McDougal Littell Literature

McDougal Littell l i t e r at u r e acknowledgments introductory unit Naomi Shihab Nye: “Making a Fist,” from Hugging...

Author: Janet Allen | Arthur N. Applebee | Jim Burke

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McDougal Littell

l i t e r at u r e

acknowledgments introductory unit Naomi Shihab Nye: “Making a Fist,” from Hugging the Jukebox by Naomi Shihab Nye. Copyright © 1982 by Naomi Shihab Nye. Reprinted by permission of the author. International Creative Management: Excerpt from “Twelve Angry Men,” from Six Television Plays by Reginald Rose. Published by Simon & Schuster, Inc. Copyright © 1956 by Reginald Rose. Reprinted by permission of International Creative Management, Inc. Scribner: Excerpt from Kaffir Boy by Mark Mathabane. Copyright © 1986 by Mark Mathabane. Reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group. Scholastic: From “South Africa’s Decade of Freedom” by Michael Wines. Published in The New York Times Upfront, September 6, 2004. Copyright © 2004 by Scholastic Inc. and the New York Times Company. Reprinted by permission of Scholastic Inc. HarperCollins Publishers: Excerpt from “Where Is Here?,” from Where Is Here?: Stories by Joyce Carol Oates. Copyright © 1992 by The Ontario Review, Inc. All rights reserved. Reprinted by permission of HarperCollins Publishers. Continued on page R155

art credits cover, title page Detail of Steppingstones from the Imperial Carriage Stop to the Gepparo (Moon-Wave Pavilion) (1954), Yasuhiro Ishimoto. Katsura Villa. Photo © Yasuhiro Ishimoto. Continued on page R161

Copyright © 2008 by McDougal Littell, a division of Houghton Mifflin Company. All 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. With 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: 978-0-618-51898-2

ISBN 10: 0-618-51898-3

Printed in the United States of America. 1 2 3 4 5 6 7 8 9—DWO—12 11 10 09 08

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McDougal Littell

l i t e r at u r e Janet Allen Arthur N. Applebee Jim Burke Douglas Carnine Yvette Jackson Robert T. Jiménez Judith A. Langer Robert J. Marzano Donna M. Ogle Carol Booth Olson Carol Ann Tomlinson Mary Lou McCloskey Lydia Stack

EVANSTON, ILLINOIS • BOSTON • DALLAS

senior program consultants janet allen

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 for 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.

arthur n. applebee 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 of Teaching and Learning; Literature in the Secondary School: Studies of Curriculum and Instruction in the United States; and Tradition and Reform in the Teaching of 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 burke

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 of 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.

douglas carnine

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.

yvette jackson 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 for the New York City Public Schools and has served as their Director of Gifted Programs and Executive Director of Instruction and Professional Development. robert t. jiménez Professor of Language, Literacy, and Culture at Vanderbilt University. Dr. Jiménez’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. Jiménez 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 of Adolescent and Adult Literacy, and Lectura y Vida.

iv

judith a. langer 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. robert j. marzano 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 for Academic Achievement; Classroom Management That Works: Research-Based Strategies for Every Teacher; and What Works in Schools: Translating Research Into Action. donna m. ogle Professor of Reading and Language at National-Louis University in Chicago, Illinois; Past President of the International Reading Association. Creator of the well-known KWL strategy, 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 for a 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 for Independent Learners; All Children Read; and Literacy for a Democratic Society. carol booth olson

Senior Lecturer in the Department of Education at the University of California, Irvine; Director of the UCI site of the 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 for Teaching and Learning in the Secondary Classroom.

carol ann tomlinson

Professor of Educational Research, Foundations, and Policy at the University of Virginia; Co-Director of the 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 of All Learners.

v

english learner specialists mary lou mCcloskey

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.

lydia stack 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 for Language Learning; and Visions: Language, Literature, Content.

curriculum specialist william l. mCbride

Curriculum 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.

media specialists david m. considine

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.

larkin pauluzzi 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. lisa k. scheffler 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.

vi

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

Gary Chmielewski, St. Benedict High School, Chicago, Illinois

Yvonne L. Allen, Shaker Heights High School, Shaker Heights, Ohio

Delorse Cole-Stewart, Milwaukee Public Schools, Milwaukee, Wisconsin

Dave T. Anderson, Hinsdale South High School, Darien, Illinois

L. Calvin Dillon, Gaither High School, Tampa, Florida

Pat Laws, CharlotteMecklenburg Schools, Charlotte, North Carolina

Linda Valdez, Oxnard Union High School District, Oxnard, California

Diana R. Martinez, Treviño School of Communications & Fine Arts, Laredo, Texas

Nancy Walker, Longview High School, Longview, Texas

Dori Dolata, Rufus King High School, Milwaukee, Wisconsin

Natalie Martinez, Stephen F. Austin High School, Houston, Texas

Jon Epstein, Marietta High School, Marietta, Georgia

Elizabeth Matarazzo, Ysleta High School, El Paso, Texas

Beverly Scott Bass, Arlington Heights High School, Fort Worth, Texas

Helen Ervin, Fort Bend Independent School District, Sugarland, Texas

Carol M. McDonald, J. Frank Dobie High School, Houston, Texas

Jordana Benone, North High School, Torrance, California

Sue Friedman, Buffalo Grove High School, Buffalo Grove, Illinois

Amy Millikan, Consultant, Chicago, Illinois

Kacy Colleen Anglim, Portland Public Schools District, Portland, Oregon

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 Stephen D. Bournes, Evanston Township High School, Evanston, Illinois Barbara M. Bowling, Mt. Tabor High School, Winston-Salem, North Carolina Kiala Boykin-Givehand, Duval County Public Schools, Jacksonville, Florida Laura L. Brown, Adlai Stevenson High School, Lincolnshire, Illinois Cynthia Burke, Yavneh Academy, Dallas, Texas Hoppy Chandler, San Diego City Schools, San Diego, California

Chris Gee, Bel Air High School, El Paso, Texas

Terri Morgan, Caprock High School, Amarillo, Texas

Paula Grasel, The Horizon Center, Gainesville, Georgia

Eileen Murphy, Walter Payton Preparatory High School, Chicago, Illinois

Christopher Guarraia, Centreville High School, Clifton, Virginia

Lisa Omark, New Haven Public Schools, New Haven, Connecticut

Rochelle L. Greene-Brady, Kenwood Academy, Chicago, Illinois

Kaine Osburn, Wheeling High School, Wheeling, Illinois

Michele M. Hettinger, Niles West High School, Skokie, Illinois

Andrea J. Phillips, Terry Sanford High School, Fayetteville, North Carolina Cathy Reilly, Sayreville Public Schools, Sayreville, New Jersey

Elizabeth Holcomb, Forest Hill High School, Jackson, Mississippi

Mark D. Simon, Neuqua Valley High School, Naperville, Illinois

Jim Horan, Hinsdale Central High School, Hinsdale, Illinois

Scott Snow, Sequin High School, Arlington, Texas

James Paul Hunter, Oak ParkRiver Forest High School, Oak Park, Illinois

Jane W. Speidel, Brevard County Schools, Viera, Florida

Susan P. Kelly, Director of Curriculum, Island Trees School District, Levittown, New York Beverley A. Lanier, Varina High School, Richmond, Virginia

Kurt Weiler, New Trier High School, Winnetka, Illinois Elizabeth Whittaker, Larkin High School, Elgin, Illinois Linda S. Williams, Woodlawn High School, Baltimore, Maryland John R. Williamson, Fort Thomas Independent Schools, Fort Thomas, Kentucky Anna N. Winters, Simeon High School, Chicago, Illinois Tonora D. Wyckoff, North Shore Senior High School, Houston, Texas Karen Zajac, Glenbard South High School, Glen Ellyn, Illinois Cynthia Zimmerman, Mose Vines Preparatory High School, Chicago, Illinois Lynda Zimmerman, El Camino High School, South San Francisco, California Ruth E. Zurich, Brown Deer High School, Brown Deer, Wisconsin

Cheryl E. Sullivan, Lisle Community School District, Lisle, Illinois Anita Usmiani, Hamilton Township Public Schools, Hamilton Square, New Jersey

vii

mcdougal littell

literature

contents in brief The Power of Ideas

Introductory Unit

1

literary genres workshop reading strategies workshop writing process workshop

literary elements

the world of a story

1 2 3

unit

unit

unit

a world of ideas

Plot, Setting, and Mood

21

literary workshop: Setting, Mood, Plot, Conflict writing workshop: Interpretive Essay word portraits

Character Development

157

literary workshop: Character Traits, Motivation writing workshop: Autobiographical Narrative a writer’s choice

Narrative Devices

279

literary workshop: Point of View, Narrator, Foreshadowing, Flashback

writing workshop: Short Story message and meaning

4 5

unit

unit

Theme

383

literary workshop: Theme, Symbol writing workshop: Comparison-Contrast Essay why write?

Author’s Purpose

479

critical reading workshop: Author’s Purpose and Perspective, Patterns of Organization writing workshop: Cause-and-Effect Essay

making a case

6

unit

the author’s craft

viii

Argument and Persuasion

569

critical reading workshop: Argument, Persuasive Techniques, Rhetorical Devices

writing workshop: Editorial sound and sense

7

unit

The Language of Poetry literary workshop: Form, Poetic Elements, Sound Devices, Imagery, Figurative Language

writing workshop: Literary Analysis

685

signatures

8 9

unit

unit

world classics

Author’s Style and Voice

761

literary workshop: Style, Voice, Diction, Tone writing workshop: Critical Review product of the times

History, Culture, and the Author

843

literary workshop: Writer’s Background, Historical and Cultural influences

writing workshop: Informative Essay, Interview upholding honor

unit

10

Greek Tragedy and Medieval Romance

955

literary workshop: Characteristics of Greek Tragedy, Conventions of Medieval Romance writing workshop: Persuasive Essay

shakespearean drama

unit

11 12 unit

The Tragedy of Julius Caesar

1079

literary workshop: Characteristics of Shakespearean Tragedy writing workshop: Comparing a Play and a Film investigation and discovery

The Power of Research

1209

l i t e r at u r e classzone.com

literature and reading center • • • •

Author Biographies Additional Selection Background Literary Analysis Frames Power Thinking Activities

writing and grammar center • Writing Templates and Graphic Organizers • Publishing Options • Grammar Arcade

media center • Production Templates • Analysis Guides

vocabulary center • Vocabulary Strategies and Practice • Vocabulary Flip Cards • Multi-Language Glossary of Academic Vocabulary

research center • Web Research Guide • Citation Guide

assessment center • Assessment Practice and Test-Taking Tips • SAT/ACT Practice and Tips

more technology eEdition • Interactive Selections • Audio Summaries

WriteSmart • • • • •

Writing Prompts and Templates Interactive Student Models Interactive Graphic Organizers Interactive Revision Lessons Rubric Generator

MediaSmart

• Media Lessons • Interactive Media Studies

EssaySmart

• Online Essay Analyzer

ix

unit

1

The World of a Story

plot, setting, and mood • in fiction • in nonfiction • in media • in poetry

Skills and Standards Setting, Mood, Plot Stages, Conflict

literary analysis workshop: plot, setting, and mood

24

short story

The Bass, the River, and Sheila Mant

W. D. Wetherell

27

Kurt Vonnegut Jr.

32

Alice Walker

44

fiction short story Plot and Conflict, Draw Conclusions

Harrison Bergeron short story

Conflict and Character, Make Inferences

Everyday Use Reading for Information Alice Walker on Quilting

56

interview

short story Setting and Mood, Monitor

Searching for Summer

Joan Aiken

60

short story Setting and Conflict, Predict

Use Text Features

x

To Build a Fire Jack London Reading for Information from Deep Survival nonfiction trade book Laurence Gonzales

74

94

Skills and Standards

nonfiction historical narrative

Mood, Analyze Chronological Order

from The Johnstown Flood

David McCullough

Reading for Information Nine-year-old Amber Colvin Rides Out a Killer Flood in Ohio magazine article

100

111

nonfiction Suspense in Nonfiction, Take Notes

The Race to Save Apollo 13

Michael Useem

112

Ron Howard

130

Julia Alvarez

134

Joy Harjo

139

media film clip Suspense in Movies

from Apollo 13

media smart dvd

poetry poem Narrative Poetry, Strategies for Reading Poetry

Exile poem

Crossing the Border

Responding to Literature

Conflict, Setting, Mood, Make Inferences, Chronological Order

writing workshop: interpretive essay

142

speaking and listening: oral response to literature

149

assessment practice: plot, setting, and mood

150

fiction

from The Grapes of Wrath

John Steinbeck

great reads: ideas for independent reading

156

vocabulary strategies Greek roots: syn, p. 42 Latin prefixes: re-, p. 58 Latin prefixes: dis-, p. 72

Connotation and denotation, p. 93 Specialized vocabulary, p. 128

xi

unit

2

Word Portraits

character development • in fiction • in nonfiction • in poetry • in drama • in media

Skills and Standards Character Traits, Round and Flat Characters, Character Motivation, Static and Dynamic Characters

literary analysis workshop: analyzing characters

160

fiction short story Character Traits, Connect

Shoofly Pie Naomi Shihab Nye Reading for Information A Mexican Feast for Bodies and Souls newspaper article

166

185

short story Character Motivation, Make Inferences

The Possibility of Evil

Shirley Jackson

186

R. K. Narayan

202

Emily Dickinson

208

Nicholas Gage

210

short story Character and Plot, Predict

Like the Sun Connect Tell all the Truth but tell it slant— poem

nonfiction essay Characterization in Nonfiction, Author’s Purpose

xii

The Teacher Who Changed My Life

Skills and Standards Character Traits, Author’s Perspective Main Idea and Supporting Details

essay

A Celebration of Grandfathers Rudolfo A. Anaya Reading for Information Simply Grand: Generational Ties Matter magazine article

222

230

poetry poem Characters in Poetry, Make Inferences About the Speaker

The Gift

Li-Young Lee

236

Robert Hayden

240

Anton Chekhov

242

Gus Van Sant

260

poem

Those Winter Sundays

drama drama Characters in a Farce, Strategies for Reading a Play

A Marriage Proposal

media film clip Characterization in Movies

Narrative Techniques

Character Traits, Character Motivation, Make Generalizations, Make Inferences

from Finding Forrester

media smart dvd

writing workshop: autobiographical narrative

264

publishing with technology: oral history

271

assessment practice: character development

272

memoir

from Tío Nano

Lionel G. García

short story

from Uncles

Margaret Atwood


278

vocabulary strategies Connotation and denotation, p. 200 Latin roots: sol, p. 220

Latin roots: contra, p. 258

xiii

unit

3

A Writer’s Choice

narrative devices • in fiction • in nonfiction

Skills and Standards Point of View, Narrator, Foreshadowing, Flashback

literary analysis workshop: narrative devices

282

fiction short story First-Person Point of View, Make Inferences

By the Waters of Babylon

Stephen Vincent Benét

288

Ray Bradbury

304

short story Chronological Order, Draw Conclusions Synthesize

There Will Come Soft Rains Reading for Information Inside the Home of the Future

newspaper article

316

short story Omniscient Point of View, Connect

The Doll’s House

Katherine Mansfield

320

short story Foreshadowing and Flashback, Monitor

xiv

The Seventh Man Haruki Murakami Reading for Information An Interview with Haruki Murakami interview

332

348


nonfiction essay

Reflective Essay, Identify Main Idea and Supporting Details

The Man in the Water

Roger Rosenblatt

352

Joanne Hyppolite

360

essay Second-Person Point of View, Analyze Sensory Details

Narrative Techniques

Flashback, First-Person Point of View, Omniscient Point of View, Chronological Order

Dyaspora

writing workshop: short story

368

publishing with technology: children’s book

375

assessment practice: narrative devices

376

fiction

from Night

Calls

Lisa Fugard

fiction

from The Snow Goose

Paul Gallico


382

vocabulary strategies Latin roots: man, p. 315 Latin roots: sen, p. 350

Latin roots: plac, p. 358

xv

unit

4

Message and Meaning

theme • in fiction • in poetry • in nonfiction • across genres

Skills and Standards Universal Themes, Symbol, Identify Themes

literary analysis workshop: theme and symbol

386

short story

Cranes

Hwang Sunwon

389

Saki

394

Guy de Maupassant

406

Jhumpa Lahiri

420

fiction short story Theme and Setting, Monitor

The Interlopers short story

Symbol, Make Inferences About Character

Two Friends short story

Theme and Character, Draw Conclusions

When Mr. Pirzada Came to Dine Reading for Information Jhumpa Lahiri, Pulitzer Prize Winner

interview

438

poetry poem Universal Theme, Understand Verbal Irony

Do not weep, maiden, for war is kind

Stephen Crane

442

Gwendolyn Brooks

446

poem

the sonnet-ballad xvi


nonfiction essay

Persuasive Essay, Analyze Reasons and Evidence

from Tolerance

E. M. Forster

448

Andrew Lam

454

Tu Fu

460

comparing across genres essay Author’s Message Across Genres, Set a Purpose for Reading

Letter to a Young Refugee from Another poem

Song of P’eng-ya

Organization, Use Transitions

Theme, Symbol, Draw Conclusions, Make Inferences

writing workshop: comparison-contrast essay

464

speaking and listening: group discussion

471

assessment practice: theme

472

short story

Witches’ Loaves

O. Henry


478

vocabulary strategies Connotation, p. 404 Analogies, p. 418

Prefixes: im-, p. 440

xvii

unit

5

Skills and Standards Author’s Purpose and Perspective, Text Features, Patterns of Organization

Why Write?

author’s purpose • in nonfiction • in media • in fiction • in poetry

critical reading workshop: author’s purpose and perspective

482

nonfiction humorous essay Tone and Diction, Recognize Classification

The Plot Against People

Russell Baker

488

Diane Ackerman

494

essay Author’s Purpose, Analyze Cause and Effect Interpret Graphic Aids

Why Leaves Turn Color in the Fall Reading for Information How a Leaf Works textbook diagrams

504

narrative nonfiction Narrative Nonfiction, Take Notes

Blowup: What Went Wrong at Storm King Mountain

Sebastian Junger

508

NBC News

524

media tv newscast clip Credibility in News Reports

Early Warnings: Predicting Tornadoes web page

Kye the Storm Chaser xviii

media smart dvd

media smart dvd

524


fiction short story

Author’s Perspective, Monitor

Analyze a News Article

And of Clay Are We Created Isabel Allende Reading for Information Girl, Trapped in Water for 55 Hours, Dies Despite Rescue Attempts news article

528

542

poetry poem Author’s Purpose and Imagery, Make Inferences

Peruvian Child

Pat Mora

546

Rita Dove

550

poem

Lady Freedom Among Us Reading for Information Bill Moyers Interviews Rita Dove

Organization, Use Transitions

Author’s Purpose, Author’s Perspective, Tone, Patterns of Organization

interview

552

writing workshop: cause-and-effect essay

554

speaking and listening: informative speech

561

assessment practice: author’s purpose and perspective

562

nonfiction

from Spiders Up Close essay

from How to Write a Letter

Garrison Keillor


568

vocabulary strategies Metaphors and similes, p. 502 Analogies, p. 522

Latin roots: fort, p. 541

xix

unit

6

Making a Case

argument and persuasion • in nonfiction • in fiction • across genres • in media

Skills and Standards Analysis of an Argument, Persuasive Techniques, Rhetorical Devices

critical reading workshop: argument and persuasion

572

nonfiction persuasive essay Argument, Distinguish Fact from Opinion

Doing Nothing Is Something

Anna Quindlen

578

Alan S. Blinder

586

Carl Sagan

592

editorial Evidence, Analyze Deductive Reasoning

Abolishing the Penny Makes Good Sense speech

Rhetorical Devices, Analyze Inductive Reasoning

On Nuclear Disarmament Reading for Information Stockpiles of Nuclear Weapons

statistical illustration

603

Jane Goodall

604

essay Persuasive Techniques, Summarize

I Acknowledge Mine position paper

Counterarguments, Monitor

xx

Use of Animals in Biomedical Research American Medical Association

618


fiction short story

Theme and Persuasion, Draw Conclusions

A Chip of Glass Ruby

Nadine Gordimer

628

Leo Tolstoy

644

comparing across genres short story Didactic Literature, Set a Purpose for Reading

How Much Land Does a Man Need? scriptural writing

from The New Testament

662

media political ad Persuasion in Political Ads

Daisy

media smart dvd

political ad

America’s Back

Persuasive Techniques

Elements of an Argument, Counterargument, Persuasive Techniques, Fact and Opinion

666 media smart dvd

666

writing workshop: editorial

670

publishing with technology: brochure

677

assessment practice: argument and persuasion

678

essay

from Why Go Back to the Moon? essay

from In Defense of Space Exploration


684

vocabulary strategies Etymology, p. 584 Specialized vocabulary, p. 601 Analogies, p. 616

Connotation, p. 626 Using a thesaurus, p. 642 Similes and metaphors, p.664

xxi

unit

7

Sound and Sense

the language of poetry

Skills and Standards Form, Poetic Elements, Sound Devices, Imagery, Figurative Language

literary analysis workshop: the language of poetry

688

poem

Ex-Basketball Player

John Updike

694

Yusef Komunyakaa

695

Sara Teasdale Robert Browning Maxine Kumin

696 700 701

Emily Dickinson Denise Levertov Lucille Clifton

704 708 709

Elizabeth Bishop Billy Collins Theodore Roethke

712 716 718

poem

Slam, Dunk, & Hook

poems about nature Sound Devices, Reading Poetry

There Will Come Soft Rains Meeting at Night The Sound of Night

poems about possibility Lyric Poetry, Figurative Language

I dwell in Possibility— Variation on a Theme by Rilke blessing the boats

poems about animals Free Verse, Imagery

xxii

The Fish Christmas Sparrow The Sloth

Skills and Standards Sound Devices, Understand Line Breaks

poems about memory Piano D. H. Lawrence Fifteen William Stafford Tonight I Can Write . . . / Puedo Pablo Neruda Escribir Los Versos . . . Reading for Information The Nobel Prize in Literature journal article

720 723 724

726

poems about love: the sonnet Sonnet, Strategies for Reading Sonnets

Sonnet 18 Sonnet XXX of Fatal Interview

William Shakespeare Edna St. Vincent Millay

728 732

poems that sing: ballads and blues Ballad, Understand Dialect

Take Notes


Form, Imagery, Figurative Language, Sound Devices

Lord Randall Ballad / Balada Midwinter Blues Reading for Information from Blues Poems essay

Anonymous Gabriela Mistral Langston Hughes

734 738 740

Kevin Young

742

writing workshop: literary analysis

746

speaking and listening: oral interpretation

753

assessment practice: the language of poetry

754

Taxi Reprise

Amy Lowell Ogden Nash


760

xxiii

unit

8

Signatures

author’s style and voice • in 19th-century writing • in 20th-century writing

Skills and Standards Style, Voice, Diction, Tone, Imagery

literary analysis workshop: author’s style and voice

764

19th-century writing short story Poe’s Style, Paraphrase

The Pit and the Pendulum

Edgar Allan Poe

770

Edgar Allan Poe

788

Walt Whitman

792

Walt Whitman

796

Walt Whitman

798

Robert Frost

800

Robert Frost

804

poem

The Lake poem Whitman’s Style, Analyze Sensory Details

When I Heard the Learn’d Astronomer poem

The Artilleryman’s Vision Reading for Information Letter to His Mother personal letter

20th-century writing poem Frost’s Style, Make Inferences

Birches poem

Mending Wall

xxiv

Skills and Standards Imagism, Visualize

poem

The Pond

Amy Lowell

808

poem

Fourth of July Night

Carl Sandburg

811

William Carlos Williams

812

Sandra Cisneros

814

Sandra Cisneros

820

poem

The Red Wheelbarrow personal essay Cisneros’s Style and Voice, Identify Author’s Purpose

Only Daughter fiction

from Caramelo

Identify the Characteristics of a Column


Style, Make Inferences, Author’s Purpose

Reading for Information Author Brings Back Memories of Not So Long Ago newspaper column

825

writing workshop: critical review

828

publishing with technology: online database

835

assessment practice: author’s style and voice

836

novel

from The House of the Seven Gables

Nathaniel Hawthorne

short story

Old Man at the Bridge

Ernest Hemingway


842

vocabulary strategies Metaphors and similes, p. 790

Etymology, p. 823

xxv

unit

9

Product of the Times

history, culture, and the author • in nonfiction • in fiction • in poetry • in media

Skills and Standards Writer’s Background, Historical and Cultural Influences

literary analysis workshop: history, culture, and the author

846

nonfiction memoir Memoir, Connect

from Night

Reading for Information Nobel Prize Acceptance Speech speech

Elie Wiesel

852

Elie Wiesel

860

memoir Cultural Characteristics, Monitor

from Farewell to Manzanar

Jeanne Wakatsuki Houston 864 and James D. Houston

memoir Historical Events in Memoirs, Distinguish Fact from Opinion Analyze Rhetorical Devices

xxvi

Montgomery Boycott Reading for Information A Eulogy for Dr. Martin Luther King Jr. speech

Coretta Scott King

880

Robert F. Kennedy

892


fiction short story

Cultural Conflict, Predict

Marriage Is a Private Affair Reading for Information Adam and Rosie transcript

Chinua Achebe

896

907

short story Historical Context, Identify Author’s Perspective

On the Rainy River

Tim O’Brien

908

Emma Lazarus

930

Cathy Song

933

poetry poem Literary Periods, Analyze Sensory Details

The New Colossus poem

Who Makes the Journey

media image collection History Through Media

Research, Expository Techniques

Author’s Background, Historical Context, Sensory Details, Cite Evidence

The Aftermath of September 11

media smart dvd

936

writing workshop: informative essay and interview

940

publishing with technology: documentary

947

assessment practice: history, culture, and the author

948

prose poem

Freedom to Breathe

Alexander Solzhenitsyn

prose poem

The Bonfire and the Ants

Alexander Solzhenitsyn


954

vocabulary strategies Connotation and denotation, p. 862 Prefixes: in-, p. 878 Suffixes: -ion, p. 891

Greek roots: cosm, p. 905 Using a dictionary, p. 928

xxvii

10

unit

Upholding Honor

greek tragedy and medieval romance • in drama • in fiction • across genres

Skills and Standards Characteristics of Greek Tragedy, Conventions of Medieval Romance

literary analysis workshop: greek tragedy and medieval romance

958

drama Classical Greek Drama

964

drama Classical Drama, Reading Classical Drama

Antigone

Sophocles

966

Sir Thomas Malory

1010

fiction romance Medieval Romance, Evaluate

from Le Morte d’Arthur

The Crowning of Arthur Sir Launcelot du Lake Reading for Information from A Distant Mirror: The Barbara Tuchman Calamitous 14th Century historical account

xxviii

1012 1018

1027

Skills and Standards Style, Make Inferences

romance

from The Acts of King Arthur

John Steinbeck

1030

Miguel de Cervantes

1044

Dale Wasserman

1056

and His Noble Knights

comparing across genres novel Parody Across Genres, Set a Purpose for Reading

from Don Quixote musical play

from Man of La Mancha

Persuasive Techniques

Characteristics of Classical Drama, Characteristics of Medieval Romance

writing workshop: persuasive essay

1064

speaking and listening: debate

1071

assessment practice: greek tragedy and medieval romance

1072

drama

from

Antigone

Sophocles

romance

from Le Morte d’Arthur

Sir Thomas Malory


1078

vocabulary strategies Etymology, p. 1008 Analogies, p. 1029

Connotation, p. 1042 Metaphors and similes, p. 1062

xxix

11

unit

Shakespearean Drama

the tragedy of julius caesar • in drama • in media

Shakespeare’s World

1082

literary analysis workshop: shakespearean drama

1086

Skills and Standards Characteristics of Shakespearean Tragedy, The Language of Shakespeare

drama drama Tragedy, Tragic Hero, Soliloquy, Aside, Blank Verse, Dramatic Irony, Rhetorical Devices, Reading Shakespearean Drama

Analyze a Theater Review

xxx

The Tragedy of Julius Caesar Act One Act Two Act Three Act Four Act Five Reading for Information Julius Caesar at the Public Theater

William Shakespeare

1094 1098 1116 1134 1154 1170

theater reviews

1186


media film clip

Shakespearean Drama in Movies

Comparing and Contrasting

Characteristics of Tragedy, Soliloquy, Blank Verse

from Julius Caesar

media smart dvd

Stuart Burge

1190

writing workshop: comparing a play and a film

1194

speaking and listening: dramatic reading

1201

assessment practice: shakespearean drama

1202

drama

from The Tragedy of Julius Caesar

William Shakespeare


1208

xxxi

12

unit

Investigation and Discovery

the power of research

Skills and Standards Use Reference Materials and Technology, Evaluate Sources

Research, Synthesis

research strategies workshop

1212

Beginning Your Research Using the Internet Exploring the Library or Media Center Evaluating Sources Collecting Original Data Research Tips and Strategies

1213

writing workshop: research paper Developing Research Questions Investigating and Evaluating Sources Taking Notes Avoiding Plagiarism Documenting Your Sources Reviewing MLA Citation Guidelines

publishing with technology: web site

xxxii

1215 1218 1225 1230 1232

1234 1241 1242 1244 1245 1248 1252 1255

Student Resource Bank Reading Handbook Reading Literary Texts Reading Informational Texts: Text Features Reading Informational Texts: Patterns of Organization Reading Informational Texts: Forms Reading Persuasive Texts Adjusting Reading Rate to Purpose

Writing Handbook The Writing Process Building Blocks of Good Writing Descriptive Writing Narrative Writing Expository Writing Persuasive Writing Workplace and Technical Writing

Grammar Handbook Quick Reference: Parts of Speech Quick Reference: The Sentence and Its Parts Quick Reference: Punctuation Quick Reference: Capitalization Nouns Pronouns Verbs Modifiers The Sentence and Its Parts Phrases Verbals and Verbal Phrases Clauses The Structure of Sentences Writing Complete Sentences Subject-Verb Agreement

Vocabulary and Spelling Handbook Using Context Clues Analyzing Word Structure Understanding Word Origins Synonyms and Antonyms Denotation and Connotation Analogies

R2 R2 R3 R8 R14 R21 R27 R28 R28 R30 R34 R36 R37 R40 R42 R46 R46 R48 R49 R51 R52 R52 R55 R57 R59 R60 R60 R62 R63 R64 R65 R68 R68 R69 R70 R70 R71 R71

Homonyms and Homophones Words with Multiple Meanings Specialized Vocabulary Using Reference Sources Spelling Rules Commonly Confused Words

Speaking and Listening Handbook Speech Different Types of Oral Presentations Other Types of Communication Active Listening

Media Handbook Five Core Concepts in Media Literacy Media Basics Film and TV News Advertising Elements of Design Evaluating Media Messages

Test-Taking Handbook General Test-Taking Strategies Critical Reading Writing Essay

Glossary of Literary Terms Glossary of Reading & Informational Terms Glossary of Vocabulary in English & Spanish Pronunciation Key Index of Fine Art Index of Skills Index of Titles and Authors Acknowledgments Art Credits

R71 R72 R72 R72 R72 R75 R76 R76 R78 R81 R82 R84 R84 R85 R86 R88 R90 R91 R92 R93 R93 R94 R99 R101 R102 R115 R121 R129 R131 R133 R153 R155 R161

xxxiii

Selections by Genre fiction

Sir Launcelot du Lake from Le Morte d’Arthur Sir Thomas Malory . . . . . . . . . . . . . . . . . . . . . . . 1018

short stories

from The Acts of King Arthur and His Noble Knights

And of Clay Are We Created Isabel Allende . . . . . . . . . . 528

John Steinbeck . . . . . . . . . . . . . . . . . . . . . . . . . . 1030

The Bass, the River, and Sheila Mant W. D. Wetherell . . . . . 27 By the Waters of Babylon Stephen Vincent Benét . . . . . 288 A Chip of Glass Ruby Nadine Gordimer . . . . . . . . . . . . 628 Cranes Hwang Sunwon . . . . . . . . . . . . . . . . . . . . . . 389 The Doll’s House Katherine Mansfield . . . . . . . . . . . . . 320 Everyday Use Alice Walker . . . . . . . . . . . . . . . . . . . .

44

Harrison Bergeron Kurt Vonnegut Jr. . . . . . . . . . . . . .

32

How Much Land Does a Man Need? Leo Tolstoy . . . . . . . 644 The Interlopers Saki . . . . . . . . . . . . . . . . . . . . . . . . 394 Like the Sun R. K. Narayan . . . . . . . . . . . . . . . . . . . . 202 Marriage Is a Private Affair Chinua Achebe. . . . . . . . . . 896 Night Calls Lisa Fugard . . . . . . . . . . . . . . . . . . . . . . 376 Old Man at the Bridge Ernest Hemingway . . . . . . . . . . 836 On the Rainy River Tim O’Brien . . . . . . . . . . . . . . . . . 908 The Pit and the Pendulum Edgar Allan Poe . . . . . . . . . . 770 The Possibility of Evil Shirley Jackson . . . . . . . . . . . . . 186 Searching for Summer Joan Aiken . . . . . . . . . . . . . . .

60

The Seventh Man Haruki Murakami . . . . . . . . . . . . . . 332 Shoofly Pie Naomi Shihab Nye . . . . . . . . . . . . . . . . . 166 There Will Come Soft Rains Ray Bradbury . . . . . . . . . . . 304 To Build a Fire Jack London . . . . . . . . . . . . . . . . . . . . . 74 Two Friends Guy de Maupassant . . . . . . . . . . . . . . . . 406 Uncles Margaret Atwood . . . . . . . . . . . . . . . . . . . . . 273 When Mr. Pirzada Came to Dine Jhumpa Lahiri . . . . . . . 420 Witches’ Loaves O. Henry . . . . . . . . . . . . . . . . . . . . . 472

novels/novellas from Caramelo Sandra Cisneros . . . . . . . . . . . . . . . . . 820 from Don Quixote Miguel de Cervantes . . . . . . . . . . . . 1044

nonfiction autobiography/memoir from Farewell to Manzanar Jeanne Wakatsuki Houston

and James D. Houston . . . . . . . . . . . . . . . . . . . . . 864 Montgomery Boycott Coretta Scott King . . . . . . . . . . . 880 from Night Elie Wiesel . . . . . . . . . . . . . . . . . . . . . . . 852 from Tío Nano Lionel G. García . . . . . . . . . . . . . . . . . . 272

essays Abolishing the Penny Makes Good Sense Alan S. Blinder . . 586 A Celebration of Grandfathers Rudolfo A. Anaya . . . . . . 222 from Blues Poems Kevin Young . . . . . . . . . . . . . . . . . . 742

Doing Nothing Is Something Anna Quindlen . . . . . . . . 578 Dyaspora Joanne Hyppolite . . . . . . . . . . . . . . . . . . . 360 How to Write a Letter Garrison Keillor . . . . . . . . . . . . . 564 I Acknowledge Mine Jane Goodall . . . . . . . . . . . . . . . 604 In Defense of Space Exploration . . . . . . . . . . . . . . . . 679 Letter to a Young Refugee from Another Andrew Lam . . 454 The Man in the Water Roger Rosenblatt . . . . . . . . . . . 352 Only Daughter Sandra Cisneros . . . . . . . . . . . . . . . . . 814 The Plot Against People Russell Baker . . . . . . . . . . . . . 488 The Teacher Who Changed My Life Nicholas Gage . . . . . 210 Tolerance E. M. Forster . . . . . . . . . . . . . . . . . . . . . . . 448 Why Go Back to the Moon? Michael D. Lemonick . . . . . . 678 Why Leaves Turn Color in the Fall Diane Ackerman . . . . . 494

informational nonfiction Adam and Rosie Transcript . . . . . . . . . . . . . . . . . . . . 907

from The Grapes of Wrath John Steinbeck . . . . . . . . . . . 150

Author Brings Back Memories of Not So Long Ago Newspaper Column . . . . . . . . . . . . . . . . . . . . . . . 825

from The House of the Seven Gables

Alice Walker On Quilting Interview . . . . . . . . . . . . . . . . 56

Nathaniel Hawthorne . . . . . . . . . . . . . . . . . . . . . 836 from The Snow Goose Paul Gallico . . . . . . . . . . . . . . . 377

romance The Crowning of Arthur from Le Morte d’Arthur Sir Thomas Malory . . . . . . . . . . . . . . . . . . . . . . . 1012

xxxiv

Bill Moyers Interviews Rita Dove Interview . . . . . . . . . . 552 Blowup: What Went Wrong at Storm King Mountain Sebastian Junger Narrative Nonfiction . . . 508 from Deep Survival Laurence Gonzales Book Excerpt . . . . 94 from A Distant Mirror Barbara Tuchman Book Excerpt . . 1027

Girl, Trapped in Water for 55 Hours, Dies Despite Rescue Attempts News Article . . . . . . . . . . . . . . . . . . . . . 542

The Fish Elizabeth Bishop . . . . . . . . . . . . . . . . . . . . . . 712

How a Leaf Works Textbook Diagrams . . . . . . . . . . . . . 504

Freedom to Breathe Alexander Solzhenitsyn . . . . . . . . 948

Inside the Home of the Future Newspaper Article . . . . . . 316

The Gift Li-Young Lee. . . . . . . . . . . . . . . . . . . . . . . . 236

An Interview with Haruki Murakami Interview . . . . . . . 348

I dwell in Possibility— Emily Dickinson . . . . . . . . . . . . 704

Jhumpa Lahiri, Pulitzer Prize Winner Interview . . . . . . . 438

Lady Freedom Among Us Rita Dove . . . . . . . . . . . . . . 550

from The Johnstown Flood David McCullough

Book Excerpt . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 Julius Caesar at the Public Theater Theater Reviews . . . . 1186 Letter to His Mother Walt Whitman Personal Letter . . . . 798

Fourth of July Night Carl Sandburg . . . . . . . . . . . . . . . . 811

The Lake Edgar Allan Poe . . . . . . . . . . . . . . . . . . . . . 788 Lord Randall Anonymous . . . . . . . . . . . . . . . . . . . . . 734 Meeting at Night Robert Browning . . . . . . . . . . . . . . 700 Mending Wall Robert Frost . . . . . . . . . . . . . . . . . . . . 804

A Mexican Feast for Bodies and Souls Newspaper Article

185

Nine-year-old Amber Colvin Rides Out a Killer Flood in Ohio Magazine Article . . . . . . . . . . . . . . . . . . . . .

111

The New Colossus Emma Lazarus . . . . . . . . . . . . . . . . 930

The Nobel Prize in Literature Journal Article . . . . . . . . . 726

Peruvian Child Pat Mora . . . . . . . . . . . . . . . . . . . . . 546

The Race to Save Apollo 13 Michael Useem Book Excerpt . . 112

Piano D. H. Lawrence . . . . . . . . . . . . . . . . . . . . . . . . 720

Simply Grand: Generational Ties Matter Magazine Article 230

The Pond Amy Lowell . . . . . . . . . . . . . . . . . . . . . . . 808

Spiders Up Close Book Excerpt . . . . . . . . . . . . . . . . . . 562

The Red Wheelbarrow William Carlos Williams . . . . . . . 812

Stockpiles of Nuclear Weapons Statistical Illustration . . . 603

Reprise Ogden Nash . . . . . . . . . . . . . . . . . . . . . . . . 755

Use of Animals in Biomedical Research American Medical Association Position Paper . . . . . . . . . . . . . . . . . . 618

scripture from The New Testament . . . . . . . . . . . . . . . . . . . . . 662

speeches A Eulogy for Dr. Martin Luther King Jr. Robert F. Kennedy . 892 Nobel Prize Acceptance Speech Elie Wiesel . . . . . . . . . . 860 On Nuclear Disarmament Carl Sagan . . . . . . . . . . . . . 592

Midwinter Blues Langston Hughes . . . . . . . . . . . . . . . 740

Slam, Dunk, & Hook Yusef Komunyakaa . . . . . . . . . . . 695 The Sloth Theodore Roethke . . . . . . . . . . . . . . . . . . . 718 Song of P’eng-ya Tu Fu . . . . . . . . . . . . . . . . . . . . . . 460 Sonnet 18 William Shakespeare . . . . . . . . . . . . . . . . . 728 Sonnet XXX of Fatal Interview Edna St. Vincent Millay . . 732 the sonnet-ballad Gwendolyn Brooks . . . . . . . . . . . . . 446 The Sound of Night Maxine Kumin . . . . . . . . . . . . . . . 701 Taxi Amy Lowell . . . . . . . . . . . . . . . . . . . . . . . . . . . 754 Tell all the Truth but tell it slant— Emily Dickinson . . . . 208 There Will Come Soft Rains Sara Teasdale . . . . . . . . . . 696

poetry The Artilleryman’s Vision Walt Whitman . . . . . . . . . . . 796 Ballad / Balada Gabriela Mistral . . . . . . . . . . . . . . . . 738 Birches Robert Frost . . . . . . . . . . . . . . . . . . . . . . . . 800 blessing the boats Lucille Clifton . . . . . . . . . . . . . . . . 709

Those Winter Sundays Robert Hayden . . . . . . . . . . . . . 240 Tonight I Can Write . . . Pablo Neruda . . . . . . . . . . . . . 724 Variation on a Theme by Rilke Denise Levertov . . . . . . . 708 When I Heard the Learn’d Astronomer Walt Whitman. . . 792 Who Makes the Journey Cathy Song . . . . . . . . . . . . . . 933

The Bonfire and the Ants Alexander Solzhenitsyn . . . . . 948 Christmas Sparrow Billy Collins . . . . . . . . . . . . . . . . . 716 Crossing the Border Joy Harjo . . . . . . . . . . . . . . . . . . 139 Do not weep, maiden, for war is kind Stephen Crane . . . 442 Ex-Basketball Player John Updike. . . . . . . . . . . . . . . . 694 Exile Julia Alvarez . . . . . . . . . . . . . . . . . . . . . . . . . . 134 Fifteen William Stafford. . . . . . . . . . . . . . . . . . . . . . 723

drama Antigone Sophocles . . . . . . . . . . . . . . . . . . . . . . . . 966 from Man of La Mancha Dale Wasserman . . . . . . . . . .

1056

A Marriage Proposal Anton Chekhov . . . . . . . . . . . .

242

The Tragedy of Julius Caesar William Shakespeare . . . . . . . . . . . . . . . . . . . . . 1094

xxxv

Features reading and literature workshops

speaking, listening, and viewing

. . . . . . . . . . . . . . . . . . . . . . . 24

Oral Response to Literature . . . . . . . . . . . . . . . . . . . . .149

Analyzing Characters . . . . . . . . . . . . . . . . . . . . . . . . .160

Oral History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

. . . . . . . . . . . . . . . . . . . . . . . . . . 282

Children’s Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

Theme and Symbol . . . . . . . . . . . . . . . . . . . . . . . . . 386

Group Discussion . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471

Author’s Purpose and Perspective . . . . . . . . . . . . . . . . 482

Informative Speech . . . . . . . . . . . . . . . . . . . . . . . . . . 561

Argument and Persuasion . . . . . . . . . . . . . . . . . . . . . . 572

Brochure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .677

Plot, Setting, and Mood Narrative Devices

The Language of Poetry

. . . . . . . . . . . . . . . . . . . . . . 688

Oral Interpretation

. . . . . . . . . . . . . . . . . . . . . . . . . . 753

Author’s Style and Voice . . . . . . . . . . . . . . . . . . . . . . 764

Online Database . . . . . . . . . . . . . . . . . . . . . . . . . . . .835

History, Culture, and the Author . . . . . . . . . . . . . . . . . 846

Documentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 947

Greek Tragedy and Medieval Romance . . . . . . . . . . . . . 958

Debate . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1071

Shakespearean Drama . . . . . . . . . . . . . . . . . . . . . . . 1086

Dramatic Reading . . . . . . . . . . . . . . . . . . . . . . . . . . 1201

literature center at ClassZone.com

Web Site . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1255

media center at ClassZone.com

writing workshops

media study

Interpretive Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . 142

Apollo 13 Ron Howard Film Clip . . . . . . . . . . . . . . . . .

130

Autobiographical Narrative . . . . . . . . . . . . . . . . . . . . 264

Finding Forrester Gus Van Sant Film Clip . . . . . . . . . . .

260

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Early Warnings: Predicting Tornadoes TV Newscast Clip . .

524

Comparison-Contrast Essay . . . . . . . . . . . . . . . . . . . . 464

Kye the Storm Chaser Web Page . . . . . . . . . . . . . . . .

524

Cause-and-Effect Essay . . . . . . . . . . . . . . . . . . . . . . . .554

Daisy Political Ad . . . . . . . . . . . . . . . . . . . . . . . . . .

666

Editorial . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 670

America’s Back Political Ad . . . . . . . . . . . . . . . . . . . .

666

Literary Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . 746

The Aftermath of September 11 Image Collection . . . . . .

936

Critical Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828

Julius Caesar Stuart Burge Film Clip . . . . . . . . . . . . . .

1190

Short Story

Informative Essay and Interview . . . . . . . . . . . . . . . . . 940 Persuasive Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . 1064 Comparing a Play and a Film

MediaSmart DVD

. . . . . . . . . . . . . . . . . . . 1194

Research Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1234

WriteSmart vocabulary strategies

grammar and style

pages 42, 58, 72, 93, 128, 200, 220, 258, 315, 350, 358, 404, 418, 440, 502, 522, 541, 584, 601, 616, 626, 642, 664, 790, 823, 862, 878, 891, 905, 928, 1008, 1029, 1042, 1062

pages 43, 59, 73, 110, 129, 184, 201, 221, 259, 303, 351, 359, 405, 419, 441, 503, 523, 585, 602, 617, 627, 643, 703, 711, 791, 807, 863, 879, 906, 929, 1009, 1043, 1185

xxxvi

The Power of Ideas

introducing the essentials • Literary Genres Workshop • Reading Strategies Workshop • Writing Process Workshop

1

The Power of Ideas

What Are Life’s Big Questions? Dignity, progress, justice—ideas like these resonate with all of us because they speak to the shared experiences that make us human. They also serve as the foundation for the big questions we all ask about the world. Consider the questions shown. How can your own experiences help you answer them? Through reading, discussing, and writing about literature, you can discover the answers that others have arrived at and gain new insights of your own.

Does love require SACR IFIC E?

What is the price of FREEDOM?

Our love for others—family, friends, significant others—can affect us in inexplicable, surprising ways. We might begin to put the needs of someone we love before our own, or we might make sacrifices that we never dreamed we’d make. Works such as W. D. Wetherell’s “The Bass, the River, and Sheila Mant” and Chinua Achebe’s “Marriage Is a Private Affair” will help you explore this question.

In the 1960s, Martin Luther King Jr. led millions of African Americans in a fight for freedom. Along the way, his followers had to deal with violence, discrimination, and the assassination of Dr. King himself. From civil rights protesters to refugees fleeing their native countries, people of all times and cultures have faced oppression and injustice. Yet people often continue to fight for freedom in spite of the costs. What is the price of freedom? Is it ever too high?

2

How does heritage S HAPE U S ?

When is ambition D A N G E RO US ?

We are all the products of our experiences. In other words, who we are depends on such factors as when and where we grew up, the values that have been instilled in us, and the cultural and religious traditions that have been handed down from the previous generation. In this book, you will consider how your own heritage has shaped you as you read works by such authors as Rudolfo Anaya and Alice Walker.

Ambition is a powerful force that drives us to pursue personal goals and realize our dreams. But even the most well-intentioned person can be blinded by ambition. What happens when someone’s pursuit of a goal becomes relentless, or when he or she betrays those who offered support along the way? You will consider this question as you read William Shakespeare’s The Tragedy of Julius Caesar.

3

Literary Genres Workshop

Exploring Ideas in Literature If you’ve thought about questions like the ones on the preceding pages, you may have more in common with Shakespeare, Sophocles, and Gwendolyn Brooks than you realize. Throughout history, authors have searched for answers to thoughtprovoking questions and have shared their ideas through writing. By discussing and analyzing ideas in all forms of literature, you can learn how others see the world and arrive at your own deeply personal answers to the big questions in life.

The Genres By now you are familiar with the genres of literature—fiction, poetry, drama, and nonfiction—and many of their forms. In addition to traditional genres, this book contains other types of “texts,” including movies, advertisements, and online news sites. These texts are worth reading and analyzing because they communicate many of the messages and ideas that you are exposed to daily. Regardless of the genre, all texts can acquaint you with unfamiliar times and cultures and help you explore such key ideas as loss or progress. Before you begin reading the selections in this book, review the characteristics of each genre.

genres at a glance fiction Fiction is narrative writing that springs from an author’s imagination. It includes many subgenres, such as mystery and romance. • novels

• short stories

• novellas

poetry Poetry is a type of literature in which words are chosen and arranged to create certain effects and to evoke emotional responses in readers. • ballads

• sonnets

• narrative poems

• lyric poems

drama Drama is literature that is intended to be performed. • comedies

• tragedies

• farces

nonfiction 4)-%3

Nonfiction is writing about real people, events, and places. • essays

• autobiographies

• news articles

• speeches

• biographies

• feature articles

types of media Media are forms of communication that reach large numbers of people. • TV shows

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the power of ideas

• news media

• advertising

fiction Truth is stranger than fiction, as the old saying goes. Actually, the line between them is not always easy to define. At the heart of fiction is narrative, or the telling of a story. That story can be a work of pure imagination (science fiction, for example) or have roots in reality (such as historical fiction based on real people and events). Regardless of what inspired its creation, a work of fiction is usually one of three types. • A short story is a brief work of fiction that can usually be read in one sitting. It often focuses on a single event or incident and develops only a few characters in depth. • A novel is an extended work of fiction. Many novels have sweeping story lines that span long periods of time, involve intricate subplots, and develop a wide range of characters.

academic vocabulary for fiction • plot • conflict • character • setting • theme • narrator • point of view • flashback • foreshadowing

• A novella is longer than a short story but shorter than a novel. Most novellas take place over a short period of time and involve a limited number of characters. Read the Model Set against the backdrop of the French Revolution, Charles Dickens’s novel A Tale of Two Cities portrays characters who are swept along by the forces of history. Here, a French character named Lucie Manette receives some earthshattering personal news from the man who, years earlier, brought her to England. As you read, notice the elements of fiction that the author uses to communicate the key idea of revelation.

from

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ATale of

Novel by Charles Dickens

“Miss Manette, . . . when she [your mother] died—I believe brokenhearted—having never slackened her unavailing search for your father, she left you, at two years old, to grow to be blooming, beautiful, and happy, without the dark cloud upon you of living in uncertainty whether your father soon wore his heart out in prison, or wasted there through many lingering years.” As he said the words he looked down, with admiring pity, on the flowing golden hair; as if he pictured to himself that it might have been already tinged with gray. “You know that your parents had no great possession, and that what they had was secured to your mother and to you. There has been no new discovery, of money, or of any other property; but—” He felt his wrist held closer, and he stopped. The expression in the forehead, which had so particularly attracted his notice, and which was now immovable, had deepened into one of pain and horror. “But he has been—been found. He is alive.”

Close Read 1. Using terms from the Academic Vocabulary list, describe what is happening in this scene. 2. Key Idea: Revelation The discovery of a longlost family member is a heart-stopping revelation that deeply affects Miss Manette. What other kinds of revelations— both good and bad—can change people’s lives?

introducing the essentials

5

poetry Technically, poetry involves the artful selection and arrangement of words on a page. Poet Lucille Clifton, however, reminds readers that “poetry is a matter of life, not just a matter of language.” A poem derives its power from the way its elements—language, form, and sounds—work together to communicate meaning and emotion. You already know that poems are composed of short lines that are often grouped into stanzas. Some poets choose to craft traditional, highly structured poems, such as sonnets or haiku. Other poets, like Clifton, break with convention, often inventing unique forms that suit their subjects. Poetry is meant to be heard, not just read. For that reason, a poem’s sounds—for example, its jarring rhythms or singsong rhymes—are an essential part of its impact. Language also creates powerful effects. Through the use of imagery and figurative language, poets tap into our senses and prompt us to think about subjects in ways we might never have before.

academic vocabulary for poetry • form • line • stanza • speaker • rhyme • rhythm • meter • sound devices • figurative language • imagery

Read the Model Here, a speaker reflects on a moment from her childhood that is still imprinted on her memory. As you read this poem, notice its form as well as its use of sound devices and imagery. How does the speaker’s recollection of her feelings help you understand the key idea of reassurance?

Making a Fist

Poem by Naomi Shihab Nye

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For the first time, on the road north of Tampico, I felt the life sliding out of me, a drum in the desert, harder and harder to hear. I was seven, I lay in the car watching palm trees swirl a sickening pattern past the glass. My stomach was a melon split wide inside my skin. “How do you know if you are going to die?” I begged my mother. We had been traveling for days. With strange confidence she answered, “When you can no longer make a fist.” Years later I smile to think of that journey, the borders we must cross separately, stamped with our unanswerable woes. I who did not die, who am still living, still lying in the backseat behind all my questions, clenching and opening one small hand.

the power of ideas

Close Read 1. Describe three poetic elements in “Making a Fist.” Refer to the Academic Vocabulary list for specific elements. 2. Key Idea: Reassurance Like the speaker, many of us turn to others for reassurance in moments of uncertainty. In your opinion, do words have the power to reassure us in such moments?


drama Drama is broadly defined as any story that is performed by actors for an audience. A drama can be a live stage production, a movie, a television, or a radio play. In a drama—whether it’s a Shakespearean tragedy, a contemporary musical, or an experimental one-person show—the plot and the characters are developed primarily through dialogue and action. While there’s nothing quite as captivating as watching a performance unfold on stage or screen, a drama can also make good reading. By paying attention to the stage directions—the writer’s instructions for the actors, the director, and the others working on the play—readers can visualize a performance in their minds. Stage directions often describe the characters’ appearances, movements, and reactions, as well as the setting, scenery, and props. Such directions are usually set off from the dialogue in italics and parentheses.

academic vocabulary for drama • plot • character • act/scene • stage directions • monologue • dialogue • aside • soliloquy

Read the Model Twelve Angry Men is a television screenplay that was made into a movie in 1957 and again in 1997. In the drama, 12 jurors must decide the fate of a young man accused of murder. Here, the jurors have just heard the case and must now reach a verdict. Use the stage directions and dialogue to help you visualize the jurors’ deliberations and consider the key idea of justice.

from

t w e lv e

Angry Men Drama by Reginald Rose

from Act 1 Close Read 1. Are all the jurors confident of their opinions? How can you tell?

Text not available for electronic use. Please refer to the text in the textbook.

2. Key Idea: Justice In our justice system, juries composed of 12 ordinary citizens must arrive at impartial and just verdicts. What qualities are essential for jurors to have in such high-stakes deliberations?


7

4)-%3

academic vocabulary for nonfiction

nonfiction and informational text You are probably used to seeing certain kinds of nonfiction in literature books. Works of literary nonfiction, including autobiographies and speeches, have long been studied for their historical significance and lyrical prose. Nonfiction also includes informational texts, such as news articles and instruction manuals that provide factual information. Since such texts are critical sources of information, you should learn how to read them with a careful and critical eye.

type of nonfiction

characteristics

autobiography/biography

• Reveals details about significant events, people, and experiences in a person’s life

The true story of a person’s life, told by that person (autobiography) or by another person (biography)

• purpose • text features • patterns of organization • argument • persuasion

• Is told from the first-person point of view (autobiography) or from the third-person point of view (biography) • Presents the writer’s own interpretations of his or her life (autobiography) or information gleaned from many sources (biography)

essay A short work that focuses on a single subject. Common types include reflective, persuasive, and descriptive essays.

speech An oral presentation of the ideas, beliefs, or proposals of a speaker

!

• May have the following purposes: to express feelings, to inform, to entertain, or to persuade

#ELEB #ELEBRATIO

• May be formal, with an organized structure and an impersonal style

'RAND 'RANDFATHERS

• May be informal, with a conversational style

%SSAYBYUD %SSAYBYUDOLFO!!NAYA

O OF

• May be intended to express the speaker’s feelings, or to educate, entertain, persuade, or inspire an audience • Achieves its power through effective language, as well as through the vocal variations and gestures of the speaker

news/feature articles

• Are primarily intended to inform or entertain

Informative writing in newspapers and magazines. News articles report on recent events. Feature articles focus on human-interest topics.

• Convey information through headlines, photographs, quotations from sources, statistics, and examples

functional documents

• Are written for a specific audience (for example, business clients or users of a product)

Writing that serves a practical purpose. Types include consumer documents, such as warranties, and workplace documents, such as résumés.

8

the power of ideas

• Aim to be objective and accurate

• Often use charts, diagrams, and graphics to illustrate and clarify ideas • May include specialized jargon

9OURE MAILACC 9OURE MAILACCOUNT #REATINGAUSERNAMEANDPASSWORD #REATINGAUSER 9OURUSERNAMESHOULDBEATLEASTSEVENCHARACTERS 9OURUSERNAMESHOU 9OUMAYUSELETTERS 9OUMAYUSELETTERS NUMBERS ANDUNDERSCORES

9OURPASSWORDSHOUL 9OURPASSWORDSHOULDBEATLEASTSIXCHARACTERSAND SHOULDINCLUDEONENUMBER2EMEMBERWHETHERYOU SHOULDINCLUDEONEN USEDCAPITALLETTERS USEDCAPITALLETTERS/URSYSTEMISCASE SENSITIVE

)FYOUFORGETYOURPASSWORD )FYOUFORGETYOU 3ELECTASECURITYQUESTIONFROMTHEMENUBELOW9OU 3ELECTASECURITYQUE ANSWERSHOULDBEFOU ANSWERSHOULDBEFOURORMORECHARACTERS-AKESUR ITISSOMETHINGYOUW ITISSOMETHINGYOUWILLREMEMBERBUTWILLBEDIFFICULT FOROTHERSTOGUESS


model 1: autobiography Kaffir Boy is the autobiography of the black author Mark Mathabane, who grew up under the system of apartheid, or racial segregation, in South Africa. Here, he recalls a time in his childhood when the police raided the ghetto in which his family lived, intending to rid the neighborhood of people they considered “undesirable.” Notice how Mathabane vividly illustrates the key idea of fear. from

Kaffir Boy 5

Close Read Autobiography by Mark Mathabane

. . . The darkness was impregnable, ominous; the more I stared into it, the blacker and blacker it became. I felt dizzy. I wanted to scream but my voice was paralyzed. Suddenly flashlights flared through the uncurtained window. Glass shattered somewhere nearby. I yearned to become invisible, to have the ground beneath me open and swallow me until it was all over. “OPEN UP!” a voice bellowed by the window. “WE KNOW YOU’RE IN THERE!” I succeeded in reaching the bedroom door, fear all over me.

1. How can you tell that this is an autobiographical— rather than a biographical—account? 2. Key Idea: Fear Think about the intense fear that Mathabane experienced as a child. What are the physical and emotional effects of fear? Support your answer with details.

model 2: feature article This article was published on September 6, 2004, ten years after apartheid was abolished in South Africa. As you read, consider the key idea of progress. SEPTEMBER 6, 2004

South Africa’s Decade Of Freedom by Michael Wines

15 segregated blacks from whites and JOHANNESBURG—“See this yard?” Tom Shiburi waves his hand toward a denied blacks basic rights), South sprawling field of weeds in the township Africa’s white rulers herded millions of of Diepkloof (DEEP-kloof), close to blacks into townships like Diepkloof, 5 downtown Johannesburg. “We used where they lived in tiny houses or in iron 20 shacks, many without electricity or water. to have some shacks here,” he says. “Five thousand shacks—our last count But since South Africa’s black came to something like 10,000 people. majority came to power in 1994, They’ve been relocated, all of them.” the government has built and given 10 Shiburi is talking about the changes 1.5 million homes to former shanty 25 dwellers—evidence of the transformation in the decade since South Africa abolished apartheid and embraced that has swept this nation in a blink of democracy. Under apartheid (the history’s eye. government-run system that forcibly

Close Read 1. How are the kinds of details in this article different from those in Mathabane’s autobiography? 2. Key Idea: Progress Consider what both excerpts reveal about life in South Africa before and after apartheid. What progress has been made in South Africa?

9

types of media Subtle product placement in movies, exclusive stories on the nightly news, political campaign sites on the Web—media messages like these are pervasive today. For that reason, being literate now involves the ability to “read” media messages. To become media literate, you need to learn how to critically analyze such messages, as well as understand how they are shaping your perceptions of the world.

type of media

characteristics

feature films

• Are intended to entertain and to generate profit

Motion pictures that use narrative elements to tell a story

• Create gripping narratives through cinematography, music, sets, and actors • Are at least one hour long

news media Accounts of current events as presented in newspapers and magazines and on TV, radio, and the Web

• Are meant to inform and to create viewer or reader loyalty • Medium (TV, Web, print) dictates the presentation and delivery of information • May be biased or inaccurate, so must be examined carefully

tv shows

• Are usually intended to entertain or inform

Programs broadcast on TV, including dramas, sitcoms, talk shows, and documentaries

• Are financed by sponsors who pay to air ads during the programs • Use visuals and sound effects to create compelling programming • Are typically 30–60 minutes in length

advertising Paid promotion of products, services, candidates, or public service messages, using print and broadcast media

• Is designed to persuade a target audience to take action, buy a product or service, or support a candidate • Uses persuasive techniques, visuals, and sounds to sway an audience • Is strategically presented where and when it will have maximum exposure to the target audience

web sites Collections of “pages” on the Web. From a home page, users can navigate to other pages by clicking menus or hyperlinks.

10

the power of ideas

• Can be accessed at any time by anyone with a computer and an Internet connection • Must be evaluated for reliability (because anyone can publish on the Web) • Convey information through text, graphics, audio, video, and animation

academic vocabulary for media • medium • message • purpose • target audience


Strategies That Work: Literature 1

Ask the Right Questions Analyzing literature is largely a matter of developing your ability to ask pointed, probing questions, such as the kinds described in the chart.

Kinds of Questions

Where to Look

Big questions about key ideas

Before Reading pages (preceding every selection)

Questions that focus on literary analysis and evaluation

Side notes (alongside most selections) and After Reading pages (following every lesson)

Guided questions for analyzing specific genres

Analysis Frames (Literature Center at ClassZone.com)

2

Make Connections To get the most out of literature, you have to make connections to your life, to other selections, and to the world at large. Try the following approaches: • Big Questions and Key Ideas The selections in this book are tied to big questions and key ideas that affect all of our lives. Consider how the situations and experiences you read about relate to those in your own life. • Discussion/Writing Share your insights with others or jot down your impressions in a journal. You might discuss or record • conflicts or events that you can personally relate to • characters who remind you of people you know • quotations that resonate with you • similar themes in other works

3

Record Your Reactions Keep track of your questions, observations, and reactions in a Reader’s Notebook. Experiment with a variety of formats. two-column notes Jot down quotations and information from the selection in one column and your comments in the other. Details in Kaffir Boy

My Impressions

“I yearned to become invisible, to have the ground beneath me open and swallow me.” (lines 4_ 5)

Emphasizes the intense fear that paralyzed Mathabane; no wonder this experience has stayed with him after so many years.

graphic organizer Use a variety of charts, diagrams, or other graphic organizers to help you interpret events, analyze characters, and draw conclusions. Effect black majority in power Cause apartheid abolished

Effect new homes built Effect township residents relocated


11

Reading Strategies Workshop

Becoming an Active Reader To explore life’s big questions through literature, you need to be actively engaged in what you’re reading. That means you should be picking up on essential details, questioning why events are unfolding as they are, and making connections between situations in the text and those in your life. When you are absorbed in a riveting television show or reading a review of a new CD, you are using these skills and strategies—without consciously thinking about them. Throughout this book, you will apply the following skills and strategies to the literature you read.

skills and strategies for active reading Preview

Visualize

Get a sense of a text before you start to read.

Try to picture what is being described.

• Look for clues in the title, graphics, and subheadings.

• Note descriptive details about characters, settings, and events.

• Skim opening paragraphs before you dive in.

• Use these details to help you “see” a scene unfolding as a movie in your mind.

Set a Purpose Decide why you are reading a particular text.

Monitor

• Ask: Am I reading for my own enjoyment, to learn about a topic, or for another reason?

Check your own understanding as you read.

• Think about how your purpose might affect the way you approach a text. Should you read slowly and analytically, or simply settle back and enjoy?

Connect Relate personally to what you are reading.

• Clarify your understanding by rereading difficult parts or asking for help. • Evaluate yourself as a reader. Ask: How well am I understanding the text?

• Consider whether you’ve encountered people or situations like the ones described.

Make Inferences

• Ask: If I were in this situation, how would I react?

Use evidence in the text and what you know from experience to help you “read between the lines.”

Use Prior Knowledge

• Record details about characters, settings, and plot developments.

Call to mind what you already know about a topic. • Before reading, jot down any relevant information or experiences that you bring to the text. • As you are reading, use your notes to help you connect what you know to what you are learning.

Predict Try to guess what will happen next. • Note details about characters and events that hint at possible plot developments. • Read on to discover whether your predictions were on target.

12

• Question what is happening and why. For example, ask: What just happened? Why is the character acting this way?

the power of ideas

• Ask: How can common sense and my own experiences deepen my understanding of what’s happening? (The chart below shows how one student made an inference about a character in the story on the next page.) Details in “Where Is Here?” The stranger remembers the room being “Dark by day, dark by night.” (line 5)

What I Know

My Inference

During the day, houses are usually lit up.

There’s something unusual or different about the stranger or his family.

model: short story In the story “Where Is Here?” by Joyce Carol Oates, a stranger revisits his childhood home. The current residents—a mother and a father—follow the stranger through their house as he recalls his memories of living there. As you read this excerpt from the story, use the Close Read questions to help you to make sense of the mysterious situation.

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Short story by Joyce Carol Oates

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Finally, as if remembering the presence of his hosts, and the necessity for some display of civility, the stranger expressed his admiration for the attractiveness of the room, and its coziness. He’d remembered it as cavernous, with a ceiling twice as high. “And dark most of the time,” he said wonderingly. “Dark by day, dark by night.” The mother turned the lights of the little brass chandelier to their fullest: shadows were dispersed like ragged ghosts and the cut-glass fruit bowl at the center of the table glowed like an exquisite multifaceted jewel. The stranger exclaimed in surprise. He’d extracted a handkerchief from his pocket and was dabbing carefully at his face, where beads of perspiration shone. He said, as if thinking aloud, still wonderingly, “My father was a unique man. Everyone who knew him admired him. He sat here,” he said, gingerly touching the chair that was in fact the father’s chair, at one end of the table. “And Mother sat there,” he said, merely pointing. “I don’t recall my own place or my sister’s but I suppose it doesn’t matter. . . . I see you have four place settings, Mrs. . . . ? Two children, I suppose?” “A boy eleven, and a girl thirteen,” the mother said. The stranger stared not at her but at the table, smiling. “And so too we were—I mean, there were two of us: my sister and me.” The mother said, as if not knowing what else to say, “Are you—close?” The stranger shrugged, distractedly rather than rudely, and moved on to the living room. This room, cozily lit as well, was the most carefully furnished room in the house. Deep-piled wall-to-wall carpeting in hunter green, cheerful chintz drapes, a sofa and matching chairs in nubby heather green, framed reproductions of classic works of art, a gleaming gilt-framed mirror over the fireplace: wasn’t the living room impressive as a display in a furniture store? But the stranger said nothing at first. Indeed, his eyes narrowed sharply as if he were confronted with a disagreeable spectacle. He whispered, “Here too! Here too!”

Close Read 1. Connect Think of a time when you returned to a place from your childhood, such as an old school or a previous home. In what ways was it different from how you remembered it?

2. Visualize What impression do you have of the stranger so far? Cite details about his behavior that helped you to form a mental image.


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40

45

50

55

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14

He went to the fireplace, walking, now, with a decided limp; he drew his fingers with excruciating slowness along the mantel as if testing its materiality. For some time he merely stood, and stared, and listened. He tapped a section of wall with his knuckles—“There used to be a large water stain here, like a shadow.” “Was there?” murmured the father out of politeness, and “Was there!” murmured the mother. Of course, neither had ever seen a water stain there. Then, noticing the window seat, the stranger uttered a soft surprised cry, and went to sit in it. He appeared delighted: hugging his knees like a child trying to make himself smaller. “This was one of my happy places! At least when Father wasn’t home. I’d hide away here for hours, reading, daydreaming, staring out the window! Sometimes Mother would join me, if she was in the mood, and we’d plot together—oh, all sorts of fantastical things!” The stranger remained sitting in the window seat for so long, tears shining in his eyes, that the father and mother almost feared he’d forgotten them. He was stroking the velvet fabric of the cushioned seat, gropingly touching the leaded windowpanes. Wordlessly, the father and mother exchanged a glance: who was this man, and how could they tactfully get rid of him? The father made a face signaling impatience and the mother shook her head without seeming to move it. For they couldn’t be rude to a guest in their house. The stranger was saying in a slow, dazed voice, “It all comes back to me now. How could I have forgotten! Mother used to read to me, and tell me stories, and ask me riddles I couldn’t answer. ‘What creature walks on four legs in the morning, two legs at midday, three legs in the evening?’ ‘What is round, and flat, measuring mere inches in one direction, and infinity in the other?’ ‘Out of what does our life arise? Out of what does our consciousness arise? Why are we here? Where is here?’” The father and mother were perplexed by these strange words and hardly knew how to respond. The mother said uncertainly, “Our daughter used to like to sit here too, when she was younger. It is a lovely place.” The father said with surprising passion, “I hate riddles—they’re moronic some of the time and obscure the rest of the time.” He spoke with such uncharacteristic rudeness, the mother looked at him in surprise. Hurriedly she said, “Is your mother still living, Mr. . . . ?” “Oh no. Not at all,” the stranger said, rising abruptly from the window seat, and looking at the mother as if she had said something mildly preposterous. “I’m sorry,” the mother said. “Please don’t be,” the stranger said, “We’ve all been dead—they’ve all been dead—a long time. ” . . .

the power of ideas

Close Read 3. Make Inferences Reread the boxed text. What can you infer about the stranger’s relationship with his parents?

4. Monitor How do the father and the mother feel about the stranger? Cite details from lines 45–48 to support your answer.

5. Use Prior Knowledge Reread lines 49–55. How do these riddles compare with ones you know? Consider whether these riddles seem like ones that most parents would tell their children.

6. Predict What will the mother and the father find out about this stranger? Give reasons to support your prediction.

Reading Strategies Workshop

Strategies That Work: Reading 1

Read Independently The best way to become a better reader is to make reading a daily habit. Try all kinds of texts, from news Web sites to classic novels. What Should I Read?

How Will I Benefit?

Novels

Pure enjoyment aside, novels can give you new insights into big questions and key ideas.

Autobiographies and biographies

Magazines, newspapers, and Web sites

3

You’ll find out about the struggles and triumphs of influential figures, as well as get a glimpse inside their minds.

2

Use Graphic Organizers Graphic organizers, such as character webs, charts, and timelines, can help you understand characters and track twists and turns in a plot. What the Stranger Sees

How the Stranger Reacts

Cozy well-lit dining room

• Remembers the room being much darker • Starts perspiring • Recalls his family at the table

Well-furnished, nicely decorated living room

• Looks disturbed at first • Murmurs “Here too!” • Remembers a large water stain

A window seat

• Remembers this as a “happy place” • Starts acting like an overexcited child • Recalls crazy “riddles” his mother told him

Word

Meaning

materiality (n.) “Where Is Here?” line 30

Definition: being made of physical substance

You’ll learn about the world and devel0p your critical thinking skills.

Build Your Vocabulary Creating a personal word list can help you both build your vocabulary and become a better reader. Start a list in your Reader’s Notebook, adding words as you encounter them. • Choose your words. Consider recording vocabulary words from the selections in this book. You might also include words that you encounter while reading newspapers and Web sites, such as unfamiliar terms connected to innovations or new technologies. • Go beyond the definitions. Write synonyms, antonyms, and sentences to help you remember the words and their meanings.

Synonyms: solidity, substantiality Antonyms: illusion, shadow Sentence: The knife sliced right through the vegetables, as if they had no materiality.

• Use the words often. Studies have shown that you have to use a word multiple times to really learn it. Try to incorporate new words into your writing and discussions.


15

Writing Process Workshop

Expressing Ideas in Writing The author E. L. Doctorow once said, “Writing is an exploration. You start from nothing and learn as you go.” The journey from an unformed idea to a polished final draft proves that writing is indeed an exploration. Along the way, you can learn more about your own opinions and even enlighten, influence, or inspire others.

Consider Your Options You might want to describe a memorable experience in colorful detail, take a stand on a controversial issue, analyze the theme of a novel, or apply for a summer job. No matter what you decide to write about, you should start by considering three essential elements—your purpose, your audience, and the format of your writing.

purpose

audience

format

Why am I writing?

Who are my readers?

• to entertain

• other classmates

Which format will best suit my purpose and audience?

• to inform or explain

• teacher

• essay

• short story

• to persuade

• friends

• letter

• speech

• to describe

• community members

• poem

• review

• to express thoughts and feelings

• potential employer

• research paper

• journal entry

• script

• news article

• college admissions office

• editorial

• Web site

• Web community

• summary

• to inspire

• customer service department

• power presentation

16

the power of ideas

Continue with the Process Every writer follows a unique process for writing. Some writers, for example, dive right into drafting, letting their ideas develop as they go. Others revise their work countless times, generating one improved draft after another. As you tackle the Writing Workshop assignments in this book, you will start to adapt the following process to suit your own working style.

the writing process What Should I Do?

What Does It Look Like?

prewriting Explore your ideas and decide what you want to write about. Once you’ve defined your purpose, audience, and format, develop and focus your ideas by using prewriting strategies, such as freewriting or brainstorming with others. Find additional strategies on page 19.

freewriting

drafting Transform your ideas into a rough draft, without worrying about errors. If you are writing an informal piece, such as a journal entry or a personal narrative, you might draft to discover— start writing with no set plan. If you are writing a formal essay, however, draft from an outline.

outline

revising and editing Critically evaluate your draft, looking for ways to improve its content, structure, and style.

peer suggestions

• Review the rubric on page 18. • Enlist the help of a peer reader. • Proofread for errors in grammar, usage, and mechanics.

publishing Get your writing out where others can read it. Where you publish, of course, depends on your purpose, audience, and format. Visit the Writing Center at ClassZone.com for publishing options.

Twelve Angry Men Serving on a jury would be an exciting experience. Deciding someone’s fate is a big responsibility, though. The eighth juror seemed to be the only one who took that responsibility to heart. Maybe I could write about the character of Juror No. 8.

I. Juror No. 8 has all the qualities that a responsible juror should have. A. Is impartial (evidence is important, not feelings) B. Stands up for his opinion even after other jurors ridicule him for being “in left field” (line 9)

o

In Reginald Rose’s Twelve Angry Men, Jurer No. 8 is the only one to understand what it means to be a good jurer. this weighty responsibility. Suggestion: May want to grab readers with a creative statement. Try: “The jury has reached a verdict—one that will seal the fate of the defendant.”

publishing options HTTPMUSICACADEMYEDU^JZEPEDA

*ACKIES"LOG -YNAMEIS*ACKIE:EPEDA AND) -USIC!CADEMY4HISSITEISWHE WITHTHEWORLD&ORSTARTERS


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Do a Self-Check Whether you’re analyzing Julius Caesar or posting a movie review on the Web, considering the key traits of effective writing can keep you from getting sidetracked. Use this rubric to evaluate your draft at any point in the process.

key traits rubric

Ideas

1 2 3 4 5 6

Organization

Voice

Word Choice

Sentence Fluency

Conventions

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Strong

Average

Weak

• centers around a clear, focused topic

• has a topic, but it needs to be developed more

• is supported by vivid, well-chosen details

• contains general statements with some details

• opens in an engaging way and wraps up with a satisfying conclusion

• has both an introduction and a conclusion, but they are uninteresting

• flows in a logical manner

• lacks some transitions

• contains a confusing jumble of ideas

• conveys a strong sense of individual style

• sounds flat in some places

• has little or no life

• lapses into an inappropriate tone at times

• continuously uses an inappropriate tone for the intended purpose and audience

• uses words that are precise and colorful

• uses words that are correct, but ordinary

• uses words that are vague or incorrect

• conveys meaning in a powerful, yet naturalsounding manner

• gets meaning across, but is not memorable

• fails to convey meaning clearly

• includes sentences of varied lengths and structures

• has some sentence variety, but not enough

• includes mostly short or rambling sentences

• creates a pleasing flow from one idea to the next

• lacks flow in some places

• is awkward or repetitious

• shows a strong grasp of grammar and usage

• has minor grammar and usage problems

• has few problems with mechanics (spelling, capitalization, and punctuation)

• contains some mechanical errors

• has such poor grammar and usage that meaning is unclear

• uses a tone that is wellsuited to the purpose and audience

the power of ideas

• has no clear topic • omits important details or includes unclear ones

• has no real introduction or conclusion

• contains so many mechanical errors that the writing is hard to read

Writing Process Workshop

Strategies That Work: Writing 1

Use Prewriting Strategies The first step in any process is often the hardest—and that can be especially true of writing. Here are some strategies to help you get a strong start: • Freewrite. Write continuously for ten minutes, jotting down the ideas that pop into your head. • Chart your course. Capture your ideas in a graphic organizer, such as a spider map or an observation chart. • Search for inspiration. Look for quotations, photographs, headlines, and other sources of inspiration. • Brainstorm with others. Hear what others have to say about your ideas.

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Get Feedback from Peers Often, peer readers can spot problems that you’ve overlooked. Consider the following guidelines. When You’re the Writer

When You’re the Reader

• Make readers feel comfortable about responding honestly by listening respectfully to what they have to say.

• Remember that you could be in the writer’s position—so be truthful but tactful.

• Clarify what kind of feedback you want. Should your readers focus on content, structure, or both? • Think about readers’ comments and then make your own decisions about what to change.

• Be as specific as you can be. Offer detailed explanations to support your reactions and comments. • Respect the writer’s right to accept or reject your suggestions and to revise the work in his or her own way.

• Write from a prompt. Visit the Writing Center at ClassZone.com for prompts and ideas for writing.

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Read, Read, Read If you really want to develop and improve your own style, then you should read other people’s writing. Consider these sources:

literature

writing community

online resources

Take a closer look at some of the fiction, nonfiction, poetry, and drama in this book. Also, don’t overlook novels, magazines, and newspapers that interest you.

Form a writing group with other students to share each other’s writing processes and products.

Check out the Writing Center at ClassZone.com for interactive models of student writing, as well as links to publication sites on the Web.


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unit

The World of a Story

1

plot, setting, and mood • In Fiction • In Nonfiction • In Media • In Poetry

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1

unit

Share What You Know Which stories are

worth reading?

So many activities compete for your time and attention. You can spend your leisure time watching television, playing video games, or surfing the Internet. If you decide to invest your time reading a book, you want value for that investment. You want to be sure the story is worth reading, making you laugh, cry, or gasp in surprise. ACTIVITY Which stories made you glad you had read them? What qualities made these stories so good? Create a list of your criteria for a “great read.” Think about the following: • Do you care more about the characters or the events that happen to them? • Does suspense play a role in the stories you like? • Are there certain places you like to read about? • What emotions do you like to feel as you read?

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l i t e r at u r e classzone.com

Literature and Reading Center Writing Center Vocabulary Center

Preview Unit Goals literary analysis

• Identify and analyze conflict and its complications • Analyze setting and its influence on mood and conflict • Analyze mood and suspense

reading

• Use reading strategies, including monitoring and predicting • Make inferences and draw conclusions • Analyze text features and patterns of organization • Evaluate information against criteria • Analyze chronological order

writing and grammar

• Write an interpretive essay • Support key points with evidence from the text • Use descriptive details and improve sentence flow

speaking, listening, and viewing vocabulary

• Present an oral response to literature • Analyze film techniques that create suspense

• Understand connotations and denotations of words • Understand and use specialized/technical vocabulary • Use word roots and prefixes to help unlock meaning

academic vocabulary

• • • •

conflict connotation and denotation inferences and conclusions mood

• • • •

patterns of organization setting storyboard text features

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unit 1

Literary Analysis Workshop

Plot, Setting, and Mood Every story transports you to a fictional world. You might be swept away by a love story set during the Civil War or mesmerized by a science fiction adventure that takes place on an uninhabited planet. No matter where and when they unfold, good stories allow you to experience times, places, and conflicts that are outside your everyday life. To understand why a story affects you as it does, you have to analyze the elements—plot, setting, and mood—that make up its world.

Part 1: Setting and Mood Almost every story happens in a particular time and place—for example, “long ago, in a galaxy far, far away,” in a modern city, or during the Great Depression. The time and place of the story is its setting. Writers create setting through the following: • details that suggest the time of day, year, season, or historical period • descriptions of characters, clothing, buildings, weather, and landscapes Another element that contributes to the world of a story is the mood, the feeling or atmosphere that a writer creates for readers. Whether it is ominous or uplifting, a mood is developed through a writer’s use of imagery and choice of words and details. Setting details, in particular, help to establish a mood. In Jack London’s “To Build a Fire” (page 74), the setting affects the mood and other elements. The bleak story takes place on a wilderness trail in the Yukon Territory, a region in far northwestern Canada.

setting in

TO B U I LD A

Creates Conflicts

FIRE

Can the man build a fire to warm his frozen limbs? He faces conflicts like this one as he struggles to survive.

Influences Character Overconfident and inexperienced in the cold, the man learns a life-ordeath lesson.

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unit 1 : plot, setting, and mood

Helps Create Mood The setting creates a mood of alienation and fear in the face of a natural world that is indifferent.

Serves as a Symbol The man’s frozen surroundings symbolize death and the indifference of nature to what people want.

model: setting and mood At the beginning of the novel Ethan Frome, the narrator hears townspeople allude to a tragedy that ruined the life of the title character, Ethan. When a snowstorm hits the town, the narrator must spend the night at Ethan’s, where he finally hears the entire tragic story. This excerpt begins as the storm is approaching. from

Novel by Edith Wharton

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. . . We set out for Starkfield with a good chance of getting there for supper. But at sunset the clouds gathered again, bringing an earlier night, and the snow began to fall straight and steadily from a sky without wind, in a soft universal diffusion more confusing than the gusts and eddies of the morning. It seemed to be a part of the thickening darkness, to be the winter night itself descending on us layer by layer. The small ray of Frome’s lantern was soon lost in this smothering medium, in which even his sense of direction, and the bay’s homing instinct, finally ceased to serve us. Two or three times some ghostly landmark sprang up to warn us that we were astray, and then was sucked back into the mist; and when we finally regained our road the old horse began to show signs of exhaustion. I felt myself to blame for having accepted Frome’s offer, and after a short discussion I persuaded him to let me get out of the sleigh and walk along through the snow at the bay’s side. In this way we struggled on for another mile or two, and at last reached a point where Frome, peering into what seemed to me formless night, said: “That’s my gate down yonder.” . . . “Look here, Frome,” I began, “there’s no earthly use in your going any farther—” but he interrupted me: “Nor you neither. There’s been about enough of this for anybody.” I understood that he was offering me a night’s shelter at the farm, and without answering I turned into the gate at his side, and followed him to the barn, where I helped him to unharness and bed down the tired horse. When this was done he unhooked the lantern from the sleigh, stepped out again into the night, and called to me over his shoulder: “This way.” Far off above us a square of light trembled through the screen of snow. Staggering along in Frome’s wake I floundered toward it, and in the darkness almost fell into one of the deep drifts against the front of the house. Frome scrambled up the slippery steps of the porch, digging a way through the snow with his heavily booted foot. Then he lifted his lantern, found the latch, and led the way into the house. I went after him into a low unlit passage, at the back of which a ladder-like staircase rose into obscurity.

Close Read 1. Where and when does this story takes place? Describe the setting as completely as you can. 2. Reread lines 1–11. What mood do the setting details help to create? Support your answer.

3. What conflicts does the setting create for Ethan and the narrator?

4. Identify two setting details that may hint at the tragic story that the narrator will soon hear. Explain your choices. One detail has been boxed.

liter ary analysis workshop

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Part 2: Plot and Story Analysis A story is much more than the world in which the action unfolds. The real power of a story comes from what happens in that world. Most stories follow a plot, a chain of events that traces a conflict, or struggle between opposing forces. The conflict can be internal, taking place within the mind of a character, or it can be an external conflict between a character and an outside force, such as another character, society, or nature. Plot is usually talked about in terms of the following stages. Keep in mind, however, that not every story follows this exact structure.

stages of a typical plot exposition This part of a plot introduces the setting and characters and establishes a mood. It may also reveal the conflict or set the stage for it.

rising action Complications arise as the main character struggles to resolve the conflict. “The plot thickens” as suspense builds.

climax The climax is a turning point in the story and the moment of greatest suspense. Often the main character makes a decision or takes an action that makes the outcome of the conflict clear.

falling action This stage shows the results of the decision or action that happened at the climax. Tension eases as the conflict is resolved.

resolution The resolution reveals the final outcome of the story and ties up any loose ends.

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questions for analysis • What details help to establish the setting and create a mood? • What kind of person is the main character? • What, if anything, is revealed about the conflict?

• What is the central conflict? • How do the characters respond to the conflict? • How does the conflict become more complicated?

• What decision or action has the main character made or taken? • What impact might this decision or action have on the characters and the conflict? • How might the conflict be resolved?

• What is the outcome of the main character’s decision or action? • What steps does the main character take to resolve the conflict?

• How have the events and conflicts affected or changed the characters? • Through the resolution, what message might the writer be suggesting?


Part 3: Analyze the Literature In this story, a lovestruck teenager is faced with a difficult choice. As you read, use what you’ve learned about setting, mood, and plot to analyze the story.

Short story by W. D. Wetherell

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There was a summer in my life when the only creature that seemed lovelier to me than a largemouth bass was Sheila Mant. I was fourteen. The Mants had rented the cottage next to ours on the river; with their parties, their frantic games of softball, their constant comings and goings, they appeared to me denizens of a brilliant existence. “Too noisy by half,” my mother quickly decided, but I would have given anything to be invited to one of their parties, and when my parents went to bed I would sneak through the woods to their hedge and stare enchanted at the candlelit swirl of white dresses and bright, paisley skirts. Sheila was the middle daughter—at seventeen, all but out of reach. She would spend her days sunbathing on a float my Uncle Sierbert had moored in their cove, and before July was over I had learned all her moods. If she lay flat on the diving board with her hand trailing idly in the water, she was pensive, not to be disturbed. On her side, her head propped up by her arm, she was observant, considering those around her with a look that seemed queenly and severe. Sitting up, arms tucked around her long, suntanned legs, she was approachable, but barely, and it was only in those glorious moments when she stretched herself prior to entering the water that her various suitors found the courage to come near. These were many. The Dartmouth heavyweight crew would scull by her house on their way upriver, and I think all eight of them must have been in love with her at various times during the summer; the coxswain would curse at them through his megaphone but without effect—there was always a pause in their pace when they passed Sheila’s float. I suppose to these jaded twentyyear-olds she seemed the incarnation of innocence and youth, while to me she appeared unutterably suave, the epitome of sophistication. I was on the swim team at school, and to win her attention would do endless laps between my house and the Vermont shore, hoping she would notice the beauty of my flutter kick, the power of my crawl. Finishing, I would boost myself up onto our dock and glance casually over toward her, but she was never watching, and the miraculous day she was, I immediately climbed the diving board and did my best tuck and a half for her, and continued diving until she had left and the sun went down and my longing was like a madness and I couldn’t stop.

Close Read 1. The exposition transports you into the world of the story. What do you learn about the setting in lines 1–8? Describe the mood that the setting details help to create.

2. What does the boxed text reveal about the narrator’s personality? 3. Consider the description of Sheila in lines 9–18 and the narrator’s eagerness to impress her. What do you think the main conflict will be about?


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t was late August by the time I got up the nerve to ask her out. The tortured will-I’s, won’t-I’s, the agonized indecision over what to say, the false starts toward her house and embarrassed retreats—the details of these have been seared from my memory, and the only part I remember clearly is emerging from the woods toward dusk while they were playing softball on their lawn, as bashful and frightened as a unicorn. Sheila was stationed halfway between first and second, well outside the infield. She didn’t seem surprised to see me—as a matter of fact, she didn’t seem to see me at all. “If you’re playing second base, you should move closer,” I said. She turned—I took the full brunt of her long red hair and well-spaced freckles. “I’m playing outfield,” she said, “I don’t like the responsibility of having a base.” “Yeah, I can understand that,” I said, though I couldn’t. “There’s a band in Dixford tomorrow night at nine. Want to go?” One of her brothers sent the ball sailing over the leftfielder’s head; she stood and watched it disappear toward the river. “You have a car?” she said, without looking up. I played my master stroke. “We’ll go by canoe.” I spent all of the following day polishing it. I turned it upside down on our lawn and rubbed every inch with Brillo, hosing off the dirt, wiping it with chamois until it gleamed as bright as aluminum ever gleamed. About five, I slid it into the water, arranging cushions near the bow so Sheila could lean on them if she was in one of her pensive moods, propping up my father’s transistor radio by the middle thwart so we could have music when we came back. Automatically, without thinking about it, I mounted my Mitchell reel on my Pfleuger spinning rod and stuck it in the stern. I say automatically, because I never went anywhere that summer without a fishing rod. When I wasn’t swimming laps to impress Sheila, I was back in our driveway practicing casts, and when I wasn’t practicing casts, I was tying the line to Tosca, our springer spaniel, to test the reel’s drag, and when I wasn’t doing any of those things, I was fishing the river for bass. Too nervous to sit at home, I got in the canoe early and started paddling in a huge circle that would get me to Sheila’s dock around eight. As automatically as I brought along my rod, I tied on a big Rapala plug, let it down into the water, let out some line and immediately forgot all about it. It was already dark by the time I glided up to the Mants’ dock. Even by day the river was quiet, most of the summer people preferring Sunapee or one of the other nearby lakes, and at night it was a solitude difficult to believe, a corridor of hidden life that ran between banks like a tunnel. Even the stars were part of it. They weren’t as sharp anywhere else; they seemed to have chosen the river as a guide on their slow wheel toward morning, and in the course of the summer’s fishing, I had learned all their names. I was there ten minutes before Sheila appeared. I heard the slam of their screen door first, then saw her in the spotlight as she came slowly down the path. As beautiful as she was on the float, she was even lovelier now—her


Close Read 4. In lines 33–48, the narrator makes a decision that sets the rising action in motion. Explain what his decision is. How does it make the story more compelling?

5. Reread lines 53–65. What more do you learn about the narrator and the kind of person he is?

6. Compare the description of the setting in the boxed text with that in the first paragraph of the story. How has the mood changed?


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white dress went perfectly with her hair, and complimented her figure even more than her swimsuit. It was her face that bothered me. It had on its delightful fullness a very dubious expression. “Look,” she said. “I can get Dad’s car.” “It’s faster this way,” I lied. “Parking’s tense up there. Hey, it’s safe. I won’t tip it or anything.” She let herself down reluctantly into the bow. I was glad she wasn’t facing me. When her eyes were on me, I felt like diving in the river again from agony and joy. I pried the canoe away from the dock and started paddling upstream. There was an extra paddle in the bow, but Sheila made no move to pick it up. She took her shoes off, and dangled her feet over the side. Ten minutes went by. “What kind of band?” she said. “It’s sort of like folk music. You’ll like it.” “Eric Caswell’s going to be there. He strokes number four.” “No kidding?” I said. I had no idea who she meant. “What’s that sound?” she said, pointing toward shore. “Bass. That splashing sound?” “Over there.” “Yeah, bass. They come into the shallows at night to chase frogs and moths and things. Big largemouths. Micropetrus salmonides,” I added, showing off. “I think fishing’s dumb,” she said, making a face. “I mean, it’s boring and all. Definitely dumb.” ow I have spent a great deal of time in the years since wondering why Sheila Mant should come down so hard on fishing. Was her father a fisherman? Her antipathy toward fishing nothing more than normal filial rebellion? Had she tried it once? A messy encounter with worms? It doesn’t matter. What does, is that at that fragile moment in time I would have given anything not to appear dumb in Sheila’s severe and unforgiving eyes. She hadn’t seen my equipment yet. What I should have done, of course, was push the canoe in closer to shore and carefully slide the rod into some branches where I could pick it up again in the morning. Failing that, I could have surreptitiously dumped the whole outfit overboard, written off the forty or so dollars as love’s tribute. What I actually did do was gently lean forward, and slowly, ever so slowly, push the rod back through my legs toward the stern where it would be less conspicuous. It must have been just exactly what the bass was waiting for. Fish will trail a lure sometimes, trying to make up their mind whether or not to attack, and the slight pause in the plug’s speed caused by my adjustment was tantalizing enough to overcome the bass’s inhibitions. My rod, safely out of sight at last, bent double. The line, tightly coiled, peeled off the spool with the shrill, tearing zip of a high-speed drill.

Close Read 7. Describe Sheila’s personality. In what ways does her attitude create conflicts for the narrator?


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Four things occurred to me at once. One, that it was a bass. Two, that it was a big bass. Three, that it was the biggest bass I had ever hooked. Four, that Sheila Mant must not know. “What was that?” she said, half turning around. “Uh, what was what?” “That buzzing noise.” “Bats.” She shuddered, quickly drew her feet back into the canoe. Every instinct I had told me to pick up the rod and strike back at the bass, but there was no need to—it was already solidly hooked. Downstream, an awesome distance downstream, it jumped clear of the water, landing with a concussion heavy enough to ripple the entire river. For a moment, I thought it was gone, but then the rod was bending again, the tip dancing into the water. Slowly, not making any motion that might alert Sheila, I reached down to tighten the drag. While all this was going on, Sheila had begun talking and it was a few minutes before I was able to catch up with her train of thought. “I went to a party there. These fraternity men. Katherine says I could get in there if I wanted. I’m thinking more of UVM or Bennington. Somewhere I can ski.” The bass was slanting toward the rocks on the New Hampshire side by the ruins of Donaldson’s boathouse. It had to be an old bass—a young one probably wouldn’t have known the rocks were there. I brought the canoe back out into the middle of the river, hoping to head it off. “That’s neat,” I mumbled. “Skiing. Yeah, I can see that.” “Eric said I have the figure to model, but I thought I should get an education first. I mean, it might be a while before I get started and all. I was thinking of getting my hair styled, more swept back? I mean, Ann-Margret? Like hers, only shorter.” She hesitated. “Are we going backwards?” We were. I had managed to keep the bass in the middle of the river away from the rocks, but it had plenty of room there, and for the first time a chance to exert its full strength. I quickly computed the weight necessary to draw a fully loaded canoe backwards—the thought of it made me feel faint. “It’s just the current,” I said hoarsely. “No sweat or anything.” I dug in deeper with my paddle. Reassured, Sheila began talking about something else, but all my attention was taken up now with the fish. I could feel its desperation as the water grew shallower. I could sense the extra strain on the line, the frantic way it cut back and forth in the water. I could visualize what it looked like—the gape of its mouth, the flared gills and thick, vertical tail. The bass couldn’t have encountered many forces in its long life that it wasn’t capable of handling, and the unrelenting tug at its mouth must have been a source of great puzzlement and mounting panic. Me, I had problems of my own. To get to Dixford, I had to paddle up a sluggish stream that came into the river beneath a covered bridge. There was a shallow sandbar at the mouth of this stream—weeds on one side, rocks on the other. Without doubt, this is where I would lose the fish.


Close Read 8. In lines 123–125, the main conflict comes into sharp focus. What is the narrator’s conflict?

9. In the rising action, the story cuts back and forth between the narrator’s struggle with the fish and Sheila’s incessant talking. How does this heighten the suspense?

10. Reread lines 165–168. What conflicts are created by the setting?


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“I have to be careful with my complexion. I tan, but in segments. I can’t figure out if it’s even worth it. I wouldn’t even do it probably. I saw Jackie Kennedy in Boston and she wasn’t tan at all.” Taking a deep breath, I paddled as hard as I could for the middle, deepest part of the bar. I could have threaded the eye of a needle with the canoe, but the pull on the stern threw me off and I overcompensated—the canoe veered left and scraped bottom. I pushed the paddle down and shoved. A moment of hesitation . . . a moment more. . . . The canoe shot clear into the deeper water of the stream. I immediately looked down at the rod. It was bent in the same, tight arc—miraculously, the bass was still on.

he moon was out now. It was low and full enough that its beam shone directly on Sheila there ahead of me in the canoe, washing her in a creamy, luminous glow. I could see the lithe, easy shape of her figure. I could see the way her hair curled down off her shoulders, the proud, alert tilt of her head, and all these things were as a tug on my heart. Not just Sheila, but the aura she carried about her of parties and casual touchings and grace. Behind me, I could feel the strain of the bass, steadier now, growing weaker, and this was another tug on my heart, not just the bass but the beat of the river and the slant of the stars and the smell of the night, until finally it seemed I would be torn apart between longings, split in half. Twenty yards ahead of us was the road, and once I pulled the canoe up on shore, the bass would be gone, irretrievably gone. If instead I stood up, grabbed the rod and started pumping, I would have it—as tired as the bass was, there was no chance it could get away. I reached down for the rod, hesitated, looked up to where Sheila was stretching herself lazily toward the sky, her small breasts rising beneath the soft fabric of her dress, and the tug was too much for me, and quicker than it takes to write down, I pulled a penknife from my pocket and cut the line in half. With a sick, nauseous feeling in my stomach, I saw the rod unbend. “My legs are sore,” Sheila whined. “Are we there yet?” Through a superhuman effort of self-control, I was able to beach the canoe and help Sheila off. The rest of the night is much foggier. We walked to the fair—there was the smell of popcorn, the sound of guitars. I may have danced once or twice with her, but all I really remember is her coming over to me once the music was done to explain that she would be going home in Eric Caswell’s Corvette. “Okay,” I mumbled. For the first time that night she looked at me, really looked at me. “You’re a funny kid, you know that?” Funny. Different. Dreamy. Odd. How many times was I to hear that in the years to come, all spoken with the same quizzical, half-accusatory tone Sheila used then. Poor Sheila! Before the month was over, the spell she cast over me was gone, but the memory of that lost bass haunted me all summer and haunts me still. There would be other Sheila Mants in my life, other fish, and though I came close once or twice, it was these secret, hidden tuggings in the night that claimed me, and I never made the same mistake again.

Close Read 11. Lines 179–195 mark the story’s climax. Explain what the narrator finally chooses to do. Given his earlier thoughts and actions, did you expect this outcome? Explain.

12. The falling action (lines 196–205) shows what happens after the narrator makes his choice. What are the effects of his decision? 13. In the resolution (lines 206–212), the narrator, now older, reflects on his actions. What lesson has he learned from his experience?


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Before Reading

Harrison Bergeron Short Story by Kurt Vonnegut Jr.

What if everyone were

the same ?

KEY IDEA What would the world be like if everyone were the same—average in intelligence, talents, appearance, and strength— and no one was better than anyone else? How do you think people would feel and act toward each other? Would they be happy and satisfied? BRAINSTORM With your class, brainstorm possible advantages and disadvantages of a world where everyone is the same—exactly average. Try to generate as many ideas as possible.

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Advan tages Disadvan tages no m ore nothing to jealousy live up to

literary analysis: plot and conflict The plot of a story is driven by a conflict, or struggle between opposing forces. In some stories, the conflict is between the main character and society. In “Harrison Bergeron,” for example, the title character struggles with U.S. society in the year 2081. As you read, notice ways in which Harrison and the government oppose each other. Follow events to see who prevails.

reading skill: draw conclusions When you draw conclusions, you make judgments based on story details and your own prior knowledge. Use the following strategies to draw conclusions about the society depicted in “Harrison Bergeron”: • Note what results from the society’s practices and laws. • Apply your own knowledge to speculate about the motives of its officials. As you read “Harrison Bergeron,” use a chart like the one shown to make notes about the society. Also include your own thoughts or reactions about the information. Details About Society Constitutional amendments make everyone equal in every way.

My Reactions It would be hard to enforce equality.

My Overall Conclusions

vocabulary in context Vonnegut uses the following words in relating his futuristic tale. To see how many words you already know, substitute a different word or phrase for each boldfaced term. 1. vigilance with the children crossing the street 2. wince in pain after the injection 3. filled with consternation at the thought 4. cower in the corner 5. synchronize our watches 6. neutralizing the impact

Serious Humor Kurt Vonnegut Jr. was one of the most acclaimed satiric writers in America. After working briefly as a journalist, he began writing short stories in the late 1940s and continued writing stories, novels, dramas, and Kurt Vonnegut Jr. essays for more than 1922–2007 50 years. His fiction deals with sobering topics—war, brutality, and fear of technology. But Vonnegut writes with dark humor and elements of fantasy and even absurdity, which have given his writing lasting appeal. Voice of Experience During World War II, Vonnegut was held as a prisoner of war in Dresden, Germany. The city was leveled by a fierce firebombing, and the destruction and horror of that event became the focus of his most famous novel, Slaughterhouse Five. Vonnegut wrote in a preface to the novel that it was about “the inhumanity of many of man’s inventions to man.” Vonnegut’s early work was not well received by critics, but since the 1970s he has been regarded as a major American writer.

more about the author For more on Kurt Vonnegut Jr., visit the Literature Center at ClassZone.com.

Background What’s Your Handicap? If you have ever run a footrace or played golf, you might know the sports term handicap. It refers to a way to even up a game so that good, average, and poor players can compete as equals. In a footrace, for example, faster runners might handicap themselves by giving slower runners a head start. In “Harrison Bergeron,” people are given handicaps in daily life so that no one will be any stronger, smarter, or better looking than anyone else.

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Harrison Bergeron

kurt vonnegut jr.

The year was 2081, and everybody was finally equal. They weren’t only equal before God and the law. They were equal every which way. Nobody was smarter than anybody else. Nobody was better looking than anybody else. Nobody was stronger or quicker than anybody else. All this equality was due to the 211th, 212th, and 213th Amendments to the Constitution, and to the unceasing vigilance of agents of the United States Handicapper General. Some things about living still weren’t quite right, though. April, for instance, still drove people crazy by not being springtime. And it was in that clammy month that the H-G men took George and Hazel Bergeron’s fourteen-year-old 10 son, Harrison, away. It was tragic, all right, but George and Hazel couldn’t think about it very hard. Hazel had a perfectly average intelligence, which meant she couldn’t think about anything except in short bursts. And George, while his intelligence was way above normal, had a little mental handicap radio in his ear. He was required by law to wear it at all times. It was tuned to a government transmitter.1 Every twenty seconds or so, the transmitter would send out some sharp noise to keep people like George from taking unfair advantage of their brains. a George and Hazel were watching television. There were tears on Hazel’s cheeks, but she’d forgotten for the moment what they were about. On the television screen were ballerinas. 20 A buzzer sounded in George’s head. His thoughts fled in panic, like bandits from a burglar alarm. “That was a real pretty dance, that dance they just did,” said Hazel. “Huh?” said George. “That dance—it was nice,” said Hazel. “Yup,” said George. He tried to think a little about the ballerinas. They weren’t really very good—no better than anybody else would have been, anyway. They were burdened with sashweights2 and bags of birdshot,3 and

vigilance (vGjPE-lEns) n. alert attention, watchfulness

a DR AW CONCLUSIONS Reread lines 1–17. Cite specific details that describe society in 2081. What is your opinion of the society so far?

ANALYZE VISUALS Examine the image of the television announcer and the picture behind him. What does this painting suggest about television?

1. transmitter: an electronic device for broadcasting radio signals. 2. sashweights: lead weights used in some kinds of windows to keep them from falling shut when raised. 3. birdshot: tiny lead pellets made to be loaded in shotgun shells.

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unit 1: plot, setting, and mood

TVTime-Announcer (2002), Charles Foster-Hall. Acrylic on canvas, 16˝ × 20˝. © Charles Foster-Hall.

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their faces were masked, so that no one, seeing a free and graceful gesture or a pretty face, would feel like something the cat drug in. George was toying with the vague notion that maybe dancers shouldn’t be handicapped. But he didn’t get very far with it before another noise in his ear radio scattered his thoughts. George winced. So did two out of the eight ballerinas. Hazel saw him wince. Having no mental handicap herself, she had to ask George what the latest sound had been. “Sounded like somebody hitting a milk bottle with a ball peen hammer,”4 said George. “I’d think it would be real interesting, hearing all the different sounds,” said Hazel, a little envious. “All the things they think up.” “Um,” said George. b “Only, if I was Handicapper General, you know what I would do?” said Hazel. Hazel, as a matter of fact, bore a strong resemblance to the Handicapper General, a woman named Diana Moon Glampers. “If I was Diana Moon Glampers,” said Hazel, “I’d have chimes on Sunday—just chimes. Kind of in honor of religion.” “I could think, if it was just chimes,” said George. “Well—maybe make ’em real loud,” said Hazel. “I think I’d make a good Handicapper General.” “Good as anybody else,” said George. “Who knows better’n I do what normal is?” said Hazel. “Right,” said George. He began to think glimmeringly about his abnormal son who was now in jail, about Harrison, but a twenty-one-gun salute in his head stopped that. c “Boy!” said Hazel, “that was a doozy, wasn’t it?” It was such a doozy that George was white and trembling, and tears stood on the rims of his red eyes. Two of the eight ballerinas had collapsed to the studio floor and were holding their temples. “All of a sudden you look so tired,” said Hazel. “Why don’t you stretch out on the sofa, so’s you can rest your handicap bag on the pillows, honeybunch.” She was referring to the forty-seven pounds of birdshot in a canvas bag, which was padlocked around George’s neck. “Go on and rest the bag for a little while,” she said. “I don’t care if you’re not equal to me for a while.” George weighed the bag with his hands. “I don’t mind it,” he said. “I don’t notice it any more. It’s just a part of me.” “You been so tired lately—kind of wore out,” said Hazel. “If there was just some way we could make a little hole in the bottom of the bag, and just take out a few of them lead balls. Just a few.” “Two years in prison and two thousand dollars fine for every ball I took out,” said George. “I don’t call that a bargain.”

4. ball peen hammer: a hammer with a head having one flat side and one rounded side.

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wince (wGns) v. to shrink or flinch involuntarily, especially in pain

b DR AW CONCLUSIONS How does the society affect the thoughts and reactions of the people? How does it influence their job performance?

c PLOT AND CONFLICT George’s thoughts reveal more about the conflict between Harrison and the society. On the basis of what you’ve read so far, what behavior do you think might be viewed as abnormal and illegal?

“If you could just take a few out when you came home from work,” said Hazel. “I mean—you don’t compete with anybody around here. You just set around.” “If I tried to get away with it,” said George, “then other people’d get away with it—and pretty soon we’d be right back to the dark ages again, with everybody competing against everybody else. You wouldn’t like that, would you?” “I’d hate it,” said Hazel. “There you are,” said George. “The minute people start cheating on laws, what do you think happens to society?” 80 If Hazel hadn’t been able to come up with an answer to this question, George couldn’t have supplied one. A siren was going off in his head. “Reckon it’d fall all apart,” said Hazel. “What would?” said George blankly. “Society,” said Hazel uncertainly. “Wasn’t that what you just said?” “Who knows?” said George. d The television program was suddenly interrupted for a news bulletin. It wasn’t clear at first as to what the bulletin was about, since the announcer, like all announcers, had a serious speech impediment.5 For about half a minute, and in a state of high excitement, the announcer tried to say, “Ladies and 90 gentlemen—” He finally gave up, handed the bulletin to a ballerina to read. “That’s all right—” Hazel said of the announcer, “he tried. That’s the big thing. He tried to do the best he could with what God gave him. He should get a nice raise for trying so hard.” “Ladies and gentlemen—” said the ballerina, reading the bulletin. She must have been extraordinarily beautiful, because the mask she wore was hideous. And it was easy to see that she was the strongest and most graceful of all the dancers, for her handicap bags were as big as those worn by two-hundredpound men. 100 And she had to apologize at once for her voice, which was a very unfair voice for a woman to use. Her voice was a warm, luminous, timeless melody. “Excuse me—” she said, and she began again, making her voice absolutely uncompetitive. “Harrison Bergeron, age fourteen,” she said in a grackle6 squawk, “has just escaped from jail, where he was held on suspicion of plotting to overthrow the government. He is a genius and an athlete, is under-handicapped, and should be regarded as extremely dangerous.” e A police photograph of Harrison Bergeron was flashed on the screen— upside down, then sideways, upside down again, then right side up. The 70

d DR AW CONCLUSIONS Reread lines 68–85. What do you think of George’s reasons for not lightening his handicap bag?

e PLOT AND CONFLICT Here the rising action begins. What more do you learn about the conflict between Harrison and the society?

5. speech impediment (Gm-pDdPE-mEnt): a physical defect that prevents a person from speaking normally. 6. grackle: a blackbird with a harsh, unpleasant call.

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TVTime 2 (2002), Charles Foster-Hall. Acrylic on canvas, 16˝ × 28˝. © Charles Foster-Hall.

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picture showed the full length of Harrison against a background calibrated in feet and inches. He was exactly seven feet tall. The rest of Harrison’s appearance was Halloween and hardware. Nobody had ever born heavier handicaps. He had outgrown hindrances faster than the H-G men could think them up. Instead of a little ear radio for a mental handicap, he wore a tremendous pair of earphones, and spectacles with thick wavy lenses. The spectacles were intended to make him not only half blind, but to give him whanging headaches besides. Scrap metal was hung all over him. Ordinarily, there was a certain symmetry, a military neatness to the handicaps issued to strong people, but Harrison looked like a walking junkyard. In the race of life, Harrison carried three hundred pounds. And to offset his good looks, the H-G men required that he wear at all times a red rubber ball for a nose, keep his eyebrows shaved off, and cover his even white teeth with black caps at snaggle-tooth random. f “If you see this boy,” said the ballerina, “do not—I repeat, do not—try to reason with him.” There was the shriek of a door being torn from its hinges. Screams and barking cries of consternation came from the television set. The photograph of Harrison Bergeron on the screen jumped again and again, as though dancing to the tune of an earthquake.


ANALYZE VISUALS How would you describe the figures watching television? How well do they represent George and Hazel?

f PLOT AND CONFLICT Why has Harrison been so handicapped by the government?

consternation (kJnQstEr-nAPshEn) n. confused amazement or fear

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George Bergeron correctly identified the earthquake, and well he might have—for many was the time his own home had danced to the same crashing tune. “My God—” said George, “that must be Harrison!” The realization was blasted from his mind instantly by the sound of an automobile collision in his head. When George could open his eyes again, the photograph of Harrison was gone. A living, breathing Harrison filled the screen. Clanking, clownish, and huge, Harrison stood in the center of the studio. g The knob of the uprooted studio door was still in his hand. Ballerinas, technicians, musicians, and announcers cowered on their knees before him, expecting to die. “I am the Emperor!” cried Harrison. “Do you hear? I am the Emperor! Everybody must do what I say at once!” He stamped his foot and the studio shook. “Even as I stand here—” he bellowed, “crippled, hobbled, sickened—I am a greater ruler than any man who ever lived! Now watch me become what I can become!” Harrison tore the straps of his handicap harness like wet tissue paper, tore straps guaranteed to support five thousand pounds. Harrison’s scrap-iron handicaps crashed to the floor. Harrison thrust his thumbs under the bar of the padlock that secured his head harness. The bar snapped like celery. Harrison smashed his headphones and spectacles against the wall. He flung away his rubber-ball nose, revealed a man that would have awed Thor, the god of thunder. “I shall now select my Empress!” he said, looking down on the cowering people. “Let the first woman who dares rise to her feet claim her mate and her throne!” h A moment passed, and then a ballerina arose, swaying like a willow. Harrison plucked the mental handicap from her ear, snapped off her physical handicaps with marvelous delicacy. Last of all, he removed her mask. She was blindingly beautiful. “Now—” said Harrison, taking her hand, “shall we show the people the meaning of the word dance? Music!” he commanded. The musicians scrambled back into their chairs, and Harrison stripped them of their handicaps, too. “Play your best,” he told them, “and I’ll make you barons and dukes and earls.” The music began. It was normal at first—cheap, silly, false. But Harrison snatched two musicians from their chairs, waved them like batons as he sang the music as he wanted it played. He slammed them back into their chairs. The music began again and was much improved.

g GRAMMAR AND STYLE

Reread line 138. Notice how Vonnegut uses the precise adjectives clanking, clownish, and huge to create a vivid image of Harrison’s appearance. cower (kouPEr) v. to crouch down in fear

h PLOT AND CONFLICT Reread lines 142–158. Notice how Harrison views himself in relation to other people. How do his views put him in conflict with the government?

harrison bergeron

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Harrison and his Empress merely listened to the music for a while—listened gravely, as though synchronizing their heartbeats with it. They shifted their weights to their toes. Harrison placed his big hands on the girl’s tiny waist, letting her sense the weightlessness that would soon be hers. And then, in an explosion of joy and grace, into the air they sprang! Not only were the laws of the land abandoned, but the law of gravity and the laws of motion as well. They reeled, whirled, swiveled, flounced, capered, gamboled, and spun. They leaped like deer on the moon. The studio ceiling was thirty feet high, but each leap brought the dancers nearer to it. It became their obvious intention to kiss the ceiling. They kissed it. And then, neutralizing gravity with love and pure will, they remained suspended in air inches below the ceiling, and they kissed each other for a long, long time. i It was then that Diana Moon Glampers, the Handicapper General, came into the studio with a double-barreled ten-gauge shotgun. She fired twice, and the Emperor and the Empress were dead before they hit the floor. Diana Moon Glampers loaded the gun again. She aimed it at the musicians and told them they had ten seconds to get their handicaps back on. It was then that the Bergerons’ television tube burned out. J Hazel turned to comment about the blackout to George. But George had gone out into the kitchen for a can of beer. George came back in with the beer, paused while a handicap signal shook him up. And then he sat down again. “You been crying?” he said to Hazel. “Yup,” she said. “What about?” he said. “I forget,” she said. “Something real sad on television.” “What was it?” he said. “It’s all kind of mixed up in my mind,” said Hazel. “Forget sad things,” said George. “I always do,” said Hazel. “That’s my girl,” said George. He winced. There was the sound of a riveting gun7 in his head. “Gee—I could tell that one was a doozy,” said Hazel. “You can say that again,” said George. “Gee—” said Hazel, “I could tell that one was a doozy.” k

7. riveting (rGvPG-tGng) gun: a power tool used to hammer bolts (called rivets) that are used in construction work and manufacturing to fasten metal beams or plates together.

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synchronize (sGngPkrE-nFzQ) v. to match the timing of

neutralize (nLPtrE-lFzQ) v. to counteract or cancel the effect of

i DR AW CONCLUSIONS Reread lines 177–188. What words and phrases indicate how the narrator views this breaking of the laws? J PLOT AND CONFLICT How is the conflict resolved?

k DR AW CONCLUSIONS Why do George and Hazel react this way to their son’s death?

After Reading

Comprehension 1. Recall Why does the government handicap George but not Hazel? 2. Recall Why is the government looking for Harrison? 3. Recall What does the Handicapper General do to Harrison? 4. Clarify Why don’t Harrison’s parents respond with more feeling to what they have seen?

Literary Analysis 5. Analyze Plot and Conflict Summarize the main conflict in “Harrison Bergeron.” How is this conflict resolved? 6. Recognize Climax Recall that the climax, or turning point, is the high point of interest and tension in a story. What is the climax of this story? 7. Draw Conclusions Look back at the chart you created as you read. What overall conclusions can you draw about the society depicted in the story? Consider how people must function and what has become “normal.” 8. Interpret Theme What is Vonnegut saying about improving society by making everyone average? Support your opinion with evidence from the story. 9. Evaluate Would society have been better off if Harrison, instead of Diana Moon Glampers, had been in charge? Using a chart like the one shown, predict the effects of Harrison’s becoming emperor. Harrison becomes emperor.

10. Synthesize Think about the criticisms of society made in “Harrison Bergeron.” What aspects of today’s society seem open to Vonnegut’s criticisms?

Literary Criticism 11. Critical Interpretation One critic has argued that Vonnegut portrays television as “a kind of desensitizing, numbing, and clearly thought-stifling, rather than thought-provoking, medium” that is partly responsible for the state of society. Do you agree or disagree that television is partly to blame for the society portrayed in the story? Support your opinion.

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Vocabulary in Context vocabulary practice

word list

Write the letter of the word that is most different in meaning from the others.

consternation

1. (a) vigilance, (b) attention, (c) alertness, (d) laziness

cower

2. (a) grin, (b) flinch, (c) wince, (d) shrink

neutralize

3. (a) joy, (b) consternation, (c) happiness, (d) elation

synchronize

4. (a) tower, (b) crouch, (c) cower, (d) cringe 5. (a) time, (b) synchronize, (c) set, (d) separate

vigilance wince

6. (a) neutralize, (b) worsen, (c) lessen, (d) decrease

vocabulary in writing Using three or more vocabulary words, describe a situation in which you were fearful as a child. Here is an example of how you could start. example sentence

I would cower under the bedcovers at night as . . .

vocabulary strategy: the greek root syn The vocabulary word synchronize contains the Greek word root syn, which means “together” or “similar.” This root is found in a number of English words. To understand the meaning of words with syn, use context clues as well as your knowledge of the root. synthesize

syndrome

syn synonym

synchronize syndicate

PRACTICE Write the word from the word web that best completes each sentence. Use context clues to help you or, if necessary, consult a dictionary. 1. A ________ is a group of symptoms that together indicate a disease. 2. A ________ is a word that has the same or a similar meaning to another word. 3. A ________ is a company that is made up of different parts, such as a newspaper, a magazine, and a TV network. 4. Swimmers often __________ their movements in an underwater ballet. 5. To _________ something is to combine separate elements to form a whole.

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vocabulary practice For more practice, go to the Vocabulary Center at ClassZone.com.

Reading-Writing Connection Increase your understanding of “Harrison Bergeron” by responding to these prompts. Then use Revision: Grammar and Style to improve your writing.

writing prompts

self-check

A. Short Response: Describe Plot and Conflict

A successful blurb will . . .

Imagine that a film version of “Harrison Bergeron” is being released and you have been assigned to write a blurb, or brief description, for a local newspaper. In one or two paragraphs, describe the plot and conflict in a way that makes people want to see the movie.

B. Extended Response: Interpret Theme What social tendencies is Vonnegut warning against in “Harrison Bergeron”? In three to five paragraphs, analyze the flaws of the society he depicts and discuss what he seems to be recommending.

• clearly identify the main characters and the conflict • create suspense about the outcome but not give away the story’s ending

An effective response will . . . • give examples of problems created by Vonnegut’s fictional society • apply the story to real-life society

revision: grammar and style USE PRECISE LANGUAGE Review the Grammar and Style note on page 39. Vonnegut creates effective images, such as the image of Harrison in the TV studio, by using precise adjectives. When describing people, places, and events in your own writing, choose adjectives that allow readers to easily visualize them. Avoid using such adjectives as good and nice, which are too general to give readers a true sense of what is described. Here are two examples of Vonnegut’s use of precise adjectives: She must have been extraordinarily beautiful, because the mask she wore was hideous. (lines 95–96) Her voice was a warm, luminous, timeless melody. (line 101) Notice how the revisions in red make this first draft more descriptive. Revise your responses to the prompts by using more precise adjectives. student model

difficult

smarter, stronger, and more attractive

Harrison Bergeron has a big problem. He’s better than everyone else, and the illegal

government says that’s bad.

writing tools For prewriting, revision, and editing tools, visit the Writing Center at ClassZone.com.

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Before Reading

Everyday Use Short Story by Alice Walker

What makes something

va lua ble ?

KEY IDEA The word value means different things to different people. For example, an old vase might have high monetary value or high sentimental value. To some, it might have great historical, cultural, or artistic value. But others might think it’s a useless piece of junk. Often people disagree over the value they assign to an object. Or they may agree that it is valuable, but not for the same reason. QUICKWRITE If you could save only one precious possession of yours from being destroyed or left behind, what would you save? Write a short paragraph identifying the item and telling why it is valuable to you.

literary analysis: conflict and character A story’s plot progresses because of a conflict, or struggle between opposing forces. In “Everyday Use,” the main conflict centers around two sisters, Dee and Maggie, and their mother, who narrates the story. Although the main conflict between these characters is worked out in the resolution of the story, some other conflicts linger unresolved. As you read, pay attention to the conflicts and whether they are resolved. Also think about the differences in the characters’ values and priorities. Review: Plot

reading skill: make inferences Because writers don’t always tell you everything you need to know about a character, you must make inferences, or logical guesses, based on story details and your own experiences. For example, you might infer that the mother in this story prefers the outdoors from her comment “A yard like this is more comfortable than most people know. . . . It is like an extended living room.” As you read, notice what the characters’ words and actions tell you about their personalities and attitudes. Take notes on a chart like the one shown.

Dee

Story Details

Inferences

thinks orchids are tacky flowers

is pretentious

Mama

Maggie

A Humble Start Alice Walker, one of America’s most distinguished authors, comes from humble beginnings. She was the last of eight children born to sharecroppers Willie Lee and Minnie Tallulah Walker. Though money was Alice Walker scarce and life was born 1944 hard, Walker loved the Georgia countryside where she grew up. Walker’s childhood was shattered by a shooting accident when she was eight. She lost sight in one eye and had a disfiguring scar that left her intensely self-conscious. For years afterward, she felt like an outcast. Travel, Activism, and Fame Walker took comfort in reading and in writing poetry. With her mother’s encouragement, she developed her talent for writing and did well in school. She graduated at the head of her high school class and received a college scholarship. During college, she became involved in the civil rights movement and traveled to Africa as an exchange student. After college, she devoted herself to writing and social activism. She has written more than 20 books, including The Color Purple, which won a Pulitzer Prize in 1983.

more about the author

vocabulary in context Figure out the meaning of each boldfaced word from the context. Write a sentence that shows your understanding of each word. 1. sneaky, furtive behavior 2. need time to recompose after your outburst 3. accept the club’s doctrine 4. remember your heritage when you leave home

For more on Alice Walker, visit the Literature Center at ClassZone.com.

Background Black Pride “Everyday Use” takes place during the 1960s, when many African Americans were discovering their heritage. The “black pride” movement, which grew out of civil rights campaigns, called upon African Americans to celebrate their African roots and affirm their cultural identity. Many adopted African clothing, hairstyles, and names; some studied African languages.

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Everyday Use

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I will wait for her in the yard that Maggie and I made so clean and wavy yesterday afternoon. A yard like this is more comfortable than most people know. It is not just a yard. It is like an extended living room. When the hard clay is swept clean as a floor and the fine sand around the edges lined with tiny, irregular grooves, anyone can come and sit and look up into the elm tree and wait for the breezes that never come inside the house. Maggie will be nervous until after her sister goes: she will stand hopelessly in corners, homely and ashamed of the burn scars down her arms and legs, eying her sister with a mixture of envy and awe. She thinks her sister has held life always in the palm of one hand, that “no” is a word the world never learned to say to her. a You’ve no doubt seen those TV shows where the child who has “made it” is confronted, as a surprise, by her own mother and father, tottering in weakly from backstage. (A pleasant surprise, of course: What would they do if parent and child came on the show only to curse out and insult each other?) On TV mother and child embrace and smile into each other’s faces. Sometimes the mother and father weep, the child wraps them in her arms and leans across the table to tell how she would not have made it without their help. I have seen these programs. Sometimes I dream a dream in which Dee and I are suddenly brought together on a TV program of this sort. Out of a dark and soft-seated limousine I am ushered into a bright room filled with many people. There I meet a smiling, gray, sporty man like Johnny Carson who shakes my hand and tells me what a fine girl I have. Then we are on the stage and Dee is embracing me with tears in her eyes. She pins on my dress a large orchid, even though she has told me once that she thinks orchids are tacky flowers. In real life I am a large, big-boned woman with rough, man-working hands. In the winter I wear flannel nightgowns to bed and overalls during the day. I can kill and clean a hog as mercilessly as a man. My fat keeps me hot in zero weather. I can work outside all day, breaking ice to get water for washing; I can eat pork liver cooked over the open fire minutes after it comes steaming from the hog. One winter I knocked a bull calf straight in the brain between the unit 1: plot, setting, and mood

ANALYZE VISUALS What qualities do you associate with the woman in the painting? How closely does she match the story’s narrator?

a M AKE INFERENCES

Reread lines 7–10. What can you infer about Maggie and her sister from this description? Which details led to your inference?

Home Chores (1945), Jacob Lawrence. Gouache and graphite on paper, 291/2˝ × 211/16˝. Anonymous gift. The Nelson-Atkins Museum of Art, Kansas City, Missouri. F69-6. Photo by Jamison Miller © 2008 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York.

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eyes with a sledge hammer and had the meat hung up to chill before nightfall. But of course all this does not show on television. I am the way my daughter would want me to be: a hundred pounds lighter, my skin like an uncooked barley pancake. My hair glistens in the hot bright lights. Johnny Carson has much to do to keep up with my quick and witty tongue. But that is a mistake. I know even before I wake up. Who ever knew a Johnson with a quick tongue? Who can even imagine me looking a strange white man in the eye? It seems to me I have talked to them always with one foot raised in flight, with my head turned in whichever way is farthest from them. Dee, though. She would always look anyone in the eye. Hesitation was no part of her nature. b “How do I look, Mama?” Maggie says, showing just enough of her thin body enveloped in pink skirt and red blouse for me to know she’s there, almost hidden by the door.

Little Sweet (1944), William H. Johnson. Oil on paperboard, 28˝ × 22˝. Smithsonian American Art Museum, Washington, D.C. Photo © Smithsonian American Art Museum, Washington, D.C./Art Resource, New York.

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b M AKE INFERENCES

What do you infer about Mama from her description of herself? Cite specific details.

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“Come out into the yard,” I say. Have you ever seen a lame animal, perhaps a dog run over by some careless person rich enough to own a car, sidle up to someone who is ignorant enough to be kind to him? That is the way my Maggie walks. She has been like this, chin on chest, eyes on ground, feet in shuffle, ever since the fire that burned the other house to the ground. Dee is lighter than Maggie, with nicer hair and a fuller figure. She’s a woman now, though sometimes I forget. How long ago was it that the other house burned? Ten, twelve years? Sometimes I can still hear the flames and feel Maggie’s arms sticking to me, her hair smoking and her dress falling off her in little black papery flakes. Her eyes seemed stretched open, blazed open by the flames reflected in them. And Dee. I see her standing off under the sweet gum tree she used to dig gum out of; a look of concentration on her face as she watched the last dingy gray board of the house fall in toward the red-hot brick chimney. Why don’t you do a dance around the ashes? I’d wanted to ask her. She had hated the house that much. I used to think she hated Maggie, too. But that was before we raised the money, the church and me, to send her to Augusta1 to school. She used to read to us without pity; forcing words, lies, other folks’ habits, whole lives upon us two, sitting trapped and ignorant underneath her voice. She washed us in a river of make-believe, burned us with a lot of knowledge we didn’t necessarily need to know. Pressed us to her with the serious way she read, to shove us away at just the moment, like dimwits, we seemed about to understand. Dee wanted nice things. A yellow organdy dress to wear to her graduation from high school; black pumps to match a green suit she’d made from an old suit somebody gave me. She was determined to stare down any disaster in her efforts. Her eyelids would not flicker for minutes at a time. Often I fought off the temptation to shake her. At sixteen she had a style of her own: and knew what style was. c I never had an education myself. After second grade the school was closed down. Don’t ask me why: in 1927 colored asked fewer questions than they do now. Sometimes Maggie reads to me. She stumbles along good-naturedly but can’t see well. She knows she is not bright. Like good looks and money, quickness passed her by. She will marry John Thomas (who has mossy teeth in an earnest face) and then I’ll be free to sit here and I guess just sing church songs to myself. Although I never was a good singer. Never could carry a tune. I was always better at a man’s job. I used to love to milk till I was hooked in the side in ’49. Cows are soothing and slow and don’t bother you, unless you try to milk them the wrong way. I have deliberately turned my back on the house. It is three rooms, just like the one that burned, except the roof is tin; they don’t make shingle roofs any more. There are no real windows, just some holes cut in the sides, like the portholes in a ship, but not round and not square, with rawhide holding the

c

CONFLICT Reread lines 52–74. What conflicts exist between Dee and her mother and sister?

1. Augusta: a city in Georgia.

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shutters up on the outside. This house is in a pasture, too, like the other one. No doubt when Dee sees it she will want to tear it down. She wrote me once that no matter where we “choose” to live, she will manage to come see us. But she will never bring her friends. Maggie and I thought about this and Maggie asked me, “Mama, when did Dee ever have any friends?” She had a few. Furtive boys in pink shirts hanging about on washday after school. Nervous girls who never laughed. Impressed with her they worshiped the well-turned phrase, the cute shape, the scalding humor that erupted like bubbles in lye. She read to them. When she was courting Jimmy T she didn’t have much time to pay to us, but turned all her faultfinding power on him. He flew to marry a cheap city girl from a family of ignorant flashy people. She hardly had time to recompose herself. d When she comes I will meet—but there they are! Maggie attempts to make a dash for the house, in her shuffling way, but I stay her with my hand. “Come back here,” I say. And she stops and tries to dig a well in the sand with her toe. It is hard to see them clearly through the strong sun. But even the first glimpse of leg out of the car tells me it is Dee. Her feet were always neatlooking, as if God himself had shaped them with a certain style. From the other side of the car comes a short, stocky man. Hair is all over his head a foot long and hanging from his chin like a kinky mule tail. I hear Maggie suck in her breath. “Uhnnnh,” is what it sounds like. Like when you see the wriggling end of a snake just in front of your foot on the road. “Uhnnnh.” Dee next. A dress down to the ground, in this hot weather. A dress so loud it hurts my eyes. There are yellows and oranges enough to throw back the light of the sun. I feel my whole face warming from the heat waves it throws out. Earrings gold, too, and hanging down to her shoulders. Bracelets dangling and making noises when she moves her arm up to shake the folds of the dress out of her armpits. The dress is loose and flows, and as she walks closer, I like it. I hear Maggie go “Uhnnnh” again. It is her sister’s hair. It stands straight up like the wool on a sheep. It is black as night and around the edges are two long pigtails that rope about like small lizards disappearing behind her ears. “Wa-su-zo-Tean-o!” she says, coming on in that gliding way the dress makes her move. The short stocky fellow with the hair to his navel is all grinning and he follows up with “Asalamalakim,2 my mother and sister!” He moves to hug Maggie but she falls back, right up against the back of my chair. I feel her trembling there and when I look up I see the perspiration falling off her chin. “Don’t get up,” says Dee. Since I am stout it takes something of a push. You can see me trying to move a second or two before I make it. She turns, showing white heels through her sandals, and goes back to the car. Out she peeks next with a Polaroid. She stoops down quickly and lines up picture after picture of me sitting there in front of the house with Maggie cowering behind me. She never takes a shot without making sure the house is included. When 2. Wa-su-zo-Tean-o! (wä-sLQzI-tCPnI) . . . Asalamalakim! (E-sBlQE-mE-lBkPEm): African and Arabic greetings.

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furtive (fûrPtGv) adj. sneaky, secretive recompose (rCQkEm-pIzP) v. to restore to calm, to settle again d M AKE INFERENCES

What do you learn about Dee from the way others respond to her?

ANALYZE VISUALS Contrast the style and subject of this painting with those of the one on page 48. Does the contrast reflect the differences between the sisters in the story? Explain.

Portrait of a woman with golden headscarf (1900’s), Attributed to Lo Babacar. Pikine, Senegal. Glass painting. Inv.:A.94.4.33 Musée des Arts d’Afrique et d’Oceanie, Paris. Photo © Arnaudet/ Réunion des Musées Nationaux/ Art Resource, New York.

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a cow comes nibbling around the edge of the yard she snaps it and me and Maggie and the house. Then she puts the Polaroid in the back seat of the car, and comes up and kisses me on the forehead. e Meanwhile Asalamalakim is going through motions with Maggie’s hand. Maggie’s hand is as limp as a fish, and probably as cold, despite the sweat, and she keeps trying to pull it back. It looks like Asalamalakim wants to shake hands but wants to do it fancy. Or maybe he don’t know how people shake hands. Anyhow, he soon gives up on Maggie. “Well,” I say. “Dee.” “No, Mama,” she says. “Not ‘Dee,’ Wangero Leewanika Kemanjo!”3 “What happened to ‘Dee’?” I wanted to know. “She’s dead,” Wangero said. “I couldn’t bear it any longer, being named after the people who oppress me.” “You know as well as me you was named after your aunt Dicie,” I said. Dicie is my sister. She named Dee. We called her “Big Dee” after Dee was born. “But who was she named after?” asked Wangero. “I guess after Grandma Dee,” I said. “And who was she named after?” asked Wangero.

e GR AMMAR AND ST YLE

Reread lines 131–134. Notice how Walker adds descriptive details through the use of prepositional phrases like “around the edge of the yard,” “in the back seat of the car,” and “on the forehead.”

3. Wangero Leewanika Kemanjo (wän-gârPI lC-wä-nCPkE kD-mänPjI).

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“Her mother,” I said, and saw Wangero was getting tired. “That’s about as far back as I can trace it,” I said. Though, in fact, I probably could have carried it back beyond the Civil War through the branches. f “Well,” said Asalamalakim, “there you are.” “Uhnnnh,” I heard Maggie say. “There I was not,” I said, “before ‘Dicie’ cropped up in our family, so why should I try to trace it that far back?” He just stood there grinning, looking down on me like somebody inspecting a Model A4 car. Every once in a while he and Wangero sent eye signals over my head. g “How do you pronounce this name?” I asked. “You don’t have to call me by it if you don’t want to,” said Wangero. “Why shouldn’t I?” I asked. “If that’s what you want us to call you, we’ll call you.” “I know it might sound awkward at first,” said Wangero. “I’ll get used to it,” I said. “Ream it out again.” Well, soon we got the name out of the way. Asalamalakim had a name twice as long and three times as hard. After I tripped over it two or three times he told me to just call him Hakim-a-barber.5 I wanted to ask him was he a barber, but I didn’t really think he was, so I didn’t ask. “You must belong to those beef-cattle peoples down the road,” I said. They said “Asalamalakim” when they met you, too, but they didn’t shake hands. Always too busy: feeding the cattle, fixing the fences, putting up salt-lick shelters, throwing down hay. When the white folks poisoned some of the herd the men stayed up all night with rifles in their hands. I walked a mile and a half just to see the sight. Hakim-a-barber said, “I accept some of their doctrines, but farming and raising cattle is not my style.” (They didn’t tell me, and I didn’t ask, whether Wangero (Dee) had really gone and married him.) We sat down to eat and right away he said he didn’t eat collards and pork was unclean. Wangero, though, went on through the chitlins and corn bread, the greens and everything else. She talked a blue streak over the sweet potatoes. Everything delighted her. Even the fact that we still used the benches her daddy made for the table when we couldn’t afford to buy chairs. “Oh, Mama!” she cried. Then turned to Hakim-a-barber. “I never knew how lovely these benches are. You can feel the rump prints,” she said, running her hands underneath her and along the bench. Then she gave a sigh and her hand closed over Grandma Dee’s butter dish. “That’s it!” she said. “I knew there was something I wanted to ask you if I could have.” She jumped up from the table and went over in the corner where the churn stood, the milk in it clabber6 by now. She looked at the churn and looked at it.

4. Model A: an automobile manufactured by Ford from 1927 to 1931. 5. Hakim-a-barber (hä-kCPmE-bärQbEr). 6. clabber: curdled milk.

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f

CONFLICT What is causing tension between Dee and Mama?

g M AKE INFERENCES

How do Dee and her companion view Mama?

doctrine (dJkPtrGn) n. a set of rules, beliefs, or values held by a group

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“This churn top is what I need,” she said. “Didn’t Uncle Buddy whittle it out of a tree you all used to have?” “Yes,” I said. “Uh huh,” she said happily. “And I want the dasher,7 too.” “Uncle Buddy whittle that, too?” asked the barber. Dee (Wangero) looked up at me. “Aunt Dee’s first husband whittled the dash,” said Maggie so low you almost couldn’t hear her. “His name was Henry, but they called him Stash.” “Maggie’s brain is like an elephant’s,” Wangero said, laughing. “I can use the churn top as a centerpiece for the alcove table,” she said, sliding a plate over the churn, “and I’ll think of something artistic to do with the dasher.” h When she finished wrapping the dasher the handle stuck out. I took it for a moment in my hands. You didn’t even have to look close to see where hands pushing the dasher up and down to make butter had left a kind of sink in the wood. In fact, there were a lot of small sinks; you could see where thumbs and fingers had sunk into the wood. It was beautiful light yellow wood, from a tree that grew in the yard where Big Dee and Stash had lived. After dinner Dee (Wangero) went to the trunk at the foot of my bed and started rifling through it. Maggie hung back in the kitchen over the dishpan. Out came Wangero with two quilts. They had been pieced by Grandma Dee and then Big Dee and me had hung them on the quilt frames on the front porch and quilted them. One was in the Lone Star pattern. The other was Walk Around the Mountain. In both of them were scraps of dresses Grandma Dee had worn fifty and more years ago. Bits and pieces of Grandpa Jarrell’s Paisley shirts. And one teeny faded blue piece, about the size of a penny matchbox, that was from Great Grandpa Ezra’s uniform that he wore in the Civil War. “Mama,” Wangero said sweet as a bird. “Can I have these old quilts?” I heard something fall in the kitchen, and a minute later the kitchen door slammed. i “Why don’t you take one or two of the others?” I asked. “These old things was just done by me and Big Dee from some tops your grandma pieced before she died.” “No,” said Wangero. “I don’t want those. They are stitched around the borders by machine.” “That’ll make them last better,” I said. “That’s not the point,” said Wangero. “These are all pieces of dresses Grandma used to wear. She did all this stitching by hand. Imagine!” She held the quilts securely in her arms, stroking them. “Some of the pieces, like those lavender ones, come from old clothes her mother handed down to her,” I said, moving up to touch the quilts. Dee (Wangero) moved back just enough so that I couldn’t reach the quilts. They already belonged to her. “Imagine!” she breathed again, clutching them closely to her bosom.

h M AKE INFERENCES

Reread lines 191–201. What do you learn about Dee and Maggie in these lines?

i

M AKE INFERENCES What might these noises mean?

7. dasher: the plunger of a churn, a device formerly used to stir cream or milk to produce butter.

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Crazy Quilt (1883-1893), Victoriene Parsons Mitchell. Textile. 195.6 cm x 163.2 cm. © Indianapolis Museum of Art/ Bridgeman Art Library.

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“The truth is,” I said, “I promised to give them quilts to Maggie, for when she marries John Thomas.” She gasped like a bee had stung her. “Maggie can’t appreciate these quilts!” she said. “She’d probably be backward enough to put them to everyday use.” “I reckon she would,” I said. “God knows I been saving ’em for long enough with nobody using ’em. I hope she will!” I didn’t want to bring up how I had offered Dee (Wangero) a quilt when she went away to college. Then she had told me they were old-fashioned, out of style.


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“But they’re priceless!” she was saying now, furiously; for she has a temper. “Maggie would put them on the bed and in five years they’d be in rags. Less than that!” “She can always make some more,” I said. “Maggie knows how to quilt.” Dee (Wangero) looked at me with hatred. “You just will not understand. The point is these quilts, these quilts!” “Well,” I said, stumped. “What would you do with them?” “Hang them,” she said. As if that was the only thing you could do with quilts. J Maggie by now was standing in the door. I could almost hear the sound her feet made as they scraped over each other. “She can have them, Mama,” she said, like somebody used to never winning anything, or having anything reserved for her. “I can ’member Grandma Dee without the quilts.” I looked at her hard. She had filled her bottom lip with checkerberry snuff and it gave her face a kind of dopey, hangdog look. It was Grandma Dee and Big Dee who taught her how to quilt herself. She stood there with her scarred hands hidden in the folds of her skirt. She looked at her sister with something like fear but she wasn’t mad at her. This was Maggie’s portion. This was the way she knew God to work. When I looked at her like that something hit me in the top of my head and ran down to the soles of my feet. Just like when I’m in church and the spirit of God touches me and I get happy and shout. I did something I never had done before: hugged Maggie to me, then dragged her on into the room, snatched the quilts out of Miss Wangero’s hands and dumped them into Maggie’s lap. Maggie just sat there on my bed with her mouth open. k “Take one or two of the others,” I said to Dee. But she turned without a word and went out to Hakim-a-barber. “You just don’t understand,” she said, as Maggie and I came out to the car. “What don’t I understand?” I wanted to know. “Your heritage,” she said. And then she turned to Maggie, kissed her, and said, “You ought to try to make something of yourself, too, Maggie. It’s really a new day for us. But from the way you and Mama still live you’d never know it.” l She put on some sunglasses that hide everything above the tip of her nose and her chin. Maggie smiled; maybe at the sunglasses. But a real smile, not scared. After we watched the car dust settle I asked Maggie to bring me a dip of snuff. And then the two of us sat there just enjoying, until it was time to go in the house and go to bed.

J

CONFLICT Reread lines 238–252. Why doesn’t Dee want Maggie to have the quilts?

k

PLOT This point is the climax of the story. How is the main conflict resolved? heritage (hDrPG-tGj) n. something passed down through generations, such as tradition, values, property

l

CONFLICT How does Dee view her mother and sister?

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Reading for Information INTERVIEW Excerpted is a 1992 interview Walker gave to Roland R. Freeman for his book A Communion of the Spirits: African-American Quilters, Preservers, and Their Stories.

Alice Walker} on Quilting Well,

my mother was a quilter, and I This yellow and black fabric I bought when I was remember many, many afternoons of my mother in Uganda, and I had a beautiful dress made of and the neighborhood women sitting on the it that I wore and wore and wore and eventually porch around the quilting frame, quilting and I couldn’t wear it any more; partly I had worn it talking, you know; getting up to stir something out and also I was pregnant, so it didn’t fit, and I on the stove and coming back and sitting down. used that and I used the red and white and black, My mother also had a which was a long, floorframe inside the house. length dress that I had Sometimes during the when I was pregnant winter she would quilt with my daughter, and she often pieced Rebecca, who is now quilts. Piecing . . . I’m twenty-three. I took really more of a piecer, these things apart or I actually, than I am a used scraps. I put them quilter, because I can together in this quilt, get as far as piecing all because it just seemed of the little squares or perfect. Mississippi was sections together, and full of political and sometimes putting social struggle, and them together into regular quilts were all big blocks, but then African American with I always have to call emphasis on being here in help—spreading it in the United States. But out on the frame, or because of the African spreading it out on the consciousness that was floor and putting the being raised and the way batting in and doing that we were all wearing Alice Walker among her many quilts the actual quilting. our hair in naturals and [The first quilt] I worked on [was] the In Love wearing all of these African dresses, I felt the need and Trouble quilt. And I did that one when I was to blend these two traditions. So it’s a quilt of living in Mississippi. It was during a period when great memory and importance to me. I use it a lot we were wearing African-inspired dresses. So all of and that’s why it’s so worn. the pieces are from dresses that I actually wore.

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After Reading

Comprehension 1. Recall How has Dee changed when she arrives to see her family? 2. Recall Why does Dee want the quilts? 3. Recall Who gets the quilts at the end of the story? 4. Summarize Why does Dee think Mama and Maggie don’t understand their heritage?

Literary Analysis 5. Make Inferences Review the notes you took as you read. What positive and negative traits does each character have? 6. Compare and Contrast What makes the quilts valuable to Dee, and what makes them valuable to Maggie? Cite evidence. 7. Analyze Plot Reread lines 264–269. Explain why Mama makes the choice she does at the climax of the story. How does she feel about her choice? 8. Analyze Conflict Use the chart shown to explore the various ways that Dee is in conflict with her family. Which conflicts are resolved and which are not? wants quilts Dee

want Maggie to have quilts Mama

Maggie

9. Interpret Theme What do you think Alice Walker is saying in “Everyday Use” about the nature of heritage? Support your answer. 10. Synthesize How do Walker’s comments about quilting on page 56 affect your understanding of “Everyday Use”?

Literary Criticism 11. Historical Context The story takes place in the late 1960s, a time of growing cultural awareness for African Americans. If the story were set in the present, would the conflicts within the family be different? Explain your answer.

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word list

Write True or False for each statement.

doctrine

1. Sneaking around is an example of furtive behavior.

furtive

2. When you recompose after a traffic accident, you become more agitated.

heritage

3. To believe in a certain group’s doctrine is to follow their set rules.

recompose

4. If you deny your heritage, you refuse to acknowledge your cultural history.

vocabulary in writing Create four questions you might ask Dee about herself or her family. Use all four vocabulary words. Here is a sample question. example sentence

Do you think your sister Maggie appreciates her heritage ?

vocabulary strategy: the prefix reThe vocabulary word recompose contains the Latin prefix re-, which means “again” or “back.” This prefix is found in a number of English words. To understand the meaning of words with re-, use your knowledge of the base word as well as your knowledge of the prefix. recompose

reboot

rereaffirm

recall review

PRACTICE Write the word from the word web that best completes each sentence. Use context clues to help you or, if necessary, consult a dictionary. 1. To celebrate their anniversary, the couple decided to _______ their marriage vows. 2. She tried to ________ herself after her harsh scolding. 3. You need to ________ the computer after installing new software. 4. The toy company issued a ________ on a toy truck with dangerous parts. 5. Be sure to ________ your paper for spelling mistakes before submitting it.

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Reading-Writing Connection Deepen your understanding of “Everyday Use” by responding to these prompts. Then use Revision: Grammar and Style to improve your writing.

writing prompts

self-check

A. Short Response: Analyze Conflict

A strong analysis will . . .

Maggie and Dee have opposing views of themselves, their family, and the valuable quilts made by their grandmother. Write one or two paragraphs analyzing the conflicts between the two sisters. Support your analysis with examples from the story.

B. Extended Response: Write a Story Sequel Imagine that Dee visits the family again ten years after the events in “Everyday Use.” Write one page showing what she, Mama, and Maggie are now like and how they interact. What conflicts between them are still unresolved?

• identify how Maggie’s and Dee’s views are in opposition • give specific examples from the story

An effective sequel will . . . • present characters consistent with those in the story • present a conflict that was unresolved in the story

revision: grammar and style ADD DESCRIPTIVE DETAILS Review the Grammar and Style note on page 51. By incorporating prepositional phrases into your writing, as Alice Walker does, you can add important details that show what, when, where, and how events are taking place. Here is an example from the story. After dinner Dee (Wangero) went to the trunk at the foot of my bed and started rifling through it. Maggie hung back in the kitchen over the dishpan. Out came Wangero with two quilts. They had been pieced by Grandma Dee and then Big Dee and me had hung them on the quilt frames on the front porch and quilted them. (lines 208–212) See how the revisions in red add important descriptive details to this first draft. Revise your response to Prompt B by using these techniques. student model

on the cheek

Mama walks over to Dee and gives her a kiss. Dee frowns and with a handkerchief

at Mama

on the bench

wipes off the kiss. She crosses the room and sits down heavily.


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Before Reading

Searching for Summer Short Story by Joan Aiken

What do you take for

gr a nted ?

KEY IDEA There are many things in life that we assume will always be there. Air and water are two. But what if they disappeared? You’ve probably heard the saying “You never miss the water until the well runs dry.” That means that we don’t have appreciation for certain things until they’re gone or scarce. “Searching for Summer” is set in a world that is missing something else we all take for granted. DISCUSS Conduct an informal class survey, asking each person to name an everyday thing that is taken for granted. Choose the item mentioned most often, and as a class, discuss what you would do if this thing were suddenly gone or in short supply.

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Thing s We Ta ke for Granted 1. Air 2. Water

literary elements: setting and mood A story may have more than one setting, and each setting may convey a different mood, or atmosphere. Imagine, for example, the emotional atmosphere in a gym packed with students watching their team winning an important game. Shouts, cheers, upbeat music, exciting plays—all these sights and sounds would create a mood of excitement and joyous anticipation. Now imagine how the mood would change if a character walked out of the gym into a long, dark, deserted hallway. To understand the relationship between the setting and the mood in a story, think about • the descriptive details that tell what a place is like • the feelings conveyed by those descriptive details In “Searching for Summer,” you’ll encounter two very different settings. As you read, notice the descriptions of each setting and think about the mood those details convey. Review: Conflict

reading strategy: monitor When you monitor, you check to make sure you understand what you are reading. If you don’t understand a story, you may have to read more slowly, reread passages, or read aloud. Jot down any questions you have about the story’s setting, characters, and events, and then answer them as your reading proceeds. Use a chart like the one shown. Additional monitoring questions are provided to help you clarify your understanding. My Questions

My Answers

Why were the bombs banned?

probably because they caused too much destruction

vocabulary in context Classify the vocabulary words into three categories: “Words I Know Well,” “Words I Think I Know,” and “Words I Don’t Know at All.” Write a short definition for words in the first two categories. After you read “Searching for Summer,” correct your definitions if necessary and define the new words you learn. 1. unavailing

5. voluble

2. disengage

6. commiserate

3. rudimentary

7. savoring

4. wizened

8. indomitable

Literary Fathers Joan Aiken (APkEn) grew up in England in a literary household. Her father, Conrad Aiken, was an American poet, and her stepfather, Martin Armstrong, was a fiction writer. At an early age, she decided to follow in their footsteps.

Joan Aiken 1924–2004

A Writer’s Life In 1945 Aiken met and married journalist Ronald Brown. That same year, she began publishing poems and stories in magazines. Her first book for young adults, All You’ve Ever Wanted and Other Stories, appeared in 1953. About two years later, her husband died. To support herself and her two children, she worked as an editor for Argosy, a short story magazine, but continued to write at home. Her 1962 children’s novel The Wolves of Willoughby Chase was a hit with critics and readers alike, enabling her to become a full-time writer. Aiken followed up with many other successful novels, including Black Hearts in Battersea and The Whispering Mountain. Though she is most often remembered as an author for young people, readers of all ages enjoy her stories.

more about the author For more on Joan Aiken, visit the Literature Center at ClassZone.com.

Background Nuclear Anxiety Aiken wrote “Searching for Summer” in the 1950s, setting the story in a future “eighties”—perhaps the 1980s or 2080s. When the story was published, nuclear disaster was an ever-present threat. New nuclear weapons were being tested, and radioactive fallout rained down from the sky, polluting the environment.

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Searching for

Summer joan aiken

Lily wore yellow on her wedding day. In the eighties people put a lot of faith in omens and believed that if a bride’s dress was yellow her married life would be blessed with a bit of sunshine. It was years since the bombs had been banned, but still the cloud never lifted. Whitish gray, day after day, sometimes darkening to a weeping slate color or, at the end of an evening, turning to smoky copper, the sky endlessly, secretively brooded. Old people began their stories with the classic, fairy-tale opening: “Long, long ago, when I was a liddle un, in the days when the sky was blue …” and 10 children, listening, chuckled among themselves at the absurd thought, because, blue, imagine it! How could the sky ever have been blue? You might as well say, “In the days when the grass was pink.” Stars, rainbows, and all other such heavenly sideshows had been permanently withdrawn, and if the radio announced that there was a blink of sunshine in such and such a place, where the cloud belt had thinned for half an hour, cars and buses would pour in that direction for days in an unavailing search for warmth and light. a After the wedding, when all the relations were standing on the church porch, with Lily shivering prettily in her buttercup nylon, her father prodded 20 the dour and withered grass on a grave—although it was August, the leaves were hardly out yet—and said, “Well, Tom, what are you aiming to do now, eh?” “Going to find a bit of sun and have our honeymoon in it,” said Tom. There was a general laugh from the wedding party. “Don’t get sunburned,” shrilled Aunt Nancy. “Better start off Bournemouth1 way. Paper said they had a half-hour of sun last Wednesday week,” Uncle Arthur weighed in heavily.

ANALYZE VISUALS How would you describe the mood of this painting? What qualities contribute to the mood?

unavailing (OnQE-vAPlGng) adj. useless, ineffective a MONITOR

Reread lines 8–17. How have the sky and climate changed, and why?

1. Bournemouth (bôrnPmEth): a British seaside resort.

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Old Willow Lane 2, Mary Iverson. Oil on canvas, 11˝ × 8˝. © Mary Iverson/Corbis.

“We’ll come back brown as—as this grass,” said Tom, and ignoring the good-natured teasing from their respective families, the two young people 30 mounted on their scooter, which stood ready at the churchyard wall, and chugged away in a shower of golden confetti. When they were out of sight, and the yellow paper had subsided on the gray and gritty road, the Whitemores and the Hoskinses strolled off, sighing, to eat wedding cake and drink currant2 wine, and old Mrs. Hoskins spoiled everyone’s pleasure by bursting into tears as she thought of her own wedding day when everything was so different. Meanwhile Tom and Lily buzzed on hopefully across the gray countryside, with Lily’s veil like a gilt banner floating behind. It was chilly going for her in her wedding things, but the sight of a bride was supposed to bring good luck, and so she stuck it out, although her fingers were blue to the knuckles. 40 Every now and then they switched on their portable radio and listened to the forecast. Inverness had seen the sun for ten minutes yesterday, and Southend3 for five minutes this morning, but that was all. b “Both those places are a long way from here,” said Tom cheerfully. “All the more reason we’d find a nice bit of sunshine in these parts somewhere. We’ll keep on going south. Keep your eyes peeled, Lil, and tell me if you see a blink of sun on those hills ahead.” But they came to the hills and passed them, and a new range shouldered up ahead and then slid away behind, and still there was no flicker or patch of sunshine to be seen anywhere in the gray, winter-ridden landscape. Lily began 50 to get discouraged, so they stopped for a cup of tea at a drive-in. “Seen the sun lately, mate?” Tom asked the proprietor. He laughed shortly. “Notice any buses or trucks around here? Last time I saw the sun was two years ago September; came out just in time for the wife’s birthday.” c “It’s stars I’d like to see,” Lily said, looking wistfully at her dust-colored tea. “Ever so pretty they must be.” “Well, better be getting on I suppose,” said Tom, but he had lost some of his bounce and confidence. Every place they passed through looked nastier than the last, partly on account of the dismal light, partly because people had given up 4 60 bothering to take a pride in their boroughs. And then, just as they were entering a village called Molesworth, the dimmest, drabbest, most insignificant huddle of houses they had come to yet, the engine coughed and died on them. d “Can’t see what’s wrong,” said Tom, after a prolonged and gloomy survey. “Oh, Tom!” Lily was almost crying. “What’ll we do?” “Have to stop here for the night, s’pose.” Tom was short-tempered with frustration. “Look, there’s a garage just up the road. We can push the bike there, and they’ll tell us if there’s a pub5 where we can stay. It’s nearly six anyway.” 2. currant: a berry used to make jams, jellies, and wines. 3. Inverness . . . Southend: resort towns in the north and south of the British Isles. 4. boroughs: towns or districts. 5. pub: a British term for a tavern. Pubs in small towns sometimes serve meals and rent rooms to travelers.

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b SETTING AND MOOD

Reread lines 28–42. Note how the countryside looks and feels. What mood is created by this description?

c

MONITOR Why are buses and trucks a sign that sunshine has been spotted in the area?

d SETTING AND MOOD

Reread lines 58–62. Picture what Molesworth looks like. What feeling do you get from that image?

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They had taken the bike to the garage, and the man there was just telling them that the only pub in the village was the Rising Sun, where Mr. Noakes might be able to give them a bed, when a bus pulled up in front of the petrol6 pumps. “Look,” the garage owner said, “there’s Mr. Noakes just getting out of the bus now. Sid!” he called. But Mr. Noakes was not able to come to them at once. Two old people were climbing slowly out of the bus ahead of him: a blind man with a white stick, and a withered, frail old lady in a black satin dress and hat. “Careful now, George,” she was saying, “mind ee be careful with my son William.” “I’m being careful, Mrs. Hatching,” the conductor said patiently, as he almost lifted the unsteady old pair off the bus platform. The driver had stopped his engine, and everyone on the bus was taking a mild and sympathetic interest, except for Mr. Noakes just behind who was cursing irritably at the delay. When the two old people were on the narrow pavement, the conductor saw that they were going to have trouble with a bicycle that was propped against the curb just ahead of them; he picked it up and stood holding it until they had passed the line of petrol pumps and were going slowly off along a path across the fields. Then, grinning, he put it back, jumped hurriedly into the bus, and rang his bell. “Old nuisances,” Mr. Noakes said furiously. “Wasting public time. Every week that palaver7 goes on, taking the old man to Midwick Hospital Outpatients and back again. I know what I’d do with ’em. Put to sleep, that sort ought to be.” e Mr. Noakes was a repulsive-looking individual, but when he heard that Tom and Lily wanted a room for the night, he changed completely and gave them a leer that was full of false goodwill. He was a big, red-faced man with wet, full lips, bulging pale-gray bloodshot eyes, and a crop of stiff greasy black hair. He wore tennis shoes. “Honeymooners, eh?” he said, looking sentimentally at Lily’s pale prettiness. “Want a bed for the night, eh?” and he laughed a disgusting laugh that sounded like thick oil coming out of a bottle, heh-heh-heh-heh, and gave Lily a tremendous pinch on her arm. Disengaging herself as politely as she could, she stooped and picked up something from the pavement. They followed Mr. Noakes glumly up the street to the Rising Sun. While they were eating their baked beans, Mr. Noakes stood over their table grimacing at them. Lily unwisely confided to him that they were looking for a bit of sunshine. Mr. Noakes’s laughter nearly shook down the ramshackle building. “Sunshine! Oh my gawd! That’s a good ’un! Hear that, Mother?” he bawled to his wife. “They’re looking for a bit of sunshine. Heh-heh-heh-heh-heh-heh!

e

CONFLICT How does Mr. Noakes’s response to the Hatchings differ from everyone else’s?

disengage (dGsQDn-gAjP) v. to detach or remove oneself

6. petrol: a British term for gasoline. 7. palaver (pE-lBvPEr): useless chatter.


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Entrance to Erchless (1900s), Victoria Crowe. Oil on canvas, 96.5 cm × 111.7 cm. The Fleming-Wyfold Art Foundation. Photo © The Bridgeman Art Library.

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Why,” he said, banging on the table till the baked beans leaped about, “if I could find a bit of sunshine near here, permanent bit that is, dja know what I’d do?” The young people looked at him inquiringly across the bread and margarine. “Lido,8 trailer site, country club, holiday camp—you wouldn’t know the place. Land around here is dirt cheap; I’d buy up the lot. Nothing but woods. I’d advertise—I’d have people flocking to this little dump from all over the country. But what a hope, what a hope, eh? Well, feeling better? Enjoyed your tea? Ready for bed? Heh-heh-heh-heh, bed’s ready for you.” f Avoiding one another’s eyes, Tom and Lily stood up. “I—I’d like to go for a bit of a walk first, Tom,” Lily said in a small voice. “Look, I picked up that old lady’s bag on the pavement; I didn’t notice it till we’d done talking to Mr. Noakes, and by then she was out of sight. Should we take it back to her?” “Good idea,” said Tom, pouncing on the suggestion with relief. “Do you know where she lives, Mr. Noakes?” “Who, old Ma Hatching? Sure I know. She lives in the wood. But you don’t want to go taking her bag back, not this time o’ the evening you don’t. Let her worry. She’ll come asking for it in the morning.” “She walked so slowly,” said Lily, holding the bag gently in her hands. It was very old, made of black velvet on two ring handles, and embroidered with beaded roses. “I think we ought to take it to her, don’t you, Tom?” 8. lido (lFPdI): a British term for a public outdoor swimming pool.

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f

GRAMMAR AND STYLE Reread lines 107–118. Notice how Aiken incorporates sentence fragments, contractions, and interjections into her dialogue to make it sound realistic.

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“Oh, very well, very well, have it your own way,” Mr. Noakes said, winking at Tom. “Take that path by the garage; you can’t go wrong. I’ve never been there meself, but they live somewhere in that wood back o’ the village; you’ll find it soon enough.” They found the path soon enough, but not the cottage. Under the lowering sky they walked forward endlessly among trees that carried only tiny and rudimentary leaves, wizened and poverty-stricken. Lily was still wearing her wedding sandals, which had begun to blister her. She held onto Tom’s arm, biting her lip with the pain, and he looked down miserably at her bent brown head; everything had turned out so differently from what he had planned. g By the time they reached the cottage Lily could hardly bear to put her left foot to the ground, and Tom was gentling her along: “It can’t be much farther now, and they’ll be sure to have a bandage. I’ll tie it up, and you can have a sit-down. Maybe they’ll give us a cup of tea. We could borrow an old pair of socks or something. . . .” Hardly noticing the cottage garden, beyond a vague impression of rows of runner beans, they made for the clematis-grown9 porch and knocked. There was a brass lion’s head on the door, carefully polished. “Eh, me dear!” It was the old lady, old Mrs. Hatching, who opened the door, and her exclamation was a long-drawn gasp of pleasure and astonishment. “Eh, me dear! ’Tis the pretty bride. See’d ye s’arternoon when we was coming home from hospital.” “Who be?” shouted a voice from inside. “Come in, come in, me dears. My son William’ll be glad to hear company; he can’t see, poor soul, nor has this thirty year, ah, and a pretty sight he’s losing this minute—” “We brought back your bag,” Tom said, putting it in her hands, “and we wondered if you’d have a bit of plaster10 you could kindly let us have. My wife’s hurt her foot—” My wife. Even in the midst of Mrs. Hatching’s voluble welcome the strangeness of these words struck the two young people, and they fell quiet, each of them, pondering, while Mrs. Hatching thanked and commiserated, all in a breath, and asked them to take a seat on the sofa and fetched a basin of water from the scullery,11 and William from his seat in the chimney corner demanded to know what it was all about. “Wot be doing? Wot be doing, Mother?” “ ’Tis a bride, all in’s finery,” she shrilled back at him, “an’s blistered her foot, poor heart.” Keeping up a running commentary for William’s benefit she bound up the foot, every now and then exclaiming to herself in wonder over the fineness of Lily’s wedding dress, which lay in yellow nylon swathes around the chair. “There, me dear. Now us’ll have a cup of tea, eh? Proper thirsty you’m fare to be, walking all the way to here this hot day.” Hot day? Tom and Lily stared at each other and then around the room.

rudimentary (rLQdE-mDnPtE-rC) adj. very basic, in the beginning stages wizened (wFzPEnd) adj. withered and dry

g SETTING AND MOOD

Reread lines 136–141. What mood does the description of the woods convey to you?

voluble (vJlPyE-bEl) adj. especially talkative, fluent with words commiserate (kE-mGzPE-rAtQ) v. to express sorrow or pity for another’s troubles

9. clematis-grown: covered with clematis, a flowering vine. 10. plaster: a British term for an adhesive bandage. 11. scullery: a small room in which dishwashing and other kitchen chores are done.


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Then it was true, it was not their imagination, that a great dusty golden square of sunshine lay on the fireplace wall, where the brass pendulum of the clock at every swing blinked into sudden brilliance? That the blazing geraniums on the windowsill housed a drove of murmuring bees? That, through the window, the gleam of linen hung in the sun to whiten suddenly dazzled their eyes? “The sun? Is it really the sun?” Tom said, almost doubtfully. “And why not?” Mrs. Hatching demanded. “How else’ll beans set, tell me that? Fine thing if sun were to stop shining.” Chuckling to herself she set out a Crown Derby tea set, gorgeously colored in red and gold, and a baking of saffron12 buns. Then she sat down and, drinking her own tea, began to question the two of them about where they had come from, where they were going. The tea was tawny and hot and sweet; the clock’s tick was like a bird chirping; every now and then a log settled in the grate; Lily looked sleepily around the little room, so rich and peaceful, and thought, I wish we were staying here. I wish we needn’t go back to that horrible pub. . . . She leaned against Tom’s comforting arm. “Look at the sky,” she whispered to him. “Out there between the geraniums. Blue!” h “And ee’ll come up and see my spare bedroom, won’t ee now?” Mrs. Hatching said, breaking off the thread of her questions—which indeed was not a thread, but merely a savoring of her pleasure and astonishment at this unlooked-for visit—“Bide here, why don’t ee? Mid as well. The lil un’s fair wore out. Us’ll do for ee better ’n rangy old Noakes; proper old scoundrel ’e be. Won’t us, William?” i “Ah,” William said appreciatively. “I’ll sing ee some o’ my songs.” A sight of the spare room settled any doubts. The great white bed, huge as a prairie, built up with layer upon solid layer of mattress, blanket, and quilt, almost filled the little shadowy room in which it stood. Brass rails shone in the green dimness. “Isn’t it quiet,” Lily whispered. Mrs. Hatching, silent for the moment, stood looking at them proudly, her bright eyes slowly moving from face to face. Once her hand fondled, as if it might have been a baby’s downy head, the yellow brass knob. And so, almost without any words, the matter was decided. Three days later they remembered that they must go to the village and collect the scooter which must, surely, be mended by now. They had been helping old William pick a basketful of beans. Tom had taken his shirt off, and the sun gleamed on his brown back; Lily was wearing an old cotton print which Mrs. Hatching, with much chuckling, had shortened to fit her. It was amazing how deftly, in spite of his blindness, William moved among the beans, feeling through the rough, rustling leaves for the stiffness of concealed pods. He found twice as many as Tom and Lily, but then they, even on the third day, were still stopping every other minute to exclaim

12. saffron: a cooking spice that imparts an orange-yellow color to foods.

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h SETTING AND MOOD

Reread lines 174–191. Notice that the new setting conveys a different mood. How would you describe that mood?

savoring (sAPvEr-Gng) n. a full appreciation and enjoyment savor v. i

MONITOR Reread lines 192–197. What is Mrs. Hatching saying? Try to clarify by reading her words aloud, then putting her statements in your own words.

ANALYZE VISUALS How does the use of color affect the mood of this painting? Contrast the mood wih that of the painting on page 63. Yellow Dress (2003), Jeffrey T. Larson. Oil on linen, 12˝ × 16˝. © Daylight Fine Art.

over the blueness of the sky. At night they sat on the back doorstep while Mrs. Hatching clucked inside as she dished the supper, “Starstruck ee’ll be! Come along in, do-ee, before soup’s cold; stars niver run away yet as I do 220 know.” “Can we get anything for you in the village?” Lily asked, but Mrs. Hatching shook her head. “Baker’s bread and suchlike’s no use but to cripple thee’s innardses wi’ colic.13 I been living here these eighty year wi’out troubling doctors, and I’m not faring to begin now.” She waved to them and stood watching as they walked into the wood, thin and frail beyond belief, but wiry, indomitable, her

indomitable (Gn-dJmPG-tE-bEl) adj. not easily discouraged or defeated

13. cripple . . . colic (kJlPGk): give yourself a bad case of indigestion.


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black eyes full of zest. Then she turned to scream menacingly at a couple of pullets14 who had strayed and were scratching among the potatoes. Almost at once they noticed, as they followed the path, that the sky was clouded over. “It is only there on that one spot,” Lily said in wonder. “All the time. And they’ve never even noticed that the sun doesn’t shine in other places.” “That’s how it must have been all over the world, once,” Tom said. At the garage they found their scooter ready and waiting. They were about to start back when they ran into Mr. Noakes. “Well, well, well, well, well! ” he shouted, glaring at them with ferocious good humor. “How many wells make a river, eh? And where did you slip off to? Here’s me and the missus was just going to tell the police to have the rivers dragged. But hullo, hullo, what’s this? Brown, eh? Suntan? Scrumptious,” he said, looking meltingly at Lily and giving her another tremendous pinch. “Where’d you get it, eh? That wasn’t all got in half an hour, I know. Come on, this means money to you and me; tell us the big secret. Remember what I said; land around these parts is dirt cheap.” Tom and Lily looked at each other in horror. They thought of the cottage, the bees humming among the runner beans, the sunlight glinting in the redand-gold teacups. At night, when they had lain in the huge sagging bed, stars had shone through the window, and the whole wood was as quiet as the inside of a shell. j “Oh, we’ve been miles from here,” Tom lied hurriedly. “We ran into a friend, and he took us right away beyond Brinsley.” And as Mr. Noakes still looked suspicious and unsatisfied, he did the only thing possible. “We’re going back there now,” he said. “The sunbathing’s grand.” And opening the throttle, he let the scooter go. They waved at Mr. Noakes and chugged off toward the gray hills that lay to the north. k “My wedding dress,” Lily said sadly. “It’s on our bed.” They wondered how long Mrs. Hatching would keep tea hot for them, who would eat all the pasties.15 “Never mind, you won’t need it again,” Tom comforted her. At least, he thought, they had left the golden place undisturbed. Mr. Noakes never went into the wood. And they had done what they intended; they had found the sun. Now they, too, would be able to tell their grandchildren, when beginning a story, “Long, long ago, when we were young, in the days when the sky was blue . . .”

14. pullets: young hens. 15. pasties (pBsPtCz): a British term for meat pies.

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j

CONFLICT Why do Mr. Noakes’s statements fill Tom and Lily with horror?

k MONITOR

What do Tom and Lily decide to do?

After Reading

Comprehension 1. Recall Why are Tom and Lily riding around on their scooter at the beginning of the story? 2. Recall Why do Tom and Lily decide to visit the Hatchings? 3. Recall What do they find when they get to the cottage? 4. Clarify Why don’t Tom and Lily go back to the Hatchings’ after picking up their scooter?

Literary Analysis 5. Monitor Review the questions and answers you wrote while reading. What further insights did you gain into the setting, characters, and events? 6. Analyze Stages of Plot Create a list of the events in “Searching for Summer.” Then classify the events according to the stages of plot: exposition, rising action, climax, falling action, resolution. 7. Interpret Why does the sun shine only over the Hatchings’ cottage? 8. Contrast Setting and Mood Contrast the Hatchings’ cottage and yard with the rest of England “since the bombs.” What differing moods are created by the descriptions of these settings? 9. Examine Conflicts How would you describe the important conflicts in this story? Consider characters who are at odds and desires that are frustrated. Summarize the conflicts in a chart like the one shown.

vs.

vs. 10. Evaluate Actions Do Tom and Lily do the right thing in not going back to the cottage? Explain your opinion. 11. Draw Conclusions About Theme What does the story suggest to you about the things people don’t appreciate? Support your answer.

Literary Criticism 12. Author’s Style Many critics have commented on Aiken’s ability to write stories that seem like folk tales. What elements of “Searching for Summer” remind you of “once upon a time” stories you read or heard as a child? Cite evidence from the story.


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word list

Identify the word that is not related in meaning to the other words in the set.

commiserate

1. indomitable, unconquerable, feeble, powerful

disengage

2. disengage, detach, remove, connect

indomitable

3. withered, blooming, shrunken, wizened

rudimentary savoring

4. sympathize, commiserate, pity, accuse

unavailing

5. complex, rudimentary, basic, preliminary

voluble

6. voluble, talkative, fluent, silent

wizened

7. distaste, savoring, relishing, enjoyment 8. unavailing, useless, effective, futile

vocabulary in writing Using at least four vocabulary words, describe an encounter with a very chatty person. Here is an example of how you could start. example sentence

It is an unavailing effort to try and get a word in edgewise with . . .

vocabulary strategy: the prefix disThe vocabulary word disengage contains the Latin prefix dis-, which means “in different directions.” This prefix is found in a number of English words. To understand the meaning of words with dis-, use your knowledge of the base word as well as your knowledge of the prefix.

disengage

disabled

disdiscontinued

disband

PRACTICE Write the word from the word web that best completes each sentence. Use context clues to help you. If necessary, consult a dictionary.

disinvite

1. The crab tried to ________ itself from the fisherman’s net. 2. After their argument, she decided to ________ her friend to the party. 3. There’s a ________ vehicle on the road that needs to be removed. 4. The music group will ________ this month. 5. The store has _________ this brand of clothing.

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Reading-Writing Connection Explore your understanding of “Searching for Summer” by responding to these prompts. Then use Revision: Grammar and Style to improve your writing.

writing prompts

self-check

A. Short Response: Describe a Setting

A successful description will . . .

Imagine that Mr. Noakes has turned the woods into a vacation spot. What would he say in a presentation to make people want to visit? Write one or two paragraphs describing the Rising Sun Resort.

B. Extended Response: Analyze Theme What different themes does Aiken’s story suggest to you? For instance, what else does it convey besides the importance of appreciating sunlight? Write three to five paragraphs in response.

• use vivid, colorful language to describe the setting • convey a mood that makes people want to visit

An effective response will . . . • clearly state one or more themes of the story • use details from the story to support your analysis

revision: grammar and style USE REALISTIC DIALOGUE Review the Grammar and Style note on page 66. Aiken uses realistic dialogue to help shape her characters and bring them to life. When writing dialogue, follow her example by enlisting these techniques: 1. Use contractions and interjections. Contractions—such as doesn’t, we’re, and they’ll—combine and shorten words, while interjections—such as well, oh, and hey—express emotion. You can incorporate both into your dialogue to make it sound more like everyday speech. 2. Form sentence fragments. Although sentence fragments should be avoided in formal writing, they are often used in dialogue. Here is an example from the story that highlights Aiken’s use of these techniques. “Can’t see what’s wrong,” said Tom, after a prolonged and gloomy survey. “Oh, Tom!” Lily was almost crying. “What’ll we do?” (lines 63–64) Notice how the revisions in red make this first draft’s dialogue sound more like real speech. Revise your response to Prompt A by making similar changes. student model

“Who wants to be the first to visit the new Rising Sun Resort? I am telling Not anywhere.

you, you will never find a place like this. The sun is bright, and the sky is blue. Oh,

And did I mention the camp for the kids? What more could you want?”



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Before Reading

To Build a Fire Short Story by Jack London

Should you trust your

instincts ?

KEY IDEA An instinct is unlearned, automatic behavior shown by all members of a species, such as birds building a nest. Do people, like animals, have instincts? If they do, when are they likely to use them? Are a person’s instincts as good as, say, a dog’s? The story “To Build a Fire” attempts to answer such questions. DISCUSS With a partner, try to answer the questions posed in the previous paragraph. Come up with a definition of human instincts and some examples. Record ideas from your conversation on a word web like the one shown.

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Human Ins tin cts

literary analysis: setting and conflict In some stories, the setting can create the conflict a character faces. It can even act as the antagonist, or opponent, of the main character. In “To Build a Fire,” the setting is the Yukon wilderness, and the main character must battle the crippling cold to survive. The setting challenges him in other ways as well. As you read, notice details about this harsh setting and think about the choices the setting forces the character to make. Review: Mood

reading strategy: predict When you predict, you use text clues to guess what will happen next in a story. Predicting helps you become actively involved in what you are reading and gives you reasons to read on. To make sound predictions about what will happen in “To Build a Fire,” use the following strategies: • Think about the personality, actions, and thoughts of the main character when predicting how he will respond to his situation. • Note passages of foreshadowing, or hints and clues about future plot events. As you read, jot down at least three predictions and the clues you used to make them. Use a chart like the one shown. Predictions

Text Clues

The man will . . .

Review: Draw Conclusions

vocabulary in context Jack London uses the following boldfaced vocabulary words in his suspenseful tale. To see how many vocabulary words you know, substitute a different word or phrase for each boldfaced term. 1. intangible fear

5. smite in anger

2. conjectural answer

6. imperative action

3. baseless apprehension

7. forest conflagration

4. reiterate the command

8. peremptorily dismiss

Teen Adventurer Born to an indifferent mother and an absentee father, Jack London grew up in a poor neighborhood in Oakland, California. As a boy, his escape from poverty and loneliness was reading books. As a teenager, his escape Jack London was the sea. When he 1876–1916 was 15, he borrowed money, bought a boat, and became an oyster pirate on the San Francisco Bay. At 17, he worked aboard a schooner that sailed the North Pacific. When he returned home, the only work he could find was low-paying manual labor. Fascinated by rags-to-riches stories he heard about people mining for gold in Canada’s Yukon Territory, he sailed north at age 21. Striking It Rich London did not find gold in the Yukon, but he did find something valuable. Holed up during the fiercely cold Yukon winter, he read widely and listened to other gold prospectors tell stories about life in the frozen northland. Inspired by their tales and his own experiences, London returned to Oakland and began to write. In 1899, magazines began publishing his stories, and his writing career was on its way. His novels The Call of the Wild, The Sea-Wolf, and White Fang made him one of America’s most popular, and financially successful, writers. Almost a century after his death, readers are still captivated by his stark, suspenseful stories.

more about the author For more on Jack London, visit the Literature Center at ClassZone.com.

to build a fire

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TO BUILD A

FIRE JACK LONDON

Day had broken cold and gray, exceedingly cold and gray, when the man turned aside from the main Yukon trail and climbed the high earth-bank, where a dim and little-travelled trail led eastward through the fat spruce timberland. It was a steep bank, and he paused for breath at the top, excusing the act to himself by looking at his watch. It was nine o’clock. There was no sun nor hint of sun, though there was not a cloud in the sky. It was a clear day, and yet there seemed an intangible pall over the face of things, a subtle gloom that made the day dark, and that was due to the absence of sun. This fact did not worry the man. He was used to the lack of sun. It had been days 10 since he had seen the sun, and he knew that a few more days must pass before that cheerful orb, due south, would just peep above the sky line and dip immediately from view. The man flung a look back along the way he had come. The Yukon lay a mile wide and hidden under three feet of ice. On top of this ice were as many feet of snow. It was all pure white, rolling in gentle undulations where the ice jams of the freeze-up had formed. North and south, as far as his eye could see, it was unbroken white, save for a dark hairline that curved and twisted from around the spruce-covered island to the south, and that curved and twisted away into the north, where it disappeared behind another spruce-covered 20 island. This dark hairline was the trail—the main trail—that led south five hundred miles to the Chilcoot Pass, Dyea, and salt water; and that led north seventy miles to Dawson, and still on to the north a thousand miles to Nulato, and finally to St. Michael, on Bering Sea, a thousand miles and half a thousand more. a

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ANALYZE VISUALS How do you think it would feel to be in the setting of the photograph?

intangible (Gn-tBnPjE-bEl) adj. unable to be perceived with the senses

a

MOOD Reread lines 1–24. What mood is created by the description of the setting?

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50

60

But all this—this mysterious, far-reaching hairline trail, the absence of sun from the sky, the tremendous cold, and the strangeness and weirdness of it all—made no impression on the man. It was not because he was long used to it. He was a newcomer in the land, a chechaquo, and this was his first winter. The trouble with him was that he was without imagination. He was quick and alert in the things of life, but only in the things, and not in the significances. Fifty degrees below zero meant eighty-odd degrees of frost. Such fact impressed him as being cold and uncomfortable, and that was all. It did not lead him to meditate upon his frailty as a creature of temperature, and upon man’s frailty in general, able only to live within certain narrow limits of heat and cold; and from there on it did not lead him to the conjectural field of immortality and man’s place in the universe. Fifty degrees below zero stood for a bite of frost that hurt and that must be guarded against by the use of mittens, ear flaps, warm moccasins, and thick socks. Fifty degrees below zero was to him just precisely fifty degrees below zero. That there should be anything more to it than that was a thought that never entered his head. b As he turned to go, he spat speculatively. There was a sharp, explosive crackle that startled him. He spat again. And again, in the air, before it could fall to the snow, the spittle crackled. He knew that at fifty below spittle crackled on the snow, but this spittle had crackled in the air. Undoubtedly it was colder than fifty below—how much colder he did not know. But the temperature did not matter. He was bound for the old claim1 on the left fork of Henderson Creek, where the boys were already. They had come over across the divide from the Indian Creek country, while he had come the roundabout way to take a look at the possibilities of getting out logs in the spring from the islands in the Yukon. He would be in to camp by six o’clock; a bit after dark, it was true, but the boys would be there, a fire would be going, and a hot supper would be ready. As for lunch, he pressed his hand against the protruding bundle under his jacket. It was also under his shirt, wrapped up in a handkerchief and lying against the naked skin. It was the only way to keep the biscuits from freezing. He smiled agreeably to himself as he thought of those biscuits, each cut open and sopped in bacon grease, and each enclosing a generous slice of fried bacon. He plunged in among the big spruce trees. The trail was faint. A foot of snow had fallen since the last sled had passed over, and he was glad he was without a sled, travelling light. In fact, he carried nothing but the lunch wrapped in the handkerchief. He was surprised, however, at the cold. It certainly was cold, he concluded, as he rubbed his numb nose and cheekbones with his mittened hand. He was a warm-whiskered man, but the hair on his face did not protect the high cheek-bones and the eager nose that thrust itself aggressively into the frosty air. c

1. claim: a tract of public land claimed by a homesteader or, as in this case, a miner.

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conjectural (kEn-jDkPchEr-El) adj. involving guesswork

b DR AW CONCLUSIONS

Based on the description in lines 25–40, what can you conclude about the man’s personality?

c

SET TING AND CONFLICT What conflict does the setting create for the man?

At the man’s heels trotted a dog, a big native husky, the proper wolf dog, gray-coated and without any visible or temperamental difference from its brother, the wild wolf. The animal was depressed by the tremendous cold. It knew that it was no time for travelling. Its instinct told it a truer tale than was 70 told to the man by the man’s judgment. In reality, it was not merely colder than fifty below zero; it was colder than sixty below, than seventy below. It was seventy-five below zero. Since the freezing point is thirty-two above zero, it meant that one hundred and seven degrees of frost obtained.2 The dog did not know anything about thermometers. Possibly in its brain there was no sharp consciousness of a condition of very cold such as was in the man’s brain. But the brute had its instinct. It experienced a vague but menacing apprehension that subdued it and made it slink along at the man’s heels, and that made it question eagerly every unwonted movement of the man as if expecting him to go into camp or to seek shelter somewhere and build a fire. The dog had 80 learned fire, and it wanted fire, or else to burrow under the snow and cuddle its warmth away from the air. d

apprehension (BpQrG-hDnPshEn) n. fear and worry for the future

d PREDICT

What do you think the man and dog will do? Why?

2. obtained: existed.

to build a fire

79

The frozen moisture of its breathing had settled on its fur in a fine powder of frost, and especially were its jowls, muzzle and eyelashes whitened by its crystalled breath. The man’s red beard and mustache were likewise frosted, but more solidly, the deposit taking the form of ice and increasing with every warm, moist breath he exhaled. Also, the man was chewing tobacco, and the muzzle of ice held his lips so rigidly that he was unable to clear his chin when he expelled the juice. The result was that a crystal beard of the color and solidity of amber was increasing its length on his chin. If he fell down it 90 would shatter itself, like glass, into brittle fragments. But he did not mind the appendage. It was the penalty all tobacco chewers paid in that country, and he had been out before in two cold snaps. They had not been so cold as this, but by the spirit thermometer3 at Sixty Mile he knew that they had been registered at fifty below and at fifty-five. He held on through the level stretch of woods for several miles, crossed a wide flat . . . and dropped down a bank to the frozen bed of a small stream. This was Henderson Creek, and he knew he was ten miles from the forks. He looked at his watch. It was ten o’clock. He was making four miles an hour, and he calculated that he would arrive at the forks at half-past twelve. He decided 100 to celebrate that event by eating his lunch there. The dog dropped in again at his heels, with a tail drooping discouragement, as the man swung along the creek bed. The furrow of the old sled trail was plainly visible, but a dozen inches of snow covered the marks of the last runners. In a month no man had come up or down that silent creek. The man held steadily on. He was not much given to thinking, and just then particularly he had nothing to think about save that he would eat lunch at the forks and that at six o’clock he would be in camp with the boys. There was nobody to talk to; and, had there been, speech would have been impossible because of the ice muzzle on his mouth. So he continued monotonously to chew tobacco and 110 to increase the length of his amber beard. Once in a while the thought reiterated itself that it was very cold and that he had never experienced such cold. As he walked along he rubbed his cheekbones and nose with the back of his mittened hand. He did this automatically, now and again changing hands. But, rub as he would, the instant he stopped his cheekbones went numb, and the following instant the end of his nose went numb. He was sure to frost his cheeks; he knew that, and experienced a pang of regret that he had not devised a nose strap of the sort Bud wore in cold snaps. Such a strap passed across the cheeks, as well, and saved them. But it didn’t matter much, after all. What were frosted cheeks? A 120 bit painful, that was all; they were never serious. e Empty as the man’s mind was of thoughts, he was keenly observant, and he noticed the changes in the creek, the curves and bends and timber jams,4 and

3. spirit thermometer: a thermometer in which temperature is indicated by the height of a column of colored alcohol. 4. timber jams: piled-up masses of floating logs and branches.

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reiterate (rC-GtPE-rAtQ) v. to repeat

e

SET TING AND CONFLICT Notice the new problem created for the man. How does he view this problem?

always he sharply noted where he placed his feet. Once, coming around a bend he shied abruptly, like a startled horse, curved away from the place where he had been walking, and retreated several paces back along the trail. The creek he knew was frozen clear to the bottom—no creek could contain water in that arctic winter—but he knew also that there were springs that bubbled out from the hillsides and ran along under the snow and on top the ice of the creek. He knew that the coldest snaps never froze these springs, and he knew likewise 130 their danger. They were traps. They hid pools of water under the snow that might be three inches deep, or three feet. Sometimes a skin of ice half an inch thick covered them, and in turn was covered by the snow. Sometimes there were alternate layers of water and ice skin, so that when one broke through he kept on breaking through for a while, sometimes wetting himself to the waist. That was why he had shied in such panic. He had felt the give under his feet and heard the crackle of a snow-hidden ice skin. And to get his feet wet in such a temperature meant trouble and danger. At the very least it meant delay, for he would be forced to stop and build a fire, and under its protection to bare his feet while he dried his socks 140 and moccasins. He stood and studied the creek bed and its banks, and decided that the flow of water came from his right. He reflected awhile, rubbing his nose and cheeks, then skirted to the left, stepping gingerly and testing the footing for each step. Once clear of the danger, he took a fresh chew of tobacco and swung along at his four-mile gait.5 f

f

PREDICT What do you think will happen? Why?

I

n the course of the next two hours he came upon several similar traps. Usually the snow above the hidden pools had a sunken, candied appearance that advertised the danger. Once again, however, he had a close call; and once, suspecting danger, he compelled the dog to go on in front. The dog did not want to go. It hung back until the man shoved it forward, and then it 150 went quickly across the white, unbroken surface. Suddenly it broke through, floundered to one side, and got away to firmer footing. It had wet its forefeet and legs, and almost immediately the water that clung to it turned to ice. It made quick efforts to lick the ice off its legs, then dropped down in the snow and began to bite out the ice that had formed between the toes. This was a matter of instinct. To permit the ice to remain would mean sore feet. It did not know this. It merely obeyed the mysterious prompting that arose from the deep crypts of its being. But the man knew, having achieved a judgment on the subject, and he removed the mitten from his right hand and helped tear out the ice particles. He did not expose his fingers more than a minute, and was 160 astonished at the swift numbness that smote them. It certainly was cold. He pulled on the mitten hastily, and beat the hand savagely across his chest.

smite (smFt) v. to inflict a heavy blow on; past tense—smote (smIt)

5. four-mile gait: walking pace of four miles per hour.

to build a fire

81

At twelve o’clock the day was at its brightest. Yet the sun was too far south on its winter journey to clear the horizon. The bulge of the earth intervened between it and Henderson Creek, where the man walked under a clear sky at noon and cast no shadow. At half-past twelve, to the minute, he arrived at the forks of the creek. He was pleased at the speed he had made. If he kept it up, he would certainly be with the boys by six. He unbuttoned his jacket and shirt and drew forth his lunch. The action consumed no more than a quarter of a minute, yet in that brief moment the numbness laid hold of the exposed 170 fingers. He did not put the mitten on, but, instead, struck the fingers a dozen sharp smashes against his leg. Then he sat down on a snow-covered log to eat. The sting that followed upon the striking of his fingers against his leg ceased so quickly that he was startled. He had had no chance to take a bite of biscuit. He struck the fingers repeatedly and returned them to the mitten, baring the other hand for the purpose of eating. He tried to take a mouthful, but the ice muzzle prevented. He had forgotten to build a fire and thaw out. He chuckled at his foolishness, and as he chuckled he noted the numbness creeping into the exposed fingers. Also, he noted that the stinging which had first come to his toes when he sat down was already passing away. He wondered whether the 180 toes were warm or numb. He moved them inside the moccasins and decided that they were numb. g

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g

SET TING AND CONFLICT Reread lines 162–181. How has the man’s situation become more challenging? Cite details.

He pulled the mitten on hurriedly and stood up. He was a bit frightened. He stamped up and down until the stinging returned into the feet. It certainly was cold, was his thought. That man from Sulphur Creek had spoken the truth when telling how cold it sometimes got in the country. And he had laughed at him at the time! That showed one must not be too sure of things. There was no mistake about it, it was cold. He strode up and down, stamping his feet and threshing his arms, until reassured by the returning warmth. Then he got out matches and proceeded to make a fire. From the under-growth, where high 190 water of the previous spring had lodged a supply of seasoned twigs, he got his firewood. Working carefully from a small beginning, he soon had a roaring fire, over which he thawed the ice from his face and in the protection of which he ate his biscuits. For the moment the cold of space was outwitted. The dog took satisfaction in the fire, stretching out close enough for warmth and far enough away to escape being singed. When the man had finished, he filled his pipe and took his comfortable time over a smoke, then he pulled on his mittens, settled the ear flaps of his cap firmly about his ears, and took the creek trail up the left fork. The dog was disappointed and yearned back towards the fire. This man did not know cold. 200 Possibly all the generations of his ancestry had been ignorant of cold, of real cold, of cold one hundred and seven degrees below freezing point. But the dog knew; all its ancestry knew, and it had inherited the knowledge. And it knew that it was not good to walk abroad in such fearful cold. It was the time to lie snug in a hole in the snow and wait for a curtain of cloud to be drawn across the face of outer space whence this cold came. On the other hand, there was no keen intimacy between the dog and the man. The one was the toil slave6 of the other, and the only caresses it had ever received were the caresses of the whip lash and of harsh and menacing throat sounds that threatened the whip lash. So the dog made no effort to communicate its apprehension to the man. It was not 210 concerned in the welfare of the man; it was for its own sake that it yearned back toward the fire. But the man whistled, and spoke to it with the sound of whip lashes, and the dog swung in at the man’s heels and followed after. h The man took a chew of tobacco and proceeded to start a new amber beard. Also, his moist breath quickly powdered with white his mustache, eyebrows, and lashes. There did not seem to be so many springs on the left fork of the Henderson, and for half an hour the man saw no signs of any. And then it happened. At a place where there were no signs, where the soft, unbroken snow seemed to advertise solidity beneath, the man broke through. It was not deep. He wet himself halfway to the knees before he floundered out to the firm 220 crust. He was angry, and cursed his luck aloud. He had hoped to get into camp with the boys at six o’clock, and this would delay him an hour, for he would have to build a fire and dry out his footgear. This was imperative at that low temperature—he knew that much; and he turned aside to the bank, which he climbed. On top, tangled in the underbrush about the trunks of several small

h DR AW CONCLUSIONS

Who seems more knowledgeable about what to do—the man or the dog? Support your answer.

imperative (Gm-pDrPE-tGv) adj. urgently necessary

6. toil slave: a slave who performs hard labor.

to build a fire

83

spruce trees, was a high-water deposit7 of dry firewood—sticks and twigs, principally, but also larger portions of seasoned branches and fine, dry, last year’s grasses. He threw down several large pieces on top of the snow. This served for a foundation and prevented the young flame from drowning itself in the snow it otherwise would melt. The flame he got by touching a match to a 230 small shred of birch bark that he took from his pocket. This burned even more readily than paper. Placing it on the foundation, he fed the young flame with wisps of dry grass and with the tiniest dry twigs. He worked slowly and carefully, keenly aware of his danger. Gradually, as the flame grew stronger, he increased the size of the twigs with which he fed it. He squatted in the snow, pulling the twigs out from their entanglement in the brush and feeding directly to the flame. He knew there must be no failure. When it is seventy-five below zero, a man must not fail in his first attempt to build a fire—that is, if his feet are wet. If his feet are dry, and he fails, he can run along the trail for half a mile and restore his circulation. But the 240 circulation of wet and freezing feet cannot be restored by running when it is seventy-five below. No matter how fast he runs, the wet feet will freeze the harder. All this the man knew. The old-timer on Sulphur Creek had told him about it the previous fall, and now he was appreciating the advice. Already all sensation had gone out of his feet. To build the fire he had been forced to remove his mittens, and the fingers had quickly gone numb. His pace of four miles an hour had kept his heart pumping blood to the surface of his body and to all the extremities. But the instant he stopped, the action of the pump eased down. The cold of space smote the unprotected tip of the planet, and he, 250 being on that unprotected tip, received the full force of the blow. The blood of his body recoiled before it. The blood was alive, like the dog, and like the dog it wanted to hide away and cover itself up from the fearful cold. So long as he walked four miles an hour, he pumped the blood, willy-nilly, to the surface; but now it ebbed away and sank down into the recesses of his body. The extremities were the first to feel its absence. His wet feet froze the faster, and his exposed fingers numbed the faster, though they had not yet begun to freeze. Nose and cheeks were already freezing, while the skin of all his body chilled as it lost its blood. i

260

B

ut he was safe. Toes and nose and cheeks would be only touched by the frost, for the fire was beginning to burn with strength. He was feeding it with twigs the size of his finger. In another minute he would be able to feed it with branches the size of his wrist, and then he could remove his wet footgear, and, while it dried, he could keep his naked feet warm by the fire, rubbing them at first, of course, with snow. The fire was a success. He was safe. He

7. high-water deposit: debris left on the bank of a stream as the water recedes from its highest level.

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i

SET TING AND CONFLICT Reread lines 216–258. What new conflict with the setting is the man experiencing?

remembered the advice of the old-timer on Sulphur Creek, and smiled. The old-timer had been very serious in laying down the law that no man must travel alone in the Klondike after fifty below. Well, here he was; he had had the accident; he was alone; and he had saved himself. Those old-timers were rather womanish, some of them, he thought. All a man had to do was to keep his 270 head, and he was all right. Any man who was a man could travel alone. But it was surprising, the rapidity with which his cheeks and nose were freezing. And he had not thought his fingers could go lifeless in so short a time. Lifeless they were, for he could scarcely make them move together to grip a twig, and they seemed remote from his body and from him. When he touched a twig, he had to look and see whether or not he had hold of it. The wires were pretty well down between him and his finger ends. j All of which counted for little. There was the fire, snapping and crackling and promising life with every dancing flame. He started to untie his moccasins. They were coated with ice; the thick German socks were like sheaths of iron 280 halfway to the knees; and the moccasin strings were like rods of steel all twisted and knotted as by some conflagration. For a moment he tugged with his numb fingers, then, realizing the folly of it, he drew his sheath knife. But before he could cut the strings, it happened. It was his own fault or, rather, his mistake. He should not have built the fire under the spruce tree. He should have built it in the open. But it had been easier to pull the twigs from the brush and drop them directly on the fire. Now the tree under which he had done this carried a weight of snow on its boughs. No wind had blown for weeks, and each bough was full freighted. Each time he had pulled a twig he had communicated a slight agitation to the tree—an imperceptible agitation, 290 so far as he was concerned, but an agitation sufficient to bring about the disaster. High up in the tree one bough capsized its load of snow. This fell on the boughs beneath, capsizing them. This process continued, spreading out and involving the whole tree. It grew like an avalanche, and it descended upon the man and the fire, and the fire was blotted out! Where it had burned was a mantle of fresh and disordered snow. The man was shocked. It was as though he had just heard his own sentence of death. For a moment he sat and stared at the spot where the fire had been. Then he grew very calm. Perhaps the old-timer on Sulphur Creek was right. If he had only had a trail mate he would have been in no danger now. The trail 300 mate could have built the fire. Well, it was up to him to build the fire over again, and this second time there must be no failure. Even if he succeeded, he would most likely lose some toes. His feet must be badly frozen by now, and there would be some time before the second fire was ready. k Such were his thoughts, but he did not sit and think them. He was busy all the time they were passing through his mind. He made a new foundation for a fire, this time in the open, where no treacherous tree could blot it out. Next he gathered dry grasses and tiny twigs from the high-water flotsam. He could not

j

DR AW CONCLUSIONS Reread lines 259–276. What pattern can you see in the man’s attitude and behavior? conflagration (kJnQflE-grAPshEn) n. a large, destructive fire

k PREDICT

Do you think the man will be able to build a fire quickly enough to save his feet?

to build a fire

85

bring his fingers together to pull them out, but he was able to gather them by the handful. In this way he got many rotten twigs and bits of green moss that 310 were undesirable, but it was the best he could do. He worked methodically, even collecting an armful of the larger branches to be used later when the fire gathered strength. And all the while the dog sat and watched him, a certain wistfulness in its eyes, for it looked upon him as the fire provider, and the fire was slow in coming. When all was ready, the man reached in his pocket for a second piece of birch bark. He knew the bark was there, and though he could not feel it with his fingers, he could hear its crisp rustling as he fumbled for it. Try as he would, he could not clutch hold of it. And all the time, in his consciousness, was the knowledge that each instant his feet were freezing. This thought 320 tended to put him in a panic, but he fought against it and kept calm. He pulled on his mittens with his teeth, and threshed his arms back and forth, beating his hands with all his might against his sides. He did this sitting down, and he stood up to do it; and all the while the dog sat in the snow, its wolf brush of a tail curled around warmly over its forefeet, its sharp wolf ears pricked forward intently as it watched the man. And the man, as he beat and threshed with his arms and hands, felt a great surge of envy as he regarded the creature that was warm and secure in its natural covering. After a time he was aware of the first faraway signals of sensations in his beaten fingers. The faint tingling grew stronger till it evolved into a stinging 330 ache that was excruciating, but which the man hailed with satisfaction. He stripped the mitten from his right hand and fetched forth the birch bark. The exposed fingers were quickly going numb again. Next he brought out his bunch of sulphur matches. But the tremendous cold had already driven the life out of his fingers. In his effort to separate one match from the others, the whole bunch fell into the snow. He tried to pick it out of the snow, but failed. The dead fingers could neither clutch nor touch. He was very careful. He drove the thought of his freezing feet, and nose, and cheeks, out of his mind, devoting his whole soul to the matches. He watched, using the sense of vision in place of that of touch, and when he saw his fingers on each side the bunch, 340 he closed them—that is, he willed to close them, for the wires were down, and the fingers did not obey. He pulled the mitten on the right hand, and beat it fiercely against his knee. Then, with both mittened hands, he scooped the bunch of matches, along with much snow, into his lap. Yet he was no better off. l After some manipulation he managed to get the bunch between the heels of his mittened hands. In this fashion he carried it to his mouth. The ice crackled and snapped when by a violent effort he opened his mouth. He drew the lower jaw in, curled the upper lip out of the way and scraped the bunch with his upper teeth in order to separate a match. He succeeded in getting one, which 350 he dropped on his lap. He was no better off. He could not pick it up. Then he

86


l

SET TING AND CONFLICT Why is the man no better off despite his best efforts?

devised a way. He picked it up in his teeth and scratched it on his leg. Twenty times he scratched before he succeeded in lighting it. As it flamed he held it with his teeth to the birch bark. But the burning brimstone8 went up his nostrils and into his lungs, causing him to cough spasmodically. The match fell into the snow and went out. The old-timer on Sulphur Creek was right, he thought in the moment of controlled despair that ensued: after fifty below, a man should travel with a partner. He beat his hands, but failed in exciting any sensation. Suddenly he bared both hands, removing the mittens with his teeth. He caught the whole 360 bunch between the heels of his hands. His arm muscles not being frozen enabled him to press the hand heels tightly against the matches. Then he scratched the bunch along his leg. It flared into flame, seventy sulphur matches at once! There was no wind to blow them out. He kept his head to one side to escape the strangling fumes, and held the blazing bunch to the birch bark. As he so held it, he became aware of sensation in his hand. His flesh was burning. He could smell it. Deep down below the surface he could feel it. The sensation developed into pain that grew acute. And still he endured it, holding the flame

ANALYZE VISUALS What effect is achieved by placing these two images together?

8. brimstone: sulfur, a chemical used in match heads.

to build a fire

87

of the matches clumsily to the bark that would not light readily because his own burning hands were in the way, absorbing most of the flame. m 370 At last, when he could endure no more, he jerked his hands apart. The blazing matches fell sizzling into the snow, but the birch bark was alight. He began laying dry grasses and the tiniest twigs on the flame. He could not pick and choose, for he had to lift the fuel between the heels of his hands. Small pieces of rotten wood and green moss clung to the twigs, and he bit them off as well as he could with his teeth. He cherished9 the flame carefully and awkwardly. It meant life, and it must not perish. The withdrawal of blood from the surface of his body now made him begin to shiver, and he grew more awkward. A large piece of green moss fell squarely on the little fire. He tried to poke it out with his fingers, but his shivering frame made him poke too far, and 380 he disrupted the nucleus of the little fire, the burning grasses and the tiny twigs separating and scattering. He tried to poke them together again, but in spite of the tenseness of the effort, his shivering got away with him, and the twigs were hopelessly scattered. Each twig gushed a puff of smoke and went out. The fire provider had failed. As he looked apathetically about him, his eyes chanced on the dog, sitting across the ruins of the fire from him, in the snow, making restless, hunching movements, slightly lifting one forefoot and then the other, shifting its weight back and forth on them with wistful eagerness. The sight of the dog put a wild idea into his head. He remembered the tale of the man, caught in a blizzard, who killed a steer and crawled inside the 390 carcass, and so was saved. He would kill the dog and bury his hands in the warm body until the numbness went out of them. Then he could build another fire. He spoke to the dog, calling it to him; but in his voice was a strange note of fear that frightened the animal, who had never known the man to speak in such a way before. Something was the matter, and its suspicious nature sensed danger—it knew not what danger, but somewhere, somehow, in its brain arose an apprehension of the man. It flattened its ears down at the sound of the man’s voice, and its restless, hunching movements and the liftings and shiftings of its forefeet became more pronounced; but it would not come to the man. He got on his hands and knees and crawled toward the dog. This unusual posture again 400 excited suspicion, and the animal sidled mincingly away. n The man sat up in the snow for a moment and struggled for calmness. Then he pulled on his mittens, by means of his teeth, and got upon his feet. He glanced down at first in order to assure himself that he was really standing up, for the absence of sensation in his feet left him unrelated to the earth. His erect position in itself started to drive the webs of suspicion from the dog’s mind; and when he spoke peremptorily, with the sound of whip lashes in his voice, the dog rendered its customary allegiance and came to him. As it came within reaching distance, the man lost his control. His arms flashed out to the dog, and he experienced genuine surprise when he discovered that his hands 410 could not clutch, that there was neither bend nor feeling in his fingers. He had

9. cherished: tended; guarded.

88


m PREDICT

Given his current difficulties, what do you predict will happen to the man? Why?

n PREDICT

Do you think the man will succeed in tricking the dog?

peremptorily (pE-rDmpPtE-rE-lC) adv. in a commanding way that does not allow for refusal or contradiction

forgotten for the moment that they were frozen and that they were freezing more and more. All this happened quickly, and before the animal could get away, he encircled its body with his arms. He sat down in the snow, and in this fashion held the dog, while it snarled and whined and struggled. But it was all he could do, hold its body encircled in his arms and sit there. He realized that he could not kill the dog. There was no way to do it. With his helpless hands he could neither draw nor hold his sheath knife nor throttle the animal. He released it, and it plunged wildly away, with tail between its legs, and still snarling. It halted forty feet away and surveyed him curiously, with 420 ears sharply pricked forward. The man looked down at his hands in order to locate them, and found them hanging on the ends of his arms. It struck him as curious that one should have to use his eyes in order to find out where his hands were. He began threshing his arms back and forth, beating the mittened hands against his sides. He did this for five minutes, violently, and his heart pumped enough blood up to the surface to put a stop to his shivering. But no sensation was aroused in the hands. He had an impression that they hung like weights on the ends of his arms, but when he tried to run the impression down, he could not find it.

A

certain fear of death, dull and oppressive, came to him. This fear quickly became poignant as he realized that it was no longer a mere matter of freezing his fingers and toes, or of losing his hands and feet, but that it was a matter of life and death with the chances against him. This threw him into a panic, and he turned and ran along the old, dim trail. The dog joined in behind and kept up with him. He ran blindly, without intention, in fear such as he had never known in his life. Slowly, as he plowed and floundered through the snow, he began to see things again—the banks of the creek, the old timber jams, the leafless aspens, and the sky. The running made him feel better. He did not shiver. Maybe, if he ran on, his feet would thaw out; and, anyway, if he ran far enough, he would reach camp and the boys. Without doubt he would lose some 440 fingers and toes and some of his face; but the boys would take care of him, and save the rest of him when he got there. And at the same time there was another thought in his mind that said he would never get to the camp and the boys; that he would soon be stiff and dead. This thought he kept in the background and refused to consider. Sometimes it pushed itself forward and demanded to be heard, but he thrust it back and strove to think of other things. o It struck him as curious that he could run at all on feet so frozen that he could not feel them when they struck the earth and took the weight of his body. He seemed to himself to skim along above the surface, and to have no 430

o SET TING AND

CONFLICT What has the man’s struggle now become?

to build a fire

89

connection with the earth. Somewhere he had once seen a winged Mercury,10 450 and he wondered if Mercury felt as he felt when skimming over the earth. His theory of running until he reached camp and the boys had one flaw in it: he lacked the endurance. Several times he stumbled, and finally he tottered, crumpled up, and fell. When he tried to rise, he failed. He must sit and rest, he decided, and next time he would merely walk and keep on going. As he sat and regained his breath, he noted that he was feeling quite warm and comfortable. He was not shivering, and it even seemed that a warm glow had come to his chest and trunk. And yet, when he touched his nose or cheeks, there was no sensation. Running would not thaw them out. Nor would it thaw out his hands and feet. Then the thought came to him that the frozen portions of his 460 body must be extending. He tried to keep this thought down, to forget it, to think of something else; he was aware of the panicky feeling that it caused, and he was afraid of the panic. But the thought asserted itself, and persisted, until it produced a vision of his body totally frozen. This was too much, and he made another wild run along the trail. Once he slowed down to a walk, but the thought of the freezing extending itself made him run again. And all the time the dog ran with him, at his heels. When he fell down a second time, it curled its tail over its forefeet and sat in front of him, facing him, curiously eager and intent. The warmth and security of the animal angered him, and he cursed it till it flattened down its ears appeasingly. This 470 time the shivering came more quickly upon the man. He was losing in his battle with the frost. It was creeping into his body from all sides. The thought of it drove him on, but he ran no more than a hundred feet, when he staggered and pitched headlong. It was his last panic. When he had recovered his breath and control, he sat up and entertained in his mind the conception of meeting death with dignity. However, the conception did not come to him in such terms. His idea of it was that he had been making a fool of himself, running around like a chicken with its head cut off—such was the simile that occurred to him. Well, he was bound to freeze anyway, and he might as well take it decently. With this newfound peace of mind came the first glimmerings of 480 drowsiness. A good idea, he thought, to sleep off to death. It was like taking an anesthetic. Freezing was not so bad as people thought. There were lots worse ways to die. p He pictured the boys finding his body the next day. Suddenly he found himself with them, coming along the trail and looking for himself. And, still with them, he came around a turn in the trail and found himself lying in the snow. He did not belong with himself any more, for even then he was out of himself, standing with the boys and looking at himself in the snow. It certainly was cold, was his thought. When he got back to the States he could tell the folks what real cold was. He drifted on from this to a vision of the old-timer

10. Mercury: the messenger of the gods in Roman mythology, who flew about by means of wings on his helmet and sandals.

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p DR AW CONCLUSIONS

Reread lines 473–482. What has the man decided to do? What does his decision tell you about his character?

on Sulphur Creek. He could see him quite clearly, warm and comfortable, and smoking a pipe. “You were right, old hoss;11 you were right,” the man mumbled to the oldtimer of Sulphur Creek. Then the man drowsed off into what seemed to him the most comfortable and satisfying sleep he had ever known. The dog sat facing him and waiting. The brief day drew to a close in a long, slow twilight. There were no signs of a fire to be made, and, besides, never in the dog’s experience had it known a man to sit like that in the snow and make no fire. As the twilight drew on, its eager yearning for the fire mastered it, and with a great lifting and shifting of 500 forefeet, it whined softly, then flattened its ears down in anticipation of being chidden by the man. But the man remained silent. Later the dog whined loudly. And still later it crept close to the man and caught the scent of death. This made the animal bristle and back away. A little longer it delayed, howling under the stars that leaped and danced and shone brightly in the cold sky. Then it turned and trotted up the trail in the direction of the camp it knew, where there were other food providers and fire providers. q 490

q PREDICT

Will the dog meet the same fate as the man? Why?

11. old hoss: old horse—here used as an affectionate term of address.

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After Reading

Comprehension 1. Recall Why must the man stop and build a second fire? 2. Recall What causes his second fire to go out? 3. Recall Why does the man have difficulty rebuilding the second fire? 4. Clarify What ultimately happens to the man and the dog?

Literary Analysis 5. Predict Look at the chart you created as you read. What predictions did you make about events in the story? Tell what clues helped you guess correctly— or misled you. 6. Analyze Setting and Conflict In what ways does the setting act as an antagonist, or opponent, of the man? Cite evidence from the story. 7. Evaluate Behavior Identify at least three mistakes that the man makes. What traits or qualities within him cause him to make those mistakes? Record your ideas on a chart like the one shown.

Qualities

Mistakes

overconfident

travels alone

8. Contrast Characters Point out differences between the man and the dog. What message about instincts do you get from these contrasts? 9. Analyze Mood Describe the mood, or atmosphere, of the story. How does the description of setting contribute to the mood? 10. Make Judgments What do you blame most for the man’s fate? Support your answer.

Literary Criticism 11. Philosophical Context Two principles of the philosophy of naturalism are that (1) the universe is indifferent to human beings and (2) people are at the mercy of forces over which they have little control. How are these principles illustrated in “To Build a Fire”? Use examples from the story to support your answer.

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word list

Decide whether each pair of words contains synonyms or antonyms.

apprehension

1. intangible/touchable

5. smite/caress

conflagration

2. conjectural/theorized

6. imperative/needless

conjectural

3. apprehension/anxiety

7. conflagration/blaze

imperative

4. reiterate/restate

8. peremptorily/hesitantly

vocabulary in writing Write three or more sentences about a dangerous setting. Use at least three vocabulary words. Here is an example sentence.

intangible peremptorily reiterate smite

example sentence

As I climbed the dark staircase, I was filled with apprehension.

vocabulary strategy: connotation and denotation A word’s denotation is its basic dictionary meaning; its connotation is the overtones of meaning the word has taken on. For example, the vocabulary word conflagration means “a large fire,” but it has negative connotations of total destruction, unlike the more neutral word flame. When you choose a word in writing, consider whether its connotation fits the context. PRACTICE Choose the word that works best in each sentence. 1. The queen (assertively/peremptorily) ordered her attendants to stand. 2. The melody would (reiterate/echo) in his ears. 3. The excited children felt (anticipation/apprehension) as they entered the circus tent. 4. Examinations were (imperative/compulsory) for admission to the school. 5. There was an (intangible/unsubstantial) feeling of loss in the community.


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i

Reading for Information

from

Deep Survival

Nonfiction Trade Book

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Y INTANGIBLEß Hello. I am a high school student interested in a career in the recording industry. I know that almost everyone who subscribes to this list has experience in that industry, so I would appreciate some career advice from you. Would you be willing to answer a few questions? If so, please e-mail me at the above address or take my confidential survey at http://www.evnusd.k12.cila.us/~scimino/survey.htm. Thank you very much.

questionnaires and surveys You can collect questionnaire and survey information by e-mail, by mail, by telephone, through a Web site, or in person. Keep the names of participants confidential to protect their privacy.

4)0 For safety reasons, give only an e-mail address to survey participants. Don’t post or give out your home address or your telephone number.

Confidential Survey of Recording Professionals 1. What is your job title?

2. What is your educational background?

research str ategies workshop

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Research Tips and Strategies Web Tools

Library Detective

Knowing what search tools to use is your first strategy in finding information on the World Wide Web.

Two basic systems are used to classify nonfiction books. Most high school and public libraries use the Dewey decimal system. University and research libraries generally use the Library of Congress system.

Search Engines Each search engine has its own method of searching and differs in speed, size of database, and other variables. Never use only one search engine.

dewey decimal system

• Alltheweb • Google

• AltaVista • HotBot

• Go.com

Metasearch Tools A metasearch tool can save you time by searching multiple search engines simultaneously. • Dogpile

• SurfWax

• Metacrawler

Directories

General works

100–199

Philosophy and psychology

200–299

Religion

300–399

Social science

400–499

Language

500–599

Natural sciences and mathematics

600–699

Technology (applied sciences)

700–799

Arts and recreation

800–899

Literature and rhetoric

900–999

Geography and history

library of congress system

Directories are useful when you are researching a general topic because they arrange Internet resources into subject categories. • Lycos • About.com

000–099

• Galaxy • Yahoo!

A

General works

B

Philosophy, psychology, religion

C

History

D

General history and history of Europe

E–F American history

Virtual Libraries

G

Geography, anthropology, recreation

At a virtual library, you can look up information in encyclopedias, directories, and indexes. You can even e-mail a question to a librarian.

H

Social sciences

J

Political science

K

Law

• Internet Public Library • Librarians’ Index to the Internet

L

Education

M

Music

Other Web Resources Library catalogs: Library of Congress Encyclopedias: Grolier Online Newspaper archives: America’s Newspapers News associations: Associated Press, AFP Specialized databases: ProAudio, Medline

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unit 12: the power of research

N

Fine arts

P

Language and literature

Q

Science

R

Medicine

S

Agriculture

T

Technology

U

Military science

V

Naval science

Z

Bibliography and library science

Research Strategies Workshop

Checklist for Evaluating Sources The information . . . is relevant to the topic you are researching is up-to-date (This point is especially important when researching time-sensitive topics in areas such as science, medicine, and sports.) is from an author who is qualified to write about the topic is from a trusted source that is updated or reviewed regularly makes the author’s or institution’s purpose for writing clear is written at the right level for your needs. (For example, a children’s book is probably too simplistic, while a scientific paper may be too complex.) has the level of detail you need—neither too general nor too specific can be verified in more than one source

Sharing Your Research At last you have established your research goals, located sources of information, evaluated the materials, and taken notes on what you learned. Now you have a chance to share the results with people in your world—and even beyond. Here are some options: • Give a speech to your classmates or to people in your community. • Create a power presentation using presentation software and share it with classmates, friends, or family members. • Describe your research findings on your own Web site. • Summarize the information in a newsletter or brochure. • Share the results of your research in a formal research paper. See the following pages. See pages 1255–1257 for more information about publishing with technology.

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Writing Workshop

Research Paper In this unit, you have learned many different research strategies. Now it’s time to put your knowledge to work by writing a research paper. You might explore a topic in history, science, art, or music, or some aspect of an enduring work of literature.

writer’s road map Research Paper writing prompt 1 Writing from Literature Formulate a question about The Tragedy of Julius Caesar or another work of literature that you would like to explore in detail. Write a research paper that includes information from at least five sources and concludes with a list of works cited.

key traits 1.

• Presents a thesis statement that identifies the controlling idea of the entire paper • Supports the thesis with evidence

Questions Related to Julius Caesar • What was Roman society like in Caesar’s time?

• Synthesizes information from multiple sources, correctly quoting or paraphrasing authors

• How do historical accounts of the assassination compare with Shakespeare’s account? • How do historians’ depictions of Mark Antony compare with Shakespeare’s depiction?

• Includes the writer’s own ideas and interpretations 2.

• Is sensibly organized, with transitional words and phrases • Comes to an interesting and wellthought-out conclusion 3.

• What is the best diet for an athlete to follow?

4.

word choice • Conveys ideas clearly by using precise language

research tools For research tools and citation guidelines, go to the Research Center at ClassZone.com.

voice • Maintains an appropriate tone for the topic, intended audience, and purpose

Questions to Investigate • Should human beings continue to explore space? • What will cars and trucks be like 50 years from now?

organization • Has a focused introduction

writing prompt 2 Writing from the Real World Write a research paper that explores a question that interests you. Your paper should present your own ideas and interpretations as well as factual information. Include information from at least five sources as well as a list of works cited.

ideas

5.

sentence fluency • Varies sentence lengths and structures

6.

conventions • Employs correct grammar and usage • Credits sources • Uses correct formats and style

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Part 1: Analyze a Student Model Ferguson 1 Kevin Ferguson Ms. Lin English 10 20 May 2008 Capturing Julius Caesar

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Julius Caesar is one of the most recognized figures of any historical era. His exploits in war, his rise to become dictator of the Roman Empire, and his brutal assassination in the Senate at the hands of conspirators—including his great friend Brutus—are legendary. Declared a god by the Senate after his death, Caesar was further immortalized in William Shakespeare’s drama The Tragedy of Julius Caesar. In fact, much of what most people know about Caesar the man comes from Shakespeare’s play. As the Caesar scholar Suzanne Cross points out, “It is difficult, now, to separate the most famous Roman of them all from the most famous author of them all” (“Bestriding”). Still, modern readers wonder if Shakespeare’s interpretation of Caesar is accurate. A close look at the writings of Caesar’s era suggests that Julius Caesar was a much more complex man than the arrogant, aloof, and superstitious tyrant who appears so briefly in Shakespeare’s play. Caesar’s Life Gaius Julius Caesar was born in Rome, most likely in 100 b.c. His family, the Julii, were patricians, the original Roman aristocracy. Not only were they aristocrats, the Julii claimed that they were descendants of the goddess Venus (“Caesar, Julius”). In 84 b.c., Caesar married the daughter of a Roman noble and revolutionary who wanted to end the rule of the dictator Sulla and restore the Roman republic. Caesar’s marriage made him one of the

key traits in action Concise, interesting introduction refreshes the reader’s memory about what Caesar accomplished.

Thesis statement presents the idea the paper will investigate.

A variety of sentence lengths and structures helps maintain the reader’s interest.

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Ferguson 2

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revolutionaries. When Sulla crushed the revolution, Caesar feared for his life. He fled Rome and joined the military in Asia. Returning to Rome six years later, he started on a path that led to a political career (Suetonius 61; “Caesar, Julius”). For the next 30 years, Caesar became more powerful both politically and militarily. In 49 b.c., after a lengthy and complicated political dispute with the authorities in Rome, Caesar led his army across the Rubicon River, invading Italy and starting a civil war. Caesar’s forces won, and three years later he returned to Rome, where he celebrated by giving five lavish “triumphs,” or victory parades. The Senate made Caesar dictator for ten years (Suetonius 66–67; “Caesar, Julius”). The three years of Caesar’s reign were marked by military campaigns in Africa and Spain and by his attempts to organize the affairs of the far-flung Roman Empire. In 44 b.c., a band of 60 conspirators dedicated to ending the dictatorship plotted to murder Caesar. On March 15, the ides of March, Caesar was attacked in the Senate and stabbed to death (“Caesar, Julius”). Shakespeare’s Portrait of Caesar Shakespeare based his play on the writings of the Greek author Plutarch, who was born just two years after Caesar’s assassination. In Plutarch’s collection of biographies, Parallel Lives, he profiled Caesar, Brutus, and Mark Antony. These biographies contributed to both the plot of Shakespeare’s play and the personalities of its principal characters (Schanzer 46; Vernon). Shakespeare’s Caesar is a proud and arrogant man, superstitious and lacking humor (Cross, “Bestriding”; Garber). On the day of Caesar’s assassination, Cassius warns his co-conspirators about Caesar’s growing superstitious nature:


The paper smoothly combines information from multiple sources.

Subheads help show how the paper is organized.

Writing Workshop

Ferguson 3

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60

65

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75

But it is doubtful yet Whether Caesar will come forth today or no; For he is superstitious grown of late, Quite from the main opinion he held once. . . . (2.1. 193-196) Caesar’s arrogance is apparent in his vain boasting about his own invincibility. Before he leaves for the Senate on the day of his death, Caesar tells his fearful wife Calpurnia, “Danger knows full well / That Caesar is more dangerous than he” (2.2. 44-45). On the other hand, some scholars fault Shakespeare for his narrow characterization of the Roman dictator. Suzanne Cross maintains that Shakespeare failed to offer a full picture of the man: There is no hint of the personal charm, wit and magnetism for which he was notorious; . . . of the teenage rebel refusing to do the bidding of the killer-dictator, Sulla; of the intellectual second only to Cicero as a speaker and writer. The man himself was infinitely more complex and interesting than Shakespeare’s version. (“Bestriding”) In Shakespeare’s defense, it is important to remember that Caesar appears in only three scenes during the play. Caesar isn’t on stage often enough or long enough for a well-rounded portrait to emerge. Historians of Caesar’s era, however, offer many fascinating glimpses into his character. A Look at the Historical Record In his biographical text The Lives of the Caesars, the Roman historian Suetonius describes Caesar’s appearance. The description hints at Caesar’s pride:

Long quotation is correctly formatted, with indents and parenthetical documentation.

Short quotation is correctly formatted and credited.

Throughout the paper, transitions help the reader understand how ideas are related.

Includes the writer’s own interpretation of one aspect of the subject.

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Ferguson 4

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He is said to have been tall of stature, with a fair complexion, shapely limbs, a somewhat full face, and keen black eyes. . . . He was somewhat overnice in the care of his person, being . . . carefully trimmed and shaved. . . . They say, too, that he was fantastic in his dress. . . . (63) Suetonius goes on to describe a man who was ruthless, cunning, and driven to succeed at all costs. At the same time, Suetonius notes, Caesar could be kind, forgiving, and witty (Cross, “Private”). Caesar exhibited a ruthless streak at an early age. In 74 b.c., he was traveling to Rhodes to study with Apollonius Molo, a famous orator. Pirates captured Caesar and held him for 38 days, until a ransom was paid. As soon as he was set free, Caesar raised a fleet, caught the fleeing pirates, and, fulfilling a promise he had made to his captors while he was their prisoner, had them all crucified (Cross, “Private”; Suetonius 7). Yet even while putting his captors to death, Caesar demonstrated a strange kind of mercy. Not wanting the pirates to endure the slow, agonizing death that was crucifixion, Caesar ordered that their throats be slit before they were hoisted onto their crosses (Suetonius 95). Caesar was also known for his kindness and loyalty. He often appointed friends, even those of low birth, to high positions. When he was criticized for this practice, Caesar “flatly declared that if he had been helped in defending his honor by brigands [thieves] and cut-throats, he would have requited [rewarded] even such men in the same way” (Suetonius 93).


Supports the main idea (that Caesar was a complex person) with specific evidence that is paraphrased from and properly credited to the source.

Uses correct formats for parenthetical documentation.

Writing Workshop

Ferguson 5

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The ancient historians who chronicled Caesar’s life did so with a mixture of admiration and disapproval. The Roman statesman and scholar Marcus Tullius Cicero disapproved strongly of Caesar’s dictatorship. Yet he praised Caesar’s intellectual abilities. Cicero supposedly wrote, “Do you know any man who . . . can speak better than Caesar? Or anyone who makes so many witty remarks? Or whose vocabulary is so varied and yet so exact?” (qtd. in Cross, “Private”). As with most tragic figures, Caesar’s undoing was his pride, which blinded him to everything but his own ambition. Plutarch maintains that Caesar had “an insatiable desire to reign” and says in his biography of Caesar that “the chiefest cause that made him mortally hated was the covetous desire he had to be called king” (qtd. in Schanzer 12). As further evidence of Caesar’s pride and ambition, consider this: Caesar’s image appeared on Roman coins during his own lifetime. Until Caesar, only the dead had been so honored (Vernon). Julius Caesar was so complex a character that William Shakespeare was able just to scratch the surface of his personality. Still, the Elizabethan playwright managed to portray the characteristics of one who truly did “bestride the narrow world / Like a Colossus” (1.2. 135-136). When Shakespeare’s portrait is combined with biographical anecdotes from Caesar’s contemporaries, the picture comes into sharper focus, providing a more complete measure of the man who ruled Rome and changed the history of the Western world.

An interesting quotation from a source supports a major idea in the paper (that even Caesar’s critics admired some of his qualities).

Formal tone is appropriate for the intended audience (teacher and classmates) and purpose (to inform).

A thoughtful conclusion summarizes the paper.

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Ferguson 6 Works Cited “Caesar, Julius.” Encyclopaedia Britannica Online. 2004. Encyclopaedia Britannica. 15 May 2008 . Cross, Suzanne. “Bestriding the World.” Julius Caesar: The Last Dictator. 2004. 30 Apr. 2008 . ---. “The Private Man.” Julius Caesar: The Last Dictator. 2004. 30 Apr. 2008 . Garber, Marjorie B. “Dream and Interpretation: Julius Caesar.” Dream in Shakespeare: From Metaphor to Metamorphosis. New Haven: Yale UP, 1974. Rpt. in William Shakespeare’s Julius Caesar. Ed. Harold Bloom. Modern Critical Interpretations. New York: Chelsea, 1988. 43-52. Schanzer, Ernest. The Problem Plays of Shakespeare. New York: Schocken, 1965. Shakespeare, William. The Tragedy of Julius Caesar. McDougal Littell Literature. Evanston, IL: McDougal, 2008. 1097-1182. Suetonius. The Lives of the Caesars. Trans. J. C. Rolfe. Suetonius. Vol. 1. Loeb Classical Library. Cambridge: Harvard UP, 1997. Vernon, Jennifer. “Ides of March Marked Murder of Julius Caesar.” National Geographic News. 12 Mar. 2004. Natl. Geographic Soc. 18 May 2008 .

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Online sources

Source by the same author cited in the preceding entry

One essay from a book of essays reprinted in a second source

Book with one author

Primary source

Online periodical

Writing Workshop

Part 2: Apply the Writing Process prewriting What Should I Do? 1. Analyze the prompt. Look back at the prompts on page 1234 and choose the one that interests you. Circle the words that tell you what type of writing you will be doing. Underline the important details about the assignment.

What Does It Look Like? writing prompt 1 Formulate a question about The Tragedy of Julius Caesar or another work of literature that you would like to explore in detail. Write a research paper that includes information from at least five sources and concludes with a list of works cited. I have to do research and then write a paper about a piece of literature. The paper has to have material from at least five different sources, and I have to list those sources at the end.

2. Explore a variety of topics; then decide on a focus. Create a graphic organizer to investigate different topics that interest you. Select one that you can write about in detail in a research paper. 4)0 Check online catalogs at your school

and local libraries as well as databases such as InfoTrac. If there’s very little information about your topic, expand your focus. If there’s quite a lot, consider narrowing your topic.

3. Develop research questions. What key questions do you want your paper to answer? Make a list of these questions and keep them in mind as you research your topic.

What are some famous assassinations in history? Too broad Why was Brutus so angry? How did the real-life conspiracy form?

What was the real Julius Caesar like? Julius Caesar

Were soothsayers popular in Shakespeare’s time? Too narrow

Research Questions 1. How much of Julius Caesar is based on historical fact? 2. How does Shakespeare portray Caesar? 3. How did historians of Caesar’s time describe him? 4. How does Shakespeare’s Caesar compare with the actual historical figure?

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researching What Should I Do? 1. Investigate possible sources. Start gathering relevant information about your topic. Search the Internet as well as your school and community libraries. Make a list of the sources that look promising. Your list should include the name of the source (including the author, if that information is available) and a note on where you found it. Also, include comments that will remind you why you believe the source is useful.

What Does It Look Like? Sources World Wide Web (bookmarked) “Julius Caesar.” Wikipedia 1 “Bestriding the World.” Julius Caesar: The Last Dictator “Gaius Julius Caesar.” Found through Search.com 2 “Julius Caesar.” Encyclopaedia Britannica Online

4)0 To evaluate a source, ask yourself: Is

this a primary or a secondary source? Is the author qualified to write about the topic? What biases might the author have? Is the information up-to-date? Who is the intended audience? For information on evaluating sources, see pages 1225–1229.

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lots of links quotations from many primary sources lots of info solid biography

School Media Center Julius Caesar by Rupert Matthews fun to read (xBiog Caesa.J Matth.R) 3 interesting info Cleopatra by Dorothy Hoobler (xBiog Cleopat Hoobl.D) Public Library Materialist Shakespeare: a History by Ivo Kamps (822.331) 4 “Power Play: ‘Friends, Generals and Captains of Industry, Lend Me Your Ears.’ ” Bruce Weber. New York Times

2. Evaluate your sources. Thoroughly examine each source on your list and evaluate it. You want to know if the information is reliable, if it specifically addresses your topic, and if it is the right level for your audience. Reject any source that doesn’t meet all these requirements.

Comments

very complicated more about business than Shakespeare

Reasons for Rejecting a Source 1. Disclaimer says there’s no guarantee of validity. 2. Lots of information, but no author or sponsor given. Information may be unreliable. 3. Children’s book—too basic for my audience. 4. Very scholarly. Too complicated for my readers.

Writing Workshop

researching What Should I Do?


3. Create source cards. Use index cards to record information about each source that you plan to use. Number the cards sequentially in the upper right corner. Include the following information:

World Wide Web

World Wide Web

• author (if given)

3 Cross, Suzanne. “Bestriding the World.” Julius Caesar: The Last Dictator. 2004. 30 Apr. 2008

• title of the Web page or article • publication information for any print version of the information

Book

• date created or posted • name of person, institution, or organization responsible for the site • date accessed • URL (Web address)

6 Schanzer, Ernest. The Problem Plays of Shakespeare. New York: Schocken, 1965. 822.3 SjZs

Book

• author or editor • translator (if applicable) • title

Encyclopedia 7

• location and publisher • year of publication • library call number Encyclopedia

“Antony, Mark.” Britannica Student Encyclopedia. 2004 ed. CD-ROM. Chicago: Encyclopaedia Britannica, 2004.

• author (if given) • title of entry • name and year of encyclopedia

Periodical

• location and publisher (if CD-ROM) 9

Periodical

• author (if given) • title of article • name and date of periodical

Weber, Bruce. “Power Play: ‘Friends, Generals and Captains of Industry, Lend Me Your Ears. ’ ” New York Times 31 Jan. 2005: B1+.

• page numbers of the article

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4. Take notes as you read. Look for information that answers the research questions you prepared. Also, look for new facts and expert opinions. Record each piece of useful information on a separate index card. When you’re ready to draft your paper, you can shuffle the cards to try out different ways of organizing and presenting information. Each card should include the following:

Original source

• the main idea • the number of the source (from its source card) • where the information is located—for example, a page number or a section title 4)0 As you record information, note whether it is puzzling or whether it supports or contradicts what you already know.

Restatements If you are not quoting directly, word for word, from a source, restate the information in your own words. You can either paraphrase the information or summarize it. Paraphrase—restates all the ideas of the original and is about the same length Summary—restates the main idea of the original, including key facts and statistics, but is shorter because it omits unnecessary details

By the time of Caesar, Rome had a longestablished republican government headed by two consuls with joint powers. Praetors were one step below consuls in the power chain and handled judicial matters. A body of citizens forming the Senate proposed legislation, which general people’s assemblies then approved by vote. A special temporary office, that of dictator, was established for use only during times of extreme civil unrest. Vernon, Jennifer. “Ides of March Marked Murder of Julius Caesar.” National Geographic News

Paraphrase Roman government During Caesar’s time, Rome was a republic. Two consuls who had equal authority were the leaders. Just below the consuls were praetors, who dealt with legal issues. Members of the Senate suggested laws, and general assemblies voted on whether to approve the suggestions. The position of dictator was used only when there were serious outbreaks of lawlessness. Summary Roman government Rome’s republican government was made up of consuls, praetors, a senate, and people’s assemblies. The position of dictator was temporary and used only during emergencies.

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1

1

Writing Workshop



5. Quote well-stated ideas directly. Copy the material exactly as it appears in the original and enclose it in quotation marks.

The problems with Shakespeare’s Caesar

4)0 If you leave out words from a quotation, use ellipses (. . .) in place of the omitted material. If you add a word or phrase to make an idea clearer, enclose it in brackets ([ ]).

6. Never plagiarize. Plagiarism, the uncredited use of others’ words or ideas, is dishonest. Avoid plagiarism by carefully documenting the source of any ideas that aren’t common knowledge. Do this whether you are paraphrasing, summarizing, or quoting directly. 4)0 If you copy sentences word for word from a source without crediting the source, that’s plagiarism. The same is true if you use specific phrases from a source without giving credit. For example, if your source uses the terms “invariable kindness and consideration” and “flatly declared,” and you use one of those phrases without citing the source, you are plagiarizing.

3

“There is no hint of the personal charm, wit and magnetism for which he was notorious; . . . [He] was infinitely more complex . . . than Shakespeare’s version” (online, no page number).

Original source His friends he treated with invariable kindness and consideration. . . . He advanced some of his friends to the highest positions, even though they were of the humblest origin, and when taken to task for it, flatly declared that if he had been helped in defending his honor by brigands and cut-throats, he would have requited even such men in the same way. Suetonius. The Lives of the Caesars. Trans. J. C. Rolfe

Plagiarized Caesar treated his friends with invariable kindness and consideration. When he was criticized for appointing his friends to high positions, he flatly declared that if pirates and cut-throats had helped him, he would have rewarded them in the same way. Correctly documented Caesar often appointed friends, even those of low birth, to high positions. When he was criticized for this practice, Caesar “flatly declared that if he had been helped in defending his honor by brigands [thieves] and cut-throats, he would have requited [rewarded] even such men in the same way” (Suetonius 93).

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researching What Should I Do? 7. Develop a working thesis statement. A thesis statement describes the main idea of your research paper. A “working” thesis statement is just that—a “work in progress.” As you refine, organize, and begin drafting your paper, you may want to reword or refocus the thesis statement so that it is neither too broad nor too narrow.

What Does It Look Like? Working thesis statement: The Tragedy of Julius Caesar raises many questions. How accurate is Shakespeare’s description of the great leader? What did Brutus think of Caesar’s character? Why did Cassius hate Caesar? A close look at the writings of historians who lived at the time of Caesar shows that he was complicated.

4)0 All information in your paper should

out My paper is ab utus Caesar, not Br or Cassius.

be related to your thesis. If you find an interesting new angle as you do research, you should revise your thesis to include it.

8. Organize your research and create an outline. First, read through your note cards. Group cards that address the same major ideas. Then arrange the major ideas in the order you want to present them. Your arrangement should show the relationship between ideas and reflect their logical development. When you’re ready to create an outline, make each major idea a section of the outline, marked by a Roman numeral. Then use your note cards as a guide as you create subsections under each major idea. As you draft your paper, the entries in the outline will become topic sentences and supporting details. 4)0 Other ways to outline your material include using a graphic organizer, such as a flow chart, or rewriting the material as a series of questions and answers.

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Capturing Julius Caesar I. Comparing play and history A. Shakespeare B. Historians and scholars II. Caesar’s life A. Early years, joins military B. Named dictator C. Assassinated III. Shakespeare’s portrayal A. Vain, arrogant, superstitious, lacking in humor B. Some scholars disagree (Cross) 1. Charm, wit, magnetism 2. Intellectual and complex man IV. The historical record A. Proud, ruthless, cunning, driven to succeed; but also kind, loyal, merciful (Suetonius) B. An intellectual (Cicero) C. Driven by pride, ambition (Plutarch) V. Conclusion A. Complex man B. Shakespeare plus historical record lead to balanced view

Writing Workshop

drafting What Should I Do? 1. Create your introduction. Read over your working thesis statement. What does it say about the focus of your paper? Think about ways to lead up to that focus. Remember, this is just the start of the drafting process. You’ll have opportunities to refine your introduction as you continue writing.

2. Continue your first draft. Incorporate the information on your note cards into a draft of your paper. Use the outline you created as a guide to organizing that information. As you draft, remember to mention where you found the information. Include the author and the page number if this information is available. If you are unable to find the author’s name, include the title of the work instead. For instructions on how to do this, see “Document your sources” on the next page. 4)0 Avoid plopping quotations into your

paper without an explanation of where they came from or what they mean. Instead, weave in each quotation by using a phrase or sentence to introduce it, as this writer has done.

What Does It Look Like? Julius Caesar was a very important person. His accomplishments in war, his political power, and his brutal assassination are still discussed today. Declared a god by the Senate after his death, Caesar was also immortalized in William Shakespeare’s play The Tragedy of Julius Caesar. In fact, much of what most people know about Caesar the man comes from that play. Modern readers wonder if Shakespeare’s interpretation of Caesar is accurate. A close look at the writings of historians who lived at the time of Caesar shows that he was complicated.

Note card Caesar and Shakespeare 3 Ever since Shakespeare wrote The Tragedy of Julius Caesar, most people have believed that the real Caesar was like the character in the play. “It is difficult, now, to separate the most famous Roman of them all from the most famous author of them all ” (online, no page number). Draft Caesar was also immortalized in William Shakespeare’s play The Tragedy of Julius Caesar. In fact, much of what most people know about Caesar the man comes from that play. As the Caesar scholar Suzanne Cross points out, “It is difficult, now, to separate the most famous Roman of them all from the most famous author of them all” (“Bestriding”). Modern readers wonder if Shakespeare’s interpretation of Caesar is accurate.

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drafting What Should I Do? 3. Share original ideas and interpretations. Much of your paper will consist of presenting the information you located during your research. Nevertheless, your ideas are important, too. Use the facts, examples, and other evidence you found to support your ideas and interpretations. 4. Document your sources. Include the source of each piece of information in parentheses at the end of the sentence or sentences where the information appears. This enables readers to find the sources you used. In general, documentation should include the author’s last name and the page number (Suetonius 63). Following are some special cases: • Author already mentioned in sentence— use only page number (63) • Author unknown—use shortened title of work (“Character of Caesar”) • Multiple authors—use last names for up to three authors (Roberts and Smith 127–28). For more than three authors, use the first author’s last name followed by et al. (Kensington et al. 57). • More than one work by an author—include shortened name of work (Cross, “Private”; De Mateo, Interpretations 84). • More than one source—information for each source separated by semicolons (Garber 45; Schanzer 234) 4)0 Use a highlighter to mark each

parenthetical documentation. Later on, this will help you compile the list of works cited.

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What Does It Look Like? In Shakespeare’s defense, it is important to remember that Caesar appears in only three scenes during the play. Caesar isn’t on stage often enough or long enough for a well-rounded portrait to emerge.

Not wanting the pirates to endure the slow, agonizing death that was crucifixion, Caesar ordered that their throats be slit before they were hoisted onto their crosses (Suetonius 95).

Basic documentation: author and page number

As soon as he was set free, Caesar raised a fleet, caught the fleeing pirates, and, fulfilling a promise he had made to his captors while he was their prisoner, had them all crucified (Cross, “Private”; Suetonius 7).

Evidence from two sources

Caesar’s image appeared on Roman coins during his own lifetime. Until Caesar, only the dead had been so honored (Vernon).

Page number unknown

Writing Workshop

drafting What Should I Do? 5. Use sources wisely. As you draft, present information from various sources clearly and logically. If appropriate, compare and contrast information from different sources. Don’t forget to include your own interpretations, observations, and conclusions.

6. Write a memorable conclusion. An effective conclusion should restate your main idea and summarize critical supporting details. It should also offer an interesting reflection on the paper, such as the importance of the topic or suggestions for further research. 4)0 Consider finishing with a powerful

quotation, a thought-provoking question, or a relevant anecdote.

7. Create a Works Cited list. After you have finished drafting your paper, look through it for the parenthetical documentations you highlighted. Locate the source card for each one. Alphabetize the cards by author’s last name (or by title of the work if the author’s name is unknown). Then, copy the information on the cards onto a list. For instructions on preparing and formatting a Works Cited list, see pages 1252–1253.

What Does It Look Like? Shakespeare based his play on the writings of the Greek author Plutarch, who was born just two years after Caesar’s assassination. In Plutarch’s collection of biographies, Parallel Lives, he profiled Caesar, Brutus, and Mark Antony. These biographies contributed to both the plot of Shakespeare’s play and the personalities of its principal characters (Schanzer 46; Vernon).

Synthesizes information from multiple sources

Julius Caesar was so complex a character that William Shakespeare was able just to scratch the surface of his personality. Still, the Elizabethan playwright managed to portray the characteristics of one who truly did “bestride the narrow world / Like a Colossus” (1.2. 135-136). When Shakespeare’s portrait is combined with biographical anecdotes from Caesar’s contemporaries, the picture comes into sharper focus, providing a more complete measure of the man who ruled Rome and changed the history of the Western world.

Works Cited Cross, Suzanne. “Bestriding the World.” Julius Caesar: The Last Dictator. 2004. 30 Apr. 2008 . Schanzer, Ernest. The Problem Plays of Shakespeare. New York: Schocken, 1965.

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revising and editing What Should I Do? 1. Craft an attention-getting introduction. • Highlight the first one or two sentences of your introduction. • Ask yourself if this introduction is memorable. • Consider including a question, a quotation, or a vivid description.

2. Sharpen your thesis statement. • Underline your thesis statement. • Fine-tune the statement so that it clearly and completely explains the focus of your paper.

3. Connect ideas clearly.

Julius Caesar was a very important person. Julius Caesar is one of the most recognized figures of any historical era. His exploits in war, his rise to become dictator of the Roman Empire, and his brutal assassination in the Senate at the hands of conspirators—including his great friend Brutus— are legendary.

Caesar’s era A close look at the writings of historians who lived at the time of Caesar suggests that he was complicated.Julius Caesar was a much more complex man than the arrogant, aloof, and superstitious tyrant who appears so briefly in Shakespeare’s play.

• Add information or transitional words or phrases to show how the ideas are related.

In 84 B.C. , Caesar married the daughter of a Roman noble and revolutionary who wanted to end the rule of the dictator Sulla and restore the Roman republic. When Sulla crushed the revolution, Caesar feared for his life.

See page 1254: Ask a Peer Reader

Caesar’s marriage made him one of the revolutionaries.

• Ask a peer reader to draw a box around any sentences or paragraphs whose logical connection is unclear.

4. Add effective supporting details. • Read your paper one paragraph at a time. For each paragraph, ask yourself: Have I included enough evidence to support the paragraph’s topic sentence? • Add quotations, paraphrases, or your own ideas and interpretations as needed.

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As with most tragic figures, Caesar’s undoing was his pride, which blinded him to everything but his own ambition. Plutarch maintains that Caesar had “an insatiable desire to reign” and says in his biography of Caesar that “the chiefest cause that made him mortally hated was the covetous desire he had to be called king” (qtd. in Schanzer 12).

Writing Workshop

revising and editing What Should I Do? 5. Credit others’ words and ideas. • Circle any ideas or quotations from your sources that you haven’t properly documented. • Follow guidelines for parenthetical documentation.

6. Get to the point.

What Does It Look Like? When he was criticized for this practice, Caesar “flatly declared that if he had been helped in defending his honor by brigands [thieves] and cutthroats, he would have requited [rewarded] even such men in the same way” (Suetonius 93).

• Ask a peer reader to draw a wavy line under passages that seem wordy or irrelevant.

crushed the revolution, When Sulla triumphed over the revolutionaries who wanted to end his reign, Caesar feared for his life.

• Revise or eliminate unnecessary words and sentences.

that Sulla would have him killed. He fled

See page 1254: Ask a Peer Reader

7. Maintain a consistent tone. • Draw [brackets] around any words, phrases, or sentences that are too slangy or casual for a research paper. • Substitute words and phrases that are objective and serious but not stuffy or overly formal.

8. Proofread your parenthetical documentation. • Identify each instance of parenthetical documentation in your paper. • Proofread each reference to make sure it follows the proper format for parenthetical documentation.

ran far away from Rome and joined the military in the far east on the continent of Asia.

[You have to remember that Caesar shows up in just three scenes. He isn’t on stage often enough or long enough for anyone to figure him out.] In Shakespeare’s defense, it is important to remember that Caesar appears in only three scenes during the play. Caesar isn’t on stage often enough or long enough for a well-rounded portrait to emerge.

Incorrect: (Caesar, Julius, Vernon) Correct: ( “Caesar, Julius”; Vernon). Incorrect: (Cross; “Private”: Suetonius.) Correct: (Cross, “Private”; Suetonius 7).

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review mla guidelines

MLA Citation Guidelines Here are some basic Modern Language Association formats for citing sources. Use these formats on your source cards and in the Works Cited list at the end of your paper.

books One author Schanzer, Ernest. The Problem Plays of Shakespeare. New York: Schocken, 1965. Two authors or editors McIver, Bruce, and Ruth Stevenson, eds. Teaching with Shakespeare: Critics in the Classroom. Newark: U of Delaware Press, 1994. Three authors or editors Bennett, Josephine W., Oscar Cargill, and Vernon Hall, Jr., eds. Studies in the English Renaissance Drama. New York: New York UP, 1959. Four or more authors or editors The abbreviation et al. means “and others.” Use et al. instead of listing all the authors. Wells, Stanley, et al. The Complete Works of William Shakespeare. New York: Oxford UP, 1986. No author given Elizabethan Literature. New York: Capital, 1957. An author and a translator Suetonius. Lives of the Caesars. Trans. Catherine Edwards. New York: Oxford UP, 2000. An author, a translator, and an editor Moretti, Salvatore. Essays on Julius Caesar. Trans. Jonathan Walsh. Ed. Louis Kind. New York: Devonshire, 1962.

parts of books An introduction, a preface, a foreword, or an afterword written by someone other than the author(s) of a work Heminge, John, and Henry Condell. Preface. Dramatic Works of Shakespeare. Edinburgh: William Peterson, 1883. A poem, a short story, an essay, or a chapter in a collection of works Roe, John. “ ‘Character’ in Plutarch and Shakespeare: Brutus, Julius Caesar, and Mark Antony.” Shakespeare and the Classics. Ed. Charles Martindale and A. B. Taylor. New York: Cambridge, 2004.

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Writing Workshop

A novel or a play in an anthology Shakespeare, William. The Tragedy of Julius Caesar. Ed. John Jowett. William Shakespeare: The Complete Works. Ed. Stanley Wells and Gary Taylor. Compact ed. Oxford: Clarendon, 1988. 599-626.

magazines, newspapers, and encyclopedias An article in a newspaper Weber, Bruce. “Power Play: ‘Friends, Generals and Captains of Industry, Lend Me Your Ears.’ ” New York Times 31 Jan. 2005: B1+. An article in a magazine Tynan, William. “Cleopatra.” Time 24 May 1999: 37-38. An article in an encyclopedia “Julius Caesar.” Encyclopaedia Britannica. 2004 ed.

miscellaneous print and nonprint sources An interview Covington, Nigel. Personal Interview. 1 Feb. 2008. A film Julius Caesar. Dir. Stuart Burge. Perf. Charlton Heston, Jason Robards, Richard Chamberlain, and Robert Vaughn. Republic, 1970. DVD. Lions Gate, 2000.

electronic publications A CD–ROM “Antony, Mark.” Britannica Student Encyclopedia. 2004 ed. CD-ROM. Chicago: Encyclopaedia Britannica, 2004. A document from an Internet site Entries for online sources should contain as much of the information shown as available. Author or compiler

Title or description of document

Vernon, Jennifer. “Ides of March Marked Murder of Julius Caesar.” Title of Internet site

Date of Internet site

Site sponsor

Date of access

National Geographic News. 12 Mar. 2004. Natl. Geographic Soc. 18 May 2008 Complete URL enclosed in angle brackets. Break for a new line only after a slash.

.

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Preparing to Publish

Research Paper

Apply the Rubric Rubric.

Format Your Paper

A strong research report .....

Follow these guidelines as you prepare the final draft of your paper:

has a focused introduction explains the governing idea of the paper in a clear, interesting thesis statement develops the thesis with evidence from multiple sources quotes or paraphrases reliable sources credits sources completely and correctly uses a logical organizational pattern and transitions presents the writer’s original ideas and interpretations has an appropriate tone

• Leave one-inch margins at the top, bottom, and sides of each page (except for page numbers). • Double-space all text, including quotations and the Works Cited list. • At the top left of the first page, on separate lines, type your name, your teacher’s name, the class, and the date. • On the rest of the pages, in the upper-right corner, half an inch from the top of the page, type your last name and the page number. • Indent each paragraph one-half inch (or five spaces) from the left margin.

uses precise language and a variety of sentence lengths and structures

• Indent set-off quotations one inch (or ten spaces) from the left margin.

has a thoughtful conclusion summary of ideas • What did you learn from my paper?

• Begin the Works Cited list on a separate page. If a citation is more than one line long, indent each subsequent line half an inch (or five spaces). End each citation with a period.

• Do any parts of my paper seem unclear or disorganized?

See the MLA Handbook for Writers of Research Papers for additional formatting guidelines.

Ask a Peer Reader

• Are any parts too wordy? • If you could add something to my paper, what would it be? Why?

publishing options For publishing options, visit the Writing Center at ClassZone.com.

assessment preparation For writing and grammar assessment practice, go to the Assessment Center at ClassZone.com.

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publishing with technology

Creating a Web Site Now that you have learned a great deal about your subject, why not share your expertise with others? A Web site is the perfect medium for presenting your paper to the world. Planning the Web Site 1. Choose a topic. Select a subject that you will enjoy researching and that could include audio, video, still pictures, or illustrations. For instance, a site on the subject of Julius Caesar could offer artists’ illustrations of Caesar and of ancient Rome. The site could also offer excerpts of historians’ writings about Caesar and audio and video clips of Shakespeare’s play about him. 2. Consider your audience and purpose. Who will likely be drawn to your site—students, teachers, people unfamiliar with your subject? What is the main purpose of your site—informing, persuading, entertaining, or some combination of these purposes? 3. Research your topic thoroughly. Use search engines and metasearch tools (see page 1232) as well as library resources. Look for maps, illustrations, animation, music, video, photographs—anything that will make your site a special destination for Web users. Organizing the Web Site 1. Map the site. Create a flow chart to help you organize your site. The chart will help you determine how many pages you will need and where to create links to other parts of your site or to other sites. Here is how one student organized a site. Julius Caesar: Fact and Fiction Shakespeare’s Opinion of Caesar Personality

Historians’ Opinions of Caesar Personality

Politics

Politics Legacy

Legacy

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Reading Handbook Reading any text—short story, poem, magazine article, newspaper, Web page— requires the use of special strategies. For example, you might plot events in a short story on a diagram, while you may use text features to spot main ideas in a magazine article. You also need to identify patterns of organization in the text. Using such strategies can help you read different texts with ease and also help you understand what you’re reading.

86A>;DGC>6

Included in this handbook as indicated: R2.1 (pgs. R19, R42–R45 ), R2.6 (pgs. R16– R17, R18, R20), R2.7 (pgs. R16–R17, R18, R19), R2.8 (pgs. R21–R26), LS1.13 (pgs. R21–R26)

1 Reading Literary Texts Literary texts include short stories, novels, poems, and dramas. Literary texts can also be biographies, autobiographies, and essays. To appreciate and analyze literary texts, you will need to understand the characteristics of each type of text. 1.1

reading a short story Strategies for Reading

Meanings of difficult words

• Read the title. As you read the story, you may notice that the title has a special meaning.

Title and author of poem Opinion of poem

• Keep track of events as they happen. Plot the events on a diagram like this one. 1.3

Climax Rising Action

Falling Action

Exposition

• Identify the main conflict (struggle or problem) in the play. To clarify the conflict, make a chart that shows what the conflict is and how it is resolved.

• Look for specific adjectives that help you visualize the setting—the time and place in which events occur.

• Evaluate the characters. What do they want? How do they change during the play? You may want to make a chart that lists each character’s name, appearance, and traits.

reading a poem Strategies for Reading • Notice the form of the poem, or the number of its lines and their arrangement on the page.

• Visualize the images and comparisons. • Connect with the poem by asking yourself what message the poet is trying to send. • Create a word web or another graphic organizer to record your reactions and questions.

R2

reading handbook

reading a play Strategies for Reading

• Question what the title means and why the playwright chose it.

• From the details the writer provides, visualize the characters. Predict what they might do next.

• Read the poem aloud a few times. Listen for rhymes and rhythms.

Favorite line in poem

• Read the stage directions to help you visualize the setting and characters.

Resolution

1.2

Question about poem

1.4

reading literary nonfiction Strategies for Reading • If you are reading a biography, an autobiography, or another type of biographical writing, such as a diary or memoir, use a family tree or word web to keep track of the people mentioned. • When reading an essay, evaluate the writer’s ideas and reasoning. Does the writer present a thesis statement? identify the main points? support opinions with facts?

2 Reading Informational Texts: Text Features An informational text is writing that provides factual information. Informational materials, such as chapters in textbooks and articles in magazines, encyclopedias, and newspapers, usually contain elements that help the reader recognize their purposes, organizations, and key ideas. These elements are known as text features.

understanding text features Text features are design elements of a text that indicate its organizational structure or otherwise make its key ideas and information understandable. Text features include titles, headings, subheadings, boldface type, bulleted and numbered lists, and graphic aids, such as charts, graphs, illustrations, and photographs. Notice how the text features help you find key information on the textbook page shown. A

The title identifies the topic.

B

A subheading indicates the start of a new topic or section and identifies the focus of that section.

C

15.1 Glaciers are huge ice masses that move under the influence of gravity.

A bulleted list shows items of equal importance.

E

Graphic aids, such as illustrations, photographs, charts, graphs, diagrams, maps, and timelines, often clarify ideas in the text.

Glaciers form from compacted and recrystallized snow.

B Where Glaciers Form

KEY VOCABULARY

D

What Is a Glacier? About 75 percent of Earth’s fresh water is frozen in glaciers. A glacier is a large mass of compacted snow and ice that moves under the force of gravity. A glacier changes Earth’s surface as it erodes geological features in one place and then redeposits the material elsewhere thus altering the landscape.

KEY IDEAS

Boldface type is used to make key terms obvious.

D

A

• glacier • snow line • firn • valley glacier • continental glacier • ice cap

C

Glaciers form in areas that are always covered by snow. In such areas, more snow falls than melts each year; as a result layers of snow build up from previous years. Climates cold enough to cause such conditions may be found in any part of the world. Air temperatures drop as you climb high above sea level and as you travel farther from the equator. Even in equatorial areas, however, a layer of permanent snow may exist on high mountains at high elevation. Farther from the equator, the elevation need not be so high for a layer of permanent snow to exist. In the polar areas, permanent snow may be found even at sea level. The lowest elevation at which the layer of permanent snow occurs in summer is called the snow line. If a mountain is completely covered with snow in winter but without snow in summer, it has no snow line. In general, the snow line occurs at lower and lower elevations as the latitudes approach the poles. The snow line also changes according to total yearly snowfall and the amount of solar exposure. Thus, the elevation of the snow line is not the same for all places at a given latitude.

practice and apply Snow Line Elevation and Latitude CLASSZONE.COM

1. What are the subheadings on the textbook page shown?

6000

Examine seasonal migration of snow cover. Keycode: ES1501

5000

FPO

E

2. What are the key terms on the page? How do you know?

4000 3000 2000

3. What does the graph tell you about a snow line? Can you find this information elsewhere on the page?

Elevation (meters)

2.1

1000

North pole

75°N

60°N

45°N Latitude

30°N

15°N

Sea level 0°

How Glaciers Form The word firn comes from a German word meaning “last year’s snow.” The word névé is related to a Latin word meaning “cooled by snow.”

318

Except for bare rock cliffs, a mountain above the snow line is always buried in snow. Great basins below the highest peaks are filled with snow that can be hundreds of meters thick. In these huge snowfields, buried snow becomes compressed and recrystallizes into a rough, granular ice material called firn (feern) or névé (nay-VAY).

Unit 4 Earth’s Changing Surface

reading handbook

R3

2.2

using text features

2.3

You can use text features to locate information, to help you understand it, and to categorize it. Just use the following strategies when you encounter informational text.

Strategies for Reading • Scan the title, headings, and subheadings to get an idea of the main concepts and the way the text is organized. • Before you begin reading the text more thoroughly, read any questions that appear at the end of a lesson or chapter. Doing this will help you set a purpose for your reading. • Turn subheadings into questions. Then use the text below the subheadings to answer the questions. Your answers will be a summary of the text. • Take notes by turning headings and subheadings into main ideas. You might use a chart like the following. What Is a Glacier? Where glaciers form

Notes: 1. in areas that are always covered by snow 2. elevation of snow line varies at different latitudes

Main Heading Subheading

turning text headings into outline entries You can also use text features to take notes in outline form. The following outline shows how one student used text headings from the sample page on page R3. Study the outline and use the strategies that follow to create an outline based on text features. I. What is a glacier? B. How glaciers form 1. Huge basins of deep snow form above snow line.

Main Heading Roman numeral entry Subheading capital letter entry

2. Buried snow becomes compressed and forms firn.

Detail number entry

Strategies for Using Text Headings • Preview the headings and subheadings in the text to get an idea of what different kinds there are and what their positions might be in an outline. • Be consistent. Note that subheadings that are the same size and color should be used consistently in Roman-numeral or capital-letter entries in the outline. If you decide that a chapter heading should appear with a Roman numeral, then that’s the level at which all other chapter headings should appear. • Write the headings and subheadings that you will use as your Roman-numeral and capitalletter entries first. As you read, fill in numbered details from the text under the headings and subheadings in your outline.

practice and apply Reread “Simply Grand: Generational Ties Matter,” pages 231–234. Use text features in the selection to take notes in outline form. Preview the subheadings in the text to get an idea of the different kinds. Write the headings and subheadings you are using as your Roman-numeral and capital-letter entries first. Then fill in the details.

R4

reading handbook

Reading Handbook

In a bar graph, compare the lengths of the bars.

A circle graph, or pie graph, shows the relationships of parts to a whole. The entire circle equals 100 percent. The parts of the circle represent percentages of the whole.

188

B Year Source: Goddard Institute for Space Studies

In a bar graph, vertical or horizontal bars are used to show or compare categories of information, such as the length of major world rivers. The lengths of the bars indicate the quantities. MODEL: BAR GRAPH

Rivers A

MODEL: CIRCLE GRAPH

A Japan’s Total Exports: $413 billion (1999)

Hong Kong 5.2% S. Korea 5.4% China 5.5% Taiwan 7%

B

Elbe 724 miles Rhine 820 miles Danube 1,776 miles

E

Mississippi 2,350 miles

U.S. Longest World’s Longest

Nile 4,160 miles

B

0

Other 45.9% U.S. 31%

C

00

E

20

In a line graph, study the slant of the line. The steeper the line, the faster the rate of change.

0

D

198

In a circle graph, compare the sizes of the parts.

0

C

196

Find out what is being represented or measured.

0

B

D

194

Read the title.

B

58.4 58.2 58.0 57.8 57.6 57.4 57.2 57.0 56.8 56.6 56.4 56.2 56.0 0

A

Global Average Temperatures, 1880–2000

0

Strategies for Reading

A

192

Graphs Graphs are used to illustrate statistical information. A graph is a drawing that shows the relative values of numerical quantities. Different kinds of graphs are used to show different numerical relationships.

MODEL: LINE GRAPH

0

Information is communicated not only with words but also with graphic aids. Graphic aids are visual representations of verbal statements. They can be charts, webs, diagrams, graphs, photographs, or other visual representations of information. Graphic aids usually make complex information easier to understand. For that reason, graphic aids are often used to organize, simplify, and summarize information for easy reference.

Line graphs show changes in numerical quantities over time and are effective in presenting trends such as global average temperatures over 120 years. A line graph is made on a grid. Here, the vertical axis indicates degrees of temperature, and the horizontal axis shows years. Points on the graph indicate data. The line that connects the points highlights a trend or pattern.

190

graphic aids

Degrees Fahrenheit

2.4

1000

2000

B

3000

4000

Length (in miles)

Evaluate carefully the information presented in graphs. For example, circle graphs show major factors and differences well but tend to minimize smaller factors and differences. 7!4#(ß/54

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Diagrams A diagram is a drawing that shows how something works or how its parts relate to one another. A picture diagram is a picture or drawing of the subject being discussed.



A

Read the title.

B

Read each label and look at the part it identifies.

C

Follow any arrows or numbers that show the order of steps in a process, and read any captions.

MODEL: PICTURE DIAGRAM

microscope

Study column headings and row labels to determine the categories of information presented.

C

Look down columns and across rows to find specific information.

Country

Male

Female

Total

Bangladesh

53.9%

31%

43%

Bhutan

56%

28%

42%

70%

48%

59%

97%

97%

97%

Nepal

62%

27%

45%

Sri Lanka

94%

90%

92%

Pakistan

61%

35%

48%

Maldives

lamp

In a schematic diagram, lines, symbols, and words are used to help readers visualize processes or objects they wouldn’t normally be able to see. MODEL: SCHEMATIC DIAGRAM

Distance above or below rest position

B

India

stage

R6

Read the title to learn what information the chart or table covers.

Adult Literacy Rates in South Asia by Gender, 2003 estimates A

object

objective lens

Wave Properties

A

MODEL: CHART

A eyepiece lens

B

Charts and Tables A chart presents information, shows a process, or makes comparisons, usually in rows or columns. A table is a specific type of chart that presents a collection of facts in rows and columns and shows how the facts relate to one another.

B

Source: CIA, The World Fact Book

MODEL: TABLE

Amendments to the U. S. Constitution After the Bill of Rights A

A

Amendment

C

crest

Wavelength is the distance from one crest or trough to the next.

B

Year Proposed by Congress

Year Adopted

C Amplitude is

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trough

Frequency is the number of waves passing a fixed point in a certain amount of time.

C

B

1794

1798

Gives states immunity from certain legal actions

12

1803

1804

Changes the selection of president and vice-president through the electoral college

fixed point

1

What It Does

11

water level at rest

the distance a medium moves above or below its position at rest.

C

C

13

1865

1865

Abolishes slavery

14

1866

1868

Defines citizenship and citizen rights; provides due process and equal protection of the laws

15

1869

1870

Extends the right to vote to all African Americans, including former slaves

16

1909

1913

Gives power to impose income tax

Reading Handbook MODEL: PHYSICAL MAP

Map of Egypt A 25E

30E

35E

M e dite r rane an Se a

ISRAEL

Alexandria I I I I I

Maps A map visually represents a geographic region, such as a state or country. It provides information about areas through lines, colors, shapes, and symbols. There are different kinds of maps.

Libyan Plateau

JORDAN

Suez

I I

Cairo Canal

Elevation

13,100 ft. (4,000 m.) 6,600 ft. (2,000 m.) 1,600 ft. (500 m.) 650 ft. (200 m.) (0 m.) 0 ft. Below sea level

30N

SINAI PENINSULA

• Political maps show political features, such as national borders.

r ve

150

300 miles

Re

N

25N

d

DE

SAUDI ARABIA

a

RT

Se

SE

DE SE

Aswan

N

Tropic of Cancer

Lake Nasser

RT 25E

C

0 150 300 kilometers Lambert Azimuthal Equal-Area Projection

IA

AN

• Thematic maps show information on a specific topic, such as climate, weather, or natural resources.

B

B

Ri

BY

• Road or travel maps show roads and highways.

25N

0

AB

le Ni

LI

• Physical maps show the landforms in areas.

We s te r n Desert

Other city

AR

EGYPT

National capital

E

W

SUDAN

S

30E

35E

40E

practice and apply

Strategies for Reading A

Read the title to find out what kind of map it is.

B

Read the labels to get an overall sense of what the map shows.

C

Look at the key or legend to find out what the symbols and colors on the map stand for.

MODEL: THEMATIC MAP

20°W

10°W

0°

10°E

30°E

20°E

Mediterranean Sea

40°E

50°E

4. How many lenses does a microscope have?

d Re

5. Use the information in the schematic diagram to write a definition of a wavelength.

Se a

20°N

L. Chad 10°N

N

B

Equator

Gulf of Guinea

0° Lake Victoria L. Tanganyika

ATLANTIC OCEAN

S

L. Nyasa

Tropical wet and dry Tropic of Capricorn

Semiarid

20°S

za m

biq

ue

Tropical wet

Desert

6. In general, according to the chart, were literacy rates in 2003 in South Asia higher for males or for females? 7. In what year was the right to vote guaranteed to African Americans, according to the table? 8. What is one major feature of the natural landscape shown on the physical map of Egypt?

Ch

an

ne l

10°S

Mo

E

2. According to the line graph, in what year were global average temperatures at their lowest?

30°N

I I I

B

Tropic of Cancer

W

1. According to the circle graph, did Japan export more to South Korea or to Taiwan in 1999?

3. Is the Nile River approximately four or five times longer than the Rhine River, according to the bar graph?

Climates of Africa A 30°W

Use the graphic aids shown on pages R5–R7 to answer the following questions:

C

INDIAN OCEAN

Mediterranean

9. Using the key on the climate map of Africa, identify the general area of Africa that is the wettest.

30°S

Humid subtropical Marine west coast

0

Highland

0 400 800 kilometers Lambert Azimuthal Equal-Area Projection

400

800 miles

40°S

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3 Reading Informational Texts: Patterns of Organization Reading any type of writing is easier once you recognize how it is organized. Writers usually arrange ideas and information in ways that best help readers see how they are related. There are several common patterns of organization: • order of importance • chronological order • cause-effect organization • compare-and-contrast organization 3.1

order of importance Order of importance is a pattern of organization in which information is arranged by its degree of importance. The information is often arranged in one of two ways: from most important to least important or from least important to most important. In the first way, the most important quality, characteristic, or fact is presented at the beginning of the text, and the remaining details are presented in an order ending with the least significant. The second pattern is the reverse: the text builds from the less important elements to the most important one at the conclusion. Order of importance is frequently used in persuasive writing.

Strategies for Reading • To identify order of importance in a piece of writing, skim the text to see if it moves from items of greater importance to items of lesser importance, or the reverse. • Next, read the text carefully. Look for words and phrases such as first, second, mainly, more important, less important, least important and most important to indicate the relative importance of the ideas and information. • Identify the topic of the text and what aspect of it is being discussed—its complexity, size, effectiveness, varieties, and so on. Note what the most important fact or idea seems to be. • If you are having difficulty understanding the topic, try asking who, what, when, where, why, and how about the ideas or events. R8

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Notice how the ideas move from the most important to the least in the following model. Subject

Words showing order of importance

model

If you spend any time outdoors in the summer, at some point you probably will find yourself covered with mosquito bites. The word mosquito means “little fly” in Spanish, but the impact these pesky insects have on people is anything but small. The most important thing to know about mosquitoes is that they can transmit serious diseases such as yellow fever, malaria, and encephalitis. These diseases are not limited to developing countries, either. Outbreaks of West Nile virus, which is related to viruses that can cause encephalitis, have occurred recently in the United States. The symptoms of all these mosquitoborne illnesses include high fever and headaches. Luckily, not all mosquitoes carry serious diseases. While the bites of these “safe” mosquitoes may not seem as important because they’re less life-threatening, they can be extremely annoying. Just thinking about those raised red bumps that itch like crazy is enough to make anyone start scratching frantically. Although exactly what happens when you get bitten by a mosquito is less important than the bite itself, the mechanism is surprising. First, only female mosquitoes “bite.” Second, since the insects lack jaws, they don’t actually bite at all. Instead, the mosquito punctures the victim’s skin with sharp stylets on the proboscis used for piercing and injects her saliva into the wound. The saliva keeps the victim’s blood from clotting, so the mosquito can drink her fill—sometimes up to 150 times her weight. The saliva sets off an allergic reaction in the victim. Ironically, though, if the person lets the mosquito finish eating, there will be less saliva left in the skin. Therefore, the swelling and itching won’t be as severe. Nice to know, but easier said than done. The best ways to prevent mosquito bites or to lessen the effect if you do get bitten are to stay inside when mosquitoes are out—from dusk to dawn; to use mosquito repellant at all times; and, if you do get bitten, to refrain from scratching!

Reading Handbook practice and apply Read the following passage, and then do the following: 1. Identify whether the order is from most important to least important or from least important to most important. 2. Identify one phrase that helped you figure out the order.

Of the four acknowledged heroes of the event, three are able to account for their behavior. Donald Usher and Eugene Windsor, a park police helicopter team, risked their lives every time they dipped the skids into the water to pick up survivors. On television, side by side in bright blue jumpsuits, they described their courage as all in the line of duty. Lenny Skutnik, a twenty-eight-year-old employee of the Congressional Budget Office, said: “It’s something I never thought I would do”— referring to his jumping into the water to drag an injured woman to shore. Skutnik added that “somebody had to go in the water,” delivering every hero’s line that is no less admirable for its repetitions. In fact, nobody had to go into the water. That somebody actually did so is part of the reason this particular tragedy sticks in the mind. But the person most responsible for the emotional impact of the disaster is the one known at first simply as “the man in the water.” (Balding, probably in his fifties, an extravagant mustache.) He was seen clinging with five other survivors to the tail section of the airplane. This man was described by Usher and Windsor as appearing alert and in control. Every time they lowered a lifeline and flotation ring to him, he passed it on to another of the passengers. —Roger Rosenblatt, “The Man in the Water”

3.2

chronological order Chronological order is the arrangement of events in their order of occurrence. This type of organization is used in fictional narratives, historical writing, biographies, and autobiographies. To indicate the order of events, writers use words such as before, after, next, and later and words and phrases that identify specific times of day, days of the week, and dates, such as the next morning, Tuesday, and on July 4, 1776.

Strategies for Reading • Look in the text for headings and subheadings that may indicate a chronological pattern of organization. • Look for words and phrases that identify times, such as in a year, three hours earlier, in 1871, and the next day. • Look for words that signal order, such as first, afterward, then, during, and finally, to see how events or steps are related. • Note that a paragraph or passage in which ideas and information are arranged chronologically will have several words or phrases that indicate time order, not just one. • Ask yourself: Are the events in the paragraph or passage presented in time order? Notice the words and phrases that signal time order in the first three paragraphs of the following model. model

The Career of Alexander Graham Bell In 1871, Alexander Graham Bell Time words came to Boston for a few weeks to and phrases lecture on his father’s system for teaching speech to the deaf. What Events he didn’t know was that this brief trip would have a dramatic impact on his life. Bell’s lectures amazed audiences, prompting other Bostonians to extend similar invitations to him. Within the year, the Scottish-born teacher and scientist found himself living in Boston—although he had moved with his parents from London, England, to Ontario, Order words Canada, just a year before. and phrases reading handbook

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By 1872, Bell had opened a school in Boston for training teachers of the deaf. In 1873, he accepted a teaching position at Boston University as professor of vocal physiology. During this period, Bell also met Thomas Watson, a young repair mechanic and model maker. Watson teamed up with Bell in early 1875. For over two years the men worked together to create an apparatus for transmitting sound by electricity. Then, on April 6, 1875, Bell acquired a patent for a multiple telegraph. A little less than a year later, on the heels of their first success, the two created the first telephone. The first transmission of human speech took place on March 10, 1876. On that day, Bell called to his assistant over a new transmitter he was trying out, “Mr. Watson! Come here! I want you!” and Mr. Watson heard him. There was more work to do before others would have actual telephone service, of course. By 1915, however, coast-to-coast telephone communication was a reality. By then, the two had also succeeded in inventing many other useful devices. In fact, although Bell is best known for inventing the telephone, he was also the father of many other equally amazing devices and scientific advancements.

cause-effect organization Cause-effect organization is a pattern of organization that expresses causal relationships between events, ideas, and trends. Cause-effect relationships may be directly stated or merely implied by the order in which the information is presented. Writers often use the cause-effect pattern in historical and scientific writing. Causeeffect relationships may take several forms. One cause with one effect Cause

Effect

One cause with multiple effects Cause

Effect Effect

Multiple causes with a single effect Cause Cause

Effect

A chain of causes and effects Cause

Effect (Cause)

Effect

Strategies for Reading • Look for headings and subheadings that indicate a cause-effect pattern of organization, such as “Effects of Population Density.”

practice and apply

• To find the effect or effects, read to answer the question, What happened?

Refer to the preceding model to do the following:

• To find the cause or causes, read to answer the question, Why did it happen?

1. List at least five words in the last three paragraphs that indicate time or order. 2. Draw a timeline beginning with Bell’s arrival in Ontario, Canada, in 1870 and ending with the availability of coast-to-coast phone service in 1915. Chart on the timeline each major event described in the model. 3. A writer may use more than one pattern of organization in a text. In the last paragraph of the model, what pattern of organization does the writer use? How does this pattern contribute to your understanding of the passage?

R10

3.3

reading handbook

• Look for words and phrases that help you identify specific relationships between events, such as because, since, so, had the effect of, led to, as a result, resulted in, for that reason, due to, therefore, if . . . then, and consequently. • Evaluate each cause-effect relationship. Do not assume that because one event happened before another, the first event caused the second event. • Use graphic organizers like the diagrams shown to record cause-effect relationships as you read.

Reading Handbook Notice the words that signal causes and effects in the following model.

national monuments extremely precious or threatened lands. Consequently, by calling on the powers granted to him under this law, President Theodore Roosevelt was able to put under government protection many sites that might otherwise have been destroyed. These sites would eventually earn national-park status.

model

The Creation of National Parks In 1870 and 1871, two Causes expeditions were led through Montana. These men were awestruck by the deep canyons, dense pine forests, and refreshing rivers and waterfalls of Yellowstone, Montana. They were so moved by the area’s natural wonders, in fact, that they immediately Effect that in turn becomes wanted to protect them. So they a cause trooped off to Washington, D.C., to demand that Yellowstone lands be set aside for public use. There, before Congress, with the help of breathtaking paintings and photographs by artists who had ventured to Yellowstone with government land surveyors, these passionate preservationists presented their case. Dazzled, Congress responded to Signal words and phrases their pleas by creating the first national park, Yellowstone National Park. The next several national parks owe their establishment primarily to the enthusiasm and persuasive abilities of one nature lover, John Muir. Muir took influential friends such as Ralph Waldo Emerson and Theodore Roosevelt on spectacular hikes through the Sierras. While on these hikes, he expressed his love of nature in passionate arguments for its preservation. In 1890, largely as a result of Muir’s efforts, Yosemite, Sequoia, and General Grant national parks were established. Interestingly, however, some of today’s national parks owe their preservation to looters—or rather, to a Congress roused into action by looters. In 1906, because Congress was concerned that widespread plundering of precious Southwestern archaeological sites was destroying important artifacts, it enacted a law to prevent such plundering. This law, called the Antiquities Act, authorized the president to set aside as

practice and apply Refer to the preceding model to do the following: 1. Use the pattern of multiple causes with a single effect illustrated on page R10 to make a graphic organizer showing the causes described in the text and the effect of those causes. 2. List two words that the writer uses to signal cause and effect in the last paragraph.

3.4

compare-and-contrast organization Compare-and-contrast organization is a pattern of organization that serves as a framework for examining similarities and differences in two or more subjects. A writer may use this pattern of organization to analyze two or more subjects, such as characters or movies, in terms of their important points or characteristics. These points or characteristics are called points of comparison. The compare-and-contrast pattern of organization may be developed in either of two ways: Point-by-point organization—The writer discusses one point of comparison for both subjects, then goes on to the next point. Subject-by-subject organization—The writer covers all points of comparison for one subject and then all points of comparison for the next subject.

Strategies for Reading • Look in the text for headings, subheadings, and sentences that may suggest a compare-andcontrast pattern of organization, such as “Plants Share Many Characteristics.” These will help you identify where similarities and differences are addressed.

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R11

• To find similarities, look for words and phrases such as like, similarly, both, also, and in the same way. • To find differences, look for words and phrases such as unlike, but, on the other hand, in contrast, and however. • Use a graphic organizer, such as a Venn diagram or a compare-and-contrast chart, to record points of comparison and similarities and differences.

Subject 1

Both

Subject 1

Subject 2

Subject 2

Point 1 Point 2 Point 3

Read the following models. As you read, use the signal words and phrases to identify the similarities and differences between the subjects and how the details are organized in each text. model 1

Two Favorite Chips Tortilla and potato chips are top Subjects snack choices among Americans of all ages. Some snackers are happy munching on anything salty that crunches. Others are devoted fans of one chip or the other. Here’s a look at some facts about these popular snacks. While tortilla chips are made Contrast from corn, potato chips are made words and from—you guessed it, potatoes. phrases Both chips are traditionally Comparison prepared by frying in vegetable words oil with lots of salt, although baked versions are also available. Surprisingly, tortilla chips are lighter than potato chips. A one-ounce serving includes about 24 tortilla chips as opposed to 20 potato chips—about 17 percent more.

R12

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Neither snack is featured in weight-loss diets, though, and for good reason. Each is loaded with calories and fat—between 140 and 150 calories per serving, 70–90 of which come from fat. Although both chips are salty, tortilla chips are relatively less so. As for nutrition, a serving of either tortilla or potato chips contains 2 grams of protein. That’s not much, considering that the same amount of dry cereal offers about 300 percent more. It’s probably a good thing, in that case, that people choose chips for their taste and texture, not for their food value. Both chips come in numerous flavors. Tortilla-chip lovers can choose chips made from yellow or blue corn seasoned with salsa, nacho spices, ranch dressing, or guacamole. Similarly, potato chips are made from white or sweet potatoes and are available with barbecue, cheese, sourcream-and-onion, dill pickle, and salt-andvinegar flavors, to name just some options. So choose your chip—just make sure that your snack is only part of a nutritious, well-balanced diet.

Reading Handbook model 2

Two Traditions Almost every culture has a ceremony to mark the passage of young people from childhood to adulthood. In the Latin Subjects culture, this rite of passage for girls is la quinceañera. For American girls, it is the sweet 16 birthday party. Quinceañera means “15th birthday,” and the occasion is celebrated when a girl reaches that age. The origin of la quinceañera is uncertain, although it may have roots in the Aztec, Maya, or Toltec culture. It generally involves celebration of a thanksgiving mass followed by a lavish party for the extended family and friends. The quinceañera arrays herself to look as adult as possible, usually in a long, frilly dress in white or pastel colors. Her ensemble is topped by a hat or headdress. A highlight of the celebration is a waltz that she dances with her father and other male relatives. In Mexico, the celebrant may give her guests a memento taken from a handmade quinceañera doll. The sweet 16 party, in contrast, Contrast takes place when a girl is a year older words and than the quinceañera. Unlike the phrases Latin occasion, the sweet 16 celebration does not include a religious component and is designed more for the girl’s friends than for the family. Like la quinceañera, the sweet 16 party often takes place in a hotel or reception hall. The guests at both celebrations are often treated Comparison to a live band, plentiful food, and a words many-tiered birthday cake. Similar to their Latin counterparts, sweet 16s dress to reflect their new adult status, many also choosing white or pastel gowns. On the other hand, sweet 16 attire can run the gamut from frothy and frilly to sleek and sophisticated, depending on the girl’s personality. Whether a girl celebrates la quinceañera or her sweet 16, however, the message from the world is the same—“Welcome to adulthood!”

practice and apply Refer to the preceding models to answer the following questions: 1. Which model is organized by subject? Which model is organized by points of comparison? 2. Identify two words or phrases in each model that signal a compare-and-contrast pattern of organization. Do not choose words or phrases that have already been highlighted. 3. List at least three points that the writer of each model compares and contrasts. 4. Use a Venn diagram or a compare-and-contrast chart to identify at least two points of comparison and the similarities and differences in model 2.

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4 Reading Informational Texts: Forms Magazines, newspapers, Web pages, and consumer, public, and workplace documents are all examples of informational materials. To understand and analyze informational texts, pay attention to text features and patterns of organization. 4.1

reading a magazine article Because people often skim magazines, magazine publishers use devices to attract attention to articles.


Notice whether graphic aids or quotations attract your attention. Sometimes a publisher pulls a quotation out of the text and displays it to get your attention. Such quotations are called pull quotes.

B

Once you decide that you’re interested in the article, read the title and other headings to find out more about its topic and organization.

C

Notice whether the article has a byline, a line naming the author.

D

Sometimes an article will be accompanied by a sidebar, a short article that presents additional information. This sidebar also has a title. Is your understanding of the main article enhanced by the information in the sidebar?

practice and apply 1. What is the effect of using a question for the title?

B

Shouldn’t We Know Who Invented the Windshield Wiper? C

W

2. From what part of the article is the pull quote taken? 3. What is the relationship of the information in the sidebar to the article?

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by James T. Terry

e know the famous tery, but Anderson still wanted ones—the Thomas to see the sights, so she hopped Edisons and the Alexanaboard a streetcar. Noticing that der Graham Bells— but the driver was struggling to see what about the less through the sleet and snow covfamous inventors? What ering the windshield, she found about the people who herself wondering why there invented the traffic light couldn’t be a built-in device and the windshield for cleaning the window. Still wiper? Shouldn’t we wondering about this when she know who they are? returned home to Birmingham, Joan McLean thinks Alabama, Anderson started so. In fact, McLean, a “When students learn sketching out solutions. One of the answers to these professor of physics at her ideas, a lever on the inside Mountain University in questions, they are betof a vehicle that would control Range, Colorado, feels so ter prepared to recognize an arm on the outside, became strongly about this matopportunities for the first windshield wiper. ter that she’s developed A inventing. …” Today we benefit from a course on the topic. In countless inventions and innoaddition to learning “who” invented “what,” vations. It’s hard to imagine getting by however, McLean also likes her students to without Garrett A. Morgan’s traffic light. learn the answers to the “why” and “how” It’s equally impossible to picture a world questions. According to McLean, “When without Katherine J. Blodgett’s innovation students learn the answers to these questhat makes glass invisible. Can you picture tions, they are better prepared to recognize life without transparent windows and eyeopportunities for inventing and more motiglasses? vated to give inventing a try.” As I think about stories like these, I Her students agree. One young man am convinced that they will help untold with a patent pending for an unbreakable numbers of inventors. So, only one quesumbrella is walking proof of McLean’s statetion nags: how did we ever manage to give ment. “If I had not heard the story of the rise to so many inventors before McLean windshield wiper’s invention,” said Tommy invented this class? Lee, a senior physics major, “I never would have dreamed of turning my frustration during a rainstorm into something so con- D structive.” Lee is currently negotiating to sell Someone Also Invented . . . his patent to an umbrella manufacturer once Dishwashers .................. Josephine Cochran it is approved. Disposable Diapers....... Marion Donovan So, just what is the story behind the Fire Escapes ................. Anna Connelly windshield wiper? Well, Mary Anderson Peanut Butter ................ George Washington Carver came up with the idea in 1902 after a visit to New York City. The day was cold and blus-

OOK

Reading Handbook 4.2

reading a textbook Each textbook that you use has its own system of organization based on the content in the book. Often an introductory unit will explain the book’s organization and special features. If your textbook has such a unit, read it first.


Before you begin reading the lesson or chapter, read any questions that appear at the end of it. Then use the questions to set your purpose for reading.

B

Read slowly and carefully to better understand and remember the ideas presented in the text. When you come to an unfamiliar word, first try to figure out its meaning from context clues. If necessary, find the meaning of the word in a glossary in the textbook or in a dictionary. Avoid interrupting your reading by constantly looking up words in a dictionary.

C

Use the book’s graphic aids, such as illustrations, diagrams, and captions, to clarify your understanding of the text.

D

Take notes as you read. Use text features such as subheadings and boldfaced terms to help you organize your notes. Use graphic organizers, such as causeeffect charts, to help you clarify relationships among ideas.

Firn resembles the ice of a packed snowball. It is not fluffy, such as new-fallen snow, nor is it as hard as solid ice. The granules of firn start out no larger than grains of sand. As the layer of firn thickens, the firn’s crystals may grow as large as kernels of corn. Within a layer of firn, the weight of the material at the top compresses the firn below, turning that firn into solid ice. Under the weight of the overlying snow and firn, the ice begins to flow downward or outward. This moving mass of snow and ice is a glacier.

Types of Glaciers D There are two main types of glaciers, valley glaciers and continental glaciers. A valley glacier is a glacier that moves within valley walls. A continental glacier is a glacier that covers a large part of a continent.

Valley Glaciers D

B

Many mountain ranges in the world have peaks and valleys high enough so that snowfall there exceeds snowmelt. The snow builds up and changes to ice as it accumulates in the valleys of such mountain ranges. The ice stays within valley walls, forming a large river of ice and snow, which moves slowly downhill under the influence of gravity. This long, slow-moving, wedge-shaped stream of ice is a valley glacier. Valley glaciers are also known as alpine glaciers, after the Alps in south-central Europe. Valley glaciers form in regions where mountains are high enough to be in the colder part of Earth’s atmosphere. Valley glaciers even form in equatorial regions where mountains are located at high elevations. Valley glaciers exist on all continents except Australia. Valley glaciers vary in size. Small valley glaciers may be less than 2-kilometers long. Large valley glaciers may be over 100 kilometers long and hundreds of meters thick. Some of the world’s largest valley glaciers are in southern Alaska. The world’s tallest mountains, the Himalayas, also have very large valley glaciers.

DENALI NATIONAL PARK Muldrow Glacier, a valley glacier in Alaska, is about 56 kilometers long.

C

Section Review A • What is the snow line?

practice and apply 1. How would you find the definition of equatorial? 2. Where on the page can you find out the names of different types of glaciers?

• Describe how a glacier forms. • Critical Thinking The graph on page 318 shows how snow-line elevations change north of the equator. Predict how snow-line elevations change as latitude increases south of the equator.

3. Use the text on this page and on page R3 to answer the second question in the Section Review.

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4.3

reading a consumer document Consumer documents are materials that accompany products and services. They usually provide information about the use, care, operation, or assembly of the products they accompany. Some common consumer documents are contracts, warranties, manuals, instructions, schedules, and Web pages. Two examples of consumer documents follow.


Read the title to identify the purpose of the document.

B

Read the general directions to get started.

C

Look for numbers or letters that indicate the order in which the steps should be followed. If you do not find letters or numbers, look for signal words such as first, next, then, and finally to see the order in which the steps should be followed.

D

E

Look at the visuals that accompany the numbered instructions. Follow the steps in order.

instructions for creating a home page

A

B D

C

Look for verbs that describe actions you should take, such as press, select, and click.

E

practice and apply Reread the Web page telling how to create a home page, and then answer the following questions: 1. Once you have input your preferences for your home page, what must you do to save your changes? 2. After you have saved your changes, how do you get taken straight to your new home page?

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Reading Handbook The instructions on this page are from a manual for operating a graphing calculator.


Read the heading to learn the kind of operation this section of the manual explains.

B

Look for numbers that indicate the order in which the steps should be followed.

C

Look for verbs that describe actions you should take, such as open, move, press, position, and select.

D

Examine graphic aids that illustrate steps. If you have trouble completing the process, the graphic aids can help you pinpoint what you are doing wrong.

instructions for operating a graphing calculator A B

C

D

practice and apply Reread the page from the manual and then answer the following questions: 1. What does this page explain how to do? 2. What key do you press to begin? 3. What tells you that you can begin drawing a new point? 4. How do you quit the Triangle tool? Refer to the documents on pages R16–R17 to answer the following question: 5. Compare the document on page R16 with the document on this page. In terms of text features and organization, are they more alike or more different? Support your answer.

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4.4

reading a public document Public documents are documents that are written for the public to provide information that is of public interest or concern. These documents are often free. They can be federal, state, or local government documents. They can be speeches or historical documents. They may even be laws, posted warnings, signs, or rules and regulations. The following is one type of public document.


B

C

page from a driver education manual

Look at the title on the page to discover what the text is about. Read any lists of bulleted items carefully. The bulleted points are usually the essential pieces of information. Be sure to read the text that immediately precedes a visual. This lead-in text can help you understand what the visual is intended to show.

A Rules of the Road: Passing Always use caution when passing another vehicle. When passing via the left lane on a two-lane highway, make sure that all of the following are true: • you can see the left lane clearly • the left lane is free of oncoming traffic for a distance B great enough to allow you to pass • you are sure that you will be able to return to your lane before you are within 200 feet of an oncoming vehicle

E

Pay attention to captions with pictures or drawings. These will help you interpret what you are seeing. Study graphic aids and illustrations closely. These will help you interpret what you are reading and may even provide information not covered in the text.

view mirror before you re-enter the right-hand lane Do not pass via the left lane of a two-lane highway in any of the situations shown on the diagram below.

C In each of the following situations, the red car is breaking the law.

E

In a no passing zone

D

• you can see the car you have just passed in your rear-

On a hill

D

Within 100 feet of a bridge, viaduct, tunnel, or railroad crossing

On a curve where you cannot see oncoming vehicles

25

practice and apply Reread the page from the driving-instruction manual and then answer the following questions: 1. What essential piece of information does the lead-in text provide about the illustrations on this page? 2. What are the four driving situations described in which a driver should not pass another vehicle? 3. What do all of the bulleted items concern? 4. What information about lane markings can you gain from the visual that you do not learn from the text on this page? For more information, see Reading Informational Texts: Text Features, pages R3–R7.

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reading handbook

Reading Handbook 4.5 reading

a workplace document

Workplace documents are materials that are produced or used within a workplace, usually to aid in the functioning of a business. These may be documents generated by a business to monitor itself, such as minutes of a meeting or a sales report. These documents may also explain company policies, organizational structures, and operating procedures. Workplace documents include memos, business letters, job applications, and résumés.


B

C

LETTER

Read a workplace document slowly and carefully, as it may contain details that should not be overlooked.

B

West High School 100 Oak Lane Timber Creek, NJ 00000 (000) 000-0000 [email protected]

Notice how to contact the creator of the document. You will need this information to clear up anything that you don’t understand. Take notes to help you remember times, dates, deadlines, and actions required. In particular, note whether you are expected to respond to the document, whether there is a deadline for your response, and to whom you should address your reply.

August 8, 2006 A Ramona Ramirez, Vice-President Packer Press 200 Maple Lane Timber Creek, NJ 00000 Dear Ms. Ramirez: C

Refer to both workplace documents to answer the following questions:

2. According to the details in Blake’s letter, what actions should Ms. Ramirez take?

In a recent conversation with your assistant, Kathy Keene, I learned of the list of workplace skills that you give to your employees. Would it A be possible for me to have a copy of this document to use with my students this fall? I would, of course, give full credit to your company. C Thank you for your consideration of my request. Sincerely, Benjamin Blake

practice and apply

1. Why might the letter from Benjamin Blake be classified as a workplace document?

Benjamin Blake, Guidance Counselor

MEMO

To:

Kathy Keene

B From: Ramona Ramirez

Re: Teacher Request Date: August 9, 2006 C Kathy, we can give permission to Mr. Blake to use our skills docu-

ment. Please send him a copy of the following list to see if these categories will fit his needs:

3. How does Ms. Ramirez use text features, such as graphics and headings, to get her message across clearly and quickly?

• • • •

4. What actions is Ms. Keene expected to take? A

Resources Interpersonal skills Systems Technology

Also, please tell him that we will need a signed agreement from him when we make the arrangements. Thanks.

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4.6

reading electronic text Electronic text is any text that is in a form that a computer can store and display on a screen. Electronic text can be part of Web pages, CD-ROMs, search engines, and documents that you create with your computer software. Like books, Web pages often provide aids for finding information. However, each Web page is designed differently, and information is not in the same location on each page. It is important to know the functions of different parts of a Web page so that you can easily find the information you want.


B

B E

http://brookfieldzoo.org/

For an online source, such as a Web page or search engine, note the Web address, known as a URL (Universal Resource Locator). You may want to make a note of it if you need to return to that page.

C

Look for a menu bar along the top, bottom, or side of a Web page. Clicking on an item in a menu bar will take you to another part of the Web site.

D

Notice any hyperlinks to related pages. Hyperlinks are often underlined or highlighted in a contrasting color. You can click on a hyperlink to get to another page—one that may or may not have been created by the same person or organization.

E

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Look at the title of a page to determine what topics it covers.

For information that you want to keep for future reference, save documents on your computer or print them. For online sources, you can pull down the Favorites or Bookmarks menu and bookmark pages so that you can easily return to them or print the information you need. Printing the pages will allow you to highlight key ideas on a hard copy.

reading handbook

A

C

D

practice and apply 1. What is the URL of the Web page shown? 2. How do you know that this Web site is regularly updated? 3. What would you do to get the text in Spanish?

Reading Handbook

5 Reading Persuasive Texts 5.1

practice and apply

analyzing an argument An argument expresses a position on an issue or problem and supports it with reasons and evidence. Being able to analyze and evaluate arguments will help you distinguish between claims you should accept and those you should not. A sound argument should appeal strictly to reason. However, arguments are often used in texts that also contain other types of persuasive devices. An argument includes the following elements: • A claim is the writer’s position on an issue or problem. • Support is any material that serves to prove a claim. In an argument, support usually consists of reasons and evidence. • Reasons are declarations made to justify an action, a decision, or a belief—for example, “My reason for thinking we will be late is that we can’t make it to the appointment in five minutes.” • Evidence is the specific references, quotations, facts, examples, and opinions that support a claim. Evidence may also consist of statistics, reports of personal experience, or the views of experts. • A counterargument is an argument made to oppose another argument. A good argument anticipates the opposition’s objections and provides counterarguments to disprove or answer them. Claim

I should be allowed to work a parttime job on weekends.

Reason

Expenses connected with school and activities exceed what I can earn by doing chores.

Evidence

Field trips, uniforms, and transportation cost about $150 a month. I earn about $80 a month now.

Counterargument

I know you think my schoolwork will suffer, but I’ve always done my homework, and I want stay on the honor roll.

Read the following editorial and use a chart like the one shown to identify the claim, reason, evidence, and counterargument.

Extracurricular Sports Should Satisfy State Physical Education Requirement Track, football, soccer, baseball, basketball, and other sports attract dedicated student athletes who often practice every day after school and then participate in weekend games. Should these students be forced to give up an elective class period to take a required physical education class? In order to meet the state’s physical education (P.E.) course requirements, that is exactly what Whitman High School asks them to do. I believe that this policy doesn’t make any sense. Instead, the [Montgomery County public schools] should exempt student athletes from taking P.E. classes. First of all, participating in an extracurricular sport meets the objectives of the state’s course requirements. Those objectives are to promote fitness and improve athletic skill, according to the Whitman course catalog. Involvement in either a varsity or a club sport for one season already makes a student fit and athletically skilled. A second reason to change the policy is that the physical education requirement forces students to give up an elective class period. High school students can generally choose only eight elective courses from dozens of class offerings. By eliminating the P.E. requirement for student athletes, the county would give students more freedom in selecting their courses. Finally, exposing students to different sports is one goal of the P.E. requirement, but this objective alone is not important enough to require students to take P.E. class. Students seldom take P.E. class as seriously as they would an extracurricular sport, so students do not always appreciate sports they sample in P.E. class. Varsity and club sports require a great deal of time and effort from athletes. The county should recognize that team sports encourage physical activity more effectively than P.E. class. It is more important for student athletes to become wellrounded academically by taking electives than to take P.E. class.

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5.2

recognizing persuasive techniques

practice and apply

Persuasive texts typically rely on more than just the logical appeal of an argument to be convincing. They also depend on persuasive techniques—devices that can sway you to adopt a position or take an action.

Identify the persuasive techniques used in this model.

The True Holiday Spirit The holiday season is almost upon us, and caring people everywhere are opening their hearts and wallets to those who are less fortunate. Charity and community service show democracy in action, and Mayor Adam Miner’s actions are setting a good example for village residents. For the last three years, he has volunteered once a week at the local Meals for the Many program. Busing tables, serving soup, and helping wash dishes has made him aware of how fortunate he is and how important it is to share that good fortune. In his Thanksgiving address last week, he urged citizens, “Make this holiday—and all the days that follow—a time of true giving. Join your friends and neighbors in serving others today.”

The chart shown here explains several ways a writer may attempt to sway you to adopt his or her position. Learn to recognize these techniques, and you are less likely to be influenced by them. Persuasive Technique

Example

Appeals by Association Bandwagon appeal Suggests that a person should believe or do something because “everyone else” does

Be where it’s at—shop the Magnificent Mall.

Testimonial Relies on endorsements from well-known people or satisfied customers

Links Lorimer, winner of the Wide World Open, uses Gofar golf balls. Shouldn’t you?

Snob appeal Taps into people’s desire to be special or part of an elite group

Dine at the elite Plaza Inn, where you will be treated like royalty.

Transfer Connnects a product, candidate, or cause with a positive emotion or idea

One spray of Northwoods air freshener and you’ll find inner peace.

Appeal to loyalty Relies on people’s affiliation with a particular group

Show your support for the Tidewater Tigers by wearing the new WinTeam windbreaker.

Emotional Appeals Appeals to pity, fear, or vanity Use strong feelings, rather than facts, to persuade

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analyzing logic and reasoning When you evaluate an argument, you need to look closely at the writer’s logic and reasoning. To do this, it is helpful to identify the type of reasoning the writer is using.

The Inductive Mode of Reasoning When a writer leads from specific evidence to a general principle or generalization, that writer is using inductive reasoning. Here is an example of inductive reasoning. specific facts

Don’t these abandoned animals deserve a chance? Adopt a pet today.

Word Choice Glittering generality Makes a generalization that includes a word or phrase with positive connotations, such as freedom and honor, to promote a product or idea.

5.3

Hop on a Swiftee moped and experience pure freedom.

Fact 1 Fewer than 100 Arizona agave century plants remain in existence. Fact 2 Over the last three generations, there has been a 50 percent reduction in the number of African elephants. Fact 3 Only 50 Hawaiian crows are left in the world. generalization

Extinction is a problem facing many classes of living things.

Reading Handbook Strategies for Determining the Soundness of Inductive Arguments Ask yourself the following questions to evaluate an inductive argument:

• Is the conclusion valid? To be valid, a conclusion in a deductive argument must follow logically from the general principle and the specific situation.

• Is the evidence valid and sufficient support for the conclusion? Inaccurate facts lead to inaccurate conclusions.

The following chart shows two conclusions drawn from the same general principle.

• Does the conclusion follow logically from the evidence? From the facts listed in the previous example, the conclusion that extinction is a problem facing all living things would be too broad a generalization. • Is the evidence drawn from a large enough sample? Even though there are only three facts listed above, the sample is large enough to support the claim. If you wanted to support the conclusion that extinction is a problem facing all classes of living things, the sample would not be large enough.

The Deductive Mode of Reasoning When a writer arrives at a conclusion by applying a general principle to a specific situation, the writer is using deductive reasoning. Here’s an example. Green is a good color for redheads to wear.

General principle or premise

Iris has red hair.

Specific situation

Iris will look good in green.

Specific conclusion

Strategies for Determining the Soundness of Deductive Arguments Ask yourself the following questions to evaluate a deductive argument: • Is the general principle stated, or is it implied? Note that writers often use deductive reasoning in an argument without stating the general principle. They just assume that readers will recognize and agree with the principle. You may want to identify the general principle for yourself. • Is the general principle sound? Don’t just assume the general principle is sound. Ask yourself whether it is really true.

All government offices were closed last Monday. Accurate Deduction

Inaccurate Deduction

West Post Office is a government office; therefore, West Post Office was closed last Monday.

Soon-Lin’s Spa was closed last Monday; therefore, Soon-Lin’s Spa is a government office.

Soon-Lin might have closed her spa because there would be fewer customers in town when government offices were closed—or for another reason entirely.

practice and apply Identify the mode of reasoning used in the following paragraph.

About a year ago, Dave Champlin and his two roommates lived in what their friends at the University of Missouri called the House of Fat. . . . By sticking to the low-carb, highprotein diet, Champlin lost about 45 pounds, and his roommates each lost about 50 to 60 pounds. Despite being pleased with the results, all three were off the diet by this past summer and have gained back some of the weight. A study by NPD Group, an independent marketing information company, found that the percentage of American adults on any low-carb diet in 2004 peaked at 9.1 percent in February and dropped to 4.9 percent by early November. Further, it said only one of four people surveyed was significantly cutting carbs and “virtually none” were reducing carbs as much as the diets recommended. That means many companies that rode the low-carb wave are either out of business or refocusing their strategies. —Margaret Stafford, Associated Press

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Identifying Faulty Reasoning Sometimes an argument at first appears to make sense but isn’t valid because it is based on a fallacy. A fallacy is an error in logic. Learn to recognize these common fallacies.

R24

type of fallacy

definition

Circular reasoning

Supporting a statement by simply repeating it in Wearing a bicycle helmet should be required different words because cyclists should use protective headgear.

Either/or fallacy

A statement that suggests that there are only two choices available in a situation that really offers more than two options

Either you eat a balanced diet, or you’ll die before you’re 50.

Oversimplification

An explanation of a complex situation or problem as if it were much simpler than it is

Shared interests lead to a successful relationship.

Overgeneralization

A generalization that is too broad. You can often recognize overgeneralizations by the use of words such as all, everyone, every time, anything, no one, and none.

Everyone wants to go to college.

Stereotyping

A dangerous type of overgeneralization. Stereotypes are broad statements about people on the basis of their gender, ethnicity, race, or political, social, professional, or religious group.

Men just don’t know how to express their emotions.

Attacking the person or name-calling

An attempt to discredit an idea by attacking the person or group associated with it. Candidates often engage in name-calling during political campaigns.

Mr. Edmonds drives a beat-up car and never mows his lawn, so you shouldn’t take music lessons from him.

Evading the issue

Refuting an objection with arguments and evidence that do not address its central point

I know I didn’t clean up my room, but that gave me more time to study and improve my grades.

Non sequitur

A statement that uses irrelevant “proof” to support a claim. A non sequitur is sometimes used to win an argument by diverting the reader’s attention to proof that can’t be challenged.

I’ll probably flunk the driving test. I was late for school today.

False cause

The mistake of assuming that because one event Marc wore his new goggles in the swim meet and as a result won with his best time ever. occurred after another event in time, the first event caused the second one to occur

False analogy

A comparison that doesn’t hold up because of a critical difference between the two subjects

I bet my little brother will be a great skier when he grows up because he loves playing on the slide.

Hasty generalization

A conclusion drawn from too little evidence or from evidence that is biased

I got sick after eating at the pizzeria, so Italian food must be bad for me.

reading handbook

example

Reading Handbook practice and apply Look for examples of logical fallacies in the following argument. Identify each one and explain why you identified it as such.

Everyone agrees that running is the best form of exercise. All you need is a good pair of shoes and you’re ready to hit the road. I’ve run a mile twice this week, so I should know. As a result, I’ve slept better and my tone on the clarinet has improved. When you run, your heart beats faster because your pulse rate increases. That means that your cells get more oxygen, which is the second most common gas in the earth’s atmosphere. You also get to enjoy the beauty of the world around you as you build up your stamina. So if you don’t want to be a hopeless couch potato, get going and run for your life!

5.4

evaluating persuasive texts Learning how to evaluate persuasive texts and identify bias will help you become more selective when doing research and also help you improve your own reasoning and arguing skills. Bias is an inclination for or against a particular opinion or viewpoint. A writer may reveal a strongly positive or negative opinion on an issue by presenting only one way of looking at it or by heavily weighting the evidence on one side of the argument. Additionally, the presence of either of the following is often a sign of bias:

false causes, are often used in propaganda. The following example shows an oversimplification. The writer uses one fact to support a particular point of view but does not reveal another fact that does not support that viewpoint. EXAMPLE: Since we moved to the city, our gas and electric bills have gone down. (The writer does not include the fact that the move occurred in the spring, when the demand for heat or air conditioning is low anyway.)

For more information, see Identifying Faulty Reasoning, page R24.

Strategies for Evaluating Evidence It is important to have a set of standards by which you can evaluate persuasive texts. Use the questions below to help you critically assess facts and opinions that are presented as evidence. • Are the facts presented verifiable? Facts can be proved by eyewitness accounts, authoritative sources such as encyclopedias and almanacs, experts, or research. • Are the opinions presented well informed? Any opinions offered should be supported by facts, be based on research or eyewitness accounts, or be the opinions of experts on the topic. • Is the evidence thorough? Thorough evidence leaves no reasonable questions unanswered. If a choice is offered, background for making the choice should be provided. If taking a side is called for, all sides of the issue should be presented.

Loaded language consists of words with strongly positive or negative connotations that are intended to influence a reader’s attitude.

• Is the evidence biased? Be alert to evidence that contains loaded language and other signs of bias.

EXAMPLE: People who mistreat animals are subhuman and deserve to be locked up for life. (Subhuman and locked up have very negative connotations.)

• Is the evidence authoritative? The people, groups, or organizations that provided the evidence should have credentials that verify their credibility.

Propaganda is any form of communication that is so distorted that it conveys false or misleading information. Some politicians create and distribute propaganda. Many logical fallacies, such as name-calling, the either/or fallacy, and

• Is it important that the evidence be current? Where timeliness is crucial, as in the areas of medicine and technology, the evidence should reflect the latest developments in the areas.

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practice and apply Read the argument below. Identify the facts, opinion, and elements of bias.

Are you tired of listening to people talking on their cell phones? I think those disgusting machines should be banned. Using the dumb things while driving or riding a bicycle distracts the user and creates a serious hazard. The phones also give off energy frequencies that can cause cancer. Cell phone users in a German study, for example, were three times more likely to develop eye cancer than controls. Another study done in Sweden showed that people who used cell phones for ten years or more increased their risk of brain cancer by 77 percent. Although other researchers found no connection between cell phones and cancer, those studies stink. People should wise up and stop harming themselves and bothering everybody else.

Strategies for Determining a Strong Argument Make sure that all or most of the following statements are true: • The argument presents a claim or thesis. • The claim is connected to its support by a general principle that most readers would readily agree with. Valid general principle: It is the job of a school to provide a well-rounded physical education program. Invalid general principle: It is the job of a school to produce healthy, physically fit people. • The reasons make sense. • The reasons are presented in a logical and effective order. • The claim and all reasons are adequately supported by sound evidence. • The evidence is adequate, accurate, and appropriate. • The logic is sound. There are no instances of faulty reasoning.

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• The argument adequately anticipates and addresses reader concerns and counterclaims with counterarguments.

practice and apply Use the preceding criteria to evaluate the strength of the following editorial.

This school needs a swimming pool. Swimming is the most important skill there is, and I believe it is the responsibility of the school to provide this essential part of students’ education. Everybody knows that the school’s mission is to educate the whole person—mind and body—and to prepare students to be productive citizens. In addition to our academic subjects, we are taught how to eat right, budget our money, and drive a car. But since the school doesn’t teach us water safety skills, it not only isn’t preparing us for life, but it could actually be responsible for our deaths someday. The community and school board are irresponsible idiots, because they repeatedly have refused to fund the building of a pool. They think that the school has more important needs. As one board member put it, “Students can take swimming lessons at the local health club. A high school isn’t a recreation center.” That reason is crazy because it just doesn’t make sense. Most students can’t afford lessons at the health club; and those who have the money don’t have the time. After completing homework, taking part in school activities, and working at weekend jobs, we’re lucky to get enough sleep to just keep going. Students’ fitness will improve if we have a pool because swimming keeps you in shape. Even if knowing how to swim never saves your life, it can improve its quality. So either this school gets a pool or the education it offers us will be worthless.

Reading Handbook

6 Adjusting Reading Rate to Purpose You may need to change the way you read certain texts in order to understand what you read. To properly adjust the way you read, you need to be aware of what you want to get out of what you are reading. Once you know your purpose for reading, you can adjust the speed at which you read in response to your purpose and the difficulty of the material.

Determine Your Purpose for Reading You read different types of materials for different purposes. You may read a novel for enjoyment. You may read a textbook unit to learn a new concept or to master the content for a test. When you read for enjoyment, you naturally read at a pace that is comfortable for you. When you read for information, you need to read material more slowly and thoroughly. When you are being tested on material, you may think you have to read fast, especially if the test is being timed. However, you can actually increase your understanding of the material if you slow down.

Determine Your Reading Rate The rate at which you read most comfortably is called your independent reading level. It is the rate that you use to read materials that you enjoy. To learn to adjust your reading rate to read materials for other purposes, you need to be aware of your independent reading level. You can figure out your reading level by following these steps: 1. Select a passage from a book or story you enjoy. 2. Have a friend or classmate time you as you begin reading the passage silently. 3. Read at the rate that is most comfortable for you. 4. Stop when your friend or classmate tells you one minute has passed. 5. Determine the number of words you read in that minute and write down the number. 6. Repeat the process at least two more times, using different passages. 7. Add the numbers and divide the sum by the number of times your friend timed you.

Reading Techniques for Informational Material Use the following techniques to adapt your reading for informational texts, to prepare for tests, and to better understand what you read: • Skimming is reading quickly to get the general idea of a text. To skim, read only the title, headings, graphic aids, highlighted words, and first sentence of each paragraph. In addition, read any introduction, conclusion, or summary. Skimming can be especially useful when taking a test. Before reading a passage, you can skim questions that follow it in order to find out what is expected and better focus on the important ideas in the text. When researching a topic, skimming can help you determine whether a source has information that is pertinent to your topic. • Scanning is reading quickly to find a specific piece of information, such as a fact or a definition. When you scan, your eyes sweep across a page, looking for key words that may lead you to the information you want. Use scanning to review for tests and to find answers to questions. • Changing pace is speeding up or slowing down the rate at which you read parts of a particular text. When you come across familiar concepts, you might be able to speed up without misunderstanding them. When you encounter unfamiliar concepts or material presented in an unpredictable way, however, you may need to slow down to process and absorb the information better. Reading too slowly can affect your ability to comprehend what you read. Make sure you aren’t just reading one word at a time. 7!4#(ß/54

practice and apply Find an article in a magazine or textbook. Skim the article. Then answer the following questions: 1. What did you notice about the organization of the article from skimming it? 2. What is the main idea of the article?

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Writing Handbook Through writing, you can explore and record your thoughts, feelings, and ideas for yourself alone or you can communicate them to an audience.

86A>;DGC>6

1 The Writing Process

writing tools Go to the Writing Center at ClassZone.com for interactive models, publishing ideas, and other support.

Organize Ideas Once you’ve chosen a topic, you will need to compile and organize your ideas. If you are writing a description, you may need to gather sensory details. For an essay or a research paper, you may need to record information from different sources. To record notes from sources you read or view, use any or all of these methods:

The writing process consists of the following stages: prewriting, drafting, revising and editing, proofreading, and publishing. These are not stages that you must complete in a set order. Rather, you may return to an earlier stage at any time to improve your writing. 1.1

prewriting In the prewriting stage, you explore what you want to write about, what your purpose for writing is, whom you are writing for, and what form you will use to express your ideas. Ask yourself the following questions to get started. Topic

• Summarize: Briefly retell the main ideas of a piece of writing in your own words. • Paraphrase: Restate all or almost all of the information in your own words. • Quote: Record the author’s exact words.

• Is my topic assigned, or can I choose it? • What am I interested in writing about?

Purpose

Depending on what form your writing takes, you may also need to arrange your ideas in a certain pattern.

• Am I writing to entertain, to inform, or to persuade—or for some combination of these purposes?

For more information, see the Writing Handbook, pages R34–R41.

• What effect do I want to have on my readers? Audience

• Who is the audience? • What might the audience members already know about my topic? • What about the topic might interest them?

Format

• Which format will work best? Essay? Poem? Speech? Short story? Article? Research paper?

Find Ideas for Writing • Browse through magazines and Web sites. • Start a file of articles you want to save. • Brainstorm ideas as a group. • Interview someone who is an expert on a particular topic. • Write down anything that comes into your head. • Use a cluster map to explore your ideas. R28

writing handbook

Included in this handbook as indicated: W1.1 (pgs. R30–R33), W1.2 (p. R34), W1.4 (pgs. R37–R41), W1.9 (p. R29), W2.1a (pgs. R36–R37), W2.1bce (p. R36), W2.4a (pgs. R40–R41), W2.4b (p. R41), W2.4c (pgs. R40–R41), W2.4d (p. R41), W2.5ab (pgs. R42, R43), W2.5c (p. R42), W2.5d (pgs. R42–R43), W2.6abcd (p. R45), LC1.1 (p. R29), LC1.2 (p. R29), LC1.3 (p. R29), LC1.4 (p. R29), LC1.5 (p. R43)

1.2

drafting In the drafting stage, you put your ideas on paper and allow them to develop and change as you write. You don’t need to worry about correct grammar and spelling at this stage. There are two ways that you can draft: Discovery drafting is a good approach when you are not quite sure what you think about your subject. You just start writing and let your feelings and ideas lead you in developing the topic. Planned drafting may work better if you know that your ideas have to be arranged in a certain way, as in a research paper. Try making a writing plan or an informal outline before you begin drafting.

1.3

• Have I checked the spellings of all unfamiliar words in the dictionary?

revising and editing The revising and editing stage allows you to polish your draft and make changes in its content, organization, and style. Use the questions that follow to assess problems and determine what changes would improve your work. • Does my writing have a main idea or central focus? Is my thesis clear?

For more information, see the Grammar Handbook and the Vocabulary and Spelling Handbook, pages R46–R75.

• Have I used precise nouns, verbs, and modifiers?

Use the proofreading symbols in the chart to mark changes on your draft.

• Have I incorporated adequate detail and evidence? Where might I include a telling detail, a revealing statistic, or a vivid example? • Is my writing unified? Do all ideas and supporting details pertain to my main idea or advance my thesis? • Is my writing clear and coherent? Is the flow of sentences and paragraphs smooth and logical? • Have I used a consistent point of view? • Do I need to add transitional words, phrases, or sentences to clarify relationships among ideas? • Have I used a variety of sentence types? Are the sentences well constructed? Which ones might I combine to improve the rhythm of my writing? • Have I used a tone appropriate for my audience and purpose? 1.4

If possible, don’t begin proofreading just after you’ve finished writing. Put your work away for at least a few hours. When you return to it, identifying and correcting mistakes will seem easier. 4)0

proofreading When you are satisfied with your revision, proofread your paper for mistakes in grammar, usage, and mechanics. You may want to do this several times, looking for a different type of mistake each time. Use the following questions to help you correct errors: • Have I corrected any errors in subject-verb agreement and pronoun-antecedent agreement? • Have I double-checked for errors in confusing word pairs, such as it’s/its, than/then, and too/to? • Have I corrected any run-on sentences and sentence fragments?

1.5

Proofreading Symbols Add letters or words.

Make a capital letter lowercase.

Add a period.

Begin a new paragraph.

Capitalize a letter.

Delete letters or words.

Close up space.

Switch the positions of letters or words.

Add a comma.

publishing and reflecting Always consider sharing your finished writing with a wider audience. Reflecting on your writing is another good way to finish a project.

Publishing Ideas • Post your writing on a Weblog. • Create a multimedia presentation and share it with classmates. • Publish your writing in a school newspaper, local newspaper, or literary magazine. • Present your work orally in a report, speech, reading, or dramatic performance.

Reflecting on Your Writing Think about your writing process and whether you would like to add what you have written to your writing portfolio. You might attach a note in which you answer questions like these: • Which parts of the process did I find easiest? Which parts were more difficult?

• Have I followed rules for correct capitalization?

• What was the biggest problem I faced during the writing process? How did I solve the problem?

• Have I used punctuation marks correctly?

• What changes have occurred in my writing style? • Have I noticed any features in the writing of writing handbook

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published authors or my peers that I can apply to my own work? 1.6

peer response Peer response consists of the suggestions and comments you make about the writing of your peers and also the comments and suggestions they make about your writing. You can ask a peer reader for help at any time in the writing process.

Using Peer Response as a Writer • Indicate whether you are more interested in feedback about your ideas or about your presentation of them. • Ask questions that will help you get specific information about your writing. Open-ended questions that require more than yes-or-no answers are more likely to give you information you can use as you revise.

arouse your reader’s curiosity about a subject, as in the following model. model

September should be the seventh month, and October should be the eighth. Any Latin student knows that the root septem is “seven” and octo is “eight.” Where did the calendar makers go wrong? The truth is that when the months acquired their names, during Roman times, the year started in March. Provide a Description A vivid description sets a mood and brings a scene to life for your reader. Here, details about a lion observing possible prey set the tone for an essay on survival in the wild. model

• Encourage your readers to be honest.

Being a Peer Reader • Respect the writer’s feelings. • Offer positive reactions first. • Make sure you understand what kind of feedback the writer is looking for, and then respond accordingly. For more information on the writing process , see the Introductory Unit, pages 18–21.

2 Building Blocks of Good Writing Whatever your purpose in writing, you need to capture your reader’s interest and organize your thoughts clearly. 2.1

introductions An introduction should present a thesis statement and capture your reader’s attention.

Kinds of Introductions There are a number of ways to write an introduction. The one you choose depends on who the audience is and on your purpose for writing. Make a Surprising Statement Beginning with a startling statement or an interesting fact can R30

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Cool and cunning eyes followed the impala herd from a sturdy low-slung tree branch. The young female lion watched hungrily to see whether any of the impalas might be sickly or slower than the others. She kept every muscle quiet, though tense and ready to spring if an opportunity arose. Pose a Question Beginning with a question can make your reader want to read on to find out the answer. The following introduction asks questions about the incredible persistence of racial segregation. model

How is it possible that as late as the mid-20th century in the United States of America, “the land of the free,” riders on public buses were segregated by race? How is it possible that even today there are segregated social events, schools, and towns, no longer segregated by law but with effects just as real and damaging? Relate an Anecdote Beginning with an anecdote, or brief story, can hook your reader and help you make a point in a dramatic way. The following anecdote introduces an essay about the downside of self-closing shoe straps.

Writing Handbook model

My five-year-old nephew, Ali, has never tied a shoelace. All of his shoes have self-closing straps. He is developing his large muscles by throwing and climbing, but I wonder if he will ever have the dexterity to handle bows on packages or ties that he wears with his suits. Address the Reader Speaking directly to your reader establishes a friendly, informal tone and involves the reader in your topic.

Unity A paragraph has unity when all the sentences support and develop one stated or implied idea. Use the following techniques to create unity in your paragraphs: Write a Topic Sentence A topic sentence states the main idea of the paragraph; all other sentences in the paragraph provide supporting details. A topic sentence is often the first sentence in a paragraph. However, it may also appear later in a paragraph or at the end, to summarize or reinforce the main idea, as shown in the model that follows.

model

If you’ve ever wondered how to avoid using pesticides in your garden, you can find answers from Natural Gardens, Inc. It’s easy to protect the environment and have pest-free plants. Begin with a Thesis Statement A thesis statement expressing a main idea may be woven into both the beginning and the end of a piece of nonfiction writing. The following is a thesis statement that introduces an essay on the relationship between caring for pets and caring for children. model

Pet owners who are casual about their pet’s health and safety are likely to be the same ones who are casual about the health and safety of their children.

model

Plastic that does not rust, rot, or shatter is useful, of course, but does add to the ever-increasing problems of waste disposal. It is possible to add chemicals to plastic that make it dissolvable by other chemicals. There are plastics that slowly disintegrate in sunlight. Biodegradable plastic is available and should be preferred over nonbiodegradable plastic. Relate All Sentences to an Implied Main Idea A paragraph can be unified without a topic sentence as long as every sentence supports an implied, or unstated, main idea. In the example, all the sentences work together to create a unified impression of a swim meet. model

To write the best introduction for your paper, you may want to try more than one of the methods and then decide which is the most effective for your purpose and audience. 4)0

2.2

The swimmers lined up along the edge of the pool. Toes curled over the edge, arms swung back in the ready position, and bodies leaned forward. The swimmers’ eyes looked straight ahead. Their ears were alert for the starting signal.

paragraphs A paragraph is made up of sentences that work together to develop an idea or accomplish a purpose. Whether or not it contains a topic sentence stating the main idea, a good paragraph must have unity and coherence.

Coherence A paragraph is coherent when all its sentences are related to one another and each flows logically to the next. The following techniques will help you achieve coherence in paragraphs:

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• Present your ideas in the most logical order. • Use pronouns, synonyms, and repeated words to connect ideas. • Use transitional devices to show relationships among ideas. In the model shown here, the writer used some of these techniques to create a unified paragraph. model

As we experience day and night repeatedly, it is hard to imagine the enormous significance of that change. We have day and night because our planet rotates on its axis. We have seasons because Earth revolves around our solar system’s star, the sun. Our solar system, along with many others, rotates with the Milky Way Galaxy. The universe is a gigantic structure of which our daily experiences of day and night, summer and winter are tiny parts. 2.3

transitions Transitions are words and phrases that show connections between details. Clear transitions help show how your ideas relate to one another.

Kinds of Transitions The types of transitions you choose depend on the ideas you want to convey. Time or Sequence Some transitions help to clarify the sequence of events over time. When you are telling a story or describing a process, you can connect ideas with such transitional words as first, second, always, then, next, later, soon, before, finally, after, earlier, afterward, and tomorrow. model

Teaching a puppy to come when called takes patience from the owner and the puppy. First, tie a lightweight rope to the dog’s collar and go to a large play area. Play with the pup a while and then call to it. At the same time, pull gently on the rope. Always praise the puppy for coming when called. Next, allow the puppy to play again. Carry out this exercise several times a day.

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Spatial Relationships Transitional words and phrases such as in front, behind, next to, along, nearest, lowest, above, below, underneath, on the left, and in the middle can help your reader visualize a scene. model

On the porch, wicker chairs stand in casual disorder along the red wall of the house. Next to the red-and-white porch railing, orange day lilies nod in the breeze. Overhead, a flycatcher perches on a bare branch, alert for her next meal. Beyond the lawn, a small stream flows from beneath an arched stone bridge. Degree of Importance Transitional words such as mainly, strongest, weakest, first, second, most important, least important, worst, and best may be used to rank ideas or to show degrees of importance. model

The Repertory Theater performed six plays last year. All the plays were exciting, but the most outstanding one was Master Class. Compare and Contrast Words and phrases such as similarly, likewise, also, like, as, neither . . . nor, and either . . . or show similarity between details. However, by contrast, yet, but, unlike, instead, whereas, and while show difference. Note the use of both types of transitions in the model. model

Dr. Herriot was a successful veterinarian. Mrs. Donovan also took care of sick animals. He cured his patients with medical treatments and laboratory medications. Mrs. Donovan, by contrast, used home remedies and constant affection. Both but and however can be used to join two independent clauses. When but is used as a coordinating conjunction, it is preceded by a comma. When however is used as a conjunctive adverb, it is preceded by a semicolon and followed by a comma. 4)0

Writing Handbook Cause and Effect When you are writing about a cause-effect relationship, use transitional words and phrases such as since, because, thus, therefore, so, due to, for this reason, and as a result to help clarify that relationship and make your writing coherent.

Make a Recommendation When you are persuading your audience to take a position on an issue, you can conclude by recommending a specific course of action. model

You can make your research work much easier by taking advantage of the Internet. Develop a list of key words that will help you narrow your search of the Internet.

model

Because we never feed our dog from the table, she doesn’t beg for food while we are eating. We are happy to take credit for her one good habit. 2.4

Make a Prediction Readers are concerned about matters that may affect them and therefore are moved by a conclusion that predicts the future.

conclusions A conclusion should leave readers with a strong final impression.

Kinds of Conclusions Good conclusions sum up ideas in a variety of ways. Here are some techniques you might try:

model

If the government continues to spend money from Social Security taxes for current operations, we will create a disastrous burden of debt for future generations.

Restate Your Thesis A good way to conclude an essay is by restating your thesis, or main idea, in different words. The following conclusion restates the thesis introduced on page R31.

Summarize Your Information Summarizing reinforces your main idea, leaving a strong, lasting impression. The model concludes with a statement that summarizes a film review.

model

Although each pet has a personality of its own just as each child does, there are many ways of encouraging the best behavior in each. Love, persistence, patience, and consistency make all the difference in training pets as well as in raising children. Ask a Question Try asking a question that sums up what you have said and gives your reader something new to think about. The following question concludes an appeal to support a local politician. model

Have you noticed that the roads are in better repair and that there are more safe playgrounds and parks since Mayor Ballwin has been in office?

model

The movie The Postman shows the tremendous influence of the Chilean poet Pablo Neruda on a young Italian man—not only in his love life but also in his acquired self-confidence and his dedication to a cause. 2.5

elaboration Elaboration is the process of developing an idea by providing specific supporting details that are relevant and appropriate to the purpose and form of your writing. Facts and Statistics A fact is a statement that can be verified, and a statistic is a fact expressed as a number. Make sure the facts and statistics you supply are from reliable, up-to-date sources.

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Quotations Choose quotations that clearly support your points, and be sure that you copy each quotation word for word. Remember always to credit the source.

model

Our entire solar system speeds through the Milky Way Galaxy at a speed of 180 miles a second. One could worry about the ability of any of us to stay in place with our feet on the ground. Or one could marvel at the magnificence of a universe that keeps everything whirling with such constancy.

model

In her book How to Talk to Your Cat, Patricia Moyes replies to certain authorities who claim that cats cannot smile: “I can only presume that these people have never owned a cat in the true sense of the word.” She describes the cat’s smile as a “relaxed upward tilting of the corners of the mouth.”

Sensory Details Details that show how something looks, sounds, tastes, smells, or feels can enliven a description, making readers feel they are actually experiencing what you are describing. model

The campers hardly dared to breathe inside their tent as they considered the power of the massive beast they’d glimpsed through the tent flap. Snuffling and crackling brought news that the black bear had found something delectable inside the garbage can.

3 Descriptive Writing Descriptive writing allows you to paint word pictures about anything, from events of global importance to the most personal feelings. It is an essential part of almost every piece of writing. RUBRIC: Standards for Writing

Incidents From our earliest years, we are interested in hearing stories. One way to illustrate a point powerfully is to relate an incident or tell a story, as shown in the example.

Successful descriptive writing should • have a clear focus and sense of purpose • use sensory details and precise words to create a vivid image, establish a mood, or express emotion

model

January 24, 1848, began one of the most colorful periods of United States history. On that day James Marshall found gold at Sutter’s Mill in California. That discovery brought on massive immigration from around the world. It also brought many new images and words—gold rush, gold miners, and forty-niners, to name a few. Examples An example can help make an abstract idea concrete or can serve to clarify a complex point for your reader. model

The mere mention of the names of some writers causes distinct reactions, even from those who have not read the writers’ works. For example, the mention of William Shakespeare causes many people to take in a sharp breath of admiration and others to think of something long and tedious.

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• present details in a logical order

3.1

key techniques Consider Your Goals What do you want to accomplish with your description? Do you want to show why something is important to you? Do you want to make a person or scene more memorable? Do you want to explain an event? Identify Your Audience Who will read your description? How familiar are they with your subject? What background information will they need? Which details will they find most interesting? Think Figuratively What figures of speech might help make your description vivid and interesting? What simile or metaphor comes to mind? What imaginative comparisons can you make? What living thing does an inanimate object remind you of?

Writing Handbook Gather Sensory Details Which sights, smells, tastes, sounds, and textures make your subject come alive? Which details stick in your mind when you observe or recall your subject? Which senses does it most strongly affect?

Option 2: Order of Impression Order of impression is the order in which you notice details. What first catches your attention What you notice next

You might want to use a chart like the one shown here to collect sensory details about your subject. Sights

Sounds

Textures

Smells

What you see after that

Tastes

What you focus on last model

Create a Mood What feelings do you want to evoke in your readers? Do you want to soothe them with comforting images? Do you want to build tension with ominous details? Do you want to evoke sadness or joy? 3.2

options for organization Option 1: Spatial Order Choose one of these options to show the spatial order of elements in a scene you are describing. example 1

Top Bottom

example 2

example 3

Left

Right

As her foot slipped on the pebbles, her first thought was of whether she would sprain an ankle sliding into the surf. Her heart began a dangerous thumping, but soon the soft sand provided a comfortable seat so that her body responded by calming down. She realized that the water was shallow and warm. Her hat would shade her eyes and prevent sunburn.

Use transitions that help readers understand the order of the impressions you are describing. Some useful transitions are after, next, during, first, before, finally, and then. 4)0

Option 3: Order of Importance You can use order of importance as the organizing structure for a description. Least important

Outside Inside

example 4

More important Most important

Near Far

model

Thunder’s nostrils quivered as he was led into the barn. How would this be as a place to spend nights from now on? In the stall to the left, the straw smelled fresh. Beyond that stall, a saddle hung from rough boards. To the right of his stall was another, from which a mare looked at him curiously.

model

I checked my backpack for the comforting essentials. Book? Yes. Journal and pencil? Yes. Water bottle? Yes. Tissues? Yes. Then I checked for the required essentials. Passport? Yes. Airline ticket? Yes. Map? Yes. Last of all, I checked the most important possessions for this trip—a light heart and a sense of adventure. I was beginning my first real vacation. For more information, see Transitions, page R32.

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4 Narrative Writing Narrative writing tells a story. If you write a story from your imagination, it is a fictional narrative. A true story is a nonfictional narrative. Narrative writing can be found in short stories, novels, news articles, personal narratives, and biographies. RUBRIC: Standards for Writing A successful narrative should • hook the reader’s attention with a strong introduction • include descriptive details and dialogue to develop the characters, setting, and plot • have a clear beginning, middle, and end • have a logical organization, with clues and transitions that help the reader understand the order of events • maintain a consistent tone and point of view • use language that is appropriate to the audience • demonstrate the significance of events or ideas For more information, see Writing Workshop: Autobiographical Narrative, pages 264–271, and Writing Workshop: Short Story, pages 368–375.

4.1

key techniques Identify the Main Events What are the most important events in your narrative? Is each event needed to tell the story? Describe the Setting When do the events occur? Where do they take place? How can you use setting to create mood and to set the stage for the characters and their actions?

4.2

options for organization Option 1: Chronological Order One way to organize a piece of narrative writing is to arrange the events in chronological order, as shown in the following example. example

It is the middle of March in Rome. It is also the first time that young Marius has been able to go into the city. A crowd gathers to watch the senators arrive. Marius hurries toward the front of the crowd.

Event 1

Marius sees that the emperor has arrived. There is great commotion, with shouts and screams.

Event 2

Marius witnesses the assassination of Julius Caesar. He then goes home with a premonition that there are bad times ahead for Rome.

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End Perhaps showing the significance of the events

Option 2: Flashback In narrative writing, it is also possible to introduce events that happened sometime before the beginning of the story. You can use a flashback to show how past events led up to the present situation or to provide background about a character or event. Use clue words such as last summer, as a young girl, the previous school year, and his earliest memories to let your reader know that you are interrupting the main action to describe earlier events.

Depict Characters Vividly What do your characters look like? What do they think and say? How do they act? What details can show what they are like? 4)0 Dialogue is an effective means of developing characters in a narrative. As you write dialogue, choose words that express your characters’ personalities and that show how the characters feel about one another and about the events in the plot.

Introduction Characters and setting

Event

Event

1 2

Flashback

Event

3

Notice how the flashback interrupts the action in the model. model

Greg and his friends rejoiced at being the first in line to buy the coveted concert tickets. Greg remembered when his favorite band came to town two years ago. Then, when he and his friends approached the ticket office, the line was five blocks long.

Writing Handbook Option 3: Focus on Conflict When a fictional narrative focuses on a central conflict, the story’s plot may be organized as shown in the following example. example

A railroad porter notices a woman boarding the train and pulling along a young child.

Describe main characters and setting.

The porter senses that the child is frightened, so he finds several excuses to appear at their compartment door. Present When he hears the child crying, he conflict. goes to the compartment and sees the glint of gunmetal inside a partially open market basket. The porter begins to plan how to identify the woman and child and to separate the child from the woman. Relate events • The porter finds out from a radio that make news report that a child has been conflict comkidnapped. plex and cause characters to • He befriends the pair and offers change. to play with the child while the woman visits the dining car. • He alerts the police, who then wait at an unscheduled stop.

When the train stops, the woman becomes suspicious and begins to Present search the train for the child. She resolution or outcome of spots the porter with the child and conflict. fires her gun in his direction. Though wounded, the porter manages to throw the child from the train into the arms of a federal agent.

5 Expository Writing Expository writing informs and explains. You can use it to evaluate the effects of a new law, to compare two movies, to analyze a piece of literature, or to examine the problem of greenhouse gases in the atmosphere. There are many types of expository writing. Think about your topic and select the type that presents the information most clearly.

5.1

comparison and contrast Compare-and-contrast writing examines the similarities and differences between two or more subjects. You might, for example, compare and contrast two short stories, the main characters in a novel, or two movies. RUBRIC: Standards for Writing Successful compare-and-contrast writing should • hook the reader’s attention with a strong introduction • clearly identify the subjects that are being compared and contrasted • include specific, relevant details • follow a clear plan of organization • use language and details appropriate to the audience • use transitional words and phrases to clarify similarities and differences

Options for Organization Compare-and-contrast writing can be organized in different ways. The examples that follow demonstrate point-by-point organization and subject-by-subject organization. Option 1: Point-by-Point Organization

example

I. How true smiles and false smiles are alike Subject A. True smiles; show pleasure; corners of mouth curve up Subject B. False smiles; show pleasure; corners of mouth curve up II. How true smiles and false smiles are different Subject A. True smiles; cheeks move up; no furrow between eyebrows; crow’s-feet form Subject B. False smiles; cheeks may move up; furrow between eyebrows; no crow’s-feet

Point 1

Point 2

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Options for Organization Your organization will depend on your topic and your purpose for writing.

Option 2: Subject-by-Subject Organization example

I. True smiles Point 1. Show pleasure, corners of mouth curve up Point 2. Cheeks move up Point 3. No furrow between eyebrows Point 4. Crow’s-feet form II. False smiles Point 1. Show pleasure, corners of mouth curve up Point 2. Cheeks may move up Point 3. Furrow between eyebrows Point 4. No crow’s-feet

Subject A

Effect

Subject B

For more information, see Writing Workshop: Interpretive Essay, pages 142–149, Writing Workshop: ComparisonContrast Essay, pages 464–471, Cause-and-Effect Essay, pages 554–561, Informative Essay and Interview, pages 940–947, and Comparing a Play and a Film, pages 1194–1201.

5.2

Option 1: Effect-to-Cause Organization If you want to explain the causes of an event, such as the closing of a factory, you might first state the effect and then examine its causes.

Cause 1

Cause 3

Option 2: Cause-to-Effect Organization If your focus is on explaining the effects of an event, such as the passage of a law, you might first state the cause and then explain the effects. Cause

Effect 1

Effect 2

Effect 3

cause and effect Cause-effect writing explains why something happened, why certain conditions exist, or what resulted from an action or a condition. You might use cause-effect writing to explain a character’s actions, the progress of a disease, or the outcome of a war.

Option 3: Cause-Effect Chain Organization Sometimes you’ll want to describe a chain of cause-effect relationships to explore a topic, such as the disappearance of tropical rain forests or the development of home computers. Cause Effect (Cause)

RUBRIC: Standards for Writing Successful cause-effect writing should • hook the reader’s attention with a strong introduction • clearly state the cause-and-effect relationship • show clear connections between causes and effects • present causes and effects in a logical order and use transitions effectively • use facts, examples, and other details to illustrate each cause and effect • use language and details appropriate to the audience

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Effect (Cause) Effect For an example of cause-effect writing, see page R11.

4)0 Don’t assume that a cause-effect relationship exists just because one event follows another. Look for evidence that the later event could not have happened if the first event had not caused it.

Writing Handbook 5.3

Option 2: Deciding Between Solutions

problem-solution Problem-solution writing clearly states a problem, analyzes the problem, and proposes a solution to the problem. It can be used to identify and solve a conflict between characters, investigate global warming, or tell why the home team keeps losing.

Description of problem and why it needs to be solved Solution A Pros Cons

RUBRIC: Standards for Writing Solution B Pros Cons

Successful problem-solution writing should • hook the reader’s attention with a strong introduction • identify the problem and help the reader understand the issues involved

Recommendation

• analyze the causes and effects of the problem • include quotations, facts, and statistics • explore possible solutions to the problem and recommend the best one(s) • use language, details, and a tone appropriate to the audience

Options for Organization Your organization will depend on the goal of your problem-solution piece, your intended audience, and the specific problem you have chosen to address. The organizational methods that follow are effective for different kinds of problem-solution writing. Option 1: Simple Problem-Solution

5.4

analysis In writing an analysis, you explain how something works, how it is defined, or what its parts are. RUBRIC: Standards for Writing A successful analysis should • hook the reader’s attention with a strong introduction • clearly define the subject and its parts • use a specific organizing structure to provide a logical flow of information • show connections among facts and ideas through transitional words and phrases • use language and details appropriate for the audience

Description of problem and why it needs to be solved

Recommended solution

Options for Organization Organize your details in a logical order appropriate to the kind of analysis you’re writing. Use one of the following options:

Explanation of solution

Conclusion

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Option 3: Parts Analysis The following parts analysis explores three elements of a medieval knight’s code of chivalry.

Option 1: Process Analysis A process analysis is usually organized chronologically, with steps or stages in the order they occur. You might use a process analysis to explain how to bake a pie or prepare for a test, or to explain how Arthurian legends have been reinterpreted.

example

Code of chivalry

Introduce subject.

Part 1: Uphold to Christianity example

Arthurian legends reinterpreted British ruler in 500s Step 1: Around 1469, Le Morte d’Arthur is compiled.

Introduce process.

Part 2: Protect the defenseless Part 3: Fight injustices, never surrender

Give background. Explain steps.

Step 2: Between 1842 and 1885, Idylls of the King is published.

For more information, see Writing Workshop: Critical Review, pages 828–835.

6 Persuasive Writing

Step 3: In 1960, the musical Camelot opens.

Persuasive writing allows you to use the power of language to inform and influence others. It includes speeches, persuasive essays, newspaper editorials, advertisements, and critical reviews.

Option 2: Definition Analysis You can organize the details of a definition analysis in order of importance or impression. Use a definition analysis to explain a quality (such as honor or loyalty), the distinguishing features of a sonnet, or the parts of the brain.

RUBRIC: Standards for Writing Successful persuasive writing should • hook the reader’s attention with a strong introduction • state the issue and the writer’s position

example

Honor Honor defined as integrity, dignity, and pride. Quality 1: Integrity Quality 2: Dignity

Explain parts.

• give opinions and support them with facts or reasons

Introduce term and definition.

• have a reasonable and respectful tone • answer opposing views • use sound logic and effective language

Explain features.

• conclude by summing up reasons or calling for action

Quality 3: Pride

For more information, see Writing Workshop: Editorial, pages 670–677, and Writing Workshop: Persuasive Essay, pages 1064–1071.

6.1

key techniques Clarify Your Position What do you believe about the issue? How can you express your opinion most clearly?

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Writing Handbook Know Your Audience Who will read your writing? What do they already know and believe about the issue? What objections to your position might they have? What additional information might they need? What tone and approach would be most effective? Support Your Opinion Why do you feel the way you do about the issue? What facts, statistics, examples, quotations, anecdotes, or expert opinions support your view? What reasons will convince your readers? What evidence can answer their objections?

6.2

options for organization In a two-sided persuasive essay, you want to show the weaknesses of the other opinion as you explain the strengths of your own. Option 1: Reasons for Your Opinion Introduction states issue and your position on it. Reason 1 with evidence and support

Reason 2 with evidence and support

Support for Your Argument Statistics

facts that are stated in numbers

Examples

specific instances that explain points


Objections to whole argument

Observations events or situations you yourself have seen Anecdotes

brief stories that illustrate points

Quotations

direct statements from authorities

For more information, see Identifying Faulty Reasoning, page R24.

Begin and End with a Bang How can you hook your readers and make a lasting impression? What memorable quotation, anecdote, or statistic will catch their attention at the beginning or stick in their minds at the end? What strong summary or call to action can you conclude with?

Response to objections

Conclusion includes restatement of your position and recommended action.

Option 2: Point-by-Point Basis Introduction states issue and your position on it. Reason 1 with evidence and support

model

Beginning A recent research report finds there is more rain on weekends than during the week. Scientists attribute this to the extra work week pollution that builds throughout the week. End We need to plan for more carpooling, efficient heating and cooling, and consolidation of some bus schedules to improve our air quality—and provide better weekend weather.

Objections and responses for reason 1





Conclusion includes restatement of your position and recommended action.

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7 Workplace and Technical Writing

Support Your Points What specific details might clarify your ideas? What reasons do you have for your statements?

Business writing is writing done in a workplace to support the work of a company or business. Several types of formats, such as memos, letters, e-mails, applications, and bylaws, have been developed to make business communication easier.

Finish Strongly How can you best sum up your statements? What is your main point? What action do you want the recipients to take? Revise and Proofread Your Writing Just as you are graded on the quality of an essay you write for a class, you will be judged on the quality of your writing in the workplace.

RUBRIC: Standards for Writing Successful business writing should • be courteous • use language that is geared to its audience • state the purpose clearly in the opening sentences or paragraph • have a formal tone and not contain slang, contractions, or sentence fragments • use precise words • present only essential information • present details in a logical order • conclude with a summary of important points

7.1

key techniques Think About Your Purpose Why are you doing this writing? Do you want to promote yourself to a college admissions committee or a job interviewer? Do you want to order or complain about a product? Do you want to set up a meeting or respond to someone’s ideas? Are you writing bylaws for an organization? Identify Your Audience Who will read your writing? What background information will they need? What tone or language is appropriate? Use a Pattern of Organization That Is Appropriate to the Content If you have to compare and contrast two products in a memo, you can use the same compare-and-contrast organization that you would use in an essay.

7.2

matching the format to the occasion E-mail messages, memos, and letters have similar purposes but are used in different situations. The chart shows how each format can be used. Format

Occasion

Memo

Use to send correspondence inside the workplace only.

E-mail message

Use to send correspondence inside or outside the company.

Letter

Use to send correspondence outside the company.

4)0 Memos are often sent as e-mail messages in the workplace. Remember that both require formal language and standard spelling, capitalization, and punctuation.

practice and apply Refer to the documents on page R43 to complete the following: 1. Draft a response to the letter. Then revise your letter as necessary according to the rubric at the beginning of this section. Make sure you have included the necessary information and have written in an appropriate tone. Proofread your letter for grammatical errors and spelling mistakes. Follow the format of the model and use appropriate spacing between elements. 2. Write a memo in response to the memo. Tell the recipient what actions you have taken. Follow the format of the model.

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Writing Handbook 7.3

formats Business letters usually have a formal tone and a specific format as shown below. The key to writing a business letter is to get to the point as quickly as possible and to present your information clearly. model: business letter

#1 Andover Lane Sunnydale, CA 93933 July 16, 2010 Customer Service Representative Bionic Bikes, Inc. 12558 Industrial Drive Schaumburg, IL 60193 Dear Customer Service Representative: I was really pleased to get a Bionic Bike for my birthday in March. I’ve ridden it every day—to school, to the rec center, and everywhere. The bike is great, but the handlebars are not comfortable. I think you should raise the angle of the hand grips about two inches so that riders can hold them comfortably while looking straight ahead. Thank you for considering my suggestion. Sincerely yours, Marisa LaPorta Marisa LaPorta

Heading Where the letter comes from and when

Inside address To whom the letter is being sent Salutation Greeting Body Text of the message

Closing

Memos are often used in workplaces as a way of conveying information in a direct and concise manner. They can be used to announce or summarize meetings and to request actions or specific information. model: memo

To: Jeff Kniffen From: LaDonna Ford Date: 8/15/2010 Re: Customer Letter

Heading Receiver’s name Sender’s name Complete date Topic of memo

Jeff, please send a brief note to this customer thanking her for her suggestion. Enclose a brochure explaining the structure of the handlebars. Also, please forward the suggestion to the engineers.

Body

Thanks. Don’t forget to write the topic of your memo in the subject line. This will help the receiver determine the importance of your memo. 4)0

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When you apply for a job, you may be asked to fill out an application form. Application forms vary, but most of them ask for similar kinds of information. If you are mailing your application, you may want to include a brief letter.

EMPLOYMENT APPLICATION PERSONAL INFORMATION LAST NAME

FIRST NAME

Kohl

STREET ADDRESS

3240 Maple Dr.

CITY

MIDDLE NAME

Rachel

STATE

St. Augustine

SOCIAL SECURITY NUMBER

904/555-1234

POSITIONS APPLIED FOR:

FULL TIME

ZIP

FL YES

IF EMPLOYED, AND YOU ARE UNDER 16, CAN YOU FURNISH A WORK PERMIT? YES / NO TELEPHONE NUMBER

PART TIME

IF UNDER 18. AGE

Elaine

16

32080

525-88-0723

TEMPORARY

X

EDUCATION NAME OF SCHOOL AND ADDRESS HIGH SCHOOL

GRADUATED? YES / NO

Riverside High School

NUMBER OF YEARS COMPLETED

No

2

COLLEGE

AVAILIBILITY: PLEASE LIST ALL TIMES AVAILABLE TO WORK SUN

MON

TUES

WED

THURS

9a.m.– 5p.m.

FRI

SAT

5p.m.– 9p.m.

9a.m.– 5p.m.

REFERENCES NAME

Monica Lewis

OCCUPATION

Teacher

COMPANY

Riverside High

TELEPHONE NUMBER

904/555-6789

practice and apply Refer to the documents on pages R44 and R45 to complete the following: 1. Visit a business and request an employment application for a job you would like to have. Make sure you understand what each question is asking before you begin to write. Fill out the application as neatly and completely as possible. 2. Write a set of bylaws for an organization that you already belong to or one that you would like to form. Follow the format of the document on page R45.

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Writing Handbook Sometimes you may have to write technical documents, such as a list of procedures for conducting a meeting, a manual on rules of behavior, a troubleshooting guide to Web conferencing equipment, or the minutes of a meeting. These documents contain written descriptions of rules, regulations, and meetings and enable organizations and businesses to run smoothly. These bylaws for an astronomy club include a description of the organization and detailed information about how the club operates. The writer began each section with a heading so that readers could easily find information. The writer was also very specific to aid readers’ understanding of the rules. model: bylaws document

North High School Astronomy Club Bylaws PURPOSE 1. To understand astronomy 2. To make science enjoyable 3. To inform the school and the community about astronomy MEMBERSHIP REQUIREMENTS To qualify for membership, a candidate must 1. be a student at North High School 2. participate in all club fundraisers 3. assist in the production of the newsletter MEETINGS AND RULES OF ORDER 1. Meetings will be held once a month on a day designated by the vote of the regular membership. 2. Meetings will be held in the Science Lab. 3. All meetings will be conducted according to Robert’s Rules of Order. 4. A quorum of seven members must be present for discussion of business items and voting. 5. All officers are voting members of the astronomy club; however, the President votes only when there is a tie. OFFICERS AND THEIR DUTIES 1. The astronomy club will be governed by a panel of officers elected at the start of each school year. 2. Elected officers will consist of President, Vice-President, Secretary, and Treasurer. 3. Officers will meet twice a month. 4. An officers’ meeting requires the attendance of either the President or the Vice-President and the Secretary and Treasurer. 5. Officers may appoint heads to any committee. 6. The President will preside over regular and special meetings. 7. The Vice-President will guide activities of appointed committees. 8. The Secretary will record and distribute meeting minutes. 9. The Treasurer will be responsible for all money collected by the club. writing handbook

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Grammar Handbook Writing that has a lot of mistakes can confuse or even annoy a reader. A business letter with a punctuation error might lead to a miscommunication and delay a reply. Or a sentence fragment might lower your grade on an essay. Paying attention to grammar, punctuation, and capitalization rules can make your writing clearer and easier to read.

86A>;DGC>6

Included in this handbook as indicated: LC1.1 (pgs. R49–R50, R60–R63), LC1.2 (pgs. R48, R52–R67), LC1.3 (pgs. R46–R47, R48, R52–R67), LC1.4 (pgs. R49–R50, R51)

Quick Reference: Parts of Speech part of speech

function

Noun

names a person, a place, a thing, an idea, a quality, or an action

examples

Common

serves as a general name, or a name common to an entire group

boat, anchor, water, sky

Proper

names a specific, one-of-a-kind person, place, or thing

Nile River, Acapulco, Swahili

Singular

refers to a single person, place, thing, or idea

map, berry, deer, mouse

Plural

refers to more than one person, place, thing, or idea

maps, berries, deer, mice

Concrete

names something that can be perceived by the senses

stone, crate, wall, knife

Abstract

names something that cannot be perceived by the senses

courage, caution, tyranny, importance

Compound

expresses a single idea through a combination of two or more words

toothbrush, sister-in-law, South Carolina

Collective

refers to a group of people or things

herd, family, team, staff

Possessive

shows who or what owns something

Kenya’s, Les’s, women’s, waitresses’

Pronoun

takes the place of a noun or another pronoun

Personal

refers to the person making a statement, the person(s) being addressed, or the person(s) or thing(s) the statement is about

I, me, my, mine, we, us, our, ours, you, your, yours, she, he, it, her, him, hers, his, its, they, them, their, theirs

Reflexive

follows a verb or preposition and refers to a preceding noun or pronoun

myself, yourself, herself, himself, itself, ourselves, yourselves, themselves

Intensive

emphasizes a noun or another pronoun

(same as reflexives)

Demonstrative

points to one or more specific persons or things

this, that, these, those

Interrogative

signals a question

who, whom, whose, which, what

Indefinite

refers to one or more persons or things not specifically mentioned

both, all, most, many, anyone, everybody, several, none, some

Relative

introduces an adjective clause by relating it to a word in the clause

who, whom, whose, which, that

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part of speech

function

Verb

expresses an action, a condition, or a state of being

examples

Action

tells what the subject does or did, physically or mentally

run, reaches, listened, consider, decides, dreamed

Linking

connects the subject to something that identifies or describes it

am, is, are, was, were, sound, taste, appear, feel, become, remain, seem

Auxiliary

precedes the main verb in a verb phrase

be, have, do, can, could, will, would, may, might

Transitive

directs the action toward someone or something; always has an object

Mom broke the plate.

Intransitive

does not direct the action toward someone or something; does not have an object

The plate broke.

Adjective

modifies a noun or pronoun

frightened man, two epics, enough time

Adverb

modifies a verb, an adjective, or another adverb walked out, really funny, far away

Preposition

relates one word to another word

Conjunction

joins words or word groups

at, by, for, from, in, of, on, to, with

Coordinating

joins words or word groups used the same way

Correlative

used as a pair to join words or word groups used both . . . and, either . . . or, neither . . . nor the same way

Subordinating

introduces a clause that cannot stand by itself as a complete sentence

although, after, as, before, because, when, if, unless

expresses emotion

whew, yikes, uh-oh

Interjection

and, but, or, for, so, yet, nor

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Quick Reference: The Sentence and Its Parts The diagrams that follow will give you a brief review of the essentials of a sentence and some of its parts. The man’s wallet hit the floor. The complete subject includes all the words that identify the person, place, thing, or idea that the sentence is about.

wallet The simple subject tells exactly whom or what the sentence is about. It may be one word or a group of words, but it does not include modifiers.

The complete predicate includes all the words that tell or ask something about the subject.

hit The simple predicate, or verb, tells what the subject does or is. It may be one word or several, but it does not include modifiers.

Every word in a sentence is part of a complete subject or a complete predicate. For his graduation, the family had given the young man money.

A prepositional phrase consists of a preposition, its object, and any modifiers of the object. In this phrase, for is the preposition and graduation is its object.

subject

Verbs often have more than one part. A verb may be made up of a main verb, like given, and one or more auxiliary, or helping, verbs, like had.

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A direct object is a word or group of words that tells who or what receives the action of the verb. An indirect object is a word or group of words that tells to whom or for whom or to what or for what the verb’s action is performed. A sentence can have an indirect object only if it has a direct object. The indirect object always comes before the direct object.

Grammar Handbook

Quick Reference: Punctuation mark

function

examples

End Marks

ends a sentence

The games begin today.

period, question mark, exclamation point period

Who is your favorite contestant? What a play Jamie made! follows an initial or abbreviation

Prof. Ted Bakerman, D. H. Lawrence, Houghton Mifflin Co., p.m., a.d., oz., ft., Blvd., St.

Exception: postal abbreviations of states

NE (Nebraska), NV (Nevada)

period

follows a number or letter in an outline

I. Volcanoes A. Central-vent 1. Shield

Comma

separates parts of a compound sentence

I have never disliked poetry, but now I really love it.

separates items in a series

She is brave, loyal, and kind.

separates adjectives of equal rank that modify the same noun

The slow, easy route is best.

sets off a term of address

O Wind, if winter comes . . . Come to the front, children.

sets off a parenthetical expression

Hard workers, as you know, don’t quit. I’m not a quitter, believe me.

sets off an introductory word, phrase, or dependent clause

Yes, I forgot my key. At the beginning of the day, I feel fresh. While she was out, I was here. Having finished my chores, I went out.

sets off a nonessential phrase or clause

Ed Pawn, the captain of the chess team, won. Ed Pawn, who is the captain, won. The two leading runners, sprinting toward the finish line, finished in a tie.

sets off parts of dates and addresses

Send it by August 18, 2010, to Cherry Jubilee, Inc., 21 Vernona St., Oakland, Minnesota.

follows the salutation and closing of a letter

Dear Jim, Sincerely yours,

separates words to avoid confusion

By noon, time had run out. What the minister does, does matter. While cooking, Jim burned his hand.

Semicolon

separates items that contain commas in a series

We invited my sister, Jan; her boyfriend, Don; my uncle Jack; and Mary Dodd.

separates parts of a compound sentence that are not joined by a coordinating conjunction

The last shall be first; the first shall be last. I read the Bible; however, I have not memorized it.

separates parts of a compound sentence when the parts contain commas

After I ran out of money, I called my parents; but only my sister was home, unfortunately.

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mark

function

examples

Colon

introduces a list

Those we wrote were the following: Dana, John, and Will.

introduces a long quotation

Susan B. Anthony said: “Woman must not depend upon the protection of man. . . .”

follows the salutation of a business letter

To Whom It May Concern: Dear Ms. Costa:

separates certain numbers

1:28 p.m., Genesis 2:5

Dash

indicates an abrupt break in thought

I was thinking of my mother—who is arriving tomorrow—just as you walked in.

Parentheses

enclose less important material

Throughout her life (though some might think otherwise), she worked hard. The temperature on this July day (would you believe it?) is 65 degrees!

Hyphen

Apostrophe

Quotation Marks

joins parts of a compound adjective before a noun

She lives in a first-floor apartment.

joins part of a compound with all-, ex-, self-, or -elect

The president-elect is a well respected.

joins part of a compound number (to ninety-nine)

Today I turn twenty-one.

joins part of a fraction

My cup is one-third full.

joins a prefix to a word beginning with a capital letter

Is this a pre-Bronze Age artifact?

indicates that a word is divided at the end of a line

Finding the right title has been a challenge for the committee.

used with s to form the possessive of a noun or an indefinite pronoun

my friend’s book, my friends’ books, anyone’s guess, somebody else’s problem

replaces one or more omitted letters in a contraction or numbers in a date

don’t (omitted o), he’d (omitted woul), the class of ’99 (omitted 19)

used with s to form the plural of a letter

I had two A’s on my report card.

set off a speaker’s exact words

Sara said, “I’m finally ready.” “I’m ready,” Sara said, “finally.” Did Sara say, “I’m ready”? Sara said, “I’m ready!”

set off the title of a story, an article, a short poem, an essay, a song, or a chapter

We read Hansberry’s “On Summer” and Alvarez’s “Exile.”

Caesar had a bad day in mid-March.

My eyes watered when I heard “The Star-Spangled Banner.”

Ellipses

replace material omitted from a quotation

“Neither slavery nor involuntary servitude . . . shall exist within the United States. . . .”

Italics

indicate the title of a book, a play, a magazine, a long poem, an opera, a film, or a TV series, or the name of a ship

The Mists of Avalon, Julius Caesar, Newsweek, Paradise Lost, La Bohème, ET, The West Wing, USS John F. Kennedy

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Grammar Handbook

Quick Reference: Capitalization category

examples

People and Titles Names and initials of people

Alice Walker, E. B. White

Titles used before or in place of names

Professor Holmes, Senator Long

Deities and members of religious groups

Jesus, Allah, Buddha, Zeus, Baptists, Roman Catholics

Names of ethnic and national groups

Hispanics, Jews, African Americans

Geographical Names Cities, states, countries, continents

Charleston, Nevada, France, Asia

Regions, bodies of water, mountains

the Midwest, Lake Michigan, Mount Everest

Geographic features, parks

Continental Divide, Everglades, Yellowstone

Streets and roads, planets

361 South Twenty-third Street, Miller Avenue, Jupiter, Saturn

Organizations, Events, Etc. Companies, organizations, teams

Monsanto, the Elks, Chicago Bulls

Buildings, bridges, monuments

the Alamo, Golden Gate Bridge, Lincoln Memorial

Documents, awards

the Constitution, World Cup

Special named events

Super Bowl, World Series

Government bodies, historical periods and events

the Supreme Court, Congress, the Middle Ages, Boston Tea Party

Days and months, holidays

Tuesday, October, Thanksgiving, Valentine’s Day

Specific cars, boats, trains, planes

Cadillac, Titanic, Orient Express

Proper Adjectives Adjectives formed from proper nouns

Doppler effect, Mexican music, Elizabethan age, Midwestern town

First Words and the Pronoun I First word in a sentence or quotation

This is it. He said, “Let’s go.”

First word of sentence in parentheses that is not within another sentence

The spelling rules are covered in another section. (Consult that section for more information.)

First words in the salutation and closing of a letter

Dear Madam, Very truly yours,

First word in each line of most poetry

Then am I

Personal pronoun I

A happy fly If I live Or if I die.

First word, last word, and all important words in a title

A Tale of Two Cities, “The World Is Too Much with Us”

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1 Nouns

2.1

Personal pronouns change their form to express person, number, gender, and case. The forms of these pronouns are shown in the following chart.

A noun is a word used to name a person, a place, a thing, an idea, a quality, or an action. Nouns can be classified in several ways. For more information on different types of nouns, see Quick Reference: Parts of Speech, page R46.

1.1

1.2

Objective

Possessive

common nouns

First person

I

me

my, mine

Common nouns are general names, common to entire groups.

Second person

you

you

your, yours

Third person

she, he, it

her, him, it

her, hers, his, its

proper nouns Plural

Common

Proper

First person

we

us

our, ours

motor, tree, time, children

Bradbury, Eastern Standard Time, Maine

Second person

you

you

your, yours

Third person

they

them

their, theirs

For more information, see Quick Reference: Capitalization, page R51.

singular and plural nouns A noun may take a singular or a plural form, depending on whether it names a single person, place, thing, or idea or more than one. Make sure you use appropriate spellings when forming plurals.

1.4

Nominative Singular

Proper nouns name specific, one-of-a-kind things.

1.3

personal pronouns

Singular

Plural

rocket, sky, life

rockets, skies, lives

2.2

agreement with antecedent Pronouns should agree with their antecedents in number, gender, and person. If an antecedent is singular, use a singular pronoun. EXAMPLE: Malcolm

waved as he boarded the bus to

the airport. If an antecedent is plural, use a plural pronoun. EXAMPLES:

For more information, see Forming Plural Nouns, page R74.

Malcolm and Hal shared a sandwich as they waited to board the plane.

possessive nouns

Delores and Arnetta rode their bikes to the park.

A possessive noun shows who or what owns something. For more information, see Forming Possessives, page R74.

2 Pronouns A pronoun is a word that is used in place of a noun or another pronoun. The word or word group to which the pronoun refers is called its antecedent.

The gender of a pronoun must be the same as the gender of its antecedent. EXAMPLES:

William will give his final performance tonight. Marla played her trumpet. The person of the pronoun must be the same as the person of its antecedent. As the chart in Section 2.1 shows, a pronoun can be in first-, second-, or third-person form. EXAMPLE: You classical music fans still have time to buy your tickets.

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Grammar Handbook 4)0 To decide which pronoun to use in a comparison, such as “He tells better tales than (I or me),” fill in the missing word(s): He tells better tales than I tell.

grammar practice Rewrite each sentence so that the underlined pronoun agrees with its antecedent. 1. “The Possibility of Evil” tells about a woman in a small town and its strange ideas.

grammar practice

2. Adela thinks the town is hers because her grandfather built them.

Replace the underlined words in each sentence with an appropriate pronoun and identify the pronoun as a nominative, an objective, or a possessive pronoun.

3. Adela writes anonymous letters to people in the town and hurts its feelings.

1. Sophocles was a famous playwright in ancient Greece.

4. Helena Crane worried about her baby; she thought it might be slow.

2. Antigone is one of Sophocles’ most important dramas.

5. A boy delivers the letter to Don Crane and they take revenge by destroying her roses.

2.3

3. Antigone and Ismene are two of the main characters.

pronoun case

4. Creon condemns Antigone and Ismene.

Personal pronouns change form to show how they function in sentences. Different functions are shown by different cases. The three cases are nominative, objective, and possessive. For examples of these pronouns, see the chart in Section 2.1.

5. The Greek chorus represents the ordinary citizens.

A nominative pronoun is used as a subject or a predicate nominative in a sentence. An objective pronoun is used as a direct object, an indirect object, or the object of a preposition. SUBJECT

OBJECT

OBJECT OF PREPOSITION

She brought him to us. A possessive pronoun shows ownership. The pronouns mine, yours, hers, his, its, ours, and theirs can be used in place of nouns. EXAMPLE: This

book is mine.

The pronouns my, your, her, his, its, our, and their are used before nouns. EXAMPLE: This

is my book.

Many spelling errors can be avoided if you watch out for its and their. Don’t confuse the possessive pronoun its with the contraction it’s, meaning “it is” or “it has.” The homonyms they’re (a contraction of they are) and there (“in that place”) are often mistakenly used for their. 7!4#(ß/54

2.4

reflexive and intensive pronouns These pronouns are formed by adding -self or -selves to certain personal pronouns. Their forms are the same, and they differ only in how they are used. A reflexive pronoun follows a verb or preposition and reflects back on an earlier noun or pronoun. EXAMPLES:

He likes himself too much. Kiyoko treated herself to dessert. Intensive pronouns intensify or emphasize the nouns or pronouns to which they refer. EXAMPLES:

The merchants themselves enjoyed sampling the foods. You did it yourself. 7!4#(ß/54 Avoid using hisself or theirselves. Standard English does not include these forms. NONSTANDARD: The children sang STANDARD: The

theirselves to sleep.

children sang themselves to sleep.

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2.5

Since the verb has a subject ( you), the needed word must be the object form, whom.

demonstrative pronouns Demonstrative pronouns point out things and persons near and far. Singular

Plural

Near

this

these

Far

that

those

A special problem arises when you use an interrupter, such as do you think, within a question. EXAMPLE:

Singular

Plural

Singular or Plural

another

both

all

none

anybody

few

any

some

no one

many

more

most

neither

several

Indefinite pronouns that end in one, body, or thing are always singular. 4)0

CORRECT:

Everyone brought their clarinet.

Everyone brought his or her clarinet.

If the indefinite pronoun might refer to either a male or a female, his or her may be used to refer to it, or the sentence may be rewritten. EXAMPLES:

Did everybody play his or her part well?

Did all the students play their parts well?

interrogative pronouns An interrogative pronoun tells a reader or listener that a question is coming. The interrogative pronouns are who, whom, whose, which, and what. EXAMPLES: Who

wrote that song?

From whom did you get the answer? Who is used as a subject, whom as an object. To find out which pronoun you need to use in a question, change the question to a statement. 4)0

qUESTION: (Who/Whom) are you speaking to? STATEMENT: You

(Who/Whom) do you think is the better

singer?

Indefinite pronouns do not refer to specific persons or things and usually have no antecedents. The chart shows some commonly used indefinite pronouns.

INCORRECT:

are you speaking to?

7!4#(ß/54

indefinite pronouns

2.6

2.7

EXAMPLE: Whom

are speaking to (?).

If you eliminate the interrupter, it is clear that the word you need is who. 2.8

relative pronouns Relative pronouns relate, or connect, adjective clauses to the words they modify in sentences. The noun or pronoun that a relative clause modifies is the antecedent of the relative pronoun. Here are the relative pronouns and their uses. Replaces

Subject

Object

Possessive

Person

who

whom

whose

Thing

which

which

whose

Thing/Person

that

that

whose

Often short sentences with related ideas can be combined by using a relative pronoun to create a more effective sentence. SHORT SENTENCE:

Joan Aiken decided to become a writer at an early age.

RELATED SENTENCE:

Joan Aiken’s father was a poet.

COMBINED SENTENCE: Joan Aiken, whose father was a poet, decided to become a writer at an early age.

grammar practice Write the correct form of each incorrect pronoun. 1. Whom has read “By the Waters of Babylon”? 2. Stephen Vincent Benét, which is a famous American author, wrote the story. 3. In “By the Waters of Babylon,” him who touches the metal in the Dead Places must be a priest or son of a priest. 4. The narrator’s father hisself questioned him. 5. When John saw a heap of broken stones, he cautiously approached them stones.

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Grammar Handbook 2.9

pronoun reference problems

3.1

Action verbs express mental or physical activity.

The referent of a pronoun should always be clear. Avoid problems by rewriting sentences. An indefinite reference occurs when the pronoun it, you, or they does not clearly refer to a specific antecedent.

EXAMPLE: You

3.2

the article, it claims that the new Pink Blur CD is terrific. article claims that the new Pink Blur CD

hit the target.

linking verbs Linking verbs join subjects with words or phrases that rename or describe them.

UNCLEAR: In

CLEAR: The

action verbs

EXAMPLE: She

3.3

is terrific.

is our queen.

principal parts Action and linking verbs typically have four principal parts, which are used to form verb tenses. The principal parts are the present, the present participle, the past, and the past participle.

A general reference occurs when the pronoun it, this, that, which, or such is used to refer to a general idea rather than a specific antecedent. UNCLEAR: Trudy

Action verbs and some linking verbs also fall into two categories: regular and irregular. A regular verb is a verb that forms its past and past participle by adding -ed or -d to the present form.

practices the guitar every day. This has improved her playing.

CLEAR: Trudy

practices the guitar every day. Practicing has improved her playing.

Present

Past

Past Participle

perform (is) performing

performed

(has) performed

hope

(is) hoping

hoped

(has) hoped

music.

stop

(is) stopping

stopped

(has) stopped

CLEAR: While Jeb listened to music, he talked to Max.

marry

(is) marrying

married

(has) married

Ambiguous means “having more than one possible meaning.” An ambiguous reference occurs when a pronoun could refer to two or more antecedents. UNCLEAR:

Jeb talked to Max while he listened to

Present Participle

grammar practice An irregular verb is a verb that forms its past and past participle in some other way than by adding -ed or -d to the present form.

Rewrite the following sentences to correct indefinite, ambiguous, and general pronoun references. 1. In the story “To Build A Fire,” it tells about a man trying to survive in extremely cold conditions.

Present

Present Participle

Past

Past Participle

2. The man almost stepped in a trap. This made him use the dog to test the trail.

bring

(is) bringing

brought

(has) brought

swim

(is) swimming

swam

(has) swum

3. An old-timer told the miner that running would make his feet freeze faster.

steal

(is) stealing

stole

(has) stolen

grow

(is) growing

grew

(has) grown

4. Snow from a tree fell and put out the man’s fire. This made him panic.

3.4

3 Verbs A verb is a word that expresses an action, a condition, or a state of being. For more information, see Quick Reference: Parts of Speech, page R47.

verb tense The tense of a verb indicates the time of the action or state of being. An action or a state of being can occur in the present, the past, or the future. There are six tenses, each expressing a different range of time.

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The present tense expresses an action or a state that is happening at the present time, occurs regularly, or is constant or generally true. Use the present part. NOW: This

soup tastes delicious.

REGULAR:

I make vegetable soup often.

GENERAL:

Crops require sun, rain, and rich soil.

The past tense expresses an action that began and ended in the past. Use the past part. EXAMPLE: The

diver bought a shark cage.

The future tense expresses an action or a state that will occur. Use shall or will with the present part. EXAMPLE: The

shark will destroy this cage.

The present perfect tense expresses an action or a state that (1) was completed at an indefinite time in the past or (2) began in the past and continues into the present. Use have or has with the past participle. EXAMPLE: The

diver has used shark cages before.

The past perfect tense expresses an action in the past that came before another action in the past. Use had with the past participle. EXAMPLE: He

had looked everywhere for a cage.

The future perfect tense expresses an action in the future that will be completed before another action in the future. Use shall have or will have with the past participle. EXAMPLE: Before

the day ends, the shark will have destroyed three cages. A past-tense form of an irregular verb is not used with an auxiliary verb, but a past-participle main irregular verb is always used with an auxiliary verb. 4)0

INCORRECT: CORRECT:

I have seen her somewhere before.

INCORRECT:

3.5

I have saw her somewhere before. I seen her somewhere before.

progressive forms The progressive forms of the six tenses show ongoing actions. Use forms of be with the present participles of verbs.

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PRESENT PROGRESSIVE: We PAST PROGRESSIVE: We

are dancing.

were dancing.

FUTURE PROGRESSIVE: We

will be dancing.

PRESENT PERFECT PROGRESSIVE: We PAST PERFECT PROGRESSIVE: We

have been dancing.

had been dancing.

FUTURE PERFECT PROGRESSIVE: We will have been dancing.

7!4#(ß/54 Do not shift from tense to tense needlessly. Watch out for these special cases:

• In most compound sentences and in sentences with compound predicates, keep the tenses the same. INCORRECT:

I keyed in the password, but I get an error message. CORRECT:

I keyed in the password, but I got an error message.

• If one past action happened before another, do shift tenses. INCORRECT: They CORRECT: They

wished they started earlier.

wished they had started earlier.

grammar practice Rewrite each sentence, using a form of the verb in parentheses. Identify each form that you use. 1. In her stories, Alice Walker (show) the dignity of people who are her subjects. 2. Alice Walker (write) “Everyday Use.” 3. The mother in the story (know) both her daughters well. 4. The mother (sweep) the yard. 5. Their other house (burn) down. 6. The story (show) how the mother respects the everyday use of the quilts. Rewrite each sentence to correct an error in tense. 7. Maggie wants the quilts and appreciated their value. 8. Dee wants the quilt and she wanted to display them. 9. Maggie and her mother had knew the quilts could be used as bedcovers. 10. Dee have argued with her family.


active and passive voice

4.2

The voice of a verb tells whether its subject performs or receives the action expressed by the verb. When the subject performs the action, the verb is in the active voice. When the subject is the receiver of the action, the verb is in the passive voice.

Most adjectives come before the nouns they modify, as in the preceding examples. A predicate adjective, however, follows a linking verb and describes the subject.

Compare these two sentences:

Be especially careful to use adjectives (not adverbs) after such linking verbs as look, feel, grow, taste, and smell.

ACTIVE:

EXAMPLE:

Her sunglasses hid her face.

PASSIVE: Her

face was hidden by her sunglasses.

To form the passive voice, use a form of be with the past participle of the verb.

4.3

adverbs

WHERE: The

was given the handmade quilts by

her mother.

WHEN: The

BETTER: Her

HOW: We

mother gave her the handmade quilts.

EXAMPLES:

• the doer is unknown: My books were stolen.

tiny, impressive, bold, rotten

EXAMPLE: The bold officer stood in front of the crowd. HOW MANY: EXAMPLE:

some, few, ten, none, both, each

Some diners had sweet potatoes.

HOW MUCH:

more, less, enough, fast

EXAMPLE: There

everyone.

was enough chicken to serve

or adverb?

Many adverbs are formed by adding -ly to adjectives. EXAMPLES:

sweet, sweetly; gentle, gently

However, -ly added to a noun will usually yield an adjective.

adjectives

WHAT KIND:

Suddenly the wind shifted.

4.4 adjective

tomatoes have grown quickly.

worked very hard.

The wind shifted suddenly.

Modifiers are words or groups of words that change or limit the meanings of other words. Adjectives and adverbs are common modifiers.

EXAMPLE: These

walked slowly behind the leader.

The wind suddenly shifted.

• the doer is unimportant: French is spoken here.

WHICH ONE: this, that, these, those

author spoke yesterday.

Adverbs may occur in many places in sentences, both before and after the words they modify.

• you want to emphasize the receiver: The king was shot.

Adjectives modify nouns and pronouns by telling which one, what kind, how many, or how much.

children played outside.

TO WHAT EXTENT: He

There are occasions when you will choose to use the passive voice because

4 Modifiers

weather grows cold.

Adverbs modify verbs, adjectives, and other adverbs by telling where, when, how, or to what extent.

can make writing awkward and less direct. AWKWARD: She

My friends are very intelligent.

EXAMPLE: The

7!4#(ß/54 Use the passive voice sparingly. It

4.1

predicate adjectives

EXAMPLES:

4.5

friend, friendly; woman, womanly

comparison of modifiers Modifiers can be used to compare two or more things. The form of a modifier shows the degree of comparison. Both adjectives and adverbs have comparative and superlative forms. The comparative form is used to compare two things, groups, or actions. EXAMPLES:

His emperor’s chariots are faster than mine. Brutus’ speech was more effective than Cassius’ speech. grammar handbook

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The superlative form is used to compare more than two things, groups, or actions. EXAMPLES:

The emperor’s chariots are the fastest. Antony’s speech was the most effective of all. 4.6 regular

comparisons

Most one-syllable and some two-syllable adjectives and adverbs have comparatives and superlatives formed by adding -er and -est. All three-syllable and most two-syllable modifiers have comparatives and superlatives formed with more or most. Modifier

Comparative

Superlative

tall

taller

tallest

kind

kinder

kindest

droopy

droopier

droopiest

expensive

more expensive

most expensive

wasteful

more wasteful

most wasteful

7!4#(ß/54 Note that spelling changes must

sometimes be made to form the comparatives and superlatives of modifiers. EXAMPLES:

friendly, friendlier (Change y to i and add the ending.) sad, sadder (Double the final consonant and add the ending.) 4.7

problems with modifiers Study the tips that follow to avoid common mistakes: Farther and Further Use farther for distances; use further for everything else. Double Comparisons Make a comparison by using -er/-est or by using more/most. Using -er with more or using -est with most is incorrect. INCORRECT: CORRECT: I

I like her more better than she likes me.

like her better than she likes me.

Illogical Comparisons An illogical or confusing comparison results when two unrelated things are compared or when something is compared with itself. The word other or the word else should be used in a comparison of an individual member to the rest of a group. ILLOGICAL: The

narrator was more curious about the war than any student in his class. (implies that the narrator isn’t a student in the class)

LOGICAL: The

narrator was more curious about the war than any other student in his class. (identifies that the narrator is a student) Bad vs. Badly Bad, always an adjective, is used before a noun or after a linking verb. Badly, always an adverb, never modifies a noun. Be sure to use the right form after a linking verb. INCORRECT:

Ed felt badly after his team lost.

CORRECT: Ed

irregular comparisons Some commonly used modifiers have irregular comparative and superlative forms. They are listed in the following chart.

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4.8

felt bad after his team lost.

Good vs. Well Good is always an adjective. It is used before a noun or after a linking verb. Well is often an adverb meaning “expertly” or “properly.” Well can also be used as an adjective after a linking verb when it means “in good health.”

Modifier

Comparative

Superlative

good

better

best

INCORRECT:

bad

worse

worst

CORRECT: Helen

far

farther or further

farthest or furthest

CORRECT: Yesterday

little

less or lesser

least

many

more

most

well

better

best

much

more

most

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Helen writes very good. writes very well. I felt bad; today I feel well.

Double Negatives If you add a negative word to a sentence that is already negative, the result will be an error known as a double negative. When using not or -n’t with a verb, use any- words, such as

Grammar Handbook anybody or anything, rather than no- words, such as nobody or nothing, later in the sentence. INCORRECT: I CORRECT: I

grammar practice

don’t have no money.

Rewrite each sentence that contains a misplaced or dangling modifier. Write “correct” if the sentence is written correctly.

don’t have any money.

Using hardly, barely, or scarcely after a negative word is also incorrect. INCORRECT: They CORRECT: They

1. Ballerinas were on the television screen with weights. 2. Looking at the television, a buzzer sounded in George’s head.

couldn’t barely see two feet ahead.

could barely see two feet ahead.

Misplaced Modifiers Sometimes a modifier is placed so far away from the word it modifies that the intended meaning of the sentence is unclear. Prepositional phrases and participial phrases are often misplaced. Place modifiers as close as possible to the words they modify. MISPLACED: The

ranger explained how to find ducks in her office. (The ducks were not in the ranger’s office.)

3. White and trembling, tears were in his eyes. 4. Being above average was not allowed in the story “Harrison Bergeron,” making people like everyone else.

5 The Sentence and Its Parts A sentence is a group of words used to express a complete thought. A complete sentence has a subject and a predicate.

CLEARER: In

her office, the ranger explained how to find ducks.

Dangling Modifiers Sometimes a modifier doesn’t appear to modify any word in a sentence. Most dangling modifiers are participial phrases or infinitive phrases.

For more information, see Quick Reference: The Sentence and Its Parts, page R48.

5.1

kinds of sentences There are four basic types of sentences. Type

Definition

Example

Declarative

states a fact, a wish, an intent, or a feeling

I read White’s essay last night.

Interrogative

asks a question

Did you like the essay?

grammar practice

Imperative

gives a command or direction

Read this paragraph aloud.

Choose the correct word or words from each pair in parentheses.

Exclamatory

expresses strong feeling or excitement

I wish I had thought of that!

DANGLING: Coming

home with groceries, our parrot

said, “Hello!” CLEARER:

Coming home with groceries, we heard our parrot say, “Hello!”

1. The play Julius Caesar is about the death of the (powerfulest, most powerful) emperor of Roman times. 2. The emperor didn’t pay (no, any) attention to the soothsayer who warned him about the ides of March. 3. Caesar (could, couldn’t) hardly know what lay in store for him. 4. He thought Brutus loved him (well, good).

5.2

compound subjects and predicates A compound subject consists of two or more subjects that share the same verb. They are typically joined by the coordinating conjunction and or or. EXAMPLE: Ray and Joe write about families.

A compound predicate consists of two or more predicates that share the same subject. They too are typically joined by a coordinating conjunction, usually and, but, or or. grammar handbook

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EXAMPLE: The father in “Those Winter Sundays” got up early and dressed in the dark.

5.3

6 Phrases A phrase is a group of related words that does not contain a subject and a predicate but functions in a sentence as a single part of speech.

complements A complement is a word or group of words that completes the meaning of the sentence. Some sentences contain only a subject and a verb. Most sentences, however, require additional words placed after the verb to complete the meaning of the sentence. There are three kinds of complements: direct objects, indirect objects, and subject complements.

6.1

A prepositional phrase is a phrase that consists of a preposition, its object, and any modifiers of the object. Prepositional phrases that modify nouns or pronouns are called adjective phrases. Prepositional phrases that modify verbs, adjectives, or adverbs are adverb phrases.

Direct objects are words or word groups that receive the action of action verbs. A direct object answers the question what or whom.

ADJECTIVE PHRASE: The

The teacher quickly answered the students. (Answered whom?) Indirect objects tell to whom or what or for whom or what the actions of verbs are performed. Indirect objects come before direct objects. In the examples that follow, the indirect objects are highlighted. EXAMPLES:

My sister usually gave her friends good advice. (Gave to whom?) Her brother sent the store a heavy package. (Sent to what?) Subject complements come after linking verbs and identify or describe the subjects. A subject complement that names or identifies a subject is called a predicate nominative. Predicate nominatives include predicate nouns and predicate pronouns. EXAMPLES:

My friends are very hard workers. The best writer in the class is she. A subject complement that describes a subject is called a predicate adjective. EXAMPLE: The

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pianist appeared very energetic.

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central character of the story

is a villain. ADVERB PHRASE: He reveals his nature in the first scene.

EXAMPLES:

The students asked many questions. (Asked what?)

prepositional phrases

6.2

appositives and appositive phrases An appositive is a noun or pronoun that identifies or renames another noun or pronoun. An appositive phrase includes an appositive and modifiers of it. An appositive can be either essential or nonessential. An essential appositive provides information that is needed to identify what is referred to by the preceding noun or pronoun. EXAMPLE: This poem was written by author Walt Whitman.

A nonessential appositive adds extra information about a noun or pronoun whose meaning is already clear. Nonessential appositives and appositive phrases are set off with commas. EXAMPLE: He wrote this poem, a sad remembrance of war, about an artilleryman.

7 Verbals and Verbal Phrases A verbal is a verb form that is used as a noun, an adjective, or an adverb. A verbal phrase consists of a verbal along with its modifiers and complements. There are three kinds of verbals: infinitives, participles, and gerunds.


infinitives and infinitive phrases

7.3

A participle or participial phrase should be placed as close as possible to the word that it modifies. Otherwise the meaning of the sentence may not be clear.

An infinitive is a verb form that usually begins with to and functions as a noun, an adjective, or an adverb. An infinitive phrase consists of an infinitive plus its modifiers and complements. The examples that follow show several uses of infinitive phrases. NOUN: To

MISPLACED: The

boys were looking for squirrels searching the trees.

CLEARER: The

boys searching the trees were looking for squirrels.

know her is my only desire. (subject)

I’m planning to walk with you. (direct object) Her goal was to promote women’s rights. (predicate nominative)

A participle or participial phrase that does not clearly modify anything in a sentence is called a dangling participle. A dangling participle causes confusion because it appears to modify a word that it cannot sensibly modify. Correct a dangling participle by providing a word for the participle to modify.

ADJECTIVE: We saw his need to be loved. (adjective modifying need) ADVERB: She

wrote to voice her opinions. (adverb modifying wrote)

Because to, the sign of the infinitive, precedes infinitives, it is usually easy to recognize them. However, sometimes to may be omitted. EXAMPLE:

7.2

DANGLING:

Running like the wind, my hat fell off. (The hat wasn’t running.) CLEARER:

Let no one dare [to] enter this shrine.

participles and participial phrases A participle is a verb form that functions as an adjective. Like adjectives, participles modify nouns and pronouns. Most participles are presentparticiple forms, ending in -ing, or past-participle forms ending in -ed or -en. In the examples that follow, the participles are highlighted. MODIFYING A NOUN: The

smiling man ate another

dangling and misplaced participles

7.4

Running like the wind, I lost my hat.

gerunds and gerund phrases A gerund is a verb form ending in -ing that functions as a noun. Gerunds may perform any function nouns perform. SUBJECT:

Running is my favorite pastime.

DIRECT OBJECT:

I truly love running.

INDIRECT OBJECT: You

should give running a try.

SUBJECT COMPLEMENT:

My deepest passion is running.

fried chicken wing.

OBJECT OF PREPOSITION:

MODIFYING A PRONOUN: Ignored, she slipped out of the room unnoticed.

strong.

Participial phrases are participles with all their modifiers and complements. MODIFYING A NOUN: Visiting

gardens, butterflies flit

among the flowers. MODIFYING A PRONOUN: Driven

the flowers as meal stops.

Her love of running keeps her

Gerund phrases are gerunds with all their modifiers and complements. SUBJECT: Wishing

on a star never got me far.

OBJECT OF PREPOSITION:

I will finish before leaving the

office. by instinct, they use

APPOSITIVE: Her

avocation, flying airplanes, finally led to full-time employment.

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as an adjective. It usually follows the noun or pronoun it modifies.

grammar practice

EXAMPLE: Robert

Frost wrote about birch tree branches that boys swing on.

Rewrite each sentence, adding the type of phrase shown in parentheses. 1. Tolstoy was orphaned by age nine. (participial phrase)

Adjective clauses are typically introduced by the relative pronoun who, whom, whose, which, or that.

2. War and Peace was published in 1869. (appositive phrase)

For more information, see Relative Pronouns, page R54. EXAMPLES:

3. Ivan tried to convince his wife. (infinitive phrase)

One song that we like became our theme song.

4. Ivan was happy. (gerund phrase)

Emily Dickinson, whose poems have touched many, lived a very quiet life.

5. Ivan gradually lost interest in Varenka. (appositive phrase)

An adjective clause can be either essential or nonessential. An essential adjective clause provides information that is necessary to identify the preceding noun or pronoun.

8 Clauses A clause is a group of words that contains a subject and a verb. There are two kinds of clauses: independent clauses and subordinate clauses. 8.1

EXAMPLE: The

candidate whom we selected promised to serve us well. A nonessential adjective clause adds additional information about a noun or pronoun whose meaning is already clear. Nonessential clauses are set off with commas.

independent and subordinate clauses An independent clause can stand alone as a sentence, as the word independent suggests. INDEPENDENT CLAUSE: Emily

Dickinson did not wish her poems to be published.

EXAMPLE: Brookhaven

National Laboratory, which employs Mr. Davis, is in Upton, New York.

A sentence may contain more than one independent clause.

The relative pronouns whom, which, and that may sometimes be omitted when they are objects in adjective clauses. 4)0

EXAMPLE: Emily

Dickinson did not wish her poems to be published, but seven were published during her lifetime. In the preceding example, the coordinating conjunction but joins two independent clauses.

8.3

is a writer [whom] millions enjoy.

adverb clauses

For more information, see Coordinating Conjunction, page R47.

An adverb clause is a subordinate clause that is used to modify a verb, an adjective, or an adverb. It is introduced by a subordinating conjunction.

A subordinate clause cannot stand alone as a sentence. It is subordinate to, or dependent on, an independent clause.

For examples of subordinating conjunctions, see Noun Clauses, page R63.

EXAMPLE: Emily

Dickinson did not wish her poems to be published, although she shared them with friends.

8.2

EXAMPLE: Frost

Adverb clauses typically occur at the beginning or end of sentences. MODIFYING A VERB: When

we need you, we will call.

The highlighted clause cannot stand by itself.

MODIFYING AN ADVERB: I’ll stay here where there is shelter from the rain.

adjective clauses

MODIFYING AN ADJECTIVE: Roman

An adjective clause is a subordinate clause used

had ever felt.

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felt as good as he


The fact that such a sentence is called simple does not mean that it is uncomplicated. Various parts of simple sentences may be compound, and simple sentences may contain grammatical structures such as appositive and verbal phrases.

noun clauses A noun clause is a subordinate clause that is used as a noun. A noun clause may be used as a subject, a direct object, an indirect object, a predicate nominative, or an object of a preposition. Noun clauses are introduced either by pronouns, such as that, what, who, whoever, which, and whose, or by subordinating conjunctions, such as how, when, where, why, and whether.

EXAMPLES:

Mark Twain, an unsuccessful gold miner, wrote many successful satires and tall tales. (appositive and compound direct object) Pablo Neruda, drawn to writing poetry at an early age, won celebrity at age 20. (participial and gerund phrases)

For more subordinating conjunctions, see Quick Reference: Parts of Speech, page R47.

4)0 Because the same words may introduce adjective and noun clauses, you need to consider how a clause functions within its sentence. To determine if a clause is a noun clause, try substituting something or someone for the clause. If you can do it, it is probably a noun clause. EXAMPLES:

9.2

A compound sentence consists of two or more independent clauses. The clauses in compound sentences are joined with commas and coordinating conjunctions (and, but, or, nor, yet, for, so) or with semicolons. Like simple sentences, compound sentences do not contain any subordinate clauses.

I know whose woods these are.

(“I know something.” The clause is a noun clause, direct object of the verb know.)

EXAMPLES:

I enjoyed Bradbury’s story “The Utterly Perfect Murder,” and I want to read more of his stories.

Give a copy to whoever wants one. (“Give a copy to someone.” The clause is a noun clause, object of the preposition to.)

Amy Lowell’s poem “The Taxi” has powerful images; however, it does not use the word taxi anywhere in it.

grammar practice Add descriptive details to each sentence by writing the type of clause indicated in parentheses.

7!4#(ß/54 Do not confuse compound sentences with simple sentences that have compound parts.

1. Mr. Davis is a scientist. (adjective clause)

EXAMPLE:

A subcommittee drafted a document and immediately presented it to the entire group. (Here and joins parts of a compound predicate, not a compound sentence.)

2. He has invented many things. (adjective clause) 3. He works. (adverb clause) 4. He does his best thinking at night. (adverb clause) 5. He should invent a better backpack. (adjective clause)

9 The Structure of Sentences When classified by their structure, there are four kinds of sentences: simple, compound, complex, and compound-complex. 9.1

simple sentences A simple sentence is a sentence that has one independent clause and no subordinate clauses.

compound sentences

9.3

complex sentences A complex sentence consists of one independent clause and one or more subordinate clauses. Each subordinate clause can be used as a noun or as a modifier. If it is used as a modifier, a subordinate clause usually modifies a word in the independent clause, and the independent clause can stand alone. However, when a subordinate clause is a noun clause, it is a part of the independent clause; the two cannot be separated.

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MODIFIER:

One should not complain unless one has a better solution.

NOUN CLAUSE: We

sketched pictures of whomever we wished. (The noun clause is the object of the preposition of and cannot be separated from the rest of the sentence.)

9.4 compound-complex

sentences

A compound-complex sentence contains two or more independent clauses and one or more subordinate clauses. Compound-complex sentences are, simply, both compound and complex. If you start with a compound sentence, all you need to do to form a compound-complex sentence is add a subordinate clause. COMPOUND: All

the students knew the answer, yet they were too shy to volunteer.

COMPOUND-COMPLEX:

All the students knew the answer that their teacher expected, yet they were too shy to volunteer.

9.5

parallel structure When you write sentences, make sure that coordinate parts are equivalent, or parallel, in structure. NOT PARALLEL:

Erin loved basketball and to play hockey. (Basketball is a noun; to play hockey is a phrase.)

PARALLEL:

Erin loved basketball and hockey. (Basketball and hockey are both nouns.) NOT PARALLEL: He

wanted to rent an apartment, a new car, and traveling around the country. (To rent is an infinitive, car is a noun, and traveling is a gerund.)

PARALLEL: He

wanted to rent an apartment, to drive a new car, and to travel around the country. (To rent, to drive, and to travel are all infinitives.)

10 Writing Complete Sentences Remember, a sentence is a group of words that expresses a complete thought. In formal writing, try to avoid both sentence fragments and run-on sentences.

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10.1

correcting fragments A sentence fragment is a group of words that is only part of a sentence. It does not express a complete thought and may be confusing to a reader or listener. A sentence fragment may be lacking a subject, a predicate, or both. FRAGMENT: Waited

for the boat to arrive. (no

subject) CORRECTED: We

waited for the boat to arrive.

FRAGMENT:

People of various races, ages, and creeds. (no predicate)

CORRECTED:

People of various races, ages, and creeds gathered together.

FRAGMENT: Near

the old cottage. (neither subject

nor predicate) CORRECTED: The burial ground is near the old cottage.

In your writing, fragments may be a result of haste or incorrect punctuation. Sometimes fixing a fragment will be a matter of attaching it to a preceding or following sentence. FRAGMENT: We

saw the two girls. Waiting for the bus to arrive.

CORRECTED: We

saw the two girls waiting for the

bus to arrive. 10.2 correcting

run-on sentences

A run-on sentence is made up of two or more sentences written as though they were one. Some run-ons have no punctuation within them. Others may have only commas where conjunctions or stronger punctuation marks are necessary. Use your judgment in correcting run-on sentences, as you have choices. You can make a run-on two sentences if the thoughts are not closely connected. If the thoughts are closely related, you can keep the run-on as one sentence by adding a semicolon or a conjunction. RUN-ON: We

found a place for the picnic by a small pond it was three miles from the village. MAKE TWO SENTENCES: We

found a place for the picnic by a small pond. It was three miles from the village.

Grammar Handbook RUN-ON: We

found a place for the picnic by a small pond it was perfect. USE A SEMICOLON: We

found a place for the picnic by a small pond; it was perfect.

ADD A CONJUNCTION: We

found a place for the picnic by a small pond, and it was perfect.

7!4#(ß/54 When you form compound

sentences, make sure you use appropriate punctuation: a comma before a coordinating conjunction, a semicolon when there is no coordinating conjunction. A very common mistake is to use a comma alone instead of a comma and a conjunction. This error is called a comma splice. INCORRECT:

He finished the apprenticeship, he left the village.

CORRECT:

He finished the apprenticeship, and he left the village.

Forms of Be Present Tense

Past Tense

Singular

Plural

Singular

Plural

I am

we are

I was

we were

you are

you are

you were

you were

she, he, it is

they are

she, he, it was they were

11.3 words

between subject and verb

A verb agrees only with its subject. When words come between a subject and a verb, ignore them when considering proper agreement. Identify the subject, and make sure the verb agrees with it. EXAMPLES:

A story in the newspapers tells about the 1890s. Dad as well as Mom reads the paper daily. 11.4 agreement

11 Subject-Verb Agreement The subject and verb in a clause must agree in number. Agreement means that if the subject is singular, the verb is also singular, and if the subject is plural, the verb is also plural. 11.1

basic agreement Fortunately, agreement between subjects and verbs in English is simple. Most verbs show the difference between singular and plural only in the third person of the present tense. In the present tense, the third-person singular form ends in -s. Present-Tense Verb Forms

11.2

Singular

Plural

I jog

we jog

you jog

you jog

she, he, it jogs

they jog

agreement with be The verb be presents special problems in agreement, because this verb does not follow the usual verb patterns.

with compound subjects

Use plural verbs with most compound subjects joined by the word and. EXAMPLE:

My father and his friends play chess every day. To confirm that you need a plural verb, you could substitute the plural pronoun they for my father and his friends. If a compound subject is thought of as a unit, use a singular verb. Test this by substituting the singular pronoun it. EXAMPLE: Peanut butter and jelly [it] is my brother’s favorite sandwich.

Use a singular verb with a compound subject that is preceded by each, every, or many a. EXAMPLE: Each novel and short story seems grounded in personal experience.

When the parts of a compound subject are joined by or, nor, or the correlative conjunctions either . . . or or neither . . . nor, make the verb agree with the noun or pronoun nearest the verb. EXAMPLES:

Cookies or ice cream is my favorite dessert. Either Cheryl or her friends are being invited. Neither ice storms nor snow is predicted today. grammar handbook

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11.5 personal

pronouns as subjects

When using a personal pronoun as a subject, make sure to match it with the correct form of the verb be. (See the chart in Section 11.2.) Note especially that the pronoun you takes the forms are and were, regardless of whether it is singular or plural. You is and you was are nonstandard forms and should be avoided in writing and speaking. We was and they was are also forms to be avoided. 7!4#(ß/54

INCORRECT: You CORRECT: You

was helping me.

were helping me.

INCORRECT: They CORRECT: They

Singular or Plural Indefinite Pronouns all

more

none

any

most

some

The number of the indefinite pronoun any or none often depends on the intended meaning. EXAMPLES:

Any of these topics has potential for a good article. (any one topic) Any of these topics have potential for good articles. (all of the many topics)

was hoping for this.

were hoping for this.

indefinite pronouns as subjects

11.6

Still other indefinite pronouns may be either singular or plural.

Some indefinite pronouns are always singular; some are always plural.

The indefinite pronouns all, some, more, most, and none are singular when they refer to quantities or parts of things. They are plural when they refer to numbers of individual things. Context will usually give a clue. EXAMPLES:

Singular Indefinite Pronouns another

either

neither

one

All of the flour is gone. (referring to a quantity)

anybody

everybody

nobody

somebody

anyone

everyone

no one

someone

All of the flowers are gone. (referring to individual items)

anything

everything

nothing

something

each

much

EXAMPLES:

Each of the writers was given an award. Somebody in the room upstairs is sleeping.

few

sentences

Problems in agreement often occur in inverted sentences beginning with here or there; in questions beginning with how, when, why, where, or what; and in inverted sentences beginning with phrases. Identify the subject—wherever it is—before deciding on the verb. EXAMPLES:

Plural Indefinite Pronouns both

11.7 inverted

many

several

There clearly are far too many cooks in this kitchen. What is the correct ingredient for this stew?

EXAMPLES:

Many of the books in our library are not in circulation. Few have been returned recently.

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grammar handbook

Far from the embroiled cooks stands the master chef.

Grammar Handbook grammar practice 1. Most scholars (think, thinks) the author of Le Morte d’Arthur is Sir Thomas Malory. 2. (Is, Are) the author Syr Thomas Maleore, knight, the same as Sir Thomas Malory?

11.9

don’t and doesn’t as auxiliary verbs The auxiliary verb doesn’t is used with singular subjects and with the personal pronouns she, he, and it. The auxiliary verb don’t is used with plural subjects and with the personal pronouns I, we, you, and they.

3. Sir Thomas himself, who lived during the Middle Ages, (was, were) a knight.

SINGULAR: She

4. There (is, are) many knights and ladies in the tales of King Arthur.

PLURAL: They don’t

5. One of the greatest prose works in the English language, Le Morte d’Arthur (was, were) based on French versions that were told earlier. 6. Many legends of King Arthur (was, were) also preserved in Wales. 7. Nearly everyone reading these tales (enjoy, enjoys) the adventures of the knights and ladies. 8. Several times Malory (was, were) put in prison. 9. He spent the last three years of his life in prison; he wrote Le Morte d’Arthur while he (was, were) there. 10. These tales featuring King Arthur (was, were) published after Malory’s death.

11.8 sentences

with predicate nominatives When a predicate nominative serves as a complement in a sentence, use a verb that agrees with the subject, not the complement. EXAMPLES:

The tales of King Arthur are a great work of literature. (Tales is the subject and it takes the plural verb are.) A great work of literature is the tales of King Arthur. (The subject is the singular noun work.)

doesn’t want to be without her cane.

Doesn’t the school provide help? know what it’s like to be hungry.

Bees don’t like these flowers by the door. 11.10 collective

nouns as subjects

Collective nouns are singular nouns that name groups of persons or things. Team, for example, is the collective name of a group of individuals. A collective noun takes a singular verb when the group acts as a single unit. It takes a plural verb when the members of the group act separately. EXAMPLES:

Our team usually wins. (The team as a whole wins.) Our team vote differently on most issues. (The individual members vote.) 11.11 relative

pronouns as subjects

When the relative pronoun who, which, or that is used as a subject in an adjective clause, the verb in the clause must agree in number with the antecedent of the pronoun. SINGULAR:

Have you selected one of the poems that is meaningful to you?

The antecedent of the relative pronoun that is the singular one; therefore, that is singular and must take the singular verb is. PLURAL: The

younger redwoods, which grow in a circle around an older tree, are also very tall.

The antecedent of the relative pronoun which is the plural redwoods. Therefore, which is plural, and it takes the plural verb grow.

grammar handbook

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Vocabulary and Spelling Handbook By learning and practicing vocabulary strategies, you’ll know what to do when you encounter unfamiliar words while reading. You’ll also know how to refine the words you use for different situations—personal, school, and work. Learning basic spelling rules and checking your spelling in a dictionary will help you spell words that you may not use frequently.

1 Using Context Clues The context of a word is made up of the punctuation marks, words, sentences, and paragraphs that surround the word. A word’s context can give you clues about its meaning. 1.1

general context Sometimes you need to infer the meaning of an unfamiliar word by reading the entire passage. On extremely hot days, Mariah languidly tends her garden. First she moseys to the yard to water her plants. Then she sits under a shady tree. You can figure out from the context that languidly means “very slowly.”

1.2

specific context clues Sometimes writers help you understand the meanings of words by providing specific clues of the kinds shown in the chart.

1.3

idioms, slang, and figurative language An idiom is an expression whose overall meaning is different from the meaning of the individual words. Slang is informal language in which madeup words and ordinary words are used to mean something different from their meanings in formal English. Figurative language is language that communicates meaning beyond the literal meaning of words. Use context clues to figure out the meanings of idioms, slang, and figurative language. Trying to find the ring was like looking for a needle in a haystack. (idiom; conveys idea of “difficulty”)

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vocabulary and spelling handbook

Included in this handbook as indicated: R1.1 (p. R68), R1.2 (p. R71), R1.3 (p. R70) 86A>;DGC>6


When Brenda couldn’t find her ring right away, she went ballistic. (slang; means “became angry”) Mr. Gray has had the same car for over 20 years. Now it is just a rusty tin can. (figurative language; rusty tin can symbolizes the age and condition of the car) Specific Context Clues Type of Clue

Key Words/ Phrases

Example

Definition or restatement of the meaning of the word

or, which is, that is, in other words, also known as, also called

A lichen is an example of symbiosis, a relationship in which two living things live closely together and at least one benefits.

Example following an unfamiliar word

such as, like, as if, for example, especially, including

Prokaryotes, which include bacteria and blue-green algae, are among the oldest forms of animal life.

Comparison with a more familiar word or concept

as, like, also, similar to, in the same way, likewise

He was as much a prankster as his brother was a practical joker.

unlike, but, Contrast with a familiar word however, although, or experience on the other hand, on the contrary

Most organisms need oxygen to survive, but many types of bacteria are anaerobic.

Causeand-effect relationship in which one term is familiar

Because they have a system of membranes, fish can use their skin and gill tissue to adjust to different salt levels in the water.

because, since, when, consequently, as a result, therefore

For more information, see Vocabulary Strategy: Metaphors and Similes, pages 502, 664, 790, and 1062.

2 Analyzing Word Structure Many words can be broken into smaller parts. These word parts include base words, roots, prefixes, and suffixes. 2.1

base words A base word is a word part that by itself is also a word. Other words or word parts can be added to base words to form new words.

2.2

roots A root is a word part that contains the core meaning of the word. Many English words contain roots that come from older languages such as Greek, Latin, Old English (Anglo-Saxon), and Norse. Knowing the meaning of the word’s root can help you determine the word’s meaning. Root

Meaning

Example

anthrop (Greek)

human being

anthropology

hydr (Greek)

water

dehydrate

quer, quest (Latin)

ask, seek

question

pend, pens (Latin)

hang

pendulum

headfod (Old English)

head, top

headfirst

For more information, see Vocabulary Strategy: Word Roots, pages 42, 220, 258, 315, 350, 358, and 541.

2.3

prefixes A prefix is a word part attached to the beginning of a word. Most prefixes come from Greek, Latin, or Old English. Prefix

Meaning

Example

anti-

opposed to

antisocial

de-

down, away from

degrade

sub-

under

submarine

For more information, see Vocabulary Strategy: Prefixes, pages 58, 72, 440, and 878.

2.4

suffixes A suffix is a word part that appears at the end of a root or base word to form a new word. Some suffixes do not change word meaning. These suffixes are • added to nouns to change the number of persons or objects • added to verbs to change the tense • added to modifiers to change the degree of comparison Suffixes

Meaning

Examples

-s, -es

to change the number trunk + s = trunks of a noun

-d, -ed, -ing

to change verb tense

sprinkle + d = sprinkled

-er, -est

to change the degree of comparison in modifiers

cold + er = colder icy + est = iciest

Other suffixes can be added to a root or base to change the word’s meaning. These suffixes can also determine a word’s part of speech. Suffix

Meaning

Example

-ic

characterized by

sarcastic

-ion

process of

capitalization

-ness

condition of

uneasiness

For more information, see Vocabulary Strategy: Suffix -ion, page 891.

Strategies for Understanding Unfamiliar Words • Look for any prefixes or suffixes. Remove them to isolate the base word or the root. • See if you recognize any elements—prefix, suffix, root, or base—of the word. You may be able to guess its meaning by analyzing one or two elements. • Consider the way the word is used in the sentence. Use the context and the word parts to make a logical guess about the word’s meaning. • Consult a dictionary to see whether you are correct. vocabulary and spelling handbook

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3 Understanding Word Origins

3.3

The English language includes many words from classical mythology. You can use your knowledge of Greek, Roman, and Norse myths to understand the origins and meanings of these words. For example, herculean task refers to the strongman Hercules. Thus herculean task probably means “a job that is large or difficult.” The chart shows a few common words from mythology.

etymologies

3.1

Etymologies show the origin and historical development of a word. When you study a word’s history and origin, you can find out when, where, and how the word came to be. co•ma1 (kIPmE) n., pl. –mas A state of deep, often prolonged unconsciousness, usually the result of injury, disease, or poison, in which an individual is incapable of sensing or responding to external stimuli and internal needs. [Greek ko¯ma, deep sleep.] gar•lic (gärPlGk) n. 1. An onionlike plant of southern Europe having a bulb that breaks into separate cloves with a strong distinctive odor and flavor. 2.The bulb of this plant. [Middle English, from Old English ga¯rle¯ac : ga¯r, spear + le¯ac, leek.]

Roman

Norse

nemesis

insomnia

Thursday

atlas

fury

berserk

adonis

Saturday

rune

mentor

January

valkyrie

Look up the etymology of each word in the chart and locate the myth associated with it. Use the information from the myth to explain the origin and meaning of each word.

For more information, see Vocabulary Strategy: Etymology, pages 584, 823, and 1008.

3.4

word families

Greek

practice and apply

vin•dic•tive (vGn-dGkPtGv) adj. 1. Disposed to seek revenge; revengeful. 2. Marked by or resulting from a desire to hurt; spiteful. (From Latin vindicta, vengeance, from vindex, vindic-, surety, avenger.]

3.2

words from classical mythology

foreign words The English language includes words from diverse languages such as French, Dutch, Spanish, Italian, and Chinese. Many words stayed the way they were in their original language.

Words that have the same root make up a word family and have related meanings. The chart shows a common Greek and a common Latin root. Notice how the meanings of the example words are related to the meanings of their roots.

French

Dutch

Spanish

Italian

Latin Root

spect: “see”

mirage

cookie

tornado

studio

English

inspect look at carefully

vague

snoop

bronco

ravioli

respect look at with esteem

beau

hook

salsa

opera

spectator someone who watches an event Greek Root

phil: “love”

4 Synonyms and Antonyms

English

philharmonic devoted to music

4.1

philosophy love and pursuit of wisdom philanthropy love of humankind For more information, see Vocabulary Strategy: The Kosmos Word Family, page 905.

synonyms A synonym is a word with a meaning similar to that of another word. You can find synonyms in a thesaurus or a dictionary. In a dictionary, synonyms are often given as part of the definition of a word. The following word pairs are synonyms: dry/arid

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enthralled/fascinated

gaunt/thin

Vocabulary and Spelling Handbook 4.2

antonyms

Follow these steps to determine the correct answer:

An antonym is a word with a meaning opposite that of another word. The following word pairs are antonyms:

• Read the part in capital letters as “terrier is to dog as. . . . ”

friend/enemy

absurd/logical

courteous/rude

languid/energetic

• Read the answer choices as “rat is to fish,” “kitten is to cat,” and so on. • Ask yourself how the words terrier and dog are related. (A terrier is a type of dog.)

5 Denotation and Connotation 5.1

• Ask yourself which of the choices shows the same relationship. (A kitten is a kind of cat, but not in the same way that a terrier is a kind of dog. Therefore, the answer is C.)

denotation A word’s dictionary meaning is called its denotation. For example, the denotation of the word rascal is “an unethical, dishonest person.”

5.2

For more information, see Vocabulary Strategy: Analogies pages 418, 522, 616, and 1029.

connotation The images or feelings you connect to a word add a finer shade of meaning, called connotation. The connation of a word goes beyond its basic dictionary definition. Writers use connotations of words to communicate positive or negative feelings. Positive

Neutral

Negative

save

store

hoard

fragrance

smell

stench

display

show

flaunt

7 Homonyms and Homophones 7.1

Homonyms are words that have the same spelling and sound but have different origins and meanings. I don’t want to bore you with a story about how I had to bore through the living room wall. Bore can mean “cause a person to lose interest,” but an identically spelled word means “to drill a hole.” My dog likes to bark while it scratches the bark on the tree in the backyard.

Make sure you understand the denotation and connotation of a word when you read it or use it in your writing.

Bark can mean “the sound made by a dog.” However, another identically spelled word means “the outer covering of a tree.” Each word has a different meaning and its own dictionary entry.

For more information, see Vocabulary Strategy: Connotation and Denotation, pages 93, 200, 626, and 1042.

Sometimes only one of the meanings of a homonym may be familiar to you. Use context clues to help you figure out the meaning of an unfamiliar word.

6 Analogies An analogy is a comparison between two things that are similar in some way but are otherwise dissimilar. Analogies are sometimes used in writing when unfamiliar subjects or ideas are explained in terms of familiar ones. Analogies often appear on tests as well, usually in a format like this: TERRIER : DOG :: A) B) C) D) E)

rat : fish kitten : cat trout : fish fish : trout poodle : collie

homonyms

7.2

homophones Homophones are words that sound alike but have different meanings and spellings. The following homophones are frequently misused: it’s/its

they’re/their/there

to/too/two

stationary/stationery


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Many misused homophones are pronouns and contractions. Whenever you are unsure whether to write your or you’re and who’s or whose, ask yourself if you mean you are and who is/has. If you do, write the contraction. For other homophones, such as scent and sent, use the meaning of the word to help you decide which one to use.

10.2

8 Words with Multiple Meanings

10.3

A thesaurus (plural, thesauri) is a dictionary of synonyms. A thesaurus can be especially helpful when you find yourself using the same modifiers over and over again. For more information, see Vocabulary Strategy: Using a Thesaurus, page 642.

I was in a hurry, so I jammed my clothes into the suitcase. Unfortunately, I jammed my finger in the process.

10.4

9 Specialized Vocabulary

For more information, see Vocabulary Strategy: Specialized Vocabulary, pages 128 and 601.

10 Using Reference Sources 10.1

dictionaries A general dictionary will tell you not only a word’s definitions but also its pronunciation, parts of speech, and history and origin. A specialized dictionary focuses on terms related to a particular field of study or work. Use a dictionary to check the spelling of any word you are unsure of in your English class and other classes as well. For more information, see Vocabulary Strategy: Using a Dictionary, page 928.

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glossaries

A glossary is a list of specialized terms and their definitions. It is often found in the back of a book and sometimes includes pronunciations. Many textbooks contain glossaries. In fact, this textbook has three glossaries: the Glossary of Literary Terms, the Glossary of Reading & Informational Terms, and the Glossary of Vocabulary in English & Spanish. Use these glossaries to help you understand how terms are used in this textbook.

These two uses of jam have different meanings, but both of them have the same origin. You will find all the meanings of this word listed in one entry in the dictionary.

Specialized vocabulary is special terms suited to a particular field of study or work. For example, science, mathematics, and history all have their own technical or specialized vocabularies. To figure out specialized terms, you can use context clues and reference sources, such as dictionaries on specific subjects, atlases, or manuals.

synonym finders A synonym finder is often included in wordprocessing software. It enables you to highlight a word and be shown a display of its synonyms.

Over time, some words have acquired additional meanings that are based on the original meaning. EXAMPLES:

thesauri

11 Spelling Rules 11.1

words ending in a silent e Before adding a suffix beginning with a vowel or y to a word ending in a silent e, drop the e (with some exceptions). amaze + -ing = amazing love + -able = lovable create + -ed = created nerve + -ous = nervous Exceptions: change + -able = changeable; courage + -ous = courageous When adding a suffix beginning with a consonant to a word ending in a silent e, keep the e (with some exceptions). late + -ly = lately spite + -ful = spiteful noise + -less = noiseless state + -ment = statement Exceptions: truly, argument, ninth, wholly, awful, and others.

Vocabulary and Spelling Handbook When a suffix beginning with a or o is added to a word with a final silent e, the final e is usually retained if it is preceded by a soft c or a soft g. bridge + -able = bridgeable peace + -able = peaceable outrage + -ous = outrageous advantage + -ous = advantageous

The rule does not apply to words of one syllable that end in a consonant preceded by two vowels. feel + -ing = feeling peel + -ed = peeled reap + -ed = reaped loot + -ed = looted In words of more than one syllable, double the final consonant when accent is on the last syllable and remains there once the suffix is added, as in the following examples: be•gin´ + -ing = be•gin´ ning = beginning per•mit´ + -ed = per•mit´ ted = permitted However, do not double the final consonant when the accent is on the final consonant but does not remain there when the suffix is added. tra´vel + er = tra´vel•er = traveler mar´ket + er = mar´ket•er = marketer Do not double the final consonant when the accent is on the first syllable, as in the following examples: re•fer´ + -ence = refér•ence = reference con•fer´ + -ence = con´fer•ence = conference

When a suffix beginning with a vowel is added to words ending in ee or oe, the final, silent e is retained. agree + -ing = agreeing free + -ing = freeing hoe + -ing = hoeing see + -ing = seeing 11.2

words ending in y Before adding most suffixes to a word that ends in y preceded by a consonant, change the y to i. easy + -est = easiest crazy + -est = craziest silly + -ness = silliness marry + -age = marriage Exceptions: dryness, shyness, and slyness. However, when you add -ing, the y does not change. empty + -ed = emptied but empty + -ing = emptying When you add a suffix to a word that ends in y preceded by a vowel, the y usually does not change. play + -er = player employ + -ed = employed coy + -ness = coyness pay + -able = payable

11.3

words ending in a consonant In one-syllable words that end in one consonant preceded by one short vowel, double the final consonant before adding a suffix beginning with a vowel, such as -ed or -ing. These are sometimes called 1+1+1 words. dip + -ed = dipped set + -ing = setting slim + -est = slimmest fit + -er = fitter

11.4

prefixes and suffixes When adding a prefix to a word, do not change the spelling of the base word. When a prefix creates a double letter, keep both letters. dis- + approve = disapprove re- + build = rebuild ir- + regular = irregular mis- + spell = misspell anti- + trust = antitrust il- + logical = illogical When adding -ly to a word ending in l, keep both l’s. When adding -ness to a word ending in n, keep both n’s. careful + -ly = carefully sudden + -ness = suddenness final + -ly = finally thin + -ness = thinness


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11.5

If a compound noun is written as a hyphenated word or as two separate words, change the most important word to the plural form. brother-in-law—brothers-in-law life jacket—life jackets

forming plural nouns To form the plural of most nouns, just add -s. prizes dreams circles stations For most singular nouns ending in o, add -s. solos halos studios photos pianos

11.6 forming

For a few nouns ending in o, add -es. heroes tomatoes potatoes echoes

If a noun is singular, add ’s. mother—my mother’s car Ross—Ross’s desk Exception: The s after the apostrophe is dropped after Jesus’, Moses’, and certain names in classical mythology (Zeus’ ). These possessive forms can thus be pronounced easily.

When the singular noun ends in s, sh, ch, x, or z, add -es. waitresses brushes ditches axes buzzes

If a noun is plural and ends with s, just add an apostrophe. parents—my parents’ car the Santinis—the Santinis’ house

When a singular noun ends in y with a consonant before it, change the y to i and add -es. army—armies candy—candies baby—babies diary—diaries ferry—ferries conspiracy—conspiracies When a vowel (a, e, i, o, u) comes before the y, just add -s. boy—boys way—ways array—arrays alloy—alloys weekday—weekdays jockey—jockeys For most nouns ending in f or fe, change the f to v and add -es or -s. life—lives thief—thieves

calf—calves knife—knives shelf—shelves loaf—loaves

For some nouns ending in f, add -s to make the plural. roofs chiefs reefs beliefs Some nouns have the same form for both singular and plural. deer sheep moose salmon trout For some nouns, the plural is formed in a special way. man—men goose—geese ox—oxen woman—women mouse—mice child—children For a compound noun written as one word, form the plural by changing the last word in the compound to its plural form. stepchild—stepchildren firefly—fireflies R74


possessives

If a noun is plural but does not end in s, add ’s. people—the people’s choice women—the women’s coats 11.7

special spelling problems Only one English word ends in -sede: supersede. Three words end in -ceed: exceed, proceed, and succeed. All other verbs ending in the sound “seed” are spelled with -cede. concede precede recede secede In words with ie or ei, when the sound is long e (as in she), the word is spelled ie except after c (with some exceptions). i before e thief relieve field piece grieve pier except after c conceit receive

perceive receipt

ceiling

Exceptions:

neither seize

weird

either leisure

Vocabulary and Spelling Handbook

12 Commonly Confused Words words

definitions

examples

accept/except

The verb accept means “to receive or believe”; except is usually a preposition meaning “excluding.”

Except for some of the more extraordinary events, I can accept that the Odyssey recounts a real journey.

advice/advise

Advise is a verb; advice is a noun naming that which an adviser gives.

I advise you to take that job.

affect/effect

As a verb, affect means “to influence.” Effect as a verb means “to cause.” If you want a noun, you will almost always want effect.

Did Circe’s wine affect Odysseus’ mind? It did effect a change in Odysseus’ men. In fact, it had an effect on everyone else who drank it.

all ready/already

All ready is an adjective meaning “fully ready.” Already is an adverb meaning “before or by this time.”

He was all ready to go at noon.

allusion/illusion

Whom should I ask for advice?

I have already seen that movie.

An allusion is an indirect reference to something. There are many allusions to the works of Homer An illusion is a false picture or idea. in English literature. The world’s apparent flatness is an illusion.

among/between

Between is used when you are speaking of only two things. Among is used for three or more.

Between Hamlet and King Lear, I prefer the latter.

bring/take

Bring is used to denote motion toward a speaker or place. Take is used to denote motion away from a person or place.

Bring the books over here, and I will take them to the library.

fewer/less

Fewer refers to the number of separate, countable units. Less refers to bulk quantity.

We have less literature and fewer selections in this year’s curriculum.

leave/let

Leave means “to allow something to remain behind.” Let means “to permit.”

The librarian will leave some books on display but will not let us borrow any.

lie/lay

Lie means “to rest or recline.” It does not take an object. Lay always takes an object.

Rover loves to lie in the sun.

loose/lose

Loose (lLs) means “free, not restrained”; lose (lLz) means “to misplace or fail to find.”

Who turned the horses loose?

Precede means “to go or come before.” Use proceed for other meanings.

Emily Dickinson’s poetry precedes that of Alice Walker.

precede/proceed

Emily Dickinson is among my favorite poets.

We always lay some bones next to him. I hope we won’t lose any of them.

You may proceed to the next section of the test. than/then

Use than in making comparisons; use then on all other occasions.

Who can say whether Amy Lowell is a better poet than Denise Levertov? I will read Lowell first, and then I will read Levertov.

two/too/to

Two is the number. Too is an adverb meaning “also” or “very.” Use to before a verb or as a preposition.

Meg had to go to town, too. We had too much reading to do. Two chapters is too many.

their/there/they’re

Their means “belonging to them.” There means “in that place.” They’re is the contraction for “they are.”

There is a movie playing at 9 p.m. They’re going to see it with me. Sakara and Jessica drove away in their car after the movie.


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Speaking and Listening Handbook Effective oral communication occurs when the audience understands a message the way the speaker intends it. Good speakers and listeners do more than just talk and hear. They use specific techniques to present their ideas effectively, and they are attentive and critical listeners.

86A>;DGC>6

1 Speech

Manuscript

Prepare a complete script of the speech in advance and use it to deliver the speech. Use for formal occasions, such as graduation speeches and political addresses, and to present technical or complicated information.

Memory

Prepare a written text in advance and then memorize it in order to deliver the speech word for word. Use for short speeches, as when introducing another speaker or accepting an award.

In school, in business, and in community life, a speech is one of the most effective means of communicating. 1.1

audience, purpose, and occasion When developing and delivering a speech, your goal is to deliver a focused, coherent presentation that conveys your ideas clearly and relates to the background of your audience. By understanding your audience, you can tailor your speech to them appropriately and effectively. • Know Your Audience What kind of group are you presenting to? Fellow classmates? A group of teachers? What are their interests and backgrounds? Understanding their different points of view can help you organize the information so that they understand and are interested in it.

1.2

Extemporaneous Prepare the speech and deliver it using an outline or notes. Use for informal situations, for persuasive messages, and to make a more personal connection with the audience.

1.3

drafting your speech If you are writing your speech beforehand, rather than working from notes, use the following guidelines to help you:

• Understand Your Purpose Keep in mind your purpose for speaking. Are you trying to persuade the audience to do something? Perhaps you simply want to entertain them by sharing a story or experience. Your reason for giving the speech will guide you in organizing your thoughts and deciding on how to deliver it.

• Create a Unified Speech Do this first by organizing your speech into paragraphs, each of which develops a single main idea. Then make sure that just as all the sentences in a paragraph support the main idea of the paragraph, all the paragraphs in your speech support the main idea of the speech.

• Know the Occasion Are you speaking at a special event? Is it formal? Will others be giving speeches besides you? Knowing what the occasion is will help you tailor the language and the length for the event.

• Use Appropriate Language The subject of your speech—and the way you choose to present it— should match your audience, your purpose, and the occasion. You can use informal language, such as slang, to share a story with your classmates. For a persuasive speech in front of a school assembly, use formal, standard American English. If you are giving an informative presentation, be sure to explain any terms that the audience may not be familiar with.

preparing your speech There are several approaches to preparing a speech. Your teacher may tell you which one to use.

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Included in this handbook as indicated: LS1.1 (p. R81), LS1.3 (p. R76), LS1.4 (p. R77), LS1.5 (pgs. R76–R77), LS1.6 (pgs. R76– R77, R79), LS1.7 (p. R77), LS1.8 (pgs. R76, R77), LS1.9 (pgs. R76, R77–R78), LS1.10 (p. R79), LS1.11 (p. R83), LS1.12 (pgs. R78–R80, R83), LS1.13 (p. R79), LS2.1abcd (p. R79), LS2.2abcdef (p. R78), LS2.3a (pgs. R81–R82), LS2.3bcdefg (p. R82), LS2.4a (pgs. R80– R81), LS2.4bcd (p. R81), LS2.5abcd (p. R79), LS2.6abc (p. R80)

speaking and listening handbook

• Provide Evidence Include relevant facts, statistics, and incidents; quote experts to support your ideas and opinions. Elaborate— provide specific details, perhaps with visual or media displays—to clarify what you are saying. • Emphasize Important Points To help your audience follow the main ideas and concepts of your speech, be sure to draw attention to important points. You can use rhyme, repetition, and other rhetorical devices. • Use Precise Language Use precise language to convey your ideas, and vary the structure and length of your sentences. You can keep the audience’s attention with a word that elicits strong emotion. You can use a question or interjection to make a personal connection with the audience. • Start Strong, Finish Strong As you begin your speech, consider using a “hook”—an interesting question or statement meant to capture your audience’s attention. At the end of the speech, restate your main ideas simply and clearly. Perhaps conclude with a powerful example or anecdote to reinforce your message. • Revise Your Speech After you write your speech, revise, edit, and proofread it as you would a written report. Use a variety of sentence structures to achieve a natural rhythm. Check for correct subject-verb agreement and consistent verb tense. Correct run-on sentences and sentence fragments. Use parallel structure to emphasize ideas. Make sure you use complete sentences and correct punctuation and capitalization, even if no one else will see it. Your written speech should be clear and errorfree. If you notice an error in your notes during the speech, you may not remember what you actually wanted to say.

1.4

delivering your speech Confidence is the key to a successful presentation. Use these techniques to help you prepare and present your speech:

Prepare • Review Your Information Reread your notes and review any background research. You’ll feel more confident during your speech. • Organize Your Notes Some people prefer to include only key points. Others prefer the entire script. Write each main point, or each paragraph, of your speech on a separate numbered index card. Be sure to include your most important evidence and examples. • Plan Your Visual Aids If you are planning on using visual aids, such as slides, posters, charts, graphs, video clips, overhead transparencies, or computer projections, now is the time to design them and decide how to work them into your speech.

Practice • Rehearse Rehearse your speech several times, possibly in front of a practice audience. Maintain good posture by standing with your shoulders back and your head up. If you are using visual aids, practice handling them. Adapt your rate of speaking, pitch, and tone of voice to your audience and setting. Glance at your notes to refresh your memory, but avoid reading them word for word. Your style of performance should express the purpose of your speech. Use the following chart to help you. Purpose

Pace

Pitch

Tone

To persuade

fast but clear

even

urgent

To inform

using plenty even of pauses

To entertain

usually building to a “punch”

varied to create characters or drama

authoritative

funny or dramatic


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Respond to Questions

• Use Audience Feedback If you had a practice audience, ask them specific questions about your delivery: Did I use enough eye contact? Was my voice at the right volume? Did I stand straight, or did I slouch? Use the audience’s comments to evaluate the effectiveness of your delivery and to set goals for future rehearsals.

Depending on the content of your speech, your audience may have questions. Follow these steps to make sure that you answer questions in an appropriate manner:

• Evaluate Your Performance When you have finished each rehearsal, evaluate your performance. Did you pause to let an important point sink in or use gestures for emphasis? Make a list of the aspects of your presentation that you will try to improve for your next rehearsal.

• Tell your audience at the beginning of your speech that you will take questions at the end. This helps prevent audience interruptions, which could make your speech hard to follow.

• Think about what your audience may ask and prepare answers before your speech.

• Call on audience members in the order in which they raise their hands.

Present

• Repeat each question before you answer it to ensure that everyone has heard it. This step also gives you time to prepare your answer.

• Begin Your Speech Try to look relaxed and smile. • Make Eye Contact Try to make eye contact with as many audience members as possible. This will establish personal contact and help you determine if the audience understands your speech. • Remember to Pause A slight pause after important points will provide emphasis and give your audience time to think about what you’re saying. • Speak Clearly Speak loud enough to be heard clearly, but not so loud that your voice is overwhelming. Use a conversational tone. • Maintain Good Posture Stand up straight and avoid nervous movements that may distract the audience’s attention from what you are saying. • Use Expressive Body Language Use facial expressions to show your feelings toward your topic. Lean forward when you make an important point; move your hands and arms for emphasis. Use your body language to show your own style and reflect your personality. • Watch the Audience for Responses If they start fidgeting or yawning, speak a little louder or get to your conclusion a little sooner. Use what you learn to evaluate the effectiveness of your speech and to decide what areas need improvement for future presentations. • Close your speech by thanking your audience. R78


2 Different Types of Oral Presentations 2.1

informative speech When you deliver an informative speech, you give the audience new information, provide a better understanding of information, or enable the audience to use the information in a new way. An informative speech is presented in an objective way. Use the following questions to evaluate the presentation of a peer or a public figure, or your own presentation. Evaluate an Informative Speech • Did the speaker have a specific, clearly focused topic? • Did the speaker take the audience’s previous knowledge into consideration? • Did the speaker cite sources for the information? • Did the speaker communicate the information objectively? • Did the speaker explain technical terms? • Did the speaker use visual aids effectively? • Did the speaker anticipate and address any audience concerns or misunderstandings? For more information, see Speaking and Listening: Delivering an Informative Speech, page 561.

Speaking and Listening Handbook 2.2

Use the following guidelines to evaluate a debate.

persuasive speech When you deliver a persuasive speech, you offer a thesis or clear statement on a subject, you provide relevant evidence to support your position, and you attempt to convince the audience to accept your point of view.

Evaluate a Team in a Debate • Did the team prove that a significant problem does or does not exist? How thorough was the team’s analysis of the problem? • How did the team convince you that the proposition is or is not the best solution to the problem?

Use the following questions to evaluate the presentation of a peer or a public figure, or your own presentation.

• How effectively did the team present reasons and evidence supporting the case? • How effectively did the team refute and rebut arguments made by the opposing team?

Evaluate a Persuasive Speech • Did the speaker present a clear thesis or argument?

• Did the speakers maintain eye contact and speak at an appropriate rate and volume?

• Did the speaker anticipate and address audience concerns, biases, and counterarguments?

• Did the speakers observe proper debate etiquette?

• Did the speaker use sound logic and reasoning in developing the argument?

practice and apply

• Did the speaker support the argument with valid evidence, examples, facts, expert opinions, and quotations?

View a political debate for a local, state, or national election. Use the preceding criteria to evaluate it.

• Did the speaker use rhetorical devices, such as emotional appeals, to support assertions? • Did the speaker hold the audience’s interest with an effective voice, facial expressions, and gestures? • Is your reaction to the speech similar to other audience members’?

2.3

debate an issue A debate is a balanced argument covering both sides of an issue. In a debate, two teams compete to win the support of the audience. In a formal debate, two teams, each with two members, present their arguments on a given proposition or policy statement. One team argues for the proposition or statement and the other argues against it. Each debater must consider the proposition closely and must research both sides of it. To argue persuasively either for or against a proposition, a debater must be familiar with both sides of the issue. For more information, see Speaking and Listening: Debating an Issue, page 1071.

2.4

narrative speech When you deliver a narrative speech, you tell a story or present a subject using a story-type format. A good narrative keeps an audience informed and entertained. It also allows you to deliver a message in a creative way. Use the following questions to evaluate a speaker or your own presentation. Evaluate a Narrative Speech • Did the speaker choose a context that makes sense and contributes to a believable narrative? • Did the speaker locate scenes and incidents in specific places? • Does the plot flow well? • Did the speaker use words that convey the appropriate mood and tone? • Did the speaker use sensory details that allow the audience to experience the sights, sounds, and smells of a scene and the specific actions, gestures, and thoughts of the characters? • Did the speaker use a range of narrative devices to keep the audience interested? • Is your reaction to the presentation similar to other audience members’?


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2.5

descriptive speech

Evaluate an Oral Interpretation

Description is part of most presentations. In a descriptive speech, you describe a subject that you are personally involved with. A good description will enable your listeners to tell how you feel toward your subject through the images you provide.

• Did the speaker speak clearly, enunciating each word carefully? • Did the speaker maintain eye contact with the audience? • Did the speaker control his or her volume, projecting without shouting?

Use the following questions to evaluate a speaker or your own presentation.

• Did the speaker vary the rate of speech appropriately to express emotion, mood, and action?

Evaluate a Descriptive Speech

• Did the speaker use a different voice for the character(s)?

• Did the speaker make clear his or her point of view toward the subject being described?

• Did the speaker stress important words or phrases?

• Did the speaker use sensory details, figurative language, and factual details?

• Did the speaker use voice, tone, and gestures to enhance meaning?

• Did the speaker use tone and pitch to emphasize important details?

• Did the speaker’s presentation allow you to identify and appreciate elements of the text such as character development, rhyme, imagery, and language?

• Did the speaker use facial expressions to emphasize his or her feelings toward the subject? • Did the speaker change vantage points to help the audience see the subject from another position?

practice and apply

• Did the speaker change perspectives to show how someone else might feel toward the subject or place?

2.6

Listen to an oral reading by a classmate or view a dramatic performance in a theater or on television. Use the preceding criteria to evaluate it.

oral interpretation When you perform an oral reading, you use appropriate vocal intonations, facial expressions, and gestures to bring a literature selection to life. For more information, see Speaking and Listening: Delivering an Oral Interpretation, page 753, and Delivering a Dramatic Reading, page 1201.

Use the following questions to evaluate an artistic performance by a peer or a public presenter, a media presentation, or your own performance.

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2.7

oral response to literature An oral response to literature is a personal analytic interpretation of a writer’s story, novel, poem, or drama. It demonstrates to an audience a solid and comprehensive understanding of what that piece means to you. For more information, see Speaking and Listening: Presenting an Oral Response to Literature, page 149.

Use the following questions to evaluate a speaker or your own presentation.

Speaking and Listening Handbook • Organizes and writes up notes

Evaluate an Oral Response to Literature

• Participates in discussion

• Did the speaker choose an interesting piece that he or she understands and feels strongly about?

Participants

• Did the speaker make a judgment that shows an understanding of significant ideas from the text?

• Contribute relevant facts or ideas to discussion • Respond constructively to one another’s ideas

• Did the speaker direct the audience to specific parts of the piece that support his or her idea?

• Reach agreement or vote on final decision

• Did the speaker identify and analyze the use of artistic elements such as imagery, figurative language, and character development?

Guidelines for Discussion

• Did the speaker demonstrate an appreciation of the author’s style?

• Participate in the discussion.

• Be informed about the topic. • Ask questions and respond appropriately to questions.

• Did the speaker discuss any ambiguous or difficult passages and the impact of those passages on the audience?

• Don’t talk while someone else is talking. • Support statements and opinions with facts and examples.

practice and apply

• Listen attentively; be courteous and respectful of others’ viewpoints.

Listen as a classmate delivers an oral response to a selection you have read. Use the preceding criteria to evaluate the presentation.

• Work toward the goal; avoid getting sidetracked by unrelated topics. For more information, see Speaking and Listening: Participating in a Group Discussion, page 471.

3 Other Types of Communication 3.1

conversation Conversations are informal, but they are important means of communicating. When two or more people exchange messages, it is equally important that each person contribute and actively listen.

3.2

group discussion Successful groups assign a role to each member. These roles distribute responsibility among the members and help keep discussions focused.

Leader or Chairperson • Introduces topic • Explains goal or purpose

3.3

interview An interview is a formal type of conversation with a definite purpose and goal. To conduct a successful interview, use the following guidelines:

Prepare for the Interview • Select your interviewee carefully. Identify who has the kind of knowledge and experience you are looking for. • Set a time, a date, and a place. Ask permission to tape-record the interview. • Learn all you can about the person you will interview or the topic you want information on.

• Helps group reach goal

• Prepare a list of questions. Create questions that encourage detailed responses instead of yes-or-no answers. Arrange your questions in order from most important to least important.

Recorder

• Arrive on time with everything you need.

• Participates in discussion and keeps it on track • Helps resolve conflicts

• Takes notes on discussion • Reports on suggestions and decisions speaking and listening handbook

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Conduct the Interview • Ask your questions clearly and listen to the responses carefully. Give the person whom you are interviewing plenty of time to answer. • Be flexible; follow up on any responses you find interesting.

or a formal speech, use the following strategies to get as much as you can from the message. Listening with a Purpose Situation

Reason for Listening How to Listen

A friend tells a story.

enjoyment

Maintain eye contact; visualize images and events.

A friend tells you a problem.

concern for your friend’s well-being

Imagine the person’s feelings; don’t feel that you have to solve the problem.

• Avoid arguments; be tactful and polite. • Even if you tape an interview, take notes on important points. • Thank the person for the interview, and ask if you can call with any follow-up questions.

Follow Up on the Interview

Before Listening

• Summarize your notes or make a written copy of the tape recording as soon as possible.

• Learn what the topic is beforehand. You may need to read background information about the topic or learn technical terms in order to interpret the speaker’s message.

• If any points are unclear or if information is missing, call and ask more questions while the person is still available. • Select the most appropriate quotations to support your ideas. • If possible, have the person you interviewed review your work to make sure you haven’t misrepresented what he or she said. • Send a thank-you note to the person in appreciation of his or her time and effort. For more information, see Speaking and Listening: Presenting an Oral History, page 271.

Evaluate an Interview You can determine how effective your interview was by asking yourself these questions: • Did you get the type of information you were looking for? • Were your most important questions answered to your satisfaction? • Were you able to keep the interviewee focused on the subject?

4 Active Listening Active listening is the process of receiving, interpreting, evaluating, and responding to a message. Whether you listen to a class discussion

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• Think about what you know or want to know about the topic. • Have a pen and paper or a laptop computer to take notes. • Establish a purpose for listening.

While Listening • Focus your attention on the speaker. Your facial expressions and body language should demonstrate your interest in hearing the topic. Ignore barriers such as temperature and noise. • Listen for the speaker’s purpose (usually stated at the beginning), which alerts you to main ideas. • To help you interpret the speaker’s message, listen for words or phrases that signal important points, such as to begin with, in addition, most important, finally, and in conclusion. • Listen carefully for explanations of technical terms. Use these terms to help you understand the speaker’s message. • Listen for ideas that are repeated for emphasis. • Take notes. Write down only the most important points. • If possible, use an outline or list format to organize main ideas and supporting points.

Speaking and Listening Handbook • Observe Nonverbal Messages A speaker’s gestures, facial expressions, and tone of voice should reinforce the message. If they don’t, you should doubt the speaker’s sincerity and his or her message’s reliability.

• Note comparisons and contrasts, causes and effects, or problems and solutions. • As you take notes, use phrases, abbreviations, and symbols to keep up with the speaker. • To aid your comprehension, note how the speaker uses word choice, voice pitch, posture, and gestures to convey meaning.

• Give Appropriate Feedback An effective speaker looks for verbal and nonverbal cues from you, the listener, to gauge how the message is being received. If you understand or agree with the message, you might nod your head. If possible, during or after a presentation, ask questions to clarify understanding.

After Listening • Ask relevant questions to clarify anything that was unclear or confusing. • Review your notes right away to make sure you understand what was said. • Summarize and paraphrase the speaker’s ideas. • If you like, compare your interpretation of the speech with the interpretations of others who listened to it. 4.1

4.2

verbal feedback At times you will be asked to give direct feedback to a speaker. You may be asked to evaluate the way the speaker delivered the presentation as well as the content of the presentation.

critical listening

Evaluate Delivery

Critical listening involves interpreting and analyzing a spoken message to judge its accuracy and reliability. You can use the following strategies as you listen to messages from advertisers, politicians, lecturers, and others:

• Did the speaker articulate words clearly and distinctly?

• Determine the Speaker’s Purpose Think about the background, viewpoint, and possible motives of the speaker. Separate facts from opinions. Listen carefully to details and evidence that a speaker uses to support the message. • Listen for the Main Idea Figure out the speaker’s main message before allowing yourself to be distracted by seemingly convincing facts and details. • Recognize the Use of Persuasive Techniques Pay attention to a speaker’s choice of words. Speakers may slant information to persuade you to buy a product or accept an idea. Persuasive devices such as inaccurate generalizations, either/or reasoning, and bandwagon or snob appeal may represent faulty reasoning and provide misleading information. For more information, see Persuasive Techniques, pages 574 and R22.

• Did the speaker pronounce words correctly? • Did the speaker vary his or her rate? • Did the speaker’s voice sound natural and not strained? • Was the speaker’s voice loud enough?

Evaluate Content Here’s how to give constructive suggestions for improvement: Be Specific Don’t make statements like “Your charts need work.” Offer concrete suggestions, such as “Please make the type bigger so we can read the poster from the back of the room.” Discuss Only the Most Important Points Don’t overload the speaker with too much feedback about too many details. Focus on important points, such as: • Is the topic too advanced for the audience? • Are the supporting details well organized? • Is the conclusion weak? Give Balanced Feedback Tell the speaker not only what didn’t work but also what did work: “Consider dropping the last two slides, since you covered those points earlier. The first two slides got my attention.”


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Media Handbook Every day you are exposed to hundreds of images and messages from television, radio, movies, newspapers, and the Internet. What is the effect of all this media? What do you need to know to be a smart media consumer? Being media literate means that you have the ability to think critically about media messages. It means that you are able to analyze and evaluate media messages and how they influence you and your world. To become media literate, you’ll need the tools to study media messages.

86A>;DGC>6

Included in this handbook as indicated: LS1.13 (p. R91), LS1.14 (pgs. R86–R88, R91–R92)

MEDIA TOOLS For more information, visit the Media Center at ClassZone.com.

1 Five Core Concepts in Media Literacy The five core concepts of media literacy provide you with the basic ideas you can consider when examining media messages.

Different people experience the same media messages differently. Personal factors such as age, education, and experience will affect the way a person responds to a media message. How many times has your interpretation of a film or book differed from that of a friend? Everyone interprets media messages through his or her own personal lens.

All media messages are “constructed.” All media messages are made by someone. In fact, they are carefully thought out and researched and have attitudes and values built into them. Much of the information that you use to make sense of the world comes from the media. Therefore, it is important to know how media are put together so you can better understand the messages they convey.

Media have embedded values and points of view. Media messages carry underlying values, which are purposely built into them by the creators of the message. For example, a commercial’s main purpose may be to persuade you to buy something, but it also conveys the value of a particular lifestyle. Understanding not only the core message but also the embedded points of view will help you decide whether to accept or reject the message.

Media messages are constructed using a creative language with its own rules. Each means of communication—whether it be film, television, newspapers, magazines, radio, or the Internet— has its own language and design. Therefore, a message must use the language and design of the medium that conveys the message. Thus, the medium actually shapes the message. For example, a horror film may use music to heighten suspense, or a newspaper may use a big headline to signal the significance of a story. Understanding the language of each medium can increase your enjoyment of it as well as alert you to obvious and subtle influences.

Most media messages are constructed to gain profit and/or power. The creators of media messages often provide a commodity, such as information or entertainment, in order to make money. The bigger the audience, the more the media outlet can charge for advertising. Consequently, media outlets want to build large audiences in order to bring in more revenue from advertising. For example, a television network creates programming that appeals to the largest audience possible, and then uses the viewer ratings to attract more advertising dollars.

from The Center for Media Literacy

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media handbook

2

2 Media Basics 2.1

2.4

The term media refers to television, newspapers, magazines, radio, movies, and the Internet. Each is a medium, or means for carrying information, entertainment, and advertisements to a large audience.

message When a film or TV show is created, it becomes a media product. Each media product is created to send a message, or an expression of belief or opinion, that serves a specific purpose. In order to understand the message, you will need to deconstruct it. Deconstruction of a media presentation is the process of analyzing it. To analyze a media presentation you will need to look at its content, its purpose, the audience it’s aimed at, and the techniques and elements that are used to create certain effects.

2.2

audience A target audience is a specific group of people that a product or presentation is aimed at. The members of a target audience usually share certain characteristics, such as age, gender, ethnic background, values, or lifestyle. For example, a target audience may be adults ages 40 to 60 who want to exercise and eat healthful foods. Demographics are the characteristics of populations, including age, gender, profession, income, education, ethnicity, and geographical location. Media decision makers use demographics to shape their content to suit the needs and tastes of a target audience. Nielsen ratings are the system used to track TV audiences and their viewing preferences. Nielsen Media Research, the company that provides this system, monitors TV viewing in a random sample of 5,000 U.S. households.

2.3

purpose The purpose, or intent, of a media presentation is the reason it was made. Most media offerings have more than one purpose. However, every media message has a core purpose. To discover that purpose, think about why its creator paid for and produced the message. For example, an ad might entertain you with humor, but its core purpose is to persuade you to buy something.

types and genres of media

Each type of medium has different characteristics, strengths, and weaknesses. Understanding how different types of media work and the role they play will help you become more informed about the choices you make in response to the media. For more information, see Types of Media, page 10.

2.5

producers and creators People who control the media are known as gatekeepers. Gatekeepers decide what information to share with the public and the ways it will be presented. The following diagram gives some examples. Who Controls the Media?

Media Owners TV networks Recording companies Publishing companies

Media Products Television Radio Magazines Movies Newspapers Internet

Media Creators Actors Writers Directors Webmasters

Media Sponsors Clothing manufacturers Fast-food restaurants Department stores

Some forms of media are independently owned, while others are part of a corporate family. Some corporate families might own several different kinds of media. For example, a company may own three radio stations, five newspapers, a publishing company, and a small television station. Often a corporate “parent” decides the content for all of its holdings.

media handbook

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2.6

laws governing media

3 Film and TV

Four main laws and policies affect the content, delivery, and use of mass media.

Films and television programs come in a variety of types. Films include comedies, dramas, documentaries, and animated features. Televison programs cover an even wider array, including dramas, sitcoms, talk shows, reality shows, newscasts, and so on. Producers of films and producers of television programs rely on many of the same elements to convey their messages. Among these elements are scripts, visual and sound elements, special effects, and editing.

The First Amendment to the Constitution forbids Congress to limit speech or the press. Copyright law protects the rights of authors and other media creators against the unauthorized publishing, reproduction, and selling of their works. Laws prohibit censorship, any attempt to suppress or control people’s access to media messages. Laws prohibit libel, the publication of false statements that damage a person’s reputation. 2.7

influence of media By sheer volume alone, media influences our very existence, values, opinions, and beliefs. Our environment is saturated with media messages from television, billboards, radio, newspapers, magazines, video games, and so on. Each of these media products is selling one message and conveying another—a message about values—in the subtext. For example, a car ad is meant to sell a car, but if you look closer, you will see that it is using a set of values, such as a luxurious lifestyle, to make the car attractive to the target audience. One message of the ad is that if you buy the car, you’ll have the luxurious lifestyle. The other message is that the luxurious lifestyle is good and desirable. TV shows, movies, and news programs also convey subtexts of values and beliefs. Media can also shape your opinions about the world. For example, news about crime shapes our understanding about how much and what type of crime is prevalent in the world around us. TV news items, talk show interviews, and commercials may shape our perception of a political candidate, a celebrity, an ethnic group, a country, or a regional area. As a consequence, our knowledge of someone or someplace may be completely based on the information we receive from the television.

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media handbook

3.1

script and written elements The writer and editor craft a story for television or film using a script and storyboard. A script is the text or words of a film or television show. A storyboard is a device often used to plan the shooting of a film and to help the director envision and convey what the finished product will look like. It consists of a sequence of sketches showing what will appear in the film’s shots, often with explanatory notes and dialogue written beside or underneath them, as shown in the example. For more information, see Media Study: Produce Your Own Media, page 133.

Shot 1 The fans cheer for their team.

Shot 2 Player focuses on hoop.

Shot 3 Time is running out.

Shot 4 Opponent is ready to block shot.

Media Handbook 3.2

chart shows some of the ways filmmakers move the camera to create an effect.

visual elements Visual elements in film and television include camera shots, angles, and movements, as well as film components such as mise en scène, set design, props, and visual special effects. A camera shot is a single, continuous view taken by a camera. Camera angle is the angle at which the camera is positioned during the recording of a shot or image. Each angle is carefully planned to create an effect. The chart shows what different shots are used for. Camera Shot/Angle

Effect

Establishing shot introduces viewers to the location of a scene, usually by presenting a wide view of an area

establishes the setting of a film

Close-up shot shows a detailed view of a person or an object

helps to create emotion and make viewers feel as if they know the character

Medium shot shows a view wider than a closeup but narrower than an establishing or a long shot

shows part of an object or a character from the knees or waist up

Long shot is a wide view of a scene, showing the full figure(s) of a person or group and the surroundings

allows the viewer to see the “big picture” and shows the relationship between characters and the environment

Camera Movement

Effect

Pan is a shot in which the camera scans a location from right to left or left to right

reveals information by showing a sweeping view of an area

Tracking shot is a shot in which the camera moves with the subject

establishes tension or creates a sense of drama

captures action or draws Zoom is the movement of the camera as it closes in on the viewer’s attention to or moves farther away from detail the subject

Mise en scène is a French term that refers to the arrangement of actors, props, and action on a film set. It is used to describe everything that can be seen in a frame, including the setting, lighting, visual composition, costumes, and action. Framing is capturing people and objects within the “frame” of a screen or image. Framing is what the camera sees. Composition is the arrangement of objects, characters, shapes, and colors within a frame and the relationship of the objects to one another. 3.3

sound elements Sound elements in film and television include music, voice-over, and sound effects.

Reaction shot shows someone reacting to something that occurred in a previous shot

allows the viewer to see how the subject feels in order to create empathy in the viewer

Low-angle shot looks up at an object or a person

makes a character, an object, or a scene appear more important or threatening

Music may be used to set the mood and atmosphere in a scene. Music can have a powerful effect on the way viewers feel about a story. For example, fast-paced music helps viewers feel excited during an action scene.

High-angle shot looks down on an object or a person

makes a character, an object, or a scene seem vulnerable or insignificant

Voice-over is the voice of the unseen commentator or narrator of a film, TV program, or commercial.

Point-of-view (POV) shot shows a part of the story through a character’s eyes

helps viewers identify with that character

Sound effects are the sounds added to films, TV programs, and commercials during the editing process. Sound effects, such as laugh tracks or the sounds of punches in a fight scene, can create humor, emphasize a point, or contribute to the mood.

Camera movement can create energy, reveal information, or establish a mood. The following

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3.4

special effects Special effects include computer-generated animation, manipulated video images, and fast- or slow-motion sequences in films, TV programs, and commercials.

4 News The news is information on events, people, and places in your community, your region, the nation, and the world. The news can be categorized by type, as shown in the chart.

Animation on film involves the frame-by-frame photography of a series of drawings or objects. When these frames are projected—at a rate of 24 per second—the illusion of movement is achieved. A split screen is a special-effects shot in which two or more separate images are shown in the same frame. One example is when two people, actually a distance apart, are shown talking to each other. 3.5

Type

Description

Hard news

local newspapers, fact-based accounts of current newscasts, online wire services events

Soft news

human-interest stories and other accounts that are less current or urgent than hard news

magazines and tabloid TV shows such as Sports Illustrated, Access Hollywood

News features

stories that elaborate on news reports

documentaries such as history reports on PBS

Commentary and opinion

editorial pages, essays and personal Web perspectives pages by experts, professionals, and media personalities

editing Editing is the process of selecting and arranging shots in a sequence. The editor decides which scenes or shots to use, as well as the length of each shot, the number of shots, and their sequence. Editing establishes pace, mood, and a coherent story. Cut is the transition from one shot to another. To create excitement, editors often use quick cuts, which are a series of short shots strung together. Dissolve is a transitional device in which one scene fades into another. Fade-in is a transitional device in which a white or black shot fades in to reveal the beginning of a new scene.

4.1

Examples

choosing the news Newsworthiness is the significance of an event or action that makes it worthy of media reporting. Journalists and their editors usually weigh the following criteria in determining which stories should make the news:

Jump cut is an abrupt and jarring change from one shot to another. A jump cut shows a break in time or continuity.

Timeliness is the quality of being very current. Timely events usually take priority over previously reported events. For example, a car accident with fatalities will be timely on the day it occurs. Because of its timeliness it may be on the front page of a newspaper or may be the lead story on a newscast.

Pace is the length of time each shot stays on the screen and the rhythm that is created by the transitions between shots. Short, quick cuts create a fast pace in a story. Long cuts slow down a story.

Impact measures the importance of an event and the number of people it could affect. The more widespread the impact of an event, the more likely it is to be newsworthy.

Parallel editing is a technique that cuts from one shot to another so as to suggest simultaneous action—often in different locations.

Proximity gauges the nearness of an event to a particular city, region, or country. People tend to be more interested in stories that take place locally and affect them directly.

Fade-out is a transitional device in which a shot fades to darkness to end a scene.

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Media Handbook Human interest is a quality of stories that cause readers or listeners to feel emotions such as happiness, anger, or sadness. People are interested in reading stories about other people. Uniqueness belongs to uncommon events or circumstances that are likely to be interesting to an audience.

Angle or slant is the point of view from which a story is written. Even an objective report must have an angle. Consider these two headlines that describe a library program.

Compelling video and photographs grab people’s attention and stay in their minds. 4.2

reporting the news While developing a news story, a journalist makes a variety of decisions about how to construct the story, such as what information to include and how to organize it. The following elements are commonly used in news stories: 5 W’s and H are the six questions reporters answer when writing news stories—who, what, when, where, why, and how. It is a journalist’s job to answer these questions in any type of news report. These questions also serve as a structure for writing and editing a story. Inverted pyramid is the means of organizing information according to importance. In the inverted pyramid diagram below, the most important information (the answers to the 5 W ’s and H) appears at the top of the pyramid. The less important details appear at the bottom. Not all stories are reported using the inverted pyramid form. The style remains popular, however, because it enables a reader to get the essential information without reading the entire story. Notice the following example. Men known as swan uppers have protected swans on the River Thames in London for more than eight centuries. Every July, the men, dressed in dark red or blue jackets, row three or more boats up the middle of the river to up, or check on the condition of, the swans. The term upping is believed to mean simply “going up the river.”

The first headline focuses on an opinion of library patrons and has a negative slant. The second headline focuses on facts about a program the library is offering.

Standards for News Reporting The ideal of journalism is to present news in a way that is objective, accurate, and thorough. The best news stories thus contain the following elements: • Objectivity The story takes a balanced point of view on the issues; it is not biased, nor does it reflect a specific attitude or opinion. • Accuracy The story presents factual information that can be verified. • Thoroughness The story presents all sides of an issue; it includes background information, telling who, what, when, where, why, and how.

Balanced Versus Biased Reporting Objectivity in news reporting can be measured by how balanced or biased the story is. Balanced reporting represents all sides of an issue equally and fairly. A balanced news story • represents people and subjects in a neutral light • treats all sides of an issue equally • does not include inappropriate questions, such as “Will you seek counseling after this terrible tragedy?”

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• does not show stereotypes or prejudice toward people of a particular race, gender, age, religion, or other group • does not leave out important background information that is needed to establish a context or perspective Biased reporting is reporting in which one side is favored over another or in which the subject is unfairly represented. Biased reporting may show an overly negative view of a subject, or it may encourage racial, gender, or other stereotypes and prejudices. Sometimes biased reporting is apparent in the journalist’s choice of sources. Sources are the people interviewed for the news report and also any written materials and documents the journalist used for background information. From each source, the journalist gets a different point of view. To decide whether news reporting is balanced or biased, you will need to pay attention to the sources. For a news story on a new medicinal drug, for instance, if the journalist’s only source is a representative from the company that made the drug, the report may be biased. But if the journalist also includes the perspective of someone neutral, such as a scientist who is objectively studying the effects of drugs, the report may be more balanced. It is important to evaluate the credibility, or the believability and trustworthiness, of both a source and the report itself. The following chart shows which sources are credible. Sources for News Stories Credible Sources

Weak Sources

• unnamed or anonymous sources • people directly affected • people who are not involved by the reported event in the reported event (for (eyewitnesses) example, people who heard • published reports about a story from a friend) that are specifically • experts in a field

mentioned or shown

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• research, data, or reports that are not specifically named or are referred to only in vague terms (for example, “Research shows that . . .”)

5 Advertising Advertising is a sponsor’s paid use of various media to promote products, services, or ideas. Some common forms of advertising are shown in the chart. Type of Ad

Characteristic

Billboard

a large outdoor advertising sign

Print ad

typically appears in magazines and newspapers; uses eye-catching graphics and persuasive copy

Flyer

a print ad that is circulated by hand or mail

Infomercial

an extended ad on TV that usually includes detailed product information, demonstrations, and testimonials

Public service announcement

a message aired on radio or TV to promote ideas that are considered to be in the public interest

Political ad

broadcast on radio or TV to promote political candidates

Trailer

a short film promoting an upcoming movie, TV show, or video game

Marketing is the process of transferring products and services from producer to consumer. It involves determining the packaging and pricing of a product, how it will be promoted and advertised, and where it will be sold. One way companies market their product is by becoming media sponsors. Sponsors pay for their products to be advertised. These companies hire advertising agencies to create and produce specific campaigns for their products. They then buy television or radio airtime or magazine, newspaper, or billboard space to feature ads where the target audience is sure to see them. Because selling time and space to advertisers generates much of the income the media need to function, the media need advertisers just as much as advertisers need the media.

Media Handbook Product placement is the intentional and identifiable featuring of brand-name products in movies, television shows, video games, and other media. The intention is to have viewers feel positive about a product because they see a favorite character using it. Another purpose may be to promote product recognition. 5.1

persuasive techniques Persuasive techniques are the methods used to convince an audience to buy a product or adopt an idea. Advertisers use a combination of visuals, sound, special effects, and words to persuade their target audience. Recognizing the following techniques can help you evaluate persuasive media messages and identify misleading information:

want you to think that it is a good product because a cooking expert wouldn’t endorse pots and pans that didn’t perform well. • Celebrity spokespeople are famous people who endorse a product. Advertisers hope that audiences will associate the product with the celebrity. Product comparison is comparing between a product and its competition. Often mentioned by name, the competing product is portrayed as inferior. The intended effect is for people to question the quality of the competing product and to believe the featured product is superior.

6 Elements of Design

Emotional appeals use strong feelings rather than factual evidence to persuade consumers. An example of an emotional appeal is “Is your home safe? ProAlarm Systems will make sure it is.”

The design of a media message is just as important as the words are in conveying the message. Like words, visuals are used to persuade, inform, and entertain.

Bandwagon appeals use the argument that a person should believe or do something because “everyone else” does. These appeals take advantage of people’s desire to be socially accepted by other people. Purchasing a popular product seems less risky to those concerned about making a mistake. An example of a bandwagon appeal is “More and more people are making the switch to Discountline long-distance service.”

Graphics and images, such as charts, diagrams, maps, timelines, photographs, illustrations, cartoons, and symbols, present information that can be quickly and easily understood. The following basic elements are used to give meaning to visuals:

Slogans are memorable phrases used in advertising campaigns. Slogans substitute catchy phrases for factual information. Logical appeals rely on logic and facts, appealing to a consumer’s reason and his or her respect for authority. Two examples of logical appeals are expert opinions and product comparison. Celebrity ads use one of the following two categories of spokesperson: • Celebrity authorities are experts in a particular field. Advertisers hope that audiences will transfer the respect or admiration they have for the person to the product. For example, a famous chef may endorse a particular brand of cookware. The manufacturers of the cookware

Color can be used to highlight important elements such as headlines and subheads. It can also create mood, because many colors have strong emotional or psychological impacts on the reader or viewer. For example, warm colors more readily draw the eye and are often associated with happiness and comfort. Cool colors are often associated with feelings of peace and contentment or sometimes sadness. Lines—strokes or marks—can be thick or thin, long or short, and smooth or jagged. They can focus attention and create a feeling of depth. They can frame an object. They can also direct a viewer’s eye or create a sense of motion. Texture is the surface quality or appearance of an object. For example, an object’s texture can be glossy, rough, wet, or shiny. Texture can be used to create contrast. It can also be used to make an object look “real.” For example, a pattern on wrapping paper can create a feeling of depth even media handbook

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though the texture is only visual and cannot be felt. Shape is the external outline of an object. Shapes can be used to symbolize living things or geometric objects. They can emphasize visual elements and add interest. Shapes can symbolize ideas. Notice how this movie poster uses design elements.

Who made—and who sponsored—this message, and for what purpose? The source of the message is a clue to its purpose. If the source of the message is a private company, that company may be trying to sell you a product. If the source is a government agency, that agency may be trying to promote a program or philosophy. To discover the purpose, think about why its creator paid for and produced the message. Who is the target audience and how is the message specifically tailored to it? Think about the age group, ethnic group, gender, and/or profession the message is targeting. Decide how it relates to you. What are the different techniques used to inform, persuade, entertain, and attract attention? Analyze the elements, such as humor, music, special effects, and graphics, that have been used to create the message. Think about how visual and sound effects, such as symbols, color, photographs, words, and music, support the purpose behind the message.

• Texture Texture is used to show the contrast of the baby penguin’s downy feathers to the adult penguin’s smoother feathers. • Shape The shape of the adult penguin’s body and the downward slope of its head emphasize the bird’s parental nature. • Color Grayish blues and whites suggest the arctic environment that the penguins live in.

7 Evaluating Media Messages Being able to respond critically to media images and messages will help you evaluate the reliability of the content and make informed decisions. Here are six questions to ask about any media message:

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What messages are communicated (and/or implied) about certain people, places, events, behaviors, lifestyles, and so forth? The media try to influence who we are, what we believe, how we view things, and what values we hold. Look or listen closely to determine whether certain types of behavior are being depicted and if judgments or values are communicated through those behaviors. What are the biases in the message? How current, accurate, and credible is the information in this message? Think about the reputation of the source. Note the broadcast or publication date of the message and whether the message might change quickly. If a report or account is not supported by facts, authoritative sources, or eyewitness accounts, you should question the credibility of the message. What is left out of this message that might be important to know? Think about what the message is asking you to believe. Also think about what questions come to mind as you watch, read, or listen to the message.

Test-Taking Handbook

Strategies and Practice for the SAT, ACT, and Other Standardized Tests The test items in this section are modeled after test formats that are used on the SAT. The strategies presented here will help you prepare for that test and others. This section offers general test-taking strategies and tips for answering multiplechoice items, as well as short-response and extended-response questions in critical reading and writing. It also includes guidelines and samples for impromptu writing and essay writing. For each test, read the tips in the margin. Then apply the tips to the practice items. You can also apply the tips to Assessment Practice Tests in this book.

1 General Test-Taking Strategies • Arrive on time and be prepared. Be sure to bring either sharpened pencils with erasers or pens—whichever you are told to bring. • If you have any questions, ask them before the test begins. Make sure you understand the test procedures, the timing, and the rules. • Read the test directions carefully. Look at the passages and questions to get an overview of what is expected. • Tackle the questions one at a time rather than thinking about the whole test. • Refer back to the reading selections as needed. For example, if a question asks about an author’s attitude, you might have to reread a passage for clues. • If you are not sure of your answer, make a logical guess. You can often arrive at the correct answer by reasoning and eliminating wrong answers. • As you fill in answers on your answer sheet, make sure you match the number of each test item to the numbered space on the answer sheet. • Don’t look for patterns in the positions of correct choices. • Only change an answer if you are sure your original choice is incorrect. If you do change an answer, erase your original choice neatly and thoroughly. • Look for main ideas as you read passages. They are often stated at the beginning or the end of a paragraph. Sometimes the main idea is implied. • Check your answers and reread your essay.

test-taking handbook

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2 Critical Reading

Tips: Multiple Choice

Most tests contain a critical reading section that measures your ability to read, understand, and interpret passages. The passages may be either fiction or nonfiction, and they can be 100 words or 500 to 800 words. They are drawn from literature, the humanities, social studies, and the natural sciences.

Directions: Read the following passage. Base your answers to questions 1 and 2 on what is stated or implied in the passage.

A multiple-choice question consists of a stem and a set of choices. The stem is usually in the form of a question or an incomplete sentence. One of the choices correctly answers the question or completes the sentence. 1 Read the stem carefully

and try to answer the question without looking at the choices. 2 Pay attention to key words

Text not available for electronic use.

in the stem. They may direct you to the correct answer.

Please refer to the text in the textbook.

3 Read all of the choices

before determining the correct answer. 4 After reading all of

the choices, eliminate any that you know are incorrect. In question 1, you can immediately eliminate choice (D), because the passage does not mention this idea. 5 Some questions ask you 1

to interpret a statement or figure of speech. In question 2, Diagoras’s friend is not ordering him to die. The friend means that no matter how long Diagoras lives, he will never surpass the honors he and his sons earned at the Olympic Games.

stem

1. The outcome of the Olympic Games brought 2 (A) shame to the hometowns of the losers (B) fame and glory to the hometowns of the victors 3 choices (C) fame and fortune to the merchants of Olympia (D) war to the towns of the competing athletes 4 (E) money to the parents of victorious athletes 2. Which statement most likely explains the remark “Die now, Diagoras”? (A) Diagoras’s sons shamed him by losing. (B) The friend was challenging Diagoras to a duel. (C) Diagoras already had achieved great honors. (D) Diagoras would die climbing Mount Olympus. (E) The friend was from a different city-state.

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5

Answers: 1 (B), 2 (C)

Test-Taking Handbook Tips: Two Passages

Directions: Following are two passages from a true story of a black youth’s life under South Africa’s policy of racial discrimination during the 1970s. Base your answers to questions 1 and 2 on these passages. passage 1

2 Questions are sometimes

based on a pair of related passages. The passages might express completely different points of view, or they might explore different aspects of the same subject.

3

I don’t believe in schools, woman,” my father said emphatically. “Just look at all those so-called educated people. What has education done for them? They pick garbage, wash cars, work as garden boys and delivery boys.” . . . One of his strong points whenever he argued with my mother about the pros and cons of schooling was that blacks, before the coming of the white man to Africa, had always taught their offspring ways of being useful and productive in the villages while they were still in the cradle, and that by the time boys and girls were five, six, seven, and eight years old they were already making meaningful contributions to tribal society.

4

1 Before reading the

passages, skim the questions to see what information you will need. The questions here ask about attitudes toward education. Knowing this, you can focus on the key parts of the passages.

—Mark Mathabane, Kaffir Boy passage 2

“I want you to go to school because I believe that an education is the key you need to open up a new world and a new life for yourself, a world and life different from that of either your father’s or mine. It is the only key that can do that, and only those who seek it earnestly and perseveringly will get anywhere in the white man’s world. Education will open doors where none seem to exist.”

2 Sometimes, it helps

to know the historical context of a passage. The directions may provide that information. 5

3 Look for a topic sentence

—Mark Mathabane, Kaffir Boy

1. Which statement best describes the two speakers’ attitudes toward education? 1 (A) The speaker in passage 1 thinks that a white person’s education is a waste of time for black people. The speaker in passage 2 thinks that education is the key to success in life. (B) The speaker in passage 1 thinks that education should be free. The speaker in passage 2 thinks that education is worth any price. (C) The speaker in passage 1 thinks that people should not be overeducated. The speaker in passage 2 thinks that education is only for those who want it. (D) The speaker in passage 1 thinks that blacks and whites should be educated differently. The speaker in passage 2 thinks that both races should receive an equal education. (E) The speaker in passage 1 thinks that there are no jobs for black South Africans. The speaker in passage 2 thinks that you can’t get ahead in the black world without an education. 2. What does the speaker in passage 2 mean by “Education will open doors where none seem to exist”? (A) Education is a one-time opportunity. (B) Education presents its own obstacles. (C) Education will open imaginary doors. (D) People will open the door for educated people. (E) Education will provide new opportunities.

1

in each passage and ask yourself whether the body of the passage supports or refutes that statement. 4 Analyze the attitudes

that are expressed in the readings. When the speaker in passage 1 calls black people who have gone to school “so-called educated people,” he conveys his contempt for the white educational system. 5 Analyze any figures of

speech in the readings. How do the images advance the point of view? The speaker in passage 2 compares education to a key that will open doors. Answers: 1 (A), 2 (E)


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Directions: Read the following passage. Base your answers to questions 1 through 4 on what is stated or implied in the passage.

Tips: Reading Text 1 Sometimes, test questions

passage

5

10

15

20

25

30

Now the winter was come upon them. In the forests all summer long, the branches of the trees do battle for light, and some of them lose and die; and then come the raging blasts, and the storms of snow and hail, and strew the ground with these weaker branches. Just so it was in Packingtown; the whole district braced itself for the struggle that was an agony, and those whose time was come died off in hordes. All the year round they had been serving as cogs in the great packing machine; and now was the time for the renovating of it, and the replacing of damaged parts. There came pneumonia and grippe, stalking among them, seeking for weakened constitutions; there was the annual harvest of those whom tuberculosis had been dragging down. There came cruel, cold, and biting winds, and blizzards of snow, all testing relentlessly for failing muscles and impoverished blood. Sooner or later came the day when the unfit one did not report for work; and then, with no time lost in waiting, and no inquiries or regrets, there was a chance for a new hand. The new hands were here by the thousands. All day long the gates of the packing houses were besieged by starving and penniless men; they came, literally, by the thousands every single morning, fighting with each other for a chance for life. Blizzards and cold made no difference to them, they were always on hand; they were on hand two hours before the sun rose, an hour before the work began. Sometimes their faces froze, sometimes their feet and their hands; sometimes they froze all together—but still they came, for they had no other place to go. One day Durham advertised in the paper for two hundred men to cut ice; and all that day the homeless and starving of the city came trudging through the snow from all over its two hundred square miles. That night forty score of them crowded into the station house of the stockyards district—they filled the rooms, sleeping in each other’s laps, toboggan fashion, and they piled on top of each other in the corridors, till the police shut the doors and left some to freeze outside. On the morrow, before daybreak, there were three thousand at Durham’s and the police reserves had to be sent for to quell the riot. Then Durham’s bosses picked out twenty of the biggest; the “two hundred” proved to have been a printer’s error. —Upton Sinclair, The Jungle

1

will ask you to interpret an image or comparison. Note how the author uses the first three sentences in the opening paragraph to set up the comparison of trees in the forest to the work situation in Packingtown. 2 Use words in the passage

2

3

to help you visualize the people, places, and events as you read. The “cruel wind,” “blizzards of snow,” and “impoverished blood” depict the harshness of the packinghouse workers’ lives. 3 Analyze the tone of a

piece. The author notes that when an unfit worker did not report to work, “there was a chance for a new hand.” The stark language conveys the cold reality of survival of the fittest. 4 Look beyond a literal

4

interpretation. The author writes that the number 200 was a printer’s error, but you might consider the possibility that the company had asked for 200 men so that it would have a large pool of applicants from which to pick its 20 men. Answers: 1 (D), 2 (C), 3 (C), 4 (E)

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Test-Taking Handbook 1. In lines 1–4, the author compares the fallen branches of trees to (A) damaged machine parts (B) failing muscles (C) weak blood (D) dying packinghouse workers (E) biting winds 2. In line 19, the phrase “a chance for life” refers to (A) the decision in a boxing match (B) a place out of the cold (C) a job in the stockyard district (D) recovery from a disease such as tuberculosis (E) a life sentence for rioting 3. In line 7, comparing the workers to “cogs in the great packing machine” suggests that they are (A) lazy (B) well-trained (C) replaceable (D) unskilled (E) mechanized 4. The main idea of this passage is that (A) packinghouse workers got sick because they didn’t take care of themselves (B) unemployed workers were ungrateful for an opportunity to work (C) winter was especially cold that year, so many workers were fired (D) the great packinghouse machine had many broken parts (E) packinghouse owners took advantage of the surplus supply of workers


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Tips: Sentence Completion

The critical reading section may feature sentence completion questions that test your knowledge of vocabulary. They may also measure your ability to figure out how different parts of a sentence logically fit together.

1 When you are completing

sentences with two words missing, look at both blanks and think about what kinds of words will fill them.

Directions: Choose the word or set of words that, when inserted, best fits the meaning of each of the following sentences. 1. A Christmas Carol by Charles Dickens illustrates the literary _______ of a man who is driven by _______ greed. (A) conflicts . . illicit (B) motif . . voracious (C) metaphor . . intermittent (D) stratagem . . abject (E) sophistry . . overweening 2

1

2. The Beatles’ _______ style of music reflects sounds as _______ as the American blues guitar and the Indian sitar. 3 (A) esoteric . . innate (B) ephemeral . . ebullient (C) incendiary . . potent (D) obscure . . ubiquitous (E) eclectic . . disparate 3 4

3. Because they need to be kept _______ , golf courses in arid regions like the American Southwest can ______ water shortages. (A) verdant . . exacerbate (B) utopian . . presage (C) torrid . . ameliorate (D) brackish . . effect (E) fallow . . instigate

2 If one of the words in an

answer choice is wrong, you can eliminate that set of words. In sentence 1, the word overweening is an appropriate description of Scrooge’s greed, but sophistry, a philosophical term, doesn’t fit here. 3 If you don’t know the

exact meaning of a word, look for clues in the sentence. In sentence 2, the instruments from different cultures are a clue. The prefix dis- in the word disparate means “apart.” 4 Look for words or phrases

that link the ideas in a sentence. The word because in sentence 3 indicates a causeand-effect relationship between golf courses and water shortages. 5 You might recognize

4. Nelson Mandela _______ the movement against apartheid in South Africa. (A) gleaned (B) permeated (C) proscribed (D) galvanized 5 (E) pillaged

some words from a completely different context. Galvanize means “to subject to the action of applying an electric current.” Nelson Mandela energized the antiapartheid movement. Answers: 1(B), 2 (E), 3 (A), 4 (D)

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3 Writing To measure your ability to express ideas clearly and correctly, tests ask you to identify errors in grammar and usage and to improve sentences and paragraphs.

Tips: Grammar and Style 1 Read the entire sentence

or passage to grasp its overall meaning. Pay particular attention to any underlined portions.

Directions: Select the one underlined part that must be changed to make the following sentence correct. There is no more than one error in the sentence. If the sentence is correct as written, select answer choice E.

2 Misuse of the apostrophe

1. When we look at the seven continents today, it’s difficult for you to imagine (A) 2 (B) 3 that at one point in the earth’s geologic history, they were a contiguous land mass (C) 4 that was connected by an area called Pangaea. No error 1 (D) (E)

in its and it’s is a common grammatical error. The usage is correct in sentence 1. 3 A good sentence

maintains a consistent point of view. If the subject of one clause is we, it should be carried through in the next clause.

Directions: Determine if the underlined part of the following sentence needs improvement and select the best change presented in the five choices. 2. The national forest system in the United States stretches over 191 million acres, which is including temperate rainforests of the Northwest, the hardwood forests of the Southeast, and high-desert pines of the Great Basin. (A) which is including 5 (B) which include (C) that includes (D) including both (E) and including

4 Use prefixes to aid your

reading comprehension. You may not know what contiguous means in sentence 1, but if you know that the prefix conmeans “together,” you can figure out that the land masses were joined in some way.

Directions: Read the following passage and answer the question.

5 In choosing a revision,

read through all of the choices before you decide which one is best. Choose answer (A) only if the sentence is correct as it appears originally.

(1) One of New Hampshire’s most recognizable residents was the Old Man of the Mountain, a natural rock formation. (2) The profile of the craggy-faced man appears on the reverse of the New Hampshire state quarter, making it America’s first two-headed coin. (3) It’s a good piece to use in a coin toss. (4) If you call heads, you’re sure to win!

6 To combine sentences,

3. What is the best way to combine sentences 3 and 4? 6 (A) It’s a good piece to use in a coin toss, because if you call heads you’re sure to win. (B) It’s a good piece to use in a coin toss, if you call heads you’re sure to win. (C) It’s a good piece to use in a coin toss if you call heads; you’re sure to win. (D) If you call heads you’re sure to win because this is a good piece to use in a coin toss. (E) Knowing that if you call heads you’re sure to win makes it a good piece to use in a coin toss.

determine how ideas are related. Are they contrasting ideas? Do they express a cause-andeffect relationship? Are they chronological? Answers: 1 (B), 2 (B), 3 (A)


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Tips: Responding to Writing Prompts

Some tests may measure your understanding of a passage by asking you to write a response.

1 Short-response prompts

Directions: Read the passage. Then follow the directions. Back then, boys could learn by working on their cars without expensive tools, computers, and complex training, and any who discovered their mechanical talents followed their fathers happily into the factories, where they found financial security, a sense of professionalism, and a pathway up. Michael Summers was young, but he had a sense of that history, and he missed it. “Kids today do not have the ability to work on mechanical things,” he said. “We’re in a throwaway society where the lawn mower breaks, you don’t tear apart this little two-cycle engine. You throw it out and you get another one. . . . [We have a] shortage of tool and dye makers and fluid power mechanics, the guys who are basically screwing things together and building systems. People who are good at that are good because they like it, they have an aptitude for it, and they’ve had exposure to it. There are a lot of kids who would be good at it, but they have no clue that they have mechanical interest.” —David Shipler, The Working Poor

about the assigned topic. If you are asked to agree or disagree with a passage, don’t just restate the author’s arguments. Develop your own point of view and support it with examples. 3 When you are writing an

extended response, build your paragraphs around clear topic sentences that will pull your ideas together. entire subject in your response. Focus on one or two main points.

Give a short definition of a throwaway society. sample short response

5 Proofread your response

A throwaway society is one in which things are used just a few times and then thrown away. A good example is the disposable DVD, which automatically erases so that you can’t view it again. 1

for errors in capitalization, punctuation, spelling, and grammar.

extended response In the passage, Michael Summers argues that kids today never get the chance to discover whether they have an aptitude for fixing things. Explain in one or two paragraphs why you agree or disagree with him. 2 sample extended response

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2 Make sure you write

4 Don’t try to cover the

short response

I agree that young people today are not learning traditional manual skills, but we do have opportunities to figure out how things work. Today we use different tools. With computers, we can learn about anything we are interested in and even get hands-on experience. Last year I searched the Internet to find out how windmills produce electricity. With that information I designed a model windmill that I entered into a science fair. A friend of mine in the school orchestra downloaded an inexpensive computer program for composing music. He was able to compose a sonata for violin. Computers can give you experience in figuring things out. With experience comes confidence in your own abilities.

are often fact based rather than interpretive. Get to the point in your answer, and stick to the facts.

3

3

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4 Essay

Tips: Writing an Essay

To determine how well you can develop and support your thoughts, many tests ask you to write an essay in response to an assignment, or prompt. The essay will represent a first draft and will be scored based on the following:

The SAT allows only 25 minutes for you to write an essay. So before you begin writing, take a few minutes to gather your thoughts. Write down the main points you want to make. Allow time to reread your essay before you hand it in. Make sure your handwriting is legible.

• Focus Establish a point of view in the opening paragraph. • Organization Maintain a logical progression of ideas. • Support for Ideas Use details and examples to develop an argument. • Style/Word Choice Use words accurately and vary sentences. • Grammar Use standard English and proofread for errors.

1 When you’re writing a

Think carefully about the issue presented in these quotations and the assignment that follows.

persuasive essay, state your point of view in the introduction.

The fact is there is a responsible case to be made for driving SUVs. It can be summed up in three words: “This is America.”

2 Concrete examples make

your writing come to life, no matter what the topic is. Use examples in the body of your essay to clarify your points and strengthen your arguments. The writer of this essay uses facts and personal observations to bolster the arguments.

—Reg Henry, Pittsburgh Post-Gazette If you buy an SUV, you’re buying your safety at the expense of another’s. Hit someone and you’ll kill them. —Randy Cohen, New York Times Assignment: What is your view on the idea that sport utility vehicles (SUVs) are being driven on city streets and highways? sample essay

Today, light trucks and sport utility vehicles (SUVs) account for nearly half of all new vehicle sales. Although there are some legitimate uses for these oversized vehicles, they are generally unnecessary for today’s city and suburban lifestyle. Sport utility vehicles are designed for off-road travel. That means dirt roads and other rugged terrain. The elevated chassis, four-wheel drive, and heavier body are wasted on the paved streets and highways that we use to get to work or to the shopping malls. Even when we travel across the country, we ride on a system of well-maintained highways. Some people say SUVs are safer because of their size and weight. That’s true only if you are in the SUV. In fact, the bigger vehicles pose a serious risk to the dwindling number of people who still drive compact cars. In a side impact crash, the driver of an SUV might not even be scratched, but the people in the sedan will be severely injured or killed. The strongest argument against SUVs is environmental. The law allows SUVs to have far worse fuel economy than regular-size cars, and they do. Many popular SUVs get only 12 to 15 miles per gallon of gas. The law also allows SUVs to emit higher levels of toxic pollution. SUVs have their place, but many of them are not being used appropriately. If we can’t convince people not to buy big vehicles they don’t need, we can certainly improve the SUVs’ fuel economy and emissions.

3 Take the opposing point

of view into consideration and respond to it. 1

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3

4 Make sure your essay has

a conclusion, even if it’s just a single sentence. A conclusion pulls your ideas together and lets the reader know you have finished. 5 Allow enough time to

reread what you have written. If you have to make a correction, do so neatly and legibly.

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Glossary of Literary Terms Act An act is a major division within a play, similar to a chapter in a book. Each act may be further divided into smaller sections, called scenes. Plays can have as many as five acts, as in Shakespeare’s Julius Caesar. Anton Chekhov’s A Marriage Proposal is a one-act play. Allegory An allegory is a work with two levels of meaning—a literal one and a symbolic one. In such a work, most of the characters, objects, settings, and events represent abstract qualities. Personification is often used in traditional allegories. As in a fable or a parable, the purpose of an allegory may be to convey truths about life, to teach religious or moral lessons, or to criticize social institutions.

Alliteration Alliteration is the repetition of consonant sounds at the beginning of words. Note the repetition of the h and s sounds in these lines.

Mother whose heart hung humble as a button On the bright splendid shroud of your son, —Stephen Crane, “Do not weep, maiden, for war is kind”

Archetype An archetype is a pattern in literature that is found in a variety of works from different cultures throughout the ages. An archetype can be a plot, a character, an image, or a setting. For example, the association of death and rebirth with winter and spring is an archetype common to many cultures.

Aside In drama, an aside is a short speech directed to the audience, or another character, that is not heard by the other characters on stage. In the following example from Julius Caesar, the aside reveals Trebonius’ murderous intentions after Caesar has asked him to stand near him in the Forum:

Trebonius. Caesar, I will. [aside] And so near will I be That your best friends shall wish I had been further. —William Shakespeare, Julius Caesar

See pages 243, 1094. See also Soliloquy.

Assonance Assonance is the repetition of vowel sounds within nonrhyming words. An example of assonance is the repetition of the short u sound in the following line.

See pages 444, 690. See also Consonance.

Allusion An allusion is an indirect reference to a famous person, place, event, or literary work. The title of Stephen Vincent Benét’s “By the Waters of Babylon” is an allusion to the beginning of Psalm 137 in the Bible: “By the rivers of Babylon, there we sat down, yea, we wept, when we remembered Zion.” See page 290. Analogy An analogy is a point-by-point comparison between two things that are alike in some respect. Often, writers use analogies in nonfiction to explain unfamiliar subjects or ideas in terms of familiar ones. See also Extended Metaphor; Metaphor; Simile. Antagonist An antagonist is a principal character or force in opposition to a protagonist, or main character. The antagonist is usually another character but sometimes can be a force of nature, a set of circumstances, some aspect of society, or a force within the protagonist. In Guy de Maupassant’s “Two Friends,” the German officer who encounters the fishermen is the main antagonist. In Isabel Allende’s “And of Clay Are We Created,” the destructive force unleashed by the volcano may be considered an antagonist. See pages 75, 406, 528.

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glossary of literary terms

He hung a grunting weight, —Elizabeth Bishop, “The Fish”

Author’s Perspective An author’s perspective is a unique combination of ideas, values, feelings, and beliefs that influences the way the writer looks at a topic. Tone, or attitude, often reveals an author’s perspective. In “A Chip of Glass Ruby,” Nadine Gordimer writes from a perspective that reflects her experiences as a South African. See pages 223, 257, 482, 529, 630. See also Author’s Purpose; Tone.

Author’s Purpose A writer usually writes for one or more of these purposes: to express thoughts or feelings, to inform or explain, to persuade, or to entertain. For example, David McCullough’s purpose for writing The Johnstown Flood is to inform readers of a natural phenomenon that made history. See also Author’s Perspective.

Autobiography An autobiography is a writer’s account of his or her own life. In almost every case, it is told from the first-person point of view. Generally, an autobiography focuses on the most significant events and people in the writer’s life over a period of time. Shorter autobiographical narratives include journals, diaries, and

Glossary of Literary Terms

letters. An autobiographical essay, another type of short autobiographical work, focuses on a single person or event in the writer’s life. Examples of autobiographical writing include Jeanne Wakatsuki Houston’s Farewell to Manzanar and Coretta Scott King’s Montgomery Boycott. See pages 864, 880. See also Memoir.

Ballad A ballad is a type of narrative poem that tells a story and was originally meant to be sung or recited. Because it tells a story, a ballad has a setting, a plot, and characters. Traditional ballads are written in four-line stanzas with regular rhythm and rhyme. Folk ballads were composed orally and handed down by word of mouth. These ballads usually tell about ordinary people who have unusual adventures or perform daring deeds. A literary ballad is a poem written by a poet in imitation of the form and content of a folk ballad. “Lord Randall” is an example of a traditional ballad. Biography A biography is the true account of a person’s life, written by another person. As such, a biography is usually told from a third-person point of view. The writer of a biography usually researches his or her subject in order to present accurate information. The best biographers strive for honesty and balance in their accounts of their subjects’ lives.

Blank Verse Blank verse is unrhymed poetry written in iambic pentameter. That is, each line of blank verse has five pairs of syllables. In most pairs, an unstressed syllable is followed by a stressed syllable. The most versatile of poetic forms, blank verse imitates the natural rhythms of English speech. Much of Shakespeare’s drama is in blank verse. The following lines, spoken by the conspirator Casca, describe one of the wonders Casca observed during the storm on the night before Caesar’s assassination. Note the iambic pentameter and the lack of end rhyme.

´ him well ´ by sight— ´ ´ ´ A common slave—you know ´ his left ´ hand, which ´ did flame ´ and burn ´ Held up —William Shakespeare, Julius Caesar See also Iambic Pentameter.

Cast of Characters In the script of a play, a cast of characters is a list of all the characters in the play, usually in order of appearance. It may include a brief description of each character.

Character Characters are the individuals who participate in the action of a literary work. Like real people, characters display certain qualities, or character traits; they develop and change over time; and they usually have motivations, or reasons, for their behaviors. Main characters: Main characters are the most important characters in literary works. Generally, the plot of a short story focuses on one main character, but a novel may have several main characters. Minor characters: The less prominent characters in a literary work are known as minor characters. Minor characters support the plot. The story is not centered on them, but they help carry out the action of the story and help the reader learn more about the main character. Dynamic character: A dynamic character is one who undergoes important changes as a plot unfolds. The changes occur because of his or her actions and experiences in the story. The change is usually internal and may be good or bad. Main characters are usually, though not always, dynamic. Static character: A static character is one who remains the same throughout a story. The character may experience events and have interactions with other characters, but he or she is not changed because of them. Round character: A round character is one who is complex and highly developed and has a variety of traits and different sides to his or her personality. Some of the traits may create conflict in the character. Round characters tend to display strengths, weaknesses, and a full range of emotions. The writer provides enough detail for the reader to understand their feelings and emotions. Flat character: A flat character is one who is not highly developed. A flat character is a one-sided character: he or she usually has one outstanding trait, characteristic, or role. Flat characters exist mainly to advance the plot, and they display only the traits needed for their limited roles. Minor characters are usually flat characters. See page 158. See also Characterization.

Characterization The way a writer creates and develops characters’ personalities is known as characterization. There are four basic methods of characterization: • The writer may make direct comments about a character’s personality or nature through the voice of the narrator. • The writer may describe the character’s physical appearance.


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• The writer may present the character’s own thoughts, speech, and actions. • The writer may present pertinent thoughts, speech, and actions of other characters. See pages 160, 211. See also Character.

Chorus In the theater of ancient Greece, the chorus was a group of actors who commented on the action of the play. Between scenes the chorus sang and danced to musical accompaniment in the orchestra—the circular floor between the stage and the audience—giving insights into the message of the play. The chorus is often considered a kind of ideal spectator, representing the response of ordinary citizens to the tragic events that unfold. In Sophocles’ Antigone, the chorus represents the leading citizens of Thebes. See pages 958, 959, 964, 973. See also Drama.

Climax In a plot, the climax is the point of maximum interest or tension. Usually the climax is a turning point in the story, after the reader has understood the conflict and become emotionally involved with the characters. The climax sometimes, but not always, points to the resolution of the conflict. Example: In Stephen Vincent Benét’s “By the Waters of Babylon,” John’s discovery of the dead “god” can be considered the climax of the story. As a result of his discovery, John realizes the truth about the past. See pages 26, 57, 290. See also Plot.

Comedy A comedy is a dramatic work that is light and often humorous in tone, usually ending happily with a peaceful resolution of the main conflict. A comedy differs from a farce by having a more believable plot, more realistic characters, and less boisterous behavior.

Comic Relief Comic relief consists of humorous scenes, incidents, or speeches that are included in a serious drama to provide a reduction in emotional intensity. Because it breaks the tension, comic relief allows an audience to prepare emotionally for events to come. In many of Shakespeare’s plays, comic relief is provided by a fool or through scenes with servants or common folk.

Complication A complication is an additional factor or problem introduced into the rising action of a story to make the conflict more difficult. Often, a plot complication makes it seem as though the main character is getting farther away from the thing he or she wants.

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Conflict A conflict is a struggle between opposing forces. Almost every story has a main conflict—a conflict that is the story’s focus. An external conflict involves a character pitted against an outside force, such as nature, a physical obstacle, or another character. An internal conflict is one that occurs within a character. Examples: In “To Build a Fire,” the man and the dog are in conflict with the external environment. At the same time, the man experiences internal conflict as he tries to think of ways he might be able to survive this extreme setting. In some stories, such as Chinua Achebe’s “Marriage Is a Private Affair,” the source of the conflict is cultural; that is, it arises from differences in beliefs and values. See pages 26, 33, 76, 183, 896. See also Plot. Connotation A connotation is an attitude or a feeling associated with a word, in contrast to the word’s denotation, which is its literal, or dictionary, meaning. The connotations of a word may be positive or negative. For example, enthusiastic has positive associations, while rowdy has negative ones. Connotations of words can have an important influence on style and meaning and are particularly important in poetry. Consonance Consonance is the repetition of consonant sounds within and at the end of words, as in “lonely afternoon.” Consonance is unlike rhyme in that the vowel sounds preceding or following the repeated consonant sounds differ. Consonance is often used together with alliteration, assonance, and rhyme to create a musical quality, to emphasize certain words, or to unify a poem. See also Alliteration. Couplet A couplet is a rhymed pair of lines. A couplet may be written in any rhythmic pattern.

So long as men can breathe, or eyes can see, So long lives this, and this gives life to thee. —William Shakespeare, “Sonnet 18” See also Stanza.

Critical Essay See Essay. Denotation See Connotation. Dénouement See Falling Action. Dialect A dialect is a form of language that is spoken in a particular geographic area or by a particular social or ethnic group. A group’s dialect is reflected in its pronunciations,


vocabulary, expressions, and grammatical structures. Writers use dialects to capture the flavors of locales and to bring characters to life, re-creating the way they actually speak.

Dialogue Dialogue is written conversation between two or more characters. Writers use dialogue to bring characters to life and to give readers insights into the characters’ qualities, traits, and reactions to other characters. Realistic, well-paced dialogue also advances the plot of a narrative. In fiction, dialogue is usually set off with quotation marks. In drama, stories are told primarily through dialogue. Playwrights use stage directions to indicate how they intend the dialogue to be interpreted by actors.

Diary A diary is a daily record of a writer’s thoughts, experiences, and feelings. As such, it is a type of autobiographical writing. The terms diary and journal are often used synonymously. Diction A writer’s or speaker’s choice of words and way of arranging the words in sentences is called diction. Diction can be broadly characterized as formal or informal. It can also be described as technical or common, abstract or concrete, and literal or figurative. A writer for Scientific American would use a more formal, technical, and possibly abstract diction than would a writer for the science section of a local newspaper. See pages 489, 766. See also Style. Drama Drama is literature in which plots and characters are developed through dialogue and action; in other words, it is literature in play form. Drama is meant to be performed. Stage plays, radio plays, movies, and television programs are types of drama. Most plays are divided into acts, with each act having an emotional peak, or climax. Certain modern plays, such as A Marriage Proposal, have only one act. Most plays contain stage directions, which describe settings, lighting, sound effects, the movements and emotions of actors, and the ways in which dialogue should be spoken. Dramatic Irony See Irony. Dramatic Monologue A dramatic monologue is a lyric poem in which a speaker addresses a silent or absent listener in a moment of high intensity or deep emotion, as if engaged in private conversation. The speaker proceeds without interruption or argument, and the effect on the reader is that of hearing just one side of a conversation. This technique allows the poet to focus on the feelings, personality, and motivations of the speaker. “Exile” by Julia Alvarez is a dramatic monologue. See page 136. See also Lyric Poetry; Soliloquy.

Dynamic Character See Character. Elegy An elegy is an extended meditative poem in which the speaker reflects on death—often in tribute to a person who has died recently—or on an equally serious subject. Most elegies are written in formal, dignified language and are serious in tone. Epic An epic is a long narrative poem on a serious subject, presented in an elevated or formal style. It traces the adventures of a great hero whose actions reflect the ideals and values of a nation or race. Epics address universal concerns, such as good and evil, life and death, and sin and redemption. Homer’s Iliad and Odyssey are famous epics in the Western tradition. The Ramayana is a great epic of India.

Epic Hero An epic hero is a larger-than-life figure who embodies the ideals of a nation or race. Epic heroes take part in dangerous adventures and accomplish great deeds. Many undertake long, difficult journeys and display great courage and superhuman strength.

Essay An essay is a short work of nonfiction that deals with a single subject. Some essays are formal—that is, tightly structured and written in an impersonal style. Others are informal, with a looser structure and a more personal style. Generally, an expository essay presents or explains information and ideas. A personal essay is typically an informal essay in which the writer expresses his or her thoughts and feelings about a subject, focusing on the meaning of events and issues in his or her own life. In a reflective essay, the author makes a connection between a personal observation or experience and a universal idea, such as love, courage, or freedom. A critical essay evaluates a situation, a course of action, or a work of art. In a persuasive essay, the author attempts to convince readers to adopt a certain viewpoint or to take a particular stand. Examples: E. M. Forster’s essay “Tolerance” seeks to persuade its audience to adopt a different attitude toward people around the world. In “The Man in the Water,” Roger Rosenblatt reflects on current events and therefore combines qualities of both the reflective and expository essays. See pages 352, 448. Exposition Exposition is the first stage of a typical story plot. The exposition provides important background information and introduces the setting and the important characters. The conflict the characters face may also be introduced in the exposition, or it may be introduced later, in the rising action. See pages 26, 27. See also Plot.


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Expository Essay See Essay. Extended Metaphor An extended metaphor is a figure of speech that compares two essentially unlike things at some length and in several ways. It does not contain the word like or as. For example, Shakespeare makes a comparison between ambition and a ladder in this extended metaphor:

That lowliness is young ambition’s ladder, Whereto the climber-upward turns his face; But when he once attains the upmost round, He then unto the ladder turns his back, Looks in the clouds, scorning the base degrees By which he did ascend. —William Shakespeare, Julius Caesar

typically used in farces include mistaken identity, deception, physical comedy, wordplay—such as puns and double meanings—and exaggeration. Anton Chekhov’s A Marriage Proposal is an example of a farce.

Fiction Fiction is prose writing that consists of imaginary elements. Although fiction can be inspired by actual events and real people, it usually springs from writers’ imaginations. The basic elements of fiction are plot, character, setting, and theme. The novel and the short story are forms of fiction. See also Character; Novel; Plot; Setting; Short Story; Theme.

Figure of Speech See Figurative Language; Hyperbole; Metaphor; Personification; Simile; Understatement. Figurative Language Figurative language is language

See also Metaphor.

External Conflict See Conflict. Fable A fable is a brief tale told to illustrate a moral or teach a lesson. Often the moral of a fable appears in a distinct and memorable statement near the tale’s beginning or end.

Falling Action In a plot, the falling action follows the climax and shows the results of the important decision or action that happened at the climax. Tension eases as the falling action begins; however, the final outcome of the story is not yet fully worked out at this stage. Events in the falling action lead to the resolution, or dénouement, of the plot. Example: In Stephen Vincent Benét’s “By the Waters of Babylon,” the falling action occurs after the main character has discovered the dead “god.” During the falling action, John realizes the truth about the past and the destruction of a way of life. See pages 26, 290. See also Climax; Plot. Fantasy Fantasy is a type of fiction that is highly imaginative and portrays events, settings, or characters that are unrealistic. The setting might be a nonexistent world, the plot might involve magic or the supernatural, and the characters might employ superhuman powers.

Farce Farce is a type of exaggerated comedy that features an absurd plot, ridiculous situations, and humorous dialogue. The main purpose of a farce is to keep an audience laughing. The characters are usually stereotypes, or simplified examples of individual traits or qualities. Comic devices

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that communicates meanings beyond the literal meanings of the words. In figurative language, words are often used to symbolize ideas and concepts they would not otherwise be associated with. Writers use figurative language to create effects, to emphasize ideas, and to evoke emotions. Simile, metaphor, extended metaphor, hyperbole, and personification are examples of figurative language. Example: The narrator in Alice Walker’s “Everyday Use” says of Dee’s hair, “It stands straight up like the wool on a sheep. It is black as night and around the edges are two long pigtails that rope around like small lizards disappearing behind her ears.” Obviously, Dee’s pigtails do not literally move like lizards, but the passage vividly suggests the look of Dee’s hair. See pages 46, 135, 136, 314, 461, 692, 705, 790, 791. See also Hyperbole; Metaphor; Onomatopoeia; Personification; Simile.

First-Person Point of View See Point of View. Flashback A flashback is an account of a conversation, an episode, or an event that happened before the beginning of a story. Often a flashback interrupts the chronological flow of a story to give the reader information needed for the understanding of a character’s present situation. Haruki Marakami’s “The Seventh Man” is told almost exclusively through flashback. Foil A foil is a character who provides a striking contrast to another character. By using a foil, a writer can call attention to certain traits possessed by a main character or simply enhance a character by contrast.


Foreshadowing Foreshadowing is a writer’s use of hints or clues to suggest events that will occur later in a story. The hints and clues might be included in a character’s dialogue or behavior, or they might be included in details of description. Foreshadowing creates suspense and makes readers eager to find out what will happen.

Form Form refers to the principles of arrangement in a poem—the ways in which lines are organized. Form in poetry includes the following elements: the length of lines, the placement of lines, and the grouping of lines into stanzas. See also Stanza.

Frame Story A frame story exists when a story is told within a narrative setting, or “frame”; it creates a story within a story. This storytelling technique has been used for over one thousand years and was employed in famous works such as One Thousand and One Arabian Nights and Geoffrey Chaucer’s The Canterbury Tales.

Free Verse Free verse is poetry that does not contain regular patterns of rhythm or rhyme. The lines in free verse often flow more naturally than do rhymed, metrical lines and thus achieve a rhythm more like that of everyday speech. Although free verse lacks conventional meter, it may contain various rhythmic and sound effects, such as repetitions of syllables or words. Free verse can be used for a variety of subjects. Elizabeth Bishop’s poem “The Fish” is one of several examples of free verse included in this book. See pages 689, 713, 793. See also Meter; Rhyme.

Genre The term genre refers to a category in which a work of literature is classified. The major genres in literature are fiction, nonfiction, poetry, and drama.

Haiku Haiku is a form of Japanese poetry in which 17 syllables are arranged in three lines of 5, 7, and 5 syllables. The rules of haiku are strict. In addition to the syllabic count, the poet must create a clear picture that will evoke a strong emotional response in the reader. Nature is a particularly important source of inspiration for Japanese haiku poets, and details from nature are often the subjects of their poems.

Hero A hero is a main character or protagonist in a story. In older literary works, heroes tend to be better than ordinary humans. They are typically courageous, strong, honorable, and intelligent. They are protectors of society who hold back the forces of evil and fight to make the world a better place. The term tragic hero, first used by the Greek philosopher Aristotle, refers to a central character in a drama who is

dignified or noble. According to Aristotle, a tragic hero possesses a defect, or tragic flaw, that brings about or contributes to his or her downfall. This flaw may be poor judgment, pride, weakness, or an excess of an admirable quality. The tragic hero, noted Aristotle, recognizes his or her own flaw and its consequences, but only after it is too late to change the course of events. Brutus is often considered the tragic hero of Julius Caesar. The term cultural hero refers to a hero who represents the values of his or her culture. King Arthur, for example, represents the physical courage, moral leadership, and loyalty that were valued in Anglo-Saxon society. Antigone can also be considered a cultural hero because her sense of duty to family and the gods, as well as her courage, reflects the values of ancient Greece. See pages 958, 960, 964, 1007, 1046. See also Tragedy.

Historical Fiction A short story or novel can be classified as historical fiction when the settings and details of the plot include real places and real events of historical importance. Historical figures may appear as major or minor characters, as Napoleon does in Leo Tolstoy’s classic novel War and Peace. In historical fiction, the setting generally influences the plot in important ways.

Horror Fiction Horror fiction contains strange, mysterious, violent, and often supernatural events that create suspense and terror in the reader. Edgar Allan Poe is an author famous for his horror fiction.

Humor In literature, there are three basic types of humor, all of which may involve exaggeration or irony. Humor of situation arises out of the plot of a work. It usually involves exaggerated events or situational irony, which arises when something happens that is different from what was expected. Humor of character is often based on exaggerated personalities or on characters’ failure to recognize their own flaws, a form of dramatic irony. Humor of language may include sarcasm, exaggeration, puns, or verbal irony, in which what is said is not what is meant. See page 487. See also Irony. Hyperbole Hyperbole is a figure of speech in which the truth is exaggerated for emphasis or humorous effect. The expression “I’m so hungry I could eat a horse” is an example of hyperbole.

Iambic Pentameter Iambic pentameter is a metrical pattern of five feet, or units, each of which is made up of two syllables, the first unstressed and the second stressed. Iambic glossary of literary terms

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pentameter is the most common meter used in English poetry; it is the meter used in blank verse and in the sonnet. The following lines are examples of iambic pentameter.

´ the night! ´ an ill´ beginning ´ ´ This was of —William Shakespeare, Julius Caesar See pages 729, 1088. See also Blank Verse; Sonnet.

Idiom An idiom is a common figure of speech whose meaning is different from the literal meaning of its words. For example, the phrase “raining cats and dogs” does not literally mean that cats and dogs are falling from the sky; the expression means “raining heavily.”

Imagery Imagery consists of descriptive words and phrases that re-create sensory experiences for the reader. Imagery usually appeals to one or more of the five senses— sight, hearing, smell, taste, and touch—to help the reader imagine exactly what is being described. In D. H. Lawrence’s “Piano,” the phrase “the boom of the tingling strings” appeals to the sense of hearing and touch. See pages 237, 495, 692, 720, 766. Internal Conflict See Conflict. Interview An interview is a conversation conducted by a writer or a reporter, in which facts or statements are elicited from another person, recorded, and then broadcast or published. “Jhumpa Lahiri: Pulitzer Prize Winner” is an example of an interview. See page 438. Irony Irony is a special kind of contrast between appearance and reality—usually one in which reality is the opposite of what it seems. One type of irony is situational irony, a contrast between what a reader or character expects and what actually exists or happens. Another type of irony is dramatic irony, where the reader or viewer knows something that a character does not know. Verbal irony exists when someone knowingly exaggerates or says one thing and means another. Examples: In Guy de Maupassant’s “Two Friends,” the reader expects the Frenchmen to eat the fish they have caught. However, it is the German officer who eats the fish, after he executes the men (situational irony). Julius Caesar goes to the Senate on the Ides of March in the belief that he may receive the crown. The audience knows, however, that the conspirators are planning his assassination (dramatic irony). The speaker in Stephen Crane’s famous war poem “Do not R108 glossary of literary terms

weep, maiden . . .” continually repeats that “war is kind” while presenting images that suggest quite the opposite (verbal irony). See pages 406, 443, 967.

Journal See Diary. Legend A legend is a story handed down from the past, especially one that is popularly believed to be based on historical events. Though legends often incorporate supernatural or magical elements, they claim to be the story of a real human being and are often set in a particular time and place. These characteristics separate a legend from a myth. The story of the rise and fall of King Arthur is a famous example of a legend. See page 965. See also Myth. Limited Point of View See Point of View. Line The line is the core unit of a poem. In poetry, line length is an essential element of the poem’s meaning and rhythm. Line breaks, where a line of poetry ends, may coincide with grammatical units. However, a line break may also occur in the middle of a grammatical or syntactical unit, creating a meaningful pause or emphasis. Poets use a variety of line breaks to play with sense, grammar, and syntax and thereby create a wide range of effects. Literary Criticism Literary criticism is a form of writing in which works of literature are compared, analyzed, interpreted, or evaluated. Two common forms of literary criticism are book reviews and critical essays. Literary Nonfiction Literary nonfiction is nonfiction that is recognized as being of artistic value or that is about literature. Autobiographies, biographies, essays, and eloquent speeches typically fall into this category. Lyric Poetry A lyric poem is a short poem in which a single speaker expresses personal thoughts and feelings. Most poems other than dramatic and narrative poems are lyric poems. In ancient Greece, lyric poetry was meant to be sung. Modern lyrics are usually not intended for singing, but they are characterized by strong melodic rhythms. Lyric poetry has a variety of forms and covers many subjects, from love and death to everyday experiences.

Magical Realism Magical realism is a literary genre that combines fantastic or magical events with realistic occurrences in a matter-of-fact way to delight or surprise the reader. A famous example of magical realism is Gabriel García Márquez’s novel One Hundred Years of Solitude.


Memoir A memoir is a form of autobiographical writing in which a writer shares his or her personal experiences and observations of significant events or people. Often informal or even intimate in tone, memoirs usually give readers insight into the impact of historical events on people’s lives. Coretta Scott King’s “Montgomery Boycott” is an example of a memoir. See pages 853, 880. See also Autobiography.

Metaphor A metaphor is a figure of speech that makes a comparison between two things that are basically unlike but have something in common. Unlike similes, metaphors do not contain the word like or as. In “By the Waters of Babylon” by Stephen Vincent Benét, the narrator uses the metaphor “Truth is a hard deer to hunt” to convey his difficulty in finding out what really happened in the Place of the Gods. See also Extended Metaphor; Figurative Language; Simile.

Meter Meter is a regular pattern of stressed and unstressed syllables in a poem. The meter of a poem emphasizes the musical quality of the language. Each unit of meter, known as a foot, consists of one stressed syllable and one or two unstressed syllables. In representations of meter, a stressed syllable is indicated by the symbol ´; an unstressed syllable, by the symbol . The four basic types of metrical feet are the iamb, an unstressed syllable followed by a stressed syllable ( ´); the trochee, a stressed syllable followed by an unstressed syllable (´ ); the anapest, two unstressed syllables followed by a stressed syllable ( ´); and the dactyl, a stressed syllable followed by two unstressed syllables (´ ). See pages 690, 729, 1088, 1106. See also Rhythm.

Mise en Scène Mise en scène is a term from the French that refers to the various physical aspects of a dramatic presentation, such as lighting, costumes, scenery, makeup, and props. Mood In a literary work, mood is the feeling or atmosphere that a writer creates for the reader. Descriptive words, imagery, and figurative language contribute to the mood of a work, as do the sound and rhythm of the language used. In “The Pit and the Pendulum,” Edgar Allan Poe creates a mood of dread and horror. See pages 24, 61, 101, 770. See also Tone.

Motivation See Character. Myth A myth is a traditional story, usually concerning some superhuman being or unlikely event, that was once widely believed to be true. Frequently, myths were attempts to explain natural phenomena, such as solar and lunar eclipses or the cycle of the seasons. For some peoples, myths were both a kind of science and a religion. In addition, myths served as literature and entertainment, just as they do for modern-day audiences. Many classical Greek dramas were based on myths that would have been familiar to audiences in ancient Greece. The origins of Antigone, for example, can be traced to myths about the family of King Oedipus.

Narrative Nonfiction Narrative nonfiction is writing that reads much like fiction, except that the characters, setting, and plot are real rather than imaginary. Its purpose is usually to entertain or to express opinions or feelings. Narrative nonfiction includes, but is not limited to, autobiographies, biographies, memoirs, diaries, and journals. Narrative Poetry Narrative poetry tells a story or recounts events. Like a short story or a novel, a narrative poem has the following elements: plot, characters, setting, and theme. Joy Harjo’s poem “Crossing the Border” is a narrative poem.

Narrator The narrator of a story is the character or voice that relates the story’s events to the reader. See also Persona; Point of View.

Nonfiction Nonfiction is writing that tells about real people, places, and events. Unlike fiction, nonfiction is mainly written to convey factual information, although writers of nonfiction shape information in accordance with their own purposes and attitudes. Nonfiction can be a good source of information, but readers frequently have to examine it carefully in order to detect biases, notice gaps in the information provided, and identify errors in logic. Nonfiction includes a diverse range of writing—newspaper articles, letters, essays, biographies, movie reviews, speeches, true-life adventure stories, advertising, and more. Novel A novel is an extended work of fiction. Like a short story, a novel is essentially the product of a writer’s imagination. Because a novel is considerably longer than a short story, a novelist can develop a wider range of characters and a more complex plot. George Orwell’s Animal Farm is an example of a novel.


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Novella A novella is a work of fiction that is longer than a

Pastoral A pastoral is a poem presenting shepherds in rural

short story but shorter than a novel. A novella differs from a novel in that it concentrates on a limited cast of characters, a relatively short time span, and a single chain of events. The novella is an attempt to combine the compression of the short story with the development of the novel.

settings, usually in an idealized manner. The language and form of a pastoral tends to be formal. English Renaissance poets were drawn to the pastoral as a means of conveying their own emotions and ideas, particularly about love.

Ode An ode is a complex lyric poem that develops a serious and dignified theme. Odes appeal to both the imagination and the intellect, and many commemorate events or praise people or elements of nature.

Omniscient Point of View See Point of View. Onomatopoeia Onomatopoeia is the use of words whose sounds echo their meanings, such as buzz, whisper, gargle, and murmur. Onomatopoeia as a literary technique goes beyond the use of simple echoic words, however. Skilled writers, especially poets, choose words whose sounds intensify images and suggest meanings. In “The Sound of Night,” for example, Maxine Kumin makes use of words such as skitter and prink to add sensory richness to the natural scene she describes.

Persona A persona is a voice that a writer assumes in a particular work. A persona is like a mask worn by the writer, separating his or her identity from that of the speaker or the narrator. It is the persona’s voice—not the writer’s voice— that narrates a story or speaks in a poem. See also Narrator; Speaker. Personal Essay See Essay. Personification Personification is a figure of speech in which human qualities are given to an object, animal, or idea. Notice the use of personification in this excerpt of poetry: In moving-slow he has no Peer. You ask him something in his Ear, He thinks about it for a Year; —Theodore Roethke, “The Sloth”

Oxymoron An oxymoron is a special kind of concise paradox that brings together two contradictory terms, such as “venomous love” or “sweet bitterness.”

Paradox A paradox is a seemingly contradictory or absurd statement that may nonetheless suggest an important truth.

Parallelism Parallelism is the use of similar grammatical constructions to express ideas that are related or equal in importance.

Love is not all: it is not meat nor drink Nor slumber nor a roof against the rain; Nor yet a floating spare to men that sink —Edna St. Vincent Millay, “Sonnet XXX”

Parallel Plot A parallel plot is a particular type of plot in which two stories of equal importance are told simultaneously. The story moves back and forth between the two plots.

Parody A parody is an imitation of another work, a type of literature, or a writer’s style, usually for the purpose of poking fun. It may serve as an element of a larger work or be a complete work in itself. The purpose of parody may be to ridicule through broad humor, deploying such techniques as exaggeration or the use of inappropriate subject matter. Such techniques may even provide insights into the original work.

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See pages 314, 692, 718. See also Figurative Language.

Persuasive Essay See Essay. Play See Drama. Plot The sequence of events in a story is called the plot. A plot focuses on a central conflict or problem faced by the main character. The actions that the characters take to resolve the conflict build toward a climax. In general, it is not long after this point that the conflict is resolved and the story ends. A plot typically develops in five stages: exposition, rising action, climax, falling action, and resolution. See pages 26, 30, 31, 33, 45, 203, 1143. See also Climax; Exposition; Falling Action; Rising Action.

Poetry Poetry is a type of literature in which words are carefully chosen and arranged to create certain effects. Poets use a variety of sound devices, imagery, and figurative language to express emotions and ideas. See also Alliteration; Assonance; Ballad; Free Verse; Imagery; Meter; Rhyme; Rhythm; Stanza. Point of View Point of view refers to the method of narration used in a short story, novel, narrative poem, or work of nonfiction. In a work told from a first-person point


of view, the narrator is a character in the story, as in “The Pit and the Pendulum” by Edgar Allan Poe. In a work told from a third-person point of view, the narrative voice is outside the action, not one of the characters. If a story is told from a third-person omniscient, or all-knowing, point of view, as in “The Doll’s House” by Katherine Mansfield, the narrator sees into the minds of all the characters. If events are related from a third-person limited point of view, as in Hwang Sunw˘on’s “Cranes,” the narrator tells what only one character thinks, feels, and observes. See pages 282, 289, 321, 353, 770. See also Narrator.

Prologue A prologue is an introductory scene in a drama. Some Elizabethan plays include prologues that comment on the theme or moral point that will be revealed in the play. The prologue is a feature of all Greek drama.

Prop The word prop, originally an abbreviation of the word property, refers to any physical object that is used in a drama.

Prose Generally, prose refers to all forms of written or spoken expression that are not in verse. The term, therefore, may be used to describe very different forms of writing— short stories as well as essays, for example. Protagonist A protagonist is the main character in a work of literature, who is involved in the central conflict of the story. Usually, the protagonist changes after the central conflict reaches a climax. He or she may be a hero and is usually the one with whom the audience tends to identify. In R. K. Narayan’s “Like the Sun,” the protagonist is Sekhar, a man who encounters problems while seeking to tell the truth.

Quatrain A quatrain is a four-line stanza, or group of lines, in poetry. The most common stanza in English poetry, the quatrain can have a variety of meters and rhyme schemes.

Realistic Fiction Realistic fiction is fiction that is a truthful imitation of ordinary life. “On the Rainy River” by Tim O’Brien and “Shoofly Pie” by Naomi Shihab Nye are examples of realistic fiction.

Recurring Theme See Theme. Reflective Essay See Essay.

an appealing rhythm. The term includes specific devices associated with both prose and poetry, such as alliteration and parallelism. See pages 690, 721. See also Alliteration; Parallelism; Sound Devices.

Resolution See Falling Action. Rhetorical Devices Rhetorical devices are techniques writers use to enhance their arguments and communicate more effectively. Rhetorical devices include analogy, parallelism, rhetorical questions, and repetition. See also Analogy; Repetition.

Rhyme Rhyme is the occurrence of similar or identical sounds at the end of two or more words, such as suite, heat, and complete. Rhyme that occurs within a single line of poetry is internal rhyme. Rhyme that occurs at the ends of lines of poetry is called end rhyme. End rhyme that is not exact but approximate is called slant rhyme, or off rhyme. Notice the following example of slant rhyme involving the words low and prow. The gray sea and the long black land; And the yellow half-moon large and low; And the startled little waves that leap In the fiery ringlets from their sleep, As I gain the cove with the pushing prow, And quench its speed i’ the slushy sand. —Robert Browning, “Meeting at Night”

See pages 690, 691, 697, 698, 700, 729, 735.

Rhyme Scheme A rhyme scheme is a pattern of end rhymes in a poem. A rhyme scheme is noted by assigning a letter of the alphabet, beginning with a, to each line. Lines that rhyme are given the same letter. Notice the rhyme scheme of the first four lines of this poem.

There will come soft rains and the smell of the ground, a And swallows circling with their shimmering sound; a And frogs in the pools singing at night, b And wild plum-trees in tremulous white; b —Sara Teasdale, “There Will Come Soft Rains”

Refrain A refrain is one or more lines repeated in each stanza of a poem. See also Stanza.

Repetition Repetition is a technique in which a sound, word, phrase, or line is repeated for emphasis or unity. Repetition often helps to reinforce meaning and create

See pages 690, 696.

Rhythm Rhythm is a pattern of stressed and unstressed syllables in a line of poetry. Poets use rhythm to bring out the musical quality of language, to emphasize ideas, to create moods, to unify works, and to heighten emotional


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responses. Devices such as alliteration, rhyme, assonance, consonance, and parallelism often contribute to creating rhythm. See pages 690, 691, 711, 713. See also Meter.

believable worlds, although some create fantasy worlds that have familiar elements. Ray Bradbury, the author of the story “There Will Come Soft Rains,” is famous for his science fiction. See also Fantasy.

Rising Action Rising action is the stage of a plot in which the conflict develops and story events build toward a climax. During this stage, complications arise that make the conflict more intense. Tension grows as the characters struggle to resolve the conflict. See page 26. See also Plot.

Screenplay A screenplay is a play written for film.

Romance A romance refers to any imaginative story concerned with noble heroes, chivalric codes of honor, passionate love, daring deeds, and supernatural events. Writers of romances tend to idealize their heroes as well as the eras in which the heroes live. Medieval romances, such as Malory’s Le Morte d’Arthur, include stories of kings, knights, and ladies who are motivated by love, religious faith, or simply a desire for adventure. See pages 960, 1010. Satire Satire is a literary technique in which ideas, customs, behaviors, or institutions are ridiculed for the purpose of improving society. Satire may be gently witty, mildly abrasive, or bitterly critical, and it often involves the use of irony and exaggeration to force readers to see something in a critical light.

Scansion Scansion is the notation of stressed and unstressed syllables in poetry. A stressed syllable is often indicated by the symbol ´; an unstressed syllable, by the symbol . Using scansion can help you determine the rhythm and meter of a poem. See page 690. See also Meter. Scene In drama, the action is often divided into acts and scenes. Each scene presents an episode of the play’s plot and typically occurs at a single place and time. See also Act. Scenery Scenery is a painted backdrop or other structures used to create the setting for a play.

Science Fiction Science fiction is fiction in which a writer explores unexpected possibilities of the past or the future, using known scientific data and theories as well as his or her creative imagination. Most science fiction writers create

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Script The text of a play, film, or broadcast is called a script. Sensory Details Sensory details are words and phrases that appeal to the reader’s senses of sight, hearing, touch, smell, and taste. For example, the sensory detail “a fine film of rain” appeals to the senses of sight and touch. Sensory details stimulate the reader to create images in his or her mind. See also Imagery.

Setting Setting is the time and place of the action of a short story, drama, novel, narrative poem, or narrative nonfiction work. In addition to time and place, setting sometimes includes the larger historical and cultural contexts that form the background for a narrative. Setting is one of the main elements in fiction and often plays an important role in what happens and why. See pages 24, 25, 61, 75, 388, 395. See also Fiction. Short Story A short story is a work of fiction that centers on a single idea and can be read in one sitting. Generally, a short story has one main conflict that involves the characters, keeps the story moving, and stimulates readers’ interest. See also Fiction.

Simile A simile is a figure of speech that makes a comparison between two unlike things using the word like or as.

His brown skin hung in strips like ancient wallpaper, —Elizabeth Bishop, “The Fish”

See page 714. See also Epic Simile; Figurative Language; Metaphor.

Situational Irony See Irony. Soliloquy In drama, a soliloquy is a speech in which a character speaks his or her thoughts aloud. Generally, the character is on the stage alone, not speaking to other characters and perhaps not even consciously addressing an audience. Julius Caesar has several soliloquies. For example,


Casca begins plotting how to win over Brutus in a soliloquy that begins with these lines.

Well, Brutus, thou art noble; yet I see Thy honorable mettle may be wrought From that it is disposed. —William Shakespeare, Julius Caesar

See also Aside; Dramatic Monologue.

Sonnet A sonnet is a lyric poem of 14 lines, commonly written in iambic pentameter. Sonnets are often classified as Petrarchan or Shakespearean. The Shakespearean, or Elizabethan, sonnet consists of three quatrains, or four-line units, and a final couplet. The typical rhyme scheme is abab cdcd efef gg. See also Iambic Pentameter; Rhyme Scheme.

Sound Devices Sound devices, or uses of words for their auditory effect, can convey meaning and mood or unify a work. Some common sound devices are alliteration, assonance, consonance, meter, onomatopoeia, repetition, rhyme, and rhythm. The following lines contain alliteration, repetition, assonance, consonance, rhyme, and rhythm, all of which combine to help convey both meaning and mood. See page 690. See also Alliteration; Assonance; Consonance; Meter; Onomatopoeia; Repetition; Rhyme; Rhythm. Speaker In poetry the speaker is the voice that “talks” to the reader, similar to the narrator in fiction. The speaker is not necessarily the poet. For example, in Rita Dove’s “Lady Freedom Among Us,” the experiences related may or may not have happened to the poet. See pages 551, 689. See also Persona. Speech A speech is a talk or public address. The purpose of a speech may be to entertain, to explain, to persuade, to inspire, or any combination of these aims. “On Nuclear Disarmament” by Carl Sagan was written and delivered in order to persuade an audience. See page 592.

Stage Directions A play typically includes instructions called stage directions, which are usually printed in italic type. They serve as a guide to directors, set and lighting designers, performers, and readers. When stage directions appear within passages of dialogue, parentheses are usually used to set them off from the words spoken by characters. See pages 7, 243, 244, 968, 1057, 1059, 1095.

Stanza A stanza is a group of two or more lines that form a unit in a poem. A stanza is comparable to a paragraph in prose. Each stanza may have the same number of lines, or the number of lines may vary. See also Couplet; Form; Poetry; Quatrain. Static Character See Character. Stereotype In literature, a simplified or stock character who conforms to a fixed pattern or is defined by a single trait is known as a stereotype. Such a character does not usually demonstrate the complexities of a real person. Familiar stereotypes in popular literature include the absentminded professor and the busybody. Stream of Consciousness Stream of consciousness is a literary technique developed by modern writers, in which thoughts, feelings, moods, perceptions, and memories are presented as they randomly flow through a character’s mind.

Structure Structure is the way in which the parts of a work of literature are put together. In poetry, structure involves the arrangement of words and lines to produce a desired effect. A common structural unit in poetry is the stanza, of which there are numerous types. In prose, structure is the arrangement of larger units or parts of a work. Paragraphs, for example, are basic units in prose, as are chapters in novels and acts in plays. The structure of a poem, short story, novel, play, or nonfictional work usually emphasizes certain important aspects of content. See also Act; Stanza. Style Style refers to the particular way in which a work of literature is written—not what is said but how it is said. It is the writer’s unique way of communicating ideas. Many elements contribute to style, including word choice, sentence structure and length, tone, figurative language, and point of view. A literary style may be described in a variety of ways, such as formal, informal, journalistic, conversational, wordy, ornate, poetic, or dynamic. Surprise Ending A surprise ending is an unexpected plot twist at the end of a story. The surprise may be a sudden turn in the action or a piece of information that gives a different perspective to the entire story. Saki is famous for using this device, as exemplified in his story “The Interlopers.” See page 394.

Suspense Suspense is the excitement or tension that readers feel as they wait to find out how a story ends or a conflict is resolved. Writers create suspense by raising questions in readers’ minds about what might happen next. glossary of literary terms

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The use of foreshadowing is one way in which writers create suspense. See pages 107, 113, 295, 338, 775, 1111. See also Foreshadowing.

Symbol A symbol is a person, a place, an object, or an activity that stands for something beyond itself. For example, a flag is a colored piece of cloth that stands for a country. A white dove is a bird that represents peace. Example: In “Cranes” by Hwang Sunwon, the birds represent the childhood friendship of the two main characters, as well as peace and tranquility. See pages 386, 389, 407.

Tall Tale A tall tale is a humorously exaggerated story about impossible events, often involving the supernatural abilities of the main character. Stories about folk heroes such as Pecos Bill and Paul Bunyan are typical tall tales.

Theme A theme is an underlying message about life or human nature that a writer wants the reader to understand. It is a perception about life or human nature that the writer shares with the reader. In most cases, themes are not stated directly but must be inferred. A theme may imply how a person should live but should not be confused with a moral. Example: Kurt Vonnegut Jr., in “Harrison Bergeron,” never directly states his criticism of society and government. The reader must put details and events together in order to identify Vonnegut’s theme about the damage that can be done when people go to extremes in the service of equality. Recurring themes are themes found in a variety of works. For example, authors from varying backgrounds might convey similar themes having to do with the importance of family values. Universal themes are themes that are found throughout the literature of all time periods. See pages 34, 41, 330, 386, 388, 395, 421, 443, 983, 990, 1006. See also Moral.

Third-Person Point of View See Point of View. Tone Tone is the attitude a writer takes takes toward a subject. Unlike mood, which is intended to shape the reader’s emotional response, tone reflects the feelings of the writer. A writer communicates tone through choice of words and details. Tone may often be described by a single

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word, such as serious, humorous, formal, informal, somber, sarcastic, playful, ironic, bitter, or objective. For example, the tone of the essay “The Man in the Water” by Roger Rosenblatt might be described as somber and reflective, whereas John Updike’s poem “Ex-Basketball Player” has an ironic, somewhat humorous tone. See pages 489, 694, 766. See also Author’s Perspective; Mood.

Tragedy A tragedy is a dramatic work that presents the downfall of a dignified character (tragic hero) or characters who are involved in historically or socially significant events. The events in a tragic plot are set in motion by a decision that is often an error in judgment (tragic flaw) on the part of the hero. Succeeding events are linked in a cause-and-effect relationship and lead inevitably to a disastrous conclusion, usually death. Shakespeare’s Julius Caesar is a tragedy. Tragic Flaw See Hero; Tragedy. Tragic Hero See Hero; Tragedy. Traits See Character. Turning Point See Climax. Understatement Understatement is a technique of creating emphasis by saying less than is actually or literally true. It is the opposite of hyperbole, or exaggeration. One of the primary devices of irony, understatement can be used to develop a humorous effect, to create satire, or to achieve a restrained tone. See also Hyperbole; Irony. Universal Theme See Theme. Verbal Irony See Irony. Voice Voice is a writer’s unique use of language that allows a reader to “hear” a human personality in the writer’s work. Elements of style that contribute to a writer’s voice include sentence structure, diction, and tone. Voice can reveal much about the author’s personality, beliefs, and attitudes. See pages 776, 915.

Word Choice See Diction.

Glossary of Reading & Informational Terms Almanac See Reference Works. Analogy See Glossary of Literary Terms, page R102. Argument An argument is speech or writing that expresses a position on an issue or problem and supports it with reasons and evidence. An argument often takes into account other points of view, anticipating and answering objections that opponents of the position might raise. See also Claim; Counterargument; Evidence. Assumption An assumption is an opinion or belief that is taken for granted. It can be about a specific situation, a person, or the world in general. Assumptions are often unstated.

Cause and Effect A cause is an event or action that directly results in another event or action. An effect is the direct or logical outcome of an event or action. Basic cause-and-effect relationships include a single cause with a single effect, one cause with multiple effects, multiple causes with a single effect, and a chain of causes and effects. The concept of cause and effect also provides a way of organizing a piece of writing. It helps a writer show the relationships between events or ideas. See also False Cause, Reading Handbook, page R24.

Chronological Order Chronological order is the arrangement of events in their order of occurrence. This type of organization is used in both fictional narratives and in historical writing, biography, and autobiography.

Author’s Message An author’s message is the main idea or theme of a particular work. See also Main Idea; Theme, Glossary of Literary Terms, page R114.

Claim In an argument, a claim is the writer’s position on an issue or problem. Although an argument focuses on supporting one claim, a writer may make more than one claim in a work.

Author’s Perspective See Glossary of Literary Terms, page

Clarify Clarifying is a reading strategy that helps a reader to

R102.

Author’s Position An author’s position is his or her opinion on an issue or topic. See also Claim. Author’s Purpose See Glossary of Literary Terms, page R102.

Autobiography See Glossary of Literary Terms, page R102. Bias Bias is an inclination toward a particular judgment on a topic or issue. A writer often reveals a strongly positive or strongly negative opinion by presenting only one way of looking at an issue or by heavily weighting the evidence. Words with intensely positive or negative connotations are often a signal of a writer’s bias.

Bibliography A bibliography is a list of books and other materials related to the topic of a text. Bibliographies can be good sources of works for further study on a subject. See also Works Consulted. Biography See Glossary of Literary Terms, page R103. Business Correspondence Business correspondence includes all written business communications, such as business letters, e-mails, and memos. In general, business correspondence is brief, to the point, clear, courteous, and professional.

understand or make clear what he or she is reading. Readers usually clarify by rereading, reading aloud, or discussing.

Classification Classification is a pattern of organization in which objects, ideas, or information is presented in groups, or classes, based on common characteristics.

Cliché A cliché is an overused expression. “Better late than never” and “hard as nails” are common examples. Good writers generally avoid clichés unless they are using them in dialogue to indicate something about characters’ personalities. Compare and Contrast To compare and contrast is to identify similarities and differences in two or more subjects. Compare-and-contrast organization can be used to structure a piece of writing, serving as a framework for examining the similarities and differences in two or more subjects.

Conclusion A conclusion is a statement of belief based on evidence, experience, and reasoning. A valid conclusion is a conclusion that logically follows from the facts or statements upon which it is based. A deductive conclusion is one that follows from a particular generalization or premise. An inductive conclusion is a broad conclusion or generalization that is reached by arguing from specific facts and examples.

Connect Connecting is a reader’s process of relating the content of a text to his or her own knowledge and experience.

glossary of reading & informational terms

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Consumer Documents Consumer documents are printed materials that accompany products and services. They are intended for the buyers or users of the products or services and usually provide information about use, care, operation, or assembly. Some common consumer documents are applications, contracts, warranties, manuals, instructions, package inserts, labels, brochures, and schedules. Context Clues When you encounter an unfamiliar word, you can often use context clues as aids for understanding. Context clues are the words and phrases surrounding the word that provide hints about the word’s meaning. Counterargument A counterargument is an argument made to oppose another argument. A good argument anticipates opposing viewpoints and provides counterarguments to refute (disprove) or answer them.

Credibility Credibility refers to the believability or trustworthiness of a source and the information it contains. Critical Review A critical review is an evaluation or critique by a reviewer or critic. Different types of reviews include film reviews, book reviews, music reviews, and artshow reviews.

Database A database is a collection of information that can be quickly and easily accessed and searched and from which information can be easily retrieved. It is frequently presented in an electronic format. Debate A debate is basically an argument—but a very structured one that requires a good deal of preparation. In academic settings, debate usually refers to a formal argumentation contest in which two opposing teams defend and attack a proposition. See also Argument. Deductive Reasoning Deductive reasoning is a way of thinking that begins with a generalization, presents a specific situation, and then advances with facts and evidence to a logical conclusion. The following passage has a deductive argument imbedded in it: “All students in the drama class must attend the play on Thursday. Since Ava is in the class, she had better show up.” This deductive argument can be broken down as follows: generalization— all students in the drama class must attend the play on Thursday; specific situation—Ava is a student in the drama class; conclusion—Ava must attend the play. See also Analyzing Logic and Reasoning, Reading Handbook, pages R22–R23. Dictionary See Reference Works.

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Draw Conclusions To draw a conclusion is to make a judgment or arrive at a belief based on evidence, experience, and reasoning. Editorial An editorial is an opinion piece that usually appears on the editorial page of a newspaper or as part of a news broadcast. The editorial section of a newspaper presents opinions rather than objective news reports. See also Op-Ed Piece.

Either/Or Fallacy An either/or fallacy is a statement that suggests that there are only two possible ways to view a situation or only two options to choose from. In other words, it is a statement that falsely frames a dilemma, giving the impression that no options exist but the two presented—for example, “Either we stop the construction of a new airport, or the surrounding suburbs will become ghost towns.” See also Identifying Faulty Reasoning, Reading Handbook, page R24. Emotional Appeals Emotional appeals are messages that evoke strong feelings—such as fear, pity, or vanity—in order to persuade instead of using facts and evidence to make a point. An appeal to fear is a message that taps into people’s fear of losing their safety or security. An appeal to pity is a message that taps into people’s sympathy and compassion for others to build support for an idea, a cause, or a proposed action. An appeal to vanity is a message that attempts to persuade by tapping into people’s desire to feel good about themselves. See also Recognizing Persuasive Techniques, Reading Handbook, pages R21–R22. Encyclopedia See Reference Works. Essay See Glossary of Literary Terms, page R105. Evaluate To evaluate is to examine something carefully and judge its value or worth. Evaluating is an important skill for gaining insight into what you read. A reader can evaluate the actions of a particular character, for example, or can form an opinion about the value of an entire work.

Evidence Evidence is the specific pieces of information that support a claim. Evidence can take the form of facts, quotations, examples, statistics, or personal experiences, among others.

Expository Essay See Essay, Glossary of Literary Terms, page R105.

Fact versus Opinion A fact is a statement that can be

Glossary of Reading & Informational Terms

proved or verified. An opinion, on the other hand, is a statement that cannot be proved because it expresses a person’s beliefs, feelings, or thoughts. See also Inference; Generalization.

Historical Documents Historical documents are writings that have played a significant role in human events or are themselves records of such events. The Declaration of Independence, for example, is a historical document.

Fallacy A fallacy is an error in reasoning. Typically, a fallacy is based on an incorrect inference or a misuse of evidence. Some common logical fallacies are circular reasoning, either/or fallacy, oversimplification, overgeneralization, and stereotyping. See also Either/Or Fallacy, Logical Appeal, Overgeneralization; Identifying Faulty Reasoning, Reading Handbook, page R24.

How-To Book A how-to book is a book that is written to

Faulty Reasoning See Fallacy. Feature Article A feature article is a main article in a newspaper or a cover story in a magazine. A feature article is focused more on entertaining than informing. Features are lighter or more general than hard news and tend to be about human interest or lifestyles. Functional Documents See Consumer Documents; Workplace Documents.

Generalization A generalization is a broad statement about a class or category of people, ideas, or things, based on a study of only some of its members. See also Overgeneralization.

Government Publications Government publications are documents produced by government organizations. Pamphlets, brochures, and reports are just some of the many forms these publications may take. Government publications can be good resources for a wide variety of topics. Graphic Aid A graphic aid is a visual tool that is

explain how to do something—usually an activity, a sport, or a household project.

Implied Main Idea See Main Idea. Index The index of a book is an alphabetized list of important topics and details covered in the book and the page numbers on which they can be found. An index can be used to quickly find specific information about a topic. Inductive Reasoning Inductive reasoning is the process of logical reasoning from observations, examples, and facts to a general conclusion or principle. See also Analyzing Logic and Reasoning, Reading Handbook, pages R22–R23.

Inference An inference is a logical assumption that is based on observed facts and one’s own knowledge and experience.

Informational Nonfiction Informational nonfiction is writing that provides factual information. It often explains ideas or teaches processes. Examples include news reports, science textbooks, software instructions, and lab reports.

Internet The Internet is a global, interconnected system of computer networks that allows for communication through e-mail, listservers, and the World Wide Web. The Internet connects computers and computer users throughout the world.

printed, handwritten, or drawn. Charts, diagrams, graphs, photographs, and maps can all be graphic aids. See also Graphic Aids, Reading Handbook, pages R5–R7.

Journal A journal is a periodical publication issued by a legal, medical, or other professional organization. Alternatively, the term may be used to refer to a diary or daily record.

Graphic Organizer A graphic organizer is a “word

Loaded Language Loaded language consists of words

picture”—that is, a visual illustration of a verbal statement—that helps a reader understand a text. Charts, tables, webs, and diagrams can all be graphic organizers. Graphic organizers and graphic aids can look the same. For example, a table in a science article will not be constructed differently from a table that is a graphic organizer. However, graphic organizers and graphic aids do differ in how they are used. Graphic aids are the visual representations that people encounter when they read informational texts. Graphic organizers are visuals that people construct to help them understand texts or organize information.

with strongly positive or negative connotations intended to influence a reader’s or listener’s attitude.

Logical Appeal A logical appeal relies on logic and facts, appealing to people’s reasoning or intellect rather than to their values or emotions. Flawed logical appeals—that is, errors in reasoning—are considered logical fallacies. See also Fallacy.


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Logical Argument A logical argument is an argument in which the logical relationship between the support and the claim is sound.

Main Idea A main idea is the central or most important idea about a topic that a writer or speaker conveys. It can be the central idea of an entire work or of just a paragraph. Often, the main idea of a paragraph is expressed in a topic sentence. However, a main idea may just be implied, or suggested, by details. A main idea and supporting details can serve as a basic pattern of organization in a piece of writing, with the central idea about a topic being supported by details. Make Inferences See Inference. Monitor Monitoring is the strategy of checking your comprehension as you are reading and modifying the strategies you are using to suit your needs. Monitoring may include some or all of the following strategies: questioning, clarifying, visualizing, predicting, connecting, and rereading.

Narrative Nonfiction See Glossary of Literary Terms, page R109.

News Article A news article is a piece of writing that reports on a recent event. In newspapers, news articles are usually written in a concise manner to report the latest news, presenting the most important facts first and then more detailed information. In magazines, news articles are usually more elaborate than those in newspapers because they are written to provide both information and analysis. Also, news articles in magazines do not necessarily present the most important facts first. Nonfiction See Glossary of Literary Terms, page R109. Op-Ed Piece An op-ed piece is an opinion piece that usually appears opposite (“op”) the editorial page of a newspaper. Unlike editorials, op-ed pieces are written and submitted by named writers. Organization See Pattern of Organization. Overgeneralization An overgeneralization is a generalization that is too broad. You can often recognize overgeneralizations by the appearance of words and phrases such as all, everyone, every time, any, anything, no one, and none. Consider, for example, this statement: “None of the sanitation workers in our city really care about keeping the environment clean.” In all probability, there are many exceptions. The writer can’t possibly know the feelings of every sanitation worker in the city. See also Identifying Faulty Reasoning, Reading Handbook, page R24.

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Overview An overview is a short summary of a story, a speech, or an essay. It orients the reader by providing a preview of the text to come. Paraphrase Paraphrasing is the restating of information in one’s own words. See also Summarize.

Pattern of Organization A pattern of organization is a particular arrangement of ideas and information. Such a pattern may be used to organize an entire composition or a single paragraph within a longer work. The following are the most common patterns of organization: causeand-effect, chronological order, compare-and-contrast, classification, deductive, inductive, order of importance, problem-solution, sequential, and spatial. See also Cause and Effect; Chronological Order; Classification; Compare and Contrast; Problem-Solution Order; Sequential Order; Analyzing Patterns of Organization, Reading Handbook, pages R14–R20. Periodical A periodical is a publication that is issued at regular intervals of more than one day. For example, a periodical may be a weekly, monthly, or quarterly journal or magazine. Newspapers and other daily publications generally are not classified as periodicals.

Personal Essay See Essay, Glossary of Literary Terms, page R105.

Persuasion Persuasion is the art of swaying others’ feelings, beliefs, or actions. Persuasion normally appeals to both the intellect and the emotions of readers. Persuasive techniques are the methods used to influence others to adopt certain opinions or beliefs or to act in certain ways. Types of persuasive techniques include emotional appeals, logical appeals, and loaded language. When used properly, persuasive techniques can add depth to writing that’s meant to persuade. Persuasive techniques can, however, be misused to cloud factual information, disguise poor reasoning, or unfairly exploit people’s emotions in order to shape their opinions. See also Emotional Appeals; Loaded Language; Logical Appeal; Recognizing Persuasive Techniques, Reading Handbook, pages R21–R22.

Predict Predicting is a reading strategy that involves using text clues to make a reasonable guess about what will happen next in a story.

Primary Source See Sources.

Glossary of Reading & Informational Terms

Prior Knowledge Prior knowledge is the knowledge a

Setting a Purpose The process of establishing specific

reader already possesses about a topic. This information might come from personal experiences, expert accounts, books, films, or other sources.

reasons for reading a text is called setting a purpose.

Problem-Solution Order Problem-solution order is a pattern of organization in which a problem is stated and analyzed and then one or more solutions are proposed and examined. Writers use words and phrases such as propose, conclude, reason for, problem, answer, and solution to connect ideas and details when writing about problems and solutions. Propaganda Propaganda is a form of communication that may use distorted, false, or misleading information. It usually refers to manipulative political discourse.

Public Documents Public documents are documents that were written for the public to provide information that is of public interest or concern. They include government documents, speeches, signs, and rules and regulations. See also Government Publications. Reference Works General reference works are sources that contain facts and background information on a wide range of subjects. More specific reference works contain indepth information on a single subject. Most reference works are good sources of reliable information because they have been reviewed by experts. The following are some common reference works: encyclopedias, dictionaries, thesauri, almanacs, atlases, chronologies, biographical dictionaries, and directories.

Sidebar A sidebar is additional information set in a box alongside or within a news or feature article. Popular magazines often make use of sidebar information. Signal Words Signal words are words and phrases that indicate what is to come in a text. Readers can use signal words to discover a text’s pattern of organization and to analyze the relationships among the ideas in the text.

Sources A source is anything that supplies information. Primary sources are materials written by people who were present at events, either as participants or as observers. Letters, diaries, autobiographies, speeches, and photographs are primary sources. Secondary sources are records of events that were created sometime after the events occurred; the writers were not directly involved or were not present when the events took place. Encyclopedias, textbooks, biographies, most newspaper and magazine articles, and books and articles that interpret or review research are secondary sources.

Spatial Order Spatial order is a pattern of organization that highlights the physical positions or relationships of details or objects. This pattern of organization is typically found in descriptive writing. Writers use words and phrases such as on the left, to the right, here, over there, above, below, beyond, nearby, and in the distance to indicate the arrangement of details. Speech See Glossary of Literary Terms, page R113.

R111.

Stereotyping Stereotyping is a dangerous type of overgeneralization. Stereotypes are broad statements made about people on the basis of their gender, ethnicity, race, or political, social, professional, or religious group.

Rhetorical Questions Rhetorical questions are those that

Summarize To summarize is to briefly retell, or

Review See Critical Review. Rhetorical Devices See Glossary of Literary Terms, page

do not require a reply. Writers use them to suggest that their arguments make the answer obvious or self-evident.

Scanning Scanning is the process of searching through writing for a particular fact or piece of information. When you scan, your eyes sweep across a page, looking for key words that may lead you to the information you want.

encapsulate, the main ideas of a piece of writing in one’s own words. See also Paraphrase.

Secondary Source See Sources.

Support Support is any material that serves to prove a claim. In an argument, support typically consists of reasons and evidence. In persuasive texts and speeches, however, support may include appeals to the needs and values of the audience.

Sequential Order A pattern of organization that

Supporting Detail See Main Idea.

shows the order in which events or actions occur is called sequential order. Writers typically use this pattern of organization to explain steps or stages in a process.

Synthesize To synthesize information is to take individual pieces of information and combine them with other pieces


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of information and with prior knowledge or experience to gain a better understanding of a subject or to create a new product or idea.

Text Features Text features are design elements that indicate the organizational structure of a text and help make the key ideas and the supporting information understandable. Text features include headings, boldface type, italic type, bulleted or numbered lists, sidebars, and graphic aids such as charts, tables, timelines, illustrations, and photographs.

Thesaurus See Reference Works. Thesis Statement In an argument, a thesis statement is an expression of the claim that the writer or speaker is trying to support. In an essay, a thesis statement is an expression, in one or two sentences, of the main idea or purpose of the piece of writing. Topic Sentence The topic sentence of a paragraph states the paragraph’s main idea. All other sentences in the paragraph provide supporting details.

Visualize Visualizing is the process of forming a mental picture based on written or spoken information.

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Web Site A Web site is a collection of “pages” on the World Wide Web that is usually devoted to one specific subject. Pages are linked together and are accessed by clicking hyperlinks or menus, which send the user from page to page within the site. Web sites are created by companies, organizations, educational institutions, branches of the government, the military, and individuals. Workplace Documents Workplace documents are materials that are produced or used within a work setting, usually to aid in the functioning of the workplace. They include job applications, office memos, training manuals, job descriptions, and sales reports. Works Cited A list of works cited lists names of all the works a writer has referred to in his or her text. This list often includes not only books and articles but also nonprint sources. Works Consulted A list of works consulted names all the works a writer consulted in order to create his or her text. It is not limited just to those works cited in the text. See also Bibliography.

Glossary of Vocabulary in English & Spanish abash (E-bBshP) v. to make ashamed or embarrass avergonzar v. mortificar o humillar

acquiesce (BkQwC-DsP) v. to agree or give in to consentir v. aceptar o ceder

acquiescence (BkQwC-DsPEns) n. passive agreement; acceptance without protest conformidad s. aceptación pasiva; consentimiento

adaptation (BdQBp-tAPshEn) n. the process of adjusting to suit one’s surroundings adaptación s. proceso de acostumbrarse a lo que nos rodea

adversary (BdPvEr-sDrQC) n. an opponent; enemy adversario s. opositor; enemigo

affable (BfPE-bEl) adj. warm and friendly afable adj. cálido y amistoso

afford (E-fôrdP) v. to provide or offer proveer v. dar u ofrecer

alleviate (E-lCPvC-At’) v. to make easier or provide relief aliviar v. facilitar o calmar

anarchist (BnPEr-kGst) n. a person favoring the overthrow of government anarquista s. persona a favor del derrocamiento del gobierno

annihilate (E-nFPE-lAt’) v. to destroy completely aniquilar v. destruir por completo

anthology (Bn-thJlPE-jC) n. a collection of written works— such as poems, short stories, or plays—in a single book or set antología s. colección de obras escritas —poemas, cuentos u obras de teatro— encuadernadas en un libro o una colección

apprehension (BpQrG-hDnPshEn) n. fear and worry for the future aprensión s. temor y preocupación por el futuro

ascertain (BsQEr-tAnP) v. to discover with certainty determinar v. establecer con certeza

assail (E-sAlP) v. to attack or deliver a blow atacar v. asaltar o agredir

atrocity (E-trJsPG-tC) n. a very cruel or brutal act atrocidad s. acto muy cruel o brutal

auspicious (ô-spGshPEs) adj. promising success; favorable propicio adj. que promete éxito; favorable

autonomy (ô-tJnPE-mC) n. freedom; independence autonomía s. libertad; independencia

avidly (BvPGd-lC) adv. with great eagerness and enthusiasm ávidamente adv. con mucho entusiasmo

boisterous (boiPstEr-Es) adj. noisy and lacking in restraint or discipline escandaloso adj. alborotado y sin control o disciplina boycott (boiPkJtQ) n. a form of protest in which a group stops using a specific service or product in order to force a change boicot s. forma de protesta en que un grupo deja de usar un servicio o un producto a fin de buscar un cambio

burnish (bûrPnGsh) v. to polish bruñir v. sacar brillo

capricious (kE-prGshPEs) adj. impulsive, unpredictable caprichoso adj. impulsivo, inestable

carnage (kärPnGj) n. massive slaughter matanza s. gran mortandad

catalyst (kBtPl-Gst) n. something or someone that brings about change catalizador s. algo o alguien que causa un cambio o acción cavalcade (kBv’El-kAdP) n. a procession of people on horseback cabalgata s. procesión de gente a caballo

censure (sDnPshEr) n. harsh criticism or disapproval censura s. crítica o desaprobación fuerte

chaotic (kA-JtPGk) adj. extremely confused or disordered caótico adj. extremadamente confuso o desordenado

coercion (kI-ûrPzhEn) n. the act of compelling by force or authority coerción s. uso de poder o amenazas para obligar a actuar collaborative (kE-lBbPE-rEQtGv) adj. done in cooperation with others en colaboración adj. hecho en cooperación

commiserate (kE-mGzPE-rAtQ) v. to express sorrow or pity for another’s troubles conmiserarse v. expresar dolor o piedad por los problemas de otro

glossary of vocabulary

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compassionate (kEm-pBshPE-nGt) adj. feeling or sharing the suffering of others compasivo adj. que comparte el sufrimiento ajeno

contrary (kJnPtrDrQC) adj. stubbornly uncooperative or

compatriot (kEm-pAPtrC-Et) n. a person from one’s own

cosmopolitan (kJzQmE-pJlPG-tn) adj. containing elements

country compatriota s. persona del mismo país que uno

from all over the world; sophisticated cosmopolita adj. que tiene elementos de muchos países; sofisticado

complicity (kEm-plGsPG-tC) n. association or partnership in a

contradictory contrario adj. opuesto o adverso

crime or offense complicidad adj. participación en un delito u ofensa

cower (kouPEr) v. to crouch down in fear

concede (kEn-sCdP) v. to admit or acknowledge, often reluctantly reconocer v. admitir o aceptar

deference (dDfPEr-Ens) n. polite respect; submission to

conceivably (kEn-sCvPE-blC) adv. possibly

deficit (dDfPG-sGt) n. a shortfall or deficiency

concebible adj. posible

condolence (kEn-dIPlEns) n. an expression of sympathy condolencia s. pésame

conflagration (kJnQflE-grAPshEn) n. a large, destructive fire conflagración s. incendio destructivo

confound (kEn-foundP) v. to confuse or astonish confundir v. desconcertar o sorprender

conjectural (kEn-jDkPchEr-El) adj. involving guesswork conjetural adj. basado en suposiciones

conspire (kEn-spFrP) v. to plan or plot secretly conspirar v. complotar en secreto

consternation (kJnQstEr-nAPshEn) n. confused amazement or fear consternación s. abatimiento o disgusto

contempt (kEn-tDmptP) n. an attitude of regarding someone or something as worthless or inferior desdén s. actitud de desprecio

contemptuous (kEn-tDmpPchL-Es) adj. scornful or disrespectful desdeñoso adj. despectivo o irrespetuoso

contending (kEn-tDnPdGng) adj. struggling in rivalry

encogerse v. doblarse con miedo someone else’s wishes deferencia s. respeto cortés; sumisión a los deseos ajenos déficit s. cantidad que falta para llegar al nivel necesario

defile (dG-fFlP) v. to make dirty, unclean, or impure profanar v. ensuciar o deshonrar; quitarle la pureza

deflect (dG-flDktP) v. to fend off or avert the direction of something desviar v. evitar o cambiar la dirección

degraded (dG-grAPdGd) adj. corrupted, depraved degradado adj. corrupto, depravado

degrading (dG-grAPdGng) adj. tending or intended to cause dishonor or disgrace degradante adj. que busca quitar dignidad u honor dejectedly (dG-jDkPtGd-lC) adv. in a disheartened, depressed way abatido adj. desalentado, con el ánimo por los suelos

delirium (dG-lîrPC-Em) n. a temporary state of mental confusion usually resulting from high fever or shock delirio s. estado pasajero de confusión mental por fiebre o shock destiny (dDsPtE-nC) n. the determinded fate of a particular person or thing; lot in life destino s. suerte o función de determinada persona o cosa; sino

contend v. contendiente adj. rival, contrario contender v.

din (dGn) n. a deafening noise

contingent (kEn-tGnPjEnt) n. a gathering of people representative of a larger group contingente s. reunión de representantes de un grupo mayor

disarm (dGs-ärmP) v. to win over; to make less hostile

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estruendo s. mezcla de ruidos fuertes desarmar v. reducir sospecha u hostilidad

Glossary of Vocabulary

discord (dGsPkôrd’) n. disagreement; lack of harmony discordia s. desacuerdo; falta de armonía

disengage (dGsQDn-gAjP) v. to detach or remove oneself desconectarse v. soltarse o retirarse

disparage (dG-spBrPGj) v. to speak of in a negative or insulting way menospreciar v. tratar de modo negativo o insultante

disparagement (dG-spBrPGj-mEnt) n. belittlement menosprecio s. desprecio

dissuasion (dG-swAPzhEn) n. an attempt to deter a person

fanatical (fE-nBtPG-kEl) adj. extremely enthusiastic fanático adj. extremadamente entusiasta

fictitious (fGk-tGshPEs) adj. fabricated; created by the imagination ficticio adj. inventado; creado por la imaginación

fidelity (fG-dDlPG-tC) n. faithfulness to duties; loyalty and devotion fidelidad s. responsabilidad hacia obligaciones; dedicación y lealtad

flailing (flAPlGng) adj. waving vigorously flail v. agitar v. sacudir, ondear

from a course of action disuasión s. utilización de razones para cambiar la opinión o el propósito de alguien

forbear (fôr-bârP) v. to refrain from; resist

doctrine (dJkPtrGn) n. a set of rules, beliefs, or values held by

fortitude (fôrPtG-tLd’) n. strength of mind; courage

a group doctrina s. conjunto de principios o reglas de un grupo

draft (drBft) n. a gulp or swallow sorbo s. trago

eccentric (Gk-sDnPtrGk) adj. strange; peculiar excéntrico adj. extraño; peculiar

edict (CPdGkt’) n. a command issued by an authority edicto s. orden de una persona de autoridad

eloquent (DlPE-kwEnt) adj. vividly expressive elocuente adj. que se expresa con emoción

abstenerse v. restringirse fortaleza s. fuerza emocional; valor

furtive (fûrPtGv) adj. sneaky, secretive furtivo adj. solapado; que tiene un motivo o propósito oculto

glutton (glOtPn) n. a person who eats too much glotón s. persona que come mucho

haggard (hBgPErd) adj. appearing worn and exhausted ojeroso adj. de aspecto cansado y exhausto

hapless (hBpPlGs) adj. pitiful; unfortunate desafortunado adj. desventurado; lastimoso

emaciated (G-mAPshC-A’tGd) adj. excessively thin as a result of starvation emaciate v. emaciado adj. en los huesos; muy delgado por pasar hambre emaciarse v.

heritage (hDrPG-tGj) n. something passed down through generations, such as tradition, values, property herencia s. tradiciones, valores o propiedades transmitidas de generación en generación

emblemized (DmPblE-mFzdQ) adj. represented; symbolized

hiatus (hF-APtEs) n. a gap or break in continuity

emblemize v. emblemático adj. simbolizado emblematizar v.

embody (Dm-bJdPC) v. to give shape to or visibly represent encarnar v. dar forma concreta o representar

emphatically (Dm-fBtPGk-lC) adv. with strong emphasis enfáticamente adv. con énfasis; con fuerza

enmity (DnPmG-tC) n. hostility and ill will enemistad s. hostilidad y odio

exalt (Gg-zôltP) v. to glorify, praise, or honor exaltar v. glorificar, alabar u honrar

pausa s. interrupción momentánea

ignominiously (GgQnE-mGnPC-Es-lC) adv. shamefully ignominiosamente adv. vergonzosamente

impassively (Gm-pBsPGv-lC) adv. in a way that shows no emotion or feeling impasivamente adv. sin emoción impeccably (Gm-pDkPE-blC) adv. perfectly; flawlessly impecablemente adv. sin falla; perfectamente

impede (Gm-pCdP) v. to obstruct or hinder impedir v. obstruir o dificultar


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imperative (Gm-pDrPE-tGv) adj. urgently necessary imperativo adj. urgentemente necesario

imperceptible (GmQpEr-sDpPtE-bEl) adj. impossible or

irrational (G-rBshPE-nEl) adj. not possessed with reason or understanding irracional adj. que no se guía por la razón

difficult to notice imperceptible adj. imposible o difícil de captar

isolated (FPsE-lAQtGd) adj. separated from others

implacable (Gm-plBkPE-bEl) adj. impossible to calm or satisfy; relentless implacable adj. imposible de apaciguar o satisfacer; despiadado

lamentation (lBm’En-tAPshEn) n. an expression of grief

incongruous (Gn-kJngPgrL-Es) adj. unsuitable; incompatible inapropiado adj. fuera de lugar; incompatible

aislado adj. separado lamentación s. expresión de dolor

languor (lBngPgEr) n. a lack of feeling or energy languidez s. abatimiento físico o emocional

laudable (lôPdE-bEl) adj. worthy of high praise loable adj. digno de alabanza

or determined indeterminado adj. que no se conoce con precisión

lethargy (lDthPEr-jC) n. prolonged sluggishness; unconsciousness letargo s. sopor; inconsciencia

indomitable (Gn-dJmPG-tE-bEl) adj. not easily discouraged

lucid (lLPsGd) adj. clear; mentally sound

indeterminate (Gn’dG-tûrPmE-nGt) adj. not precisely known

or defeated indomable adj. que no se deja desalentar, derrotar o someter

inevitable (Gn-DvPG-tE-bEl) adj. unavoidable inevitable adj. que no se puede evitar

infatuated (Gn-fBchPL-AQtGd) adj. intensely fond encaprichado adj. enamorado

innovative (GnPE-vAQtGv) adj. able to create new, original ideas innovador adj. que tiene ideas nuevas y originales

insolence (FnPsE-lEns) n. rudeness and disrespect insolencia s. grosería y falta de respeto

insuperable (Gn-sLPpEr-E-bEl) adj. impossible to overcome insuperable adj. imposible de vencer

intangible (Gn-tBnPjE-bEl) adj. unable to be perceived with the senses intangible adj. que no se puede percibir con los sentidos

intemperate (Gn-tDmPpEr-Gt) adj. extreme inmoderado adj. extremado; desmedido

interloper (GnPtEr-lIQpEr) n. one that intrudes in a place, a situation, or an activity intruso s. el que se mete en un lugar, situación o actividad

interminable (Gn-tûrPmE-nE-bEl) adj. having no limit or end interminable adj. que no tiene final

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lúcido adj. que comprende claramente

malice (mBlPGs) n. a desire to harm others malicia s. deseo de hacer daño

mandate (mBnPdAtQ) n. a command or instruction mandato s. orden u instrucción

manipulate (mE-nGpPyE-lAtQ) v. to move, operate, or handle manipular v. mover, manejar

marauder (mE-rôdPEr) n. one who raids and loots maleante s. persona que roba y saquea

meditate (mDdPG-tAtQ) v. to consider for a long time meditar s. considerar por largo tiempo

mentor (mDnPtôrQ) n. a wise and trusted counselor or teacher mentor s. maestro sabio y de confianza

militant (mGlPG-tEnt) adj. aggressive or combative militante adj. de espíritu de lucha o combativo

morose (mE-rIsP) adj. gloomy; sullen moroso adj. lento; triste

naive (nF-CvP) adj. unsophisticated, lacking worldly experience ingenuo adj. sin malicia ni experiencia negotiable (nG-gIPshE-bEl) adj. able to be bargained with negociable adj. que se puede cambiar o rebajar


neutralize (nLPtrE-lFzQ) v. to counteract or cancel out the effect of neutralizar v. contrarrestar o cancelar un efecto

perverse (pEr-vûrsP) adj. willfully determined to go against what is expected or desired perverso adj. que contraría con intención

nostalgia (nJ-stBlPjE) n. a wistful longing for the past or the familiar nostalgia s. recuerdo triste del pasado o de lo conocido

pestilential (pDsQtE-lDnPshEl) adj. likely to spread and cause disease pestilente adj. que contagia; de mal olor

oblivious (E-blGvPC-Es) adj. paying no attention, completely unaware distraído adj. que no pone atención, ajeno a lo que sucede

pinioned (pGnPyEnd) adj. restrained or immobilized pinion v. inmovilizado adj. restringido inmovilizar v.

ominous (JmPE-nEs) adj. menacing; threatening

precipitous (prG-sGpPG-tEs) adj. extremely steep

ominoso adj. amenazante

escarpado adj. muy inclinado

pandemonium (pBn’dE-mIPnC-Em) n. a wild uproar or

precursor (prG-kûrPsEr) n. something that comes before and

noise pandemonio s. alboroto o escándalo incontrolable

signals or prepares the way for what will follow precursor s. algo que precede o prepara el camino para lo que sigue

paranoia (pBrQE-noiPE) n. an irrational fear of danger or misfortune paranoia s. temor irracional patronize (pAPtrE-nFz’) v. to behave in a manner that shows feelings of superiority condescender v. actuar con superioridad pensive (pDnPsGv) adj. thoughtful in a wistful, sad way pensativo adj. meditabundo; triste o preocupado

peremptorily (pE-rDmpPtE-rE-lC) adv. in a commanding way that does not allow for refusal or contradiction perentorio adj. autoritario; que no permite contradicción

permeate (pûrPmC-AtQ) v. to spread or flow throughout impregnar v. calar, penetrar

predisposed (prC’dG-spIzdP) v. inclined to something in advance predispuesto v. inclinado de antemano a hacer algo

premonition (prCQmE-nGshPEn) n. a hunch or feeling about the future; a foreboding premonición s. corazonada o presentimiento del futuro preoccupied (prC-JkPyE-pFdQ) adj. absorbed in one’s thoughts; distracted preocupado adj. absorto en sus pensamientos; distraído prestigious (prD-stCPjEs) adj. having a great reputation; highly respected prestigioso adj. de muy buena reputación; altamente respetado

perpetuation (pEr-pDchQL-APshEn) n. the act of continuing or prolonging something perpetuación s. continuación a largo plazo

presumption (prG-zOmpPshEn) n. behavior or language

persevere (pûrQsE-vîrP) v. to persist in an action or belief despite difficulty perseverar v. persistir; seguir adelante a pesar de dificultades

proponent (prE-pIPnEnt) n. a person who pleads for or

pertinacity (pûr’tn-BsPG-tC) n. unyielding persistence or adherence pertinacia s. terquedad; persistencia

pervade (pEr-vAdP) v. to spread throughout dominar v. invadir; impregnar

that is boldly arrogant or offensive presunción s. conducta o lenguaje arrogante u ofensivo supports a cause defensor s. persona que apoya una causa

prostrate (prJsPtrAt’) adj. lying in a flat, horizontal position postrado adj. en posición horizontal

prowess (prouPGs) n. superior skill, strength, or courage, especially in battle valor s. gran fuerza, valentía y arrojo, especialmente en la batalla


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rapt (rBpt) adj. fully absorbed; entranced embelesado adj. totalmente absorto

recompense (rDkPEm-pDnsQ) n. amends for damage or

reticence (rDtPG-sEns) n. the quality of keeping silent or reserved reticencia s. reserva; prudencia y discreción

payment for service recompensa s. pago como premio o a cambio de un servicio

retrospect (rDtPrE-spDkt’) n. a view or contemplation of something past retrospectiva s. contemplación del pasado

recompose (rCQkEm-pIzP) v. to restore to calm, to settle again serenar v. recobrar la calma, poner en orden

reverence (rDvPEr-Ens) n. awe and respect

reconcile (rDkPEn-sFl’) v. to restore friendly relations reconciliarse v. volver a las amistades

reconciliation (rDkQEn-sGlQC-APshEn) n. the act of settling or resolving reconciliación s. acto de arreglar o resolver

reiterate (rC-GtPE-rAtQ) v. to repeat reiterar v. repetir

rejuvenated (rG-jLPvE-nA’tGd) adj. made new or young

reverencia s. admiración y respeto

rhetoric (rDtPEr-Gk) n. grand but empty talk retórica s. discurso grandilocuente y vacío

rigorous (rGgPEr-Es) adj. strict, uncompromising riguroso adj. estricto, intransigente

robustly (rI-bOstPlC) adv. in a strong, powerful way enérgicamente adv. con fuerza y vigor

rudimentary (rLQdE-mDnPtE-rC) adj. very basic, in the beginning stages rudimentario adj. básico, en las etapas iniciales

again rejuvenate v. rejuvenecido adj. que ha recuperado la juventud rejuvenecer v.

sate (sAt) v. to satisfy fully

replenish (rG-plDnPGsh) v. to fill again

savagery (sBvPGj-rC) n. extreme violence or cruelty

reponer v. volver a llenar

saciar v. satisfacer por completo salvajismo s. violencia o crueldad extremas

criticism reprensible adj. que merece culpa y crítica

savoring (sAPvEr-Gng) n. a full appreciation and enjoyment savor v. sabor s. aprecio y gusto saborear v.

reprisal (rG-prFPzEl) n. retaliation in the form of harm or

sententiously (sDn-tDnPshEs-lC) adv. in a pompous,

reprehensible (rDpQrG-hDnPsE-bEl) adj. deserving blame and

injury similar to that received represalia s. venganza con daños o heridas similares a los recibidos

repute (rG-pyLtP) n. reputation; fame renombre s. reputación; fama

resignation (rDzQGg-nAPshEn) n. passive acceptance of something; submission resignación s. aceptación pasiva; sumisión respite (rDsPpGt) n. a period of rest or relief respiro s. período breve de descanso o alivio

resurrect (rDz’E-rDktP) v. to bring back to life resucitar v. traer de vuelta a la vida

R126


moralizing manner sentenciosamente adv. en tono pomposo y regañón

sentiment (sDnPtE-mEnt) n. feeling or emotion sentimiento s. emoción

silhouette (sGlQL-DtP) n. an outline that appears dark against a light background silueta s. perfil que se destaca sobre un fondo claro sinister (sGnPG-stEr) adj. threatening or foreshadowing evil siniestro adj. que amenaza un mal

smite (smFt) v. to inflict a heavy blow on; past tense—smote (smIt) golpear v. dar un fuerte golpe


sovereignty (sJvPEr-Gn-tC) n. complete independence and self-governance soberanía s. independencia completa y autogobierno speculative (spDkPyE-lE-tGv) adj. based on guesses and theories rather than fact especulativo adj. basado en suposiciones y no en hechos

stark (stärk) adj. harsh or grim crudo adj. duro o agreste

stature (stBchPEr) n. the height of a person, animal, or object in an upright position estatura s. altura de una persona, animal u objeto en posición vertical

stealth (stDlth) n. a concealed manner of acting secreto s. conducta callada u oculta

stratagem (strBtPE-jEm) n. a clever trick or device for obtaining an advantage estratagema s. truco o maquinación para conseguir ventaja

stridently (strFdPnt-lC) adv. harshly; conspicuously estridentemente adj. con dureza y escándalo

stupor (stLPpEr) n. a state of mental numbness, as from shock estupor s. pasmo; profundo asombro sublime (sE-blFmP) adj. supreme, splendid sublime adj. supremo, espléndido

subordinate (sE-bôrPdn-At’) v. to lower in rank or importance subordinar v. bajar de rango o importancia

succession (sEk-sDshPEn) n. the sequence in which one

tact (tBkt) n. an understanding of the proper thing to do or say around others tacto s. sensibilidad para tratar a otras personas con delicadeza

tactic (tBkPtGk) n. a planned action or maneuver to reach a certain goal táctica s. acción o maniobra planeada para alcanzar una meta tenacity (tE-nBsPG-tC) n. the quality of holding persistently to something; firm determination tenacidad s. tesón y constancia; obstinación

trajectory (trE-jDkPtE-rC) n. the path of a moving body through space trayectoria s. camino que sigue un objeto en movimiento en el espacio

transgress (trBns-grDsP) v. to violate or break (a law, command, or moral code) transgredir v. violar una ley, una orden o un código moral

translucent (trBns-lLPsEnt) adj. allowing light to shine through translúcido adj. que deja pasar la luz trauma (trôPmE) n. severe physical or emotional distress trauma s. daño físico o emocional fuerte

tremulous (trDmPyE-lEs) adj. trembling, unsteady trémulo adj. tembloroso

tribulation (trGb’yE-lAPshEn) n. great distress or suffering tribulación s. gran sufrimiento o preocupación

unavailing (OnQE-vAPlGng) adj. useless, ineffective inservible adj. inútil, ineficaz

person after another acquires a title, dignity, or estate sucesión s. secuencia en que se transmiten títulos, rango o propiedades de una persona a otra

unperturbed (OnQpEr-tûrbdP) adj. calm and serene; untroubled impasible adj. calmo y sereno; impertérrito

succor (sOkPEr) n. help in a difficult situation

usurper (yL-sûrpPEr) n. someone who wrongfully takes possession of something usurpador s. el que toma posesión de algo que no le corresponde

socorro s. ayuda en una situación difícil

supposition (sOp’E-zGshPEn) n. something supposed; an assumption suposición s. conjetura; creencia

synchronize (sGngPkrE-nFzQ) v. to match the timing of sincronizar v. hacer que dos cosas ocurran al mismo tiempo

vagrant (vAPgrEnt) adj. wandering vagabundo adj. que va de un lado al otro sin rumbo fijo

vehemently (vCPE-mEnt-lC) adv. in a fierce, intense manner vehementemente adv. con intensidad


R127

vigilance (vGjPE-lEns) n. alert attention, watchfulness vigilancia s. atención alerta, cuidado

vindicate (vGnPdG-kAtQ) v. to clear of suspicion, doubt, or blame vindicar v. exculpar de sospecha o duda voluble (vJlPyE-bEl) adj. especially talkative, fluent with words locuaz adj. hablador, charlatán

R128


voracity (vô-rBsPG-tC) n. greed for food voracidad s. apetito ansioso

wince (wGns) v. to shrink or flinch involuntarily, especially in pain estremecerse v. encogerse o contraerse involuntariamente por dolor

wizened (wFzPEnd) adj. withered and dry arrugado adj. seco y marchito


Pronunciation Key Symbol B A ä âr b ch d D C f g h hw G F îr j k l

Examples at, gas ape, day father, barn fair, dare bell, table chin, lunch dig, bored egg, ten evil, see, meal fall, laugh, phrase gold, big hit, inhale white, everywhere inch, fit idle, my, tried dear, here jar, gem, badge keep, cat, luck load, rattle

Symbol m n ng J I ô oi M L ou p r s sh t th th O ûr

Examples man, seem night, mitten sing, hanger odd, not open, road, grow awful, bought, horse coin, boy look, full root, glue, through out, cow pig, cap rose, star sit, face she, mash tap, hopped thing, with then, other up, nut fur, earn, bird, worm

Symbol v w y z zh E Er

Examples van, save web, twice yard, lawyer zoo, reason treasure, garage awake, even, pencil, pilot, focus perform, letter

Sounds in Foreign Words KH German ich, auch; Scottish loch N French entre, bon, fin œ French feu, cœur; German schön ü French utile, rue; German grün

Stress Marks This mark indicates that the preceding syllable receives the primary stress. For P example, in the word language, the first syllable is stressed: lBngPgwGj. This mark is used only in words in which more than one syllable is stressed. It indicates Q that the preceding syllable is stressed, but somewhat more weakly than the syllable receiving the primary stress. In the word literature, for example, the first syllable receives the primary stress, and the last syllable receives a weaker stress: lGtPEr-E-chMrQ. Adapted from The American Heritage Dictionary of the English Language, fourth edition. Copyright © 2000 by Houghton Mifflin Company. Used with the permission of Houghton Mifflin Company.


R129

INDEX OF FINE ART Detail of Steppingstones from the Imperial Carriage Stop to the Gepparo (Moon-Wave Pavilion) (1954), Yasuhiro Ishimoto. viii top, 328 Apple Picking (1878), Winslow Homer. x right, 21, 137 Utopie (1999), Bob Lescaux. xiv, 279 left, 337 Sudden Shower over Shin-Ohashi Bridge and Atake (1800s), Ando Hiroshige or Utagawa. Plate 58 from One Hundred Famous Views of Edo. xvi right, 383, 451 “Civilization is a method of living, an attitude of equal respect for all men.” from the series, Great Ideas of Western Men (1955), George Giusti. xvi left, 446 Lamentation: Memorial for Ernst Barlach (1940), Kåthe Kollwitz. xviii right, 479 Path Through the Forest (1914), Suzanne Valadon. xx left, 569 The Merry Jesters (1906), Henri Rousseau. xxii right, 701 Trees at Night, Thomas Meteyard. xxviii left, 3, 1036 Queen Guinevere’s Maying, John Collier. 2 left, 534 Sosteniendo el Tiempo (1998), Satenik Tekyan. 35 TVTime-Announcer (2002), Charles FosterHall. 38 TVTime 2 (2002), Charles Foster-Hall. 47 Home Chores (1945), Jacob Lawrence. 48 Little Sweet (1944), William H. Johnson. 51 Portrait of a woman with golden headscarf (1900s), Attributed to Lo Babacar. 54 Crazy Quilt (1883–1893), Victoriene Parsons Mitchell. 56 Crazy patchwork quilt (1875), unknown artist. 63 Old Willow Lane 2, Mary Iverson. 66 Entrance to Erchless (1900s), Victoria Crowe. 69 Yellow Dress (2003), Jeffrey T. Larson. 140 Sport Utility Vehicle in Moonlight, Todd Davidson. 193 The House With Roses (1936), Henri Le Sidaner. 195 Mailboxes & Cosmos, Carl Schmalz. 205 Detail of The Dance of Krishna (about 1650), from a manuscript of the Sur-Sagar. 225 Campesino (1938), Diego Rivera. 226 Peasants, Diego Rivera. 240 Vigour, Martine Levy. 245 The Promenade (1917), Marc Chagall. 246 The Window at the Country House (1915), Marc Chagall. 249 Woman Reaping (before 1930), Marc Chagall. 250 The Harvest, Natalia Goncharova. 254 Dog Lying in the Snow (1910–1911), Franz Marc. 291 Birsay Ceremony (1996), Gloria Wallington. 294 Midsummer Night, 1994 (1994), Gloria Wallington. 299 Selassie Monoliths, 1998 (1998), Charlie Cover and Title page

325 335 341 346

363 386 left 386 center 409 412 415 445 478 491 531 537 631 635 639 647 650 652 656 659 662 685 left, 740 699 700 707 722 725 731 732 737 739 761 left 766 left 788 802 804

Millar. The Daughters of Edward Darley Boit (1882), John Singer Sargent. Katsura Moonlight (1982), Clifton Karhu. Details of Under the Wave off Kanagawa, Hokusai. The Wave (1800s) Ando Hiroshige or Utagawa. From the series One Hundred Views of the Provinces. Little Girl (1974), Luce Turnier. Rama and the Archer in a Carriage Attack Ravana. Venus, Hunting, Appears to Aeneas, Pietro da Cortona. Detail of At the Inn of Mother Anthony (1866), Pierre Auguste Renoir. Line Fishermen, study for La Grande Jatte (1883), Georges Seurat. Detail of Execution of the Emperor Maximilian (1867), Édouard Manet. Gloria Triptych, right panel detail of despairing woman, Giuseppe Mentessi. Royal Portrait Head (22nd century b.c .), Nineveh. Toasters on Hills (1998), Charles Kaufman. Niña (1943), Julia Diaz. Resurrection, Stevie Taylor. Untitled, Chandragupta Thenuwara. Untitled, Jagath Weerasinghe. A Sketch of Two Figures at a Window, Nicholai Uvarov. Late Night Guest (2002), A. Kurzov. Woodland Scenery with Cows, Ivanchuk. Storm is Coming, V. V. Sindyukov. Dervishes Wearing Their Festive Clothes (1869), Vasilii Vasilievich Vereshchagin. Forest Road, A. Karapaev. The Money Lender and his Wife (1514), Quentin Metsys. Graffiti Divas (2003), Jen Thario. Spring Landscape (1909), Constant Permeke. Moonrise (1906), Guillermo Gomez y Gil. Cape Cod Morning (1950), Edward Hopper. The Spinet (1902), Thomas Wilmer Dewing. Waiting (2001), Ben McLaughlin. Offering of the Heart (1400–1410). French tapestry from Arras. The Cathedral (1908), Auguste Rodin. The Vitriol Thrower (1894), Eugene Grasset. Melancholy (1892), Edvard Munch. Sunflowers, Vincent van Gogh. Nathaniel Hawthorne (1840), Charles Osgood. Timeless (2002), Lee Campbell. Treetop Flier, Rod Frederick. Cotswold Landscape (1981), Derold Page.

index of fine art

R131

817 821 843 left 855

858 899 903 937 center, 938

955 958 960, 1023

R132

Sandra Cisneros (2000), Raquel Valle Senties. Black Jumper, Lucy Willis. Miss Liberty (1987), Malcah Zeldis. Auschwitz Prisoner’s Uniform, from the series Reclaiming My Family History (1998), Lina Eve. The Food of the Dead for the Living, David Olère. Woman and Husband in Flowing Agbada 1 (1997), D. Gbenga Orimoloye. Portrait 1 (1999), D. Gbenga Orimoloye. 9-11–The World’s Finest Comic Book Writers & Artists Tell Stories to Remember, DC Comics. The Accolade (1901), Edmund Blair Leighton. The Three Fates, Pietro della Vecchia. Combat between Lancelot and Gawain (1400s)

index of fine art

1013 1019 1027 1033 1039 1045 top 1079 1086 1190

from the Cycle de Lancelot. Arthur Extracting the Sword (1280) from Histoire de Merlin. Tournament Jousting at the Court of Caerleon. Les Chroniques de Hainaut (1468). The Knight (1400s), Jacques de Cessoles. Detail of King Arthur (1903), Charles Ernest Butler. Detail of Lancelot and Guinevere, Herbert James Draper. Miguel de Cervantes (1800s). Emperor Julius Caesar (1625), Peter Paul Rubens. Brutus, Michelangelo. Mark Antony’s Oration, George Edward Robertson.

Index of Skills A Abbreviations in note taking, R83 postal, R49 punctuating, R49 web, 1215 Academic journals, 1224 Academic vocabulary, 5, 6, 7, 10, 23, 159, 281, 385, 481, 571, 687, 763, 845, 957, 1081, 1211, 1215, 1218. See also Specialized vocabulary. Act (in a play), 7, R102 Active listening, R82–R83 Active reading, 12 Active voice. See Voice, of verbs. Adjective clauses and phrases, 1145, 1185, 1202, R54, R60, R62* Adjectives, R47, R57 versus adverbs, R57 commas and, R49 comparative, 1200, R57 personification and, 790 precise, 39, 43 predicate, R57, R60 proper, R51 sensory, 179, 184, 277 superlative, 1200, R57 Adverb clauses and phrases, 517, 523, 562, R60, R62 Adverbs, 426, 441, 472, R47, R57 versus adjectives, R57 comparative, 1200, R57 conjunctive, 560 descriptive, 426, 441 relative, 1185 superlative, 1200, R57 Advertising, 10, 666–669, R90–R91 marketing, R90 persuasive techniques in, 667–669, R91 political ad, 666–669, R90 types of, 667, R90 Aesthetics and literary criticism. See Literary criticism. Affixes. See Prefixes; Suffixes; Word parts. Agreement pronoun-antecedent, R52 subject-verb, R65–R67 Allegory, R102 Alliteration, 690, 697–698, 702, 756, 789, R102 Allusion, 289, 302, 965, R102 Almanacs, 1218, 1221, R25, R119. See also References.

Ambiguous pronoun references, R55 Analogies, 418, 522, 616, 1029, R71, R102. See also Rhetorical devices. false, R24 Analysis, writing definition, R40 parts, R40 process, R40 Anecdotes, 230, 456, 557, 764, R30–R31, R41 Anglo-Saxon. See Old English (Anglo-Saxon) word parts. Animation, 1255, R88 Antagonist, 75, 92, 974, R102 Antecedent-pronoun agreement, R52 Antonyms, 15, 93, 220, 358, 418, 522, 541, 601, 616, 790, 862, 905, 1029, R71 Apostrophes, R50 Appeals, 574–575. See also Persuasive techniques. by association, 574–575 authority, R91 bandwagon, 574, R22, R83, R91 emotional, 574–575, 605–615, 667–669, R22, R91, R116 ethical, 574 loaded language in, 574–575, 1225, R25, R117 logical, 449, R91, R118. See also Arguments. to loyalty, R22 to pity, fear, or vanity, 574–575, R22, R116 “plain folks,” 574, 667 to values, 574 Appendix, 1228 Applications, job, R19, R44, R120 Appositives, and appositive phrases, 355, 359, 376, R60 Approaches to literature. See Literary criticism. Archetypes, R102 Arguments, 572–573, 579–583, R115. See also Appeals; Persuasive techniques. analysis of, 259, 572–573, 579–583, 617, 678, R21, R26 claim, 572–573, 670, 671, R21, R23, R24–R26, R115 counterarguments, 572–573, 591, 619– 625, 670, 671, R21, R116 deductive, 587–591, R23, R115, R116 evaluating, 572, 583, 591, 600, 676, 1070

evidence in, 449–453, 572, 587–591, 625, 827, R21 faulty, 675, 676, 1071, R24, R117 inductive, 593–600, R22–R23, R115, R117 logical, 449, 587–591, 593–600, R22– R23, R91, R116, R117, R118 reasons in, 449–453, 625, R21, R41 strategies for reading, R21 support, 572–573, 583, 615, 625, 670, 672, 1249, R21, R119 tone in, 91, 670, 672 Art. See Visuals. Articles (parts of speech), 834, 1035 Articles (written). See Feature articles; Journal articles; Magazine articles; News articles; Newspapers, articles in. Articulation. See Speaking strategies. Artistic effects. See Media presentation. Aside, 7, 243, 248, 1081, 1095, R102 Assessment practice reading comprehension, 150–153, 272– 275, 376–379, 472–475, 562–565, 678–681, 754–757, 836–839, 948– 951, 1072–1075, 1202–1205 vocabulary, 154, 276, 380, 476, 566, 682, 840, 952, 1076, 1206 writing and grammar, 155, 277, 381, 477, 567, 665, 683, 841, 953, 1077, 1207 Assonance, 690, 721, R102, R110 Assumptions, 591, R23, R115 Atlases, 1218, 1221. See also References. Attitudes, comparing, 540 Audience media, 84, 667, 668, R85 speaking and listening, R76, R78, R83 target, 667, 668, R28, R85 writing for, 142, 264, 368, 424, 427, 554, 670, 746, 828, 940, 1064, 1194, 1234, R28, R34, R41, R42 Authority. See Sources. Author’s background, 33, 45, 61, 75, 101, 113, 135, 167, 187, 203, 211, 223, 243, 289, 305, 321, 333, 353, 361, 395, 407, 421, 443, 449, 455, 489, 495, 509, 529, 547, 579, 587, 593, 605, 629, 645, 697, 705, 713, 721, 729, 735, 771, 793, 801, 809, 815, 853, 865, 881, 897, 909, 931, 949– 950, 1011, 1031, 1045, 1225 influence of, 846–847, 850–851, Author’s intent. See Author’s purpose.

index of skills

R133

Author’s message, 26, 142, 449, 455–462, 501, 503, R115 Author’s perspective, 223–229, 257, 482– 483, 529–540, 562, 615, 909–927, R102 Author’s point of view. See Author’s perspective. Author’s position, 453, 572, 579, 587, 625, R21, R26, R115. See also Author’s message; Claims. Author’s purpose, 211–219, 462, 482–483, 493, 495–501, 542, 547–553, 815– 822, 827, 836, R102 Author’s style, 764–769, 771–789, 793–799, 801–806, 815–822. See also Style. imagery and, 495, 547–553 Author’s viewpoint. See Author’s perspective. Autobiographical essay, 264–270, R102– R103 Autobiography, R102–R103. See also Memoirs. characterization in, 211–219 writing, 264–270

B Ballad, 735–741, R103 folk, 735 traditional, 735, 736 Bandwagon appeal, 574, R22, R83, R91 Bar graphs, R5 Base words, 258, R69 Bias, R115 in evidence, R25 recognizing, 1225, 1242, R25 in reporting, R89, R90 Bibliography, 1218, 1223, 1228, R115. See also Works cited. MLA citation guidelines, 1252–1253 Biographical context, 229, 417, 540, 806, 935, 1007 Biographical essay, R103 Biographical references, 1221. See also References. Biography, 8, 667, 1221, R2, R103 in political advertising, 667 Blank verse, 806, 1088–1089, 1106, 1108, 1115, 1202, R103 Boldface type, as text feature, 94, 96, R3, R115, R120. See also Subheadings. Books classification systems for, 1232 nonfiction, as source, 1218, 1228 parts of, 1223, 1228 Boolean searches, 1215 Brainstorming, as writing strategy, 17, 19, 32, 242, 320, 373, 557, 727, 937, 943, R28

R134

index of skills

Brochures, 677 Bulleted list, as text feature, 1256, R3, R120 Business writing, R42–R43, R115. See also Workplace and technical writing. Bylaws, R45 Bylines, R14

C Calculator, graphing, R17 Call to action, 482, 670, 672, 674, 676, 1064, 1069, R41 Camera shots in film and video, 131–133, 261, 1191–1193, R87. See also Editing, of film and video. camera movement, 261, R87 close-up, 131, 133, 261, 947, 1191, R87 establishing, 947, 1191, R87 framing, 261, 947, 1191, R87, R88 high-angle, R87 long, 131–132, 271, 947, 1191, R87 low-angle, R87 medium, 271, 947, R87 pan, R87 point-of-view, 131–132, 1193, R87 reaction, 1191, R87 tracking shot, R87 zoom, 947, R87 Capitalization, R51 in outlines, R4 of titles, 834, R51 Captions, as text features, 504, 542, 677, R6, R15, R18 Career-related writing. See Workplace and technical writing. Case, pronoun nominative, R52, R53 objective, R52, R53 possessive, R52, R53 Casting, 263, 1125 Cast of characters, 244, 968, 1090, 1097, R103 Catalogs, as aspect of style, 793–799 Catastrophe, in tragedy, 958, 1086 Category chart, 1214 Cause-and-effect organization, 484–85, 554–560, R10–R11, R38, R115. See also Patterns of organization. graphic organizers for, 495, 509, 557 signal words for, 484, 560, R10 Cause-effect relationships, reading in fiction, 349, 1090 in nonfiction, 109, 495–501, 509, 521 in Shakespearean tragedy, 1090 CD-ROMs, of reference works, 1218, R20 MLA citation guidelines for, 1253 Censorship, 670, R86

Characterization, 160–165, 211–219, 529– 540, R103–R104 analysis of, 160, 211–219 in autobiography, 211–219 evaluating, 183 in films, 260–263 in nonfiction, 211–219 stereotypes, 243, 263 and style, 1031, 1041 Characters, 160–165, R103. See also Character types; Characterization. analysis of, 160–165, 203, 241, 289, 302, 314, 439, 1011 cast of, 244, 968, 1090, 1097, R103 change within, 162–163, 165 comparing and contrasting, 183, 219, 275, 371, 331, R37, R111 conflict and, 45–57, 75–92, 135, 203, 421, 897 costume design and, 1159 creating, 73, 259, 371 describing, 184 development of, 160–161 dialogue in revealing, 7, 73, 259, 1095, 1115, R36 in drama, 243–257, 1202 drawing conclusions about, 421, 439, 629 evaluating, 257 in farce, 243–257 graphic organizers for understanding, 11, 12, 15, 183, 187, 241, 314, 331 idealized versus realistic, 219, 1011, 1015, 1014, 1022, 1046 interactions between, 203–209 making inferences about, 12, 45, 187–199, 289, 407–417, 641, 789, 1031–1041, 1133 motivation of, 162–165, 187–199, 257, 272, 388, 1132 in narrative writing, 282, 509, R36 plot and, 203–209 in poetry, 135, 237–241, 735 point of view and, 282, 286, 289, 302, 314, 321, R110 relationships between, 439 setting and, 24, 75–92, 388, 395, R36 theme and, 388, 421–439, 629 traits. See Character traits Character traits, 160–161, 167–183, 221, 223–229, 230, 272, 641, 1045, 1061 Character types antagonist, 75, 92, 974, R102 archetypal, R102 chorus. See Chorus. dynamic, 162, 182, R103 epic hero, R105 flat, 160–161, 165, 209, R103 foils, 183, 1061, R106, R107

Index of Skills main, 421–439, R103. See also protagonist, below. minor, 160, 282, 977, 982, 1001, 1007, R103 protagonist, 282, 958, 972, R102, R107, R111 romance hero, 1072 round, 160–161, 165, 209, R103 static, 162, 182, R103 tragic hero, 958–959, 964, 967, 996, 1006, 1007, 1072, 1086–1087, 1090, 1095, R107, R114 Charts. See Graphic aids; Graphic organizers. Choice of words. See Diction; Word choice. Choragus. See Chorus. Chorus, 958, 964, 977, 991, 996, 1006, 1072, R104 Chronological order, 150, 284, 305–314, 376, 484, 489, R8, R36, R115. See also Patterns of organization. analysis of, 101–109 in narrative writing, R36 signal words for, 101–109, 305, R9 timeline and, 509 Circle graphs. See Graphic aids; Graphic organizers. Circular reasoning, 1070, R24, R117. See also Fallacy; Reasoning. Citation of evidence. See Evidence, citing. Citation of sources. See MLA citation guidelines; Works cited. Claims, 453, 572, 573, 579, 587, 625, R21, R26, R115 Clarifying, R115. See also Monitoring. graphic aids for, R3, R15 as listening strategy, R83 as reading strategy, 395–403, 529, 865, 967, R2, R115 Clarity, R122 Classical drama, 964, 967–1007, 1072. See also Greek tragedy. Classification organization, 484, 489–493, R115 Classificatory writing. See Expository writing. Clauses, R62–R63 adjective, 1145, 1185, R62 adverb, 517, 523, R62 essential, R62 independent (main), R32, R62 nonessential, R62 noun, R63 punctuation with, 129, R49 as sentence fragments, R29 subordinate (dependent), 400, 405, 472, 517, 523, 643, 879, 1185, R62, R63, R64 Cliché, R115

Climax, 26, 31, 41, 55, 57, 71, 403, R2, R104, R105, R106. See also Plot. Cluster diagram, 557 Coherence in compositions and paragraphs, R31–R32 Colons, R50 Combining sentences. See Conjunctions, coordinating. Comedy, 4, 243–257, 1045–1061, R104. See also Humor. Comic relief, R104 Commas, R49, R63 in addresses, R49 adjectives and, R49 appositives and, R60 to avoid confusion, R49 with clauses, 560, R49, R62 in compound sentences, 560, R49, R60, R63 with conjunctions, 560 in dates, R49 in direct address, R49 in letters, R49 with parenthetical expressions, R49 with phrases, 270, R49 quick reference chart, R49 with quotation marks, 270 run-on sentences and, R64 in series, 946, R49 Comma splices, R65 Commercials. See Advertising. Commonly confused words, R58, R71–R72, R75 Communication, types of R81-R82 Comparative form of modifiers, R57 Compare and contrast, reading and thinking, R8, R11–R13, R115 across genres, 383, 455–462, 645–665, 1045–1061 of characters, 92, 183, 219, 275, 331, 371, R37, R111 of cultures, 367 of experiences, 877, 890 of literary works, 209, 439, 1063 plays and films, 1195–1200 in poetry, 553, 705, 727 rubric for, R37 of settings, 109 of texts, 507, 553, 625, 719 of themes, 710, 727 of word choice, R32 Comparison-and-contrast organization, 484–485, 495, 665, R8, R11–R13, R37–R38, R42. See also Analogy; Arguments. point-by-point, 468, R37 signal words for, 484 subject-by-subject, 468, R38

Comparison-contrast essay, 441, 464–470 Comparisons, illogical, R58 Complements, 503, 807, 906, R60–R61 Complications of plot, 131, R104 Compound-complex sentences, 378, 560, 637, 643, 876, 879, R64 Compound predicates, R59 Compound sentences, 560, 879, 948, R49, R63 Comprehension. See Assessment; Reading skills and strategies. Computer software. See Software. Conciseness in writing, 359, 419, 906 Conclusions deductive, 587–591, R115 drawing, 11, 33–41, 71, 75, 127, 183, 199, 209, 219, 302, 305–314, 331, 349, 357, 417, 421–439, 453, 472, 615, 625, 629–641, 702, 806, 861, 877, 890, 904, 927, 1028, 1041, 1061, 1115, 1133, 1153, 1169, 1189, R33, R116 graphic organizer for, 11, 33, 305 inaccurate, R23 inductive, 593, 600, R115, R117 kinds of, R33 in own writing, 11, 711, 745, 791, 805, 1043, 1249, R33 in speeches, R77 strengthening, 751, 1069 valid, R115 Concrete poetry, 688 Conflict, 26–31, 150, R104 analyzing, 33–41, 45–57, 75–92 central, 26, R37 character and, 45–57, 75–92, 135, 203, 421, 897 cultural, 897 in drama, 971, 983, 1007, 1202, R2 external, 26, R104 identifying, 403, 1007 internal, 26, 368, R104s in narrative poetry, 135 in narrative writing, 282, 316, R37 plot and, 26–31, 33–41, 203, 338, 388, R104 resolution of, 45 setting and, 24, 75–92, 395 suspense and, 26, 107, 834 theme and, 388, 395, 421 Conjunctions coordinating, 63, 150, R47 correlative, R47, R65 run-on sentences and, R64 subordinating, 63, R47

index of skills

R135

Connecting, 94–99, 167–183, 230–235, 316–319, 321–331, 493, 504–507, 542–545, 742–745, 824–827, 853– 861, 892–895, 1186–1189 Connotation, 93, 150, 200, 272, 404, 472, 574, 626, 862, 1042, 1072, R71, R104. See also Denotation. Consonance, 690, 721, R104 Consumer documents, R17, R116. See also Business writing; Workplace and technical writing; Workplace documents. Content-area vocabulary. See Academic vocabulary; Specialized vocabulary. Context clues, R15, R68, R71, R116. See also Vocabulary, in context. biographical, 229, 417 cause-and-effect, R68 comparison, R68 contrast, R68 cultural, 848, 849, R112 definition or restatement, R68 examples of, R68 general, R68 historical, 909 Shakespearean language, 1090 social, 199, 822 specific, R68 word roots and, R68 Contractions avoiding, in formal language, 297, 303 in dialogue, 66, 73 Contracts, R116 Contrasts, recognizing, 501 Conversation, R81 Copyright page, 1223, 1228 Correspondence, business, R115 Costumes design of, 1153, 1159, 1186 as mise en scène, 1191, 1200, R87, R109 Counterarguments, 572–573, 591, 619–625, 670, 671, R21, R116 Couplet, 697, 729, R104 Credibility, 525, 1242, R90, R92, R116. See also Sources. Crisis. See Climax. Critical analysis, of informational texts, 99, 235, 319, 453, 493, 501, 507, 521, 545, 583, 591, 600, 615, 625, 745, 895, 1189 Critical essays, R105 Critical interpretation, 41, 57, 109, 209, 241, 257, 331, 349, 357, 403, 641, 702, 710, 719, 789, 890, 904, 1133, 1153, 1169, 1184 Critical listening, R83 Critical reading. See Reading skills and strategies; Test-taking strategies.

R136

index of skills

Critical reviews, writing, 828–834, R116 Critical thinking. See Critical analysis; Reading skills and strategies. Criticism. See Literary criticism. Critique, writing, R116 Cultural characteristics, analysis of, 865–877 Cultural conflict, analysis of, 897–904 Cultural influences, 848, 937 Currency of sources. See Sources.

D Dactyl, R109 Dashes, R50 Databases, 1222, R116. See also References. Debates, 1071, R79, R116 appointing a moderator, 1071 evaluating, 1071, R79 planning, 1071 presenting, 1071 resolution in, 1071 Deductive reasoning, 587–591, R23, R115, R116 Definition analysis, R40 Degree of importance, R32, R35 Delivery. See Speaking strategies. Demographics, R85 Denotation, 93, 150, 200, 272, 862, R71, R104. See also Connotation. Denouement. See Resolution. Derivations of words, R69. See also Word parts, analyzing. Descriptive language. See Details. Descriptive speech, R80 Descriptive writing, 441, R34–R35. See also Writing skills and strategies. key techniques in, R34–R35 options for organization, R35 rubric for, R34 Design, elements of, R91–R92 Design, visual. See Visual elements. Details descriptive, 12, 51, 59, 61, 101, 50, 339, 351, 426, 500, 523, 517, 441, 523, 1145, 1185 sensory, 361–367, 793–799, 809, 931– 934, R34, R35, R79, R80, R112 supporting, 230–235, 353, 495, 742 Dewey decimal system, 1232 Diagrams, 113, 509, 557, R6. See also Graphic aids; Graphic organizers. elements of design, R91 picture diagrams, R6 as reading strategy, 113, 509, R6, R15 schematic diagrams, 505, R6 sentence, R48 of story events, R2 Venn, 109, 331, 467, 545, 553, R12

Dialect, 735, R104. See also Standard English. Dialogue, 243, R105. See also Monologue. in drama, 7, 964, 1072, 1082–1083, 1090, 1095, 1186 in film, 261, 947 in Greek drama, 964, 1072 interjections in, 66, 73 in parody, 1045 in poetry, 135, 735, 1088 realistic, 66, 73, 801, 1031 sentence fragments in, 66, 73 Shakespearean, 1082–1083, 1090, 1095 writing, 259 Diary, 848, R2, R105 Diction, 489–493, 495, 766, R105. See also Word choice. Dictionaries, 928, 948, 1221, R72. See also References. Didactic literature, 645–663 Directions in consumer documents, R16–R17 stage, 7, 22, 243, 1090, 1095, 1198, R113 for tests, R93 Direct objects, R48, R58, R60 Director, film, 133 Directories, 1218, 1221, 1225, 1232. See also References. Discovery drafting, R28 Discussion group, 471, R81 Internet, 1231 listening skills and, 471, R81, R82–R83 roles of participants in, R81 Documentaries, 10, 1218, 1224, R86, R88. See also Media; Media presentations; Sources. Documenting sources. See Works cited. Documents. See also Informational texts; Nonfiction, types of; Workplace and technical writing. consumer, R16, R17, R116 electronic, R20 historical, 662, 892, R18, R117 public, 1220, R18, R119 workplace, R14, R42–R45, R119, R120 Double negatives, R58–R59 Drafting techniques, 17, 146, 268, 372, 468, 558, 674, 750, 832, 944, 1068, 1198, 1245, 1248, 1249, R28, R76 Drama, 7, 242, 966, 1056, 1094, 1098, 1116, 1134, 1154, 1170, R105 act, 7, R102, R105, R112, R113 aside, 7, 243, 246, 1081, 1095, R102 blocking, 1138 casting, 1125

Index of Skills cast of characters, 244, 968, 1090, 1097, R103 characteristics of, 958–959, 1086–1087 characters in, 243–257, 1202 classical, 964, 967–1007, 1072. See also Greek tragedy. comedy, 4, 243–257, 1045–1061, R104 comic relief, R104 comparing films with, 1045, 1194 costume design, 1153, 1159, 1186, 1191, 1200, R87, R109 dialogue, 7, 964, 1072, 1082–1083, 1090, 1095, 1186 dramatic irony, 967, 1086, R108 farce, 243–257, R106 Greek tragedy, 958–959, 962, 967–1007 monologue, 243, 247, R105. See also soliloquy, below. musical, 1056 parody, 1056 plot in, 1086, 1202 scene, 967, R30, R102, R111, R112 set design, 1109 Shakespearean, 1086–1087, 1095–1184 soliloquy, 220, 1086, 1133, 1153, R112 stage directions in, 7, 22, 243, 244, 245, 257, 1090, 1095, 1198, R2 strategies for reading, 243–257, 1090– 1091, R2 tragedy, 33, 958–959, 962, 967–1007, 1086–1087, 1095, 1202, R114 types of, 4 Dramatic irony, 967, 1086, R108 Dramatic monologue, 243, 247, R105. See also Soliloquy. Drawing conclusions. See Conclusions, drawing.

E Editing, of films and video, 131–133, 271, 947, R88. See also Camera shots in film and video. to create suspense, 131–133 cut, R88 dissolve, R88 fade-in, R88 fade-out, R88 jump cut, R88 pace, R88 parallel, 131–132 split screen, R88 Editing, of writing. See Revising and editing. Editorials, 572, 586, R21, R26, R40, R88, R116, R118 writing, 200, 235, 585, 643, 670–676, 879

Effect, R115. See also Cause-and-effect organization. Effect-to-cause organization, R38 Either/or fallacy, 1070, R24, R117 Elaboration, R33–R34 examples in, 221, R34 facts and statistics in, R33 incidents in, R34 quotations in, R34 sensory details, R34 Electronic card catalog, 1219 Electronic media. See also Multimedia presentations; References; Research. card catalog, 1219 Internet, 10, 304, 570, 1212, 1215– 1217, 1222, 1226–1227, 1231, 1232, R84–R85, R117 Electronic sources. See References; Sources. Electronic text, strategies for reading, R20 Elegy, 692, R105 Elements of design, R91–R92 Ellipses, 834, R50 E-mail, 1220, 1230, 1231, 1232, R42, R115, R117 Emotional appeals, 574–575, 605–615, 667–669, R22, R91, R116 Employment application, R44 Encyclopedia, 881, 1220, 1221, 1232, R3 End marks, 270, R49, R50 End rhyme, 690–691, 697, R111 Enunciation, R80 Epic hero, R105 Epic poetry, R105 Essay questions in assessment. See Assessment; Writing for assessment. Essays, literary, 8, 210, 222, 352, 360, 448, 454, 488, 494, 564, 578, 586, 604, 678, 679, 742, 814 autobiographical, 880, R103 critical, R105 expository, R105 formal, R105 humorous, 489–493 personal, 814–822, R105 persuasive, 449–453, 579–601, R101, R105 reflective, 353–359, R105 Essays, writing, R37–R41 cause-and-effect, 554–560, R38 comparison-contrast, 464–470, 1194– 1200, R37–R38 expository, R37–R40 informative, 940–947 interpretive, 142–148 literary analysis, 746–752, R39–R40 persuasive, 670–676, 1064–1070, R40–R41 Ethical appeal, 574

Etymologies, 584, 823, 836, 1008, 1072, R70. See also Word origins. Evaluation of arguments, 11, 33, 453, 574, 577, 583, 587, 625, R23, R25–R26 of information, 319, 349, 600, 591, 827, 895, R14–R20 of interpretations, 501 of literature, 41, 71, 92, 99, 127, 141, 199, 209, 229, 302, 314, 367, 403, 417, 439, 447, 453, 493, 501, 521, 710, 727, 745, 813, 927, R37 of media messages, 10. R84, R92 of oral presentations, R78–R81 of persuasive texts, R25–R26 of sources, 1225–1230, 1233, 1242 of writing, 148, 270, 374, 470, 560, 676, 752, 834, 946, 1070, 1200, 1254 Everyday texts. See Consumer documents; Job applications; Public documents; Workplace documents. Evidence, 12, 235, 305, 319, 353, 572, 579–587, 593, 827, 895, 1225, 1234, R21–R26, R38, R41, R79, R83, R115, R116 analysis of, 449–453, 587–591 bias in, R25, R115 citing, 827, 895, 948, 1237 collecting, 673 deductive reasoning and, R116 versus emotional appeals, 574, R116 generalizations, 235 inductive reasoning and, 593–600, R22–R23 inferences based on, 12 from multiple sources, 827, 1234, 1236 and organization, R41 in speeches, R77–R78 types of, 1218, 1225–1233, R24 Exaggeration. See Hyperbole; Irony, verbal. Exclamation points, 270, 768, 834, R49 Expert opinion, 579, 587, 672, 1244, R25, R41, R79, R91 Explanatory writing. See Expository writing. Exposition, of plot, 26, 41, 71, R2, R105. See also Plot. Expository essay, R105 Expository texts. See Nonfiction. Expository writing, student, R37–R40 analysis, R39–R40 cause and effect, R38 comparison and contrast in, 464–470, R32, R37–R38 options for organization, R37–R40 problem-solution, R39 rubrics for, 148, 470, 560, 676, 752, 834, 946, 1070, 1200, 1254, R37, R39 Expressive writing. See Narrative writing.

index of skills

R137

Extemporaneous speeches, R76. See also Oral presentations. Extended metaphors, 706, 710, R106 External conflict, 26, 368, 421, R104 Eye contact, while speaking, 149, 471, 753, 1071, 1201, R78–R80

F Fable, R106, R121 Facial expression in speeches, 753, 1071, R78–R80, R82–R83 Facts, R116–R117. See also Evidence; Supporting statements. in elaboration, R33 media credibility and, 525, 667 versus opinion, 579–583, 678, 881–890, R83, R116–R117 synthesizing, 316 verifying, R25 Fallacy, 676, 1070, R24, R116, R117 Falling action, 26, 71, R2, R106. See also Plot. False analogy, R24 False cause, R24, R25 Fantasy, R106 Farce, 4, 242, R106 characters in, 243–257 Faulty reasoning, R24 Fear, appeals to, 574, R22, R116 Feature articles, 4, 8, 316, 483–485, 573, 824, R117 Feedback. See Peer response. Fiction, strategies for reading, 5, 11–15, R2. See also Reading skills and strategies. Fiction, types of, 4, 5 fantasy, R106 historical, 5, R107 horror, R107 novellas, 4, 5, R109 novels, 4, 5, R109 realistic, R111 science fiction, 5, 304, R112 short stories, 4, 5, R112 Field research, 1230 Figurative language, 6, 135, 455, 692, 693, 705–710, 790, 1031, R68, R106 extended metaphors, 706, 710, R106 hyperbole, 692, 1061, R106, R107, R114 metaphors, 502, 562, 664, 692, 705, 706, 710, 733, 790, 1062, R106, R109 onomatopoeia, 697, 701, 793–799, R110 paradox, R110 personification, 314, 363, 692–693, 705, 708, 710, 718, 780, 791, 836, R110 similes, 351, 376, 502, 562, 664, 692–693, 705, 790, 801, 1031, 1062, R112

R138

index of skills

Figures of speech. See Figurative language. Film reviews, 18, R33, R109, R116 Films, 130, 260, 1190, R86–R88. See also Camera shots in film and video; Editing, of films and video; Media elements and techniques. characterization in, 260–263, 1191 comparing with drama, 1195–2000 documentaries, 947, 1218, 1224 editing of, 947, R88 feature, 10, 130, 260, 1190 and product placement, 10, R91 as research source, 1218, 1224 script and written elements, 947, R86 setting in, 130–133, 1191 sound in, 131, 947, R87 special effects in, R88 storyboards, 133, 947, R86 visual elements in, 131–133, 261, 937– 939, R87–R88 Firsthand and expressive writing. See Narrative writing. First-person narrators. See Narrators. First-person point of view. See Point of view. Flashbacks, 268, 284–285, 287, 314, 333– 349, 371, 376, 538, R36, R106 Flat characters, 160–161, 333, R103 Flow chart, 371, 385, 1255 Fluency in writing, 18, 142, 264, 368, 464, 554, 670, 746, 828, 940, 1064, 1194, 1234 Foils (character), 183, 1061, R106, R107 Folk ballads, 735, R103 Folk tales. See Oral tradition. Foreign words in English, R70, R129 Foreshadowing, 75, 284, 333–349, 1090 to create suspense, R107, R113 Formal language, 297, 303, 617, 624, 627, 863, 1031, R42, R76 Formatting quotations, 752, 1237, R50 research paper, 1254 workplace documents, R42–R44 works cited, 1252–1253 Form in poetry, 103, 688–689, 705, 713– 719, 754, 729, 733, 735, 754, 793, R107 Forms of writing. See Writing skills and strategies. Fragments. See Sentence fragments. Frame (on screen), 261, 947, 1191, R87, R88 Frame story, R107 Free verse, 688–689, 713–719, 809–813, R107 Freewriting, 19, 145, 793, 809. See also Quickwriting.

Functional documents, 8. See also Consumer documents; Workplace documents. Functional reading, R3–R20

G Generalizations, R117 in deductive reasoning, 587–591, R23, R115, R116 hasty, 572, R24 in inductive reasoning, 593–600, R22– R23, R115, R117 making, 235, 272 overgeneralization, 593, 1070, R24, R118. See also Stereotyping. General pronoun reference, R55 Genre, 4, 770, 815, 1045, R107. See also Drama; Fiction; Informational texts; Nonfiction; Poetic forms. argument and persuasion across, 569, 645–663 author’s message across, 455–462 comparing across, 383, 455–462, 645– 663, 1045–1061 parody across, 1045–1061 Gerunds and gerund phrases, 900, 906, 948, R60, R61 Gestures, while speaking, 753, R78 Glittering generality, 667, R22 Glossary, R72, R102, R115, R121 Government publications, R117 Grammar, R46–R65. See also specific grammar concepts. checking, 148, 270, 374, 470, 560, 676, 752, 834, 946, 1070, 1200 style and, 18, 43, 59, 73, 110, 129, 184, 201, 221, 259, 303, 351, 359, 405, 419, 441, 503, 523, 585, 602, 617, 627, 643, 703, 711, 791, 807, 863, 879, 906, 929, 1009, 1043, 1185, R99 Graphic aids, 504–507, R5–R7, R14 captions, 504, 542, 543, 677, R3, R6, R14, R15, R17, R18 charts, R6 in consumer documents, R17 cutaway diagrams, 506 diagrams, 505, 506, R6 graphs, R5 interpreting, 504–507 maps, R7 photographs, 505, 543 pie graphs, R5 in public documents, R6 schematic diagrams, 505 strategies for reading, R15, R17, R18, R27 tables, R6

Index of Skills Graphic organizers, 509, R117 balance scales, 618 category chart, 1214 for cause-and-effect, 11, 495, 509, 557, R10, R38 charts, 1011, 1028, 1061, 1153, 1214 for chronological order, 509 cluster diagrams, 557 diagrams, 509, 557 pro/con chart, 1214 for spatial order, 509 spider maps, 19 story maps or story graphs, 268, 371, R21 timelines, 509 Venn diagrams, 109, 331, 467, 545, 553 webs, R5 Y charts, 471 Graphing calculator, R17 Greek drama, 964–965, 1072. See also Greek tragedy. Greek tragedy, 958–959, 962, 967–1007 analysis of, 967–1007 Greek word parts, 42, 823, 905, R69–R70. See also Word roots. Group discussion, 471, R81

H Haiku, 6, 688, 809, R107 Harlem Renaissance literature, 735 Hasty generalizations, 572, R24 Hero, 960–961, 1072, R105, R107. See also Protagonist; Tragic hero. Hierarchical organization. See Order of importance. Historical context of literature, 45, 61, 101, 113, 223, 243, 289, 305, 321, 353, 361, 407, 421, 449, 509, 529, 587, 593, 629, 645, 771, 853, 865, 881, 897, 909, 949, 1011, 1082–1085, 1090 analyzing, 302, 405, 447, 799, 813, 848–851, 877, 881–890, 909–927, 948, 1028, 1115 Historical documents, 662, 892, R18, R117 Historical fiction, 5, R107 Historical narratives, 100 mood in, 101–109 Homonyms, R71 Homophones, R71 Horror fiction, R107 Humor, 243, 488, 937, 1045, R107. See also Comedy; Farce; Parody; Understatement. Hyperbole, 692, 1061, R106, R107, R114 Hyperlinks, 10, 1217, R20 Hyphens, R50, R74

I Iamb, 729, R109. See also Blank verse; Iambic pentameter; Sonnet. Iambic pentameter, 729, 806, 1088, 1106, R103, R107, R113. See also Blank verse; Sonnet. Ideas, 4, 11, 16, 18, 468, 489, R29. See also Main ideas. finding, for writing, 371, R28 identifying main, 230–235 organizing. See Patterns of organization. supporting, with details, 230, R101 synthesizing, 316 using transitions to connect, 468, R32 Idioms, R68, R108 Illogical comparisons, R58 Imagery, 237, 692–693, 720, R108 analysis of, 495, 713–719 and author’s purpose, 495, 547–553 in nonfiction, 608 in poetry, 6, 237, 690, 692–693, 713– 719, 809 sensory, 501, 801 tone and, 608, 617, 863 Imagism, 809–813 Implied main idea, R31 Indefinite pronouns, R55 Independent (main) clauses, R32, R62 Independent observation, 1230 Independent reading level, 15, R27 Indexes, R117. See also References. using for evaluating sources, 1225 as part of a book, 1223 in virtual libraries, 1232 Indirect objects, R48, R53, R60 Inductive reasoning, 593–600, R22–R23, R115, R117 Inferences, making, 45–57, 127, 135, 141, 150, 209, 219, 229, 237, 241, 272, 289–302, 447, 472, 547, 553, 615, 724, 836, 904, 1028, 1169, 1184 about authors, 801–806 about characters, 45, 187–199, 229, 261, 357, 367, 407–417, 641, 789, 1031–1041, 1133 about memoirs, 861 about poetry, 547–553, 801, 813, 1031, R117 about setting, 289, 302 about speakers, 135, 237–241 Infinitives and infinitive phrases, 807, 836, R59, R61 Inflection. See Speaking strategies. Informal language, 303, 617, 766, 863, R68, R76. See also Slang. Information. See also Electronic media; Informational texts; References; Sources.

evaluating, 1225–1229, 1243 from multiple sources, 507, 827, 1234, 1249, 1254 reading for, 56, 111, 185, 230, 316, 348, 438, 504, 542, 552, 603, 726, 742, 798, 825, 860, 892, 907, 1027, 1186 summarizing, 94, 98, 99, 107, 127, 235, 316–319, 357, 487, 545, 591, 600, 605–615, 625, 895, 1233, 1244– 1245, R28, R33, R82, R83, R119 Informational texts, 8, 56, 94, 100, 111, 112, 185, 230, 316, 348, 438, 504, 508, 542, 552, 562, 603, 618, 726, 798, 825, 907, 1027, 1186, R3–R20, R117 . See also Consumer documents; Nonfiction; Public documents; Reading for information; Workplace documents. critical analysis of, 99, 235, 319, 453, 493, 501, 507, 521, 545, 583, 591, 600, 615, 625, 745, 895, 1189 Informative article. See News articles; Reading for information. Informative writing, 8, 940–946. See also Expository writing. Instruction manuals, 8, R18 Interjections, 66, 73, R47, R77 Internet, 10, 570, 1212, 1215–1217, 1226–1227, 1231, R84–R85, R117. See also Electronic media; References; Web sites. Interviews, 56, 348, 438, 552, 1230–1231, R81–R82, R108 conducting, 271, R82 documentary, 947 evaluating, R82 following up on, R82 MLA citation guidelines, 1253 oral history, 271 preparing for, R81 as research source, 1220, 1230, R90 Intransitive verbs, R47 Introductions, 670, 671 creating, 268, 469, 559, 750, 832, 1249, 1250 kinds of, R80–R81 parts of a book, 1223, 1252 use in evaluating sources, 1225 Irony, 257, 403, 417, 443–447, 663, 801, 965, 967, 1007, 1086, R108 dramatic, 965, 967, 1086, 1130, R108 situational, R108 verbal, 443–447, R108 Issues debating, 1071 evading, as logical fallacy, R24 versus image, 669 and objectivity, R89

index of skills

R139

Italics, R50. See also Formatting. author’s style and, 781

J Job applications, R44, R116, R120 Journal articles, 726, 1218 Journalists and journalism, 482, 525, 528, 552, 576, 764, R89–90 Journals, 1218, 1224, R117. See also Diary; Narrative nonfiction; Periodicals; References. evaluating, 1229 personal, 11, 19, 763 Judgments, making, 33, 127, 199, 305, 421, 583, 591, 625, 629, 641, 663

K Key traits of effective writing, 18, 142, 264, 368, 464, 554, 670, 746, 828, 940, 1064, 1194, 1234 Keyword searches Boolean, 1216 database, 1222 Internet, 1215 library catalog, 1219

L Language. See also Diction; Literary elements; Word choice. figurative, 6, 135, 455, 608, 617, 692, 705, 710, 727, 752, 780, 790, 791, R34, R68, R106 formal, 297, 303, 617, 624, 627, 863, 1031, R42, R76 informal, 617, 627, 863, R68, R76. See also Slang. loaded, 574–575, 1225, R25, R117 persuasive, 670, 671, 675 powerful, 449 precise, 43, 469, 642, 664, 671, 703, R77 sensory, 501, 692, 766, 793, 801, 931, R34, R112 Shakespearean, 1088–1089, 1090 tone and, 608, 617, 863 using appropriate, in speech, R76 using appropriate, in writing, 303, 464, 1194 Latin word parts, 584, R69. See also Word parts. affixes, 58, 72, 440, 878 word roots, 220, 258, 272, 314, 350, 358, 376, 541, 1008 Layout. See Formatting. Legend (graphic aid), 504 Legends, R108. See Oral tradition.

R140 index of skills

Letters business, R19, R42–R43, R115 personal, 798 as primary sources, 1220 writing, 627 Librarian, research, 1219, 1232 Library catalog, 1219 classification systems in, 1232 media resources, 1218 research in, 1219, 1220–1229 searching in, 1219 selecting sources in, 1220–1224 virtual, 1232 web resources, 1232 Library of Congress classification system, 1232 Line breaks, in poetry, 721–727 end-stopped, 721 enjambed, 721, 723 in quotations, 752 Line graphs, R5 Lines, in poetry, 4, R2. See also Line breaks; specific poetic forms. Listening skills, R82–R83. See also Speaking. List servers, 1231, R117 Literary analysis, 1–11, 33, 45, 75, 101, 113, 135, 167, 187, 203, 211, 223, 237, 243, 289, 305, 321, 333, 353, 361, 395, 407, 421, 443, 455, 529, 547, 629, 645, 697, 705, 713, 721, 771, 793, 801, 809, 815, 853, 865, 881, 897, 909, 931, 967, 1031, 1045, 1095 Literary criticism author’s style, 71, 183, 219, 314, 439, 764 biographical context, 229, 417, 540, 806, 935, 1007 critical interpretation, 41, 57, 109, 209, 241, 257, 331, 349, 357, 403, 641, 702, 710, 719, 787, 890, 904, 1153, 1169, 1184 cultural context, 848, 849, 904, R112 different perspectives, 861 historical context, 302, 447, 799, 813, 877, 1028, 1113, 1115 philosophical context, 92 social context, 199, 367, 553, 822, 927, 1041 Literary elements and devices, 801, R105, R107. See also Characters; Conflict; Plot; Point of view; Settings; Theme. allegories, R102 allusions, 289, 302, 965, R75, R102 archetypes, R102 assonance, 690, 721, R102 author’s message, 455–462

author’s perspective, 223–229, 257, 482–483, 529–540, 909–927 author’s purpose, 482–483, 495–501, 547–553 blank verse, 806, 1088, 1115, R103 character foils, 183, 1061, R106, R107 characterization, 160, 211–219, 243, 261, 263, 529–540, 1031, 1041, R103–R104 character motivation, 162–165, 187–199, 257, 272, 388, 1132 characters, 45, 135, 160–165, 203–209 237–241, 289, 302, 314, 331, 421– 439, 897, 1011, R37, R103, R111 character traits, 160–161, 167–183, 221, 223–229, 230, 272, 641, 1045, 1061 comic relief, R104 conflict, 26–31, 33–41, 45–57, 75–92, 150, 203, 421, 962, R37, R104 consonance, R104 cultural symbols, 667 dialect, 735, R104 dialogue, 7, 135, 261, 735, 801, 964, 1031, 1045, 1088, 1186, R105 diction, 489, 495, 766, R105 dramatic irony, 965, 967, 1086, R108 epic hero, R105 extended metaphors, 706, 710, R106 figurative language, 6, 135, 455, 692, 705, 790, 1031, R68, R106 flashbacks, 268, 284–287, 333–349, 376, R106, R136 foreshadowing, 75, 284, 333, 349, 1090, R107, R113 humor, 96, 243, 488, 937, 1045 hyperbole, 692, R107 imagery, 6, 237, 495, 547–553, 690, 692, 713, 720, 771–789, 809, R108 irony, 257, 403, 417, 443–447, 663, 801, 965, 967, 1007, 1086, R108 metaphors, 502, 664, 692, 705, 790, 1062, R106, R109 meter, 690, 713, 729, 735, 793, 931, 1008, R103, R107, R109 mood, 24–25, 61–71, 101–109, 404, 462, 690, 1042, R30, R35, R36, R87, R88, R109, R118 narrative devices, 282–287 personification, 314, 363, 718, R110 plot, 26–31, 33–41, 105, 135, 160, 203– 209, 268, 333, 338, 1086, R110 point of view, 8, 282–283, 289–302, 321–331, 361–367, 376, 771–789, 853, 1220, R103, R110 repetition, 443, 576, 593, 602, 690, 697, 721, 793, 892–895, 1088, R77, R102, R111

Index of Skills rhyme, 6, 688–691, 697, 713, 729, 734, R77, R103 rhyme scheme, 697, 729, 733, R113 rhythm, 688, 690, 697, 705, 713, 721, 729, 809, 1088, R2, R11 satire, R112 setting, 19, 24–25, 61–71, 75–92 101, 150, 388, 395–403, 1090, 1109, 1193, 1270, R2, R36, R37, R87, R112 similes, 451, 502, 664, 692, 705, 790, 801, 1031, 1062, R112 situational irony, R107 soliloquy, 220, 1086, 1132, 1153, 1188, R112 sound devices, 6, 721, 724, 727, 754, 789, R110, R111, R113, R690, R691, R695, R697 speakers, 6, 135–139, 141, 209, 237– 238, 741, R78–R81 style, 771–789, 793–799, 801–806, 815–822, 836, 1031–1041 suspense, 26, 107, 113–127, 131, 133, 284, 333, 349, 521, 771, 834, 1086, R84, R107, R113 symbols, 199, 351, 386–389, 407–417, 504, 667, 669, 928, R6, R7, R83, R91, R114 theme, 386–493, 395–403, 421–439, R114 themes, universal, 386, 443–447 tone, 211, 223, 764, 766, 801, 931, 1031, R43, R78, R83, R102, R114 verbal irony, 443–447, R108 voice, 18, 443, 554, 674, 741, 766, 815– 822, 824, 834, R57, R114 word choice, 18, 142, 264, 443, 489, 574, 617, 670, 766, 863, 940, 1061, 1194, R22, R101 Literary nonfiction, 8, 210, 222, 272, 352, 360, 448, 454, 488, 494, 508, 564, 578, 586, 604, 678, 679, 742, 814, 852, 864, 880, R108. See also Narrative nonfiction. Literary periods, 443, 764–765, 931–934 Literary techniques. See Literary elements and devices. Loaded language, 574–575, 1225, R25, R117, R118 Logic. See Arguments; Reasoning. Logical appeals, R22, R91, R117 Logical argument, R118 Logical fallacy. See Fallacy. Lyric poetry, 705–710, 729–733, R108. See also Odes; Sonnets.

M Magazine articles, 111, 230 evaluating, 1229 as sources, 1220, R119 strategies for reading, R2, R14 Magazines, 1220, 1224. See also Sources. Magical realism, R108 Main characters, 421–439, R103. See also Character types; Hero; Protagonist. Main ideas, R8, R116 in graphic aids, 504 identifying, 230–235, 353–357 implied, R31 listening for, R82, R83 and note taking, 742–745, 1224, R4 in outline, R82 reading for, R93 in speech, R76–R77 summarizing, 605, 1244, 1249, R33 and supporting details, 230–235, 316, 353–357, 495, 742, R8 thesis statement, 1246, R31, R33, R118 topic sentence, R31, R118 Making inferences. See Inferences, making. Manuals, 8, R16, R45, R72. See Consumer documents; Workplace documents. Maps, 504, 835, 1218, 1221, 1255, R3, R7, R91 Margins, 1254 Media, 4, 130–133, 260–263, 524–527, 666–669, 936–939, 1190–1193, R84– R92. See also Films; Media elements and techniques; Media genres and types; Viewing skills and strategies. audience of, 667–668, R85 core concepts in media literacy, R84 cultural influences on, 937 demographics, R85 editing of, 131–133, 271, 947, R88 gatekeepers in, R85 influence of, R86 laws governing, R86 message in, 937–939, R84, R85, R86, R92 Nielsen ratings, R85 persuasion in, 667–669, 937 producers and creators of, R85 purpose of, R85 Media elements and techniques, R85–R92. See also Camera shots in film and video; Editing, of film and video; Visual elements. animation, 1255, R88 camera angles, 131–133 261, 947, 1191, R87 costumes, 1159, 1186, 1191, 1200, R87, R109 design, 937–939, R91–R92

dialogue, 261, 947 editing, 131–133, 271, 937, R88 framing, 261, 947, 1191, R87, R88 lighting, 1200 mise en scène, 1191–1192, R87, R109 music, 10, 61, 131–132, 667, 947, 1200, R84, R92, R104 narration, , 271, 667, 668, 947, R87 props, 243, 1109, 1191, 1197, 1200, R87, R111 scripts, 149, 561, 684, 753, 947, 1193, 1201, R86, R112 set design, 1109, 1186, 1189, 1200, R87 sound, 132, 667, 947, 1200, R87 special effects, R88 storyboard, 133, 375, 947, 1256, R86 symbols, 667 target audience, 667–668, R85 voice-over, 271, 667, 668, 947, R87 Media genres and types, R85 advertising, 666–669, R90–R91 book covers, 937–938 cartoons, 937–938 comic books, 937–938 documentaries, 947, 1224 feature films, 10, 130–133 magazines, 1220, 1224, R2, R119 news media, 8, 527, 542, 1226, R36, R88–R90, R118 political cartoons, 948 radio, 10, 570, R90 television, 524–527, 666–669, R86–R88 Web news reports, 1226 Web sites, 4, 10, 524–525, 937–938, 1226, R120 Media literacy 10, 131, 261, 525, 667, 937, 1191, R84–R85 characterization in films, 261–262 creating suspense on film, 131–132 credibility in news reports, 525–526 history through media, 937–938 persuasion in political ads, 667–668 Shakespearean drama on film, 1191–1192 Media messages, 10, 666–669, R84, R85 evaluating, 669, R92 Media Study, 130–133, 260–263, 524–527, 666–669, 936–939, 1190–1193 Medieval romance, 963, 1010 analysis of, 960–961, 963, 1011–1028 characters in, 1011, 1015, 1022, 1028 conventions of, 960, 1011–1028, 1072 parodies of, 1045–1061 setting in, 1020 Meeting minutes, R45 Memoirs, 223, 852, 864, 880, R2, R109 analysis of, 853–861, 881–890 Memorandums, R42–R43 Menus, electronic text, 937, 1217, R20

index of skills

R141

Metaphors, 502, 562, 664, 692, 705, 706, 710, 790, 1062, R109 extended, 733, R106 Metasearch engines, 1215, 1232, 1255 Meter, 690, 713, 729–733, 735, 793, 931, R109 anapest, R109 dactyl, R109 foot, 729 iamb, 729, R109 iambic pentameter, 729, 1008, R103, R107 pentameter, 729 trochee, R109 Microfiche, 1218, 1229, 1194 Microfilm, 1218, 1219, 1229 Minor characters, 160, 282, 977, 982, 1001, 1007, R103 Mise en scène, 1191–1192, R87, R109 MLA citation guidelines, 1252–1253 Modes of reasoning. See Reasoning. Modifiers, 272, R48, R57. See also Adjectives; Adverbs; Commonly confused words. clauses, R62–R63 comparative and superlative forms, 1200, R57–R58 comparison of, 1200, R57–R58 dangling, R59 effective use of, 193, 201 essential adjective clauses, R62 irregular comparison of, R58 misplaced, R59 nonessential adjective clauses, R62 phrases, R60–R61 problems with, R58–R59 regular comparison of, 1200, R58 Monitoring, 12, 61–71, 333–349, 395–403, 529–540, 619–625, 865, R118 Monologue dramatic, 243, 247, R105 interior, 268 Mood, 24–25, 61–71, 150, R109 analysis of, 24, 101–109 connotation in creating, 404, 1042 in descriptive writing, R30 setting and, 24–25, 61–71, R36 Motivation author’s, 846 of characters, 162–165, 187–199, 257, 388, 967, 1115, 1153, 1191, R103 description to show, 1045 dialogue to show, 372 and dramatic conventions, 1045, 1086 listening skills to determine, R83 making judgments about, 100 reading skills to determine, 33 theme and, 388 Motives. See Motivation.

R142

index of skills

Movies. See Films. Multimedia presentations. See Media presentations and products; Oral presentations. Multiple-choice questions, R94 Multiple-meaning words, R72 Multiple-step instructions. See Instructions. Musical, 1044, 1056 Mythology, words from classical, R70 Myths, 965, 997, R108, R109

N Name-calling, reasoning and, 675, 676, R24 Narrative and expressive writing, 142–148, 264–270, 368–374, R36–R37 autobiographical narrative, 264–270 interpretive essay, 142–148 key techniques in, R36 letters, R36–R37, R42–R43 motives, R83 options for organization, R36–R37 rubric for, 148, 270, 374, R36 short stories, 368–374 Narrative elements. See Character; Conflict; Plot; Point of view; Setting; Theme. Narrative essays. See Essays. Narrative map, 268 Narrative nonfiction, 100, 112, 508, R36–R37, R109. See also Literary nonfiction. analysis of, 509–521 Narrative poetry, 135–141, R109 Narrative speeches, R79. See also Oral presentations. Narrators, 282–283, 289. See also Point of view. and credibility of text, 282–283, 289– 302, 321 effect of, 282–283, 289, 295, 331 first-person, 282–283 naïve, 289, 302 point of view of, 302 third-person, 282–283, 302, 314, 321–331 third-person limited, 282 third-person omniscient, 282–283, 302, 321–331 Negatives, double, R58–R59 News, 524–527, R88–R90. See also Media genres and types. angle, R89 balance in reporting, R89 bias in reporting, R90 choosing, R88 commentary and opinion, R88 credibility, 525–526 editorial, R116

evaluating, 527 five W’s and H, R89 human interest, R88 interviews, 525 inverted pyramid, R89 newscast, 524–525 newsworthiness, R88 proximity, R88 purpose of, 525 reporting, R88–R90 slant, R89 sources for, 525–527, R90 standards for reporting, R89 timeliness, R88 widespread impact, R88 News articles, 4, 8, 185, 316, 542, 825, R36, R116, R118. analysis of, 542–545 captions in, 542, 543 graphic aids in, 544, 545 headlines, 542 lead, 542, 543 writing, 110 News formats, 524–527, R88–R90, R118 Newspapers, 8, 10, 316, 1218, 1220, 1224, 1232, R3 articles in, 185, 316, 542, 825, R116, R118 columns in, 824–827, R40, R88, R118 evaluating, 1229, R14, R84 MLA citation guidelines, 1253 News reports, 524–527, 542–543, R88–R90 Nominative pronoun case, R52 Nonfiction, 4, 8, 1223, 1232, R2, R108, R109, R117 argument in, 449, 579–583. See also Informational texts; Persuasive techniques. author’s purpose, 495–501 characterization in, 211–219, 223 diction, 489–493 evaluating, 509–521, 1228 persuasive. See Persuasive techniques. suspense in, 113–127 text features in, 484–486, R3–R4, R14, R16, R117, R118, R119, R120 tone, 489–493 Nonfiction, strategies for reading, 8–10, 12, 15, R2 Nonfiction, types of, R88 autobiographies, R102–R103. See also memoirs, below. biographies, R103 critical reviews, 828–835 diaries, 848, R105 editorials, R40, R88 encyclopedia articles, 881, 1220, 1232

Index of Skills essays, 4, 8, 210, 222, 352, 360, 448, 454, 488, 494, 564, 578, 586, 604, 678, 679, 742, 814. See also Essays. feature articles, 4, 8, 482–485, 573, 824, R117 functional documents, 8, R16–R17 government publications, R117 historical narrative, 100, 112 historical writing, 5, 271, 1027, R107 instructions, R6, R17 interviews, 56, 348, 438, 552, R81–R82, R108 letters, 798 literary nonfiction, 8, 210, 222, 272, 352, 360, 448, 454, 488, 494, 508, 564, 578, 586, 604, 678, 679, 742, 814, 852, 864, 880, R108 magazine articles, 111, 230, R119 memoirs, 272, 852, 864, 880, R109 narrative nonfiction, 100, 112, 508, R36–R37, R109 news articles, 4, 8, 185, 316, 542, 825, R116, R118 op-ed pieces, R118 persuasive essay, 448 political cartoons, 937 position paper, 618 science writing, 562 speeches, 592, 860, 892, R76–R78, R113 trade books, 94 transcripts, 907 workplace documents, 8, R19, R42–R45, R120 Note cards, 1214, 1244, 1246 Notes, taking, 113–127, 1214, 1244 in interviews, 1230, R82 methods for, 1243 as reading strategy, 113–127, 135, 509–521 as study skill, 742–745, 1197, 1244, R15, R82, R83 using text features for, R4 Noun clauses, R62, R63 Nouns, R46, R52 abstract, 216, 221, 272, R46 capitalization of, R51 collective, R46, R67 common, R46, R52 compound, R46 concrete, 216, 221, 272, R46 personification and, 790 plural, R46, R52, R74 possessive, R46, R52, R74 predicate, R60 proper, R46, R52 singular, R46, R52 Novellas, 5, R110 Novels, 5, R2, R36, R109

O Objections, anticipating, 572–573, 591 Objective pronoun case, R53 Objectivity in news reporting, R89 of sources. See Sources, evaluating. Objects direct, 676, R48, R53, R60, R61, R63 indirect, 676, R48, R53, R60, R61, R63 of prepositions, 676, R48, R53, R60, R61, R63, R64 use of whom as, in sentence, 676, R54 Observations, 19, 353, 1230 Odes, 687, 979, 987, 993, 997, R110 Old English (Anglo-Saxon) word parts, R69 Online card catalog, 1219, 1220, 1224 Online information. See Internet; Web sites. Onomatopoeia, 697, 701, 793–799, R110 Opinions evaluating, 349, R83 as evidence, R21, R25, R77 expert, 1244, R25, R41, R79, R91 expressing, 833, 1186 versus facts, 579–583, 678, 881–890, R83, R116–R117 media influence, R86 in memoir, 853 Opinion statement. See Persuasion. Opposing arguments. See Counterarguments; Objections, anticipating. Oral histories, 271 Oral interpretation, 753, 1201, R80 Oral presentations, 8, 561, R77–R81. See also Speaking strategies. acceptance speech, 617 audience feedback, 561, R78, R83 debate, 1071, R79 delivery of, 561, R77–R78 descriptive speech, R80 dramatic reading, 1201 evaluating, R78–R81 informative speech, 561, R78 narrative speech, R79 oral interpretations, 753, R80 oral response to literature, 149, R80–R81 persuasive speech, 627, R79, R83 props, R87, R111 Oral tradition fables, R106 folk ballad, 735, R103 legends, R108 myths, 965, 997, R108, R109 tall tales, R114 Order of importance, 94, R8, R35 Order of impression, R35 Order words and phrases, R9 Organizational patterns. See Patterns of organization.

Organizing. See Graphic organizers; Patterns of organization. Origin of words, 584, R70. See also Word roots. Outlines, 557, 665, 944, 1246 drafting from, 17 for taking notes, R4 Overgeneralization, 593, 1070, R24, R118 Oversimplification, 676, R24, R117 Overview, 1213, 1220, R118, R93 Oxymoron, R110

P Pace, 619, 753, 865, 1071, R27, R77, R88 Pacing. See Speaking strategies. Paradox, R110 Paragraphs coherence of, R31–R32 organizing, R31 topic sentence in, R31, R120 transitions in, R32–R33 unity of, R31 Parallelism, 576, 577, 593–600, 711, 754, 793–799, 895, 1088–1089, 1092, R110 Parallel structure, R64 Paraphrasing, 99, 507, 619, 771–789, 1090, 1245, R28, R118 Parentheses, 94, 97, 1248, R50 Parenthetical documentation, 1238, 1248, 1249, 1251. See also Works cited. Parodies, 1044, 1056, R110 analysis of, 1045–1061 Participles and participial phrases, 503, 562, R61 to add details, 500, 503 dangling, R61 misplaced, R61 past, R55 present, R55 Parts analysis, R40 Parts of a book, 1223 Parts of speech. See also specific parts of speech. reference chart, R46–R47 Passive voice. See Voice. Past participle verb forms, R55 Pastoral, R110 Patterns of organization, 484–485, 562, 670, R8–R13, R41, R118 cause-effect, 484–485, 554–560, R10– R11, R38, R115 chronological order, 101–109, 150, 284, 305–314, 376, 484, 489, R8, R36, R115, R36 classification, 484, R115 comparison-contrast, 464–470, 484–485, 665, R11–R13, R37–R38, R113

index of skills

R143

deductive, 587–591, R23, R116 effect-to-cause, R38 hierarchical, R35 inductive, 593–600, R22–R23, R117 logical, 587–591, 593–600, R22–R23, R35, R116, R117, R118 main idea and supporting details, R8–R9 order of importance, R8, R38 order of impression, R35 point-by-point, 468, R11, R37, R41 problem-solution, R39, R119 sequential, R119 signal words for, 484 spatial order, R35, R119 subject-by-subject, 468, R11, R38 Peer response, 17, 19, 147, 148, 269, 270, 373, 374, 469, 470, 559, 560, 675, 676, 751, 752, 833, 834, 945, 946, 1069, 1070, 1199, 1200, 1250, 1251, 1254, R30 Performing arts. See Drama. Periodicals, 1218, 1221, 1224, 1229, R118 Periods (punctuation), 834, R49 Persona, R110. See also Speakers. Personal essay, 814–822, R105 Personal narrative, 17, R36 Personification, 314, 363, 692–693, 705, 708, 710, 718, 780, 790, 791, 836, R110 Perspective. See also Point of view. author’s, 223–229, 321, 353, 482–483, 529, 824, 909, R102 Persuasion, 574–577, R118. See also Persuasive techniques. editorial, 670 in fiction, 629–641 in the media, 575 in political advertising, 666–669 in speeches, 575 techniques for. See Persuasive techniques. text analysis of, 629–641 theme and, 629–641 Persuasive arguments, 593, 670 Persuasive essay, 449–453, 601, 1064–1070, R41, R105 Persuasive language, 675 Persuasive speeches, 575, 592, R76, R79 Persuasive techniques, 449–453, 574–575, 605–615, 678, R22, R40–R41, R83, R91, R118. See also Appeals; Persuasion. appeals by association, 574–575, R22 appeals to loyalty, R22 appeals to pity, fear, or vanity, 574–575, R22, R116 bandwagon appeals, 574, R22, R91 celebrities, use of, R91 emotional appeals, 574–575, 605–615, 667–669, R22, R91, R116


ethical appeals, 574 evaluating, R25–R26 evidence, 12, 235, 305, 319, 353, 572, 579–587, 593, 827, 895, 1225, 1234, R21–R26, R38, R41, R79, R83, R115, R116 glittering generalities, 667, R22 loaded language, 574–575, 1225, R25, R117, R118 logical appeal, R91, R117 “plain folks” appeal, 574, 667 product comparisons, R91 propaganda, R25 recognizing, R22 slogans, 669, R91 snob appeal, R22 testimonial, 574, 1069, R22, R90 transfer, 574, R22 word choice, 574, R22 Persuasive writing, 574, R40–R41. See also Arguments. arguments, R23, R26 editorial, 643 essays, 1064–1070 key techniques, R40–R41 opinion statement, 831, 881 options for organizing, R41 rhetorical devices for, 593 rubric for, R40 Philosophical assumptions. See Assumptions. Philosophical context, 92 Photographs, 8, 19, 267, 271, 504, 542, 677, 835, 947, 1220, 1255, R3, R5, R89, R91, R117, R119, R120 Phrases adjective, R60 adverb, R60 appositive, 359, 376, R60 gerund, R60, R61 infinitive, R61 participial, R61 prepositional, 51, 59, 150, 1043, R47, R48, R53, R59, R60 verbal, 503, R60–R61 Pie graph, R5 Plagiarism, 1245. See also Parenthetical documentation; Works cited. Planned drafting, R28 Plays. See Drama. Plot, 26–31, R110 analysis of, 26–31, 33–41, 203–209 characters and, 160, 162, 203–209 climax, 26, 31, 41, 55, 57, 71, 403, R2, R104, R105, R106 complications in, 26, 71, 131, 1143, R104, R112 conflict and, 26–31, 33–41, 203, 338, 388, R104

development of, 26, 338 diagram of, 26 in drama, 1086, 1202 exposition, 26, 41, 71, R2, R105 falling action, 26, 71, R2, R106 flashback and, 284–285 foreshadowing and, 75, 284, 333 in narrative writing, 135, R109 organization of, R37 parallel, R110 point of view and, 135 reading strategies for, 12, 15, 26 resolution, 26, 45, 71, R2 rising action, 26, 37, 71, R2, R104, R105, R112 stages of, 26–31, 71. See also climax; exposition; falling action; resolution; rising action, above. summarizing, 268 surprise ending, 130, 395, R113 suspense and, 26, 127, 521, 834, R113 Poetic devices and elements, R110. See also Poetic forms. alliteration, 690, 702, 756, 789, R102 assonance, 102, 690, 721, R110 characters, 237–241 consonance, 690, 721, R104 couplets, 697, 698, 729, R104 diction, 489, 495, 766, R105 end rhyme, 697, 698, 702, R11 figurative language, 6, 135, 455, 692– 693, 705, 754, 790, 1031, R68, R106 form, 103, 688–689, 705, 713–719, 754, 729, 733, 735, 754, 793, R107 imagery, 237, 443, 444, 690, 692–693, 713, 809, R106 internal rhyme, R111 lines, 4, 688–689, 721–727, R2, R108 meter, 690, 713, 729, 735, 793, 931, R103, R107, R109 mood, 443, 446 personification, 692–693, 705, 708, 710, 718, 790, quatrain, 729, 730 refrain, R111 repetition, 443, 690, 735, R107, R111 rhyme, 6, 688–691, 697, 698, 700, 729, 734, 735 rhyme scheme, 697, 729, 733, R113 rhythm, 688, 690, 697, 705, 713, 721, 729, 809, 1088, R2, R111. See also Meter. sound devices, 6, 690–691, 697–702, 721–727, 729, 754, 789, R110, R111, R113 speaker, 6, 135–139, 141, 209, 237–238, 240, 241, 443, 688, 689

Index of Skills stanzas, 6, 135, 688–689, 697, 700, 713, 735, 741, 813, R113 theme, 443–447 Poetic forms, 4, 6, 705, 713, 729, 735, 793, R103 ballads, 688, 735–741, R103 blank verse, 806, 1088–1089, 1106, 1108, 1115, 1202, R103 concrete, 688 dramatic monologue, R105 elegy, R105 epic, 688, R105 free verse, 688, 689, 713–719, 793–799, R107 haiku, 6, 688, 809, R107 limerick, 688 lyric, 705–710, 729–733, R108 narrative, 136, 139, R109 ode, 688–689, 979, 987, 993, 997, R110 sonnets, 688, 728, 732, R113 Poetry, 688–754, R110. See also Poetic devices and elements; Poetic forms. analysis of, 694–695 strategies for reading, 6, 135–141, 697– 702, 721–727, 729–733, R2 types of. See Poetic forms. writing, 711 Point-by-point organization, 469, R11, R37, R41 Point of view, 282–283, 540, R110 effect of, 282–283, 289, 295, 331 first-person, 282–283, 289–302, 321, 771–789, 853, 1220 second-person, 361–367 third-person, 8, 282–283, 314, 312–331, 1220, R103 third-person limited, 282, R110–R111 third-person omniscient, 282–283, 321–331, 361 Political advertisements, 666–669 persuasion in, 667–668 strategies for analyzing, 668 viewing guide for, 668 Position paper, 618 Positions. See Author’s position; Claims; Thesis statements. Possessive case, R53 Possessive forms, R74 Posters, 669, 1183, R77, R92 Posture, 1201, R78 Power presentation, 1233. See also Oral presentations. Predicate adjectives, R57, R60 Predicate nominative, R53, R60, R61, R63, R67 Predicate pronouns, 676, R76 Predicates complete, R48

compound, 414, 419, R56, R59 simple, R48 Predicting, 12, 75–92, 127, 199, 203–209, 333, 349, 591, 657, 897–904, 1169, 1189, R2, R118 Preface, 1225, 1228, 1252 Prefixes, 58, 72, 440, 472, 771, 878, 1011, R69, R73. See also Word parts. Prejudice. See Bias. Prepositional phrases, 51, 59, 150, 1043, R47, R48, R53, R59, R60 Prepositions, 676, 834, R47, R48, R53, R60, R61, R63, R75 Presentations. See Oral presentations. Present participle verb forms, R55, R56 Previewing, 12, R4 Prewriting, 17, 19, 145, 267, 467, 557, 673, 749, 831, 943, 1067, 1197, 1241, R28 Primary sources, 1224, 1230–1231, R119 evaluation of, 1225 versus secondary sources, 1220 using people as, 1230–1231 Prior knowledge, 12, 33, 305, 629, R119 Pro/con chart, 1214 Problem-solution order, R39, R119 Procedures. See Business and technical writing. Process analysis, R40 Producing for submission/publication, 133, 263, 271, 375, 527, 669, 835, 947, 1193, 1256 Prologue, R111 Prompts, responding to. See Reading-Writing Connection; Writing for Assessment. Pronoun-antecedent agreement, R52 Pronouns, R46, R52–R55 capitalization of I, R51 case of, R53 demonstrative, R46, R54 first-person, R52 forms, R52–R54 indefinite, R46, R54 intensive, R46, R53 interrogative, 676, R46, R54 nominative, R53 objective, 676, R53 personal, R46, R52 possessive, R53 predicate, 676, R60 reference problems, R55 reflexive, R46, R53 relative, 1185, R54 second-person, R52 subject, 676, R66 third-person, R52 verb agreement with, R66 Proofreading, 17, 835, 1251, 1257, R29, R42, R77, R100. See also Revising and editing.

Propaganda, R25, R119 Props, 243, 1109, 1191, 1197, R87, R111 Protagonist, 282, 958, 972, R102, R107, R111. See also Hero; Tragic hero. Public documents, 1220, R18, R119. See also Editorials; Speech. strategies for reading, R18 Public service announcements, 10, R90 Pull quotes, R14 Punctuation, R49–R50 apostrophes, R50 colons, R50 commas, 270, 560, 946, R49, R60, R63, R64, dashes, R50 ellipses, 834, R50 end marks, 270, R49, R50 exclamation points, 270, 768, 834, R49 hyphens, R50, R74 italics, 781, R50 parentheses, R50 periods, 834, R49 in poetry, 688 question marks, 270, 834, R49 quick reference chart, R49–R50 quotation marks, 270, 827, 1215, R50, R105 semicolons, R49 Puns, 1045, 1107, R106, R107 Purpose. See Author’s purpose. Purpose for reading, setting, 455–462, 645– 663, 1045, R15, R27

Q

Qualities of a character. See Character traits. Quatrain, 729–730, 733, 772, R111 Questioning, 12, 333, 525. See also Monitoring. Question marks, R49 in dialogue, 270 in quotations, 834 Questionnaires, 1077, 1231 Questions. See also Interviews; Research; Sentences. five W’s and H, R89 open-ended, 943 rhetorical, 453, 505, 576, 582, 585, 1088, R111 “what if,” 371 Quickwriting, 44, 100, 134, 166, 202, 210, 236, 304, 332, 352, 404, 420, 454, 488, 528, 586, 628, 704, 720, 734, 792, 800, 808, 864, 1030, 1094, 1212. See also Freewriting. Quotation marks in dialogue, 270, R105 in direct quotations, 827

index of skills

R145

to indicate speaker’s exact words, R50 with question marks, 270 with titles, R50 web search, 1215 Quotations capitalization in, R51 and effective introductions, 750, 944, 1250 and ellipses, 834, 1245 as evidence, 145, 467, 673, R21, R116 formatting, 752, 1237, R50 indenting, 752, 1237 integrating, 1247 of poetry, 752 prewriting strategy, 19 pull quotes, R14 punctuating, 270, 827, 834, 1237, R41, R50, R105 recording direct, 827 in research papers, 1236, 1254 in scripts, 149 and strong endings, 1249, R41 to support an argument, 1237, R41 as supporting detail, 557, 945, 1250 as titles, 373

R Radio, 10, 570, R84–R85, R90 Reading comprehension, assessment practice, 150–153, 272–275, 376–379, 472– 475, 562–565, 678–681, 754–757, 836–839, 948–951, 1072–1075, 1202–1205 Reading for information. See also Informational texts; Reading skills and strategies. citing evidence from, 827, 895 column, 824 comparing forms, 545 critical reviews, R116 drawing conclusions, 1189 essays, 742 historical accounts, 1027 interviews, 56, 348, 438, 552 journal articles, 726 magazine articles, 111, 230 making generalizations, 235 multiple sources, 507, 827 newspaper articles, 185, 316, 542, 825 nonfiction books, 94 personal letters, 798 primary sources, 1186 rhetorical devices, 892 speeches, 860, 892 statistical illustrations, 603 supporting an opinion, 319 supporting details, 230 synthesizing, 316–319


textbook diagrams, 504 using text features in, 94–99 theater reviews, 1186–1189 transcripts, 907 Reading log, 145, 749 Reading rate, 529, R27 Reading skills and strategies analyzing chronological order, 101–109 analyzing reasoning, 587–591, 593–600 analyzing sensory details, 361–367, 793– 799, 931–934 author’s perspective, 223–229, 241, 257, 482, 483, 529, 540, 615, 824, 909, 927, R102 author’s purpose, 211–219 cause-and-effect, 495–501 changing pace, R27 clarifying, 395–403, 529, 865, 967, R2, R115 classification, 489–493 compare and contrast, 57, 109, 183, 209, 219, 235, 241, 331, 367, 489, 545, 553, 600, 625, 705–710, 719, 727, 754, 877, 935, 1045, 1153, R32, R115 connecting, 12, 13, 167–183, 230, 236, 316, 321–331, 353, 361, 504, 542, 742, 824, 853–861, 892, 1186, R115 drawing conclusions, 11, 33–41, 71, 75, 127, 183, 199, 209, 219, 302, 305– 314, 331, 349, 357, 417, 421–439, 453, 615, 625, 629–641, 702, 806, 861, 877, 890, 904, 927, 1028, 1041, 1061, 1115, 1133, 1153, 1169, 1189, R116 evaluating, 45, 87, 135, 237, 289, 407, 547, 801, 1031, 1011–1028, R117 fact versus opinion, 579–583, 678, 881– 890, R83, R116–R117 identifying main idea, 127, 145, 230– 235, 316, 353–357, 495, 605, R4, R8, R29, R31, R33, R76, R118 making inferences, 45–57, 127, 135, 141, 150, 187–199, 209, 219, 229, 237–241, 289–302, 357, 367, 407, 447, 547–553, 615, 641, 801–806, 836, 904, 1028, 1031–1041, 1169, 1184, 1212, R117 monitoring, 61, 333–349, 395–403, 529–540, 619–625, 865–877, R118 note taking, 113–127, 135, 421, 509– 521, 742–745, 1214, 1230, R4, R19, R82 paraphrasing, 771–789 predicting, 12, 75–92, 127, 199, 203– 209, 333, 349, 591, 657, 897–904, 1169, 1189, R2, R33, R118 previewing, 12, R4

questioning, 529 reading classical drama, 967–1007 reading poetry, 6, 135–141, 237, 241, 692, 697–702, 705, 721–727, 729– 733, 789, 793, 799, 801 reading rate, 529, R27 reading Shakespearean drama, 1095 reading sonnets, 729–733 rereading, 529, 532 scanning, 690, R27 setting a purpose for reading, 12, 455– 462, 645–663, 1045–1061, R4 summarizing, 41, 57, 71, 94, 98, 99, 107, 127, 235, 316–319, 357, 487, 545, 591, 600, 605–615, 625, 865, 895, 1233, 1244–1245, R28, R33, R82, R83, R119 understanding irony, 443–447 understanding line breaks, 721–727 using prior knowledge, 12, 33, 305, 629, R119 visualizing, 12, 135, 529, 533, 713–719, 809–813, 967, 1090, R2, R120 Reading-writing connection, 43, 59, 73, 110, 129, 141, 184, 201, 221, 259, 303, 351, 359, 405, 419, 441, 503, 523, 585, 602, 617, 627, 643, 703, 711, 727, 733, 741, 791, 807, 863, 879, 906, 939, 1009, 1043, 1185 Realism, magical, R108 Realistic fiction, R111 Reasoning, R22–R25 analyzing, 449–453, 587–591, R22–R24, R83 circular, 1070, R24, R117 deductive, 587–591, R23, R116 errors in, 675, 676, 1071, R24, R117 inductive, 593–600, R22–R23, R117 modes of, R22–R24 as test-taking strategy, R93 Reasons, for claim, 625, R21, R41 analyzing, 449–453 in nonfiction argument, 579 organization pattern, R41 to support an opinion, R41, R79 Recommendations, in conclusions, 832, 834, R33, R39 Recurring themes. See Themes. Reference lists. See Works cited. Reference problems, pronoun ambiguous, R55 general, R55 indefinite, R55 References abstracts, 1218 almanacs, 1218, 1221 atlases, 1218, 1221 audio, 1218

Index of Skills biographical, 1221 books, 1218, 1221 CD-ROMs, 1218, R20 databases, 1218, 1222, R116 dictionaries, 928, 948, 1221, R72 directories, 835, 1218, 1221, 1232 electronic card catalog, 1219 encyclopedias, 881, 1220, 1221, 1232, R3 glossaries, R72, R115, R121 indexes, 1221, 1225, 1232, R117 Internet, 1215–1217, 1226–1227, 1231, R117 library, 1218–1220, 1232 online catalogs, 1218–1219 search tools, 1218–1219, 1232 specialized, 1221 synonym finders, R72 thesauri, 642, 678, 1221, R72 World Wide Web. See Internet, above. yearbooks, 1221 Refining. See Revising and editing. Reflective essays, 352, 359, R105 analysis of, 353–357 Refrain, R111. See also Stanza. Reliability of sources. See Sources, evaluating. Repetition as rhetorical device, 443, 576, 593–600, 602, 892–895, 1088, 1153, R77, R111 as sound device, 690, 697, 721, 735, 793–799, R102, R104, R107, R111, R113 Reports. See Research; Research papers. Research, 1213–1233. See also References; Sources. collecting data, 1230–1231 determining purpose of, 1213 electronic media, 1218 evaluating information, 1225–1229, 1233, R116 focusing, 1214 Internet, 1215–1217, 1226–1227, 1231, R117 Internet discussion groups and forums, 1231 in library or media center, 1218–1224 listservers, 1231 note-taking methods for, 1214 personal interview, 1214, 1230–1231, R81–R82, R108 planning, 1213 publishing, 1255 questions for, 1214 survey, 1231 tips and strategies, 1232–1233 writer’s road map, 1234 Research librarians, 1219, 1232

Research papers, 1234–1254 citing sources, 1253. See also MLA citation guidelines; Works cited. formatting of, 1254 rubric for, 1254 writing process, 1241–1251 Research questions, 1214, 1241 Resolution, in debate, 1071 Resolution, plot, 26, 45, 71, R2 Resources. See References; Sources. Reviews book, R108, R116 critical, R40 film, 18, R33, R109, R116 theater, 1186–1189 Revising and editing, 17, 147, 269, 373, 469, 559, 675, 751, 833, 945, 1069, 1199, 1250, 1251, R28, R29 Rhetorical devices, 576–577, 593–600, 602, 892–895, 1088, R111 analogy, 418, 522, 576, 616, R24, R71, R102 parallelism, 576, 577, 593, 596, 711, 754, 793, 892–895, 1088–1089, 1092, R110 repetition, 576, 593, 597, 602, 892–895, 1088, 1153, R111 rhetorical questions, 453, 505, 576, 582, 585, 608, 1088, R119 in speeches, R77, R79 Rhyme, 6, 688–691, 697, 698, 700, 729, 734, 735 in ballads, 735, R103 in blank verse, 1088–1089, R103 end-rhyme, 690–691, 97, R111 in free verse, 689, 713, 793, R107 internal, R111 off-rhyme, R111 in quatrains, R111 slant rhyme, R111 in sonnets, 729 Rhyme schemes, 690, 697, 700, 702, 729, 733, R113. See also Poetic forms; Sound devices. Rhythm, 688–691, 697, 705, 711, 713, 721, 729, 809, 1088, R2, R111. See also Meter; Poetic devices and elements. Rising action, 26, 37, R2, R104, R105, R112 for suspense, 131 Role-playing, 242, 394 Romance, medieval. See Medieval romance. Romance hero, 1072 Root words. See Word roots. Round characters, 160, 209, R103 Rubrics analytical writing, R39 autobiographical narrative, 270 business writing, R42

cause-effect essay, 560, R38 compare-and-contrast essay, 470, R37 critical review, 834, 1200 debate, R79 descriptive speech, R80 editorial, 676 informative essay, 946 informative speech, R78 interpretive essay, 148 interview, R82 literary analysis, 752 narrative speech, R79 narrative writing, R36 oral interpretation, R80 oral response to literature, R80 persuasive speech, R79 persuasive writing, 1070, R40 problem-solution writing, R39 research paper, 1254 short story, 374 speech, R78, R79, R82, R83 Run-on sentences, R65–R65

S Satire, R112 Scanning, 96, 677, 690, 482, R4, R27, R119 Scansion, R112. See also Meter. Scene (in a play), 967, R30, R102, R111, R112 Scenery, 7, R112 Schematic diagram, 505, 507, R6–R7 Science fiction, 5, 304, R112 Screenplays, 7 Scripts, R112 dramatic reading, 753, 1201 film and television, R86 oral response to literature, 149 shooting, 947, 1193 speech, 561, 684, R76, R112 Scripture, 662 as didactic literature, 645, 662–663 Search engines, 1215–1216, 1230, 1232, R20 Secondary sources, 1220, 1242, R119 Self-check, 18, 43, 59, 73, 110, 129, 141, 201, 221, 259, 303, 351, 359, 405, 419, 441, 503, 523, 585, 602, 617, 627, 643, 703, 711, 727, 733, 741, 791, 807, 863, 879, 906, 929, 1009, 1043, 1185 Semicolons, 560, R32, R49, R64–R65 Sensory details, 179, 184, 361–367, 793– 799, 809, 931–934, 948, R34–R35, R112 Sensory language, 368, 370, 373 Sentence fluency, 18, 142, 150, 264, 368, 554, 670, 746, 828, 940, 1064

index of skills

R147

Sentence fragments, 66, 73, 915, R29, R64, R77 to develop voice, 915 in oral presentations, R77 in realistic dialogue, 66, 73 Sentences, 272, R59–R60 beginnings, 1043, 1072 complements in, R60 complete, R64–R65 complex, 876, 879, 948, R64–R64 compound, 560, 879, 948, R49, R63 compound-complex, 560, 637, 643, 876, 879, R64 declarative, 247, 259, R59 exclamatory, 247, 259, R59 imperative, 247, 259, R59 interrogative, 247, 259, 585, R59 inverted, 979, 1009, 1043, 1072, R59 parallel structure, R64 parts of (diagram), R48 placement of modifiers, R61 predicate, complete, R48 predicate, compound, R59 predicate, simple, R48 run-on, R64–R65 simple, 876, 879, R63 structure of, 670, 671, 1009, R63–R64 subject, complete, R48 subject, compound, R49 subject, simple, R48 topic, R31, R120 variety in, 18, 259, 637, 670, 671, 876, 879, 1009, 1035, 1043, 1234, 1235 Sequence, 269, 1029, R32 analyzing, 286 of events, 269, 305, 368 in film, R88 flashbacks, 268, 284–285, 287, 314, 333–349, 371, 376, 538, R36, R106 foreshadowing, 75, 284, 333–349, 1090, R107, R113 plot, 26–31, 71, R110 storyboard, 133, R86 transitions to show, R32 Sequential order, R119 Set design, 1109, 1186, 1189, R87. See also Props. Setting, 24–25, 61–71, 75–92, 150, R112 character and, 24, 75–92, 388, 395, R36 conflict and, 24, 75–92 describing, in narrative writing, R36 in medieval romance, 960, 1011 mood and, 24–25, 61–71 101 in movies, R37 in plays, 1090, 1109, 1191, 1270 in short stories, R2 theme and, 388, 395–403 timeframe, 302, 848–849, 927


for video presentation, 1193, R87 visualizing, 12, 713, R2 Setting a purpose for reading, 12, 455–462, 645–663, 1045–1061, R119 Shakespearean drama, 1094, 1116, 1134, 1154, 1170 analysis of, 1095–1115, 1133, 1153, 1169, 1184 characteristics of, 1086–1087 on film, 1090–1193 language in, 1088–1089 strategies for reading, 1090–1091, 1095, 1115 Shakespearean sonnet, 729, R113 Shakespearean tragedy, 1086–1087, 1202 Shakespeare’s world, 1082–1085 Short stories, 5, 13, 27, 32, 44, 60, 74, 166, 186, 202, 288, 304, 320, 332, 394, 406, 420, 528, 628, 644, 770, 896, 908, R112 analysis of, 27, 289, 368, 395 MLA citation guidelines for, 1252 strategies for reading, R2 writing, 368–374 Sidebars, 485, R14, R119, R120 Signal words, 484, 790, 1062, R11, R12, R16, R119 for chronological order, 101–109 Similes, 339, 351, 376, 502, 562, 664, 692– 693, 705, 790, 801, 1031, 1062, R112 Situational irony, R107, R108 Skimming, 12, 1223, R8, R14, R27, R95 Slang, 373, 945, R42, R68, R76. See also Informal language. Slogans, 669, R91 Snob appeal, R22, R83 Social context, 199, 367, 553, 822, 927, 1041 Social criticism, 443, 449 Software authoring (for Web sites) editing, 271 graphic design, 375, 669 informational nonfiction, R117 presentation, 1233 reading electronic text, R20 word processing, R72 Soliloquy, 220, 1086, 1087, 1110, 1119, 1133, 1153, 1188, 1202, R112 Solutions organization, R39, R83, R118, R119 simple problem organization, R39 Sonnets, 4, 6, 688, 692, 728, 729–733, 746, 760, 793, R113 form of, 729 Petrarchan, R113 Shakespearean, 729, R113 Sound devices, 6, 690–691, 697–702, 721– 727, 754, 789, R110, R111, R113

alliteration, 690, 694, 697, 702, 787, R102 assonance, 690, 721, 722, 789, R102 consonance, 690, 721, 722, R104 meter, 690, 713, 729–733, 735, 793, 931, R109 onomatopoeia, 697, 701, 793–799, R110 repetition, 690, 697, 721, 735, 793–799, R102, R104, R107, R111, R113 rhyme, 6, 688–691, 697, 734 rhyme scheme, 690, 697, 700, 702, 729, 733, R113 rhythm, 688–691, 697, 705, 711, 713, 721, 729, 809, 1088, R2, R111 Sound elements. See Media elements and techniques. Source cards, 1243 MLA citation guidelines, 1252–1253 Sources, documenting, 827, 1234, 1240, 1248, 1252–1254. See also Parenthetical documentation; Works cited. Sources, evaluating, 1225–1230, 1233, 1242 accuracy, 1225, 1242 authority or authorship, 1225, 1226, 1228 bias, 1225, 1242, R25 copyright date, 1223, 1224, 1225, 1228 coverage, 1225 credibility, 525, 1242, R90, R92, R116 currency, 1224, 1225 for news stories, R90 relevance, 1225 Sources, types of. See also References. databases, 1222, R116 documentaries, 1224 field studies, 1220, 1230 films, 1224 government publications, R117 Internet, 1215–1217, 1226–1227, R117 interviews, 1220, 1230–1231, R81–R82 journals, 1224, R117 magazines, 1220, 1224, R119 microfiche, 1218, 1229 microfilm, 1218, 1229 microforms, 1218 newspapers, 316, 1218, 1224, 1232, R3 nonfiction books, 1218, 1223, 1228 observations, 1220, 1230 periodicals, 1218, 1221, 1224, 1229, R118 primary, 1220, 1224, 1230–1231, R119 questionnaires, 1077, 1231 reference works, 1218, 1221 secondary, 1220, 1242, R119 surveys, 1231 Spatial order, 509, 519, R32, R35, R119 Speakers (in poetry), 6, 135–139, 141, 209, 237–241

Index of Skills Speaking. See also Oral presentations; Speaking strategies. to entertain, R79 to inform, 561, 947, R78–R79 listening and, 149, 271, 375, 471, 561, 677, 753, 947, 1071, 1201, R76–R77 to persuade, 1071, R79 Speaking strategies body language, 261, 561, 667, 753, 1071, R78 diction, R105 emphasis, R77 eye contact, 149, 471, 753, 1071, 1201, R78–R80 facial expression, 261, 753, R78 gestures, 753, R78 language, R76, R77 nonverbal, R83 pace, 753, 1071, R77 persona, R110 pitch, 753, R77 posture, R78 practice, 561, 753, R77 rhetorical questions, 1088 stress, 561, 753 tone, 753, R77 voice, 561, 753, 1071, R78 Special effects. See Media elements and techniques. Specialized dictionaries, R72 Specialized vocabulary, 128, 601, 678, R72. See also Academic vocabulary. Speeches, 351, 592, 860, 892, R76–R78, R113. See also Nonfiction, types of; Oral presentations; Speaking strategies. Spelling commonly confused words, R75 handbook, R68 homonyms, R71 plural nouns, R52, R74 in poetry, 688 possessives, R74 prefixes, R73 pronouns, errors in, R53 rules for, R72–R74 special problems, R74 suffixes, R73 words ending in consonant, R73 words ending in silent e, R72–R73 words ending in y, R73 Stage design. See Props; Set design. Stage directions, 7, 22, 243, 257, 1090, 1095, 1198, R2 Standard English, 735, R51, R53, R101. See also Dialect; Slang. capitalization, R51 conventions, R46–R67 grammar, 18, R46–R67

punctuation, R49–R50 sentence structure, 764, R48, R63–R64 spelling, R72–R74 Standards for writing. See Rubrics. Stanzas, 6, 135, 688–689, 697, 700, 713, 735, 741, 813, R113 Static characters, 162, R103 Statistics for elaboration, R33 as evidence, 579, 673, 1067, R21, R77 illustrated, 603 in the media, 8, 525 in persuasive writing, 1070 as supporting detail, 230, 557, R41 Stereotyping, 160, 243, 263, R24, R90, R113, R117, R119 Storyboard for children’s book, 375 for documentary, 947 for film and television, 133, R86 for Web site, 1256 Story maps, for own writing, 268, 361 Stream of consciousness, R113 Stress. See Speaking strategies. Structure. See Patterns of organization. Study skills note taking, 742, 1214, R4 outlining, 463, 557, 832, 944, 947, 1246, R4 previewing, 12 scanning, 96, 482, R4, R27, R119 skimming, 12, 1223, R8, R14, R27 summarizing, 41, 57, 109, 127, 605, 1233, 1244–1245, 1249, R28, R33, R82, R83, R119 Style, 762, 764–769, R113 author’s, 71, 183, 219, 314, 439, 764– 769, 771–789, 793–799, 801–806, 815–822, 836, 1031–1041 elements of, 766–767, 836, 1031 grammar and, 18, 43, 59, 73, 110, 129, 184, 201, 221, 259, 303, 351, 359, 405, 419, 441, 503, 523, 585, 602, 615, 627, 643, 703, 711, 791, 807, 863, 879, 906, 929, 1009, 1043, 1185, R99 of time periods, 443, 764–765, 931–934 Subheadings, 12, 94–99, 230, 484, R3–R4, R9, R10, R11, R15, R91 Subject-by-subject organization, 468, 1198, R11, R37, R38 Subject complement, R60, R61 Subject-verb agreement, 1070, R65–R67 with be, R65 collective nouns as subject, R67 with compound subjects, R65 don’t and doesn’t as auxiliary verbs, R67 indefinite pronouns as subjects, R66

inverted sentences, R66 in number, R65, 1070 personal pronouns as subjects, R66 relative pronouns as subjects, R67 sentences with predicate nominative, R67 with words between subject and verb, R65 Subjects complete, R48 compound, R59 indefinite pronouns as, R66 personal pronouns as, R66 simple, R48 use of who as, 676 Subordinate characters. See Minor characters. Subordinate (dependent) clauses, 400, 405, 472, 517, 523, 643, 879, 1185, R62, R63, R64 Subtitles, 1197, 1223 Suffixes, 771, 891, 948, 1011, R69, R73 Summarizing, 41, 57, 71, 94, 98, 99, 107, 127, 235, 316–319, 357, 487, 545, 591, 600, 605–615, 625, 865, 895, 1233, 1244–1245, R28, R33, R82, R83, R119 Superlative form of modifiers, R57–R58 Support, 572–573, 583, 615, 625, 670, 672, 1249, R21, R119 Supporting details, 1249. See also Evidence. analyzing, 235 gathering, 1071 generalizations and, 235 identifying, 230, 353–357 incorporating, 1249, R29, R33, R83, R118 main idea and, 230, 353 organization, 495, 742 organizing, 1249 in outlines, 1246 Surprise ending, 130, 395, R113 Surveys, 1231 Suspense, 834, R84, R113 analysis of, 26, 127, 521, R113 building, 284, 333 in film, 130–133 foreshadowing and, 284, 333, 349, 521, R107 in horror fiction, R107 in nonfiction, 113–127 in Shakespearean drama, 1086 Symbols, 386–389, 407–417, 472 analysis of, 199, 351, 407–417 cultural, 667 theme and, 386–389 Synonym finders, R72 Synonyms, 15, 93, 220, 358, 418, 541, 579, 601, 616, 642, 790, 862, 905, 1029, R70

index of skills

R149

Syntax, 489–493, 705, 766. See also Diction. Synthesizing, 41, 57, 316–319, 507, 553, 583, 935, 1234, R119

T Table of contents, 1223 Tables, R6. See also Graphic aids; Graphic organizers. Taking notes. See Notes, taking. Tall tales, R114 Technical vocabulary. See Specialized vocabulary. Technical writing. See Business writing; Workplace and technical writing. Technology, publishing with, 271, 304, 375, 677, 835, 947, 1255 Television, 524–527, 666–669, R86–R88. See also Media elements and techniques; Media genres and types. Tense. See Verb tense. Test formats essay, R101 extended response, R100 multiple choice, R94 short response, R100 Testimonials, R22 Test-taking strategies. See also Assessment practice. critical reading, R94–R98 essay, R101 general, R93 sentence completion, R98 writing, R99–R101 Textbooks, strategies for reading, 15 Text features, 94–99, 484–486, R3–R4, R120 boldface type, 94, 96, R3, R15 bulleted list, R3 captions, R3 chapter titles, 1223 comparing, R17 graphic aids, 484–486, R3, R117. See also Graphic aids. headings, 1223R3–R4 maps, R7 numbers, 94 organization and format, 94–99, 484 overviews, R93, R118 parentheses, 94, 97 pull quotes, R14 sidebars, 485, R119 strategies for using, R4, R14 subheadings, 94–99, 484, 486, R3 subtitles, 1223 titles, 94, 95, 484, 486, 1223 visuals, 677, 835, R16, R91 Text organizers. See Text features.

R150

index of skills

Theater reviews, 1186–1189 Theme, 331, 386–393, 472, 629, 822, 1007, 1041, R114. See also Author’s message. across genres, 455 analysis of, 41, 71, 157, 302, 314, 331, 405, 421, 439, 447, 540, 549, 643, 711 characters and, 160, 388, 421–439 comparison of, 705, 710, 727 conflict and, 388 important statements as clue to, 388 persuasion and, 614, 629–641 plot and, 388 in poetry, 443–447, 702, 705–710, 719, 801 recurring, R114. See also universal, below. setting and, 388, 395–403, 417 symbol and, 386–389 title and, 388 universal, 386–387, 443–447, R114 Thesauri, 642, 678, 1221, R72. See also References. Thesis statement, 1234, 1235, 1246, R31, R120 Third-person narrator. See Narrator. Third-person point of view. See Point of view. Timeframe, 302, 848–849, 927 Timelines. See Chronological order. Time order. See Chronological order. Time periods. See Historical context of literature. Time transition, R32 Time words and phrases, 101–109, R9 Titles author’s perspective and, 211 brainstorming, 373 capitalization of, 834, R51 as clue to theme, 388 interpreting, 403, 493 italics to set off, R50 quotation marks to set off, R50 strategies for reading, R2–R6, R16 subject matter and, 1223 as text feature, 94, 95, R3 Tone, 211, 223, 489–493, 562, 617, 766– 769, R114 analysis of, 766–769, 1031 in business letters, R43 choosing appropriate, 670, 672 conversational, R78 diction and, 489–493, 863 formal, 672, 1239 in nonfiction, 608, 856, 863 nonverbal messages, R83 in poetry, 801, 931 in speech, 753 style, voice, and, 766–769, 836

Topic sentence, R31, R120. See also Thesis statement. Tragedy. See also Tragic flaw; Tragic hero. catastrophe and, 958, 1086 chorus in, 958, 964 Greek, 958–959, 962, 964–965, 967– 1007 Shakespearean, 1086–1087, 1202 strategies for reading, 1090 Tragic flaw, 967, 1095, R114 Tragic hero, 958–959, 964, 967, 996, 1006, 1007, 1072, 1086–1087, 1090, 1095, R107, R114 Traits. See Character traits; Key traits of effective writing. Transfer (persuasive technique), 574, R22 Transitions cause and effect, 560, R10, R32–R33 commas to set off introductory, R49 compare and contrast, 470, R12, R32 degree of importance, R8, R32 in film, R88 to focus ideas, 672 spatial relationships, R32 time or sequence, R32 words for, 470, 560, R35 Transitive verbs, R47 Trochee, R109 Turning point. See Climax. TV. See Television.

U Understatement, R114 Unfamiliar words, understanding, R69 Universal themes, 386–387, 443–447, R114 URLs, 1215, 1243, R20 Usage. See Grammar.

V Validity of sources. See Sources, evaluating. Vantage points. See Oral presentations. Venn diagrams, 109, 331, 467, 545, 553, 877 Verb agreement. See Subject-verb agreement. Verbal irony, 443–447, R108 Verbal humor, 1055 Verbals and verb phrases, R60–R62 gerund, 900, 906, 948, R61 infinitive, 807, R59, R61 participle, 500, 503, 562, R55, R61 Verbs, 272, R47, R48, R55–R57 action, R47, R55 agreement, 1070, R65–R67 auxiliary (helping), R47, R48, R67 compound subjects, R65 in consumer documents, R16, R17

Index of Skills direct objects, R60 indirect objects, R60 intransitive, R47 irregular, R55 linking, R47, R55 main, R48 parts, R55 personification and, 790 plural, R65 precise, 147, 703, 754 progressive forms, R56 regular, R55 sensory, 179, 184 singular, 1070, R65 strong, 105, 110 transitive, R47 vivid, 147, 675 voice of, 264, 265, 269, 270, 946, R57 Verb tense, R55–R56, R56 errors in, R56 future, R56 future perfect, R56 past, R56 past perfect, R56 present, R56 present perfect, R56 progressive forms, R56 shifting, R56 Video. See Editing, of films and video; Media; Technology, publishing with. Video-editing software, 271 Viewing skills and strategies, 131, 261, 525, 667, 937, 1191, R84–R85 acting, evaluating, 261–262 advertisements, identifying types of, 667–668 cartoons, analyzing, 938 characters, analyzing, 262 credibility, analyzing, 525–526 emotional appeals, analyzing, 668 examining stereotypes, 263 films, evaluating, 133, 1193 images, examining, 937–938 message, evaluating, 668–669 mise en scène, analyzing, 1191–1192 news reports, analyzing, 525–526 news sources, evaluating, 525–527 performances, analyzing, 261–262, 1191–1192 persuasive techniques, analyzing, 667– 668 sound, analyzing, 132, 667 suspense, evaluating, 132 target audience, identifying, 668 visual techniques, analyzing, 131–132, 261–262, 667–668, 1191–1192 Viewpoint. See Author’s perspective; Bias. Virtual libraries, 1232

Visual aids, R77. See also Graphic aids. Visual elements. See also Media elements and techniques. color, 938, 939, R91, R92 composition, R87 lines, 938–939, R91, R92 shapes, 938, 939, R92 texture, 938, 939, R91–R92 Visualizing, 12, 129, 135, 529, 713, 809– 813, 967, 1090, R2, R32, R120 diagrams for, R6 Visuals, analysis of, 34, 38, 46, 51, 62, 69, 76, 87, 102, 106, 115, 117, 136, 168, 172, 188, 193, 204, 212, 224, 226, 238, 244, 250, 290, 306, 312, 322, 340, 422, 446, 456, 490, 500, 510, 548, 575, 580, 594, 606, 634, 652, 662, 677, 707, 730, 772, 782, 804, 810, 835, 858, 866, 882, 898, 910, 921, 934, 1012, 1032, 1046, 1056, R91. See also Visual elements. Vocabulary. See also Vocabulary skills and strategies. assessment practice, 154, 276, 380, 476, 566, 682, 840, 952, 1076, 1206 building, 15 in context, 33, 42, 58, 61, 72, 75, 93, 128, 154, 187, 200, 211, 220, 243, 258, 276, 305, 315, 333, 350, 353, 358, 380, 395, 404, 407, 418, 421, 440, 495, 502, 509, 522, 529, 541, 579, 584, 593, 601, 605, 616, 619, 626, 629, 642, 645, 664, 771, 790, 823, 853, 862, 865, 878, 881, 891, 897, 905, 909, 928, 967, 1008, 1011, 1029, 1031, 1042, 1045, 1062 in writing, 42, 58, 72, 93, 128, 220, 226, 258, 315, 350, 358, 404, 418, 440, 502, 522, 541, 584, 601, 616, 626, 642, 664, 790, 823, 862, 878, 891, 928, 1008, 1029, 1042, 1062 Vocabulary skills and strategies, R68–R75. See also Vocabulary. analogies, 418, 522, 616, 1029, R71 antonyms, 15, 93, 220, 358, 418, 522, 541, 601, 616, 790, 862, 905, 1029, R71 base words, 258, R69 commonly confused words, R75 connotation, 93, 200, 404, 626, 862, 1042, R71 context clues, 42, 58, 72, 220, 258, 315, 350, 358, 440, 541, 629, 1090, R68 denotation, 93, 200, 404, 626, 862, 1042, R71 dictionaries, 928, R72 etymologies, 584, 823, 836, 1008, 1072, R70

figurative language, R68 foreign words in English, R70 glossaries, R72 Greek roots, 42, 823, 905, R69–R70 homonyms, R71 homophones, R71 idioms, R68 Latin roots, 58, 72, 220, 258, 272, 314, 350, 358, 376, 440, 541, 584, 878, 1008, R69–R70 metaphors, 502, 604, 790, 1062 multiple-meaning words, R72 prefixes, 58, 72, 440, 878, R69 similes, 502, 664, 790, 1062 slang, R68 specialized vocabulary, 128, 601, 678, R72 suffixes, 891, R69 synonyms, 15, 93, 220, 358, 418, 541, 579, 601, 616, 642, 790, 862, 905, 1029, R70 thesauri, 642 word families, 905, R70 word origins, R70 word roots, 42, 72, 220, 258, 315, 350, 358, 541, 823, 905, R69–R70 Voice, author’s, 766–767, 815–822, 824, 826 imagery and, 819 tone and, 818 Voice, of verbs active, 264, 265, 269, 270, 946, R57 passive, 269, 946, R57 Voice, speaking. See Oral presentations; Speaking strategies. Volume. See Speaking strategies.

W Web address, 1215, 1226, 1243, R20 Webs (graphic organizers), R5 Web sites, 4, 10, 1215–1217, 1226–1227, R120. See also Internet; References; Sources. choosing relevant, 1216 commercial, 1226–1227 evaluating, 525–526, 937–939, 1216, 1226–1227 navigating, 1217 organizing, 835, 1255–1256 personal, 1226–1227 planning, 835, 1255, R28 producing, 835, 1256–1257 reading, 525–526, 937–939 searching for, 1215–1216 writing text for, 835, 1256 Word choice, 18. See also Diction. in formal language, 303 as persuasive technique, 574–575, R22

index of skills

R151

precision in, 39, 43, 465, 671, 703, 942, R34, R77 strong verbs, 105, 110 style and, 766, 836, R101, R113 tone and, 18, 489, 617, 863 Word derivations. See Word families; Word parts; Word roots. Word families, 905, R70. See also Word roots. Word order, 1095. See also Diction. Word origins, R70. See also Word roots. Word parts base words, 58, 72, 258, 878, 891, R69, R73 prefixes, 58, 72, 440, 771, 878, 1011, R69, R73 roots, 42, 220, 258, 315, 350, 358, 541, 823, 905, R69 suffixes, 771, 891, 948, 1011, R69, R73 Word roots Anglo-Saxon (Old English), R69 Greek, 42, 823, 905, R69–R70 Latin, 72, 220, 258, 315, 350, 358, 541, 1008, R69–R70 Norse, R69, R70 Word structure. See Word roots. Workplace and technical writing, R42–R45 formats for, R43–R45 key techniques, R42 rubric for, R42 Workplace documents, 8, R14, R19, R42– R45, R120. See also Workplace and technical writing. Works cited, 827, 1240, 1249, 1252–1253. See also Parenthetical documentation. formatting, 1254 MLA citation guidelines, 1252–1253 Works consulted. See Bibliography.

R152

index of skills

World Wide Web. See Internet; Web sites. Writing about literature, 142, 264, 368, 464, 554, 670, 746, 828, 940, 1064, 1194, 1234 Writing for assessment, 463, 665, 1063 Writing modes. See Descriptive writing; Expository writing; Narrative writing; Persuasive writing. Writing process, 16–17, R28–R29 drafting, 146, 268, 372, 468, 558, 665, 674, 750, 832, 944, 1068, 1198, 1247, 1248, 1249, R28–R29, R76 evaluating, 148, 270, 374, 470, 560, 676, 752, 834, 946, 1070, 1200, 1225, 1226, 1233, 1254 peer response, 17, 19, 147, 148, 269, 270, 373, 374, 469, 470, 559, 560, 675, 676, 751, 752, 833, 834, 945, 946, 1069, 1070, 1199, 1200, 1250, 1251, 1254, R30 prewriting, 17, 19, 145, 267, 371, 467, 557, 673, 749, 831, 943, 1067, 1197, 1241, R28 proofreading, 17, 835, 1251, 1257, R29, R42, R77, R100 publishing, 148, 270–271, 374–375, 470, 560, 676–677, 752, 834–835, 946– 947, 1070, 1200, 1254–1255, R29 reflecting, R29–R30 revising and editing, 147, 269, 373, 469, 559, 665, 675, 751, 833, 945, 1069, 1199, 1250, 1251, R29 Writing skills and strategies. See also Readingwriting connection; Writing process. analogies, 418, 522, 616, 1029, R71, R102

anecdotes, 230, 456, 557, 764, R30–R31, R41 brainstorming, 17, 19, 32, 242, 320, 373, 557, 727, 937, 943, R28 cause and effect, 557, 560, R32, R38 coherence, R31–R32 compare and contrast, R8, R11–R13, R32, R115 conciseness, 355, 359, 414, 419, 809, 906, R43 description, 441, R30, R34 details, 12, 37, 361, 793, 809, 931, R33, R79, R112 dialogue, 66, 73, 801, 1031, R36 elaboration, 221, R33–R34 examples, 221, R21, R34, R41 humor, 243, 488, 937, 1045, R6, R107 organization. See Patterns of organization. parallelism, 576, 593, 711, 754, 793, 1088–1089, 1092, R64, R110 precise language, 39, 43, 465, 671, 703, 942, R34, R77 quotations, 145, 467, 673, 750, 944, 1250, R14, R21, R110 rhetorical devices, 453, 505, 576, 585, 593, 602, 892, 1088, R111, R119 sentence variety, 18, 259, 637, 643, 876, 879, 1009, 1035, 1043, R29, R77, R101 style, 43, 59, 73, 110, 129, 184, 201, 221, 259, 303, R113 tone, 608, 617, 856, 863 transitions, R32–R33 unity, R31 word choice, 18, 465, 489, 574–575, 617, 671, 683, 766, 863, R22, R34

INDEX OF TITLES & AUTHORS Page numbers that appear in italics refer to biographical information.

A Abolishing the Penny Makes Good Sense, 586 Achebe, Chinua, 896, 897 Ackerman, Diane, 494, 495 Acts of King Arthur and His Noble Knights, The, 1030 Adam and Rosie, 907 Aiken, Joan, 60, 61 Alice Walker on Quilting, 56 Allende, Isabel, 528, 529 Alvarez, Julia, 134, 135 America’s Back, 668 American Medical Association, 618 Anaya, Rudolfo A., 222, 223 And of Clay Are We Created, 528 Antigone, 966, 1072 Apollo 13, 130 Artilleryman’s Vision, The, 796 Atwood, Margaret, 273 Author Brings Back Memories of Not So Long Ago, 825

Christmas Sparrow, 716 Cisneros, Sandra, 814, 815, 820 Clifton, Lucille, 705, 709 Collins, Billy, 713, 716 Crane, Stephen, 442, 443 Cranes, 389 Crossing the Border, 139

Gonzales, Laurence, 94 Goodall, Jane, 604, 605 Gordimer, Nadine, 628, 629 Grapes of Wrath, The, 150

H

Daisy, 668 Deep Survival, 94 Dickinson, Emily, 208, 704, 705 Disch, Thomas, 1187 Distant Mirror, A: The Calamitous 14th Century, 1027 Do not weep, maiden, for war is kind, 442 Doing Nothing Is Something, 578 Doll’s House, The, 320 Don Quixote, 1044 Dove, Rita, 547, 550 Dyaspora, 360

Hail, Caesar! 1188 Harjo, Joy, 135, 139 Harrison Bergeron, 32 Hawthorne, Nathaniel, 836 Hayden, Robert, 237, 238 Hemingway, Ernest, 836 Henry, O., 472 House of the Seven Gables, The, 836 Houston, Jeanne Wakatsuki and James D., 864, 865 How a Leaf Works, 504 How Much Land Does a Man Need?, 646 How to Write a Letter, 564 Hughes, Langston, 735, 740 Hyppolite, Joanne, 360, 361

E

I

Baker, Russell, 488, 489 Ballad/Balada, 738 Benét, Stephen Vincent, 288, 289 Birches, 800 Bishop, Elizabeth, 712, 713 blessing the boats, 709 Blinder, Alan S., 586, 587 Blowup: What Went Wrong at Storm King Mountain, 508 Blues Poems, 742 Bonfire and the Ants, The, 948 Bradbury, Ray, 304, 305 Brooks, Gwendolyn, 443, 446 Browning, Robert, 697, 700 By the Waters of Babylon, 288

Eulogy for Dr. Martin Luther King Jr., A, 892 Everyday Use, 44 Exile, 134

I Acknowledge Mine, 604 I dwell in Possibility—, 704 In Defense of Space Exploration, 679 Inside the Home of the Future, 316 Interlopers, The, 394 Interview with Haruki Murakami, An, 348

C

G

Cabrera, Yvette, 825 Caramelo, 820 Celebration of Grandfathers, A, 222 Cervantes, Miguel de, 1044, 1045 Chekhov, Anton, 242 Chip of Glass Ruby, A, 628

Gage, Nicholas, 210, 211 Gallico, Paul, 377 García, Lionel G., 272 Gift, The, 236 Girl, Trapped in Water for 55 Hours, Dies Despite Rescue Attempts, 542

B

D

F Farewell to Manzanar, 864 Fifteen, 723 Finding Forrester, 260 Fish, The, 712 Forster, E.M., 448, 449 Fourth of July Night, 811 Freedom to Breathe, 948 Frost, Robert, 800, 801, 804 Fu, Tu, 455, 460 Fugard, Lisa, 376

J Jackson, Shirley, 186, 187 Jhumpa Lahiri, Pulitzer Prize Winner, 438 Johnstown Flood, The, 100 Julius Caesar (film), 1190 Julius Caesar (review), 1187 Julius Caesar, The Tragedy of, 1094, 1202 Junger, Sebastian, 508, 509

K Keillor, Garrison, 564 Kennedy, Robert F., 892 King, Coretta Scott, 880, 881 Kumin, Maxine, 697, 701

index of titles & authors

R153

L

O

Lady Freedom Among Us, 550 Lahiri, Jhumpa, 420, 421 Lake, The, 788 Lam, Andrew, 454, 455 Lawrence, D.H., 720, 721 Lazarus, Emma, 930, 931 Le Morte d’Arthur, 1010, 1074 Lee, Li-Young, 236, 237 Lemonick, Michael D., 678 Letter to a Young Refugee from Another, 454 Letter to His Mother, 798 Levertov, Denise, 705, 708 Like the Sun, 202 London, Jack, 74, 75 Lord Randall, 734 Lowell, Amy, 754, 808, 809

O’Brien, Tim, 908, 909 Old Man at the Bridge, 836 Oliver, Edith, 1188 On Nuclear Disarmament, 592 On the Rainy River, 908 Only Daughter, 814

Sophocles, 966, 967 Sound of Night, The, 701 Spiders Up Close, 562 Stafford, William, 721, 723 Steinbeck, John, 150, 1030, 1031 Stockpiles of Nuclear Weapons, 603 Sunwo˘n, Hwang, 389

P

T

Peruvian Child, 546 Piano, 720 Pit and the Pendulum, The, 770 Plot Against People, The, 488 Poe, Edgar Allan, 770, 771, 788 Pond, The, 808 Possibility of Evil, The, 186 Preston, Julia, 543

Taxi, The, 754 Teacher Who Changed My Life, The, 210 Teasdale, Sara, 696, 697 Tell all the Truth but tell it slant—, 208 There Will Come Soft Rains (Bradbury), 304 There Will Come Soft Rains (Teasdale), 696 Those Winter Sundays, 240 Tío Nano, 272 To Build a Fire, 74 Tolerance, 448 Tolstoy, Leo, 644, 645 Tonight I Can Write … /Puedo Escribir Los Versos, 724 Tuchman, Barbara, 1027 Two Friends, 406

Q

M Malory, Sir Thomas, 1010, 1011, 1074 Man in the Water, The, 352 Man of La Mancha, 1056 Mansfield, Katherine, 320, 321 Marriage Is a Private Affair, 896 Marriage Proposal, A, 242 Maupassant, Guy de, 406, 407 McCullough, David, 100, 101 Meeting at Night, 700 Mending Wall, 804 Mexican Feast for Bodies and Souls, A, 185 Midwinter Blues, 740 Millay, Edna St. Vincent, 729, 732 Mistral, Gabriela, 735, 738 Montgomery Boycott, 880 Mora, Pat, 546, 547 Murakami, Haruki, 332, 333, 348

N Narayan, R.K., 202, 203 Nash, Ogden, 755 Neruda, Pablo, 721, 724 New Colossus, The, 930 New Testament, The, 662 Night, 852 Night Calls, 376 Nine-year-old Amber Colvin Rides Out a Killer Flood in Ohio, 111 Nobel Prize Acceptance Speech, 860 Nobel Prize for Literature, The, 726 Nye, Naomi Shihab, 166, 167

R154

index of titles & authors

Quindlen, Anna, 578, 579

R Race to Save Apollo 13, The, 112 Red Wheelbarrow, The, 812 Reprise, 755 Roethke, Theodore, 713, 718 Roos, Dave, 185 Rosenblatt, Roger, 352, 353 Rutherford, Megan, 231

S Sagan, Carl, 592, 593 Saki, 394, 395 Sandburg, Carl, 809, 811 Searching for Summer, 60 Seventh Man, The, 332 Shakespeare, William, 728, 729, 1082, 1094, 1202 Shoofly Pie, 166 Silver, Matt, 679 Simply Grand: Generational Ties Matter, 230 Sloth, The, 718 Snow Goose, The, 377 Solzhenitsyn, Alexander, 948 Song, Cathy, 931, 933 Song of P’eng-ya, 460 Sonnet 18, 728 Sonnet XXX of Fatal Interview, 732 sonnet-ballad, the, 446

U Uncles, 273 Use of Animals in Biomedical Research, 618 Useem, Michael, 112, 113

V Variation on a Theme by Rilke, 708 Vonnegut, Kurt, Jr., 32, 33

W Walker, Alice, 44, 45, 56 Wasserman, Dale, 1045, 1056 When I Heard the Learn’d Astronomer, 794 When Mr. Pirzada Came to Dine, 420 Whitman, Walt, 792, 793, 796, 798 Who Makes the Journey, 933 Why Go Back to the Moon?, 678 Why Leaves Turn Color in the Fall, 494 Wiesel, Elie, 852, 853, 860 Williams, William Carlos, 809, 812 Witches’ Loaves, 472

Y Young, Kevin, 742

ACKNOWLEDGMENTS unit 1

unit 2

University of Pittsburgh Press: “The Bass, the River, and Sheila Mant,” from The Man Who Loved Levittown by W. D. Wetherell. Copyright © 1985, W. D. Wetherell. Used by permission of the University of Pittsburgh Press. Dell Publishing: “Harrison Bergeron,” from Welcome to the Monkey House by Kurt Vonnegut, Jr. Copyright © 1961 by Kurt Vonnegut, Jr. Used by permission of Dell Publishing, a division of Random House, Inc. Harcourt: “Everyday Use,” from In Love & Trouble: Stories of Black Women by Alice Walker. Copyright © 1973 by Alice Walker. Reprinted by permission of Harcourt, Inc. This material may not be reproduced in any form or by any means without prior written permission of the publisher. Rutledge Hill Press: “Alice Walker on Quilting” by Alice Walker, from A Communion of the Spirits by Roland L. Freeman. Published by Rutledge Hill Press. Reprinted by permission of Rutledge Hill Press, Nashville, Tennessee. Brandt & Hochman Literary Agents: “Searching for Summer,” from The Green Flash by Joan Aiken. Copyright © 1969 by Joan Aiken. Reprinted by permission of Brandt & Hochman Literary Agents, Inc. W. W. Norton & Company: Excerpts from Deep Survival: Who Lives, Who Dies, and Why by Laurence Gonzales. Copyright © 2003 by Laurence Gonzales. Used by permission of W. W. Norton & Company, Inc. Simon & Schuster Adult Publishing Group: Excerpt from The Johnstown Flood by David G. McCullough. Copyright © 1968 by David G. McCullough. Copyright renewed. Reprinted with permission of Simon & Schuster Adult Publishing Group. People Weekly: Excerpt from “Nine-Year-Old Amber Colvin Rides Out a Killer Flood in Ohio” by Michael Neill and Ken Myers, People Weekly, 2 July 1990. Copyright © 1990 Time Inc. All rights reserved. Reprinted by permission. Times Books: Excerpt from Leadership Moment by Michael Useem. Copyright © 1998 by Michael Useem. Used by permission of Times Books, a division of Random House, Inc. Susan Bergholz Literary Services: “Exile,” from The Other Side/ El Otro Lado by Julia Alvarez. Copyright © 1995 by Julia Alvarez. Published by Plume/Penguin, a division of Penguin Group (USA). Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved. Joy Harjo: “Crossing the Border,” from How We Became Human: New and Selected Poems by Joy Harjo. Copyright © 2002 by Joy Harjo. Reprinted by permission of the author. Viking Penguin: Excerpt from The Grapes of Wrath by John Steinbeck. Copyright 1939, renewed © 1967 by John Steinbeck. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc.

Academy Chicago Publishers: Excerpt from “The Opportunity,” from Thirteen Uncollected Stories by John Cheever. Copyright © 1994 Academy Chicago Publishers. Used by permission of Academy Chicago Publishers. Coffee House Press: Excerpt from A Place Where the Sea Remembers by Sandra Benítez. Copyright © 1993 by Sandra Benítez. Reprinted with the permission of Coffee House Press, Minneapolis, Minnesota. HarperCollins Publishers and Faber & Faber: Two brief excerpts from pp. 286 & 293 “Initiation,” used as a literary model, from Johnny Panic and the Bible of Dreams by Sylvia Plath. Copyright 1952, 1953, 1954, 1955, 1956, 1957, 1960, 1961, 1962, 1963 by Sylvia Plath. Copyright © 1977, 1979 by Ted Hughes. Used by permission of HarperCollins Publishers. Elizabeth Walsh Peavoy: Excerpt from “Brigid,” from Collected Stories by Mary Lavin, published by Houghton Mifflin Co. (1971). Originally published in Long Ago and Other Stories, Little, Brown and Company. Copyright © 1971 by Mary Lavin. Reprinted by permission of Elizabeth Walsh Peavoy. Naomi Shihab Nye: “Shoofly Pie” by Naomi Shihab Nye. Copyright © 2001 by Naomi Shihab Nye. First published in The Color of Absence: 12 Stories About Loss and Hope, edited by James Howe (Simon & Schuster). By permission of the author, Naomi Shihab Nye. The New York Times: Excerpt from “A Mexican Feast for Bodies and Souls” by Dave Roos, the New York Times, 27 October 2004. Copyright © 2004 by the New York Times Co. Reprinted with permission. Bantam Books: “The Possibility of Evil,” from Just an Ordinary Day: The Uncollected Stories by Shirley Jackson. Used by permission of Bantam Books, a division of Random House, Inc. Viking Penguin: “Like the Sun,” from Under the Banyan Tree by R. K. Narayan. Copyright © 1985 by R. K. Narayan. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc. Harvard University Press: “Tell all the Truth but tell it slant–” by Emily Dickinson. Reprinted by permission of the publishers and the Trustees of Amherst College from The Poems of Emily Dickinson, Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University Press, Copyright © 1951, 1955, 1979 by the President and Fellows of Harvard College. Nicholas Gage: “The Teacher Who Changed My Life” by Nicholas Gage, Parade, 17 December 1989. Copyright © 1989 by Nicholas Gage. Reprinted by permission of the author. Susan Bergholz Literary Services: Excerpt from “A Celebration of Grandfathers” by Rudolfo Anaya. Copyright © 1983 by Rudolfo Anaya. First published in New Mexico Magazine, March 1983. Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved. Time: “Simply Grand: Generational Ties Matter, and Grandparents Are Finding New Ways to Play Starring Roles in the Lives of Their Grandchildren” by Megan Rutherford, Time, Online Edition,

acknowledgments

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11 October 1999. Copyright © 2004 by Time Inc. Reprinted by permission. BOA Editions: “The Gift,” from Rose by Li-Young Lee. Copyright © 1986 by Li-Young Lee. Reprinted by permission of BOA Editions, Ltd. Liveright Publishing Corporation: “Those Winter Sundays,” from Collected Poems of Robert Hayden by Robert Hayden. Copyright © 1966 by Robert Hayden. Reprinted by permission of Liveright Publishing Corporation. Arte Público Press: Excerpt from “Tío Nano” by Lionel G. García is reprinted with permission from the publisher of I Can Hear the Cowbells Ring (Houston: Arte Público Press–University of Houston, 1994). Random House and Phoebe Larmore: Excerpt from “Uncles,” from Wilderness Tips by Margaret Atwood. Copyright © 1991 by O.W. Toad Limited. Used by permission of Doubleday, a division of Random House, Inc., and Phoebe Larmore.

unit 3 Felicity Bryan Literary Agency: Excerpt from “Lalla” by Rosamunde Pilcher. Copyright © Rosamunde Pilcher. Reproduced by permission of Felicity Bryan Literary Agency and the author. Scholastic: Excerpt from “Catch the Moon,” from An Island Like You: Stories of the Barrio by Judith Ortiz Cofer. Copyright © 1995 by Judith Ortiz Cofer. Reprinted by permission of Scholastic Inc. Houghton Mifflin Company: Excerpt from The Namesake by Jhumpa Lahiri. Copyright © 2003 by Jhumpa Lahiri. Reprinted by permission of Houghton Mifflin Company. All rights reserved. Curtis Brown: Excerpt from A Separate Peace by John Knowles. Copyright © 1959 by John Knowles, renewed. Reprinted by permission of Curtis Brown, Ltd. Brandt and Hochman Literary Agents: “By the Waters of Babylon” by Stephen Vincent Benét, from Selected Works of Stephen Vincent Benét, published by Holt, Rinehart & Winston, Inc. Copyright © 1937 by Stephen Vincent Benét. Copyright renewed © 1955 by Rosemary Carr Benét. Reprinted by permission of Brandt and Hochman Literary Agents, Inc. Don Congdon Associates: “There Will Come Soft Rains” by Ray Bradbury. First published in Collier’s National Newsweekly Magazine, 6 May 1950. Copyright © 1950 by Crowell-Collier Publishing Company, renewed 1977 by Ray Bradbury. Reprinted by permission of Don Congdon Associates, Inc. Dow Jones & Company: “Inside the Home of the Future” by Kelly Greene. Wall Street Journal Online. Copyright © 2004 by Dow Jones & Company Inc. Reproduced with permission of Dow Jones & Company Inc. in the format Textbook via Copyright Clearance Center. Alfred A. Knopf: “The Doll’s House,” from The Short Stories of Katherine Mansfield by Katherine Mansfield. Copyright © 1923 by Alfred A. Knopf, a division of Random House, Inc., and renewed 1951 by John Middleton Murry. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

R156

acknowledgments

International Creative Management: “The Seventh Man” by Haruki Murakami. Copyright © 1998 by Haruki Murakami. Reprinted by permission of International Creative Management, Inc. Review of Contemporary Fiction: Excerpt from “An Interview with Haruki Murakami” by Sinda Gregory, Toshifumi Miyawaki, and Larry McCaffery. Previously published in Review of Contemporary Fiction (Summer 2002). Copyright © 2002 Review of Contemporary Fiction. Reproduced with permission. Time Inc.: “The Man in the Water” by Roger Rosenblatt, Time, 25 January 1982. Copyright © 1982 Time Inc. Reprinted by permission. Joanne Hyppolite: “Dyaspora” by Joanne Hyppolite. Copyright © 2001 by Joanne Hyppolite. Reprinted by permission of the author. Lisa Fugard: Excerpt from “Night Calls” by Lisa Fugard, Outside Magazine, May 1995. Copyright © 1995 by Lisa Fugard. Reprinted by permission of the author. Alfred A. Knopf: Excerpt from The Snow Goose by Paul Gallico. Copyright 1940 by the Curtis Publishing Company. Copyright renewed 1968 by Paul Gallico. Used by permission of Alfred A. Knopf, a division of Random House, Inc.

unit 4 Peter H. Lee: “Cranes” by Hwang Sunw˘on, translated by Peter H. Lee, from Flowers of Fire: Twentieth-Century Korean Stories, edited by Peter H. Lee. Reprinted by permission of Peter H. Lee. Arnold Kellett: “Two Friends” by Guy de Maupassant, from The Dark Side of Guy de Maupassant, translated by Arnold Kellett. Copyright © 1972, 1976, 1989 by Arnold Kellett. Reprinted by permission of Arnold Kellett. Houghton Mifflin Company: “When Mr. Pirzada Came to Dine,” from Interpreter of Maladies by Jhumpa Lahiri. Copyright © 1999 by Jhumpa Lahiri. Reprinted by permission of Houghton Mifflin Company. All rights reserved. MacNeil-Lehrer Productions: Excerpt from “Interview with Jhumpa Lahiri,” from The NewsHour with Jim Lehrer, 12 April 2000. Copyright © 2000 MacNeil-Lehrer Productions. Reprinted by permission. Brooks Permissions: “the sonnet-ballad,” from Blacks by Gwendolyn Brooks (Chicago: Third World Press, 1991). Copyright © 1991 by Gwendolyn Brooks. Reprinted by consent of Brooks Permissions. Harcourt, the Provost and Scholars of King’s College, Cambridge, and the Society of Authors: Excerpt from “Tolerance,” from Two Cheers for Democracy by E. M. Forster. Copyright © 1951 by E. M. Forster and renewed 1979 by Donald Parry. Reprinted by permission of Harcourt, Inc., the Provost and Scholars of King’s College, Cambridge, and the Society of Authors as the Literary Representatives of the E. M. Forster Estate. Andrew Lam: “Letter to a Young Refugee from Another” by Andrew Lam. Copyright © 1999 by Andrew Lam. Reprinted by permission of the author. Columbia University Press: “Song of P’eng-ya” by Tu Fu, from The Columbia Book of Chinese Poetry, translated and edited by Burton

Watson. Copyright © 1984 Columbia University Press. Reprinted with the permission of the publisher.

unit 5 Skiing: Excerpt from “Go Faster, Turn Easier” by Chris Anthony, Skiing, January 2004. Copyright © 2004 Time4 Media, Inc. All rights reserved. Reprinted with permission. Tribune Media Services: Excerpt from “Snow Immobile” by Dave Barry, the Washington Post, 12 February 1995. Copyright © 1995 the Washington Post Company. Reprinted by permission of Tribune Media Services. Outside: Excerpt from “At Home in the Discomfort Zone” by Kevin Foley, Outside, April 2002. Copyright © 2002 Mariah Media, Inc. All rights reserved. Reprinted by permission. New York Times: “Observer: The Plot Against People” by Russell Baker, the New York Times, 18 June 1968. Copyright © 1968 by the New York Times Co. Reprinted with permission. Random House: “Why the Leaves Turn Color in the Fall,” from A Natural History of the Senses by Diane Ackerman. Copyright © 1990 by Diane Ackerman. Used by permission of Random House, Inc. W. W. Norton & Company: Excerpts from “Blowup: What Went Wrong at Storm King Mountain,” from Fire by Sebastian Junger. Copyright © 2001 by Sebastian Junger. Used by permission of W. W. Norton & Company, Inc. Scribner: “And of Clay Are We Created,” from The Stories of Eva Luna by Isabel Allende, translated from the Spanish by Margaret Sayers Peden. Copyright © 1989 by Isabel Allende. English Translation Copyright © 1991 by Macmillan Publishing Company. Reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group. Boston Globe: “Girl, Trapped in Water for 55 Hours, Dies Despite Rescue Efforts” by Julia Preston, the Boston Globe, 17 November 1985. Reprinted courtesy of the Boston Globe in the format Textbook via Copyright Clearance Center. Arte Público Press: “Peruvian Child,” from My Own True Name: New and Selected Poems for Young Adults by Pat Mora (Houston: Arte Público Press–University of Houston, 2000). Text copyright © 2000 by Pat Mora. Reprinted with permission from the publisher. Rita Dove: “Lady Freedom Among Us,” from On the Bus with Rosa Parks by Rita Dove, W. W. Norton & Company. Copyright © 1999 by Rita Dove. Reprinted by permission of the author. Doubleday: Excerpts from “Interview with Rita Dove” by Bill Moyers, from The Language of Life: A Festival of Poets by Bill Moyers. Copyright © 1995 by Public Affairs Television, Inc., and David Grubin Productions, Inc. Used by permission of Doubleday, a division of Random House, Inc. Discovery Books: Excerpt from Discovery Channel: Insects & Spiders. Copyright © Discovery Communications, Inc. Reprinted by permission of Discovery Books, a division of Random House, Inc. Viking Penguin: Excerpt from “How to Write a Letter,” from We Are Still Married: Stories & Letters by Garrison Keillor. Copyright © 1989 by Garrison Keillor. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc.

unit 6 The Advertising Council: Excerpts from “Youth Civic Engagement/Voter Participation,” from the Advertising Council Website (http:www.adcouncil.org/issues/voting). Copyright © 2005 the Advertising Council. All rights reserved. Reprinted by permission of the Advertising Council. International Creative Management: Excerpt from “Mount Holyoke Commencement Speech” by Anna Quindlen. Copyright © 1999 by Anna Quindlen. Reprinted by permission of International Creative Management, Inc. “Doing Nothing Is Something” by Anna Quindlen. Copyright © 2002 by Anna Quindlen. Reprinted by permission of International Creative Management, Inc. Business Week: “Abolishing the Penny Makes Good Sense” by Alan S. Blinder, Business Week, 12 January 1987. Copyright © 1987 by the McGraw-Hill Companies, Inc. Reprinted by special permission. The Estate of Carl Sagan and Ann Druyan: “On Nuclear Disarmament” by Carl Sagan and Ann Druyan. Copyright © 1998 by the Estate of Carl Sagan and Ann Druyan. Reprinted with permission from the Estate of Carl Sagan and Ann Druyan. Sterling Lord Literistic: “I Acknowledge Mine” by Jane Goodall, from Visions of Caliban by Dale Peterson and Jane Goodall. Copyright © 1993 by Dale Peterson and Jane Goodall. Reprinted by permission of Sll/Sterling Lord Literistic, Inc. American Medical Association: Excerpt from “Use of Animals in Biomedical Research.” Copyright © 1989 American Medical Association. Reprinted by permission of the American Medical Association. Viking Penguin: “A Chip of Glass Ruby,” from Selected Stories by Nadine Gordimer. Copyright © 1961 by Nadine Gordimer. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc. National Council of the Churches of Christ in the United States of America: Excerpt from “1 Timothy 5,” from the New Revised Standard Version Bible. Copyright © 1989, Division of Christian Education of the National Council of the Churches of Christ in the United States of America. Used by permission. All right reserved. Time: “Why Go Back to the Moon?” by Michael D. Lemonick, Time magazine, 26 January 2004. Copyright © 2004 Time Inc. Reprinted by permission. Matt Silver: Excerpts from “In Defense of Space Exploration” by Matt Silver, The Tech, Volume 123, Number 66, 28 January 2004. Copyright © 2004 by Matt Silver. Reprinted by permission of the author.

unit 7 Angela de Hoyos: Excerpt from “Look Not to Memories” by Angela de Hoyos is reprinted with permission from the author and with permission from the publisher BOA Editions: “i am not done yet,” from Good Woman: Poems and a Memoir, 1969–1980 by Lucille Clifton. Copyright © 1987 by Lucille Clifton. All rights reserved. Reprinted by permission of BOA Editions, Ltd.

acknowledgments

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Brooks Permissions: “We Real Cool,” from Blacks by Gwendolyn Brooks. Copyright © 1945, 1949, 1953, 1960, 1963, 1968, 1970, 1971, 1975, 1981, 1987 by Gwendolyn Brooks Blakely. Reprinted by consent of Brooks Permissions. Wesleyan University Press: “The Base Stealer,” from The Orb Weaver by Robert Francis. Copyright © 1960 by Robert Francis. Reprinted by permission of Wesleyan University Press. “Slam, Dunk, & Hook,” from Pleasure Dome by Yusef Komunyakaa (Wesleyan University Press, 2001). Copyright © 2001 by Yusef Komunyakaa. Reprinted by permission of Wesleyan University Press. The University of Georgia Press: Excerpt from “Memory,” from This Is My Century: New and Collected Poems by Margaret Walker. Copyright © 1989 by Margaret Walker Alexander. Reprinted by permission of the University of Georgia Press. Sylvia Winner: Excerpt from “Elegy for My Father,” from The Sanity of Earth and Grass: Complete Poems by Robert Winner. Copyright © 1979, 1983 by Robert Winner. Copyright © 1994 by Sylvia Winner. Reprinted by permission of Sylvia Winner. W. W. Norton & Company: Excerpt from “Wind Chill,” from Carnival Evening: New and Selected Poems, 1968–1998 by Linda Pastan. Copyright © 1998 by Linda Pastan. Used by permission of W. W. Norton & Company, Inc. Farrar, Straus & Giroux: “Midsummer, Tobago,” from Collected Poems: 1948–1984 by Derek Walcott. Copyright © 1986 by Derek Walcott. Reprinted by permission of Farrar, Straus & Giroux, LLC. Agencia Literaria Carmen Balcells and The Grove Press: Excerpt from “Horses,” from Pablo Neruda: A New Decade by Pablo Neruda, translated by Alastair Reid. Copyright © Fundacion Pablo Neruda. Reprinted by permission of Agencia Literaria Carmen Balcells, S.A. and The Grove Press. Alfred A. Knopf: Excerpt from “Departure,” from The Collected Poems by Sylvia Plath. Copyright © 1960, 1965, 1971, 1981 by the Estate of Sylvia Plath. Reprinted by permission of Alfred A. Knopf, a division of Random House, Inc. “Ex-Basketball Player,” from Collected Poems: 1953–1993 by John Updike. Copyright © 1993 by John Updike. Used by permission of Alfred A. Knopf, a division of Random House, Inc. Anderson Literary Agency: “The Sound of Night” by Maxine Kumin, from Halfway, Holt, Rinehart & Winston. Copyright © 1961 by Maxine Kumin. Reprinted by permission of the Anderson Literary Agency, Inc. Harvard University Press: “I dwell in Possibility–” by Emily Dickinson. Reprinted by permission of the publishers and the Trustees of Amherst College, from The Complete Poems of Emily Dickinson, Thomas H. Johnson, ed., Cambridge, Mass.: The Belknap Press of Harvard University Press. Copyright © 1951, 1955, 1979 by the President and Fellows of Harvard College. New Directions: “Variation on a Theme by Rilke,” from Breathing the Water by Denise Levertov. Copyright © 1987 by Denise Levertov. Reprinted by permission of New Directions Publishing Corp. BOA Editions: “blessing the boats,” from Quilting: Poems 1987–1990 by Lucille Clifton. Copyright © 1991 by Lucille Clifton. Reprinted by permission of BOA Editions, Ltd.

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acknowledgments

Farrar, Straus & Giroux: “The Fish,” from The Complete Poems 1927–1979 by Elizabeth Bishop. Copyright © 1979, 1983 by Alice Helen Methfessel. Reprinted by permission of Farrar, Straus & Giroux, LLC. Random House: “Christmas Sparrow,” from Nine Horses by Billy Collins. Copyright © 2002 by Billy Collins. Used by permission of Random House, Inc. Doubleday: “The Sloth,” from The Collected Poems of Theodore Roethke by Theodore Roethke. Copyright 1950 by Theodore Roethke. Used by permission of Doubleday, a division of Random House, Inc. Viking Penguin: “Piano” by D. H. Lawrence, from The Complete Poems of D. H. Lawrence, edited by V. de Sola Pinto & F. W. Roberts. Copyright © 1964, 1971 by Angelo Ravagli and C. M. Weekley, Executors of the Estate of Frieda Lawrence Ravagli. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc. Graywolf Press: “Fifteen,” from The Way It Is: New & Selected Poems by William Stafford. Copyright © 1966, 1998 by the Estate of William Stafford. Reprinted with the permission of Graywolf Press, Saint Paul, Minnesota. Agencia Literaria Carmen Balcells and Random House UK: Original “Poema 20” from the work Veinte Poemas de Amor y Una Canción Desesperada by Pablo Neruda. © Fundación Pablo Neruda, 1924. Used by permission of Agencia Literaria Carmen Balcells, S. A. “Puedo Escribir Los Versos . . .”/“Tonight I Can Write. . . ,” from Selected Poems by Pablo Neruda, translated by W. S. Merwin, edited by Nathaniel Tarn and published by Jonathan Cape. Used by permission of the Random House Group Limited. Elizabeth Barnett, Literary Executor: Sonnet XXX of Fatal Interview by Edna St. Vincent Millay. From Collected Poems, HarperCollins. Copyright 1931, 1958 by Edna St. Vincent Millay and Norma Millay Ellis. All rights reserved. Reprinted by permission of Elizabeth Barnett, literary executor. Writers House: “Ballad”/“Balada,” from Selected Poems: A Bilingual Edition by Gabriela Mistral, translated by Doris Dana (Baltimore: the Johns Hopkins University Press, 1971). Copyright © 1961, 1964, 1970, 1971 by Doris Dana. Reprinted with the permission of Writers House, LLC, New York, on behalf of the proprietors. Alfred A. Knopf: “Midwinter Blues,” from The Collected Poems of Langston Hughes by Langston Hughes. Copyright © 1994 by the Estate of Langston Hughes. Used by permission of Alfred A. Knopf, a division of Random House, Inc. Everyman’s Library: From Blues Poems, edited by Kevin Young. Copyright © 2003 by Everyman’s Library. Used by permission of Everyman’s Library, a division of Random House, Inc. Little, Brown and Company: “Reprise,” from Versus by Ogden Nash. Copyright © 1950 by Odgen Nash. By permission of Little, Brown and Company.

unit 8 Scribner: Excerpt from “Big Two-Hearted River,” from The Nick Adams Stories by Ernest Hemingway. Copyright © 1972 The Ernest Hemingway Foundation. Reprinted with permission of Scribner, a division of Simon & Schuster Adult Publishing Group.

Farrar, Straus & Giroux: Excerpt from “A Walk to the Jetty,” from Annie John by Jamaica Kincaid. Copyright © 1985 by Jamaica Kincaid. Reprinted by permission of Farrar, Straus & Giroux, LLC. Henry Holt and Company: “Birches” and “Mending Wall” by Robert Frost, from The Poetry of Robert Frost, edited by Edward Connery Lathem. Copyright © 1967 by Lesley Ballantine Frost. Copyright © 1944, 1958 by Robert Frost. Copyright 1916, 1930, © 1969 by Henry Holt and Company. Reprinted by permission of Henry Holt and Company, LLC. Harcourt: “Fourth of July Night,” from Wind Song by Carl Sandburg. Copyright © 1960 by Carl Sandburg and renewed 1988 by Margaret Sandburg, Janet Sandburg, and Helga Sandburg Crile. Reprinted by permission of Harcourt, Inc. This material may not be reproduced in any form or by any means without prior written permission of the publisher. New Directions: “The Red Wheelbarrow,” from Collected Poems: 1909–1930, Volume I by William Carlos Williams. Copyright © 1938 by New Directions Publishing Corp. Reprinted by permission of New Directions Publishing Corp. Susan Bergholz Literary Services: “Only Daughter” by Sandra Cisneros. Copyright © 1990 by Sandra Cisneros. First published in Glamour, Volume 88, November 1990. Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved. From Caramelo by Sandra Cisneros. Copyright © 2002 by Sandra Cisneros. Published by Vintage Books in paperback in 2003 and originally in hardcover by Alfred A. Knopf, Inc. Reprinted by permission of Susan Bergholz Literary Services, New York. All rights reserved. Fairyland Music: Excerpt from the song lyric “Moon Men Mambo,” words and music by Paul Parnes. Copyright © by Fairyland Music (ASCAP). All rights reserved. Reprinted by permission of Fairyland Music. The Orange County Register: “Author brings back memories of not so long ago” by Yvette Cabrera, The Orange County Register, 15 April 2002. Copyright © 2002 by The Orange County Register. Reprinted by permission. Scribner: “Old Man at the Bridge,” from The Short Stories of Ernest Hemingway by Ernest Hemingway. Copyright 1938 by Ernest Hemingway, renewal copyright © 1966 by Mary Hemingway. Reprinted with the permission of Scribner, an imprint of Simon & Schuster Adult Publishing Group.

unit 9 Faith Childs Literary Agency and The Feminist Press: Excerpt from “To Da-duh, in Memoriam,” from Reena and Other Stories by Paule Marshall. Copyright © 1983 by The Feminist Press. All rights reserved. Reprinted by permission of The Feminist Press. Harcourt and the Wendy Weil Agency: “Women,” from Revolutionary Petunias & Other Poems by Alice Walker. Copyright © 1970 and renewed 1998 by Alice Walker. This material may not be reproduced in any form or by any means without prior written permission of the publisher. Reprinted by permission of Harcourt, Inc. and the Wendy Weil Agency.

Viking Penguin: Excerpt from The Grapes of Wrath by John Steinbeck. Copyright 1939 by John Steinbeck. Copyright renewed 1967 by John Steinbeck. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc. Zhang Jie: Excerpt from “Love Must Not Be Forgotten” by Zhang Jie. Copyright © Zhang Jie. Reprinted by permission of the author. Hill and Wang: Excerpt from Night by Elie Wiesel, translated by Stella Rodway. Copyright © 1960 by MacGibbon & Kee. Copyright renewed 1988 by the Collins Publishing Group. Reprinted by permission of Hill and Wang, a division of Farrar, Straus and Giroux, LLC. Nobel Foundation: Excerpt from Nobel Prize acceptance speech by Elie Wiesel. Copyright © 1986 the Nobel Foundation. Reprinted by permission of the Nobel Foundation. Houghton Mifflin Company: Excerpt from Farewell to Manzanar by James D. Houston and Jeanne Wakatsuki Houston. Copyright © 1973 by James D. Houston. Reprinted by permission of Houghton Mifflin Company. All rights reserved. Henry Holt and Company: Excerpt from My Life with Martin Luther King, Jr. by Coretta Scott King. Copyright © 1969 by Coretta Scott King. Revised edition copyright © 1993 by Coretta Scott King. Reprinted by permission of Henry Holt and Company, LLC. Doubleday and Harold Ober Associates: “Marriage Is a Private Affair,” from Girls At War and Other Stories by Chinua Achebe. Copyright © 1972, 1973 by Chinua Achebe. Used by permission of Doubleday, a division of Random House, Inc., and Harold Ober Associates Incorporated. Fawcett Books: Excerpt from Mixed Matches by Joel Crohn, PhD. Copyright © 1995 by Joel Crohn, PhD. Used by permission of Fawcett Books, a division of Random House, Inc. Houghton Mifflin Company/Seymour Lawrence: “On the Rainy River,” from The Things They Carried by Tim O’Brien. Copyright © 1990 by Tim O’Brien. Reprinted by permission of Houghton Mifflin Company/Seymour Lawrence. All rights reserved. Cathy Song: “Who Makes the Journey” by Cathy Song, from Breaking Silence: An Anthology of Contemporary Asian American Poets, edited by Joseph Bruchac. Reprinted by permission of the author. Farrar, Straus & Giroux: “Freedom to Breathe,” and “The Bonfire and the Ants,” from Stories and Prose Poems by Alexander Solzhenitsyn, translated by Michael Glenny. Copyright © 1975 by Alexander Solzhenitsyn. Translation copyright © 1975 by Farrar, Straus & Giroux, LLC. Reprinted by permission of Farrar, Straus & Giroux, LLC.

unit 10 Viking Penguin: Excerpt from “Oedipus the King,” by Sophocles, from Three Theban Plays by Sophocles, translated by Robert Fagles. Copyright © 1982 by Robert Fagles. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc. Constance Hieatt: Excerpt from Sir Gawain and the Green Knight, retold by Constance Hieatt. Copyright © 1967 by Constance Hieatt. Reprinted by permission of the author. Harcourt: Excerpts from Antigone, from Sophocles: The Oedipus Cycle, An English Version by Dudley Fitts and Robert Fitzgerald.

acknowledgments

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Copyright 1939 by Harcourt, Inc., and renewed © 1967 by Dudley Fitts and Robert Fitzgerald. Reprinted by permission of the publisher. This material may not be reproduced in any form or by any means without the prior written permission of the publisher. CAUTION: All rights, including professional, amateur, motion picture, recitation, lecturing, performance, public reading, radio broadcasting, and television, are strictly reserved. Inquiries on all rights should be addressed to Harcourt, Inc., Permissions Department, Orlando, FL 32887-6777. Dutton Signet: Excerpts from “The Tale of King Arthur,” from Le Morte d’Arthur by Sir Thomas Malory, translated by Keith Baines. Copyright © 1962 by Keith Baines, renewed © 1990 by Francesca Evans. Used by permission of Dutton Signet, a division of Penguin Group (USA) Inc. Harcourt: Antigone, from Sophocles: The Oedipus Cycle, An English Version by Dudley Fitts and Robert Fitzgerald. Copyright 1939 by Harcourt, Inc., and renewed © 1967 by Dudley Fitts and Robert Fitzgerald. Reprinted by permission of the publisher. This material may not be reproduced in any form or by any means without the prior written permission of the publisher. CAUTION: All rights, including professional, amateur, motion picture, recitation, lecturing, performance, public reading, radio broadcasting, and television, are strictly reserved. Inquiries on all rights should be addressed to Harcourt, Inc., Permissions Department, Orlando, FL 32887-6777. Dutton Signet: Excerpt from “The Tale of King Arthur,” and “The Tale of Sir Launcelot du Lake,” from Le Morte d’Arthur by Sir Thomas Malory, translated by Keith Baines. Copyright © 1962 by Keith Baines, renewed © 1990 by Francesca Evans. Used by permission of Dutton Signet, a division of Penguin Group (USA) Inc. Alfred A. Knopf: Excerpt from A Distant Mirror: The Calamitous 14th Century by Barbara W. Tuchman. Copyright © 1978 by Barbara W. Tuchman. Used by permission of Alfred A. Knopf, a division of Random House, Inc. Farrar, Straus and Giroux: Excerpt from “Sir Lancelot of the Lake,” from The Acts of King Arthur and His Noble Knights by John Steinbeck. Copyright © 1976 by Elaine Steinbeck. Reprinted by permission of Farrar, Straus and Giroux, LLC. Viking Penguin: Excerpt from Don Quixote by Miguel de Cervantes Saavedra, translated by Samuel Putnam. Copyright 1949 by the Viking Press, Inc. Used by permission of Viking Penguin, a division of Penguin Group (USA) Inc. Random House and Alan S. Honig: Excerpt from Man of La Mancha by Dale Wasserman, lyrics by Joe Darion, and music by Mitch Leigh. Copyright © 1966 by Dale Wasserman. Copyright © 1965 by Helena Music Corp. and Andrew Scott, Inc. Used by permission of Random House, Inc., and Alan S. Honig, administrator for the Estate of Joe Darion.

R160 acknowledgments

unit 11 The Nation: Excerpt from “Review of Julius Caesar” by Thomas M. Disch. Reprinted with permission from the April 23, 1998, issue of the Nation. For subscription information, call 1-800-333-8536. Portions of each week’s Nation magazine can be accessed at http://www.thenation. com. Diane Goldsmith: “Hail, Caesar!” by Edith Oliver. Originally published in the New Yorker, 28 March 1988. Copyright © 1988 Edith Oliver. Reprinted by permission of Diane Goldsmith on behalf of the Estate of Edith Oliver.

unit 12 The Charlotte Observer: Excerpt from “Girlfriend Led Him to Music – Tuba Kept Him There” by Steven Brown, the Charlotte Observer, 8 May 2005. Copyright © 2005 the Charlotte Observer. Reprinted by permission of the Charlotte Observer.

student resource bank Time: Excerpt from “The Man in the Water” by Roger Rosenblatt, Time, 25 January 1982. Copyright © 1982 Time Inc. Reprinted by permission. Time Life Books: Excerpt from “Winning Glory at the Games,” from What Life Was Like at the Dawn of Democracy. Copyright 1997 Time Life Inc. All rights reserved. Reprinted by permission of Time Life Books. Texas Instruments: “How to Draw a Triangle,” from TI-84 Plus Cabri® Jr. Application Web page (http://education.ti.com/ US/products/apps/cabrijr.html). Copyright © 1995–2005 Texas Instruments Incorporated. Used with permission of copyright owner, Texas Instruments. Alfred A. Knopf: Excerpt from “The Daunting Workplace,” from The Working Poor by David Shipler. Copyright © 2004 by David K Shipler. Reprinted by permission of Alfred A. Knopf, a division of Random House, Inc. Associated Press: Excerpt from “Low-carb dieters losing interest” by Margaret Stafford, Associated Press, 20 December 2004. Copyright © 2004 Associated Press. Reprinted by permission of the Associated Press.

ART CREDITS consultants

introductory unit

Title page © Getty images; Photo © Duane McCubrey; Photo © Mark Schmidt; Photo © Bruce Forrester; Photo © McDougal Littell; Photo © Howard Gollub; Photo © Tamra Stallings; Photo © Mark Schmidt; Photo © Robert J. Marzano; Photo © McDougal Littell; Photo © Dawson & Associates Photography; Photo © Gitchell’s Studio; Photo © Michael Romeo; Photo © Monica Ani; Photo © William McBride; Photo © Bill Caldwell; Photo © Gabriel Pauluzzi; Photo © Steven Scheffler.

1 left © Historical Picture Archive/Corbis; top right © Firefly Productions/ Corbis; bottom right © Peter Casolino/Corbis; 2 left, Detail of Melancholy, Edvard Munch. National Gallery, Oslo, Norway. Photo © Scala/Art Resource, New York © 2007 The Munch Museum/The Munch-Ellingsen Group/Artists Rights Society (ARS), New York; right © Flip Schulke/Corbis; 3 left, Sosteniendo el Tiempo (1998), Satenik Tekyan. Mixed media, 95 cm × 80 cm. www.artesur.com/satenik; right © The Royal Shakespeare Company, London; 8 top © Bettmann/Corbis; center AP/Wide World Photos; bottom Rex USA; 10 top to bottom © 1995 Universal City Studios, Inc./Courtesy of Universal Studios Licensing LLLP; © Getty Images; © J. Silver/SuperStock; Photograph by Sharon Hoogstraten; NASA; 14 © Jo-Ann Richards/Veer; 16 left © Sonny T. Senser/Age Fotostock America, Inc.; center © Herb Watson/ Corbis; right © Time & Life Pictures/Getty Images; 17 left © PhotoDisc; right © Flying Colours Ltd./Getty Images; 18 © Jason Ernst/Age Fotostock America, Inc.; 19 left © Stock4B/Getty Images; center © John Henley/ Corbis; right © Flying Colours, Ltd./Getty Images.

table of contents Contents in Brief verso top, Apple Picking (1878), Winslow Homer. Watercolor and gouache on paper, laid down on board. 7˝ × 83/8˝. Terra Foundation for American Art, Daniel J. Terra Collection 1992.7. Photograph courtesy of Terra Foundation for American Art, Chicago; bottom © Sarah Doehring; recto top © Evan Sklar/Getty Images; bottom Copyright © Donald Cooper/Photostage; Unit 1 verso left © Gavin Hellier/Getty Images; right, Utopie (1999), Bob Lescaux. Oil on canvas, 81 cm × 65 cm. Private collection. Photo © Bridgeman Art Library; recto © PunchStock; Unit 2 verso left © Illustration Works/Getty Images; right Courtesy of Nicholas Gage; recto © PunchStock; Unit 3 verso left © Michael S. Yamashita/Corbis; right, Sudden Shower over Shin-Ohashi Bridge and Atake (1800s), Ando Hiroshige or Utagawa. Plate 58 from One Hundred Famous Views of Edo. Woodblock color print. © Brooklyn Museum of Art, Brooklyn, New York/Bridgeman Art Library; recto © PunchStock; Unit 4 verso left, Lamentation: Memorial for Ernst Barlach (1940), Kåthe Kollwitz. Bronze.© SuperStock, Inc. © 2008 Artists Rights Society (ARS), New York/VG Bild-Kunst, Bonn; right, Civilization is a method of living, an attitude of equal respect for all men from the series, Great Ideas of Western Men (1955), George Giusti. India ink and goache on paper, 247/8˝ × 185/16˝. Gift of the Container Corporation of America. Smithsonian American Art Museum, Washington, D.C. Photo © Smithsonian American Art Museum, Washington, D.C./Art Resource, New York; recto © PunchStock; Unit 5 verso left © Bob Rowan; Progressive Image/Corbis; right, Path Through the Forest (1914), Suzanne Valadon. Oil on canvas. Musée Fabre, Montpelier, France © Superstock, Inc./SuperStock © 2008 Artists Rights Society (ARS), New York/ADAGP, Paris; recto © PunchStock; Unit 6 verso left, The Merry Jesters (1906), Henri Rousseau. © Philadelphia Museum of Art/Corbis; right © Michael Nichols/Getty Images; recto © PunchStock; Unit 7 verso right, Trees at Night, Thomas Meteyard. Berry Hill Gallery, New York. Photo © Edward Owen/Art Resource, New York; left © Brooks Walker/ Getty Images; recto © PunchStock; Unit 8 verso left © Peter Casolino/ Corbis; right © Firefly Productions/Corbis; recto © PunchStock; Unit 9 verso left © Bettmann/Corbis; right © Scott Braut; recto © PunchStock; Unit 10 verso left, Queen Guinevere’s Maying, John Collier. Bradford Art Galleries and Museums, West Yorkshire, United Kingdom. Photo © Bridgeman Art Library; right © Donald Cooper/Photostage; recto © PunchStock; Unit 11 verso left © Archivo Iconografico, S.A./Corbis; right © Andrea Pistolesi/Getty Images; recto © PunchStock; Unit 12 © Michael Newman/PhotoEdit.

unit 1 21 left, Utopie (1999), Bob Lescaux. Oil on canvas, 81 cm × 65 cm. Private Collection. Photo © Bridgeman Art Library; right © Gavin Hellier/Getty Images; 22 left © MGM/The Kobal Collection; right © Dreamworks/ Warner Bros./Andrew Cooper/The Kobal Collection; 24 left © Don Farrall/ Getty Images; center left © Herman Agopian/Getty Images; center right © Anthony Nagelmann/Getty Images; right © Tim Thompson/Corbis; 32 © Nick White/Getty Images; 33 © Marko Shark/Corbis; 44 © Ted Streshinsky/Corbis; 45 © Frank Capri/Hulton Archive/Getty Images; 47 Home Chores (1945), Jacob Lawrence. Gouache and graphite on paper. 29 1/2˝ × 21 1/16˝. Anonymous gift. The Nelson-Atkins Museum of Art, Kansas City, Missouri. F69-6. Photo by Jamison Miller © 2008 The Jacob and Gwendolyn Lawrence Foundation, Seattle/Artists Rights Society (ARS), New York; 56 top © 1992 Roland L. Freeman; bottom, Crazy patchwork quilt (1875), unknown artist. © Smithsonian Institution, Washington, D.C./Bridgeman Art Library; 60 © Japack Company/Corbis; 61 © Beth Gwinn; 74 © Chase Swift/Corbis; 75 © Underwood & Underwood/ Corbis; 77 © Jeff Vanuga/Corbis; 79 © Gordon Wiltsie/Getty Images; inset © Ted Wood/Getty Images; 82 © Tim Thompson/Corbis; inset © Don Farrall/Getty Images; 87 © Ragnar Sigurdsson/Getty Images; inset © Herman Agopian/Getty Images; 91 © Anthony Nagelmann/Getty Images; inset © James Martin/Getty Images; 94 © Jeff Vanuga/Corbis; 95 © Ted Streshinsky/Corbis; 96 © Photo by Ric Potter; 100 © David W. Hamilton/Getty Images; 101 AP/Wide World Photos; 103 © Corbis; 106 © Bettmann/Corbis; 108 © Corbis; 111 © 1990 Michael A. Smith/ People Weekly; 112 © Bettmann/Corbis; 113 Wharton Communication, University of Pennsylvania; 115 NASA; 117 © Bettmann/Corbis; 118, 123, 125 NASA; 126 © Bettmann/Corbis; 130 NASA; 131 © 1995 Universal City Studios, Inc./Courtesy of Universal Studios Licensing LLLP; 132 top left, bottom left © 1995 Universal City Studios, Inc./Courtesy of Universal Studios Licensing LLLP; background © Richard Wahlstrom/Getty Images; 134 © Erin Patrice O’Brien/Getty Images; 135 top AP/Wide World Photos; bottom Christopher Felver/Corbis; 142, 148 © Craig Aurness/ Corbis; 149 © Charles Gupton/Corbis; 156 © Siede Preis/Photodisc/Getty Images.

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McDougal Littell Literature

McDougal Littell Literature Yellow Level

McDougal Littell Literature, Grade 9 – Student Textbook (2008)

McDougal Littlel Literature Grade 8

World History, Grades 6-8 Ancient Through Early Modern Times: Mcdougal Littell Middle School World History

Arthurian Literature XVIII (Arthurian Literature)

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Arthurian Literature XIX: Comedy in Arthurian Literature

Children's Literature (Edinburgh Critical Guides to Literature)

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McDougal Littell Literature