rt th is way.
I didn't think anyone, could console. Me after Mif cat died.
V O C A B U L A R Y STRATEGY: N O U N - F O R M I N G S U F F I X E S
Su ffixe s are w ord parts th a t are added to th e end s o f w o rd s to form
new w ords. M an y co m m on su ffix e s ch a n g e a d je ctive s or verbs into
nouns. For e xa m p le , th e n o u n -fo rm in g s u ffix -ness can be added to
-cy
state of; q u a lity
the a d jective gracious to form the noun graciousness. See th e ch art
-dom
o f b ein g
for other n o u n -fo rm in g su ffixe s and th e ir m e a n in gs.
-ity
W hen you read w o rd s w ith th e se su ffixe s, use th e ir base w o rd s
to fig u re out th e ir m e an in gs. Re m e m b er th a t so m e tim e s a fin a l
e is dropped fro m th e base w ord, or a fin a l letter is ch a n ge d . For
in sta n ce ,y m ay ch a n ge to /'.
-m e n t
-n e ss
-sh ip
PRACTICE Id e n tify th e base w ord and n o u n -fo rm in g su ffix in each
boldfaced w ord. Then w rite a d e fin itio n o f th e w ord.
1. People in charge o f security in an airport seldom stand out from the crow d.
2. The coach told me not to w orry if the accuracy o f m y fastb all w as a little off.
3 . The principal m ade an announcem ent about the scho ol’s new lunchroom
policy.
4. Ja ck’s outrageousness caused the teacher to punish our w h o le class.
5. The ir p artn ership lasted for m an y years.
346
VO CABU LARY
PR A C TIC E
at ClassZone.com.
Sh o w yo u r u n d e rsta n d in g o f “ N adia th e W illfu l” by re sp o n d in g to th e se
□
SKILLS PRACTICE
prom pts. Then co m p lete th e G ram m ar and W ritin g exercise.
W R IT IN G PR O M P TS
SELF-CH ECK
A. Short Response: Id e n tify C ause and Effect
Ham ed’s death begins a long chain of events
that results in changes for the entire clan. In
one paragraph, explain the effect that each
event after Ham ed’s death has on the m em bers
A strong analysis w ill...
• identify multiple events
caused by Ham ed’s death
• clearly show how each event
led to a change
o f his clan.
B. Extended Response: W rite Journal Entries
U sing the voice o f Nadia, w rite three brief
journal entries. Describe N adia’s feelings and
m em ories, first after H am ed’s death, then
after Tarik’s decree, and fin ally after Tarik has
changed his mind.
Creative journal entries
w ill...
• accurately reflect Nadia’s
personality
• mention key events in the
story
ALABAM A
STANDARDS
COMBINE SENTENCES If yo u r se n te n ce s seem ch o p p y or re p etitio u s, you
□
m ay w a n t to try c o m b in in g th e m . Look fo r tw o se n te n ce s th a t have th e
sam e su b ject or predicate (w h at th e su b je ct does). If th e se n te n ce s share
8.a Using the steps of the writing
a subject, delete th e su b je ct fro m th e second sen ten ce. Then in se rt a w ord
such as and, or, or but to co m b in e th e tw o predicates. If th e se n te n ce s share
a predicate, d elete th e p redicate fro m th e second sen ten ce. Then co m b in e
the tw o su b jects.
Original:
H am ed m ade m e happy. H am ed calm ed m y tem per.
Revised:
H am ed m ad e m e h ap p y and calm ed m y tem per. (Use
and to form one sentence with two predicates.)
PRACTICE C o m b in e th e se n te n ce s in each item .
1. “ N adia th e W illfu l” d iscu sse s th e to p ic o f grief. “ N ad ia th e W illfu l”
d e m o n stra te s th e pow er o f m em ory.
2 . N adia cried w h en H am ed died. H er m o th e r cried w h e n H am e d died.
3 . N adia often behaves stu b bo rn ly. N adia tre a ts people n icely so m e tim e s.
4 . She traveled in th e d esert. Tarik traveled in th e desert.
Fo r
m o r e h elp w it h c o m p o u n d s u b je c t s a n d p r e d ic a t e s , see p a c e
the
Grammar Handbook.
R 60 i n
N A D IA THE W I L L F U L
347
Scout’s Honor
S h o rt S to ry by A vi
When is a trip an
ADVENTURE?
a
ALABAMA
STANDARDS
READING STANDARDS
making predictions
and devices
KEY IDEA W hen w e thin k o f an adventure, w e usually th in k o f
so m e th in g big, like an African safari. But even a trip across tow n
can be an adventure, if yo u ’re go in g som ew here y o u ’ve never been
before. In the short story “Sco u t’s Honor,” three boys get m ore
adventure than they bargained for w hen th e y try to earn a new
m erit badge.
SKETCH IT H o w could a sim ple trip — a visit to a d istan t relative, for
exam p le — becom e an adventure? Thin k ab ou t w h a t m ig h t happen
and w h o you m igh t m eet alo n g the w ay. Sketch a tim elin e w ith
labels to sh o w how you im agin e your potential adventure.
• LITERARY A N ALY SIS: C H A R A C TER A N D THEME
W hen you read a story, you often feel as th o u g h you
are e xp e rie n cin g the events a lo n g w ith its characters.
C haracters can often help reveal the th em e , or m essage
about life, th a t a w riter w ish e s to share w ith the reader.
You can find clues to the th e m e in
• w h a t the ch aracters say and do
• w h a t lessons the ch aracters learn
A Stru ggle to W rite
From an early age,
Avi loved reading.
W riting, however,
w as d ifficu lt for
him . He had
trouble w ith
English classes in
• w h eth er the ch aracters ch an ge in an y w ay
A s you read “S c o u t’s H onor,” stu d y th e ch a ra cte rs to see
h ow th e y help exp ress the sto ry ’s them e.
• READING STRATEGY: PREDICT
Predicting w h a t w ill happen n e xt is one o f the th in g s th at
m akes reading excitin g. W hen you predict, you use details
and clues from a story to m ake a reasonable gu e ss ab ou t
events in the sto ry th a t haven't happened yet.
A s you read, use a grap h ic o rgan ize r like the one sh ow n to
record im p o rta n t d etails and clues and w h a t you predict w ill
happen based on the clues.
school, and som e
o f his teachers
Avi
th o u g h t he w as
born 1937
not intelligent. He
received fa ilin g grades at his first high
school and then w en t to a different one,
w here he go t help from a w ritin g tutor.
Avi recalls th at the tuto r told him , "You
know, y o u ’re really very interesting. If
you w rote better, people w ould know
about it.” From th at point on, Avi says,
“ I w anted to w rite.”
Learning from His M istakes
Predictions
Clues
The narrator has never
left Brooklyn before.
Author On|ine
----- >
He Might get lost
As an adult, Avi discovered that his
problem s w ith w ritin g w ere partially
caused by a learning disability called
dysgraphia (d Ts-graf'e-e). People w ith
dysgraphia reverse letters, m isspell
words, and confuse left and right. Now,
Avi often show s his book m anuscripts,
----- >
A V O C A B U L A R Y IN C O N T EX T
Avi uses the w o rd s listed here to help tell th e sto ry o f a
ca m p in g ad ven tu re. To see h ow m an y you know , place
each w ord under the heading “ K n o w W ell,” “Thin k I Know ,”
or “ D on’t Know .” Then w rite a brief definition o f each w ord
you know .
WORD
LIST
congeal
khaki
retrieve
discard
retort
simultaneously
Think 1 Know
Know VJe.ll
"w hich are covered in red m arks,” to
students w ith learning disabilities.
He hopes th at by sh o w in g students
th at even a best-selling author m akes
m istakes, he m ig h t inspire them to
believe th at they, too, can write.
MORE ABO U T THE AUTHOR
For more on Avi, visit the Literature
Don't Know
|
s c o u t ’s h o n o r
349
Sco
t
’
HONOR
Avi
ack in 1946 , w hen I w as n in e, I w o rried th at I w asn ’t to u gh enough.
T h a t’s w h y I becam e a B oy Scout. S co u tin g, I th o u gh t, w o u ld m ak e
a m an o f me. It d id n ’t take long to reach Tenderfoot ran k . You got th at
for jo in in g. To move up to Second C lass, however, yo u had to m eet three
requirem ents. Scout Sp irit an d Sco ut P articip atio n h ad been cinchy. T h e
th ird requirem ent, Scout C raft, m ean t I h ad to go on an overnigh t h ik e in
the co u n try. In other w ords, I had to leave B ro oklyn , on m y ow n, for the
first tim e in m y life.
Since I grew up in B ro oklyn in the 1940 s, the o n ly grass I k n ew w as in
10 Ebbets F ield 1w here the D odgers played. O th erw ise, m y w orld w as m ade
o f slate pavem ents, streets o f asp h alt (or cobblestone), an d skies fu ll o f ta ll
b u ild in gs. T h e o n ly th in g “co u n try” w as a p u n y p in o ak tree at our curb,
w h ich w as noticed, m ostly, b y dogs. 0
B
1.
W hat sense do you get
of the city of Brooklyn
from the details in this
painting?
PRED ICT
Reread lines 7-13 . Make
a prediction about how
easy cam ping w ill be for
the narrator.
Ebbets Field: The Los A ngeles Dodgers were the Brooklyn Dodgers until the late 1950 s. They played in
the Ebbets Field stadium .
350
U N IT
3:
UN D ERSTAN DIN G THEM E
11th Floor Water Towers Looking East
(2 0 0 5 ), Sonya Sklaroff. O il on panel,
48" x 48". Private C o llection . © 2005
S o n y a S k la ro ff.w w w .go arto n lin e.co m .
I asked Scoutmaster Brenkm an where I could find some country.
Now, whenever I saw Mr. Brenkman, who was a church pastor, he was
dressed either in church black or Scout k h a k i. W hen he wore black,
he’d warn us against hellfire. W hen he wore khaki, he’d teach us how
to build fires.
“Country,” Scoutmaster Brenkman said in answer to m y question, “is
20 anywhere that has lots of trees and is not in the city. M any boys camp in
the Palisades.”
“W here’s that?”
“Just north of the city. It’s a park in Jersey.”
“Isn’t that a zillion miles from here?”
“Take the subway to the George W ashington Bridge, then hike
across.”
I thought for a moment, then asked, “How do I prove I went?”
Mr. Brenkman looked deeply shocked. “You wouldn’t lie, would you?
W hat about Scout’s honor?”
30 “Yes, sir,” I replied meekly. Q
khaki (kak'e) n. cloth
made of light yellowish
brown cotton or wool
( £ SO C IA L STU D IES
X C O N N EC TIO N
M
y two best friends were Philip Hossfender, whom we nicknam ed
Horse, and Richard M acht, called M ax because we were not great
spellers. They were also Scouts, Tenderfoots like me.
Horse was a skinny little kid about h alf my size whose way of arguing
was to ball up his fist and say, “Are you saying . . . ?” in a threatening
tone.
M ax was on the pudgy side, but he could talk his way out of a locked
room. More importantly, he always seemed to have pocket money, which
gave his talk real power.
40 I wasn’t sure why, but being best friends meant we were rivals too. One
of the reasons for my wanting to be tougher was a feeling that Horse was a
lot tougher than I was, and that M ax was a little tougher.
“I’m going camping in the Palisades next weekend,” I casually informed
them.
“How come?” M ax challenged.
“Scout Craft,” I replied.
“Oh, that,” Horse said with a shrug.
“Look,” I said, “I don’t know about you, but I don’t intend to be a
Tenderfoot all my life. Anyway, doing stuff in the city is for sissies.
50 Scouting is real camping. Besides, I like roughing it.”
“You saying I don’t?” Horse snapped.
“I’m not saying nothing,” I said.
352
Brooklyn is one of New
York C ity’s five major
sections, or boroughs.
It is located south of
M anhattan.
Q
PRED ICT
W hat do you predict will
happen? Record this and
your other predictions in
A N A LY ZE V ISU A LS
Explain in w hat ways
this painting does or
does not match your
mental picture of the
narrator leaving for the
cam pingtrip.
L afayette S treet M o rn in g (2 0 0 5 ), Lisbeth F irm in. O il on panel, 16" x 16". C o u rtesy o f K laudia M a rr G allery,
Santa Fe, N ew M exico.
T h e y considered m y idea. F inally, H orse said , “Yeah, w ell, I w as go in g
to do that, but I d id n ’t th in k yo u gu ys w ere read y for it.” Q
“I’ve been read y for years,” M a x protested.
“T h en w e’re go in g, rig h t?” I said.
T h e y looked aro un d at m e. “I f yo u can do it, I can do it,” M a x said.
“Yeah,” H orse said th o u gh tfu lly.
T h e w ay th ey agreed m ade m e nervous. N ow I re a lly w as g o in g to have
6o to be tough.
W e in fo rm ed ou r folks th a t w e w ere g o in g ca m p in g o v ern igh t (w h ich
w as tru e) an d th a t th e S co u tm aster w as g o in g w ith u s— w h ic h w as
a lie. W e d id rem em b er w h at M r. B re n k m an said ab o u t hon esty, b u t
w e w ere b aseb all fans too, an d sin ce w e w ere p rep ared to fo llo w S co u t
law — b ein g lo yal, h elp ful, frien d ly, co u rteo u s, k in d , o b ed ien t, ch eerfu l,
th rifty , brave, clean , a n d reverent— w e fig u re d a 900 b a ttin g av erage 2
w as not bad. ©
Q CH ARACTER AND
THEM E
Reread lines 31-54 .
W hat do you learn about
Horse and M ax based on
w hat they say?
0
CH ARACTER AND
THEM E
W hy do the boys think
it is okay that they are
telling a lie?
2 . 9 0 0 battin g average: In baseball, a batting average is the num ber o f tim es a batter gets a hit com pared
to the num ber o f tim es he bats. A batting average o f .9 0 0 is nearly perfect, since it m eans the batter
gets a hit 9 0 % o f the tim e. The boys use this term to m ean that since they have follow ed m ost o f Scout
law, they are above-average Scouts, even if they tell a lie.
353
o S a tu rd a y m o rn in g w e m et at th e H ig h S tree t su b w ay statio n .
I got th ere first. S tu ffed in m y d a d ’s a rm y su rp lu s k n a p sa c k w as
70 a b la n k e t, a p illo w , an d a p ap er b ag w ith th ree w h ite -b re ad p ean u tb u tte r-a n d -je lly san d w ich es— th a t is, lu n c h , sup per, an d S u n d a y
b reak fast. M y p ockets w ere f u ll o f s tic k m atch es. I h ad an old
fla s h lig h t, an d sin ce I liv ed b y th e S co u t m o tto — Be P re p are d — I h ad
b ro u gh t alo n g an u m b rella. F in a lly , b e in g a serious reader, I h ad th e
latest M a rv e l F a m ily co m ics.
H orse arrived next, his arm s b arely m an a g in g to hold on to a m attress
th at seem ed tw ice his size. As for food, he h ad four cans o f beans jam m ed
into his pockets.
M ax cam e last. H e w as lu g g in g a n ew k n ap sack th at co n tain ed a cast80 iron fryin g pan, a p acket o f hot dogs, an d a box o f saltin e crackers— plus
two bottles. O ne bottle w as m u stard , the other, celery soda. H e also
had a b ag o f Tootsie Rolls an d a sh in y hatchet. “To b u ild a lean -to ,”3 he
explained.
M a x ’s prize possession, however, w as an o fficial Sco ut com pass. “It’s
re a lly sw ell,” he told us. “You c a n ’t ever get lost w ith it. G ot it at the
Scout store.”
“I hate th at place,” H orse inform ed us. “It’s a ll new. N o th in g real.”
“T h is com pass is real,” M a x re to rte d . “Points n orth a ll the tim e. You
can get cheaper ones, but th e y p o in t all different d irectio n s.”
90 “W h a t’s so great abo ut the n o rth ?” H orse said.
“T h a t’s alw ays the w ay to go,” M a x in sisted. Q
“Says w h o ?” I dem anded.
“M r. B ren km an , d u m m y,” H orse cried. “A n yw ay, th ere’s alw ays an
arrow on m aps p o in tin g the w ay n o rth .”
“C ow boys live out w est,” I rem in d ed them . T h e y d id n ’t care.
O n the sub w ay platform , w e realized w e d id not kn o w w h ich statio n w e
were h ead in g for. To fin d out, w e stu d ied the system m ap, w h ich looked
lik e a noodle facto ry h it b y a bom b. T h e place w e w an ted to go (north)
w as at the top o f the m ap, so I had to hoist H orse onto m y shoulders for a
100 closer look. Since he refused to let go o f his m attress— or the tin cans in
his pockets— it w asn ’t easy. I asked h im — in a k in d ly fashion— to p u t the
m attress dow n.
N o sooner d id he fin d the statio n — 168th Street— th an our tra in
arriv ed . W e ru sh ed on, o n ly to have H orse scream , “M y m a ttre s s !” H e
h ad left it on the platform . Ju st before the doors shut, he an d I leaped off.
M ax , however, rem ain ed on the train . H elplessly, w e w atch ed as his
S
3.
354
lean-to: a shelter with a flat, slop ing roof.
UN IT 3 : U N D E R ST AN D IN G TH EM E
V ISU A L V O C A B U LA R Y
com pass n. a device used
to determ ine geographic
direction
retort (rT-tort') v. to
reply, especially in a
quick or unkind way
Q PR E D IC T
The boys feel that
they are prepared
with enough food
and supplies for their
trip. How effective do
you predict the boys’
cam ping gear w ill be?
horror-stricken face slid aw ay from us. “W a it at the next s ta tio n !” I
bellow ed. “D on’t m o v e!”
T h e next tra in to o k forever to com e. T h e n it to o k even lo n ger to get
no to the next stop. T h ere w as M a x . A ll aro u n d h im — lik e fake snow in
a glass b a ll— w ere crum b s. H e ’d been so n ervous he h ad eaten a ll his
crackers.
“D id n ’t th at m ak e yo u th irs ty ? ”
“I d ran k m y soda.”
I noticed streaks dow n his cheeks. H orse noticed th em too. “You been
c ry in g ? ” he asked.
“N aw,” M a x said. “T h ere w as th is w ater d rip p in g from the tu n n e l roof.
But, yo u said don’t m ove, right? W ell, I w as ju st b ein g o bed ient.”
B y the tim e w e got on the next tra in — w ith all our possessions— we
120 had been trav elin g for an hour. B ut w e h ad m an ag ed to go o n ly one stop.
D u rin g the ride, I got hu n gry. I p u lled out one o f m y sandw iches. W ith
the je lly soaked th ro u gh the bread, it looked lik e a lim p scab.
H orse, envious, co m p lain ed h e w as g e ttin g hun gry.
“Eat some o f yo u r can n ed bean s,” I suggested.
H e got out one can w ith o u t rip p in g his p o cket too badly. T h e n his face
took on a m o u rn fu l look.
“W h a t’s the m atter?” I asked.
“Forgot to b rin g a can opener.”
M ax said, “In the old days, people opened cans w ith th eir teeth .”
130 “You sayin g m y teeth aren ’t stro n g ?”
“I’m ju st ta lk in g about h is to ry !”
“You sayin g I don’t kn o w history? ”
A lw ays k in d , I plopped h a lf m y san d w ich into H orse’s h an d . H e
squashed it into his m ou th an d w as q u iet for the next fifteen m in u tes. It
proved so m eth in g I’d alw ays believed: T h e best w ay to stop argu m en ts is
to get people to eat p ean u t b u tter sandw iches. T h e y can ’t ta lk .
T h en w e becam e so absorbed in our M arv el F am ily co m ics w e m issed
our station. W e got to it o n ly b y co m in g b ack the other way. W h e n w e
reached street level, the sk y w as dark.
140 “I k n ew it,” M ax an n o u n ced . “It’s g o in g to rain .”
“D on’t w orry,” H orse said. “N ew Jersey is a w hole other state. It
probably w on’t be ra in in g th ere.”
“I brought an u m b rella,” I said sm ugly, th o u g h I w an ted it to sound
helpful.
As w e m arched dow n 168th Street, h e ad in g for the G eorge W ash in g to n
B ridge, w e looked lik e E uropean w ar refugees .4 E very few paces, H orse
4 . European war refugees: people w ho fled Europe to escape W orld W ar II (1939-1945) and its effects.
cried, “Hold it!” and adjusted his arms around his mattress. Each time
we paused, M ax pulled out his compass, peered at it, then announced,
“Heading north!”
150 I said, “The bridge goes from east to west.”
“Maybe the bridge does,” M ax insisted with a show of his compass,
“but guaranteed, we are going north.”
About then, the heel of my left foot, encased in a heavy rubber boot
over an earth-crushing Buster Brown shoe, started to get sore. Things
weren’t going as I had hoped. Cheerfully, I tried to ignore the pain.
T
he closer we drew to the bridge, the more immense it seemed. And the
clouds had become so thick, you couldn’t see the top or the far side.
M ax eyed the bridge with deep suspicion. “I’m not so sure we should
go,” he said. Q
160 “W hy?”
a ,,
.
■ i
, t
,
- j !>
Maybe it doesn t have another side.
1
.
We looked at him.
“No, seriously,” M ax explained, “they could have taken the Jersey side
away, you know, for repairs.”
356
Q PRED ICT
W hat do you predict
the boys w ill do at this
. ,,
point?
Detail of T he G eorge W ashington B rid ge S een fr o m th e U pper West Side, (ca. 1940), Louis Aston Knight. Oil on
board, 10.8" x 17". Photo courtesy of Spanierman Gallery, LLC, New York.
“C ars are go in g across,” I po in ted out.
“T h e y co uld be dro pp ing off,” he suggested.
“You w o u ld h ear them splash,” H orse argu ed .
“I’m go in g,” I said. T ry in g to look brave, I started o ff on m y ow n. M y
bravery d id n ’t last long. T h e w a lk w a y w as narrow . W h e n I looked dow n,
170 I saw o n ly fog. I co uld feel the b rid ge trem ble an d sway. It w asn ’t long
before I w as co nvinced the b ridge w as abo ut to collapse. T h e n a ray o f
hope stru ck m e: M ayb e the other guys h ad ch icken ed out. I f th e y had,
I co uld q u it because o f th em . I glan ced back. M y h eart san k . T h e y w ere
co m ing. 0
A fter th ey cau g h t up, H orse looked m e in th e eye an d said , “I f this
bridge falls, I’m go in g to k ill yo u .”
A q u arter o f a m ile farth er across, I gazed aro un d . W e w ere co m pletely
fogged in.
“I th in k w e’re lost,” I an n o u n ced ,
iso
“W h a t do w e d o ?” H orse w h isp ered . H is voice w as jag g e d w ith p an ic.
T h a t m ade m e feel better.
“D on’t w orry,” M a x said. “I’ve got m y com pass.” H e p u lled it out.
“N orth is th at w ay,” he said, p o in tin g in the d irectio n w e h ad been going.
A N A LYZE VISUALS
W hat mood, or feeling,
do the colors in this
painting create?
Q C H A R A C TE R AND
THEM E
Reread lines 158-174. In
w hat ways do the boys
try to hide th eirfear
from one another?
SCOUT S HONOR
357
190
200
H orse said, “You su re ?”
“A Scout com pass never lies,” M a x insisted.
“We lied ,” I rem ind ed h im .
“Yeah, but th is is an o ffi c i a l Scout com pass,” M a x retu rn ed lo yally.
“C om e on,” M ax said and m arch ed forw ard. H orse an d I follow ed. In
m om ents, w e crossed a m etal bar on the w alk w ay. O n one side, a sign
pro claim ed: n e w y o r k ; on the other, it said : n e w j e r s e y .
“H o ly sm oke ,”5 H orse said w ith reverence as he strad d led the bar. “T alk
about being tough. W e’re in tw o states at the sam e tim e.”
It began to rain . M a x said, “M ayb e it’ll keep us clean .”
“You sayin g I’m not cle an ?” H orse shot back.
Ever friendly, I p ut up m y um brella.
W e w ent on— M a x on one side, H orse on the other, m e in the
m id d le— try in g to avoid the gro w in g puddles. A fter a w h ile, M a x said,
“W o u ld yo u move the u m brella? R a in is co m in g dow n m y n eck.”
“W e ’re supposed to be ro u g h in g it,” I said.
“B eing in the m id d le isn’t ro u g h in g it,” H orse rem in d ed me.
I folded the um b rella up so w e a ll co uld get soaked eq u ally. ©
“H e y !” I cried. “L o o k !” S ta rin g up ahead, I co uld m ak e out to llb o o th s 6
and the d im outlines o f b u ild in g s.
5. Holy smoke: an old slang expression m eaning "My goodness.”
6. tollbooths: booths at which drivers m ust stop to pay a toll, or sm all fee.
Tent (1984), Christopher Brown. Oil on canvas, 72" x 96". Private collection.
358
UNIT 3: UNDERSTANDING TH EME
© C H A R A C TE R AN D
THEME
Reread lines 19 5-201.
W hat do the boys’
definitions of "roughing
it” tell you about them ?
W hat details do you
notice in this painting of
a cam psite?
“Last one o ff the b ridge is a rotten e g g !” H orse shouted an d b egan to
run. T h e next second, he trip p ed an d took o ff lik e an F- 36 figh ter plane.
U nfortunately, he lan d ed lik e a H ell-cat dive-bom ber 7 as his m attress
unspooled before h im an d then slam m ed into a b ig pud d le.
M a x and I ran to help. H orse w as dam p. H is m attress w as soaked.
W h e n he tried to roll it up, w ater cascaded lik e N iag a ra Falls.
210 “B etter leave it,” M a x said.
“It’s w h at I sleep on at hom e,” H orse said as he slu n g the so ak in g ,
d rip p in g m ass over his shoulder.
W
hen w e got o ff the b rid g e, w e w ere in a sm a ll p laza. To th e left
w as th e roadw ay, fu ll o f ro a rin g cars. In front o f us, aside from
the h igh w ay, there w as n o th in g b u t b u ild in g s. O n ly to th e rig h t w ere
there trees.
“N orth is th at w ay,” M a x said , p o in tin g to w ard the trees. W e set off.
“H ow com e yo u ’re lim p in g ? ” H orse asked m e. M y foot w a s k illin g me.
A ll I said, tho ugh , w as, “H o w com e yo u keep ru b b in g yo u r a rm ? ”
220 “I’m keep in g the blood m ovin g.”
W e approached the grove o f trees. “W ow ,” H orse exclaim ed . “C o u n try.”
But as w e d rew closer, w h at w e found w ere discard ed cans, bo ttles, and
new spapers— plus an old m attress spring.
“H ey,” M a x cried, so u n d in g relieved, “this is ju st lik e B ro o k lyn .” O
I said, “L et’s fin d a decent place, m ak e cam p, an d eat.”
It w as h ard to fin d a cam psite th at d id n ’t have ju n k . T h e gro w in g d ark
d id n ’t help. W e h ad to settle for the place th at h ad the least am o u n t o f
garbage.
M ax said, “I f w e b u ild a lean -to, it’ll keep us o ut o f the rain .” H e an d
230 H orse w ent a short d istan ce w ith the hatchet.
S eeing a tree th e y w an ted , M a x w h acked at it. T h e hatch et boun ced
right out o f his h an d . T here w as not even a d en t in the tree. H orse
retrieved the h atch et an d ch ecked th e blade. “D u ll,” he said.
“T h in k I’m g o in g to c a rry so m eth in g sharp an d cu t m yself?” M a x
protested. T h e y contented them selves w ith p ic k in g up branches.
I w ent in search o f firew ood, but e v ery th in g w as w et. W h e n I fin a lly
gathered som e tw igs an d tried to lig h t them , the o n ly th in g th a t b u rn ed
w as m y fingers.
M ean w h ile, H orse an d M ax used th eir branches to b u ild a lean-to
240 d ire ctly over m e. A fter m an y co llapses— w h ich d id n ’t help m y w ork—
th ey fin a lly got the branches to stan d in a sh ak y sort o f way.
discard (dT-skard') v.
to throw away
o C H A R A C TE R AND
THEME
Max is relieved to find
the cam psite is full of
garbage. W hy?
retrieve (rT-trev') v. to
get back again
7. Hell-cat dive-bomber: a World W ar II plane that took o ff from and returned to an aircraft carrier.
359
“U h -o h ,” H orse said. “W e forgot to b rin g so m eth in g for a cover.”
M ax eyed m e. “D id n ’t yo u say yo u brought a b la n k e t?”
“No w a y !” I cried.
“A ll in favor o f u sin g the b la n k e t!”
H orse and M a x both cried, “A ye.”
O n ly after I b u ilt up a m ou nd o f p a r tia lly b u rn ed m atch sticks an d lit
th em , d id I get the fire going. It proved th at w here th ere’s sm oke there
doesn’t have to be m uch fire. T h e guys m ean w h ile d rap ed m y b lan k e t over
250 th eir branch construction. It co llapsed tw ice.
A
bout an hour after our arriv al, the three o f us w ere gath ered inside
the tin y space. T h ere w as a sm all fire, but m ore lig h t cam e from m y
flick erin g flash ligh t.
“N o m ore rain ,” H orse said w ith pride.
“Ju st sm oke,” I said, ru b b in g m y stin g in g eyes.
“W e need a vent hole,” H orse p o in ted out.
“I could cu t it w ith the h atch et,” M a x said.
“It’s m y m o th er’s favorite b lan k e t.”
“A n d yo u took it? ” M a x said.
260 I nodded.
“You a r e tough,” H orse said.
Besides h av in g too m uch sm oke in o u r eyes an d b ein g w et, tired , an d in
p ain , w e were starv in g. I alm o st said so m eth in g abo ut g iv in g up, but as far
as I could see, the other guys w ere s till tough. Q
M ax p u t his fry in g p an atop m y sm old ering sm oke. A fter d u m p in g
in the entire contents o f his m u stard bo ttle, he th rew in the fran ks.
M ean w h ile, I bolted dow n m y last sandw ich.
“W h a t am I go in g to e a t?” H orse su d d en ly said.
“Your beans,” I rem ind ed h im .
270 M a x offered up h is h atch et. “H ere. Ju s t chop o ff th e top en d o f
the c a n .”
“O h, righ t,” H orse said. H e selected a can, set it in front o f h im , levered
h im self onto his knees, then sw u n g dow n — h ard . T h ere w as an explosion.
For a stu n n ed m om ent, w e ju st sat there, h an d s, face, an d clo th in g
d rip p in g w ith beans.
S ud d en ly M a x shouted, “Food figh t! Food f ig h t!” an d b egan to p aw the
stu ff o ff and flin g it aro un d.
H av in g a food fig h t in a cafeteria is one th in g . H av in g one in the
m id d le o f a so ak in g w et lean-to w ith cold beans d u rin g a d ark , w et N ew
360
Q PREDICT
Reread lines 26 2-26 4 .
Make a prediction about
w hether the narrator’s
statem ent w ill turn out
to be true.
280 Jersey n ig h t is another. In seconds, the lean -to w as dow n, the fire k ick ed
over, and M a x ’s fran k fu rters d u m p ed on the gro un d.
“T h e fo o d !” M a x scream ed, an d b egan to snatch up the fran ks. C o ated
w ith m ustard, d irt, grass, an d leaves, th e y looked p o sitively prehistoric.
S till, w e w ip ed the franks clean on our p an ts then ate th em — the fran ks,
th at is. A fterw ard , w e p icked beans o ff each oth er’s clothes— the w ay
m onkeys help friends get rid o f lice.
For dessert, M a x sh ared som e Tootsie R olls. A fter Florse sw allow ed his
sixteenth piece, he an n o u n ced , “I don’t feel so go o d .”
T h e th o ugh t o f his g e ttin g sick w as too m uch. “L et’s go hom e,” I said,
290 asham ed to look at the others. To m y surp rise— an d relief— nobo dy
objected.
W
et and cold, our w ay lit b y m y fast-fad in g flash lig h t, w e gath ered
our belo n gin gs— m ost o f them , an yw ay. A s w e m ade our w ay back
over the bridge, gusts o f w in d -b lo w n rain p u m m eled us u n til I felt lik e a
used-up p u n c h in g bag. B y the tim e w e got to the sub w ay statio n, m y legs
were m eltin g fast. T h e other gu ys looked bad too. O th er riders m oved
aw ay from us. O ne o f th em m u rm u red , “Ju v en ile d elin q u en ts.” To cheer
us up, I got out m y co m ic books, but th e y h ad congealed into a lu m p o f
red, w h ite, an d blue pulp.
300 W ith the subw ays ru n n in g slow, it took hours to get hom e. W h e n w e
em erged from the H ig h S treet S tatio n, it w as close to m id n ig h t.
Before w e split up to go to our ow n hom es, w e ju st stood there on
a street corner, em b arrassed, try in g to fig u re out how to en d the d ay
gracefully. I w as the one w ho said , “O kay, I a d m it it. I’m not as tou gh as
yo u guys. I gave up first.”
M ax shook his head. “N aw. I w an ted to q u it, but I w asn ’t to u gh enough
to do it.” H e looked to H orse.
Horse m ade a fist. “You sayin g I’m the one w h o’s to u g h ?” he dem anded.
“I hate ro u g h in g it !” ©
310 “M e too,” I said quickly.
“S am e for m e,” M a x said.
H orse said, “O n ly th in g is, w e ju st have to prom ise not to tell M r.
B ren km an .”
G rin n in g w ith relief, w e sim u ltan eou sly clasp ed h an d s. “N o m atter
w h at,” M a x rem in d ed us.
To w h ich I ad d ed , “S co u t’s H onor.” c^>
congeal (ken-jel') v.
to make into a solid
mass
© C H A R A C TE R AND
THEME
Reread lines 302-309 .
Pay attention to how
Horse and M ax react
to the narrator’s
confession. In what
ways have their
attitudes changed?
sim ultaneously
(srm e l-ta 'n e -a s-le )
adv. at the same tim e
361
Comprehension
1. Recall W h y do the boys need to take a c a m p in g trip?
a
ALABAM A
STANDARDS
READING STANDARD
2. Recall W h at m akes th e narrator decide it is tim e to go hom e?
1 Apply strategies, including making
3. Represent Create a d iag ram o f th e b o ys’ route to th e ir cam p site . Be sure
predictions, interpreting characters,
to inclu d e all o f th e im p o rta n t places m en tio n e d in th e story. Use the
m ap on page 352 to help you.
Literary Analysis
4. Predict Review th e gra p h ic o rg a n ize r you m ade as you read. N otice w h ich
events in the story you w ere ab le to predict. W h ich even ts w ere su rp rises?
5. Com pare and Contrast Characters Co m p are and co n trast th e th ree boys.
In w h a t w a y is the narrator d iffe re n t fro m his frie n d s? S u p p o rt yo u r
a n sw e r w ith e xam p le s from th e story.
6 . A nalyze Character and Th e m e Fill in a ch a rt like th e one sh o w n w ith
in fo rm atio n a b o u t the sto ry ’s ch aracte rs. Record each ch aracter's
im p o rta n t sta te m e n ts and actio n s, w h a t lesso n s he learns, and h o w he
ch a n ge s. Then, restate the sto ry ’s m e ssa ge as a th e m e sta te m e n t.
1
1
Sta.te.Me.nts/
Actions
N a rra to r
Horse
M ax
"1 like, roughing it"
What He
How He Changes
Theme Statement:
7. Evaluate Plot Do you th in k the b o ys’ e xp erie n ce o f g o in g to th e “c o u n try ”
could be called an adventure? E xp lain .
(fe
jL
S O C IA L S T U D IE S C O N N E C T IO N
Read th e re q u ire m en ts for
e a rn in g th e W ild e rn ess Su rvival M erit B ad ge on p age 365. C h oo se
three o f the req uirem en ts. For each one, state w h e th e r th e boys in
“S c o u t’s H o n o r” m et th a t req uirem en t. Exp lain w h y or w h y not.
362
V O CA B U LA R Y PRACTICE
Synonyms are w o rd s th a t m ean th e sam e th in g , w h ile antonyms are w o rd s
co n geal
th a t m ean th e opp osite. E xa m in e th e w o rd s in each p air and id e n tify
d is c a r d
w h e th e r th e y are syn o n ym s or a n to n ym s.
khaki
1. retrieve/lose
4 . kh aki/clo th
2 . reto rt/reply
5 . co n g e al/se p arate
3 . d iscard /kee p
6. sim u lta n e o u sly /to g e th e r
re to rt
r e t r ie v e
s im u lta n e o u s ly
W ould a gro u p o f kids to d a y go c a m p in g th e w a y th e boys in “S c o u t’s
H o n o r” did? W rite a p aragrap h e x p la in in g w h y or w h y not. Use tw o or m ore
v o ca b u la ry w ords. Here is a sa m p le b e g in n in g .
T o g o c a m p in g to d a y , you ne.&d more, -than
khaki a n d
c o m ic books.
V O C A B U LA R Y STRATEG Y: ID E N T IF Y IN G SLA N G
W hen you ta lk to a gro u p o f yo u r frie n d s, you p ro b ab ly use so m e sla n g .
ALABAM A
STANDARDS
a
Slang e xp re ssio n s are w o rd s and p h rases th a t have a n ew or sp ecial m e a n in g
READING STANDARD
w ith in a p a rticu la r gro u p o f people. For e xa m p le , th e w ord cool u su a lly
l.b U sing c o n te x t clues to d e te rm in e
m eans “ n eithe r w arm nor very cold.” To m a n y people, th o u g h , cool can also
m e a n in g
be used to m ean “good." M o st sla n g term s, such as th e e xp re ssio n holy
smoke used in line 191 o f “S c o u t’s H onor,” rem ain p o p u lar fo r o n ly a sh o rt
tim e. W hen you e nco u n te r u n fa m ilia r sla n g , use co n te xt clu es to help you
fig u re out th e m e a n in g.
PRACTICE Id e n tify th e sla n g w ord or e xp re ssio n in each sen ten ce. Then use
co n te xt clu es to help you su p p ly a d e fin itio n fo r it.
1. You m ay believe his story, but I th in k he is all w et.
2. I d o n ’t th in k you sh ou ld pay m u ch a tte n tio n to her m o n ke ysh in e s.
3 . A rlen e w as b o th e rin g m e, so I to ld her to take a pow der.
4 . Dad decided to lie dow n and catch so m e Z ’s.
VOCABULARY
P R A CTICE
at ClassZone.com.
363
Increase yo u r u n d e rsta n d in g o f “Scou t's H o n o r” by re sp o n d in g to th e se
p rom pts. Then co m p lete th e
W RITIN G PROM PTS
SELF-CHECK
A. Short Response: Write a Letter
An interesting letter w ill...
B. Extended Response: Evaluate Characters
Did you find the characters in “Scout’s H onor”
to be realistic? Consider the dialogue, the w ays
in w hich the characters change, and the w ays
they react to situations. Then w rite a two- to
three-paragraph summary of your evaluation.
• include details about the trip
• show an understanding of the
character’s attitude as seen in
the story
A strong evaluation will...
• include a dearly-stated
opinion
• provide exam ples from the
story
COMBINE SENTENCES On p age 347, you learned h o w to jo in tw o su b je cts
or tw o predicates to co m b in e se n ten ces. A n o th e r w a y to co n n e ct tw o
sen ten ces is to use a
comma and a coordinating conjunction, su ch as and,
Revised:
M ax w as a fa st talker. He alw a ys had pocket m oney.
M ax w as a fa st talker, and he alw a ys had pocket m oney.
PRACTICE Join these sentences by in sertin g a co m m a and the correct
co ordinating conjunction.
1. H orse could carry his m attress. He could leave it behind.
2 . It w as ra in in g w h en w e reached th e bridge. W e crossed it anyw ay.
3 . O ur sto m a ch s w ere g ro w lin g . W e ate all o f our food.
4. H orse used his h atch et to open th e beans. The can exp lod ed .
F o r m o r e h e l p w i t h c o o r d i n a t i n g c o n j u n c t i o n s , see p a c e
Grammar Handbook.
Q
ALABAM A
STANDARDS
lO.b U sing c o m m a s to jo in tw o
in d e p e n d e n t clauses
but, or, nor, yet, so, or for. Here is an e xam p le :
Original:
SKILLS PRACTICE
Consider how the characters in "Scou t’s H onor”
m ight describe their cam ping trip to others.
Would they tell about it tru th fu lly or change the
details to make it sound better? Choose either
Horse or M ax and w rite a brief letter in which
he describes the adventure to a friend or fam ily
member.
364
□
R47 i n
the
H A N D B O O K E X C E R P T T h e ch aracte rs in “S c o u t’s H o n o r” fin d th a t m e e tin g the
Sco u t C raft re q u ire m en t isn ’t as e asy as it seem s. Read th e fo llo w in g e xce rp t to
fin d o u t w h a t to d ay's Boy Sco u ts m u st do to earn a sim ila r m erit bad ge.
Wilderness
Survival
1. From memory, describe the
priorities for survival in a
backcountry or wilderness
location.
7. Do the following:
a. Tell five different ways of
attracting attention when lost.
b. Show how to use a signal
m irror to attract attention
when lost.
c. From memory, describe five
international ground-to-air
signals and tell what they
mean.
2. Describe ways to (a) avoid panic
and (b) maintain a high level of
morale when lost.
3.
Show that you know first aid for
injuries or illnesses likely to occur
in backcountry outings, including
hypothermia, hyperthermia, heat
stroke, heat exhaustion, frostbite,
dehydration, sunburn, stings,
ticks, snakebite, blisters, and
hyperventilation.
4. Tell what you would do to survive
in the following environments:
a.
b.
c.
d.
e.
Cold and snowy
Wet (forest)
Hot and dry (desert)
Windy (mountains or plains)
Water (ocean or lake)
5. Make up a small survival kit and
be able to explain how each item
in it is useful.
6. Show that you can start fires
using three methods other than
matches.
S. Show that you can find and
improvise a natural shelter
minimizing the damage to the
environment.
9.
10
Spend a night in your shelter.
Explain how to protect yourself
against insects, reptiles, rodents,
and bears.
11. Show three ways to purify water.
12 Show that you know the proper
clothing to be worn in your area
on an overnight in extremely
hot weather and extremely cold
weather.
13 Explain why it usually is not
wise to eat edible wild plants or
wildlife in a wilderness survival
situation.
READING FOR INF O RM A TIO N
365
Comparing
Fables i
T ra d itio n a l Fable by A e so p
Retold by Ja m e s Reeves
The Richer, the Poorer
M o dern Fable by D o ro th y W e st
Should you LIVE for
the present or the future?
a
ALABAMA
STANDARDS
5 Analyze for distinguishing
characteristics
KEY IDEA People have d iffe re n t ideas a b o u t saving and sp e n d in g.
Som e people prefer to save as m u ch as p ossib le. T h a t w ay, the
m o n ey w ill be th e re w h e n th e y re ally need it. O th e rs prefer to spend
w h a t th e y have righ t aw ay, so th a t th e y can e n jo y it. In th e fa b le s
you are a b o u t to read, fo u r ch aracte rs s tru g g le w ith th e ir d e cisio n s to
save or spend.
DISCUSS Is it b etter to save fo r th e fu tu re or e n jo y y o u rs e lf in the
present? Find a p artn er and d eb ate th is q u e stio n . Be sure th a t
you and yo u r p artn er each ta ke a d iffe re n t side. Provide reason s to
su p p o rt yo u r response.
•
Author On[ine
L IT E R A R Y A N A L Y S IS : F A B L E
Fables teach us lessons ab o u t life. A
traditional fable like
“A n t and G ra ssh o p p e r” often uses an im al ch aracte rs to tell a
moral, or a clever, m em orable statem en t
modern fable like “The Richer, the
Poorer” is m ore likely to use hum an characters. It has a theme
story. It ends w ith a
o f the fable's m essage. A
that readers have to determ ine on their ow n. A s you read the
tw o fab les, pay atte n tio n to the ch aracters and the lessons
• R E A D IN G S T R A T E G Y : S E T A P U R P O S E FO R R E A D IN G
W hen you w ere younger, you m ig h t have read fa b le s for
purpose for reading is to
find sim ilarities and d ifferences betw een tw o fables. A s you
read, record d etails ab ou t ch aracte rs’ key
Key Tra its
"The Richer,
the Poorer"
Ant
Grass
hopper
Lottie
h a rd
fu n -lo v in g
1
Dorothy West:
Writer from
the Start The
d a u g h te r o f a freed
slave, D oro th y
Words and
Actions
—
Character's
Priority
A
around 3 0 0 B.C. W h at is certain,
how ever, is th a t A eso p rem ains the
m ost fa m o u s au th o r o f fab les.
3>ess
w o r k in g
can be fo u n d in
n early every public
library. How ever,
been a fo rm e r slave in an cien t Greece
w h o retold p op u lar age -o ld stories.
The ta le s w ere not w ritte n dow n until
a co llection o f th e m w a s published
traits, th e ir w ords
and actions, and w h a t th e y co nsid er im p o rtan t.
'Ant and
G rasshopper'
A e so p ’s fa b le s
h isto rian s are
u n ce rtain w h o
A esop w as, or
even if the nam e
Aesop
Aesop refers to
620 ? ~ s 60 b .c.
one p articular
person in history. A esop m ay have
th e y learn.
entertainm ent. In this lesson, you r
Aesop: Ancient
Storyteller
1
W est w as ju s t 16
years old w h en
she first received
re cogn itio n as a
w riter. She w on
Second prize in a
V O C A B U L A R Y IN C O N T E X T
,
Dorothy W est uses the listed w ords to help tell her fab le about
saving. To see how m any you know , m atch each w ord w ith
the num bered term closest in m eaning.
W ORD
clarity
frug al
intolerable
L IS T
enha nee
in e fficie n t
lean
1. scan ty
3 . clearness
5 . unbearable
2. w astefu l
4 . im prove
6. th rifty
,
.
.
D o ro th y W est
1 9 0 7 -1 9 9 8
co n te st put on by
a literary m agazin e. A s an adult, W est
m oved to N ew York City, w here she
b ecam e a key literary figu re . W est
w ro te tw o novels and num ero u s short
stories.
M O RE A BO U T TH E A U TH O R
For more on Aesop and Dorothy
West, visit the Literature Center at
ClassZone.com.
367
A n t an<^
Grasshopper
Aesop
Retold by James Reeves
A
ll sum m er the an t h ad been w o rk in g h ard , g ath erin g a store o f corn
for the w inter. G rain b y g rain she had taken it from the field s an d
stowed it aw ay in a hole in the b an k , u n d er a h aw th o rn bush.
O ne bright, frosty d ay in w in ter G rasshopper saw her. She w as d rag g in g
out a grain o f corn to d ry it in the sun. T h e w in d w as keen, an d poor
G rasshopper w as cold. ©
“G ood m orning, A n t,” said he. “W h a t a terrible w in te r it is! I’m h a lf
dead w ith hunger. Please give m e ju st one o f yo u r corn g rain s to eat. I can
fin d n o th in g, alth o u gh I’ve hopped a ll over the farm yard . T h ere isn ’t a
10 seed to be found. Spare m e a g rain , I beg.”
“W h y haven’t yo u saved a n y th in g u p ? ” asked A n t. “/ w o rk ed h ard all
th ro ugh the sum m er, storing food for the w in ter. V ery g lad I am too, for
as yo u say, it’s b itterly cold.”
“I w asn’t idle last sum m er, either,” said G rasshopper.
“A n d w h at d id yo u do, pray? ”
“W h y, I spent the tim e sin g in g ,” answ ered G rasshopper. “E very d ay
from daw n till sunset I ju m p ed about or sat in the sun, ch irru p in g to m y
h eart’s content.” ©
“O h yo u d id , d id y o u ? ” replied A n t. “W ell, since yo u ’ve su n g all
20 sum m er to keep yo u rse lf ch eerful, yo u m ay d an ce all w in ter to keep
yo u rse lf w arm . N ot a g rain w ill I give y o u !”
A n d she scu ttled o ff into her hole in the b an k , w h ile G rasshopper w as
left cold an d hungry.
A N A LYZE VISUALS
W hat can you infer
about these two
illustrations by viewing
them next to each other?
© FABLE
Reread lines 1 -6 . W hat
indicates that this is a
traditional fable?
© FABLE
W hy does Grasshopper
think he has kept busy
all sum m er? Note how
this is different from
A nt’s idea of being busy.
IN GOOD TIM ES PREPARE FOR W H E N THE BAD TIM ES COM E. C^>
368
UN IT 3: UND ERSTANDING TH E M E
From Aesop’s Fables. © 2000 by Jerry
Pinkney. Used with permission of
Chronicle Books LLC, San Francisco.
Comparing Fables
The Richer,
the Poorer
Dorothy West
O
ver the years L ottie had u rged Bess to prepare for her old age. O ver
the years Bess had lived each d ay as if there w ere no other. N ow
th ey w ere both p ast sixty, the tim e for su m m in g up. L o ttie h ad a b an k
account th at had never grow n le a n . Bess had the clothes on her back, an d
the rest o f her w o rld ly possessions in a battered suitcase. Q
L ottie had hated b eing a ch ild , h e arin g her paren ts’ sk im p in g an d
scraping. Bess had never seem ed to notice. A ll she ever w an ted w as to
go outside and play. She learn ed to skate on borrow ed skates. She rode a
borrowed bicycle. L o ttie co u ld n ’t w ait to grow up an d b u y h erself the best
10 o f everyth in g.
As soon as anyone w o u ld hire her, L o ttie p u t h erself to w ork. She
m in ded babies; she ran errands for the old.
She never touched a p en n y o f her m oney, th o ugh her c h ild ’s m outh
w atered for ice cream an d candy. B ut she co uld not bear to share w ith
Bess, w ho never had a n y th in g to share w ith her. W h e n the dim es b egan
to add up to dollars, she lost her taste for sw eets.
B y the tim e she w as tw elve, she w as clerk in g after school in a sm all
v a riety store. S atu rd ays she w o rked as long as she w as w an ted . She decided
to keep her m oney for clothes. W h e n she entered h ig h school, she w o u ld
20 w ear a w ardrobe th at neither she nor anyone else w o u ld be able to m atch.
B ut her freshm an year found her un ab le to in d u lg e so frivolous a w h im ,
p a rtic u la rly w hen her ad m irin g in structors advised her to th in k seriou sly
o f college. N o one in her fa m ily had ever gone to college, an d c e rta in ly
Bess w o u ld never get there. She w o u ld show them a ll w h at she co u ld do, if
she put her m in d to it.
She began to b an k her m oney, an d her b an kb o o k b ecam e her m ost
private and precious possession.
370
UN IT 3: UND ERSTANDIN G TH E M E
lean (len) adj. having
little to spare; thin
Q FABLE
Reread lines 1-5 .
Consider the ways this
passage is sim ilar to the
first two paragraphs of
“Ant and Grasshopper.”
W hat do you think will
happen in the rest of the
story?
Comparing Fables
30
40
n her th ird ye ar in h ig h school she found a job in a sm all but ex p an d in g
restaurant, w here she cash iered from the b u sy h o u r u n til closing. In her
last ye ar in h ig h school the business increased so rap id ly th at L o ttie w as
faced w ith the choice o f stay in g in school or w o rk in g fu ll tim e.
She m ade her choice easily. A job in h an d w as w o rth tw o in the future. ©
Bess had a b eau 1 in the school b an d , w ho h ad no other am b itio n except
to play a horn. L o ttie expected to be settled w ith a hom e and fa m ily w h ile
Bess w as s till w a itin g for H a rry to earn en o ugh to b u y a m arriage license.
T h at Bess m arried H arry straight out o f h igh school w as not surprising.
T h at Lottie never m arried at all w as not really surprising either. Two or three
tim es she was h alfw ay persuaded, but to give up a job that p aid w ell for a
hom em aking job that p aid n o th ing w as a risk she w as incapable o f takin g.
Bess’s m arried life w as n o th in g for L o ttie to envy. She an d H a rry lived
lik e gyp sies ,2 H a rry p la yin g in second-rate bands a ll over the co un try,
even g e ttin g h im se lf an d Bess stran d ed in E urope. T h e y w ere often in rags
and never in riches.
I
© FABLE
Reread lines 26 -3 2.
W hat is Lottie’s priority
in life?
A N A LYZE VISU ALS
Describe the mood, or
feeling, that each of
these paintings conveys.
1. beau: boyfriend.
2. gypsies: people w ho m ove from place to place.
W oman in C alico (1944), W illiam H. Johnson. © Smithsonian
American Art Museum, Washington, D.C./Art Resource,
New York.
M om a n d D a d (1944), W illiam H. Johnson. Oil on paperboard,
31" x 25 Vs". Gift of the Harmon Foundation. © Smithsonian
American Art Museum, W ashington, D.C./Art Resource, New York.
T H E R IC H E R , THE POORER
371
A N A LY Z E V IS U A LS
W hich of the sisters
would you be more
likely to connect to the
wom an in this painting?
S treet Life, H arlem (1940), W illiam H. Johnson. © Smithsonian American Art Museum,
Washington, D.C./Art Resource, New York.
Bess grieved because she h ad no ch ild , not h av in g sense en ough to
kn ow she w as better o ff w ith o u t one. L o ttie w as c e rta in ly better o ff
w ith o ut nieces an d nephew s to feel so rry for. V ery lik e ly Bess w o u ld have
dum ped them on her doorstep. Q
T h a t L ottie had a doorstep th e y m ig h t have been left on w as o n ly
because her boss, h av in g bo ught a second house, offered L o ttie his first
50 house at a price so low an d term s so reasonable th at it w o u ld have been
lik e losing m oney to refuse.
She shut o ff the room s she d id n ’t use, le ttin g th em go to rack an d
ru in .3 Since she ate her m eals out, she had no food at hom e, an d d id not
encourage callers, w ho alw ays expected a cup o f tea.
H er w ay o f life w as m ean an d m iserly, b ut she d id not kn o w it. She
th o ugh t she lived fru g a lly in her m id d le years so th at she co uld live in
com fort an d ease w h en she m ost needed peace o f m in d .
3.
372
go to rack and ruin: becom e shabby or w recked.
UNIT
3:
UNDERSTANDING TH EM E
O
fa ble
Reread lines 4 4 -4 7.
W hy does Lottie approve
of the fact that Bess
never had children?
frugal (froo'gel) adj.
avoiding w aste; th rifty
Comparing Fables
he years, after forty, b egan to race. S u d d en ly L o ttie w as sixty, an d
retired from her job b y her boss’s son, w ho had no sen tim en tal feelin g
60 about keep in g her on u n til she w as read y to q uit.
She m ade several attem pts to fin d other em p lo ym ent, but her dow dy
appearance m ade her look old an d inefficient. For the first tim e in her
life L ottie w o u ld g la d ly have w orked for n o th in g , to have som e place to
go, so m eth in g to do w ith her day.
H a rry d ied abroad, in a th ird -rate ho tel ,4 w ith Bess w eep in g as h ard as
if he had left her a fortune. H e h ad left her n o th in g but his horn. T h ere
w asn’t even m on ey for her passage hom e.
L ottie, trapp ed b y the blood tie, k n ew she w o u ld not o n ly have to send
for her sister, but take her in w h en she retu rn ed . It d id n ’t seem fair th at
70 Bess should reap the harvest o f L o ttie’s lifetim e o f self-d en ial. Q
It took L ottie a w eek to get a bedroom ready, a w eek o f h ard w o rk and
hard cash. T h ere w as e v ery th in g to do, e v ery th in g to replace or p ain t.
W h e n she w as th ro u g h the room looked so fresh an d n ew th at L o ttie felt
she deserved it m ore th an Bess.
She w ou ld let Bess have her room , but the m attress w as so lum py, the
carp et so w orn, the cu rtain s so th read b are th at L o ttie’s conscience p ricked
her. She supposed she w o u ld have to redo th at room , too, an d w en t about
doing it w ith an eagerness th at she m isto ok for haste.
W h e n she w as th ro u gh u p stairs, she w as shocked to see how d ism al
so dow nstairs looked by com parison. She tried to ignore it, but w ith now here
to go to escape it, the co ntrast grew m ore intolerable.
She w orked her w ay from kitch en to parlor, p e rsu ad in g h erself she w as
o n ly p u ttin g the room s to rights to give h erself so m eth in g to do. A t n ig h t
she slept lik e a ch ild after a lon g an d h ap p y d ay o f p la y in g house. She w as
having m ore fu n th an she h ad ever had in her life. She w as liv in g each
hour for itself.
T h ere w as o n ly a d a y now before Bess w o u ld arriv e. P assin g her
g le a m in g m irro rs, at first w ith v a g u e aw aren ess, th en w ith p a in fu l
clarity, L o ttie saw h e rse lf as others saw her, an d co u ld n o t sta n d th e
90 sigh t.
She w ent on a sp en d in g spree from sp ec ialty shops to b e au ty salon,
em ergin g transform ed into a w o m an w ho believed in m iracles. 0
T
inefficien t (Tn'T-fTsh'ant)
adj. not able to produce
w ithout w asting tim e or
energy
Q FABLE
Note Lottie’s reaction to
sharing her home with
Bess. How is this sim ilar
to or different from
w hat happens in “Ant
and Grasshopper”?
intolerable
(Tn-tbl'er-e-bal) adj.
unbearable; too much to
be endured
clarity (klar'T-te) n. the
quality of being clear
o
FABLE
Reread lines 75 -9 2.
Based on the changes
Lottie has made, would
you predict that her
attitude toward Bess
w ill change too?
4 . third-rate hotel: a hotel o f poor quality.
THE RICHER, THE POORER
373
S
he w as in the kitchen b astin g a tu rk e y w h en Bess ran g the bell.
H er h eart raced, an d she w ondered if the heat from the oven w as
responsible.
She w ent to the door, an d Bess stood before her. S tiffly she suffered
Bess’s em brace, her h eart racin g harder, her eyes su d d en ly sm a rtin g from
the onrush o f cold air.
“O h, L ottie, it’s good to see yo u ,” Bess said , but sayin g n o th in g about
100 L o ttie’s splendid app earance. U p stairs Bess, p u ttin g dow n her shabby
suitcase, said, “I’ll sleep lik e a rock to n igh t,” w ith o u t a w ord o f p raise for
her lovely room . A t the lavish table, to p -h eavy w ith turkey, Bess said , “I’ll
take lig h t and dark, both,” w ith no m arv elin g at the size o f the bird, or
th at there w as tu rk ey for tw o eld erly w om en , one o f them too poor to b u y
her own bread.
W ith the glow o f good food in her stom ach, Bess b egan to spin stories.
T h e y were rich w ith places an d people, m ost o f th em low ly, a ll o f th em
m agn ificen t. H er face reflected her te llin g , the joys an d sorrows o f her
rem em bering, an d above all, the love she lived b y th at enhanced the
no poorest place, the hum blest person.
T h en it w as th at L o ttie k n ew w h y Bess h ad m ade no m en tio n o f her
finery, or the sh in in g room , or the tw elve-p o un d turkey. She h ad not even
seen them . Tom orrow she w o u ld see the room as it re ally looked, an d
Lottie as she re ally looked, an d the w arm ed-over tu rk e y in its seco nd -d ay
glory. T onight she saw o n ly w h at she had com e seek in g, a place in her
sister’s hom e and h eart. ©
She said, “T h a t’s enough abo ut m e. H ow have the years used y o u ? ”
“It w as m e w ho d id n ’t use th em ,” said L ottie w istfu lly. “I saved for
them . I saved for them . I forgot the best o f them w o u ld go w ith o u t m y
120 ever spendin g a d ay or a d o llar en jo yin g them . T h a t’s m y life sto ry in
those few w ords, a life never lived.
“N ow it’s too near the end to try.”
Bess said, “To kn o w how m uch there is to kn o w is the b e g in n in g o f
learn in g to live. D on’t coun t the years th at are left us. A t o u r tim e o f life
it’s the days th at count. You’ve too m uch catch in g up to do to w aste a
m in ute o f a w a k in g hour feelin g so rry for yo urself.”
Lottie grinned, a real w ide-open grin, “W ell, to tell the tru th I felt sorry for
you. M aybe, if I had an y sense, I’d feel sorry for myself, after all. I know I’m
too old to kick up m y heels, but I’m going to let you show m e how. If I lan d
130 on m y head, I guess it w on’t m atter. I feel gid d y already, and I lik e it.”
Q
374
UN IT 3: UND ERSTANDING T H E M E
enhance (en-hans') v.
to increase in value or
quality
©
FABLE
Reread lines 10 6 -116 .
W hat does Bess consider
her highest priority?
o
FABLE
C ontrast Lottie’s attitude
in this passage with her
attitude at the beginning
of the fable.
Comparing Fables
After Reading
Comprehension
a
1. Recall W h y does G rassh o p p e r need to ask A n t for food?
ALABAM A
STANDARDS
READING STANDARD
comparing/contrasting reading
2. Recall W h y does Bess com e to live w ith her siste r Lottie?
3. Summarize W h at does Lottie do to prepare fo r B e ss’s arrival?
Literary Analysis
4. Analyze Cause and Effect C o n sid e r th e a ctio n s th a t A n t and G ra ssh o p p e r
take and th e resu lts o f th o se a ctio n s. Then s u g g e s t th e w a ys in w h ich
e ith er ch a racte r m ig h t have ch a n ge d th e fa b le ’s e n d in g .
5. Analyze Characters T h in k a b o u t w h ich o f th e ch aracte rs in th e tw o fa b le s
ch a n ge d and w h ich ones did not. Id e n tify w h o ch a n ge d and e xp la in in
w h a t w a ys he or she ch an ge d .
6.
Evaluate Fables W hich fab le does a better jo b o f te a ch in g a lesson about
saving and spending? Su p p ort you r opinion u sin g e xam p le s from th e fables.
Compare Fables
N o w th a t y o u ’ve read both fab le s, add a n ew row to th e ch a rt you filled
out as you read. U se th e a n sw e rs to th e q u e stio n s to help you id e n tify the
theme o f “The Richer, th e Poorer.”
'Ant and Grasshopper
Key Tra/ts
Ant
Grasshopper
h a r d -w o r k in g ,
fu n -lo v in g ,
p la n s f o r
liv e s f o r t o d a y
*The Richer, the Poorer"
Lottie
Bess
fu tu re
VJords and
Actions
Cha.ra.c-te.rs
Priority
Moral-
In g o o d i/M & s pre.pa.re.
TheMe-
f o r w h e n t h e b a d t im e s come..
ANT AND GRASSHOPPER
/ THE RICHER, THE POORER
375
V O CA B U LA R Y PRACTICE
C h o o se th e lette r o f th e w ord th a t has a d iffe re n t m e a n in g fro m th e
c la r it y
o th e r w ords.
en hance
1. (a) enable, (b) enh an ce, (c) im prove, (d) increase
fru g a l
2. (a) un ju st, (b) prejudiced, (c) unfair, (d) in e fficie n t
in e f f i c i e n t
3 . (a) quick, (b) sp a rin g, (c) fru g a l, (d) th rifty
4 . (a) lean, (b) sparse, (c) scanty, (d) le n g th y
in t o le r a b le
5 . (a) gen erosity, (b) kin d ness, (c) charity, (d) cla rity
le a n
6. (a) im p ractical, (b) u n en jo yab le , (c) intolerable , (d) te rrib le
T h in k o f a sim p le lesson you could teach w ith a sto ry a b o u t tw o a n im a ls.
W rite yo u r story u sin g at least tw o vo ca b u la ry w ord s. You could sta rt
th is way.
EXAMPLE SENTENCE
T r & v o r F r o g a Jw a ifs h a d a n
inefficient w aif
o f d o in g th in g s.
V O C A B U LA R Y STRATEGY: M U LTIPLE M E A N IN G W O RD S
M an y En glish w o rd s have m ore th a n one m e a n in g . You m ay have kn o w n , for
exam p le , th a t lean can m ean “ rest th e body a g a in s t so m e th in g fo r su p p o rt.”
But you m ay not have been fa m ilia r w ith its use in “T h e Richer, th e Poorer,”
w here th e w ord m ean s “ h a v in g little to spare; th in .”
ALABAM A
STANDARDS
a
READING STANDARD
meaning
If a w ord does not seem to m ake sense in co nte xt, look at th e rest o f the
sentence to fig u re out w h a t o th er m e a n in g th e w ord m ig h t have. If you are
still not sure o f th e m e a n in g, ch eck a dictionary.
PRACTICE U se co n te xt clu es or a d ictio n a ry to d efin e th e b oldfaced w ords.
1. She cast her hat and sc a rf asid e w h en she go t hom e.
2 . The go lfe r used an iron to m ake th e shot.
3 . Instead o f m a k in g a d ecision , she chose to h e d g e fo r a w h ile longer.
4 . To sw in g th e bat better, p la n t yo u r feet so lid ly ye t co m fortab ly.
376
3
VO CABU LARY
P R A C TIC E
at ClassZone.com.
Comparing Fables
Writing for Assessment
1. RE AD THE P R O M P T
The tw o fables you ’ve ju st read handle a sim ilar idea in very different ways. In
w riting assessm ents, you w ill often be asked to com pare and contrast sim ilar
characters or them es in tw o stories, poems, or fables.
PRO M PT
4 STR A TEG IES IN A C T IO N
1
In three paragraphs, compare the traditional
fable “Ant and Grasshopper” w ith the
modern fable “The Richer, the Poorer.”
Consider the moral or them e o f each fable
and the traits, actions, and priorities o f each
character. Support your ideas using details
from the fables.
I h a v e t o id e n t ify t h e
smlarrt/es
and differences b e tw e e n
t h e fa b les.
Z. I n eed t o d e s c rib e w h a t t h e
characters say,
a n d any lessons
^
do, a n d t h in k ,
t h e y le a rn .
details and
I need t o inclu de
examples f r o M
t h e f a b le s t o
s u p p o r t My ideas.
2. P L A N YOUR W R IT I N G
Using the chart you filled in as you read, identify the w ays
in w hich the fables are alike and different. Then think
about how to present these sim ilarities and differences.
g
|;
• Decide on a main idea, or position statem ent, for your
response.
• Review the fables to find exam ples and details that
support your position.
>■ in tr o d u c e F a b J e s
M ain Idea
"■ Compare
?;*
C h a ra cters w
a*
T w o F a b l& s
”
f '
C ^ p a re flo r a l
a nd Them e
• Create an outline to organize your response. This sample
outline shows one w ay to organize your three paragraphs.
3. D R A F T YO UR R E S P O N S E
Paragraph i Provide the titles and authors o f both fables, as well as a sentence
tellin g w hat each fable is about. Also include your main idea.
Paragraph 2 Explain how the four characters are sim ilar or different. Support
your position w ith exam ples o f w hat they say, do, or think.
Paragraph 3 Provide the m oral or them e o f each fable. Explain how the
m essages are sim ilar or different. Use supporting details from the fables.
Revision Make sure you ’ve used transition w ords such as similarly, also,
however, instead, or unlike to show sim ilarities and differences.
ANT AND GRASSHOPPER
/ THE RICHER, THE POORER
377
Great
Reads
Esperanza Rising
N ovel by Pam M u n o z Ryan
Meet Pam Munoz Ryan
A w a rd -w in n in g au th o r Pam M u n o z Ryan gre w up in a fa m ily
w ith a rich trad ition o f sto ryte llin g . Ryan inherited som e o f the
fa m ily ’s m ost in te restin g stories from her gran dm oth er, w ith
w h o m she spent a lot o f tim e. H er g ra n d m o th e r’s ow n life
story— leavin g behind w ealth and lu x u ry in M exico for a life o f
hard w o rk in the U nited States d u rin g th e G reat D ep ression —
inspired Ryan to w rite Esperanza Rising.
Pam M unoz Ryan
born 1951
Even w ith o u t th e fa m ily history, Ryan w o u ld have no
problem sy m p a th izin g w ith a y o u n g girl w h o feels out o f
place. W hen Ryan entered m id d le school, her fa m ily m oved
Other Books by
Pam Munoz Ryan
• Becoming Naomi Leon
• Riding Freedom
and she had to ch an ge schools. Feeling like an outsider, Ryan
found co m fort in books. In fact, w h en asked w h y she w rite s for
children, Ryan sa y s,“ Books influ en ced m e so m uch in m iddle
school and ju n io r high. So I w a n t to w rite for th e sam e age.”
• California, Here We Come!
Try a Coming-of-Age Novel
T h in k o f a tim e w h en you su d d e n ly fe lt m uch older, or w hen
yo u r re sp on sib ilities becam e m ore serious. C h an ce s are it
happened w hen you w ere fa c in g a situ atio n or ch alle n ge
for the first tim e. W hen a novel centers on a y o u n g person
b ecom in g m ore m ature as a result o f a ch a lle n g in g experience,
it is often called a
coming-of-age novel. Esperanza Rising is an
e xam p le o f th is typ e o f novel.
Read a Great Book
Esperanza Rising tells the story o f Esperanza O rtega,
a rich, pam pered girl w h o m u st give up her carefree life
in M exico for a life o f h ardship in the United States.
After Esperanza’s fathe r is m urdered, her devious
uncle, Tio Luis, d em an d s th a t her m other m arry him .
By m arryin g her, he hopes to gain control o f the
fa m ily ’s riches. In the excerpt you are ab ou t to read,
yo u ’ll discover the extrem es to w h ich Tio Luis w ill go
to m ake Esperanza’s m other accept his proposal.
fro m
Esperanza
10
!S
T h e w in d b lew hard th at n ig h t an d the house m o an ed and
w h istled . Instead o f d ream in g o f b irth d ay songs, E speranza’s sleep
was filled w ith n igh tm ares. A n enorm ous bear w as ch asin g her,
g ettin g closer an d closer an d fin ally fo ld in g her in a tig h t em b race.
Its fur cau gh t in her m o u th , m ak in g it h ard to breathe. Som eone
tried to p u ll the bear aw ay b u t co u ld n ’t. T h e bear squeezed h ard er
u n til it w as sm o th erin g E speranza. T h en w h en she th o u g h t she
w o u ld suffocate, the bear grab b ed her b y the shoulders an d shook
her u n til h er head w agged b ack an d forth.
H er eyes opened, then closed ag ain . She realized she w as
d re am in g an d for an in stan t, she felt relieved. B ut th e sh ak in g
b egan ag ain , h ard er this tim e.
Som eone w as c a llin g her.
“E sp eran za!”
jS B l
MFjm
-
I
■ k l
She opened her eyes.
“E speranza! W ak e u p !” scream ed M a m a . “T h e house is on f ir e !”
Sm oke d rifted into the room .
“M am a , w h at’s h ap p en in g ?”
“G et up, E speranza! W e m u st get A b u e lita !”
E speranza heard A lfon so’s deep voice y e llin g from som ew here
d ow nstairs.
“Senora O rtega! E sp eran za!”
“H ere! W e are h e re !” called M a m a , grab b in g a d am p rag
from the w ashbow l an d h a n d in g it to E speranza to p u t over her
m outh an d nose. E speranza sw u n g aro un d in a circle lo o k in g for
som eth ing, an y th in g , to save. She grab b ed the d oll. T h e n she and
M am a h u rried dow n the h all tow ard A b u elita’s room , b ut it w as
em pty.
“A lfo n so !” scream ed M am a . “A b u elita is not h e re !”
“W e w ill fin d her. You m u st com e now. T h e stairs are b e g in n in g
to burn. H u r r y !”
E speranza held the towel over her face an d looked dow n the
stairs. C u rtain s flam ed up the w alls. T h e house w as enveloped
in a fog th at th ick en ed tow ard the ceilin g . M a m a an d E speranza
crouched dow n the stairs w here A lfonso w as w a itin g to lead them
out th ro ugh the kitch en.
In the co urtyard , the w ooden gates w ere open. N ear the stables,
the va q u eros w ere releasin g the horses from th e corrals. Servants
scurried everyw here. W h ere w ere th e y going?
“W h e re ’s A b u elita? A b u e lita !” cried M am a.
E speranza felt dizzy. N o th in g seem ed real. W as she still dream ing?
W as this her ow n im ag in atio n gone w ild?
M ig u e l grab bed her. ‘“W h e re ’s yo u r m other an d A b u e lita ?”
E speranza w h im p ered and looked tow ard M a m a . H e left her,
stopped at M a m a , then ran tow ard the house.
T h e w in d cau gh t the sparks from the house an d carried th em to
the stables. E speranza stood in the m id d le o f it all, w atc h in g the
o u tlin e o f her hom e silh o u etted in flam es ag a in st the n ig h t sky.
Som eone w rap p ed a b lan k et aro un d her. W as she cold? She d id
50 not know.
M ig u e l ran out o f the b u rn in g house c a rry in g A b u elita in his
arm s. H e laid her dow n an d H o rten sia scream ed. T h e b ack o f his
sh irt w as on fire. A lfonso tack led h im , ro llin g h im over an d over on
the gro u n d u n til the fire w as out. M ig u e l stood up an d slow ly took
o ff the blackened sh irt. H e w asn ’t b ad ly burned.
M a m a crad led A b u elita in her arm s.
“M a m a ,” said E speranza, “Is she . . . ?”
“N o, she is alive, b u t w e a k an d her an k le . . . I don’t th in k she
can w a lk ,” said M am a.
60
E speranza k n elt dow n.
“A b u elita, w here w ere y o u ? ”
H er gran d m o th er held up the cloth b ag w ith her cro ch etin g
an d after som e m inutes o f co u gh in g, w h isp ered , “W e m u st have
so m eth in g to do w h ile w e w a it.”
T h e fire’s an ger co uld not be co n tain ed . It spread to the grapes.
T h e flam es ran alo n g the delib erate rows o f the vines, lik e long
cu rved fin gers reach in g for the horizon, lig h tin g the n ig h t sky.
E speranza stood as i f in a tran ce an d w atch ed El R an ch o de las
Rosas burn.
M am a, A b u elita, an d E speranza slept in the servants’ cabins.
T h e y really d id n ’t sleep m u ch , b u t th ey d id n ’t cry either. T h e y w ere
n um b, as if encased in a th ic k skin th at n o th in g co uld penetrate.
A n d there w as no p o in t in ta lk in g ab o u t ho w it h ap pened . T h e y all
kn ew th at the uncles h ad arran ged the fire.
A t d aw n , still in her n igh tgo w n , E speranza w en t o u t am o n g
the rubble. A void in g the sm o ld erin g piles, she p icked th ro u gh the
b lack w ood, h o p in g to fin d so m eth in g to salvage. She sat on an
adobe blo ck near w h at used to be the front door, an d looked over
at Papa’s rose garden. Flow erless stem s w ere covered in soot. D azed
an d h u g g in g herself, E speranza surveyed the su rv ivin g victim s: the
tw isted form s o f w ro u gh t-iro n chairs, u n h arm ed cast-iro n skillets,
and the m ortars and pestles from the k itch en th at w ere m ade from
lava rock and refused to b u rn . T h en she saw the rem ains o f the
tru n k th at used to sit at the foot o f her bed, the m etal straps still
intact. She stood up and h u rried tow ard it, h o p in g for u n m ila gro,
a m iracle. She looked closely, b u t all th at rem ain ed w ere b lack
cinders.
T h ere w as n o th in g left inside, for som eday.
E speranza saw her uncles ap p ro ach in g on horseb ack an d ran to
90 tell the others. M am a w aited on the steps o f the cab in w ith her arm s
crossed, lo o k in g lik e a fierce statue. A lfonso, H o rten sia, an d M ig u el
stood nearby.
“R am o n a,” said Tfo M arco , re m a in in g on his horse. “A n o th er
sadness in so short a tim e. W e are d eep ly sorry.”
“I have com e to give yo u an o th er ch an c e,” said Tfo L u is. “I f
yo u reconsider m y proposal, I w ill b u ild a b igger, m ore b e a u tifu l
house an d I w ill rep lan t e v e ry th in g . O f co urse, i f yo u prefer, yo u
can live here w ith the servan ts, as lo n g as an o th er tra g e d y does not
h ap pen to th e ir hom es as w ell. T h ere is no m a in house or field s
100 w here th e y can w o rk, so yo u see th a t m a n y p eo p le’s lives an d jobs
dep en d upon yo u . A n d I am sure yo u w a n t th e best for E sp eran za,
do yo u n o t?”
M am a d id not sp eak for several m om ents. She looked aro u n d at
the servants w ho had gathered. Now, her face d id not seem so fierce
an d her eyes w ere dam p. E speranza w ondered w here the servants
w o u ld go w hen M a m a told Tfo L uis no.
M a m a looked at E speranza w ith eyes th at said , “forgive m e.”
T h en she dropped her head an d stared at the gro u n d . “I w ill
consider yo u r proposal,” said M am a .
I 10
Tfo Luis sm iled . “I am d eligh ted ! I have no do ubt th at yo u
w ill m ake the righ t decision. I w ill be b ack in a few days for yo u r
answ er.” c^>
Keep Reading
You have ju s t been introduced to three ge n eratio n s o f O rtega
w om en . W h o se b ehavior su rprised you th e m ost, and w hy?
As you co ntinu e to read Esperanza Rising, you w ill fo llo w
the O rtega fa m ily th ro u gh hardship, injustice, and serious
illness. Esperanza learns to triu m p h over th e ch alle n ge s she
and her fa m ily face, w h ile th e stre n gth o f her m other and
gran d m o th e r helps her g ro w into a rem arkable y o u n g w o m an
Before Reading
Words Like Freedom
Dreams
Poem s by L a n g sto n H u g h e s
How do POSSIBILITIES
become reality ?
a
ALABAMA
STANDARDS
READING STANDARDS
and devices
KEY IDEA Y o u ’ve probably heard th e sa y in g “The sk y ’s the lim it.”
It m eans th a t a n y th in g is possible if w e try hard en o u gh . Even if
w e have u n lim ited
possibilities, th o u g h , ach ie vin g our go als m ay
require m ore than hard w ork. W e m ay also need a stro n g desire
to succeed and the help o f people around us. In his p oem s “W ords
Like Freedom ” and “ D ream s,” Lan gsto n H u g h e s describes so m e o f
the d ifficu ltie s involved in liv in g up to our potential.
WEB IT T h in k o f a person w ho, in yo u r op inion , is very successfu l.
It could be a ce le b rity or so m e o n e you know . W h at helps this
person to achieve his or her
goals? Record yo u r th o u g h ts in
an idea w eb like the one show n.
Author On[ine
• LITERA RY A N A LY SIS: THEM E IN PO ETRY
A lth o u gh a poem looks very d iffe re n t from a sh o rt story,
it often co n tain s a
theme, or m essage ab ou t life. To id e n tify
a poem ’s them e, keep the fo llo w in g clues in m ind:
• A poem ’s
title so m e tim e s helps you d eterm in e the the m e
by su g g e stin g w h a t the poem w ill fo cu s on.
• Repeated w ord s and phrases tell you h ow the
speaker,
or voice o f the poem , feels.
A s you read “W ords Like Freedom ” and “ D ream s,” look for
the repeated w ord s and phrases th a t help you determ in e
the the m e in each poem .
Writer from Harlem
In 1925, Langston
H u gh e s left three
o f his poem s w ith
a fa m o u s author
w h o w as eating
in the restaurant
w here H u gh e s
w orked. Sh arin g
tho se poem s led
to his first book,
The Weary Blues.
1902-1967
M uch o f H u g h e s’s w ritin g focuses on
W hen you
Lan g sto n H ughes
visualize, you form a m en tal picture based on
a w ritten description. Since poetry often e xp resse s its
m ean in g u sin g fe w e r w ords th an other fo rm s o f literature,
readers so m e tim es need to rely on key w ord s and phrases
to visu alize a se ttin g, character, or an event.
A s you read each poem , use a ch art like the one sh ow n
the experiences o f the people w ho lived
around him in Harlem . “ I knew only the
people I had grow n up w ith ,” he once
said, “and th e y w eren ’t people w hose
shoes w ere alw ays sh in ed
But they
seem ed to m e good people, too.”
to record the w ords and phrases th a t help you form sp e cific
The Music of Poetry G ro w in g up,
m ental pictures.
H u g h e s fe ll in love w ith ja z z and the
blues. He e xp ressed this love by using
blues th e m es, im ages, and rh yth m s in
his poetry. In the 1950s, H u g h e s m ade
"Words Like
Freedom"
Words and Phrases
M ental Picture
1. "On
1. som&one. sing ing
ml /
h e a r s t r in g s
f re e d o m sin g s
o u t "fr e e d o m
(line. '5)
w it h g r e a t fe e lin g
“DreaMs
MM- m—~
sif'litas*?HM'
a recordin g o f his poem s set to ja zz.
Renaissance Man Lan gsto n H u gh e s
w a s one o f th e stro n g e st voices o f a
cultural m o ve m e n t called the Harlem
R enaissance, w h ich to o k its nam e from
the H arlem n eigh b o rh o o d in N ew York
C ity and th e tim e period called the
Renaissance, w h ich m eans “rebirth.”
D u rin g th is period, w h ich lasted for
m ost o f th e 1920s, A frican -A m erican
artists, w rite rs, and m u sician s w orked
to e sta b lish a proud and vib ra n t
cultural identity.
M ORE A B O U T TH E AU TH O R
For more on Langston Hughes, visit the
W O R D S LIKE FRE EDOM
/ DREAMS
385
WORDS
LIKE
FREEDOM
Langston Hughes
T h ere are w ords lik e F reed o m
Sw eet an d w o n d erfu l to say.
O n m y h eartstrin gs freedom sings
A ll d ay everyday.
5 T h ere are w ords lik e L ib erty ©
T h a t alm ost m ak e m e cry.
If yo u had kn o w n w h at I kn o w
You w o u ld kn o w why.
386
U N I T 3: U N D E R S T A N D I N G T H E M E
© THEME
W hy does the speaker
choose to repeat the
words in lines i and 5?
La G rande F am ille (1947), Rene M agritte. O il on
canvas, 100 cm x 81 cm. Private collection. © 2008
C. Herscovici, Brussels/Artists Rights Society (ARS),
New York.
Langston Hughes
H o ld fast 1 to dream s
For if dream s die
Life is a b ro ken -w in ged bird
T h a t can n o t fly.
Q V ISU A LIZE
5
H o ld fast to dream s
For w hen d ream s go
Life is a barren field
Frozen w ith snow. Q
1. Hold
388
UN IT 3: UNDERST AN DI NG T H E M E
fast: grasp tightly; stick firm ly.
How does the mental
picture of “a barren field
frozen w ith snow ” add
to your understanding
of the poem?
a
Comprehension
1. Recall W h at line is repeated in “ D re a m s” ?
ALABAMA
STANDARDS
READING STANDARD
2. Recall W h a t do w o rd s like liberty m ake th e speaker do?
and devices
Literary Analysis
3. Make Inferences Reread th e last tw o lines o f “W ords Like Freedom .” W h at
can you infer a b o u t th e people th e speaker is ad d re ssin g ?
4. Visualize Reread th e ch art you fille d in as you read. Then u n d e rlin e the
w ord s and phrases th a t had th e stro n g e st e ffect on you . W h ich poem w as
m ore e ffective at h e lp in g you visualize?
5. Analyze Visuals Co m p are th e d etails, colors, and su b je ct m atte r o f th e
p a in tin g s on p age s 387 and 388. Do th e se p a in tin g s create th e sam e
mood, or fe e lin g , w h en you look at them ?
6.
Identify Theme A s you read, you looked for th e w a ys in w h ich title s and
repeated w o rd s could lead you to a p o e m ’s th e m e . Use a d ia g ra m like th e
one sh o w n to w rite th e m e sta te m e n ts fo r H u g h e s’s poem s.
" W o r d s V-ike.
Theme Statement
Repeated Words
and Phrases
Title, o f Poem
---- >
----- >
---- >
---- >
F re e d o m
"D re a m s"
7. Compare and Contrast Stanzas Com pare and contrast the tw o stanzas, or
groups o f lines, in “W ords Like Freedom.” H o w are th e y sim ilar and different?
8.
Creative Project: Art Like a piece o f literature, a piece o f visu a l art can
m ean d iffe re n t th in g s to d iffe re n t people. C h o o se e ith e r "W ords Like
Freedom ” or " D re a m s” and create an o rig in a l w o rk o f art to go w ith the
poem . For in sp iratio n , th in k ab o u t th e p o e m ’s su b je ct, d etails, and m ost
o f all, h o w th e poem m ade you feel.
9. Inquiry and Research Research th e civil rig h ts m o ve m e n t to create a
tim e lin e o f the im p o rta n t civil rig h ts ru lin g s and e ven ts th a t h ap pe n ed
d u rin g La n gsto n H u g h e s’s life tim e (1902-1967). H o w m ig h t th e se events
have affected H u g h e s’s v ie w o f his
possibilities?
RESEARCH LIN KS
& /
For more on civil rights, visit the Research Center at ClassZone.com.
W O R D S LI KE F R E E D O M
/ DREAMS
389
Same Song
Poem by Pat M ora
Without Commercials
Poem by A lice W alke r
Can how you LOOK
change who you are?
n
ALABAMA
STANDARDS
READING STANDARDS
and devices
KEY IDEA A d vertisers su g g e st th a t a new pair o f je a n s w ill m ake
you m ore p opular or th a t a new hair color w ill m ake you m ore
attractive. But are tho se claim s really true? Your
appearance
m ig h t a ffe ct how you look to others, but can it really ch an ge w h o
you are? The tw o poem s you are a b o u t to read discu ss so m e o f the
w ays and reasons people try to ch an ge the w a y th e y look.
QUICKWRITE C o nsid er so m e o f the th in g s th a t people m ig h t do
w h en th e y w a n t a new appearance. T h is could m ean g e ttin g a
haircut or a new sw eater. Are there tim e s, how ever, w h en ch an ge s
to ap p earan ce can be harm ful? W rite a b rie f p aragrap h to an sw e r
th a t qu estion , in clu d in g at least tw o h arm fu l changes.
• LITERA RY A N A LY SIS: RECU RR IN G TH EM E
The lessons learned from co m m on life e xp erie n ces are often
expressed as th e m e s in literature. W hen th e sam e th e m e
appears in m ore than one piece o f literature, it is called a
recurring theme.
The tw o poem s you are a b o u t to read both e xp ress a
recurring th e m e a b o u t the im p o rtan ce o f appearance.
However, each poet e xp resse s her m essage in a d iffe re n t
w ay. To ge t at the p o e ts’ shared them e, ask y o u rse lf the
fo llo w in g q u estio n s as you read the poem s:
• W h at is the su b je ct b ein g presented?
• W h at w ords tell you how the speaker feels?
• W h at im ages stan d out in yo u r m ind as you read?
• READ IN G S K ILL: M A KE IN FER EN C ES
W hen you
make inferences, you m ake logical g u e sse s based
on tw o th in g s: clues in the se lection and w h a t you already
know from read in g or from experience. A s you read “Sam e
S o n g ” and “W ith o u t C o m m e rcials,” use a ch art like the one
show n to record yo u r inferences.
M i/ In f & r e n c & s
C lu e .s f r o m t h e .
Voam
W h a t 1 Know
s
T h e g i r l in “S a m e
“s tu m b le s in to
I t t a k e s m\J[ s is t e r
Song sp en d s a lo t
t h e b a t h ro o m
a lo n g t im e t o
o f tim e g e t tin g
a t s ix a m "
d o h e r h a ir an d
r e a d y e a c h M orning.
“c u r l s " "s t r o k e s ”
m a keu p .
"sm o o th e s,'
“o u tlin e s
Author Online
Pat Mora: Border
Woman Pat M ora
gre w up fe e lin g
as th o u g h she
d id n ’t b e lo n g to
e ith er M exican
or A m erican
culture. She w as
born in El Paso,
Texas, near the
M e xican border.
Pat Mora
born 1942
She later w ro te in
a poem th a t she w a s “an A m erican to
M e xican s / a M e xican to A m erican s.”
M ora has said th a t she w rite s to
help give H isp an ic ideas and issues
a larger place in A m erican literature
and because she is “fascin ated by the
pleasure and pow er o f w ord s.”
Alice Walker:
Solitary Observer
A t th e age o f e ight,
A lice W alker w as
blinded in one eye
by a sh o t fro m her
b ro th er’s BB gu n .
The accid e n t left
horrible scars, but
W alker later said
A lice W alker
th a t th e e m o tio n s
born 1944
she w e n t th ro u gh
d u rin g th a t tim e helped her to becom e
a w riter. W alker w e n t on to becom e
a h ig h ly in flu e n tia l author. In 1983,
she b ecam e th e firs t A frican -A m erican
w o m a n to w in the Pulitzer Prize in
fictio n fo r her novel The Color Purple.
M ORE A BO U T TH E A U TH O R
For more on Pat Mora and Alice
Walker, visit the Literature Center at
ClassZone.com.
S A M E S ONG / W I T H O U T C O M M E R C I A L S
391
Song
Pat Mora
W h ile m y sixteen-year-old son sleeps,
m y tw elve-year-old d au gh ter
stum bles into the bathro om at six a.m .
plugs in the c u rlin g iron
5 squeezes into faded jeans
curls her h air ca refu lly
strokes A ztec Blue shadow on her eyelids
sm oothes Frosted M au ve blusher on her cheeks
outlin es her m outh in N eon P in k
10 peers into the m irror, m irro r on the w a ll
frowns at her face, her eyes, her skin ,
not fair. Q
A t n igh t this d au gh ter
stum bles o ff to bed at n in e
15 eyes half-shut w h ile m y son
jogs a m ile in the cold d ark
then lifts w eights in the garage
curls an d bench presses 1
ex p an d in g biceps, triceps, p ectorals,
20 one-handed push-ups, one h u n d red sit-ups
peers into th at m irror, m irro r an d frow ns too. ©
MAKE INFERENCES
Reread lines 10 -12 .
W hat does the speaker’s
daughter think is unfair?
RECURRING THEME
Notice the phrase
“mirror, m irror” in lines
10 and 21. W hat fairy
tale does this phrase
remind you of?
f o r L ibby
1. curls and bench presses: w e ig h t-liftin g activities. Curls are done w ith the hands,
w rists, and forearm s. Bench presses involve liftin g a w eight w ith both arm s w hile
lying face-up.
392
UNIT 3 : UNDERSTANDING TH EM E
Lipsticks II, Philip Le Bas. Enamel
paints on panel, 20 cm x 20 cm. Portal
Gallery. © Bridgeman Art Library.
A l i c e Wa l k e r
COMMERCIALS
Listen,
stop ta n n in g yo u rse lf
an d ta lk in g about
fish b elly
5 w h ite.
T h e color w h ite
is not bad at all.
T h ere are w h ite m orn ings
th at b rin g us days.
10 Or, if yo u m ust,
tan o n ly because
it m akes yo u h ap p y
to be brow n,
to be able to see
15 for a sum m er
the w hole w o rld ’s
d arker
face
reflected
20 in yo u r ow n. Q
Stop u n fo ld in g
yo u r eyes. Q
Your eyes are
b eau tifu l.
25 So m etim es
seeing yo u in the street
the fold z a n y 1
an d unexpected
I w an t to kiss
30 them
an d u su a lly
it is o n ly
old
gorgeous
35 b lack people’s eyes
I w an t
to kiss.
1.
394
zany: silly in an outrageous sort o f way.
Q M AKE IN FER EN CES
Reread the first stanza.
W ho is the speaker
addressing?
Q M AKE IN FEREN CES
W hat is m eant by
"unfolding your eyes”?
Stop tr im m in g
yo u r nose.
40 W h e n yo u
d im in ish
yo u r nose
yo u r songs
becom e little
45 tin n y, m uted
an d snub.
B etter yo u should
have a nose
im p e rtin e n t 2
50 as a flow er,
sensitive
as a root;
w ise, elegan t,
serious an d deep.
55 A nose th at
sniffs
the essence
o f E arth. A n d know s
the m essage
60 o f every
leaf. O
D etail of Bessie's B lues: The A m erican
C ollection #5 (1997), Faith Ringgold.
Acrylic on canvas, painted, tie-dyed, and
pieced fabric, 76%" x 79Va". Robert Allerton
Endowment, 2002.381, The Art Institute
of Chicago. Faith Ringgold © 1997.
Stop b leach in g
yo u r sk in
an d ta lk in g
65 abo ut
so m u ch b lack
is not b eau tifu l.
T h e color b lack
is not bad
70 at all.
T h ere are b lack nigh ts
th at rock
us
in dream s.
75 Or, if yo u m ust,
bleach o n ly
because it pleases yo u
o
RECURRING THEME
W hat are the qualities of
a nose that has not been
"trim m ed”?
2. im pertinent: bold; beyond w hat is proper.
W IT H O U T COMMERCIALS
395
to be brow n,
to be able to see
so for as long
as yo u can b ear it
the w hole w o rld ’s
lig h ter face
reflected
85 in yo u r ow n. Q
As for m e,
I have learn ed
to w orship
the sun
90 again .
To affirm
the adventures
o f hair. Q
For w e are all
95 s p le n d id
descendants
o f W ild ern ess,
E d en :3
n eed in g o n ly
ioo to see
each other
w ith o u t
co m m ercials
to believe. Q
105
C o p ied s k illfu lly
as A d am .
O rig in a l
as Eve.
3 . Eden: reference to the biblical Garden of
Eden, the first hom e o f the first hum ans.
396
Q RECURRING THEM E
According to lines 75-85,
w hat would be the only
good reason to bleach
one’s skin?
Q M AKE INFERENCES
W hat do these lines tell
you about the speaker’s
attitude toward her own
appearance?
Q M AKE IN FEREN CES
W hat can you infer
about the "commercials"
mentioned here and
in the title? Add this
inform ation to your
chart.
Comprehension
O
1. Recall To w h o m does th e speaker co m p are everyone in “W ith o u t
ALABAM A
STANDARDS
READING STANDARD
C o m m e rcia ls” ?
and devices
2. Clarify In “Sam e S o n g ,” w h y does th e d a u g h te r “stu m b le o ff to bed at
n in e ” w ith h e r “eyes h a lf s h u t” ?
3. Paraphrase R ew rite lines 9 4 - 1 0 8 o f “W ith o u t C o m m e rcia ls” in w o rd s and
len gth sim ila r to th o se in th e poem .
Literary Analysis
4. Make Inferences Look a g a in at th e in feren ces you recorded in yo u r ch a rt
as you read. W h ich w ere m ost h elp fu l in u n d e rsta n d in g each poem ?
5. Analyze Word Choice D oes “W ith o u t C o m m e rcia ls” p resent a m o stly
n egative or m o stly sy m p a th e tic v ie w o f people w h o try to ch a n g e th e ir
natural
6.
appearance? Cite sp e cific w o rd s and p h rases as e xam p le s.
Compare Poems In “Sam e S o n g ,” h o w do you th in k th e speaker feels
a b ou t th e w o rk her ch ild ren do to ch a n g e th e w a y th e y look? C o m p are
and co ntrast th is w ith th e sp e a ke r’s a ttitu d e in “W ith o u t C o m m e rcia ls.”
7. Analyze Recurring Theme Use a ch a rt like th e one sh o w n to g a th e r
in fo rm a tio n a b o u t th e tw o poem s. Then state in yo u r ow n w o rd s th e
recu rrin g th e m e th e y share a b o u t ap p earan ce.
“SaMe Song
"Without CoMMercia/s"
Subject Presented
Words T h a t T e ll How
Speaker Feels
1Mages T h a t Stand Out
in Mi/ tAind
Theme About Appearance-
8.
Creative Project: Writing K e e p in g th e recurring theme in m in d , w rite an
extra sta n za fo r “W ith o u t C o m m e rc ia ls” in w h ich th e speaker ad d resse s
the children fro m “Sam e S o n g .” W h at ad vice w o u ld she give the m ?
SAME SONG
/ W ITHOU T COMMERCIALS
397
Writing
Workshop
Analyzing a Story
Stories like the ones in this unit can help you enter other lives and other w orld s—
w ith o u t even le a v in g hom e. A n a ly z in g th e fa m ilia r and u n fa m ilia r p arts o f a
sto ry can help you u n d e rsta n d it b e tte r and e n jo y it m ore. T h e
Writer’s Road
Map w ill gu id e you as you w rite an an alysis o f a story.
W RITER'S ROAD MAP
Analyzing a Story
Writing from Literature Analyzing a story means
figuring out meanings that you did not notice at
first. Choose a short story and write an analysis
that helps a reader understand it better. Examine
one or two literary elements in the story, such as
plot, characters, conflict, setting, theme, or point
of view.
Literature and Literary Elements to Consider
• plot in "The Dog of Pompeii”
• characters in “Scout’s Honor”
• conflict in “Eleven”
Writing from the Real World Great stories are
everywhere, not just in literature. Think of a story
that you recently viewed or read. Write an essay
that briefly summarizes the story and analyzes an
important aspect of it.
Places to Look
• television shows that have strong characters
• action movies with fast-m oving plots
• true-life adventure stories in magazines
W R IT IN G T O O LS
K E Y TRAITS
1. ID E A S
• Includes a thesis statement that
gives the key points the writer will
discuss
• Supports key points with
evidence— details, examples, or
quotations
2. O R G A N I Z A T I O N
• Identifies the author and title of
the work in the introduction
• Gives enough details about the
story so the reader can understand
the analysis
• Summarizes the ideas in a
conclusion and tells why the story
is special or important
3. V O IC E
• Has an appropriate tone for the
audience and purpose
4. W O R D C H O IC E
• Uses precise language to examine
and explain the work
5. S E N T E N C E F L U E N C Y
• Uses different sentence types
(statements, questions, and
exclamations) where appropriate
6 .C O N V E N T IO N S
• Uses correct grammar, spelling,
and punctuation
398
1: Analyze a Student Model
•'v
San G abriel M W d k School
Characters and C o n flict in “Nadia the W illfu l”
K E Y T R A IT S IN A C T IO N
W hen I started reading “N adia the W illfu l” by Sue Alexander, I
didn’t think I would be interested in this stubborn desert girl who doesn’t
—
get along w ith anybody except her brother. By the tim e I finished the
Strong introduction
identifies the author
and title of the story.
story, though, her wisdom and courage made me w ant to be just like her.
Clear thesis statem ent
focuses on how two
literary elem ents
(theme and conflict)
affect the story’s
meaning.
This story has a very im portant them e— that we should never forget the
people we love, even after they die. The author gets this message across
by showing us the conflict between N adia and her father.
The story’s title tells us a lot about the conflict before we even begin
reading. N adia has a terrible temper. Even her im portant and powerful
father can’t control her. O nly her brother H am ed can “laugh and tease
Im portant details help
the reader understand
the analysis. Evidence
from the story supports
the idea that the
conflict is important.
and pull at her dark hair until she laughed back.” W hen he dies, the
whole fam ily feels terrible grief. N adia cries, but her father just sits,
“speaking not at all.” Finally, he orders everyone never to mention
H am ed’s nam e again. N adia obeys her father. She can’t stop th in kin g
about her brother, though, and she gets angrier and sadder.
In the m iddle of the story, the conflict heats up. N adia becomes so
—
Precise language makes
the essay clear and
lively.
—
Different sentence
typ es help to hold the
reader’s interest.
miserable that she ignores her father’s order and begins talk in g about
Hamed. Do you th in k she pays attention when her mother begs her to
stop or even when her father punishes a shepherd who says H am ed ’s
name? No. She keeps on talk in g about H am ed even after everyone stops
listening. N adia fin ally stands up to her father directly. “You w ill not
rob me of m y brother H am ed !” she shouts. “I w ill not let y o u !”
At the end of the story, this direct conflict m akes the them e clear.
At first, N adia’s father looks at her w ith eyes that are “colder than the
desert night.” I thought he m ight banish her, because that’s w hat he did
W RITING WORKSHOP
399
to the shepherd who talked about H am ed. However, N adia gently helps
her father realize that he is already beginning to forget what H am ed
was like. By sharing her memories, she shows her father that talk in g
about a dead person is a w ay to keep that person alive in our hearts. W e
30
know this message is the lesson the author wants us to learn because,
Tone is serious enough
for the story’s them e
and is appropriate for
the w riter’s classm ates
and teacher.
after hearing it, the father tells everyone, “From this day forward, let m y
daughter N adia be known not as w illfu l but as w ise.”
N adia realizes that we never lose the people we love as long as we
remember them. D uring the conflict of the story, she teaches her father,
35
the other characters in the story, and all its readers this im portant lesson.
I’m glad I got to know this strong, wise character who stands up for
what she believes.
2
400
Conclusion restates
the story's them e,
sum m arizes ho w the
author gets the them e
across, and tells w hat
the w riter learned.
Writing Workshop
□
^ PREW RITING
8.A Using the steps of the
writing process
i
What Should 1 Do?
1. Think about the different parts of the story.
If you are a n a lyzin g a sh o rt story, w h a t did
you notice a b ou t the characters, the plot,
the co nflict, the se ttin g, the point o f view , or
the them e? If you are an a lyzin g a d ifferen t
kind o f story, w h a t did you notice ab ou t the
Characters
Conflict
Theme
• N a d ia
N a d ia
I t s /M p o rta n t to
• Her
• H er
fa th e r
b ro th e r
HaM &d
events, the p acing (fast or slow), or the overall
m essage? M ake a chart listin g yo u r ideas.
w ont
r e w e M b e r p e o p le
obey h e r
w h o h a v e d ied . T h a t
fa th e r.
w a ij t h e y s t a y a liv e
in o u r M eM ories.
2. Do some freewriting.
I like. N a d ia . ... s h e s t a n d s u p t o h e r f a t h e r , even
Jot dow n yo u r th o u g h ts, fe e lin g s, and
t h o u g h h e is r e a lly ste.ru.
q u estio n s as you th in k ab o u t the story.
Why iMont the father talk about his son? Nad/as
right. He should reMeMber the good tiwes with HaMed.
3. Put your thesis into words.
W rite a sentence or tw o e xp la in in g th e m ain
point you w a n t to m ake in yo u r essay. D on't
w o rry a b o u t sa yin g it perfectly. Ju st g e t yo u r
ideas dow n fo r now.
^
T h e M ain c o n f lic t in t h e s t o r y is b e tw e e n N a d i a a n d
h e r f a t h e r . T h e c o n f lic t t e a c h e s us t h e th& M e, w h ic h
is t h a t w e s h o u ld r e M e w b e r t h e p e o p le w e lo ve, even
a f t e r t h e y die.
m
Make sure you are doing what the
prompt asks you to. For example, if you
chose Prompt i, your thesis should name one
or two literary elements and tell how they
work in the story.
4. Go back to the story for evidence.
Read (or w atch) the sto ry again . List
q u o tatio n s and e xam p le s th a t su p p o rt yo u r
thesis.
Working Thesis Statement:
^
Mi/ M ain Points
Supporting Bvidence
A f t e r H a M e d d ie s,
N a d i a c r/e s , b u t h e r
N a d ia a n d h e r f a t h e r
f a t h e r j u s t s it s w it h o u t
r e a c t in d if f e r e n t w a y s.
ta lk in g .
N a d ia sta n d s up to h e r
"You w ill n o t ro b
fa th e r.
My b ro th e r H aM edC
Me o f
W RITIN G WORKSHOP
401
'DRAFTING
W h a t S h o u ld 1 D o ?
1. Organize your analysis.
M ake a list or an ou tlin e o f th e points
you plan to cover. The w rite r o f the
stu d en t m odel organized her e ssay in
the order o f the events in the story.
t im Another way to organize your
analysis is to discuss the end of the
story first, and then trace how the
author arrived at that ending.
'
W h a t D o e s It L o o k L ik e ?
j
Introduction and thesis
beginning o f story
•
C o n f lic t ■ N a d i a is stu b b o rn , a n d h e r f a t h e r is s t r ic t .
•
T h e m e (n e v e r f o r g e t t h e p e o p le w e lo v e ): T h e f a t h e r
is sa d , so h e t r ie s t o f o r g e t h is d e a d son.
Middle o f story
• C o n f l i c t N a d i a ig n o re s h e r f a t h e r s o r d e r n o t t o t a l k
a b o u t H a m ed .
• T h e m e ■"You w ill n o t ro b m e o f m y b r o t h e r H a m e d 1. ”
End o f story
• C o n f l i c t N a d i a h e lp s h e r f a t h e r r e a liz -e t h a t h e is
s t a r t in g t o f o r g e t H a m ed .
•
T h e m e : N a d i a s f a t h e r s a y s t h a t i t is w ise t o
re m e m b e r t h e p e o p le w e love.
Conclusion
2. Think about your audience.
Is yo u r reader fa m ilia r w ith th is story,
or is it new to him or her? G ive e no ugh
background in fo rm ation so th a t yo u r
reader can understand the p oints you
are m aking.
T h e s t o r y s t it l e t e l l s us a l o t a b o u t t h e c o n f lic t b e fo re
w e even b egin re a d in g . N a d i a h a s a t e r r ib le te m p e r, fa/en
h e r im p o r t a n t a n d p o w e r f u l f a t h e r c a n t c o n t r o l her.
O n ly h e r b r o t h e r H a m e d ca n " la u g h a n d t e a s e a n d p u l I a t
h e r d a r k h a i r u n til s h e la u g h e d b a c k ! V J h e n h e d ie s, t h e
w h o le f a m ily f e e ls bad.
Include details that support your ideas.
You d on’t need to include every event
o f the story. Choo se q u o tatio n s or
e xa m p le s th a t help readers un derstan d
the points you are m aking.
N a d i a f in a lly s t a n d s u p t o h e r f a t h e r
d ir e c t ly .
"You w ill n o t ro b m e o f m y b r o t h e r
H a m e d 1." s h e sh o u ts . “I w ill n o t l e t y o u 1."
S JIi1 Before revising, review the key
peer-reader questions on page 404 .
40 2
-Key id&a
Quotation
-that
supports
the keif id&a
Writing Workshop
^
R E V IS IN G A N D E D IT IN G
j
What Should 1 Do?
1. Make your introduction memorable.
fs- a s h & r t s t o r y b \j S u e
like i t a t first, but -then i t
" N a d ia t h e W i l f u l "
• U n d erline the first sen ten ce or tw o o f
A le x a n d e r. I d id n 't
you r an alysis. A sk a peer reader, “ Does
go^ -
r e a lly in te restin g . W h e n I s t a r t e d re a d in g " N a d ia t h e
this intro du ction m ake you w a n t to keep
W illf u l" b y S u e A le x a n d e r, I d id n ’t t h in k I w o u ld be
reading? W h y or w h y not?”
in t e r e s t e d in t h is stu b b o rn d e s e r t g irl. B>y t h e tim e I
• If your intro du ction is w eak, th in k ab ou t
f in is h e d t h e s t o r y , th o u g h , h e r w isd o m a n d c o u r a g e
in clu d in g a q u o ta tio n , a q u estio n , or a
Made Me vânt
stro n g p ersonal sta te m e n t.
t o b e j u s t lik e her.
See page 4 04: Ask a Peer Reader
2. Use exact words.
W h e n h e d ie s, t h e w h o le f a m ily f e e ls
• c irc le w o rd s such as nice, good, bad, okay,
t e r r ib le
g r ie f .
and interesting. These w o rd s give you r
reader little or no in fo rm atio n .
her Memories, she shows her father t h a t
a b o u t a d e a d person i s (^ k a y ^ a w a y t o k e e p
H>y s h a r in g
• Replace v a g u e w ord s w ith sp e cific te rm s
th a t help yo u r reader u n d e rstan d yo u r
t a lk in g
a n alysis.
t h a t p e r s o n a liv e in o u r h e a r t s .
3. Include different types of sentences.
• D raw a
Tjo
x
]
D o you t h in k
around q u estio n s or
A&he pays no attention when her Mother begs her to
stop or even when her father punishes a shepherd
who says H a m e d ’s na m e f N o .
e xcla m a tio n s in yo u r an alysis.
• If your analysis has no boxes, consider ad d in g
a question or exclam ation fo r variety.
Too many questions can make you seem
confused. Too many exclamations can make
you seem overexcited. Use them sparingly.
m
4. End strongly.
• Read yo u r co nclusion aloud. D oes it tie
yo u r m ain ideas together?
• Revise so th a t the e n d in g su m m a rize s yo u r
ideas and rem in d s readers o f th e sto ry ’s
m e a n in g or im p o rtan ce .
►
N a d i a r & a liT -e s t h a t w e n e v e r lo s e t h e p e o p l e
w e lo v e a s lo n g a s w e r e m e m b e r t h e m . T h a t ’s
im p o r t a n t D u rin g t h e c o n f lic t o f t h e sto r y , s h e
t e a c h e s h e r f a t h e r , t h e o t h e r c h a r a c t e r s in t h e
s t o r y , a n d a l l it s r e a d e r s t h is im p o r t a n t le s so n . I’m
g la d I g o t t o k n o w t h is stro n g , w is e c h a r a c t e r w h o
s t a n d s u p f o r w h a t s h e b eliev es.
WRITIN G WORKSHOP
403
Analyzing a Story
Apply the Rubric
Check Your Grammar
A strong analysis of a story. . .
• P u n ctu a te q u o ta tio n s co rre ctly. C o p y
sta te m e n ts fro m th e sto ry e x a c tly as
th e y appear. Put quotation m arks at the
b eg in n in g and end, w ith periods, com m as,
Ef has an intro du ction th at
iden tifies the sto ry ’s title and
author
0 includes a thesis sta te m e n t th at
gives the key points o f the essay
2 f provides exam ple s, q u o tatio n s, or
other evidence to su p p o rt tho se
key points
S ' provides d etails ab o u t the story
to help the reader u n derstan d the
an alysis
[Zf uses e xact, sp e cific lan g u age
creates a ton e th a t is righ t fo r the
e ssay’s purpose and audience
and exclam ation points inside the quotation
m arks.
Nadia, cries, but her father ju st sits,
"speaking not at all"
"You w il l n o t r o b M e o f M y b r o t h e r H a w e d 1. ’’
s h e s h o u t s . "I w il l n o t l e t y o u 1. ’’
father tells everyone, “FroM this d a y
forward, let My daughter N a d i a be known
not as willful but as wise"
The
0 occasionally varies sentence types
[Ef ends by su m m a rizin g the key
points and e x p la in in g w h y the
sto ry is w o rth w h ile
Ask a Peer Reader
• How can I improve my introduction?
• How would you describe the key
points in your own words?
See page R49: Q uick Reference: Punctuation
M ake sure th a t p ronouns agree w ith th e ir
an te ce d en ts.
We never lose the people we love as long as
we reMeMber h m f'th&M.
See page R52: Agreem ent w ith Antecedent
• Do any points need more evidence
or explanation? If so, w hich ones?
Writing On
P U B LISH IN G O PTIO NS
W ritin g Center at ClassZone.com.
A SSESSM EN T PREPARA TIO N
For writing and grammar assessment practice,
go to the Assessm ent Center at ClassZone.com.
404
□
17 Use listen in g skills
Holding a Discussion
Part o f the fun o f a n a lyzin g a story is sh arin g your th o u g h ts w ith
o th ers. W h en you ta ke p art in a d iscu ssio n , yo u e xp a n d yo u r
u n d e rsta n d in g and ap p reciation o f w h a t you have read.
Planning the Discussion
1. Gather in a group. Form a discussion group w ith tw o or three
o th er stu d e n ts w h o have read the sam e story. Then ask for
a v o lu n te e r to lead th e g ro u p and fo r a n o th e r v o lu n te e r to
record the m ain points o f the discussion.
2. Agree on some basic rules. G rou p m em b ers sh ou ld speak
clearly, listen w ith o u t in te rru p tin g , and ask th o u g h tfu l
q uestions.
3. Review the story and your opinions about it. Reread the
analysis you have w ritten. W rite dow n one or tw o points you
w o u ld like to m ake d u rin g the discu ssion .
Holding the Discussion
1. Get started. Have the group leader begin by id e n tifyin g the
sto ry and its au th o r and a sk in g a q u estio n fo r the gro u p to
-i
respond to. H e re ’s an e xa m p le : "W h ich ch a ra cte r do you
th in k is m ost im p o rta n t to the story? W hy?”
2. Share your ideas. Give all group m em bers a chance to respond
to the first question and to co m m e n t on w h a t other m em bers
have to say.
"1 a g r e e t h a t N a d i a is a m a in c h a r a c t e r . I f H a M & d h a d n ’t d ied , th o u g h ,
none o f t h e o t h e r e v e n ts in t h e s t o r if w o u ld h a v e h a p p e n e d . T h a t ’s w h y
I t h in k h e is t h e M o s t im p o r t a n t c h a r a c t e r
3. Keep comments and questions focused on the story. If
so m eon e ge ts o ff the topic, the d iscu ssion leader should
g e n tly b ring the d iscu ssion back to the story.
4. Bring it to a close. The grou p leader sh ou ld su m m arize w h a t
you have discu ssed and then th a n k e veryon e fo r p articip atin g.
If y o u r te a c h e r a sks g ro u p s to re p o rt to th e class, have the
m e m b e r w h o recorded yo u r d iscu ssio n p re sen t a su m m ary.
See page R8i: Group Discussion
W RITIN G WORKSHOP
40 5
Assessment
Practice
DIRECTIONS
R ea d th ese sele ctio n s a n d a n s w e r th e q u estio n s th a t fo llo w .
The W olf and the House Dog
ASS E SS
A eso p
The practice test items
on the next few pages
m atch skills listed
on the Unit Goals
p a ge (p a g e 3 0 5 )and
addressed throughout
this unit. Taking this
practice test will
help you assess your
know ledge of these
skills and determ ine
your readiness for the
Unit Test.
REVIEW
After you take the
practice test,yo u r
teacher can help you
identify any skills you
need to review.
• Them e and Topic
• Com pare and
Contrast
• Make Inferences
• Suffixes
• M ultiple-M eaning
Words
• Punctuate Dialogue
• Com bine Sentences
• Com pound Subject
and Verb
• Coordinating
Conjunctions
ASSESSM ENT
O N LIN E
For more assessment
406
T h ere once w as a W o lf w ho got v e ry little to eat because the D ogs o f
the v illage w ere so w id e aw ake an d w atch fu l. H e w as really n o th in g b ut
skin an d bones, an d it m ad e h im v ery d o w n h earted to th in k o f it.
O ne n ig h t this W o lf h ap p en ed to fall in w ith a fine fat H ouse D og w ho
h ad w an d ered a little too far from hom e. T h e W o lf w o u ld g lad ly have
eaten h im then an d there, b u t the H ouse D og looked stron g en ough to
leave his m arks sh o u ld he try it. So the W o lf spoke v e ry h u m b ly to the
D og, co m p lim en tin g h im on his fine appearance.
“You can be as w ell-fed as I am if yo u w an t to ,” replied the D og. “Leave
10 the w oods; there yo u live m iserably. W h y, yo u have to figh t h ard for every
b ite yo u get. Follow m y exam ple an d yo u w ill get alo n g b eau tifu lly.”
“W h a t m u st I d o ?” asked the W olf.
“H ard ly a n y th in g ,” answ ered the H ouse D og. “C h ase people w h o carry
canes, bark at beggars, an d faw n on the people o f the house. In return yo u
w ill get tid b its o f every k in d , ch ick en bones, choice bits o f m eat, sugar,
cake, an d m u ch m ore besides, n o t to speak o f k in d w ords an d caresses.”
T h e W o lf had such a b eau tifu l visio n o f his co m in g hap piness th at he
alm o st w ept. B ut ju st then he n o ticed th at the h air on the D o g’s n eck was
w o rn an d the skin w as chafed.
20 “W h a t is th at on yo u r n eck?”
“N o th in g at a ll,” rep lied the D og.
“W h at! N o th in g !”
“O h, ju st a trifle !”
“B ut please tell m e .”
“Perhaps yo u see the m ark o f the co llar to w h ich m y ch ain is fasten ed .”
“W h at! A c h ain !” cried the W olf. “D on’t yo u go w h erever yo u please?”
“N ot alw ays! B u t w h a t’s the difference?” replied the D og.
“A il the difference in the w orld ! I don’t care a rap for yo u r feasts an d I
w o u ld n ’t take all the ten d er yo u n g lam bs in the w o rld at th at p ric e .” A n d
30 aw ay ran the W o lf to the w oods.
T h ere is n o th in g w o rth so m u ch as liberty.
a
ARM T
S K ILLS PRACTICE
Your World
Georgia Douglas Johnson
Your w orld is as b ig as yo u m ake it
I know, for I used to abide
In the narrow est nest in a corner
M y w ings pressing close to m y side.
5 B ut I sighted the d istan t horizon
W h ere the sk y-lin e en circled the sea
A nd I throbbed w ith a b u rn in g desire
To travel this im m en sity.
I battered the cordons aro un d m e
10 A nd cradled m y w in gs on the breeze
T h en soared to the u tterm o st reaches
W ith rapture, w ith power, w ith ease!
ASSESSMENT PRACTICE
407
Comprehension
A nswer these questions a b ou t
“The W olf a n d the H ouse Dog. ”
DIRECTIONS
5 . W h at is the m ain difference between the
attitude of the House Dog and that of the
W olf?
1 . W hich statem ent compares the w ay the
W olf and the House Dog feel at the
beginning o f the fable?
A T he House Dog is boastful; the W olf is
hum ble.
A Both w ant to change the w ay they live.
B The House Dog prefers to be cared for;
the W olf prefers to be on his own.
B The House Dog is lonely; the W o lf is
scared.
C The House Dog likes people; the W olf
dislikes them.
C The House Dog is satisfied; the W olf is
unhappy.
D The House Dog is angry; the W o lf is
friendly.
2 . The House Dog probably avoids talking
about the m ark on his neck because he
A does not know he has a m ark
B is vain about his appearance
C feels ashamed to wear a collar
D thinks the W o lf w ill hurt him
3 . W hat is the topic o f this fable?
A freedom
B vanity
C greed
D friendship
4 . W hat can you infer about the W o lf’s
feelings at the end of the fable?
A He is sad that the House Dog has to
wear a collar and chain.
B H e envies the House Dog, even though
he wouldn’t w ant to be him .
C He is glad he found out about the chain
before moving into a house.
D He is sure he w ill find som ething to
eat soon.
D The House Dog is a good hunter; the
W o lf is not.
6.
W h at comparison can you make between
the W o lf and the House Dog based on
their physical appearance?
A T he W olf has a hard life; the House
Dog has an easy life.
B T he W o lf has a good life; the House
Dog is mistreated.
C T he W o lf is gray; the House Dog is
spotted.
D The W o lf lives outdoors; the House
Dog lives indoors.
7 . W h y doesn’t the W o lf eat the House Dog?
A T he W o lf isn’t hungry that day.
B The Dog looks stronger than the Wolf.
C O ther good food is available nearby.
D T he Dog ’s owners chase the W o lf away.
Assessment Practice
Q
DIRECTIONS
A nswer these questions a b o u t “Your
World. ”
8 . W hat is the topic o f this poem?
DIRECTIONS
A RM T
S K ILLS PRACTICE
A nswer this question a b o u t both
selections.
13 . A message about life found in both
A leaving home
selections is that
B choosing independence
A being well fed is the key to survival
C enjoying nature
B liberty is more im portant than security
D m aking friends
C the truth w ill come out in the end
D some things are too good to be true
9 . From the description in lines 2 -4 you can
infer that the speaker’s life used to be
A safe and predictable
B happy and comfortable
C lonely and harsh
D busy and exciting
10 . The description in lines 11—12 suggests
that the speaker has
A become an im portant person
B experienced new adventures
C lived a life o f luxury
D decided to return home
11 . W hich statem ent best describes the theme
of this poem?
A Sometimes it is good to live alone.
Open-Ended Items
SHORT ANSWER W rite tw o or th ree sen ten ces to
a n sw er this question.
14 . “T he W o lf and the House Dog” and
“Your W orld” are both about m aking
choices. Com pare the choices that the
characters and the speaker m ake in these
selections.
Write a sh ort p a ra grap h to a n sw er this
question.
ESSAY
15 . In what w ay is the speaker in “Your
W orld” like the W o lf in Aesop’s fable? Use
details from the selections to support your
answer.
B Happiness comes from traveling.
C Experience is the best teacher.
D You are as free as you w ant to be.
12. Reread line 9 : “I battered the cordons
around m e.” You can infer that the speaker
A did not w ant to change
B needed to feel safe in life
C had to overcome obstacles
D traveled around the world
409
Vocabulary
DIRECTIONS Use contex t clues a n d y o u r
k now ledge o f suffixes to a n sw er th e fo llo w in g
questions.
1. W hat is the most likely m eaning o f the
word im m ensity as it is used in line 8 of
“Your W orld”?
A hugeness
B growing
C bigger
D largely
2 . W h at is the most likely m eaning of the
word rapture as it is used in line 12 of
“Your W orld”?
A ecstatic
DIRECTIONS Use contex t clues a n d y o u r
k n ow ledge o f m u ltip le-m ea n in g w ords to a n sw er
th e fo llo w in g questions.
5 . W hich m eaning o f the word rap is used in
line 28 o f “The W olf and the House
D og”?
“I don’t care a rap for your feasts. . . . ”
A tap
B bit
C discussion
D punishm ent
6 . W h ich m eaning o f the word trifle is used
in line 23 of “T he W olf and the House
Dog”?
B enchant
C bliss
“O h, just a trifle!”
D happily
A sm all thing
B custard dessert
word appearance as it is used in line 8 of
“The W olf and the House Dog”?
A groomed
B handsome
C nicely
D looks
word m iserably as it is used in line 10 of
C tin y am ount
D shiny trinket
7 . W hich m eaning o f the word a b id e is used
in lines 2-3 o f “Your W orld”?
“I know, for I used to abide
In the narrowest nest in a corner”
A tolerate
B await
“T he W olf and the House Dog”?
C com ply
A sadness
D live
B unhappily
C crying
D dep ress
Assessment Practice
a
Writing & Grammar
DIRECTIONS
A RM T
S K ILLS PRACTICE
R ead this passage a n d an sw er th e questions th a t follow .
( 1) Call me when you get to Sue’s m y mom said nervously. (2 ) This was
m y first train trip on m y own. ( 3) It was a big event in our family. (4 ) I was
leaving Chicago. ( 5) I was going to m y aunt’s house in New York.
(6 ) M y parents had said You’re too young to travel alone. (7 ) T h ey didn’t
want me to go by myself. ( 8) I convinced them to let me go, anyway. (9 ) I
knew this would be a journey worth taking.
1. Choose the correct w ay to punctuate the
dialogue in sentence 1.
4 . Choose the correct w ay to punctuate the
dialogue in sentence 6 .
A “Call me when you get to Sue’s”, m y
mom said nervously
A M y parents had said “You’re too young
to travel alone.”
B “C all me when you get to Sue’s” m y
mom said nervously.
B M y parents had said, You’re too young
to travel alone.
C Call me when you get to Sue’s, m y
mom said nervously.
C M y parents had said, “You’re too young
to travel alone.”
D “C all me when you get to Sue’s,” m y
mom said nervously.
D M y parents had said “You’re too young
to travel alone”.
2 . Choose the correct coordinating
conjunction to combine sentences 2 and 3 .
5 . Choose the correct coordinating
A or
C for
conjunction to com bine sentences 7
and 8 .
B so
D but
A or
C but
B for
D so
3 . Choose the correct w ay to com bine
sentences 4 and 5 by using one subject
and two predicates.
A I was leaving Chicago; I was going to
m y aunt’s house in New York.
B I was leaving Chicago and going to m y
aunt’s house in New York.
C I was leaving Chicago, and I was going
to m y aunt’s house in New York.
D M y aunt and I were leaving Chicago
and going to her house in N ew York.
411
W h ich q u e stio n s fro m U n it 3 m ad e an im p re ssio n on you?
Can memories keep the past alive?
The Color of My Words
Locomotion
Up on Cloud Nine
by Lynn Joseph
by Jacqueline Woodson
by A n ne Fine
Anna Rosa is only 12, but
she knows she’s a writer.
She soon learns th at
w ritin g is pow erful as
w ell as dangerous. She
also realizes th a t w ritin g
so m eo ne’s story w ill help
keep his m em o ry alive.
Lonnie’s parents are dead
and he can ’t live w ith his
sister. Everything seem s
bad— but every day, in Ms.
M arcus’s class, he w rites
poem s ab o ut the people
he loves so he'll never
forget them . Slowly, th in g s
begin to get better.
Stolly is in a com a and Ian
can’t help him , so Ian sits
next to his frie n d ’s bed
and starts w ritin g down
everyth in g he rem em bers
about Stolly’s life. W ill
Ian’s m em ories help Stolly
understand his past w hen
he w akes up?
When is a trip an adventure?
Gregor the Overlander
Hatchet
Journey to the River Sea
by Suzanne Collins
by G ary Paulsen
by Eva Ibbotson
G regor is so bored th a t a
trip to the laund ry room
in the basem ent seem s
exciting. Before their
clothes are dry, however,
he and his sister are sucked
into the U nderland and
have to fig h t th eir w ay
back home.
Brian is on a sm all plane
going to v isit his fath er the
su m m e r after his parents’
divorce. Suddenly, the pilot
has a heart attack and
Brian fin d s h im se lf alone in
the C a n ad ian w ilderness.
H ow w ill he survive?
M aia is nervous and
excited w hen she sets
o ff from England to live
w ith relatives in Brazil.
She doesn’t realize th at
her sea voyage and a trip
on the A m azon are only
the begin ning o f a bigger
adventure.
Should you live for the present or the future?
412
The Fire-Eaters
Gentle’s Holler
Listening for Lions
by D avid A lm on d
by Kerry M adden
by Gloria Whelan
Bobby’s life has ju s t gone
bad: He has cruel teachers,
a sick father, and the
United States is ab o ut to
enter a nuclear war. Then
Bobby m eets M cN ulty, a
fire-eater. Can believing
in m iracles help Bobby see
hope for the futu re?
D ream ing o f the future,
Livy sees h erself standing
on the G reat W all of China,
not up in a tree in North
Carolina w a tch in g her little
sisters. A fter a terrible
accident, Livy has to decide
if her dream s are more
im p o rtan t than h e rfa m ily .
W hen her parents die
during an ep idem ic in
Africa, Rachel’s deceitful
neighbors send h e rto
England in th eir dead
d au g h ter’s place. W ill
Rachel be stuck living a lie
or w ill she be able to return
to the co u n try she loves?
UNIT 3 : UNDERSTANDING THEME

a ALABAMA

Transcription

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