LITERATURE

Transcription

LITERATURE

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LITERATURE
A CKN O W LED G M EN TS
S T U D E N T G U ID E
“Those Winter Sundays,” from C ollected Poems o f R obert H ayden by Robert Hayden. Copyright © 1966 by
Robert Hayden. Reprinted by permission of Liveright Publishing Corporation.
IN T R O D U C T O R Y U N IT
Houghton Mifflin: Excerpt from N um ber the Stars by Lois Lowry. Copyright © 1989 by Lois Lowry.
All rights reserved. Reprinted by permission of Houghton Mifflin Company.
Simon & Schuster: “Q uilt,” from A Suitcase o f S ea w eed a n d O ther P oem s by Janet S. Wong.
Copyright © 1996 by Janet S. Wong. Reprinted with the permission of Margaret K. McElderry Books,
an imprint of Simon & Schuster Children’s Publishing Division.
Plays/Sterling Partners Inc.: Excerpt from “The Little Princess” by Frances Hodgson Burnett, adapted
by Adele Than, from Plays fr o m Famous Stories a n d Fairy Tales and Plays, the D ram a M agazine f o r Young
People. Copyright © 1989 and © 1985. Reprinted with the permission of the Publisher Plays/Sterling
Partners, Inc., P.O. Box 60016, Newton, MA 02460.
Sterling Lord Literistic: Excerpt from Steven Spielberg: Crazy f o r M ovies by Susan Goldman Rubin.
Copyright © 2001 by Susan Goldman Rubin. Reprinted by permission of Sterling Lord Literistic, Inc.
Francisco Jimenez: Excerpt from “The Circuit” by Francisco Jimenez from A rizona Q uarterly.
Autumn 1973. Reprinted by permission of Francisco Jimenez.
C ontinued on p a g e R142
A R T C R E D IT S
C O V E R , T IT L E P A C E
Detail of Tree Goddess (1994), Jerry N. Uelsmann. © Jerry N. Uelsmann.
C ontin u ed on p a g e R148
Copyright © 2009 by McDougal Littell, a division of Houghton Mifflin Company. Ail rights reserved.
Warning: No part of this work may be reproduced or transmitted in any form or by any means, electronic
or mechanical, including photocopying and recording, or by any information storage or retrieval system
without the prior written permission of McDougal Littell unless such copying is expressly permitted by
federal copyright law. W ith the exception of not-for-profit transcription in Braille, McDougal Littell is
not authorized to grant permission for further uses of copyrighted selections reprinted in this text without
the permission of their owners. Permission must be obtained from the individual copyright owners as
identified herein. Address inquiries to Supervisor, Rights and Permissions, McDougal Littell, P.O. Box 1667,
Evanston, IL 60204.
ISBN 13: 978-0-618-90140-1
ISBN 10: 0-618-90140-X
Printed in the United States of America.
1 2 3 4 5 6 7 8 9— CKI— 12 11 10 09 08 07
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LITERATURE
Janet Allen
Robert J. Marzano
Arthur N. Applebee
M ary Lou M cCloskey
Jim Burke
Donna M. Ogle
Douglas Carnine
Carol Booth Olson
Yvette Jackson
Lydia Stack
Robert T. Jimenez
Carol A nn Tomlinson
Judith A. Langer
SENIOR PROGRAM CONSULTANTS
J A N E T A L L E N Reading and Literacy Specialist; creator of the popular "It’s Never Too Late”/“Reading
for Life" Institutes. Dr. Allen is an internationally known consultant who specializes in literacy work
with at-risk students. Her publications include Tools fo r Content Literacy; It’s Never Too Late: Leading
Adolescents to Lifelong Learning; Yellow Brick Roads: Shared and Guided Paths to Independent Reading;
Words, Words, Words: Teaching Vocabulary in Grades 4 - 12; and Testing 1, 2, 3 ... Bridging Best Practice and
High-Stakes Assessments. Dr. Allen was a high school reading and English teacher for more than 20 years
and has taught courses in both subjects at the University of Central Florida. She directed the Central
Florida Writing Project and received the Milken Foundation National Educator Award.
A R T H U R N . A P P L E B E E Leading Professor, School of Education at the University at Albany, State
University of New York; Director of the Center on English Learning and Achievement. During his
varied career, Dr. Applebee has been both a researcher and a teacher, working in institutional settings
with children with severe learning problems, in public schools, as a staff member of the National
Council of Teachers of English, and in professional education. Among his many books are Curriculum
as Conversation: Transforming Traditions o f Teaching and Learning; Literature in the Secondary School:
Studies o f Curriculum and Instruction in the United States; and Tradition and Reform in the Teaching o f
English: A History. He was elected to the International Reading Hall of Fame and has received, among
other honors, the David H. Russell Award for Distinguished Research in the Teaching of English.
JIM B U R K E Lecturer and Author; Teacher of English at Burlingame High School, Burlingame,
California. Mr. Burke is a popular presenter at educational conferences across the country and is the
author of numerous books for teachers, including School Smarts: The Four Cs o f Academic Success; The
English Teacher’s Companion; Reading Reminders; Writing Reminders; and ACCESSing School: Teaching
Struggling Readers to Achieve Academic and Personal Success. He is the recipient of NCTE’s Exemplary
English Leadership Award and was inducted into the California Reading Association’s Hall of Fame.
D O U G L A S C A R N IN E Professor of Education at the University of Oregon; Director of the Western
Region Reading First Technical Assistance Center. Dr. Carnine is nationally known for his focus on
research-based practices in education, especially curriculum designs that prepare instructors of K-12
students. He has received the Lifetime Achievement Award from the Council for Exceptional Children
and the Ersted Award for outstanding teaching at the University of Oregon. Dr. Carnine frequently
consults on educational policy with government groups, businesses, communities, and teacher unions.
Y V E T T E JA C K S O N Executive Director of the National Urban Alliance for Effective Education.
Nationally recognized for her work in assessing the learning potential of underachieving urban students,
Dr. Jackson is also a presenter for the Harvard Principal Center and is a member of the Differentiation
Faculty of the Association for Supervision and Curriculum Development. Dr. Jackson’s research focuses
on literacy, gifted education, and cognitive mediation theory. She designed the Comprehensive
Education Plan forthe New York City Public Schools and has served as their Director of Gifted Programs
and Executive Director of Instruction and Professional Development.
R O B E R T T. J IM E N E Z Professor of Language, Literacy, and Culture at Vanderbilt University. Dr.
Jimenez’s research focuses on the language and literacy practices of Latino students. A former bilingual
education teacher, he is now conducting research on how written language is thought about and used
in contemporary Mexico. Dr. Jimenez has received several research and teaching honors, including two
Fulbright awards from the Council for the International Exchange of Scholars and the Albert J. Harris
Award from the International Reading Association. His published work has appeared in the American
Educational Research Journal, Reading Research Quarterly, The Reading Teacher, Journal o f Adolescent and
Adult Literacy, and Lecturay Vida.
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A LA y A iV' A
J U D IT H A . L A N C E R Distinguished Professor at the University at Albany, State University of New
York; Director of the Center on English Learning and Achievement; Director of the Albany Institute
for Research in Education. An internationally known scholar in English language arts education, Dr.
Langer specializes in developing teaching approaches that can enrich and improve what gets done on
a daily basis in classrooms. Her publications include Getting to Excellent: How to Create Better Schools
and Effective Literacy Instruction: Building Successful Reading and Writing Programs. She was inducted
into the International Reading Hall of Fame and has received many other notable awards, including an
honorary doctorate from the University of Uppsala, Sweden, for her research on literacy education.
R O B E R T J. M A R Z A N O Senior Scholar at Mid-Continent Research for Education and Learning
(McREL); Associate Professor at Cardinal Stritch University in Milwaukee, Wisconsin; President of
Marzano & Associates. An internationally known researcher, trainer, and speaker, Dr. Marzano has
developed programs that translate research and theory into practical tools for K-12 teachers and
administrators. He has written extensively on such topics as reading and writing instruction, thinking
skills, school effectiveness, assessment, and standards implementation. His books include Building
Background Knowledge fo r Academic Achievement; Classroom Management That Works: Research-Based
Strategies fo r Every Teacher; and What Works in Schools: Translating Research Into Action.
D O N N A M . O G L E Professor of Reading and Language at National-Louis University in Chicago,
Illinois; Past President of the International Reading Association.Creator ofthe well-known KWLstrategy,
Dr. Ogle has directed many staff development projects translating theory and research into school
practice in middle and secondary schools throughout the United States and has served as a consultant
on literacy projects worldwide. Her extensive international experience includes coordinating the
Reading and Writing for Critical Thinking Project in Eastern Europe, developing integrated curriculum
fora USAID Afghan Education Project, and speaking and consulting on projects in several Latin American
countries and in Asia. Her books include Coming Together as Readers; Reading Comprehension: Strategies
fo r Independent Learners; All Children Read; and Literacy fo r a Democratic Society.
C A R O L B O O T H O L S O N Senior Lecturer in the Department of Education at the University of
California, Irvine; Director ofth e UCI site o fth e National Writing Project. Dr. Olson writes and lectures
extensively on the reading/writing connection, critical thinking through writing, interactive strategies
for teaching writing, and the use of multicultural literature with students of culturally diverse
backgrounds. She has received many awards, including the California Association of Teachers of English
Award of Merit, the Outstanding California Education Research Award, and the UC Irvine Excellence in
Teaching Award. Dr. Olson’s books include Reading, Thinking, and Writing About Multicultural Literature
and The Reading/Writing Connection: Strategies fo r Teaching and Learning in the Secondary Classroom.
C A R O L A N N T O M L IN S O N Professor of Educational Research, Foundations, and Policy at the
University of Virginia; Co-Director ofthe University’s Institutes on Academic Diversity. An internationally
known expert on differentiated instruction, Dr. Tomlinson helps teachers and administrators develop
effective methods of teaching academically diverse learners. She was a teacher of middle and high
school English for 22 years prior to teaching at the University of Virginia. Her books on differentiated
instruction have been translated into eight languages. Among her many publications are How to
Differentiate Instruction in Mixed-Ability Classrooms and The Differentiated Classroom: Responding to
the Needs o f All Learners.
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ENGLISH LEARNER SPECIALISTS
M A R Y LO U M C C L O S K E Y Past President of Teachers of English to Speakers of Other Languages
(TESOL); Director of Teacher Development and Curriculum Design for Educo in Atlanta, Georgia. Dr.
McCloskey is a former teacher in multilingual and multicultural classrooms. She has worked with
teachers, teacher educators, and departments of education around the world on teaching English as
a second and foreign language. She is author of On Our Way to English, Voices in Literature, Integrating
English, and Visions: Language, Literature, Content. Her awards include the Le Moyne College Ignatian
Award for Professional Achievement and the TESOL D. Scott Enright Service Award.
L Y D IA S T A C K International ESL consultant. Her areas of expertise are English language teaching
strategies, ESL standards for students and teachers, and curriculum writing. Her teaching experience
includes 25 years as an elementary and high school ESL teacher. She is a past president of TESOL. Her
awards include the James E. Alatis Award for Service to TESOL (2003) and the San Francisco STAR Teacher
Award (1989). Her publications include On Our Way to English; Wordways: Games fo r Language Learning;
and Visions: Language, Literature, Content.
CURRICULUM SPECIALIST
W IL L IA M L. M C B R ID E Cu rriculum Specialist. Dr. McBride is a nationally known speaker, educator,
and author who now trains teachers in instructional methodologies. A former reading specialist,
English teacher, and social studies teacher, he holds a Masters in Reading and a Ph.D. in Curriculum
and Instruction from the University of North Carolina at Chapel Hill. Dr. McBride has contributed to
the development of textbook series in language arts, social studies, science, and vocabulary. He is
also known for his novel Entertaining an Elephant, which tells the story of a burned-out teacher who
becomes re-inspired with both his profession and his life.
M EDIA SPECIALISTS
D A V ID M . C O N SI D IN E Professor of Instructional Technology and Media Studies at Appalachian State
University in North Carolina. Dr. Considine has served as a media literacy consultant to the U.S. government
and to the media industry, including Discovery Communications and Cable in the Classroom. He has also
conducted media literacy workshops and training for county and state health departments across the
United States. Among his many publications are Visual Messages: Integrating Imagery into Instruction, and
Imagine That: Developing Critical Viewing and Thinking Through Children’s Literature.
L A R K IN P A U L U Z Z I Teacher and Media Specialist; trainer for the New Jersey Writing Project. Ms.
Pauluzzi puts her extensive classroom experience to use in developing teacher-friendly curriculum
materials and workshops in many different areas, including media literacy. She has led media literacy
training workshops in several districts throughout Texas, guiding teachers in the meaningful and
practical uses of media in the classroom. Ms. Pauluzzi has taught students at all levels, from Title I
Reading to AP English IV. She also spearheads a technology club at her school, working with students to
produce media and technology to serve both the school and the community.
L IS A K . S C H E F F L E R Teacher and Media Specialist. Ms. Scheffler has designed and taught media
literacy and video production curriculum, in addition to teaching language arts and speech. Using her
knowledge of mass communication theory, coupled with real classroom experience, she has developed
ready-to-use materials that help teachers incorporate media literacy into their curricula. She has taught
film and television studies at the University of North Texas and has served as a contributing writer for
the Texas Education Agency’s statewide viewing and representing curriculum.
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A L A B A M A M ID D LE SC H O O L L IT E R A T U R E T E X T B O O K R E V IE W E R S
Patricia D. Beale
Liberty Middle School
Madison City, AL
Kimberly L. Green
NBCT Hudson K-8 School
Birmingham, AL
Diane Emerson
Monroria Middle School
Huntsville, AL
Janie S. Mohajerin
Georgia Washington Junior High School
Montgomery, AL
Dr. Janet L. Reese
Montgomery Public Schools
Director of Professional Development
Montgomery, AL
Julee F. Rodgers
Shades Valley High School
Irondale, AL
NATIONAL TEACHER ADVISORS
These are some of the many educators from across the country who played a crucial role in the
development of the tables of contents, the lesson design, and other key components of this program:
Virginia L. Alford
MacArthur High School
San Antonio,Texas
Yvonne L. Allen
Shaker Heights High School
Shaker Heights, Ohio
Dave T. Anderson
Hinsdale South High School
Darien, Illinois
Kacy Colleen Anglim
Portland Public Schools District
Portland, Oregon
Beverly Scott Bass
Arlington Heights High School
Fort Worth,Texas
Jordana Benone
North High School
Torrance, California
Patricia Blood
Howell High School
Farmingdale, New Jersey
Marjorie Bloom
Eau Gallie High School
Melbourne, Florida
Edward J. Blotzer
Wilkinsburg Junior/Senior
High School
Wilkinsburg, Pennsylvania
Dori Dolata
Rufus King High School
Milwaukee, Wisconsin
Elizabeth Holcomb
Forest Hill High School
Jackson, Mississippi
Jon Epstein
Marietta High School
Marietta, Georgia
Jim Horan
Hinsdale Central High School
Hinsdale, Illinois
Kiala Boykin-Givehand
Duval County Public Schools
Jacksonville, Florida
Helen Ervin
Fort Bend Independent
School District
Sugarland,Texas
James Paul Hunter
Oak Park-River Forest
High School
Oak Park, Illinois
Laura L. Brown
Adlai Stevenson High School
Lincolnshire, Illinois
Sue Friedman
Buffalo Grove High School
Buffalo Grove, Illinois
Cynthia Burke
Yavneh Academy
Dallas,Texas
Chris Gee
Bel Air High School
El Paso,Texas
Susan P. Kelly
Director of Curriculum
Island Trees School District
Levittown, New York
Hoppy Chandler
San Diego City Schools
San Diego, California
Paula Grasel
The Horizon Center
Gainesville, Georgia
Gary Chmielewski
St. Benedict High School
Chicago, Illinois
Christopher Guarraia
Centreville High School
Clifton, Virginia
Delorse Cole-Stewart
Milwaukee Public Schools
Milwaukee, Wisconsin
Rochelle L. Greene-Brady
Kenwood Academy
Chicago, Illinois
Diana R. Martinez
Trevino School of
Communications & Fine Arts
Laredo, Texas
L. Calvin Dillon
Gaither High School
Tampa, Florida
Michele M. Hettinger
Niles West High School
Skokie, Illinois
Natalie Martinez
Stephen F. Austin High School
Houston, Texas
Stephen D. Bournes
Evanston Township
High School
Evanston, Illinois
Barbara M. Bowling
Mt.Tabor High School
Winston-Salem, North Carolina
Beverley A. Lanier
Varina High School
Richmond, Virginia
Pat Laws
Charlotte-Mecklenburg
Schools
Charlotte, North Carolina
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Elizabeth Matarazzo
Ysleta High School
El Paso, Texas
Andrea J. Phillips
Terry Sanford High School
Fayetteville, North Carolina
Carol M. McDonald
J. Frank Dobie High School
Houston, Texas
Cathy Reilly
Sayreville Public Schools
Sayreville, New Jersey
Amy Millikan
Consultant
Chicago, Illinois
Mark D. Simon
Neuqua Valley High School
Naperville, Illinois
Terri Morgan
Caprock High School
Amarillo,Texas
Scott Snow
Sequin High School
Arlington, Texas
Eileen Murphy
Walter Payton Preparatory
High School
Chicago, Illinois
Jane W. Speidel
Brevard County Schools
Viera, Florida
Lisa Omark
New Haven Public Schools
New Haven, Connecticut
Kaine Osburn
Wheeling High School
Wheeling, Illinois
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Cheryl E. Sullivan
Lisle Community School District
Lisle, Illinois
Anita Usmiani
Hamilton Township
Public Schools
Hamilton Square, New Jersey
Linda Valdez
Oxnard Union High
School District
Oxnard, California
Nancy Walker
Longview High School
Longview,Texas
Kurt Weiler
New Trier High School
Winnetka, Illinois
Anna N. Winters
Simeon High School
Chicago, Illinois
Tonora D. Wyckoff
North Shore Senior High School
Houston, Texas
Karen Zajac
Clenbard South High School
Glen Ellyn, Illinois
Elizabeth Whittaker
Larkin High School
Elgin, Illinois
Cynthia Zimmerman
Mose Vines Preparatory
High School
Chicago, Illinois
Linda S. Williams
Woodlawn High School
Baltimore, Maryland
Lynda Zimmerman
El Camino High School
South San Francisco, California
John R. Williamson
Fort Thomas
Independent Schools
Fort Thomas, Kentucky
Ruth E. Zurich
Brown Deer High School
Brown Deer, Wisconsin
O V E R V IE W
Alabama Student's Edition
TABLE OF CONTENTS W ITH ALABAM A STANDARDS
AL12
STUDENT GUIDE TO ARM T SUCCESS
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LESSONS W ITH EM BEDDED STANDARDS IN STRUCTION
Look for the Alabama symbol throughout the book. It highlights
targeted content standards and bullets to help you succeed on
your test.
ALABAM A COURSE OF STUDY FOR ENGLISH LANGUAGE ARTS
SI
ALABAMA
C O N TEN TS
• Understanding the Alabama Course of Study
• Embedded Assessment Practice
• Preparing for the ARMT
• ARMT Strategies and Preparation
\»
A LA B A M A
CO N TEN TS
IN B R IEF
STUDENT GUIDE TO
ARM T SUCCESS
PART 1 : LITERA RY ELEM ENTS
•
•
•
•
U N IT 1
Understanding the Alabama Course of Study
Embedded Assessm ent Practice
Preparing for the ARMT
ARMT Strategies and Preparation
W H A T 5 H A P P E N IN G ?
W O R K SH O P : Setting, Conflict, Plot
W R ITIN G W O R K SH O P : W riting a Short Story
INTRODUCTORY UNIT
The Power of Ideas
P E R S O N TO P E R S O N
u n it
2
Fiction
Poetry
Drama
Nonfiction and Informational Texts
Types of Media
Analyzing Character and Point of View
r e a d e r ’ s w o r k s h o p : Character, Narrator, Point of
View, M ethods of Characterization
W R ITIN G W O R K SH O P : Describing a Person
READING LITERATURE W O RKSH O P
•
•
•
•
•
Plot, Conflict, and Setting
r e a d e r ’s
T H E BI G I D E A
u n it
3
Understanding Theme
r e a d e r ’s
W O R K SH O P : Identifying Theme
W R ITIN G W O R K SH O P : A nalyzing a Story
READING STRATEGIES W O RKSH O P
Preview
Set a Purpose
Connect
Use Prior Knowledge
Predict
Visualize
Monitor
Make Inferences
W RITIN G PROCESS W O RKSH O P
• W riting Process Review
• Key Traits
PART 2: LANGUAGE A N D CULTURE
w r i t e r ’s
u n it
4
CRAFT
Mood, Tone, a n d Style
r e a d e r ’ s w o r k s h o p : Mood,Tone, Style
W RITING W O RKSHO P: Comparison-and-Contrast Essay
W ORD PICTURES
u n it
5
The Language of Poetry
r e a d e r ’s
W O R K SH O P : Form, Speaker, Sound
Devices, Imagery, Figurative Language
W R ITIN G W O R K SH O P : Personal Response to a Poem
T I M E L E S S T A L ES
u n it 6
Myths, Legends, and Tales
R EA D ER ’S W O R K SH O P : Characteristics of Traditional
Stories, Cultural Values in Traditional Stories
W R ITIN G W O R K SH O P : Problem -Solution Essay
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®
C L A...................
S S Z O N E .C O M
LITERATURE AND READING CENTER
•
•
•
•
PART 3 : FOCUS ON N O N FICTIO N
LI F E S T O R I ES
u n it 7
Biography and Autobiography
r e a d e r ’ s W O R KSH O P : Characteristics of
Biographies and Autobiographies
W R ITIN G W O R K SH O P : Personal Narrative
K N O W T H E FACTS
u n it 8
Information, Argument,
and Persuasion
READ ER’S W O R KSH O P : Text Features, Preview,
Main Idea and Supporting Details,Take Notes
REA D ER ’S W O R KSH O P : Claim , Support, Persuasive
Techniques
W R ITIN G W O R KSH O P : Persuasive Essay
IN V E S T I G A T I O N A N D D I S C O V E R Y
u n it 9
Author Biographies
Additional Selection Background
Literary Analysis Frames
Power Thinking Activities
WRITING AND GRAMMAR CENTER
• W riting Tem plates and Graphic Organizers
• Publishing Options
• Quick-Fix Editing Machine
VOCABULARY AND SPELLING CENTER
• Vocabulary Strategies and Practice
• M ulti-Language Academic Vocabulary
Glossary
• Vocabulary Flash-Cards
• Spelling Lessons
MEDIA CENTER
• Production Templates
• Analysis Guides
RESEARCH CENTER
• Web Research Guide
• Citation Guide
The Power of Research
A SSESSM EN T CEN TER
RESEARCH STRATEGIES W O R KSH O P : Choosing and
Evaluating Sources, Collecting Data
W R ITIN G W O R KSH O P : Research Report
ARMT Practice and Test-Taking Tips
SAT/ACT Practice and Tips
M O R E TECH N O LO G Y
eEdition
• Interactive Selections
• Audio Summaries
WriteSmart
STUDENT RESOURCE B A N K
READING H A N D B O O K
•
•
•
•
•
Writing Prompts and Templates
Interactive Student Models
Interactive Graphic Organizers
Interactive Revision Lessons
Rubric Generator
W R ITIN G H A N D B O O K
MediaSmart d v d
GRAM M AR H A N D B O O K
• Media Lessons
• Interactive Media Studies
V O CABU LARY A N D SPELLIN G H A N D B O O K
SP EA KIN G A N D LISTEN IN G H A N D B O O K
M EDIA H A N D B O O K
TEST-TAKIN G H A N D B O O K
GLOSSARIES
a l ii
What’s Happening?
PLOT, CO N FLICT,
A N D SETTIN G
• IN F IC T IO N
CONTENT
STANDARDS
Setting, Characters, Conflict,
Stages o f Plot
• IN N O N F I C T I O N
• IN P O E T R Y
• IN D R A M A
• IN M E D IA
r e a d e r ’s w o r k s h o p : w h a t m a k e s a g o o d s t o r y ?
24
S H O R T STORY
Boar Out There
Cynthia Rylant
28
Gary Soto
32
Marion Dane Bauer
44
Robert Frost
58
F IC T IO N
SH O R T STORY
Plot, Monitor
The School Play
SH O R T STORY
Conflict, Connect
The Good Deed
Connect
The Pasture P O EM
SH O R T STORY
Setting, Make Inferences
Use Text Features,
Compare and Contrast
All Summer in a Day
Ray Bradbury
Reading for Information
Weather That’s Out of This World! M A G A Z I N E A R T IC L E
Space Settlements o n l i n e a r t i c l e
Artists’ Views of a Space Colony i l l u s t r a t i o n s
64
75
76
80
sh o rt story
Foreshadowing,
Identify Sequence
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Lob’s Girl
Joan Aiken
84
Great Reads: Historical Novel
from Bud, Not Buddy A n e w b e r y m e d a l w i n n e r
Christopher Paul Curtis
101
M ED IA
FILM CLIP
Setting and Conflict in Movies
Lemony Snicket’s A Series
of Unfortunate Events
from
(o) smart
106
N O N F IC T IO N
M EM O IR
Setting in Nonfiction,
Identify Author’s Purpose
Woodsong
A Life in the Day of Gary Paulsen
112
Gary Paulsen
from
118
n e w s p a p e r a r tic le
M EM O IR
Narrative Nonfiction,
Trace Chronological Order
Huynh Quang Nhuong
The Horse Snake from The Land 1Lost
Le Mat Village Holds On to
Snake Catching Tradition r a d i o t r a n s c r i p t
124
133
PO ETRY
POEM
Narrative Poetry, Visualize
The Walrus and the Carpenter
Lewis Carroll
136
DRAMA
DRAMA
Conflict in Drama,
Strategies for Reading a Play
Organization, Revision
The Prince and the Pauper
Mark Twain
dramatized by Joellen
Bland
144
W R IT IN G W O R K SH O P : SHO RT STORY
158
S P EA K IN G A N D LIST EN IN G : TELLIN G A STORY
165
A SSESSM EN T PRA CTICE: PLOT, CO N FLICT, A N D SETTIN G
166
S H O R T STORY
The Fish Story
M ORE
Mary Lou Brooks
GREAT READ S: ID EA S FOR IN D E P E N D E N T REA D IN G
172
V O CA B U LA R Y STRATEGIES
Denotations and connotations, p. 40
Literal and figurative meanings, p. 98
Suffixes, p. 60
Prefixes and Latin roots: ject, p. 120
Synonyms, p. 72
Word origins, p. 132
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U N IT
2
ALABAM A
CONTENT
STANDARDS
Character, Narrator,
Point of View,
Methods of Characterization
First-Person Point o f View,
Connect
Person to Person
A N A L Y Z IN G C H A R A C T E R
A N D P O IN T OF V IE W
• IN F IC T IO N
• IN P O E T R Y
• IN M E D IA
r e a d e r ’s w o r k s h o p : c h a r a c t e r a n d p o i n t o f v i e w
176
F IC T IO N
SH O R T STORY
Eleven
Sandra Cisneros
184
Armstrong Sperry
192
Norma Fox Mazer
206
Rita Dove
218
SH O RT STORY
Third-Person Point o f View,
Predict
Ghost of the Lagoon
Characterization, Visualize
Tuesday of the Other June
Connect
Primer p o e m
The Problem with Bullies
SHO RT STORY
Take Notes,
Develop Research Questions
223
m a g a z in e a r tic le
c o m p a r in g c h a r a c t e r s
SHO RT STORY
Character,
Set a Purpose fo r Reading
President Cleveland, Where Are You?
230
Myron Levoy
242
SH O RT STORY
Aaron’s Gift
AL14
Robert Cormier
MEDIA
T E LE V IS IO N CLIP
TV Characters
from
Smallville
^©)
254
Sm | « t
N O N F IC T IO N
ESSAY
Personal Essay,
Identify Author’s Purpose
Role-Playing and Discovery
Invisible Hero m a g a z i n e a r t i c l e
Jerry Pinkney
260
265
m e m o ir
Author’s Perspective,
Identify Symbol
The Red Guards from Red Scarf Girl
An Interview with Ji-li Jiang i n t e r v i e w
Ji-li Jiang
268
276
po etry
poem
Speaker, Strategies
for Reading Poetry
Life Doesn’t Frighten Me
282
Billy Collins
285
POEM
On Turning Ten
Sensory Details
Maya Angelou
W R IT IN G W O R K SH O P : D ESC R IB IN G A PERSON
288
SP E A K IN G A N D LISTEN IN G : IN T ER V IEW
295
A SSESSM EN T PRA CTICE: CH A R A CTER A N D PO IN T OF V IEW
296
SH O R T STORY
from
Phoenix Farm
Jane Yolen
NOVEL
from
Ruby Holler
M ORE
Sharon Creech
302
V O C A B U LA R Y STRATEGIES
Easily confused words, p. i8g
Context clues, p. 252
Words for water, p. 202
Latin roots: press, p. 264
Figurative language, p. 220
Prefixes that mean “not,” p. 278
AL15
||f|g |S|f8|
The Big Idea
U N D E R S T A N D IN G T H EM E
ALABAM A
CONTENT
STANDARDS
Topic Versus Theme,
Clues to Theme, Identify Theme
• IN F IC T IO N
• IN P O E T R Y
r e a d e r ’s w o r k s h o p : u n d e r s t a n d i n g t h e m e
306
J A P A N E S E F O L K TA LE
Gombei and the Wild Ducks
Yoshiko Uchida
309
Louis Untermeyer
314
FIC T IO N
SH O RT STORY
Theme Versus Topic, Strategies
for Reading Historical Fiction
Synthesize,
Evaluate Historical Fiction
The Dog of Pompeii
Reading for information
from In Search of Pompeii b o o k e x c e r p t
Italians Trying to Prevent a
Modern Pompeii O N L I N E A R T IC L E
329
334
S H O R T STORY
Conflict and Theme,
Nadia the Willful
Sue Alexander
338
Avi
350
sh o rt story
Character and Theme,
Predict
AL16
Scout’s Honor
Wilderness Survival h a n d b o o k
excerpt
365
C O M P A R IN G FA B LES
FABLE
Fables,
Ant and Grasshopper
Aesop
368
retold fay James Reeves
SH O RT STORY
The Richer, the Poorer
Dorothy West
370
Great Reads: Coming-of-Age Novel
Esperanza Rising
Pam Munoz Ryan
379
Langston Hughes
386
Langston Hughes
388
Pat Mora
392
Alice Walker
394
from
A PURA BELPRE A W A RD W IN N E R
PO ETRY
POEM
Theme in Poetry, Visualize
Words Like Freedom
POEM
Dreams
POEM
Recurring Theme,
Make Inferences
Same Song
POEM
Without Commercials
Thesis, Evidence
W R IT IN G W O R K SH O P : A N A LY ZIN G A STORY
398
SP EA K IN G A N D LIST EN IN G : D ISCU SSIO N
405
A SSESSM EN T PRA CTICE: U N D ER STA N D IN G TH EM E
406
FABLE
The Wolf and the House Dog
Aesop
POEM
Your World
M ORE
Georgia Douglas Johnson
412
Latin roots: rupt,p.S26
Slang, p. 363
Noun-form ing suffixes, p. 346
M ultiple-m eaning words, p. 376
AL17
Writer’s Craft
M O O D , TO N E, A N D STYLE
ALABAM A
CONTENT
STANDARDS
Mood, Tone, Style, Elements of
Style, Comparing Styles
• IN F IC T IO N
• IN N O N F IC T I O N
• IN P O E T R Y
• IN D R A M A
• IN M E D IA
r e a d e r ’s w o r k s h o p : m o o d , t o n e , a n d s t y l e
416
FIC T IO N
SH O R T STORY
Tone, Summarize
The All-American Slurp
American Lifestyles and Habits
Lensey Namioka
O N L I N E A R T IC L E
424
437
STORYBOOK
Parody,
Identify Cause and Effect
The True Story of the Three Little Pigs
Jon Scieszka
440
S H O R T STORY
Style, Monitor
Jeremiah’s Song
Walter Dean Myers
450
Great Reads: Humorous Novel
from Maniac Magee
Jerry Spinelli
463
Gary Soto
470
A N EW B ERY M EDAL W IN N ER
N O N F IC T IO N
M E M O IR
Tone in Nonfiction, Connect
AL18
The Jacket
M E M O IR
Style in Nonfiction,
Analyze Author's Purpose
Trace the Steps in a Process,
Create Instructions
The First Skateboard in the
History of the World
Skateboard Science o n l i n e
Betsy Byars
480
489
a r tic le
C O M P A R IN G M O O D IN P O E T R Y
POEM
Mood,
Poem: The Morning Walk
Mary Oliver
496
Mary Tall Mountain
498
Norton Juster
504
Carmen Lomas Garza and
Benny Andrews
522
POEM
There Is No Word for Goodbye
DRAM A
DRAMA
Humor, Visualize
The Phantom Tollbooth, Act One
dramatized by Susan Nanus
M E D IA
IM A G E C O LLEC TIO N
Style in Illustration
Organization, Use Transitions
Artists and Style
(o ) Smart
W R IT IN G W O R K SH O P : COM PARISON-COIM TRAST ESSAY
526
P U B LIS H IN G W ITH TEC H N O LO G Y: PO W ER PRESEN TA TIO N
533
ASSESSM EN T PRA CTICE: M O O D, TO N E, A N D STYLE
534
NOVEL
Alan Mendelsohn, the Boy
from Mars
from
Daniel Pinkwater
BIO G RAPH Y
Sparky
M ORE
Earl Nightingale
540
Similes, p. 435
Latin roots: pro, p. 476
Compound words, p. 460
Dictionary usage labels, p. 487
AL19
Word Pictures
TH E LA N G U A G E OF PO ETRY
R EA D ER ’S W O R K SH O P : A P P R EC IA TIN G PO ETRY
Like Bookends
Eve Merriam
Form, Speaker, Sound Devices,
Imagery, Figurative Language
Line, Reading Poetry Aloud
544
549
LO VE O F T H E G A M E
Analysis Of Baseball
Alone in the Nets
Teen Athletes M A G A Z I N E A R T IC L E
May Swenson
Arnold Adoff
552
554
557
PO EM S T H A T LA ST
Rhyme, Recognize Rhythm
Sea-Fever
The Village Blacksmith
John Masefield
Henry Wadsworth
Longfellow
560
562
Rachel Field
Charlotte Zolotow
568
570
C H A N G IN G S E A S O N S
Imagery,
Understand Repetition
AL20
Something Told the Wild Geese
Change
A F E W C H O IC E W O R D S
Word Choice, Visualize
Message from a Caterpillar
Fog
Two Haiku
Lilian Moore
Carl Sandburg
Basho
576
577
578
Eve Merriam
Theodore Roethke
582
584
Patricia and
Fredrick McKissack
589
Emily Dickinson
Christina Rossetti
Ted Hughes
596
597
598
E. E. Cummings
Edward Lear
Ogden Nash
604
606
606
W IN D O W S
Sound Devices,
Understand Form
Gather and Organize
Information, Use Information
to Write a Poem
Windshield Wiper
Night Journey
from A Long Hard Journey
b o o k e xce rp t
A T T IT U D E A D JU S T M E N T
Figurative Language,
Make Inferences
I’m Nobody! Who are You?
Is the Moon Tired?
Mooses
FLIG H T S O F F A N C Y
Form in Poetry, Monitor
who knows if the moon’s
Two Limericks
C O M P A R IN G T O N E
Tone, Set a Purposefo r Reading
Respond to Literature
Sandra Cisneros
Good Hotdogs / Ricos Hot Dogs
Ode to an Artichoke / Oda a la Alcachofa Pablo Neruda
610
614
W R IT IN G W O R K SH O P : PER SO N A L RESPO N SE TO A POEM
622
SP EA K IN G A N D LISTEN IN G : O RAL IN TER P R ETA TIO N
629
A SSESSM EN T PRA CTICE: PO ETRY
630
Rain Sizes
Rain in Alabama
M ORE
John Ciardi
Mary Oliver
636
Specialized vocabulary, p. 565
Latin roots: led, p. 601
AL21
Timeless Tales
ALABAM A
CONTENT
STANDARDS
Characteristics of Traditional
Stories, Cultural Values in
Traditional Stories
M Y T H S , LE G E N D S,
A N D TALES
r e a d e r ’s w o r k s h o p :
M YTH S,
l e g e n d s , a n d ta les
640
G R EEK M YTH
Orion
Alice Low
644
Mary Pope Osborne
648
Mary Pope Osborne
658
Olivia E. Coolidge
662
G REEK & RO M AN M YTH S
ROM AN M YTH
Characteristics of Myths,
Recognize Cause and Effect
The Story of Ceres and Proserpina
GREEK MYTH
Cultural Values in Myths,
Predict
Apollo’s Tree: The Story of
Daphne and Apollo
G REEK M YTH
Identify Main Idea and Details,
Create an Outline
Arachne
SpiderWebs o n l i n e a r t i c l e
671
leg en d s
N ATIVE A M E R IC A N LEG EN D
Characteristics of Legends,
Make Inferences
AL22
The Chenoo
Lands of the Passamaquoddy
Joseph and James Bruchac 678
MAP
687
CR E E K LEGEND
Cultural Values in Legends,
Strategies for Reading a Play
Damon and Pythias: A Drama
dramatized by
Fan Kissen 690
FOLK TALES
A M E R I C A N T A L L TA LE
Characteristics o f a Tall Tale,
Visualize
Unde Septimus’s Beard
Herbert Shippey
700
Rafe Martin
710
Judith Ortiz Cofer
716
Ai-Ling Louie
724
Robert D. San Souci
732
J A P A N E S E F O L K TA LE
Characteristics o f Folk Tales,
Summarize
The Crane Maiden
P U E R T O R I C A N F O L K TA LE
Aunty Misery
COMPARING UNIVERSAL THEME
C H I N E S E F O L K T A LE
Universal Theme,
Set a Purpose for Reading
Yeh-Shen: A Cinderella Story from China
N A T I V E A M E R I C A N F O L K TALE
Sootface: An Ojibwa Cinderella Story
Organization, Use Transitions
W R IT IN G W O R K SH O P : P R O B LE M -S O LU T IO N ESSAY
742
P U B LIS H IN G W ITH TEC H N O LO G Y: CLASS N EW SPA PER
749
A SSESSM EN T PRA CTICE: M Y TH S, LEG EN D S, A N D TALES
750
GREEK M YTH
Cassiopeia
Alice Low
GREEK M YTH
Castor and Pollux
M ORE
Alice Low
756
Connotations, p. 707
Reference aids, p. 668
General context clues, p. 720
Homonyms, p. 686
Base words, p. 740
AL23
Life Stories
im
v r
ALABAM A
B IO G R A P H Y A N D
A U T O B IO G R A P H Y
• IN P O E T R Y
• IN M E D IA
..........
CONTENT
STANDARDS
Characteristics of Biographies
and Autobiographies
R EA D ER ’S W O R K SH O P : B IO G R A P H Y A N D A U TO B IO G R A P H Y
760
N O N F IC T IO N
BIO G RAPH Y
Biography,
Synthesize, Draw Conclusions
Matthew Henson at the Top of the World Jim Haskins
from Over the Top of the World j o u r n a l
will steger
768
781
A U T O B IO G R A P H Y
Autobiography, Monitor
The Story of My Life
Letter to Miss Keller LE TTER
from
Great Reads: Memoir
from Under the Royal Palms:
A Childhood in Cuba
A P U R A B E LPR E A W A R D W I N N E R
A L24
Helen Keller
788
Franklin D. Roosevelt
792
Alma Flor Ada
797
BIO G R APH Y
Main idea and Details,
from
Spellbinder: The Life of Harry Houdini Tom Lalicki
804
Trace Chronological Order
M E D IA
DOCUM ENTARY
Documentary
from
Houdini: The Great Escape
(£
812
, M EDIA
) SM ART
DVD
PO ETRY
POEM
Characterization in Poetry,
Identify Imagery
In a Neighborhood in Los Angeles
818
Margaret Walker
821
POEM
For Gwen, 1969
A Way with Words m a g a z i n e
Narrative Techniques
Francisco X. Alarcon
822
a r tic le
W R IT IN G W O R K SH O P : PER SO N A L N A RR A TIV E
824
PU B LISH IN G W ITH TECH N O LO G Y: VID EO DO CUM ENTARY
831
ASSESSM EN T PRACTICE: B IO G R A P H Y A N D A U TO BIO G R A PH Y
832
M E M O IR
from
John Glenn: A Memoir
M ORE
John Glenn
838
Idioms, p. 778
Foreign Words in English, p. 810
Analogies, p. 794
AL25
Know the Facts
IN F O R M A T IO N , A R G U M E N T ,
A N D P E R S U A SIO N
• IN N O N F IC T I O N
CONTENT
STANDARDS
Text Features, Preview, Main
Idea and Details, Take Notes
• IN M E D IA
r e a d e r ’s w o r k s h o p : r e a d i n g f o r i n f o r m a t i o n
842
M A G A Z IN E AR TICLE
Hurricane Hunters
Renee Skelton
845
Peter Winkler
848
Gareth Huw Davies
858
Daniel Cohen
866
Helen Wieman Bledsoe
872
N O N F IC T IO N
M A G A Z IN E AR TICLE
Text Features, Summarize
SuperCroc
O N L I N E A R T IC L E
Main Idea and Details,
Evaluate Information
Bird Brains
C O M P A R IN G IN F O R M A T IO N
BOOK EXCERPT
Multiple Sources of Information,
Set a Purpose for Reading
The First Emperotfrom The Tomb Robbers
M A G A Z I N E A R T IC L E
Digging Up the Past: Discovery and
Excavation of Shi Huangdi’s Tomb
M E D IA
TV N E W S C A S T C LIP A N D N E W S P A P E R AR TICLE
Analyzing Thoroughness
A L26
News Reports
O
, m e d ia
) SM ART
DVD
880
Elements of an Argument,
Persuasive Techniques
R E A D ER ’S W O R K SH O P : A R G U M EN T A N D PERSU A SIO N
884
ED ITO R IA L
Dangerous Threat? No— Loving Pet!
Lisa Epstein
888
Emily Sohn
892
Emily Sohn
895
The Humane Society
902
Mawi Asgedom
910
jf***\ M E D I A
if 0 ) S M A R T
914
N O N F IC T IO N
ESSAY
Argument, Evaluate Support
What Video Games Can Teach Us
ESSAY
The Violent Side of Video Games
ESSAY
Persuasive Techniques, Preview
Should Wild Animals Be Kept as Pets?
SPEECH
Author’s Message,
Analyze Persuasion
No Thought of Reward
M E D IA
TV CO M M ER CIA LS
Target Audience
Persuasive Techniques
Persuasive Techniques in Commercials
\ ___ /
DV D
W R IT IN G W O R K SH O P : PERSU A SIV E ESSAY
918
S P EA K IN G A N D LIST EN IN G : PERSU A SIV E SPEECH
925
A SSESSM EN T PRA CTICE: IN FO R M A TIO N , A R G U M EN T,
A N D PERSU A SIO N
926
ESSAY
Fighting Is Never a Good Solution
Sylvia Cassedy
BOOK EXCERPT
Where Do You Stand7from The Kids’ Guide
to Working Out Conflicts
Naomi Drew
M ORE
932
Word origins, p. 854
Synonyms, p. 898
M ultiple-m eaning words, p. 862
Word parts, p. 878
Connotations, p. 913
AL27
Investigation and Discovery
TH E PO W ER OF R ESEA R CH
ALABAM A
CONTENT
STANDARDS
Choosing and Evaluating
Sources, Collecting Data
Research, Synthesize
RESEARCH STRATEGIES W O R K SH O P
936
Beginning the Research Process
Using the Internet
Using the Library or Media Center
Selecting Sources
Evaluating Sources
Gathering Your Own Facts
Research Tips and Strategies
937
944
W R IT IN G W O R K SH O P : RESEARCH REPO RT
954
Choosing and Narrowing a Topic
Finding and Evaluating Sources
Taking Notes
Avoiding Plagiarism
Writing Your First Draft
Documenting Your Sources
Revising and Editing
958
P U B LISH IN G W ITH TEC H N O LO G Y: M U LTIM ED IA REPORT
AL28
939
942
947
951
952
959
960
962
964
965
966
969
ALABAMA P
Student Resource Bank
Reading Handbook
Words with Multiple Meanings
R71
Specialized Vocabulary
R72
Using Reference Sources
R72
Spelling Rules
R72
Comm only Confused Words
R75
Reading Literary Texts
R2
R2
Reading Informational Texts:Text Features
R3
Reading Informational Texts: Patterns
of Organization
R8
Reading Informational Texts: Forms
R14
Speech
R76
R76
Reading Persuasive Texts
R20
Different Types of Oral Presentations
R78
Adjusting Reading Rate to Purpose
R27
W riting Handbook
Speaking and Listening Handbook
Other Types of Comm unication
R81
Active Listening
R82
Media Handbook
The W riting Process
R28
R28
Building Blocks of Good Writing
R30
Five Core Concepts in Media Literacy
R84
R84
Descriptive Writing
R34
Media Basics
R85
Narrative Writing
R36
Film and TV
R87
Expository W riting
R37
News
R88
Persuasive W riting
R40
Advertising
R90
Workplace and Technical Writing
R42
Elements of Design
R91
Evaluating Media Messages
R92
Grammar Handbook
Quick Reference: Parts of Speech
R46
R46
Quick Reference:The Sentence and Its Parts
R48
General Test-Taking Strategies
R93
R93
Quick Reference: Punctuation
R49
Critical Reading
R94
Quick Reference: Capitalization
R51
Vocabulary
R96
Nouns
R52
W riting and Grammar
R97
Pronouns
R52
Responding to W riting Prompts
R98
Verbs
R55
W riting an Essay
R99
Modifiers
R57
The Sentence and Its Parts
R60
Phrases
R60
Verbals and Verbal Phrases
R61
Clauses
R62
The Structure of Sentences
R63
Writing Complete Sentences
R64
Subject-Verb Agreement
R65
Vocabulary and Spelling Handbook
Using Context Clues
R68
R68
Analyzing Word Structure
R69
Understanding Word Origins
R69
Synonyms and Antonyms
R70
Denotation and Connotation
R70
Analogies
R71
Homonyms, Homographs, and Homophones
R71
Test-Taking Handbook
Glossary of Literary Terms
Glossary of Reading &
Informational Terms
R100
Glossary of Vocabulary
in English & Spanish
R115
Pronunciation Key
R122
Index of Fine Art
R123
Index of Skills
R124
Index of Titles and Authors
R140
Acknow ledgm ents
R142
Art Credits
R148
| A LA B A M A CO N TENT STANDARDS
R110
S1
AL29
Selections by Genre
TheChenoo Joseph and James Bruchac
Native American L e g e n d ......................................................676
F IC T IO N
The Crane Maiden Rafe Martin Japanese Folk Tale . . . . 708
S H O R T S T O R IE S
Gombei and the Wild Ducks Yoshiko Uchida
Japanese Folk Tale .................................................................309
Aaron’s Gift Myron L e v o y ........................................................242
The All-Am erican Slurp Lensey N am io ka.............................. 422
All Summer in a Day Ray B r a d b u r y ......................................... 62
Boar Out There Cynthia R y la n t..................................................28
The Dog of Pompeii Louis U nterm eyer.................................. 312
Eleven Sandra Cisneros
........................................................... 182
The Fish Story Mary Lou B r o o k s .............................................166
Ghost of the Lagoon Armstrong S p e r r y .............................. 190
The Good Deed Marion Dane Bauer ...................................... 42
Orion Alice Low Creek M y t h ...................................................644
Sootface: An Ojibwa Cinderella Story
Robert D. San Souci Native American Folk T a l e .............. 732
The Story of Ceres and Proserpina Mary Pope Osborne
Roman M y th ............................................................................ 646
Uncle Septim us’s Beard Herbert Shippey
American Tall Tale .................................................................698
The W olf and the House Dog Aesop F a b l e ........................ 406
Yeh-Shen: A Cinderella Story from China
Ai-Ling Louie Chinese Folk T a le ...........................................722
Jeremiah’s Song Walter Dean M y e r s ....................................448
Lob’s Girl Joan A ik e n ...................................................................82
Nadia the W illful Sue A le xan d e r.............................................336
Phoenix Farm Jane Yolen
........................................................296
President Cleveland, Where Are You? Robert Cormier. . . 228
The Richer, the Poorer Dorothy W e s t .................................... 370
A U T O B IO G R A P H Y / M E M O IR
The First Skateboard in the History of the World
Betsy Byars ....................................................................... 478
The School Play Gary S o to .......................................................... 30
The Horse Snake from The Land I Lost
Huynh Quang N h u o n g ..................................................... 122
Scout’s Honor A v i ......................................................................348
The Jacket Gary S o t o ............................................................468
Tuesday of the Other June Norma Fox M a ze r......................204
John G lenn:A M em oir John Glenn
STO RYBO O K
The True Story of the Three Little Pigs Jon Scieszka . . . .438
.................................... 832
Over the Top of the World Will S t e g e r ................................781
The Red Guards from Red Scarf Girl Ji-li J ia n g .................... 266
The Story of My Life Helen K e lle r .......................................786
N O V ELS
from Alan Mendelsohn, the Boy from Mars
Daniel P in kw ate r....................................................................534
Under the Royal Palms: A Childhood in Cuba
Alma Flor A d a .................................................................... 796
Woodsong Gary Pau lsen........................................................ 110
from Bud, Not Buddy Christopher Paul C u r t is ......................100
from Esperanza Rising Pam Munoz R y a n ...............................378
from Maniac Magee Jerry S p in e lli......................................... 462
from Ruby Holler Sharon C r e e c h .............................................297
B IO G R A P H Y
A Life in the Day of Gary Paulsen Carolyn S c o t t ................ 118
Matthew Henson at the Top of the World Jim Haskins . . .766
Sparky Earl N ig h tin g a le ........................................................535
O R A L T R A D IT IO N
Ant and Grasshopper Aesop F a b le ....................................... 366
Spellbinder:The Life of Harry Houdini Tom L a lick i..............802
A Way with Words James C. H a ll..........................................822
Apollo’s Tree: The Story of Daphne and Apollo
Mary Pope Osborne Creek M y t h ....................................... 656
ESSAYS
Arachne Olivia E. Coolidge Creek Myth .............................. 662
Dangerous Threat? No— Loving Pet! Lisa E p s t e in ............888
Aunty Misery Judith Ortiz Cofer Puerto Rican Folk Tale . . . 716
Fighting Is Never a Good Solution Sylvia C a s s e d y ............ 926
Cassiopeia Alice Low Creek M y t h .......................................... 750
Invisible Hero Bill Gwaltney
Castor and Pollux Alice Low Creek Myth ............................. 751
The Problem with Bullies Sean P r i c e .................................. 223
AL30
............................................... 265
ALABAMA P
Role-Playing and Discovery Jerry P in k n e y .......................... 258
Fog Carl S a n d b u rg ....................................................................... 577
Should Wild Animals Be Kept as Pets?
The Humane Society...........................................................900
For Gwen, 1969 Margaret W a lk e r .......................................... 821
Good Hotdogs / Ricos Hot Dogs Sandra Cisneros .............608
The Violent Side of Video Games Emily S o h n .................... 895
I’m Nobody! Who are You? Emily D ick in so n ........................ 594
What Video Games Can Teach Us Emily S o h n ....................890
In a Neighborhood in Los Angeles Francisco X. Alarcon
SPEECH
Is the Moon Tired? Christina R o ss e tti.................................... 597
No Thought of Reward Mawi Asgedom ............................908
Life Doesn’t Frighten Me Maya A n g e lo u ..............................280
I N F O R M A T IO N A L N O N F IC T I O N
American Lifestyles and Habits Online A rticle .....................437
Artists’ Views of a Space Colony Illu stra tio n s.......................80
Bird Brains Online Article
.....................................................856
Digging Up the Past: Discovery and Excavation of
Shi Huangdi’s Tomb Magazine A rtic le ............................. 872
. . 816
Like Bookends Eve M e rria m ..................................................... 549
Message from a Caterpillar Lilian M o o re ...............................574
Mooses Ted H u g h e s ................................................................... 598
Night Journey Theodore Roethke ..........................................584
Ode to an Artichoke / Oda a la Alcachofa Pablo Neruda . . 614
On Turning Ten Billy C o llin s ..................................................... 285
The First Emperor from The Tomb Robbers Book Excerpt . .8 6 4
The Pasture Robert F ro s t............................................................. 58
Hurricane Hunters Magazine A rticle .....................................845
Poem :The M orning W alk Mary O l i v e r .................................494
In Search of Pompeii Book E xce rp t....................................... 329
Primer Rita D o v e ..........................................................................218
An Interview with Ji-li Jiang In te r v ie w ................................276
Rain in Ohio Mary O liv e r............................................................631
Italians Trying to Prevent a Modern Pompeii
Online A r tic le ...................................................................... 334
Rain Sizes John C ia rd i................................................................ 630
Same Song Pat M o r a ................................................................ 390
Lands of the Passamaquoddy M a p .....................................687
Sea-Fever John M a s e fie ld ........................................................ 558
Le Mat Village Holds On to Snake Catching Tradition
Radio Transcript...................................................................133
Som ething Told the Wild Geese Rachel F i e l d ..................... 566
Letter to Miss Keller Letter.....................................................792
A Long Hard Journey Book Exce rp t....................................... 589
Skateboard Science Online A r t ic le .......................................489
Space Settlements Online A rticle............................................ 76
SpiderW ebs Online A rticle ......................................................671
SuperCroc Magazine A r t ic le ..................................................846
Teen Athletes Magazine A rticle ..............................................557
Weather That’s Out of This World! M agazine Article . . . . 75
Where Do You Stand?/rom The Kids’ Guide to Working
Out Conflicts Book Excerpt................................................927
There Is No Word for Goodbye Mary Tall Mountain . . . .498
Two Haiku Basho .......................................................................578
Two Limericks Edward Lear and Ogden N a s h .....................606
The V illage Blacksm ith Henry W adsworth Longfellow . .562
The W alrus and the Carpenter Lewis C a rro ll......................... 134
w ho know s if the m oon’s E. E. C u m m in g s ...........................602
W indshield W iper Eve Merriam
............................................ 580
W ithout Com m ercials Alice W a lk e r .......................................394
Words Like Freedom Langston H u g h e s ................................. 384
YourW orld Georgia Douglas Johnson
.................................407
Wilderness Survival Handbook E xce rp t................................365
Damon and Pythias dramatized by Fan K is s e n .................. 688
Alone in the Nets Arnold A d o ff................................................ 554
Analysis of Baseball May S w e n s o n ....................................... 550
Change Charlotte Zoiotow
......................................................570
The Phantom Tollbooth, Act One Norton Juster
dramatized by Susan N a n u s ............................................... 502
The Prince and the Pauper Mark Twain
dramatized by Joellen B la n d ................................................ 142
Dreams Langston H u g h e s ........................................................388
AL31
Selections by Genre
r e a d e r ’s w o r k s h o p s
S P E A K IN G , L IS T E N IN G , A N D V IE W IN G
What Makes a Good S t o r y ? ....................................................24
Telling a Story
Character and Point of View
Conducting an Interview
............................................... 176
........................................................................165
.....................................................295
Understanding Theme
......................................................... 306
Holding a Discussion
Mood, Tone, and Style
..........................................................416
Producing a Power P re se n ta tio n .......................................... 533
............................................................ 405
Appreciating P o e tr y ...............................................................544
Oral Interpretation of a Poem
Myths, Legends, and T a l e s ....................................................640
Creating a Class N e w sp a p e r..................................................749
Biography and A u to b io g ra p h y ............................................ 760
Creating a Video Documentary
.......................................... 831
Reading for In fo rm a tio n .......................................................842
Delivering a Persuasive Speech
..........................................925
Argument and P e rsu a sio n ....................................................884
............................................ 629
M E D IA C E N T E R a t ClassZone.com
L IT E R A T U R E C E N T E R atClassZone.com
W R IT IN G W O R K S H O P S
Short Story
.............................................................................158
M E D IA S T U D Y
Describing a P e r s o n ...............................................................288
Lemony Snicket’s A Series of Unfortunate Events
Film Clip ..................................................................................106
Analyzing a Story
................................................................. 398
Sm allville Television C l i p ........................................................... 254
Comparison-Contrast E s s a y ..................................................526
Image Collection Carmen Lomas Garza and
Benny Andrews Illustrations ............................................. 522
Personal Response to a P o e m ...............................................622
Probiem-Solution Essay
Personal Narrative
....................................................... 742
...............................................................824
Persuasive E s s a y .................................................................... 918
WriteSmart
Houdini: The Great Escape Documentary ............................ 812
News Reports TV Newscast Clip and Newspaper Article
. .880
Persuasive Techniques in Commercials TV Commercials . . 914
(o) MediaSmart d v d
V O C A B U LA R Y S T R A T E G IE S
G R A M M A R A N D W R IT IN G
pages 40, 60,72, 98,120,132,189, 202, 220, 252, 264, 278, 326,
346, 363, 376,435,460,476,487, 565, 601, 654, 668, 686,707,
720,740,778,794, 810, 854, 862, 878, 898, 907, 913
pages 41, 61,73, 99,121, 203, 221, 279, 327, 347, 364,436,461,477,
573, 587, 655, 669, 697,721,779,795, 811, 855, 863, 899
AL32
LS
ALABAMA
\
STU D EN T G U ID E TO
A R M T SUCCESS
UNDERSTANDING THE ALABAM A COURSE OF STUDY
AL34
• What is the Alabama Course of Study?
• How will 1learn the Alabama Course of Study?
EM BEDDED ASSESSM ENT PRACTICE
AL36
PREPARING FOR THE ARM T
AL37
MS
SA
• What is the ARMT?
• How can 1be successful on the ARMT?
ARM T STRATEGIES AN D PREPARATION
y j
AL38
U
U
D
I/ I
h
§
AL33
Understanding the
Alabama Course of Study
What is the Alabama Course of Study?
The A labam a Course of Study is a list o f content standards that outlines w hat you
should know and be able to do at each grade level. Your teacher uses the content
standards to create a course o f instruction that w ill help you develop the skills and
know ledge you are expected to have by the end o f grade 6. The A labam a Course of
Study prepares you for success not only in ta k in g tests like the ARMT, but also for
everyday life and the w orkplace.
How will I learn the Alabama Course of Study?
Your textbook is closely aligned to the Alabam a Course of Study for English Language
Arts, so that every tim e you learn new information or practice a skill,you are m astering
one of the content standards. Each unit, each reading selection, and each workshop in
the textbook connects to one or more of the standards.The standards covered in each
section of your textbook are listed on the opening page of the section.
ALABAMA £
The Alabam a Course of Study for English Lan gu age Arts for grade 6
For a complete listing
o f the Alabama Course
is divided into five subject areas called strands:
o f Study fo r English
• Reading
I Language Arts,
• Literature
I
see page S 7
W ritin g and Language
• Research and Inquiry
• Oral and Visual Com m unication
Each of the strands is broken dow n into content standards. Som e
content standards are fu rth er broken dow n into bullets that point
out specific skills that you need to learn in order to m aster the
standard. Alabam a uses a special code to identify the grade level,
the content standard, and the bullet.
A LA B A M A CO N TEN T STA N D A RD D ECO DER
re
•
un
•
VO
Indicates
a grade 6
standard
Identifies the bullet:
y
:
:
a. Id en tifyin g odes, ballads,
epic poetry, and science fiction
Identifies the standard:
5. Analyze short stories, novels,
plays, m yths, and nonfiction
m aterials for d istin g u ish in g
characteristics.
STUD EN T GU ID E
AL35
Embedded Assessment Practice
Each unit has a form atted practice test that covers specific standards-based skills.
ASSESSM ENT PRACTICE LOCATOR
f U N l T l p a g e i66
Plot, Conflict, and Setting
•
•
•
•
•
•
•
•
•
•
Plot Stages
Setting
Conflict
Sequence
Make Inferences
Synonyms
Suffixes
Commas
Pronoun-Antecedent Agreement
Run-on Sentences
•
•
•
•
•
•
•
•
•
Point o f View
Characters
Characterization
Visualize
Context Clues
Easily Confused Words
Suffixes
Comparative and Superlative Forms
Pronoun Cases
UNIT 3 page 406
Understanding Theme
• Theme and Topic
• Compare and Contrast
• Make Inferences
- Suffixes
• Multiple-Meaning Words
• Punctuate Dialogue
• Com bine Sentences
• Com pound Subject and Verb
• Coordinating Conjunctions
UNIT 4 page 534
Mood, Tone, and Style
UNIT 5 page 630
The Language of Poetry
UNIT 6 page 750
Myths, Legends, and Tales
• Mood
• Author’s Purpose
• Style
• Word Choice
• Tone
• Sentence Structure
• Similes
•
Compound Words
• Sentence Types
• Commas
• Figurative Language
• Metaphor
• Simile
• Imagery
• Sound Devices
• Rhyme
• Onomatopoeia
• Repetition
• Make Inferences
• Specialized and Technical
Vocabulary
• Latin Words and Roots
• Subject-Verb Agreement
•
•
•
•
•
•
u n it 7 page 832
Biography and Autobiography
UNIT 8 page 926
Information, Argum ent, and
Persuasion
Characteristics o f Autobiography
and Biography
• Point o f View
• Chronological Order
• Main Ideas and Supporting Details
• Word Origins
•
Colons
•
Capitalization
•
AL36
UNIT 2 page 296
Analyzing Character and Point of
View
ST UD EN T GU ID E
Argum ent
• Evaluate Support
• Persuasive Techniques
• Text Features
• Summarize
• Context Clues
•
Word Parts
• Capitalization o f Titles
• Punctuation o f Titles
•
•
•
Characteristics o f Myths
Cultural Values
Couse and fj^ect
Summarize
Denotation and Connotation
Dictionary
Capitalization
Com pound Sentences
UN IT 9 page 933
The Power of Research
•
•
Research Strategies page 936
Writing Research Reports page 954
ALABAMA £
Preparing for the ARMT
What is the ARMT?
ARM T stands for the Alabam a Reading and M athem atics Test. The ARM T is given to all
grade 6 students in the spring. The ARM T is a test that m easures your u nderstanding
of the Alabam a Course of Study for every grade you have com pleted. For exam ple, the
ARM T you take in the sp rin g o f grade 6 m easures your m astery of the Alabam a Course
of Study up through grade 6. The reading portion o f the ARM T includes m ultiple-choice
and open-ended items.
How can I be successful on the ARMT?
Use the passages and questions on the fo llo w in g pages to prepare for the reading
portion of the ARMT. This section w ill help fam iliarize you w ith the kinds of questions
you can expect on the actual te st.T h e tips and strategies h igh ligh ted in blue w ill guide
you as you read the passages and answ er the questions.
Read the passages
carefully, as w ell as the
tips in the m argin s.Th e
tips help you to focus
on im portant ideas and
details in the reading so
that you w ill be better
prepared to answ er the
questions th at follow.
Think a b o u t h o w fa s t
th is is! A ca r t h a t is
tra v e lin g a t 6 o m iles
an h o u r t a k e s a w h o le
m in u te t o tra v e l o n e
m ile.
Although he wasn’t even breathing
heavily, Lightning was getting tired of
this game. So he neighed and brayed
and tried to grind Pecos Bill under his
hooves. But before the horses foot could
touch the ground, Pecos had turned a
twisting somersault and landed right on
Lightnings back.
Lightning had certainly never had a
man on his back before, and he didn’t
like it one bit. So he tried to run him
off. In less than twenty seconds, he had
covered two miles. But Pecos Bill stayed
on his back. Then Lightning bucked. He
bucked sideways, wide-ways, and every
whichways. But still Pecos Bill held on.
Then Lightning scraped and ground
Pecos Bill against every tree and rock in
the state. Bill was ragged and bleeding,
but he hadn’t budged an inch. Finally,
as Lightning reared up and over on his
back, Bill leaped off and pinned the horse
under his foot.
Lightning struggled for a while, but
Pecos Bill stroked his neck and talked
to him in the language of the animals.
He said they were both wild spirits and
would have many wonderful adventures 4
together. And that’s exactly what
happened.
E arlier in th e story. P ecos
Bill
• Each question tests
a particular content
standard. Strategies
highlighted in blue
su gge st w ays to
approach different
types of questions
on the reading portion
o f the ARMT.
provide information about
burned by the flames of the
fire
knocked off Lightning by
another horse
thrown to the ground
rescued by coyotes
herding horses in the Old
West
teach readers how to catch
fast stallions
provide entertainment
make readers feel sorry for
Lightning
C o n ten t S ta n d a rd 6 .6 :
Id en tify th e a u th o r ’s
p u r p o se a s e n te r ta in m e n t,
!
M
V
p L a V
|
>-
2. If he had not jum ped off
Lightning, Pecos Bill m ost
likely would have been —
1. The purpose of this
passage is m ost lik ely to —
A
•v-
C o n te n t S ta n d a rd 6 .1:
i
A p p ly s t ra te g ie s ,
G
in c lu d in g m a k in g c o m p le x
j
p re d ic tio n s, in te rp re tin g
STUD EN T GU ID E
AL37
ARMT Strategies and
Preparation
The following section introduces you to how the reading portion of the ARMT will look
and what kinds of questions you may encounter. Look for tips and strategies in blue
boxes throughout this section.
Pay close attention to
background material
that comes before the
passage. It will give you
im portant information
to help you understand
the passage.
If you did not read
the background
information, this
sentence m ight not
make sense to you.
This expression means
that Lightning easily
outran the other horses
without much effort.
Personification is when
anim als or objects are
given human traits.
Here, Lightning, a horse,
is given a human
trait— he laughs.
AL38
STUD E N T GU ID E
Pecos Bill Meets Lightning
Pecos Bill was a make-believe cowboy from popular tall tales o f the American Southwest.
The youngest o f eight children, he was supposedly separated from, his fa m ily w hile crossing
the plains, and was raised by a group o f coyotes. From that poin t on, Pecos Bill always thought
o f h im self as a relative o f the coyotes.
Pecos Bill was finally getting over missing his coyote family. Human company was
even becoming downright tolerable at times. One thing he just couldn’t abide, though,
was all that talking. Yak, yak, yak. So he didn’t usually pay much attention. One day,
though, Bill heard something that whipped his head right around.
“That wild stallion was breathing fire,” one of the cowboys was saying. “He
galloped by so fast, a cyclone stopped in its tracks. His tail and mane were like bolts
of lightning. Whatever made us think we could catch him?”
“Durned if I know,” piped up another one. “Six of us in hot pursuit, all day and
all night for a whole week. Ran every last one of our best horses right into the ground.
And that Lightning never even broke into a sweat.”
“Uh, pardon me for overhearing,” interrupted Pecos Bill, “but do you all happen
to know where I might find this Lightning? Sounds like he and I would get along
just fine.”
The cowboys directed Pecos Bill to the Powder River, and sure enough, he soon
saw the white stallion cantering by, feet barely touching the ground. Pecos knew at
once that the astounding horse would be his, and he took off after him—running like
the wind.
Lightning got a good laugh out of a man trying to catch him on foot. But while
he was laughing, Pecos Bill came right up on his heels. For four nights and three days
the man stuck with the horse, from Mexico to Canada and back, and twice around the
state of Texas.
A L A B A M A ||
Think about how fast
this is! A c a rth a t is
traveling at 60 miles
an hourtakes a whole
minute to travel one
mile.
Although he wasn’t even breathing
heavily, Lightning was getting tired of
this game. So he neighed and brayed
and tried to grind Pecos Bill under his
hooves. But before the horse’s foot could
touch the ground, Pecos had turned a
twisting somersault and landed right on
Lightning’s back.
Lightning had certainly never had a
man on his back before, and he didn’t
like it one bit. So he tried to run him
off. In less than twenty seconds, he had
covered two miles. But Pecos Bill stayed
on his back. Then Lightning bucked. He
bucked sideways, wide-ways, and every
whichways. But still Pecos Bill held on.
Then Lightning scraped and ground
Pecos Bill against every tree and rock in
the state. Bill was ragged and bleeding,
but he hadn’t budged an inch. Finally,
as Lightning reared up and over on his
back, Bill leaped off and pinned the horse
under his foot.
Lightning struggled for a while, but
Pecos Bill stroked his neck and talked
to him in the language of the animals.
He said they were both wild spirits and
would have many wonderful adventures
—
together. And that’s exactly what
happened.
Earlier in the story, Pecos
Bill told the cowboys
that he and Lightning
would “get along just
fine.” This explains w hy
Pecos Bill felt that way.
STUD EN T G U ID E
AL39
1. The purpose of this
2. If he had not jum ped off
passage is m ost likely to —
Lightning, Pecos Bill m ost
likely w ould have been —
A provide inform ation about
herding horses in the Old
West
B teach readers how to catch
fast stallions
C provide entertainm ent
D m ake readers feel sorry for
A
burned by the flames o f the
fire
B knocked off Lightning by
another horse
C thrown to the ground
D rescued by coyotes
Lightning
f A -----------Content Standard 6.6 :
Identify the author’s
purpose as entertainment,
information, or persuasion
in selected works.
Strategy: This passage is an example of
a tall tale. A tall tale uses exaggeration
to tell a story. The characters in tall tales
are often larger than life and can do
things that regular people cannot do,
such as Pecos Bill catching Lightning.The
passage is about a horse, but it does not
tell you anything about herding horses,
so you can eliminate A. B is incorrect;
Pecos Bill does catch Lightning, but the
story does not teach the reader how to
do so. D is also incorrect. Readers may
feel sorry for Lightning because he gets
caught, but this is not the purpose of
the passage.The purpose o fth e passage
is most likely to provide entertainment,
so the correct answer is C.
r AContent
------------------------:
Standard 6.t:
Apply strategies,
including m aking complex
predictions, interpreting
characters’ behaviors, and
com paring and contrasting,
to comprehend sixthgrade recreational reading
materials.
Strategy: To respond to this question,
reread the second to last paragraph
o fth e passage. Notice that Lightning
scrapes and grinds Pecos Bill against
every tree and rock in the state. Then,
Lightning rears up and over on his back.
Think about w hat would have happened
to Pecos Bill if he had remained on
Lightning’s back as Lightning rolled
over. There are no flam es, other horses,
or coyotes involved in the incident.
C is correct.
A L A B A M A j|
4. W h y does Lightning
3. W hich quotation from the
A
passage is the best example
scrape Pecos Bill against
of a simile?
trees and rocks?
“Pecos Bill was finally getting
A Lightning thinks that Pecos
Bill is trying to put a new
over missing his coyote family.”
B “Although he wasn’t even
breathing heavily Lightning
C
saddle on him.
B Lightning is uncomfortable
was getting tired o f this
w ith the feeling o f a rider on
gam e.”
his back.
“One thing he just couldn’t
abide, though, was all that
talking. Yak, yak, ya k .”
D “Pecos knew at once that
the astounding horse w ould
C
Lightning remembers Pecos
Bill from a previous fight.
D Lightning wants to show off
his strength in front o f other
horses.
be his, and he took off after
him— running like the w ind.”
A
—
---------------------
Content Standard 6.5.b:
Identifying figurative
language in various
literature selections
<...... .....:.............. i
1..... 1...... ^
Strategy: To answer this question
correctly,you have to understand w hat
a simile is and then look for the answer
choice that best matches its definition.
A simile makes a comparison between
tw o items using the words like or as.
The quotations about Pecos m issing his
coyote family, Lightning getting tired,
and Pecos feeling annoyed by human
talking do not contain comparisons.
D is the best answ er because it
compares Pecos Bill’s running to the
wind using the word like.
. A -------------------------------Content Standard 6.i.a:
Identifying supporting
details
Strategy: To answ er this question,
review w hat you know about Lightning.
He is a w ild horse that no person has
been able to catch.There is no mention
of Pecos Bill’s w anting to put a new
saddle on Lightning, so A is incorrect.
There are no other horses involved in the
scene, so D is incorrect. C is not correct
either— Lightning and Pecos Bill have
not met previously. B is the best answer.
STUD EN T GU ID E
AL41
5. Read this sentence from
6. W ho is the narrator of
the passage.
“Pecos Bill”?
“O ne thing he just
A
Pecos Bill
couldn’t a b id e , though,
B
Lightning
was all that talkin g.”
C
one o f the cowboys in the
The word a b id e is used in
this sentence to mean —
A
put up w ith
B
forbid
C
understand
D indicate
Content Standard 6.1.b:
Using context clues to
determine m eaning
Strategy: When you come across a word
that is unfamiliar, use context dues
to figure out w hat the word means.
One good strategy for a question like
this is to replace the word with each
answer choice. If the word makes sense
in the context of the sentence and the
surrounding sentences, then you have
most likely found the right answer.
B is incorrect. The passage tells you that
Pecos Bill did not like all the talking, but
it does not say that he forbade it. Pecos
Bill clearly understands w hat people are
saying, so C is incorrect. D does not make
sense.To indicate means “to point out”
or “to specify.” A is correct. The passage
tells you that Pecos Bill “usually did not
pay much attention” to all the talking;
therefore,you can guess that he couldn’t
put up with it.
story
D someone who is not a part of
the story
A --------------------------Content Standard 6.2:
Interpret literary elements
and devices, including
implied main idea, conflict,
and personification
Strategy: To answer a question like this,
ask yourself, “Who is speaking?” If you
are unsure, go back and look at the story
again. In this case, all of the answer
choices except for D are characters in
the story. It is clear from reading the
story that the narrator is not a character
in the story. One clue is that the story
is w ritten in third person. If a character
in the story was narrating, they would
most likely use first-person pronouns,
such as / or we. D is correct; the narrator
is someone outside of the story.
ALABAMA P
7. In the passage, w hat are tw o differences between Pecos Bill and the other cowboys?
Explain how these differences are im portant to the m ain idea o f the passage.
Use specific details from the passage to support your response.
Score
Point
3
2
1
0
l
l
V Lm H
The response should
The response demonstrates the student’s understanding of two differences between Pecos Bill and
the other cowboys. Examples could include, but are not limited to, the follow ing:
• Pecos Bill was raised by coyotes, and the cowboys were not.
• The cowboys cannot catch Lightning, but Pecos Bill can.
• The cowboys give up on catching Lightning, but Pecos Bill catches him.
• Pecos Bill tries to catch Lightning on foot, and the cowboys use horses to try to catch Lightning.
The response demonstrates a general understanding of two differences between Pecos Bill and the
other cowboys. It also includes some explanation of those differences. However, the answer lacks
the depth and completeness of a score point 3 response.
The response shows a limited understanding of two differences between Pecos Bill and the
other cowboys
OR
the response does not explain how the differences are im portant to the passage.
The response demonstrates no attem pt to address the prompt.
Content
Standard 6.i.d:
“
M aking
m
generalizations
1 from
frc text information
Strategy: Look back at the passage to find differences between Pecos Bill and
the other cowboys. You can choose any tw o differences that you find in the
passage. It is clear from the passage that Pecos Bill is not like ordinary people.
He can run fast enough to try to catch Lightning, and he chases the horse
for three days and four nights. None of the other cowboys can do this. You
are also told in the introduction that Pecos Bill was raised by coyotes. This is
another thin g that makes him different from the other cowboys. Make sure
that the tw o differences you choose are supported by the passage. Also, be
sure to give two differences, not one. You do not w ant to lose points because
you did not follow directions.
STUD EN T GU ID E
AL43
Those Winter Sundays
by Robert Hayden
The poet uses sensory
words and phrases to
describe the setting and
to set a mood.
5
The poet gives the
house human qualities.
The description
helps readers picture
and understand the
conditions the speaker
lived in.
Here, the speaker is
explaining that he did
not appreciate w hat his
father did for him. He
did not recognize the
love that motivated his
father to take care of
the family.
AL44
ST UD EN T GU ID E
Sundays too my father got up early
^
and put his clothes on in the blueblack cold,
then with cracked hands that ached
from labor in the weekday weather made
banked fires blaze. No one ever thanked him.
I’d wake and hear the cold splintering, breaking.
When the rooms were warm, he’d call,
and slowly I would rise and dress,
fearing the chronic angers of that house,
10 speaking indifferently to him,
who had driven out the cold
and polished my good shoes as well.
What did I know, what did I know
of love’s austere and lonely offices?
The word too tells
the reader that the
speaker’s father got up
early on other days of
the week as well.
ALABAMA £
8. The point of view used in
9. W hich quotation from
the poem best portrays the
this poem is —
A
third person om niscient
B
third person lim ited
C
second person narrator
love and devotion o f the
narrator’s father?
A
banked fires blaze”
D first person narrator
B
fA
“driven out the cold and
polished m y good shoes
. ■;
Content Standard 6.2:
and personification.
v
.................................
“the w eekday weather made
as w ell”
C
“slowly I w ould rise and
dress”
D “W h at did I know, what
y
Strategy: Review the poem. Who is the
speaker? The speaker uses / to describe
him self.A and Bare not correct.We
do not know how the father feels.
C is not correct. The poem does not
use second-person pronouns, such as
y o u .D is correct.The poem uses a firstperson point of view.
did I know ”
Content Standard 6 .4 .a:
Identifying details related
to main idea
Strategy: Answ er choice A describes
the harsh conditions the father had to
work in, but it is not necessarily the
best portrayal of his love and devotion.
C describes the narrator’s actions, but
that line does not tell us about the
father. D tells o fth e narrator’s regret
at not realizing his father’s devotion.
B describes tw o o fth e loving acts that
the father did for his son. B is the best
answer.
STUD EN T GU ID E
AL45
10. The narrator can best be
11. W h at is the mood o f this
described as w hich o f the
poem?
following?
A
B
C
D
A A child thinking of his life
B A child looking back on the
recent past
regret
anger
happiness
fear
C An adult looking back on his
childhood
D An adult thinking about his
present situation
A ------------
fA
I
Apply strategies, including
m aking complex
predictions, interpreting
characters’ behaviors, and
comparing and contrasting,
to comprehend sixth-grade
recreational materials.
m m im - 2
'
___________________________
Strategy: It is not likely that this poem
was written from the point of view
of a child. It ends with the narrator
looking back and com m enting on w hat
he didn’t know at the tim e he was a
child. Therefore, the poem must have
been written when he was already an
adult. You can rule out A and B. D is
also incorrect; past-tense verbs are a
clue that the narrator is talking about
the past, not the present.The poem is
written from the point of view of an
adult reflecting on the past, so
C is correct.
Strategy: While the narrator does
describe the house as angry and says
that he feared it, the overall mood of the
poem is not angry or fearful, so B and D
can be elim inated.The poem describes
harsh conditions that do not make the
mood happy, so C can also be ruled out.
The poem is about how the narrator’s
father sacrificed for him and how he
didn’t realize it at the tim e.The narrator
seems regretful, so A is correct.
ALABAMA P
12. W rite two sentences that express the theme o f this poem in your own words.
Score
Point
3
2
1
0
n
The response should
The response demonstrates the student’s understanding of the them e of the poem. Examples
could include, but are not limited to, the follow ing:
• Som etim es kids do not appreciate their parents.
• It is im portant to realize the sacrifices people make to make other people happy.
• You should understand people’s m otivations before you judge them.
• People express love in different ways.
The response demonstrates a general understanding of the them e of the poem. However, the
answer lacks the depth and completeness of a score point 3 response.
The response shows a limited understanding of the them e of the poem
OR
the response inaccurately explains the them e of the poem.
The response demonstrates no attem pt to address the prompt.
c
Interpret
literary elements
Strategy: Think about w hat the them e of the poem is. Reread the poem and
ask yourself w hat it is about. W hat is the speaker describing? W hat question
does he ask at the end?
STUD EN T GU ID E
AL47
School All Year Around?
The first paragraph
tells w hat the issue is
and clearly states the
writer’s belief about it.
These paragraphs offer
support for the w riter’s
opinion. Each paragraph
deals with a separate
reason why the writer
feels year-round school
is a bad idea.
The quality of education in the U.S.
has declined and experts have been
looking for a way to improve it. A recent
► proposal has been to go from a traditional
nine-month calendar to an all-year
program. Supporters of year-round classes
claim that the system gives students a
better education. They are wrong. In
addition, year-round school does not
benefit taxpayers.
Keeping schools open for twelve
months ends up costing the school
district and the community more money
than a traditional nine-month schedule.
More money would be needed to pay
the salaries of teachers and staff. It also
takes additional funds to run the school
all year. In addition, the cost of needed
supplies would increase by more than 33
percent. Transportation, equipment, and
maintenance costs would also rise.
The quality of life in communities
would also be affected. With school
in session during the summer, families
would have a harder time taking
vacations. Research shows that students
would be more likely to tire physically
and mentally without an extended
summer break. Learning would,
therefore, become that much harder.
Teachers would not have enough time to
prepare for the incoming class, and
an unprepared or under-prepared
teacher means more time wasted in
the classroom.
The biggest problem, however,
would be the adaptation to the schedule
on the part of students and teachers
alike. After years of following one
system, people are going to have a hard
time making the transition. When
would teachers have the time they need
to take additional classes to improve
their teaching? Students moving out
of the district would be in conflict
with a district that had a nine-month
schedule. For military families subject
to unexpected transfers, the year-round
schedule would be a nightmare.
The education system in the United
States does need to change. Students
in other advanced countries regularly
outperform those in this country.
However, year-round school is not what
students need. The program has too
many downfalls and not enough benefits.
Costs, scheduling, and recreation are
problems too big to ignore. To improve
the performance of American schools, we
need to concentrate more on what takes
place in the classroom. The nine-month
schedule must remain in place.
This sentence explains that, while
the writer agrees there are problems
with American schools, he or she
believes that those problems should
be addressed by focusing on w hat
happens in school, not how many total
days students actually attend school.
AL48
STUD EN T GU ID E
____________________________________
The writer quickly
reviews his or her point
of view and tells w hat
he or she thinks should
happen.
ALABAMA £
13. W h ich o f the following
14. Read this sentence from
best describes the author’s
m ain idea?
the passage.
“To improve the
A A twelve-m onth school year
perform ance of Am erican
schools, we need to
is needed in the United States.
B Twelve-month school
con cen tra te more on
w hat takes place in the
classroom .”
years are expensive and
unnecessary.
C Am erican education has
declined in the U nited States.
D Students w ould have a hard
tim e adjusting to a twelve
m onth school year.
rA ---------------
In this sentence, the word
con cen tra te means to —
A
B
C
D
focus
w ander
plan
thin k
Recognize the use of text
elements, including implied
m ain idea, explicit causeeffect relationships, and
persuasive techniques, in
sixth-grade informational
and functional reading
materials.
.
Strategy: A is incorrect because it is just
the opposite of w hat the author says in
the first paragraph. C is also incorrect.
Although the author suggests that
Am erican schools need to be improved
because education has declined, that
is not the main idea of the passage.
D is incorrect for the same reason. It is
a fact, but not w hat the entire passage
is about. All the points the author makes
address the idea that longer school
years would cost more and are not
needed, so B is the best answer.
Content Standard 6.3.C:
1
U sing context clues to
determ ine m eaning
Strategy: To answ er this question, reread
the sentence and replace concentrate
w ith each of the answer choices.
B is incorrect; wander means “drift” or
"roam around.” It does not make sense
in the context of this sentence. Plan
also does not make sense; therefore,
C is incorrect. Think can mean the same
thin g as concentrate, however,"think
more on w hat takes place” does not
make as much sense as "focus more on
w hat takes place.” A is correct. Focus and
concentrate are close in m eaning in this
case. Both words im ply that we need to
pay attention to w hat takes place in
the classroom.
ST U D E N T G U ID E
AL49
16. According to the passage,
15. O ne detail that supports
the idea that “T he quality
which is true o f schools
of life in com m unities
in some other countries?
w ould also be affected.”
is —
A
A T heir students go to school
fewer months than students
in the U nited States.
“It also takes additional funds
to run the school all year.”
B T hey spend more m oney on
B “In addition, year-round
school does not benefit
C
education.
C
Teachers in other countries
taxpayers.”
receive higher salaries than
“Students moving out of the
teachers in the U nited States.
district w ould be in conflict
D T heir students perform
w ith a district that had a
better than students in the
nine-m onth schedule.”
U nited States.
D “W ith school in session
during the summer, families
w ould have a harder tim e
taking vacations.”
f A -----------------------1
Content Standard 6.i.a:
Identifying supporting
details
Strategy: When you come across a
question like this, the best strategy is to
find the sentence in the passage.Then,
reread that part of the passage and see
which answer choice appears in that part
of the passage. In this case, only D appears
in the same paragraph as the sentence in
the question. D is a supporting example
of the effect the plan would have on the
quality of life in communities, so it is
correct. A addresses the need for funds
to run schools year-round.This is a school
issue, not a quality of life issue, so you
can eliminate A. B deals with the effect of
year-round school on taxes and is not the
best answer choice. C focuses on students,
not the community as a whole, so you
can eliminate it as well.
---------------Content Standard 6.3:
Apply strategies that
include m aking complex
predictions, identifying the
likely source of a text, and
com paring to comprehend
sixth-grade inform ational
materials.
V
- ................................. ^
Strategy: Skim the passage to see where
it mentions schools in other countries—
in the last paragraph.The passage does
not compare the length of the school
year in other countries to that of the
United States, so there is no support for A
For sim ilar reasons, you can eliminate
B and C. Schools in other countries may
or may not spend more on education
in general or on teachers' salaries; we
can’t determine that from this passage.
However, the author does state in the
last paragraph that students in other
countries outperform students in the
United States.Therefore, D is correct.
ALABAMA £
Chang-Su’s Chocolate Chunk Cookies
Like all recipes, this
one gives step-by-step
instructions in order.
Look for transition
words like then, next,
and now.These help the
reader understand the
order o fth e steps.
Before w riting, authors
determine a purpose
and an audience.These
decisions help authors
choose their structure
and their language.
Look for clues regarding
this author’s intended
audience.
1/2 cup margarine
2 cups rolled oats
1 egg
1/2 teaspoon vanilla
1 chocolate bar
1 cup flour
1/2 cup brown sugar
1/2 teaspoon baking powder
1 cup chopped walnuts
1/2 teaspoon baking soda
1 bag of milk chocolate chips (12 ounces)
1/2 cup granulated (white) sugar
Directions
After getting out all of the ingredients, preheat the oven to 375° F. Then, get out
the mixer, bowl, and measuring spoons. Place the margarine, egg, granulated sugar,
and vanilla in the bowl and use the mixer to cream the four items together. Then,
add the baking powder, baking soda, brown sugar, rolled oats, and flour. Mix all these
items thoroughly.
Next, you will need to get a knife and cutting board and carefully cut the chocolate
bar into small pieces. It might be a good idea to have an adult help you with this
because cutting chocolate can be difficult. Once the chocolate is cut, carefully stir it
into the dough with the chocolate chips and chopped walnuts.
Now, you can start making the cookies. Roll teaspoon-size amounts of dough into
balls. Then, place the cookie balls 2 inches apart on a greased cookie sheet. Place the
cookie sheet in the preheated oven and bake the cookies for 8—10 minutes or until
they are golden brown. Once you remove the cookie sheet from the oven, immediately
take the cookies off with a spatula. Then, place them on a cooling rack.
The last step is to pour a glass of milk and enjoy a plateful of these delicious
chocolate chunk cookies! Enjoy!
When reading directions,
placing the inform ation in a
graphic organizer can help
clarify the order o fth e steps.
In a recipe, ingredients w ill be listed
first. The list tells you the exact am ount
of each ingredient that you will need.
The directions tell you how to use the
ingredients to make the cookies.
STUDENT GU ID E
AL51
18. W h y did the author m ost
17. W h at should you do
likely include the second
sentence in paragraph 2?
after adding baking soda,
baking powder, sugar,
oats, and flour?
A To add more excitem ent to
A Get out the mixer, bowl, and
the piece
B To help protect the baker
m easuring spoons.
B M ix the items together.
C Add the chocolate chunks,
chocolate chips, and nuts.
D Place the cookie balls on a
from danger
C
To give adults a chance to
bake
D To allow children to have a
break w hile baking
greased pan.
Content Standard 6.3.d:
Identifying sequence of
events
D
Strategy: Look back at the first
paragraph of the recipe. Find the step
that tells you to add baking soda,
baking powder, sugar, oats, and flour,
and then look at the step directly after
it. The recipe tells you to m ix the items
thoroughly, so B is the correct answer.
You get out the mixer, bowl, and spoons
before adding the ingredients, so A is
not correct. You don’t add the chocolate
and nuts until you have thoroughly
mixed everything else, so C is also
incorrect. The recipe tells you to place
the cookie balls on a greased pan after
you have mixed and added all of the
ingredients, therefore 0 can also be
eliminated.
Content Standard 6.6 :
purpose as entertainm ent,
inform ation, or persuasion
in selected works.
D
Strategy: Reread the second sentence
in paragraph 2, "It m ight be a good
idea to have an adult help you with
this because cutting chocolate can be
difficult.” This is a w arning to the reader,
so B seems like the correct answer. You
can elim inate A because the w arning
is a serious one and it is not meant to
add excitem ent to the recipe. You can
also elim inate C because although the
author suggests that it would be a good
idea to have an adult help, she does not
mention anything about giving adults a
chance to bake. The author states that
the reason for considering the help of
an adult is the difficulty of the task, not
to allow tim e to take a break, so you can
elim inate D. B is the correct answer.
ALABAMA £
19. W hich is the best step to
20. W h ich organizational
place in the blank oval of
structure best describes
this graphic organizer?
“C hang-Su’s Chocolate
C h un k Cookies”?
Steps for M aking Chang-Su’s
Chocolate Chunk Cookies
A
B
C
D
Cause and effect
Problem and solution
Sequential order
O rder o f im portance
A Place the cookie balls on a
greased pan.
B Add the chocolate chunks,
chocolate chips, and nuts.
C
Get out the mixer, bowl, and
m ain idea, explicit causeeffect relationships, and
sixth-grade inform ational
or functional reading
materials.
m easuring spoons.
D Pour a glass o f m ilk and
enjoy these delicious cookies.
Content Standard 6.3-d:
identifying sequence of
events
D
Strategy: This graphic organizer breaks
down the steps in the recipe to show their
order. Look back at the recipe and locate
the information in each of the filled-in
ovals. Find the step in the recipe that is
m issing from the organizer.The correct
answer is B. The second paragraph tells
you to cut the chocolate into chunks and
add it to the mix along with the chocolate
chips and walnuts. A comes after the step
in the last oval, so it is incorrect. C is the
second step in the recipe and would be
placed before the first oval, so it is not
correct, either. D is the last step in the
recipe, so it can also be eliminated.
Strategy: To answ er this question,
analyze the author’s organization.
She doesn’t explain a cause and its
effect. She doesn’t discuss a problem
and offer a solution. She does provide
directions for m aking cookies that must
be performed in a particular order. She
doesn’t discuss the most important
details first, but rather the details that
m ust be performed first. C is the best
answer.
STUD EN T GU ID E
AL53
If you do not recognize
a word, look at nearby
words and phrases
to try to determine
the m eaning of the
unfam iliar word.
O new ay readers can
make sure that they
understand the main
ideas in a passage is to
paraphrase the author’s
ideas, or restate them in
their own words.
Topiary: A Living Art
^
^
(1)
The garden art of training, pruning, and cutting live shrubs and trees into
ornamental designs and figures is known as topiary. Topiary works best with thickly
leaved evergreen shrubs such as cypress and yew. The plants can be clipped into
shapes that serve as decorations for landscape gardening or can be made to resemble
“live” statues. At Green Animals, a topiary garden in Portsmouth, Rhode Island, a
playful monkey and a proud deer are only a couple of the creations on display.
(2)
Topiary hasn’t always been elaborate. Although it is not known when topiary
art began, it is known that the Romans practiced topiary by shaping plants into
geometric shapes such as pyramids and cones. Topiary became extremely popular
and ornate in the 17th and 18th centuries, as people created detailed animal
shapes such as giraffes and peacocks. In some cases, entire gardens have been
sculpted into complex mazes, as seen at Hever Castle in Kent, England. Topiary
is not so common today and is usually found only in specialized private gardens,
botanical displays, and formal parks.
Authors of nonfiction often include
both facts and opinions. Remember
that facts can be proved true.
Although facts may support an
opinion, an opinion is a statem ent of
belief that cannot be proved true. To
identify opinions, look for words such
as best, which im ply judgm ent.
Authors of nonfiction usually begin
their paragraphs with topic sentences
that tell readers the main idea of the
paragraph. The sentences that follow
provide details and elaborate on the
stated main idea.
AL54
STUD EN T GU ID E
A L A B A M A J|
21. You w ould m ost likely
22. W hich sentence best
find this passage in —
describes the author’s
A
B
C
D
m ain idea in paragraph 1 ?
an atlas
a magazine about gardening
A
“Topiary works best with
a book about jungle anim als
thickly leaved evergreen shrubs
an autobiography
such as cypress and yew.”
B
“The garden art o f training,
pruning, and cutting
materials.
D
live shrubs and trees into
ornam ental designs and
figures is known as topiary.”
C
“T he plants can be clipped
into shapes that serve as
decorations for landscape
gardening or can be made to
resemble ‘live’ statues.”
Strategy: Think about w hat the content
of these different books is like and
whether this passage would fit in to
any of these books. For example, you
know that atlases contain maps and
geographical inform ation.Though
this passage does contain the names
of some specific places, describing
those places is not the main focus of
the passage. So, A can be eliminated.
M agazines usually contain short articles;
a m agazine that specializes in gardening
articles is likely to publish this passage.
6 is the best answer. Although this
passage mentions topiaries in the
shape of jungle anim als, it is not the
main idea; C is not the best answer. An
autobiography contains information
about the life of its author. Since the
article does not even mention its author,
you can elim inate D also.
D “At Green Animals, a topiary
garden in Portsmouth, Rhode
Island, a playful monkey and
a proud deer are only a couple
of the creations on display.”
main idea, explicit cause-effect
relationships, and persuasive
techniques, in sixth-grade
inform ational and functional
reading materials.
D
Strategy: Identify w hat this paragraph
is m ostly about. Remember that the
main idea is generally stated in a
topic sentence at the beginning of a
paragraph. Most o fth e sentences about
topiary in the first paragraph provide
supporting details for the sentence that
defines topiary.Therefore, B is correct.
STUD EN T GU ID E
AL55
24. W hich statem ent is the
23. W hich quote from the
best paraphrase of the
m ain idea in paragraph 2?
article is an opinion?
A
“Topiary became extrem ely
popular and ornate in the
A Topiary has always been a
very complex and elaborate
17th and 18th centuries.”
B “In some cases, entire
gardens have been sculpted
B Present-day topiary is simpler
into complex mazes, as seen
than it was in earlier times.
at Hever Castle in Kent,
C
Topiary was once m uch
sim pler than it is today.
E ngland.”
C
art.
. .the Romans practiced
topiary by shaping plants
D Topiary has always been a
very sim ple and practical art.
into geom etric shapes such as
pyram ids and cones.”
D “Topiary works best w ith
thickly leaved evergreen shrubs
such as cypress and yew.”
▲
—
Content Standard 6 .4 :
main idea, explicit causeeffect relationships, and
materials.
Strategy: To answer this question correctly,
remember that facts can be proved true.
Opinions are statements of belief that
cannot be proved true.Think about how
you might prove the truth of each answer
choice. You might consult history books to
find out about topiary in the 17th and 18th
centuries and in ancient Rome. You might
visit or view pictures of Hever Castle.
However, which shrubs yield the best
topiary designs is a matter of individual
opinion.Therefore, D is the best answer.
f A --------------------------Content Standard 6.3:
materials.
Strategy: To answer this question,
remember that a paraphrase restates
the same idea as the original text
in your own words. If the m eaning
changes, it’s not a paraphrase.Think
about which answer choice means the
same thin g as the original text. A, B, and
D change the m eaning of the original
main idea. C is the best answer.
ALABAMA £
Clara Barton
Founder of the American Red Cross
Spending her entire life helping others, Clara Barton (1821—1912) was a nurse,
educator, governm ent employee, ambassador o f peace, relief worker, author, and speaker.
The organization she founded, the Red Cross, helps millions ofp eop le each yea r around
the world.
1
Readers can use details
such as these to make
generalizations about
a person’s values and
beliefs.Think about
w hat this detail about
Barton’s salary tells
readers about her
beliefs regarding gender
equality.
2
3
4
A person’s feelings
usually motivate his or
her actions.Think about
w hat Barton’s feelings
of resentment caused
her to do.
Clara Barton first learned to care for others when she was only 12 years old.
Her older brother David was repairing a barn at their farm in North Oxford,
Massachusetts, when he suddenly slipped. The long fall nearly killed him. For two
years, Clara stayed by her brother’s side day and night until he was well. Without
Clara, he said, he would have died.
When she returned to school, Barton invested as much energy in getting an
education as she had in taking care of David. By the time she was 17, Barton was
hired to serve as the teacher of younger children. The school board decided she
could handle the most difficult children. Realizing she was getting jobs that had
only gone to men teachers before, Barton demanded a man’s salary. She convinced
the school board she was right.
In 1850, she decided to further her own education at a college in New York.
Then she moved to Bordentown, New Jersey, where she taught in a private school.
As she walked down the street, poor children asked her why there wasn’t a school ^
for them to attend. Her compassion caused Barton to leave the private school and
start the first public school in Bordentown.
When the doors opened, 600 poor children showed up wanting to learn
to read, write, and do math. However, the public school board hired a man to
supervise the school. He was jealous of Barton’s popularity with the students and
their parents. She resented the fact that a less qualified person was her superior.
In 1854, Barton quit her job and moved to Washington, D.C.
Readers can also use text details to draw conclusions
about events. Think about w hat the text says and
w hat you know from your own experiences. Private
schools generally require students to pay tuition
fees. Based on this inform ation, w hy w ouldn’t poor
children be allowed to attend these schools?
STUD E N T G U ID E
AL57
In spite of the fact that no women worked for the
federal government at that time, Clara Barton convinced officials that her
education qualified her to copy important documents. This job was done by hand.
Barton spent her days copying page after page of documents. She learned in detail
how government operated and how to get things done.
That knowledge was important when the Civil War broke out in 1861.
Barton was horrified at the condition of the mangled soldiers who were shipped to
Washington for medical treatment. She rushed home and began making bandages.
She also wrote urgent messages to friends and family in Massachusetts seeking
needed supplies.
Within a few weeks, Barton’s home became a storehouse of food, blankets,
candles, and medical supplies. However, there was no organized effort to get
significant medical help to wounded men on the battlefield. Barton decided she
must do something.
In 1862, the 40-year-old woman received permission to load a wagon with
medical supplies and head right into the heart of the fighting. At the Battle of
Cedar Mountain, Dr. James Dunn was completely frustrated. He was surrounded
by bleeding, screaming, and dying men. However, he lacked supplies with which
to help them. Barton arrived with her wagon of medical supplies. Dunn said when
she appeared, he thought she was an angel sent from heaven to bring relief to the
battlefield.
Angel o f the Battlefield
Use context clues
to determine the
meaning of unfam iliar
vocabulary. Look at
other words in the
same sentence and in
surrounding sentences.
If Barton felt horrified,
w hat m ight the word
mangled mean?
Authors make
comparisons to help
readers think about
fam iliar situations
in new ways. On a
battlefield, why m ight
Dunn have compared
Barton to an angel?
By the time the war ended in 1865, Barton was
known to people throughout the North. When families did not know where to
find a lost loved one, they often wrote to Barton seeking her help. She organized
a national effort to identify unknown soldiers. At least 22,000 families across the
North were helped by Barton’s efforts to learn the fate of their loved ones.
Next came a series of speaking engagements, in which she encouraged
Americans to help others. After the speaking tour, the exhausted Barton decided to
take a trip to Europe to rest.
Reputation for Compassion
10
AL58
ST UD E N T GU ID E
ALABAMA £
26. Barton w ould m ost likely
25. The author provides
enough evidence to show
have agreed that —
that —
A wom en are better health care
A fewer than 15,000 soldiers
professionals than men
B people should always keep
died during the C ivil W ar
B there were no schools in
storehouses o f food and
m edical supplies
M assachusetts when Barton
C
was a teenager
C
m en and wom en should be
Barton was the only person
given equal pay for equal
to ever serve as president of
w ork
D her efforts during the Civil
the Am erican Red Cross
D m any children in
W ar provided little help for
Bordentown, N ew Jersey,
the soldiers
could not afford private
school fees
f AContent
----------------------Standard 6.3.a:
Draw ing conclusions to
extend m eaning
Strategy: Note that poor children
wanted to attend school, but they
could not attend the private school.
Think about w hy this m ight have been.
The fact that Barton helped 22,000
fam ilies find loved ones during the Civil
War suggests that more than 15,000
soldiers died, so A is not correct. Barton
did attend school as a teenager, so
B is not correct. Someone now serves
as the president of the Red Cross, so
Barton was not the organization’s only
president. D is the correct answer.
r
-------------Content Standard 6.i.d:
M aking generalizations
from text information
Strategy: Note that Barton demanded
a m an’s salary when she realized that
she w as doing a job previously held only
by men. However, the passage does not
im ply that Barton believed that women
were better health care professionals
than men, so A is not correct. Though
the passage says that Barton stored
food, blankets, candles, and medical
supplies during the Civil War, it does not
say w hether she believed that this was
som ething people should always do, so
B is not correct. Barton’s efforts during the
Civil War helped m any soldiers, so you
can elim inate D. C is the best answer.
STUD EN T GU ID E
AL59
28. The purpose o f this
27. W h at is one factor
passage is to —
that helps explain w hy
Barton quit her job
as a schoolteacher in
Bordentown, N ew Jersey?
A
im portant person
B convince readers to
A She w anted to attend college
in New York.
B She wanted to help
w ounded soldiers.
C
She needed to care for
her brother.
tell a funny story about an
contribute to the Red Cross
C
let readers know about
different jobs wom en
can have
D inform readers of the life of
Clara Barton
D She felt that her supervisor
was hired unfairly.
f AContent Standard 6.6 :
A --------------------------Content Standard 6.4 :
main idea, explicit causeeffect relationships, and
materials.
Strategy: To answer this question,
review the part of the passage
that deals with Barton’s work as a
schoolteacher in Bordentown. After she
opened a public school in Bordentown,
the school board hired a man who
was not as qualified as she was, so she
quit.Therefore, D is the correct answer.
She became a schoolteacher after she
attended college, so A is not correct.
She did not want to help soldiers until
she moved to W ashington, D.C. and the
Civil War started, so B is not correct. She
cared for her brother when she w as only
12 years old, so C is also incorrect.
i
purpose as entertainm ent,
inform ation, or persuasion
in selected works.
Strategy: To answer this question
correctly, think about w hat the passage
does. It inform s us of Barton's life and
work. It is not a funny story, so you can
elim inate answ er choice A. B is incorrect
because the author is not trying to
convince the reader to do anything.
While the passage does describe
different jobs that one wom an had,
C is not the correct answer choice.
The passage describes Barton’s life,
so D is the correct answer.
ALABAMA £
DIRECTIONS:
The following questions are not related to any passage you have read.
Read each question and decide which is the best answer to the question.
29. W h at is the best example
30. W h at is the best example
o f personification?
A The gray clouds let us know
o f personification?
A At the garage sale, the books
it was going to rain.
B The gray clouds cried their
flew off the shelves.
B The books in m y bag seemed
tears onto the land below.
C
The gray clouds were full of
rain.
C
T he book stared at me from
the shelf, w anting to be read.
D The gray clouds were gone
after the storm.
to w eigh a ton.
D T he book was like a question
w ith no answer.
D
Strategy: While “let us know” seems
like it m ight be personification, this
is not the best exam ple am ong the
answer choices, so A is not correct.
"Cried their tears” is a human trait used
to describe the clouds, so B is a good
exam ple of personification. C and D are
not exam ples of personification. B is the
best answer.
□
Strategy: In A, the books "flew off the
shelves.” W hile this m ight seem like
an exam ple of personification, it is not
the best answer, as people don’t fly. B is
also incorrect; the fact that the books
“seemed to w eigh a ton” has nothing
to do with human characteristics.
D is an exam ple of a simile— the writer
compares the book to a question with
no answer. C is the correct answer.
STUD EN T GU ID E
AL61
31. Choose the word that best
32. Choose the word that best
completes the sentence.
completes the sentence.
P lease____________down the
M ark and Jayden played
candlesticks on the table.
__________ best today in
A
B
C
D
r
A
sit
set
sat
seat
the game.
A
B
C
D
his
its
their
your
------------------------------------------------------
Utilize vocabulary and
spelling skills, including use
o f homonyms, synonyms,
and antonyms in w riting.
Strategy: You must choose the correct
tense of the verb to sit to complete
the sentence. B is correct;you would
set down som ething on a table. A is
incorrect.The candlesticks can sit on
the table, but when they are placed
on the table, they are set. C is in the past
tense and is incorrect. You would not
ask someone to do som ething using the
past tense of a verb. D does not work,
either. You can seat a person (as an usher
at a theater m ight do), but you cannot
seat an object.
r AContent
------------------Standard 6.12:
Apply gram m ar
conventions in w riting
w ith consistent verb tense;
nominative, objective, and
possessive pronouns; and
subject-verb agreem ent
when interrupted by a
prepositional phrase.
Strategy: Here, you m ust look for the
pronoun that properly takes the place
of the subject, Mark and Jayden. Mark
and Jayden are tw o people; therefore,
you are looking for a plural pronoun. So,
elim inate A, which is singular. Eliminate
B because Mark and Jayden are people,
so you would not use "its” to describe
them . C is correct. “Their” is the proper
pronoun— it is plural. Finally, D is not
correct."Your” is in the second person,
and you need to choose a pronoun that
represents the third person.
ALABAMA £
33. Choose the sentence that
34. Choose the sentence
has correct punctuation.
that includes the proper
capitalization.
A Sally asked, “C an I borrow
your notebook?”
A T he king and i is m y favorite
B Andrew, can you read w hat
the sign says, “asked Jam es.”
C “It is wonderful, said M aura.
D “Joanne, can you please
present your report to the
class, asked M r. A ndes.”
m usical.
B The King and I is m y favorite
m usical.
C
The king and I is m y favorite
m usical.
D the King and I is m y favorite
m usical.
r A —
—
Use punctuation correctly
in w riting, including
apostrophes to show
possession and semicolons
jo in in g two independent
clauses.
Strategy: This question tests your
knowledge o fth e use of quotation
marks to set off the words of a speaker.
When you use quotation marks for this
purpose, they should come im m ediately
before and after the quote. The marks
should only enclose the quote, not any
other part o fth e sentence. A is correct.
The quotation marks are in the correct
place. B is incorrect; the quotation
marks are around asked James instead
of Andrew, can yo u read what the sign
says. C is incorrect because only the
opening quotation mark is included.
The quotation mark after wonderful
is m issing. D is incorrect because the
quotation marks surround the whole
sentence, not ju st the quote.
------------------r AContent
Standard 6.11:
Apply the rules governing
capitalization of proper
adjectives, map directions
and regions o fth e
country, seasons, titles,
words show ing fam ily
relationships, subjects
and courses, and divided
quotations.
Strategy: To correctly answer this
question, recall the rules for capitalizing
a title. The King and I is the title of a
musical. B is correct: The is capitalized
because it is the first word in the
title. King is capitalized because it is a
noun. And is lowercase because it is a
conjunction. I is capitalized because I
is always capitalized. In addition, / is
the last word of the title. A is incorrect
because king and i are not capitalized.
C is incorrect because king is not
capitalized. D is incorrect because the is
not capitalized.
STUD EN T G U ID E
AL63
nm
IN TR O D U CIN G THE
ESSEN TIA LS
Literary Genres Workshop
Reading Strategies Workshop
Writing Process Workshop
The Power
of Ideas
What Are Life’s Big Questions?
The ch a lle n g e s w e face in life can raise m a n y q u e stio n s, in c lu d in g th e ones
sh ow n here. Such q u estio n s ge t us th in k in g a b o u t ideas— such as frien d sh ip ,
freedom , and fittin g in— th a t affect our lives. Th ro u gh our a tte m p ts to find
answ ers, w e com e closer to u n d e rsta n d in g our choices, actions, and m istakes.
Som etim es, reading a pow erful piece o f literature can help us m ake sense of
how w e go t w here w e are and w here w e w a n t to go now.
What is a
Who’s really
There’s nothing better than spending tim e w ith a true
Som e people w a n t to tell you how to live yo u r life,
friend— w hether that friend is som eone you r age, an
g iv in g o p in io n s a b o u t e v e ry th in g fro m w h a t you
older person w ith w isdom to share, or even a fam ily
should w ear to w h a t you should be w hen you grow
pet. How do you know for certain that you have a
up. It’s good to listen to advice, but how can you be
friend you can count on in good and bad tim es? M any
sure you're ch a rtin g yo u r ow n course? In th is book,
o fth e stories, poems, and plays yo u ’ll read in this book
y o u ’ll m ee t all kin d s o f ch aracte rs and real people
will help you think about w h at it takes to be a friend.
w h o have to decide w h o ’s really in charge.
FRIEND?
IN CHARGE?
When is
When is
m ore than m uscle?
Ch an ge is all around you. Leaves turn from green to
Stre n gth isn ’t a lw a y s p h ysical. Em o tio n al stre n g th
night. You deal w ith change at the start o f each school
and co urage can be ju s t as p o w e rfu l. T h is book is
year w hen y o u ’re faced w ith new classes, new friends,
STRENGTH
CHANGE good?
red, birds m igrate fro m north to south, day turn s to
fille d w ith ch a ra cte rs w h o fin d an inn er so urce o f
new p ro b lem s. W h y is ch a n g e both e x c itin g and
stre n gth w h en sta n d in g up to b u llie s, c o n fro n tin g
scary? Y o u ’ll co n sid e r th is q u e stio n as you read
deadly creatures, or experiencing im possible problem s.
a b o u t peo ple w h o co n fro n t ch a n ge s, b ig and sm all.
Literary
Genres
Workshop
Reading Literature
You’ve been reading for m ost o f you r life, from yo u r favorite childhood fa iry tales
to the novels, plays, and W eb sites you e n co u n te r today. W h a t m ore can you
possibly learn about reading? In this book, y o u ’ll take your reading to a new level.
G et started by discovering how literature can help you explore ideas th at m atter.
a
ALABAMA
STANDARDS
e Genres
T h in k ab ou t the ideas and q u estio n s th a t you ta lk ab ou t w ith yo u r friends.
READING/LIT/WRITING
STANDARDS
For e xam p le , do you ever w onder about w h a t it m eans to fit in or how it feels
1 Apply strategies to comprehend
5 Analyze materials for
distinguishing characteristics
8 .a Using the steps ofthe
writing process
to be alone? You m ay be surprised to learn th a t w rite rs often exp lore these
sam e ideas, recording th e ir th o u g h ts fo r oth ers to read and consider.
W riters use d iffe re n t fo rm s to share th e ir ideas w ith readers. Som e w riters
dream up novels or poem s, fo r instan ce. O th e rs create b lo gs or m ovie
screenplays. The m ain fo rm s w rite rs use are called
genres.
G EN R ES AT A G LA N CE
FIC T IO N
Fiction refers to made-up stories about characters and events.
• short stories
• novels
• novellas
• fo lk ta le s
POETRY
Poetry is a type of literature in which words are chosen and
arranged in a precise way to create specific effects.
• haiku
• limericks
• narrative poems
DRAMA
Dramas are stories that are meant to be performed.
• com edies
• historical dram as
• radio plays
N O N F IC T IO N
Nonfiction tells about real people, places, and events.
• autobiographies
• essays
• news articles
• biographies
• speeches
• reference articles
T Y P E S OF M E D IA
The word media refers to communication that reaches
many people.
• TV shows
4
T H E P O W E R OF I D E A S
• advertising
• Web sites
R E A D IN G F IC T IO N
ACADEM IC
VOCABULARY
FOR F ICTIO N
There’s n othing quite like being sw ept aw ay by a good w ork o f fiction ,
w h eth er it’s a novel, a short story, or a folk tale. These strategies can
• plot
help you m ake the m ost o f you r journey.
• co n flict
• Make connections. As you get to know the characters, ask yourself:
• ch a racte r
Have I experienced sim ilar situations or feelin gs in m y ow n life?
• se ttin g
• Picture the scene. Note descriptions o f characters and settin gs. Use
• th e m e
these descriptions to help you visualize a lifelike picture in your m ind.
• p o in t o f v ie w
• Predict what will happen. At each tw ist and turn, ask: W h a t’s go in g
to happen next? Then read on to find out if you guessed correctly.
• Track the events. Every story follo w s a plot, or a series o f events that
traces a problem . Keep track o f the events in your notebook.
Read the Model Number the Stars is about a yo u n g girl nam ed
Annem arie, w h o lives in D enm ark in 1943. G erm an soldiers have taken
over her city w ith the intent o f im prisoning all Jew ish people, including
A n n e m a rie ’s best friend Ellen. In th is excerpt, A n n e m arie ch alle n ge s
Ellen to a race. Use the strategies to explore the
key idea o f fear.
from
Number the Stars*
N ovel by
Lois Lowry
Annem arie outdistanced her friend quickly, even though one of her
shoes came untied as she sped along the street called 0sterbrogade,
past the sm all shops and cafes of her neighborhood here in northeast
Copenhagen. Laughing, she skirted an elderly lady in black who carried
a shopping bag made of string. A young wom an pushing a baby in a
carriage moved aside to m ake way. The corner was just ahead.
Annem arie looked up, panting, just as she reached the corner. Her
laughter stopped. Her heart seemed to skip a beat.
“H alte!” the soldier ordered in a stern voice.
The German word was as fam iliar as it was frightening. A nnem arie
had heard it often enough before, but it had never been directed at her
until now.
Close Read
1. W h a t d o y o u t h in k
the soldier w ill say to
Annem arie? M ake a
prediction, based on
w h at y o u ’ve read so far.
2. Key Idea: Fear If you
w ere in a scary situation
like A n nem arie’s, w ould
you be able to hide
your fear? W ould m ost
people be able to?
Explain.
IN TR O D U C IN G THE ESSE N TIALS
5
R E A D IN G PO ETR Y
ESS
A red w heelbarrow , w in d sh ield w ipers, w ar— a poet can create poem s
ab ou t a n yth in g. Yet, poets exp ress th e ir ideas d iffe re n tly than fictio n
w riters do. For exam ple, poets arrange their th o u g h ts in
sentences. Lines are often grouped into
lines, rather than
stanzas, instead o f p aragrap hs.
ACADEM IC
VOCABULARY
FOR P O ETRY
• form
• line
Use th e se strategie s to fu lly ap p reciate any poem you read.
• stanza
• Examine the form. First, notice h ow the poem looks on the page.
• rhythm
Are the lines long or short? Are they grouped into stanzas?
• rhyme
• Notice the punctuation. In a poem, a single sentence can continue over
m any lines. Use the p u n ctu atio n to help you fig u re o u t w h en to pause
w hile reading.
• Read the poem aloud. Listen for the poem ’s m usical rhym es or rhythm s.
• Form a mental picture. Look for w ords and phrases th at can help you
im agine w h a t’s being described.
Read the Model As you read this poem , notice h ow the w riter uses the
description o f an old q u ilt to exp lo re the key idea o f fam ily.
Quilt
Poem by
Close Read
O ur fam ily
is a quilt
Janet S. Wong
of odd rem nants1
patched together
5
in a strange
pattern,
threads fraying,
fabric w earing thin-
10
but made to keep
its w arm th
even in bitter
cold.
1 . rem nants:
6
leftovers; remainders.
1. Read the poem aloud,
pausing only w here
there is punctuation.
H ow m any sentences
are in this poem? H ow
m any lines and stanzas
are there?
2. Key Idea: Fam ily This
poem com pares a fam ily
w ith a quilt. H ow does
this com parison help
you un derstand the
po sitive q u alitie s o f
fam ily?
R E A D IN G D R A M A
I ■
A A dram a is m eant to be acted out for an audience. However, it can be ju st
as e xcitin g on the page as it is on the stage. To read dram a, you have to
visualize the action in the theater o f your m ind. These strategies can help.
• Read the play silently, then aloud with others. Som etim es, hearing
the dialogue can help you better understand w h a t’s happening.
• Read the stage directions. O ften printed in italic type, stage directions
are the w rite r’s notes about e ve ryth in g from the se ttin g and props to
the characters’ fe elin gs and m ovem ents. Use these notes to help you
ACADEM IC
VOCABULARY
FOR DRAMA
• plot
• ch a ra cte r
• act
• scene
• d ia lo g u e
• sta ge directions
picture the setting, action, and characters.
• Get to know the characters. C h a ra cte rs’ w o rd s and actio n s tell you
w h a t th e y are like. Pay atte n tio n to th e ir dialogue, or w h a t th e y say,
as well as the stage directions.
Read the Model Sara is treate d like a p rin cess at sch o o l b ecau se o f
her fa m ily ’s w ealth. A fter her fa m ily fo rtu n e is lost, however, she m ust
becom e a se rv a n t. In th is e xce rp t, Becky, th e scho ol m aid, co m fo rts
Sara. The tw o girls have alw a ys been frien d s, d espite th e ir d iffe re n t
circum stan ces. W h at is th e au th o r su g g e stin g ab o u t the
key idea o f
differences?
from
The £ittle irin cess
N ovel by Frances Hodgson Burnett
D ra m a tize d by Adele Thane
Becky. I just w anted to ask you, miss— you’ve been such a rich young
lady and been w aited on hand and foot. W h at’ll you do now, miss,
without any m aid? Please, w ould you let me w ait on you after I’m done
w ith m y pots and kettles?
5 Sara (w ith a sob). Oh, Becky! Do you remember when I told you that
we were just the same? Not a rich girl and a poor girl, but just two girls.
Becky. Yes, miss. You said it was an accident that I was not you and you
were not me.
Sara. W ell, you see how true it is, Becky. There’s no difference now. I’m
10
not a princess any more, ( b e c k y presses s a r a 5 h a n d to h er cheek.)
Becky. Yes, miss, you are! W hatever happens to you, you’ll be a princess
just the same— and nothing could m ake it any different.
Close Read
1 . H ow does Becky feel
about Sara? H ow does
Sara feel about Becky?
H ow can you tell?
2. Key Idea: Differences
Becky and Sara are
friends, even though
they com e from
different backgrounds.
W hat other differences
can people overcom e in
the nam e o f friendship?
7
Today’s Headlines j
R E A D IN G N O N F IC T IO N
From articles on the W eb to fron t-p age new s, non fiction is all around
you. It includes not only inform ational te xts like encyclopedia entries
and new s articles, but also au to b io g ra p h ie s, e ssays, and speeches.
By reading d iffe re n t ty p e s o f n o n fictio n , you can learn a b o u t real
people, places, events, and issues th a t m atter.
ACADEM IC
VOCABULARY
FOR
NONFICTION
• purpose
• organization
• main idea
• text features
A U TO B IO G R A PH Y /
N E W S A R TIC LE
B IO G R A P H Y
Factual writing that
reports on recent events
The true story of a person’s
life, told by that person
(autobiography) or by
someone else (biography)
ESSAY
A short piece of writing
about a single subject
Homeless Dolphins to Get
Back Together in Bahamas
IACKSON,Miss. (AP|—,
Several doiphins that i
sweptout tosea byHurries
Katrina will soon be reunited ®
Aresort onParadiseIsland
the Bahamas wli! lake on
dolphins fromthe Marinelife Oecausmiir. -eight of whichwen
rescuedfromor
m-».symbol ofesesyihlngthat'stiappcne<
"Thedolphins, I
on llte tiiiil Coast and lo find a newhome fot them that'somethingthat wehopewill happenfot cverytwdvontheanal.'
said Howard Karawan. president and managing director of thi
What
Video
ames
Can
Teach
R E F E R E N C E A R TIC LE
Informative writing
that provides facts and
background on a specific
subject
SPEECH
CONSUM ER DOCUM ENT
An oral presentation of
a speaker’s ideas or
beliefs
Printed material that
usually comes with a
product or a service
COYOTE!
Wildlife Sense and Safety
H O W TO USE Y O U R
DIGITAL m p 3 p l a y e r
A STEP-BY-STEP GUIDE
Strategies For Reading
•
Consider the purpose. Is the w riter tryin g to
persuade, inspire, or inform? Understanding
the purpose can help you know w hat to look
for in the text.
• Note the main ideas. As you read, look for the
main ideas, or the m ost im portant points about
a topic. Record these ideas in a notebook to help
you rem em ber them .
THE P O W E R OF ID E A S
Preview the text. Som e types o f nonfiction
have text features, like subheadings or captions.
Before you read, look at the features to get a
sense o f w h at the te x t is about.
Examine the graphic aids. Photographs and
illustrations also convey inform ation. Think
about how they add to your understanding
o f a topic.
M O D EL 1: R E A D IN G A B IO G R A P H Y
This excerpt is from a biography about Steven Spielberg, a fam o u s m ovie
director. H ow does it help you understand the
^ °m
key idea o f inspiration?
Steven Spielberg:
Crazv> Moi
Biography by
Susan Goldman
Rubin
W hen Steven Spielberg was ten, his father woke him up and took him
out to the desert near where they lived in Phoenix, Arizona. T h ey spread
out a blanket and lay on their backs looking up at the sky. Steven s
father, Arnold Spielberg, liked astronom y and hoped to see a comet
5 that was supposed to appear. Instead, they saw a meteor shower. “The
stars were just tremendous,” recalled Arnold. “T h ey were so intense it
was frightening.” He gave Steven a scientific explanation of w hat was
happening.
“But I didn’t w ant to hear that,” said Steven. “I w anted to th in k of
10 them as fallin g stars.” T hat m em ory of fallin g stars stayed w ith him and
inspired his first full-length movie, Firelight.
Close Read
1. W hat do you learn
about Steven Spielberg
from this excerpt?
2. Key Idea: Inspiration
The m em ory o f a
m eteor show er led
Spielberg to create
science-fiction film s.
W hat other experiences
m igh t inspire people to
pursue certain careers?
M O D EL 2: R E A D IN G A R E FE R E N C E A R T IC LE
Turning a m om ent o f inspiration into a life -lo n g career takes m ore than
ju st w ish in g on a fa llin g star. Hard w ork and a curious m ind are essential.
As you read this W eb article, th in k about the
BACK
FORW ARD
ST OP
REFRESH
HOME
key idea o f curiosity.
PRINT
A ► II O It □
Meteors
Student reference article
1. W h at do you learn
about this article sim ply
by preview ing the title,
the subheading, and the
photograph?
Meteors are small particles of stone and iron
that enter the earth’s atmosphere at great
speeds. Friction with the atmosphere causes
intense heat, triggering the meteor to give off a
brilliant light. This flying bright light creates the
appearance of a shooting or falling star.
Meteorites
Most meteors burn up before they reach the
earth’s surface. Occasionally, though, v e ry
large m eteors—called m eteorites—make
impact with the earth’s surface.
Close Read
This meteorite was
found at the edge of
the Kalahari Desert.
2. Key Idea: C urio sity
People have alw ays
been fascin ate d by
m ysteries of science and
nature. W hat scientific
m ysteries have sparked
your curiosity?
9
R E A D I N G THE M E D I A
Has an ad persuaded you to buy so m e th in g you d id n ’t need? Do you
ever find you rself glued to the television or unable to tear yo u rse lf aw ay
from the Web? M edia m essages influence your life in all kinds o f w ays.
T h a t’s w h y it's im portant to becom e
media literate— th at is, learn how
to “read,” analyze, and evaluate w h at you see and hear.
T Y P E OF M E D IA
F IL M S A N D T V S H O W S
• message
• target audience
• Know what’s happening. Ask
Spot the techniques. Ask yourself:
N E W S M E D IA
Get the facts. Make sure the report
Reports of recent
events in newspapers
and magazines and
on TV, the radio, and
the Web
answers the questions who, what,
when, where, why, and how?
The promotion of
products, services,
and ideas using print
and broadcast media
• medium
S T R A T E G IE S FO R V IE W IN G
Motion pictures,
shown in movie
theaters or broadcast
on television, that
tell stories
A D V E R T IS IN G
ACADEM IC
VOCABULARY
FOR MEDIA
a friend or an adult if yo u ’re
confused about the plot.
How does the director use sound
and visuals to make the story more
interesting?
Evaluate the information.
Ask yourself: Can I trust w hat
I’m seeing and hearing?
FIREFIGH TERS
BATTLE BLA Z E
Recognize the pitch. Consider
w hat the sponsor w an ts the
audience to buy, believe, or do.
Don’t be duped by dazzle. Visuals
and sounds can be persuasive.
Don’t let flashy techniques influence
your decisions.
W E B S IT E S
Know the source. Anyone can
Collections of related
pages on the World
Wide Web; include
hyperlinks and menus
publish on the Web. Ask: Is this
a good source o f inform ation?
THE P O W E R OF ID E A S
Don’t get lost! Alw ays rem em ber
your purpose for visiting a site so
you don’t veer too far o ff course.
QNATlOKAlCtOCRAPHKC0MYirk
Strategies That Work: Literature
O Ask Yourself the Right Questions
Q Make Connections
Som etim es, read in g literature can be a ch alle n ge . T h a t’s
Literature is m ore m ean in gfu l
w h y it helps to ask the righ t q u estion s before, d u rin g, and
w h e n you co n n e ct to it
after you read.
personally. Use these
| Stage of Reading
r
• Connect to Your Life Is fear
1
Before
K n o w w h a t y o u ’re
re ad in g and w hy.
strategies to “get into” a text.
Kinds of Questions
►
• W hat is this selection about?
p a ra lyzin g ? W h a t m akes a
• W hy am 1reading? to be
entertained? to learn something?
y o u r ow n e xp e rie n ce s can
fa m ily ? T h in k ab o u t how
help you u n d e rstan d the
During
• W h at’s happening in the
selection? W hich parts are
Ch eck yo u r
u n d e rsta n d in g .
^
ideas in literature.
• Connect to Other Subjects
co nfu sin g to me?
T h e e ffects o f fear, m eteor
sh o w e rs, careers— the
su b je cts you read ab ou t
can help you learn m ore
ab o u t th e w orld. If a
su b je ct in te rests you,
in v e stig a te it on th e Web.
• W hat details help me to picture
the scene in my mind?
After
A n a lyze the
selectio n and
• W hat m ight be the selection’s
theme, or its m essage about life?
^
• W hat is unique about the
explore its key ideas.
author’s style, or w ay of writing?
O Record Your Reactions
Jo t do w n yo u r q u e stio n s, th o u g h ts, an d im p re ssio n s in a
Reader's Notebook.
Try one o f th e se fo rm ats.
JO U R N A L
G R A P H IC O R G A N IZ E R
W rite yo u r re actio ns as you read.
A fte r reading, create a gra p h ic o rg a n ize r to deepen
yo u r u n d e rsta n d in g o f e ve n ts and characters.
The Lrttle Princess
b&ckjj trea ts Sara. like,
a princess, even though
Sara is no longer rich.
It's interesting th at
b ech j still views Sara
th e sem e way.
2>ecb(s Irarts
Evidence.
p olite
com forting
calls Sara, "miss
p resses S ards hand to
h er cheek
loyal
tells Sara she is still
a princess no Matter
w hat
..
jil „ «■:>
11
Reading
Strategies
Workshop
Becoming an Active Reader
To really a p p reciate stories, poem s, plays, and a rticle s, you have to be able to
u n d e rstan d w h a t y o u ’re read in g. T h e se stra te g ie s can help you u n lo ck the
m e a n in g o f all kin d s o f te x ts , in c lu d in g n ovels, n e w sp ap e rs, b lo gs, and even
blockbuster m ovies. W hich strategies do you recognize? W hich are new to you?
S K IL LS A N D S T R A T E G IE S FO R A C T IV E R E A D IN G
Preview
Visualize
Look at the title, the pictures, and the
first paragraph. What do they tell you
about what you’re about to read?
Picture the scene in your mind, using the writer’s
descriptions of settings, characters, and events.
Set a Purpose
Monitor
Know why you are reading—for
information, for enjoyment, or to
understand a process?
Check your understanding as you read.
Connect
Think about whether the characters
or situations remind you of people or
experiences in your own life.
Use Prior Knowledge
Jot down what you already know
about a topic. Use these notes to help
you make sense of what you read.
• Question w h at is happening and why.
• Clarify w h at is unclear to you by rereading or
asking for help.
Make Inferences
Make logical guesses about characters and events
by considering details in the text and your own
experiences.
Details in
“The Circuit"
What I Know
“Ito, -the
People in charge
g e t w orried or
unhappy when
business slows
down.
stra w b e rry
Predict
Guess what will happen next. Look
for details in the selection that serve
as clues.
sh arecropp er,
did not sMile.'
when the, season
was ending,
Ml/ In-fere-nce
Ito is probably
unhappy th a t th e
strawberry-picking
season is cNer
because that's how
he Makes a living.
M O D EL: SH O R T STO R Y
Panchito is a yo u n g M exican-A m erican boy w h ose fa m ily freq uen tly
m oves in search o f farm w ork. The tim e has com e for Panchito’s fa m ily to
m ove— again. H ow w ill he react? As you read an excerpt from this story,
use the
Close Read questions to practice the strategies you ju st learned.
from
The Circuit^
S h o rt sto ry by Franci sco J i m e n e z
I
t was that tim e of year again. Ito, the straw berry sharecropper, did not
smile. It was natural. The peak of the straw berry season was over and
the last few days the workers, most of them braceros ,' were not picking as
m any boxes as they had during the months of June and July.
As the last days of A ugust disappeared, so did the number of braceros.
Sunday, only one— the best picker— came to work. I liked him .
Sometimes we talked during our half-hour lunch break. T hat is how I
found out he was from Jalisco, the same state in M exico m y fam ily was
from. T hat Sunday was the last tim e I saw him .______________________
W hen the sun had tired and sunk behind the m ountains, Ito signaled
us that it was tim e to go home. “Ya esora, ”2 he yelled in his broken
Spanish. Those were the words I w aited for twelve hours a day, every
day, seven days a week, week after week. A nd the thought of not hearing
them again saddened me.
As we drove home, Papa did not say a word. W ith both hands on the
wheel, he stared at the d irt road. M y older brother, Roberto, was also
silent. He leaned his head back and closed his eyes. Once in a w hile he
cleared from his throat the dust that blew in from outside.
Yes, it was that tim e of year. W hen I opened the front door to the
shack, I stopped. Everything we owned was neatly packed in cardboard
boxes. Suddenly I felt even more the w eight of hours, days, weeks, and
months of work. I sat down on a box. The thought of having to move
to Fresno and know ing what was in store for me there brought tears
to m y eyes.
1. braceros (bra-se'ros) Spanish: Hispanic farm workers.
C lose Read
1. M o n i t o r Reread the
boxed |te xt. W hy is
Panchito sad to hear
the w ords Ya esora this
tim e?
2. Connect If you suddenly
found out th a t you
w ere m oving, w ould
you react as Panchito
does? Consider w hether
you w ould get used to
m oving or dread it every
tim e.
2. Ya esora: a made-up spelling for the sharecropper's pronunciation ofthe Spanish expression
Ya es hora (ya'es-o'ra), which means “It is time.”
13
T
hat night I could not sleep. I lay in bed th in kin g about how m uch I
hated this move.
A little before five o’clock in the m orning, Papa woke everyone up.
A few minutes later, the yelling and scream ing of m y little brothers and
sisters, for whom the move was a great adventure, broke the silence of
dawn. Shortly, the barking of the dogs accom panied them.
W h ile we packed the breakfast dishes, Papa went outside to start
the “C arcanchita.” T hat was the nam e Papa gave his old ’38 black
Plymouth. He bought it in a used-car lot in Santa Rosa in the w inter of
1949. Papa was very proud of his car. “M i C arcanchita, ” m y little jalopy,3
he called it. He had a right to be proud of it. He spent a lot of tim e
looking at other cars before buying this one. W hen he fin ally chose the
“C arcanchita,” he checked it thoroughly before driving it out of the car
lot. He exam ined every inch of the car. He listened to the motor, tiltin g
his head from side to side like a parrot, tryin g to detect any noises that
spelled car trouble. After being satisfied w ith the looks and sounds of
the car, Papa then insisted on know ing who the original owner was. He
never did find out from the car salesman. But he bought the car anyway.
Papa figured the original owner m ust have been an im portant m an,
because behind the rear seat of the car he found a blue necktie.
Papa parked the car out in front and left the motor running. “Listo, ”4
he yelled. W ithout saying a word, Roberto and I began to carry the
boxes out to the car. Roberto carried the two big boxes and I carried the
sm aller ones. Papa then threw the mattress on top of the car roof and
tied it w ith ropes to the front and rear bumpers.
Everything was packed except M am a’s pot. It was an old large
galvanized pot she had picked up at an arm y surplus store in Santa
M aria the year I was born. The pot was full of dents and nicks, and the
more dents and nicks it had, the more M am a liked it. “M i olla, ”5 she
used to say proudly.
I held the front door open as M am a carefully carried out her pot by
both handles, m akin g sure not to spill the cooked beans. W hen she got
to the car, Papa reached out to help her w ith it. Roberto opened the rear
car door, and Papa gently placed it on the floor behind the front seat.
A ll of us then clim bed in. Papa sighed, wiped the sweat off his forehead
w ith his sleeve, and said wearily, “Es todo. ” 6
As we drove away, I felt a lum p in m y throat. I turned around and
looked at our little shack for the last tim e. . . .
3. jalo py: a shabby, old car.
4. listo (le'sto) Spanish: ready.
5. m i olla (me o' ya) Spanish: my pot.
6. Es todo (es to'do) Spanish: That’s everything.
C lo s e R e a d
3. M ake Inferences
Reread lines 25- 3 0 .
W hy w ould yo unger
kids— more than
som eone Panchito’s
ag e — view m ovin g as
an adventure?
4. V isu a lize W hat details
in lines 3 1-4 4 help you
to picture the fa m ily car
and the fa th e r’s initial
inspection o f it?
5. Predict Do you thin k
Panchito w ill eventually
adjust to life in Fresno?
Try to guess w h at w ill
happen once he arrives.
Reading Strategies Workshop
Strategies That Work: Reading
O Know Your Purpose
O Take Notes
D eterm ining ahead o f tim e why you are reading can
help you choose the right strategy to use. Consider
these purposes and strategies.
Purpose
Strategy
For enjoyment
D on’t rush. Read at a
com fortable pace for you.
J o ttin g d o w n yo u r im p re ssio n s
as you read can deepen yo u r
u n d e rsta n d in g o f a se le ctio n .
In yo u r n o teb o o k, create a tw o co lu m n ch art. In one co lu m n ,
w rite d e ta ils or q u o ta tio n s
fro m th e se le ctio n . In th e other,
record yo u r th o u g h ts.
To learn or
become
informed
Take notes on the m ain ideas
and su p p o rtin g d e ta ils as you
read.
For research
Skim the su b h ead in gs, captions,
an d g ra p h ic s to q u ic k ly
d e te rm in e if a te x t has the
in fo rm a tio n y o u ’re lo o k in g for.
To follow
directions
"The. Circuit'
My Thoughts J
Panchrto worked
"-twelve hours a
dOLf, even/ daif,
seven days a week,
week after week "
(lines IZ-13;
Thai seeMs like,
an iMpossible
amount o f work
hop Vanchito
won have to
hard
work
when his familyf
Moves
TO
rresno
Be sure you u n derstan d each
step. Use illu stra tio n s or
p h o to g ra p h s as gu id es.
O Create a Personal Word List
W hen you encou n ter w ord s th a t are u n fa m ilia r to you,
look the m up. Start a list o f th e se w o rd s and their
m eanings, and add new w ords as you com e across them .
• Choose your words. C o n sid e r w ritin g d o w n the
vo ca b u la ry w o rd s fo r each se le ctio n , as w e ll as an y
o th er w o rd s you fin d c h a lle n g in g .
• Know more than the definition. K n o w in g syn o n ym s
(sam e), a n to n y m s (oppo site), and co n te xt (use in
a sen ten ce) adds to yo u r to ta l u n d e rsta n d in g o f a
w o rd ’s m e a n in g.
VJord
M eaning
surplus (n )
"The Circuit"
line 51
Definition- extra
Materials or supplies
St/noni/w excess
AntonifW shortage
Sentence: The owners
donated the restaurant’s
surplus o f canned aoods
to a local hospital.
• Practice makes perfect. V is it th e Vocabulary Center
at ClassZone.com fo r m ore practice.
IN TR O D U CIN G THE ESSE NTIALS
15
Writing
Process
Workshop
Expressing Ideas in Writing
W ritin g is a w a y o f d isco ve rin g w h a t you th in k and feel, and also a w a y to share
ideas w ith others. You m ay w rite w ith a practical need— e -m a ilin g a friend w ith
a h om ew o rk question, fo r e xam p le . Or, you m ay have a gran d e r purpose, such as
persuading a politician to see your view point. Either w ay, w ritin g can help you find
your voice and share it w ith the world.
Consider Your Options
Are you w ritin g a speech fo r yo u r school assem bly, a than k-you letter to a
relative, or a m essage -b o ard p o stin g ab o u t last n ig h t’s episode? Before you
capture yo u r ideas on paper, m ake sure you kn ow yo u r
and
format.
PURPOSE
■
A U D IE N C E
Why am I writing?
Who are my readers?
• to entertain
• classm ates
• to inform or explain
• teachers
• to persuade
• friends
• to describe
• m yself
• to express tho ugh ts
and feelin gs
• com m unity
members
• Web users
• custom er service
at a com pany
16
purpose, audience,
■
FORM AT
Which format will best
suit my purpose and
audience?
• essay
journal entry
• letter
research
paper
• poem
• short
story
• review
• speech
script
power
presentation
Web site
Continue the Process
Every w riter e ve n tu ally discovers the process th a t best su its his or her w o rk in g
style. The
Writing Workshops in this book are designed to help you find the path
to your best w ritin g. The process described here can serve as your sta rtin g point.
^ T H E W RITIN G PROCESS
What Should 1 Do?
What Does It Look Like?
F R E E W R IT IN G
PR E W R ITIN G
Explore your ideas in a graphic organizer or
byfreew riting.Then decide w hat you w ant to
It Must be scary living in a -town where soldiers patrol
■the streets. H>ut soMe kids in the world deaJ with
that in their daily lives. Maybe I will write about what
rt takes to be. braJe in scary situations.
write about.
D R A FTIN G
^
Turn your ideas into a first draft. If you’re w riting
a formal essay, you m ay w ant to draft from an
O U T L IN E
I. b
“ eing brave in the face o f fear takes determination
and a calM attitude.
outline. If you’re doing more informal w riting,
consider drafting to discover, letting your ideas
A. Annewarie doesn't le t the soldiers presence stop
her froM racing her friend.
take shape as you go.
£>.
R EVISIN G A N D EDITIN G
Review w hat yo u ’ve w ritten. Are your ideas, style,
and structure solid? Now is the tim e to do finetu n in g in all these areas.
• Check your w ork against a rubric (page 18).
• Ask a
peer to give you feedback.
• Proofread for errors in spelling and gram m ar.
j
^
She retrains calm when the soldier addresses her.
P EE R SU G G E ST IO N S
In NuMber the stars, the Main character is brave.
Suggestion- W hy not begin w ith a More engaging
sentence? Try- AnneMarie Must call on courage when
she least expects to in Lois Low rys novel Ntmber
the Stars.
P U B LIS H IN G
Share your w ritten ideas w ith a co m m u n ity of
readers. W here you publish depends on your
purpose, audience, and format.
17
Do a Self-Check
E ve n p r o f e s s i o n a l w r i t e r s k n o w t h e r e ’s a l w a y s r o o m f o r i m p r o v e m e n t . U s e
t h i s r u b r i c t o d e t e r m i n e i f y o u r d r a f t is s t r o n g in all k e y t r a i t c a t e g o r i e s .
r
KEY TRAITS RUBRIC
Average
Weak
Ideas
• has a clear topic
• supports statem en ts
w ith relevant details
• has a topic th a t n eed s
m o re focus
• includes s o m e details
but not enough
• has no clear topic
• lack s d e t a i l s o r i n c l u d e s
o n e s th a t are unrelated
to th e topic
Organization
• begins w ith an
interesting introduction
and ends w ith a
satisfying conclusion
• has an introduction
and a conclusion, but
they could be more
interesting
• has no introduction or
conclusion
• uses transitions
between ideas
• needs more transitions
to connect ideas
• reflects the w rite r’s
unique personality
• show s a lack o f interest
in the topic
• has a tone that fits the
audience and purpose
• sounds too form al or
inform al at tim es
• uses vivid words
• uses w ords that are
correct, but ordinary
• uses w ords that are too
general or incorrect
• sounds forced or
aw kw ard at tim es
• fails to make the
m eaning clear
• varies sentence length
and type som ew hat,
but not enough
• includes m ostly
short or overly long
sentences
Voice
Word
Choice
Sentence
Fluency
Conventions
18
1
Strong
• expresses ideas in
a w ay that sounds
natural
• includes sentences
o f varyin g length
and type
h a s f e w e r r o r s in
gram m ar, usage, and
m echanics
includes s o m e errors,
b u t r e a d e r s c a n still
fo llo w th e ideas
^
• presents a confusing
ju m b le o f unrelated
ideas
• has no life
• uses a com pletely
inappropriate tone
has so m a n y errors th a t
t h e w r i t i n g is h a r d t o
understand
Writing Process Workshop
Strategies That Work: Writing
O Use Prewriting Strategies
Try d i f f e r e n t s t r a t e g i e s t o g e t
y o u r i d e a s f l o w i n g . Find o n e
th a t w o rk s best for yo u an d for
th e assig nm ent.
• Freewrite. For t e n m i n u t e s ,
jo t d o w n w h a te v e r crosses
y o u r m ind.
• Get graphic. G e n e r a t e i d e a s
in a w e b o r a c h a r t .
• Look and listen. C a r r y a
notebook w hile on th e go
e a c h day. Record in te r e s tin g
sights and conversation s.
• Ask: What if? W h a t i f k i d s
w e r e in c h a r g e o f t h e t o w n
fo r a d a y? You could find an
intriguing topic by a n s w e rin g
a “w h a t i f ” q u e s t i o n .
Q Get Friendly Feedback
C onsider e x c h a n g in g w o rk w ith o th e r writers.
Feed back can help a t a n y s t a g e o f t h e process,
but re m e m b e r th e se guidelines as yo u work.
When You're the Writer
I When You’re the Reader
A sk fo r specific
feedback. Do you w a n t
readers to c o m m e n t on
ideas, or sim p ly check
g r a m m a r an d spelling?
Be o p e n , p atien t, a n d
polite w h e n listening
to o th ers’ suggestions.
R em em ber th at the
final decisions are
y o u r s . C o n s i d e r all
feedback, but only use
w h a t y o u find helpful.
Tell t h e w r i t e r w h a t
y o u like, a s w e l l a s
w h a t yo u think needs
im provem ent.
S u p p o r t all y o u r
feedback w ith
specific e x a m p le s.
R espect th e writer.
K n ow th a t th e w riter
will m a k e t h e final
d e c i s i o n s a b o u t his
or her w ork.
O Read, Read, Read
R eading w o r k b y o t h e r s tu d e n ts , p ro fe ss io n a l w rite rs, a n d classic
a u t h o r s is a v a l u a b l e w a y t o d e v e l o p y o u r s t y l e . S e e k o u t t h e s e s o u r c e s .
LITERATURE
The literature in this book can
serve as inspiration. You can
also look to novels and daily
news sources.
W RITIN G CO M M UNITY
ONLINE RESOURCES
Start a writing group with
your peers. Share your worksin-progress and the finished
pieces you are proud of.
Visit the Writing Center at
ClassZone.com for models
and links to publication sites.
IN TR O D U C IN G THE ESSEN TIALS
19

LITERATURE

Transcription

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