Creating the future today...
(SBEF (SBEF (SBEF
i Creating the future today…
5IF$PNNPO$PSF4UBUF4UBOEBSETJO&OHMJTI-BOHVBHF"SUTIBWFSFWPMVUJPOJ[FEJOTUSVDUJPO DSFBUJOHUIFOFFEGPSJOTUSVDUJPOBMSFTPVSDFTUIBUNFFUUIFDIBMMFOHFPGQSFQBSJOHTUVEFOUT GPSUIFTUDFOUVSZHolt McDougal LiteratureQSPWJEFTUIFNPTUDPNQSFIFOTJWFQSJOUBOE EJHJUBMTPMVUJPOTUIBUNFFUUPEBZTSJHPSPVTEFNBOEGPSFYDFMMFODF
&BDITUSBOEPGUIF$PNNPO$PSF4UBUF4UBOEBSETTVQQPSUTUIFEFWFMPQNFOUPGTUVEFOUTXIP DBOTVDDFTTGVMMZFOUFSDPMMFHFPSCFHJOBDBSFFSVQPOIJHITDIPPMHSBEVBUJPOHolt McDougal LiteratureIFMQTZPVBOEZPVSTUVEFOUTcreate the future today.
Reading 5IF3FBEJOHTUSBOEJTEJWJEFEJOUPUXPEJTUJODUQBSUTMJUFSBUVSFBOEJOGPSNBUJPOBMUFYU 5IJTFNQIBTJ[FTUIFFRVBMJNQPSUBODFFBDIIPMETJOUPEBZTTUBOEBSET&WFSZVOJUJO Holt McDougal LiteratureCFHJOTXJUIB5FYU"OBMZTJT8PSLTIPQXIJDIQSPWJEFTGSPOU MPBEFEJOTUSVDUJPOJOBOBMZTJTTLJMMTBQQMJFEUPTBNQMFUFYUT4UVEFOUTFYQMPSFUIFNFT BOBMZ[JOHBOESFTQPOEJOHUPMJUFSBSZBOEJOGPSNBUJPOBMUFYU4UVEFOUTNVTUTVQQPSUUIF DPODMVTJPOTUIFZESBXCZDJUJOHTQFDJmDUFYUVBMFWJEFODF5IFMJOFOVNCFSTPOFWFSZ TFMFDUJPOJOHolt McDougal LiteratureNBLFUIBUQSPDFTTBOBUVSBMPOF FOIBODJOH EJTDVTTJPOBOEGVSUIFSBOBMZTJT#FDBVTFTUVEFOUTNVTUDPNQBSFUFYUTBDSPTTHFOSFT BOENFEJVNT GPDVTJOHPOUIFBVUIPSTQVSQPTFBOEDSBGU Holt McDougal LiteratureFNQIBTJ[FT $PNQBSJOH5FYUTPQQPSUVOJUJFT
ii .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
Writing 5IF8SJUJOHTUSBOENJSSPSTUIFFNQIBTJTPOSFBEJOH JOGPSNBUJPOBMUFYUCZGPDVTJOHPOJOGPSNBUJWF FYQMBOBUPSZBOEBSHVNFOUBUJWFXSJUJOH4UVEFOUT TUBUFDMBJNTBOETVQQPSUUIFNXJUIDSFEJCMF FWJEFODF*OGPSNBUJWFBOEBSHVNFOUBUJWFXSJUJOH QSFQBSFTUVEFOUTGPSUIFLJOETPGUBTLTUIFZXJMM DPNQMFUFBGUFSIJHITDIPPM5IF8SJUJOH8PSLTIPQT JOHolt McDougal LiteratureQSPWJEFBDDFTTJCMF QSPDFTTCBTFEJOTUSVDUJPOXJUITUVEFOUNPEFMTBOE i-FBSO)PXwNJOJMFTTPOTUIBUUFBDITLJMMTJOUIF DPOUFYUPGXSJUJOH
Language 5IF-BOHVBHFTUSBOEGPDVTFTPOTUVEFOUTDPNNBOEPGTUBOEBSE&OHMJTIVTBHF HSBNNBSBOE NFDIBOJDTXIFOTQFBLJOHPSXSJUJOH iUIFNBSLPGBMJUFSBUFBEVMUJOUIFTUDFOUVSZw&BDI TFMFDUJPOJOHolt McDougal LiteratureJODMVEFTBQPJOUPGVTFMFTTPOJOHSBNNBS TUZMF PSVTBHF BTXFMMBTBGVMMQBHFPGJOTUSVDUJPO"DRVJTJUJPOPGWPDBCVMBSZ CPUIBDBEFNJDBOEEPNBJOTQFDJmD JTUIFNBJOFNQIBTJTJOUIFTUBOEBSETBOEJOHolt McDougal Literature.
Speaking and Listening 4UVEFOUTMFBSOIPXUPTVDDFTTGVMMZFOHBHFJODPOWFSTBUJPOTBOEDPMMBCPSBUJWFEJTDVTTJPOT BT XFMMBTQSFTFOUUIFJSJEFBTQFSTVBTJWFMZ4QFBLJOHBOEMJTUFOJOHXPSLTIPQTJOFBDIVOJUPGHolt McDougal LiteratureFODPVSBHFTUVEFOUTUPQSFTFOUUIFJSPXOQSPEVDUTUPBWBSJFUZPGBVEJFODFT
The Sampler 5IJTTBNQMFSGFBUVSFTFYBNQMFTPGIPXHolt McDougal LiteratureIBTSFTQPOEFEUPUIFSJHPS BOEJOUFOUPGUIF$PNNPO$PSF4UBUF4UBOEBSETJO &OHMJTI-BOHVBHF"SUT5IFGPMMPXJOHQBHFTJMMVTUSBUF UIFBDDFTTJCMFGPSNBUBOEWJTVBMBQQFBMUIBUNBLF Holt McDougal LiteratureUIFQFSGFDUDPNQMFNFOU UPZPVSJOTUSVDUJPOBMQMBO 5IFTFTBNQMFSTSFQSFTFOUUIFRVBMJUZBOEFOHBHJOH DIBSBDUFSPGHolt McDougal Literature EFTJHOFEUP IFMQZPVBOEZPVSTUVEFOUTcreate the future today.
iii English Language Arts Common Core State Standards
,ISTEDßBELOWßAREßTHEß%NGLISHß,ANGUAGEß!RTSß#OMMONß#OREß3TATEß3TANDARDSßTHATßYOUß AREßREQUIREDßTOßMASTERßBYßTHEßENDßOFß'RADEßß7EßHAVEßPROVIDEDßAßSUMMARYßOFßTHEß CONCEPTSßYOUßWILLßLEARNßONßYOURßWAYßTOßMASTERINGßEACHßSTANDARDß4HEß##2ßANCHORß STANDARDSßANDßHIGHßSCHOOLßGRADE SPECIFICßSTANDARDSßFORßEACHßSTRANDßWORKßTOGETHERß TOßDEFINEßCOLLEGEßANDßCAREERßREADINESSßEXPECTATIONS°THEßFORMERßPROVIDINGßBROADß STANDARDS ßTHEßLATTERßPROVIDINGßADDITIONALßSPECIFICITY
#OLLEGEßANDß#AREERß2EADINESSß!NCHORß3TANDARDSßFORß2EADING #/--/.ß#/2%ß34!4%ß34!.$!2$
+%9ß)$%!3ß!.$ß$%4!),3 ßß 2EADßCLOSELYßTOßDETERMINEßWHATßTHEßTEXTßSAYSßEXPLICITLYßANDßTOßMAKEßLOGICALßINFERENCESßFROMßITßCITEß SPECI½CßTEXTUALßEVIDENCEßWHENßWRITINGßORßSPEAKINGßTOßSUPPORTßCONCLUSIONSßDRAWNßFROMßTHEßTEXT
ßß $ETERMINEßCENTRALßIDEASßORßTHEMESßOFßAßTEXTßANDßANALYZEßTHEIRßDEVELOPMENTßSUMMARIZEßTHEßKEYß SUPPORTINGßDETAILSßANDßIDEAS
ßß !NALYZEßHOWßANDßWHYßINDIVIDUALS ßEVENTS ßANDßIDEASßDEVELOPßANDßINTERACTßOVERßTHEßCOURSEßOFßAßTEXT
#2!&4ß!.$ß3425#452% ßß)NTERPRETßWORDSßANDßPHRASESßASßTHEYßAREßUSEDßINßAßTEXT ßINCLUDINGßDETERMININGßTECHNICAL ßCONNOTATIVE ß ANDß½GURATIVEßMEANINGS ßANDßANALYZEßHOWßSPECI½CßWORDßCHOICESßSHAPEßMEANINGßORßTONE
ßß !NALYZEßTHEßSTRUCTUREßOFßTEXTS ßINCLUDINGßHOWßSPECI½CßSENTENCES ßPARAGRAPHS ßANDßLARGERßPORTIONSßOFßTHEß TEXTßEG ßAßSECTION ßCHAPTER ßSCENE ßORßSTANZA ßRELATEßTOßEACHßOTHERßANDßTHEßWHOLE
ßß!SSESSßHOWßPOINTßOFßVIEWßORßPURPOSEßSHAPESßTHEßCONTENTßANDßSTYLEßOFßAßTEXT
).4%'2!4)/.ß/&ß+./7,%$'%ß!.$ß)$%!3 ßß )NTEGRATEßANDßEVALUATEßCONTENTßPRESENTEDßINßDIVERSEßFORMATSßANDßMEDIA ßINCLUDINGßVISUALLYßANDß QUANTITATIVELY ßASßWELLßASßINßWORDS
ßß$ELINEATEßANDßEVALUATEßTHEßARGUMENTßANDßSPECI½CßCLAIMSßINßAßTEXT ßINCLUDINGßTHEßVALIDITYßOFßTHEß REASONINGßASßWELLßASßTHEßRELEVANCEßANDßSUF½CIENCYßOFßTHEßEVIDENCE
ßß!NALYZEßHOWßTWOßORßMOREßTEXTSßADDRESSßSIMILARßTHEMESßORßTOPICSßINßORDERßTOßBUILDßKNOWLEDGEßORßTOß COMPAREßTHEßAPPROACHESßTHEßAUTHORSßTAKE
2!.'%ß/&ß2%!$).'ß!.$ß,%6%,ß/&ß4%84ß#/-0,%8)49 ßß2EADßANDßCOMPREHENDßCOMPLEXßLITERARYßANDßINFORMATIONALßTEXTSßINDEPENDENTLYßANDßPRO½CIENTLY
iv .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
2EADINGß3TANDARDSßFORß,ITERATURE ß'RADEßß3TUDENTS 4HEß#OLLEGEßANDß#AREERß2EADINESSß!NCHORß3TANDARDSßFORß2EADINGßAPPLYßTOßBOTHßLITERATUREßANDßINFORMATIONALßTEXT
#/--/.ß#/2%ß34!4%ß34!.$!2$ 7(!4ß)4ß-%!.3ß4/ß9/5
+%9ß)$%!3ß!.$ß$%4!),3 ßß #ITEßSEVERALßPIECESßOFßTEXTUALßEVIDENCEßTOßSUPPORTßANALYSISßOFß 9OUßWILLßUSEßINFORMATIONßFROMßTHEßTEXTßTOßSUPPORTßITSßMAINß WHATßTHEßTEXTßSAYSßEXPLICITLYßASßWELLßASßINFERENCESßDRAWNßFROMß IDEAS°BOTHßTHOSEßTHATßAREßSTATEDßDIRECTLYßANDßTHOSEßTHATß THEßTEXT AREßSUGGESTED
ß $ETERMINEßAßTHEMEßORßCENTRALßIDEAßOFßAßTEXTßANDßANALYZEßITSß 9OUßWILLßANALYZEßAßTEXT´SßMAINßIDEASßANDßTHEMESßBYßSHOWINGß DEVELOPMENTßOVERßTHEßCOURSEßOFßTHEßTEXTßPROVIDEßANßOBJECTIVEß HOWßTHEYßUNFOLDßTHROUGHOUTßTHEßTEXTß9OUßWILLßALSOß SUMMARYßOFßTHEßTEXT SUMMARIZEßTHEßMAINßIDEAßOFßTHEßTEXTßASßAßWHOLEßWITHOUTß ADDINGßYOURßOWNßIDEASßORßOPINIONSß
ßß !NALYZEßHOWßPARTICULARßELEMENTSßOFßAßSTORYßORßDRAMAßINTERACTß 9OUßWILLßANALYZEßHOWßDIFFERENTßPARTSßOFßAßSTORYßORßDRAMAß EG ßHOWßSETTINGßSHAPESßTHEßCHARACTERSßORßPLOT AFFECTßEACHßOTHERß
#2!&4ß!.$ß3425#452% ßß$ETERMINEßTHEßMEANINGßOFßWORDSßANDßPHRASESßASßTHEYßAREß 9OUßWILLßANALYZEßSPECIFICßWORDS ßPHRASES ßANDßPATTERNSßOFß USEDßINßAßTEXT ßINCLUDINGß½GURATIVEßANDßCONNOTATIVEßMEANINGSß SOUNDßINßTHEßTEXTßTOßDETERMINEßWHATßTHEYßMEANßANDßHOWß ANALYZEßTHEßIMPACTßOFßRHYMESßANDßOTHERßREPETITIONSßOFßSOUNDSß THEYßCONTRIBUTEßTOßTHEßTEXT´SßLARGERßMEANINGß EG ßALLITERATION ßONßAßSPECI½CßVERSEßORßSTANZAßOFßAßPOEMßORß SECTIONßOFßAßSTORYßORßDRAMA
ßß !NALYZEßHOWßAßDRAMA´SßORßPOEM´SßFORMßORßSTRUCTUREßEG ß 9OUßWILLßANALYZEßHOWßTHEßFORMßOFßAßDRAMAßORßPOEMßAFFECTSß SOLILOQUY ßSONNET ßCONTRIBUTESßTOßITSßMEANING ITSßMEANINGß
ßß!NALYZEßHOWßANßAUTHORßDEVELOPSßANDßCONTRASTSßTHEßPOINTSßOFß 9OUßWILLßANALYZEßHOWßANßAUTHORßCONTRASTSßTHEßPERSPECTIVESß VIEWßOFßDIFFERENTßCHARACTERSßORßNARRATORSßINßAßTEXT OFßDIFFERENTßCHARACTERSßORßTHEßPOINTSßOFßVIEWßOFßNARRATORSßINß AßTEXT
).4%'2!4)/.ß/&ß+./7,%$'%ß!.$ß)$%!3 ßß #OMPAREßANDßCONTRASTßAßWRITTENßSTORY ßDRAMA ßORßPOEMßTOßITSß 9OUßWILLßCOMPAREßANDßCONTRASTßHOWßEVENTSßANDßINFORMATIONß AUDIO ß½LMED ßSTAGED ßORßMULTIMEDIAßVERSION ßANALYZINGßTHEß AREßPRESENTEDßINßVISUALßANDßNON VISUALßTEXTSß EFFECTSßOFßTECHNIQUESßUNIQUEßTOßEACHßMEDIUMßEG ßLIGHTING ß SOUND ßCOLOR ßORßCAMERAßFOCUSßANDßANGLESßINßAß½LM
ßß.OTßAPPLICABLEßTOßLITERATURE
ßß#OMPAREßANDßCONTRASTßAß½CTIONALßPORTRAYALßOFßAßTIME ßPLACE ß 9OUßWILLßRECOGNIZEßANDßANALYZEßHOWßANßAUTHORßDRAWSßFROMß ORßCHARACTERßANDßAßHISTORICALßACCOUNTßOFßTHEßSAMEßPERIODßASßAß ANDßUSESßHISTORICALßSOURCEßMATERIAL MEANSßOFßUNDERSTANDINGßHOWßAUTHORSßOFß½CTIONßUSEßORßALTERß HISTORY
2!.'%ß/&ß2%!$).'ß!.$ß,%6%,ß/&ß4%84ß#/-0,%8)49 ß"YßTHEßENDßOFßTHEßYEAR ßREADßANDßCOMPREHENDßLITERATURE ß INCLUDINGßSTORIES ßDRAMAS ßANDßPOEMS ßINßTHEßGRADES߯ßTEXTß 9OUßWILLßREADßANDßUNDERSTANDßGRADE LEVELßAPPROPRIATEß COMPLEXITYßBANDßPRO½CIENTLY ßWITHßSCAFFOLDINGßASßNEEDEDßATß LITERARYßTEXTSßBYßTHEßENDßOFßGRADEß THEßHIGHßENDßOFßTHEßRANGE
v $POUFOUTJO#SJFGt(SBEF
Detail of The Masterpiece on the Mysteries (1955), René Magritte. Oil on canvas. © 2008 C. Herscivici, Brusssels/Artists Rights Society (ARS), New York. Compelling Characters Photo © Christie’s Images/SuperStock. Is the Moon Tire $ISJTUJOB3PTTFUUJ d?
Is the moon tired? she looks so pale Within her misty veil: C C .",&*/'&3&/$&4
She scales the sky from east to west, 8IBUJTUIF²NJTUZWFJM³ And takes no rest. NFOUJPOFEJOMJOF
5 Before the coming of the night The moon shows papery white; Before the dawning of the day She fades away. D D '*(63"5*7&
-"/(6"(& 8IBUXPSETEPFT 3PTTFUUJVTFUPQFSTPOJGZ UIFNPPO
i’m nobody! who are you? / is thehe mmoon tired? DifferentD Points of View
vi .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
History and Fantasy
vii (SBEF
Contents in Brief
THE POWER OF IDEAS Introductory Unit (&/3&4803,4)01 3&"%*/(453"5&(*&4803,4)01 "$"%&.*$70$"#6-"3:803,4)01 83*5*/(130$&44803,4)01
LITERARY UNIT WHAT’S HAPPENING? ELEMENTS Plot, Conflict, and Setting 5&95"/"-:4*4803,4)01 Setting, Characters, Conflict, Plot 1 83*5*/(803,4)01 Argument: Supporting an Opinion UNIT PERSON TO PERSON Analyzing Character and Point of View 5&95"/"-:4*4803,4)01 Narrator, Point of View, Characterization, Motivation 2 83*5*/(803,4)01 Informative: Comparison-Contrast Essay UNIT THE BIG IDEA Understanding Theme 5&95"/"-:4*4803,4)01 Identifying Theme 3 83*5*/(803,4)01 Narrative: Short Story
LANGUAGE AND UNIT WRITER’S CRAFT CULTURE Sensory Language, Imagery, and Style 5&95"/"-:4*4803,4)01 Sensory Language, Imagery, Style 4 83*5*/(803,4)01 Informative: Literary Analysis UNIT WORD PICTURES The Language of Poetry 5&95"/"-:4*4803,4)01 Structure, Sound Devices, Imagery, Figurative Language 5 83*5*/(803,4)01 Informative: Online Feature Article UNIT TIMELESS TALES Myths, Legends, and Tales 5&95"/"-:4*4803,4)01 Characteristics and Cultural Values of Traditional and 6 Classical Literature 83*5*/(803,4)01 Informative: “How-To” Explanation
viii .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
NONFICTION WITH UNIT LIFE STORIES PURPOSE Biography and Autobiography 5&95"/"-:4*4803,4)01 Characteristics of Autobiographies, Memoirs, and 7 Personal Narratives 83*5*/(803,4)01 Personal Narrative
UNIT KNOW THE FACTS Information, Argument, and Persuasion 5&95"/"-:4*4803,4)01 Organizational Patterns, Summarizing 8 5&95"/"-:4*4803,4)01 Claim, Support, Persuasive Techniques, Faulty Reasoning 83*5*/(803,4)01 Argument: Persuasive Essay
UNIT INVESTIGATION AND DISCOVERY The Power of Research 5&95"/"-:4*4803,4)01 Choosing and Evaluating Sources, Collecting Data 9 83*5*/(803,4)01 Informative: Research Report
ix $POUFOUTJO#SJFGt(SBEF
6OJWFSTBM5IFNFT
IllustrationIllustrat by Steve Noon © Dorling Kindersley. #FGPSF3FBEJOH 350 graduallygradu got weaker and weaker as the ship’s power faded out. Out Language Coach 5IF onon theth decks, most passengers now began to move toward the stern17 area, 8PSE%FGJOJUJPOT $I whichw was slowly lifting out of the water. *OMJOF UIFXPSE 1PFN BSHF CZ"MGSFE PGUIF BByy 2:05 there were still over 1,500 people left on the sinking ship. All HSBEVBMMZNFBOT²MJUUMF - -J CZMJUUMF³3FSFBEMJOFT PSE5FOOZTPO HIU ththee llifeboatsi were now away, and a strange stillness took hold. People stood 5IF #SJHBEF °8IBUEPFT )JHI qquietlyuiet on the upper decks, bunching together for warmth, trying to keep HSBEVBMMZUFMMZPV 1PFN XBZ aawayway from the side of the tilting ship. BCPVUXIBUIBQQFOFE CZ"MGSFE NB UPUIFTIJQµTSBEJP /PZFT O CCaptaina Smith now made his way to the radio room and told Harold L?:;EJH7?B;H TJHOBM 8IBUPUIFS BBrideride and Jack Phillips to save themselves. “Men, you have done your full XPSEDPVMEZPVVTFJO ,&:803%).- dduty,”uty, he told them. “You can do no more. Abandon your cabin. Now it’s QMBDFPGHSBEVBMMZJO 360 eeveryvery man for himself.” Phillips kept working the radio, hanging on until UIJTTFOUFODF 8IBUJT tthehe veryve last moment. Suddenly Bride heard water gurgling up the deck ooutsideutsid the radio room. Phillips heard it, too, and cried, “Come on, let’s clclearear out.” T /"33"5*7&
NNeare the stern, Father Thomas Byles had heard confession and given /0/'*$5*0/ absabsolutionol 18 to over one hundred passengers. Playing to the very end, the 3FDBMMUIFDPOGMJDUZPV membersmem of the ship’s brave band finally had to put down their instruments JEFOUJGJFEPOQBHF )0/03 )PXEPUIFWBSJPVT andand ttry to save themselves. In desperation, some of the passengers and crew 8 QFPQMFPOUIFTIJQ IFOZPV beganbegan to jump overboard as the water crept up the slant of the deck. T SFTQPOEUPUIFDPOGMJDU OPCMF UIJOL TBDSJGJDF PGIPOPS PS EPZPV X BOE²5 BHPPE QJDUVSF DPODMVTJPOT IF)JHIXBZNBO DBVTF B VSF EJGGFSFOU * QFSTPO BOEFMFNFOUT O²5 IF ZPVSFTQFDU TUFSOTUF UIFSFBSFOEPGUIFTIJQ SFBTPOT ³UIF $IBSHF DIBSBDUFST PG B IIFFBSEDPOGFTTJPOBCTPMVUJPO'BUIFS#ZMFTIBEDPOEVDUFEB3PNBO$BUIPMJDSFMJHJPVTDFSFNPOZ "SFUIFZ HJWF UIF-JHIU %*4$644 BOEUIFJS VQUIFJS #SJHBEF JOXIJDIBQSJFTUMJTUFOTUPQFPQMFDPOGFTTUIFJSTJOTBOEUIFOEFDMBSFTUIFNGPSHJWFO 8 DBVTFT MJWFT ³ IPOPSBCMZ JUIBTNBMM FRVBMMZ GPSWFSZ 0 HSPVQ IPOPSBCMF IPOPS OUIF EJTDVTT exploring the TITANIC CBTJT QFPQMF #FSFBEZ PGUIJT XIP UPTIBSF DPOWFSTBUJPO IBWF ZPVS BDUFE *OEJWJEVBMTBOE&WFOUT EFGJOJUJPO IPXXPVME XJUIUIF ZPVEFGJOF DMBTT
x .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
'JDUJPOBMBOE)JTUPSJDBM"DDPVOUT
xi (SBEF TableTab of Contents Contents in Brief
THE POWER OF IDEAS Introductory Unit (&/3&4803,4)01 3&"%*/(453"5&(*&4803,4)01 "$"%&.*$70$"#6-"3:803,4)01 83*5*/(130$&44803,4)01
LITERARY UNIT WEAVING A STORY ELEMENTS Plot, Conflict, and Setting 5&95"/"-:4*4803,4)01 Plot, Conflict, Setting, and Character 1 83*5*/(803,4)01 Argumentative: Supporting an Opinion UNIT PERSONALITY TESTS Analyzing Character and Point of View 5&95"/"-:4*4803,4)01 Character and Point of View 2 83*5*/(803,4)01 Informative: Comparison-Contrast Essay UNIT LESSONS TO LEARN Understanding Theme 5&95"/"-:4*4803,4)01 Theme 3 83*5*/(803,4)01 Narrative: Short Story
LANGUAGE AND UNIT FINDING A VOICE CULTURE Mood, Tone, and Style 5&95"/"-:4*4803,4)01 Mood and Style 4 83*5*/(803,4)01 Informative: Literary Analysis UNIT PICTURE THE MOMENT Appreciating Poetry 5&95"/"-:4*4803,4)01 Structure, Sound Devices, Imagery, Figurative Language 5 83*5*/(803,4)01 Informative: Online Feature Article UNIT TIMELESS TALES Myths, Legends, and Tales 5&95"/"-:4*4803,4)01 Characteristics and Cultural Values of Traditional and 6 Classical Literature 83*5*/(803,4)01 Informative: How-To Explanation
xii .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
NONFICTION WITH UNIT WRITING A LIFE PURPOSE Biography and Autobiography 5&95"/"-:4*4803,4)01 Characteristics of Biographies and Autobiographies 7 83*5*/(803,4)01 Personal Narrative UNIT FACE THE FACTS Information, Argument, and Persuasion 5&95"/"-:4*4803,4)01 Structure, Purpose, Text Features, Graphical Aids, 8 Main Ideas and Supporting Details, Organizational Patterns 83*5*/(803,4)01 Argument: Persuasive Essay
UNIT INVESTIGATION AND DISCOVERY The Power of Research 5&95"/"-:4*4803,4)01 Reference Materials and Technology, Evaluating Sources 9 83*5*/(803,4)01 Informative: Research Paper
xiii $POUFOUTJO#SJFGt(SBEF
Compelling Characters
$PNQBSJOH$IBSBDUFST
&WFOUTBOE*EFBT
xiv .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
GJOFBSU PSQIPUPHSBQIZJGOFDFTTBSZ
USZUPOPUVTFBSUEFQJDUJOHIJTQBOJDTJOGJFME USZUPGJOEQPSUSBJUPGIJTQBOJDUFFOCPZ GSPNHBSZ TPUPµTFSB TFFJGQIPUPTPGTPUPµTGBNJMZFYJTU
GJFMEXJUIQFPQMFXPSLFSTWJTJCMFCVUOPUUPUBMMZ QSPNJOFOU
PS
HSBQFTPSHSBQFGJFMET
Contrasting Points of View
xv (SBEF TableTab of Contents Contents in Brief
THE POWER OF IDEAS Introductory Unit (&/3&4803,4)01 3&"%*/(453"5&(*&4803,4)01 "$"%&.*$70$"#6-"3:803,4)01 83*5*/(130$&44803,4)01
LITERARY UNIT THE MAIN EVENTS ELEMENTS Plot and Conflict 5&95"/"-:4*4803,4)01 Plot and Conflict 1 83*5*/(803,4)01 Personal Narrative UNIT THROUGH DIFFERENT EYES Character and Point of View 5&95"/"-:4*4803,4)01 Character and Point of View 2 83*5*/(803,4)01 Argument: Critical Review UNIT THE PLACE TO BE Setting and Mood 5&95"/"-:4*4803,4)01 Setting and Mood 3 83*5*/(803,4)01 Informative: Comparison-Contrast Essay
LANGUAGE AND UNIT A WORLD OF MEANING CULTURE Theme and Symbol 5&95"/"-:4*4803,4)01 Theme and Symbol 4 83*5*/(803,4)01 Narrative: Short Story UNIT PAINTING WITH WORDS Poetry 5&95"/"-:4*4803,4)01 Appreciating Poetry 5 83*5*/(803,4)01 Informative: Online Feature Article UNIT A UNIQUE IMPRINT Style, Voice, and Tone 5&95"/"-:4*4803,4)01 Style, Voice, and Tone 6 83*5*/(803,4)01 Informative: Literary Analysis
xvi .*%%-&4$)00-13&7*&8t)0-5.$%06("--*5&3"563&
UNIT OUR PLACE IN THE WORLD History, Culture, and the Author 5&95"/"-:4*4803,4)01 History, Culture, and the Author 7 83*5*/(803,4)01 Informative: Cause-and-Effect Essay
FACTS AND UNIT BELIEVE IT OR NOT OPINIONS Biography and Autobiography 5&95"/"-:4*4803,4)01 Reading Informational Text 8 83*5*/(803,4)01 Informative: Procedural Text UNIT STATE YOUR CASE Argument and Persuasion 5&95"/"-:4*4803,4)01 Elements of Persuasive Text 9 83*5*/(803,4)01 Argument: Persuasive Essay UNIT INVESTIGATION AND DISCOVERY The Power of Research 3&4&"3$)453"5&(*&4803,4)01 10 83*5*/(803,4)01 Informative: Research Paper
STUDENT RESOURCE BANK
17 4HEß0OWER 7HATß!REß,IFE´Sß"IGßNUESTIONS
OFß)DEAS 4HEßCHALLENGESßWEßFACEßINßLIFEßCANßRAISEßMANYßQUESTIONS ßINCLUDINGßTHEß ONESßSHOWNßHEREßß3UCHßUNIVERSALßQUESTIONSßGETßUSßTHINKINGßABOUTßIDEAS° SUCHßASßFRIENDSHIP ßFREEDOM ßANDßFITTINGßIN°THATßAFFECTßOURßLIVESßß4HROUGHß OURßATTEMPTSßTOßFINDßANSWERS ßWEßCOMEßCLOSERßTOßUNDERSTANDINGßOURß CHOICES ßACTIONS ßANDßMISTAKESßß3OMETIMES ßREADINGßAßPOWERFULßPIECEßOFß LITERATUREßCANßHELPßUSßMAKEßSENSEßOFßHOWßWEßGOTßWHEREßWEßAREßANDßWHEREß WEßWANTßTOßGOßNOWß
8IBUJTB 8IPTSFBMMZ '3*&/% */$)"3(& 4HERE´SßNOTHINGßBETTERßTHANßSPENDINGßTIMEßWITHßAßTRUEß 3OMEßPEOPLEßWANTßTOßTELLßYOUßHOWßTOßLIVEßYOURßLIFE ß FRIEND°WHETHERßTHATßFRIENDßISßSOMEONEßYOURßOWNßAGE ß GIVINGßOPINIONSßABOUTßEVERYTHINGßFROMßWHATßYOUß ANßOLDERßPERSONßWITHßWISDOMßTOßSHARE ßORßEVENßAßFAMILYß SHOULDßWEARßTOßWHATßYOUßSHOULDßBEßWHENßYOUßGROWß PETßß(OWßDOßYOUßKNOWßFORßCERTAINßTHATßYOUßHAVEßAß UPßß)T´SßGOODßTOßLISTENßTOßADVICE ßBUTßHOWßCANßYOUßBEß FRIENDßYOUßCANßCOUNTßONßINßGOODßANDßBADßTIMES ßß-ANYß SUREßYOU´REßCHARTINGßYOURßOWNßCOURSE ßß)NßTHISßBOOK ß OFßTHEßSTORIES ßPOEMS ßANDßPLAYSßYOU´LLßREADßINßTHISßBOOKß YOU´LLßMEETßALLßKINDSßOFßCHARACTERSßANDßREALßPEOPLEß WILLßHELPßYOUßTHINKßABOUTßWHATßITßTAKESßTOßBEßAßFRIEND WHOßHAVEßTOßDECIDEßWHO´SßREALLYßINßCHARGEß
the power of ideas
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 8IFOJT 8IFOJT 453&/(5) $)"/(&HPPE #HANGEßISßALLßAROUNDßYOUßß,EAVESßTURNßFROMßGREENßTOß NPSFUIBONVTDMF RED ßBIRDSßMIGRATEßFROMßNORTHßTOßSOUTH ßDAYßTURNSßTOß 3TRENGTHßISN´TßALWAYSßPHYSICALßß%MOTIONALßSTRENGTHß NIGHTßß9OUßDEALßWITHßCHANGEßATßTHEßSTARTßOFßEACHßSCHOOLß ANDßCOURAGEßCANßBEßJUSTßASßPOWERFULßß4HISßBOOKßISß YEARßWHENßYOU´REßFACEDßWITHßNEWßCLASSES ßNEWßFRIENDS ß FILLEDßWITHßCHARACTERSßWHOßFINDßANßINNERßSOURCEßOFß ANDßNEWßPROBLEMSßß7HYßISßCHANGEßBOTHßEXCITINGß STRENGTHßWHENßSTANDINGßUPßTOßBULLIES ßCONFRONTINGß ANDßSCARY ßß9OU´LLßCONSIDERßTHISßQUESTIONßASßYOUßREADß DEADLYßCREATURES ßORßEXPERIENCINGßIMPOSSIBLEßPROBLEMS ABOUTßPEOPLEßWHOßCONFRONTßCHANGESßBIGßANDßSMALLßß
introducingintroductory the essentials unit
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 'ENRES 2EADINGß4EXTß4YPES
7ORKSHOP 9OU´VEßBEENßREADINGßFORßMOSTßOFßYOURßLIFE ßFROMßCHILDHOODßFAIRYßTALESßTOßTHEßNOVELS ß PLAYS ßANDß7EBßSITESßYOUßENCOUNTERßTODAYßß7HATßMOREßCANßYOUßLEARNßABOUTß READING ßß)NßTHISßBOOK ßYOU´LLßTAKEßREADINGßTOßAßNEWßLEVELßß'ETßSTARTEDßBYßDISCOVERINGß HOWßLITERARYßANDßNONFICTIONßTEXTSßCANßHELPßYOUßEXPLOREßIDEASßTHATßMATTERßß 4HEß'ENRES 4HINKßABOUTßTHEßIDEASßTHATßAREßIMPORTANTßTOßYOUßß&ORßEXAMPLE ßAREßYOUßCURIOUSß 2,ß ß 2,ß ß 2,ß 2,ß ß 2)ß ß 2)ß ß 2)ßßß ABOUTßWHATßITßMEANSßTOßBEßRESPECTEDßORßTRUSTED ßß7RITERSßOFTENßEXPLOREßTHESEß SAMEßIDEAS ßCHOOSINGßAßGENRE ßORßCATEGORYßOFßLITERATUREßANDßNONFICTION ßINßWHICHß TOßEXPRESSßTHEIRßTHOUGHTSßß!ßGENREßISßCHARACTERIZEDßBYßITSßUNIQUEßSTYLE ßFORM ßORß CONTENT ß 7ITHINßEACHßGENRE ßWRITERSßUSEßDIFFERENTßFORMSßTOßSHAREßTHEIRßIDEASßWITHß READERSßß7RITERSßOFßSTORIESßMAYßCREATEßNOVELSßORßFOLKßTALES ßFORßINSTANCE GENRESßATßAßGLANCE ß STORIES 3TORIESßAREßMADE UPßNARRATIVESßABOUTßCHARACTERSßANDßEVENTSß ß SHORTßSTORIESßßßßßßßßßßß NOVELSßßßßßßßßßßß NOVELLASßßßßßßßßßßß FOLKßTALES
rain POETRY 0OETRYßISßAßTYPEßOFßLITERATUREßINßWHICHßWORDSßAREßCHOSENßANDß rattles ARRANGEDßINßAßPRECISEßWAYßTOßCREATEßSPECIFICßEFFECTS pane ß ODESßßßßßßßßßßß LIMERICKSßßßßßßßßßßß NARRATIVEßPOEMS
ß DRAMAß $RAMASßAREßSTORIESßTHATßAREßMEANTßTOßBEßPERFORMED ß COMEDIESßßßßßßßßßßß HISTORICALßDRAMASßßßßßßßßßßß RADIOßPLAYS
ß NONFICTION The Daily News .ONFICTIONßTELLSßABOUTßREALßPEOPLE ßPLACES ßANDßEVENTSßßß Today’s Headlines ß AUTOBIOGRAPHIESß ß ESSAYSß ß NEWSßARTICLES ß BIOGRAPHIESß ß SPEECHESß ß TECHNICALßARTICLES
TYPESßOFßMEDIA
4HEßWORDßMEDIAßREFERSßTOßCOMMUNICATIONßTHATßREACHESß MANYßPEOPLEß ß 46ßSHOWSßßßßßßßßßßß ADVERTISINGßßßßßßßßßßß 7EBßSITESßßßßßßßßß
the power of ideas
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES READINGßSTORIES LITERARYß 3HORTßSTORIES ßNOVELS ßANDßNOVELLASßAREßDIFFERENTßFORMSßOFßNARRATIVES TERMSßFORß STORIES ß !ßSHORTßSTORYßUSUALLYßCENTERSßONßONEßIDEAßANDßCANßBEßREADßINßONEßSITTING ß PLOT ß ß!ßNOVELßISßAßLONGERßWORKßINßWHICHßTHEßCHARACTERSßANDßSTORYßLINEßAREß ß CONFLICT THOROUGHLYßDEVELOPED ß CHARACTER ß ß!ßNOVELLAßISßLONGERßTHANßAßSHORTßSTORYßBUTßSHORTERßTHANßAßNOVEL ß SETTING 7HATEVERßYOUßREAD ßTHERE´SßNOTHINGßLIKEßBEINGßSWEPTßAWAYßBYßAßGOODß ß THEME STORYß4HESEßSTRATEGIESßCANßHELPßMAKEßTHEßMOSTßOFßYOURßJOURNEY ß POINTßOFßVIEW ß- ß AKEßCONNECTIONSß!SKß(AVEß)ßEXPERIENCEDßSITUATIONSßSIMILARßTOßTHOSEß OFßTHESEßCHARACTERS ß0ICTUREßTHEßSCENE ß ß .OTEßDESCRIPTIONSßOFßCHARACTERSßANDßSETTINGSßß5SEß THESEßDESCRIPTIONSßTOßHELPßYOUßVISUALIZEßLIFELIKEßPICTURESßINßYOURßMIND ß0REDICTßWHATßWILLßHA ß PPENß !TßEACHßTWISTßANDßTURN ßASKßß7HAT´SßGOINGß TOßHAPPENßNEXT ßß4HENßREADßONßTOßFINDßOUTßIFßYOUßGUESSEDßCORRECTLY ß4RACKßTHEßE ß VENTSß %VERYßSTORYßFOLLOWSßAßPLOT ßORßAßSERIESßOFßEVENTSßTHATß TRACESßAßPROBLEMßß+EEPßTRACKßOFßTHEßEVENTSßINßYOURß2EADER7RITERß .OTEBOOK 2EADßTHEß-ODELßß !NNEMARIEßISßAßYOUNGßGIRLßLIVINGßINß$ENMARKßINßßß 'ERMANßSOLDIERSßWHOßOCCUPYßHERßCITYßINTENDßTOßIMPRISONßALLß*EWISHßPEOPLE ß INCLUDINGß!NNEMARIE´SßFRIENDß%LLENßß)NßTHISßEXCERPT ß!NNEMARIEßISßRACINGß WITHß%LLENßß5SEßTHEßSTRATEGIESßTOßEXPLOREßTHEßIDEAßOFßFEAR
FROM .UMBERßTHEß3TARS .OVELßBYß ,OISß,OWRY #LOSEß2EAD Annemarie outdistanced her friend quickly, even though one of her ßß7HATßDOßYOUßTHINKß shoes came untied as she sped along the street called Østerbrogade, THEßSOLDIERßWILLßSAYßTOß past the small shops and cafés of her neighborhood here in northeast !NNEMARIE ßß-AKEßAß Copenhagen. Laughing, she skirted an elderly lady in black who carried PREDICTION ßBASEDßONßWHATß YOU´VEßREADßSOßFAR 5 a shopping bag made of string. A young woman pushing a baby in a carriage moved aside to make way. The corner was just ahead. ßß%XPLORINGßAß"IGßNUESTIONßß Annemarie looked up, panting, just as she reached the corner. Her )FßYOUßWEREßINßAßSCARYß laughter stopped. Her heart seemed to skip a beat. SITUATIONßLIKEß!NNEMARIE´S ß “Halte!” the soldier ordered in a stern voice. WOULDßYOUßBEßABLEßTOß HIDEßYOURßFEAR ßß7OULDß 10 The German word was as familiar as it was frightening. Annemarie MOSTßPEOPLEßBEßABLEßTO ßß had heard it often enough before, but it had never been directed at her %XPLAIN until now.
introducing the essentials
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß rain rattles READINGßPOETRYß LITERARYß pane !ßREDßWHEELBARROW ßWINDSHIELDßWIPERS ßWAR°AßPOETßCANßCREATEßPOEMSß TERMSßFORß POETRY ABOUTßANYTHINGßß9ETßPOETSßEXPRESSßTHEIRßIDEASßDIFFERENTLYßTHANßFICTIONß WRITERSßDOßß0OETSßARRANGEßTHEIRßTHOUGHTSßINßLINES ßRATHERßTHANßSENTENCESßß ß FORM ,INESßAREßOFTENßGROUPEDßINTOßSTANZAS ßINSTEADßOFßPARAGRAPHSßß5SEßTHESEß ß LINE STRATEGIESßTOßFULLYßAPPRECIATEßANYßPOEMßYOUßREAD ß STANZA ß ß%XAMINEßTHEßFORMßß&IRST ßNOTICEßHOWßTHEßPOEMßLOOKSßONßTHEßPAGEßß ß RHYTHM !REßTHEßLINESßLONGßORßSHORT ß!REßTHEYßGROUPEDßINTOßSTANZAS ß ß RHYMEß ß.OTICEßTHEß ß PUNCTUATIONßß)NßAßPOEM ßAßSINGLEßSENTENCEßCANßCONTINUEßOVERß MANYßLINESßß5SEßTHEßPUNCTUATIONßTOßHELPßYOUßFIGUREßOUTßWHENßTOßPAUSEß WHILEßREADINGßß ß2EADßTHEß ß POEMßALOUDßß,ISTENßFORßTHEßPOEM´SßMUSICALßRHYMESßORßRHYTHMSßß ß ß& O R MßAßMENTALßPICTUREßß,OOKßFORßWORDSßANDßPHRASESßTHATßCANßHELPßYOUß IMAGINEßWHAT´SßBEINGßDESCRIBED 2EADßTHEß-ODELß !SßYOUßREADßTHISßPOEM ßNOTICEßHOWßTHEßWRITERßUSESßTHEß DESCRIPTIONßOFßANßOLDßQUILTßTOßEXPLOREßTHEßIDEAßOFßFAMILYßß
Quilt0OEMßBYß Our family #LOSEß2EAD *ANETß3ß7ONG is a quilt ßß2EADßTHEßPOEMßALOUD ß PAUSINGßONLYßWHEREß of odd remnants1 THEREßISßPUNCTUATIONßß patched together (OWßMANYßSENTENCESß AREßINßTHISßPOEM ßß(OWß MANYßLINESßANDßSTANZASß 5 in a strange AREßTHERE ß pattern, ßß%XPLORINGßAß"IGßNUESTIONßß threads fraying, 4HISßPOEMßCOMPARESßAß fabric wearing thin— FAMILYßTOßAßQUILTß(OWß DOESßTHISßCOMPARISONß HELPßYOUßUNDERSTANDß but made to keep THEßPOSITIVEßQUALITIESßOFß 10 its warmth FAMILY
even in bitter cold.
ßß REMNANTSßLEFTOVERSßREMAINDERS
the power of ideas
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 'ENRESß7ORKSHOP
READINGßDRAMAß LITERARYß TERMSßFORß !ßDRAMAßISßMEANTßTOßBEßACTEDßOUTßFORßANßAUDIENCEßß4OßREADßDRAMA ßYOUß DRAMA HAVEßTOßVISUALIZEßINßYOURßMINDßTHEßACTIONßTHATßWOULDßTAKEßPLACEßINßTHEß THEATERßß4HESEßSTRATEGIESßCANßHELP ß PLOT ß CHARACTER ß2EADßTHEß ß PLAYßSILENTLY ßTHENßALOUDßWITHßOTHERSß 3OMETIMES ßHEARINGß ß ACT THEßDIALOGUEßCANßHELPßYOUßBETTERßUNDERSTANDßWHAT´SßHAPPENING ß SCENE ß2EADßTHEßSTAGEßDIRECTIONS ß ß /FTENßPRINTEDßINßITALICßTYPE ßSTAGEßDIRECTIONSß ß DIALOGUE AREßTHEßWRITER´SßSPECIFICßINSTRUCTIONSßABOUTßEVERYTHINGßFROMßTHEßSETTINGß ANDßPROPSßTOßTHEßCHARACTERS´ßFEELINGSßANDßMOVEMENTSßß5SEßTHESEßNOTESß ß STAGEßDIRECTIONS TOßHELPßYOUßPICTUREßTHEßSETTING ßACTION ßANDßCHARACTERS ß ß'ETßTOßKNOWßTHEßCHARACTERSß #HARACTERS´ßWORDSßANDßACTIONSßTELLßYOUß WHATßTHEYßAREßLIKEßß0AYßATTENTIONßTOßTHEIRßDIALOGUE ßORßWHATßTHEYßSAY ß ASßWELLßASßTHEßSTAGEßDIRECTIONSßßß 2EADßTHEß-ODELß 3ARAßISßTREATEDßLIKEßAßPRINCESSßATßSCHOOLßBECAUSEßOFß HERßFAMILY´SßWEALTHßß!FTERßHERßFAMILYßFORTUNEßISßLOST ßHOWEVER ßSHEßMUSTß BECOMEßAßSERVANTßß)NßTHISßEXCERPT ß"ECKY ßTHEßSCHOOLßMAIDß ßCOMFORTSß 3ARAßß4HEßTWOßGIRLSßHAVEßALWAYSßBEENßFRIENDS ßDESPITEßTHEIRßDIFFERENTß CIRCUMSTANCESßß7HATßISßTHEßAUTHORßSUGGESTINGßABOUTßTHEßIDEAßOFß DIFFERENCES
FROM The ittle rincess .OVELßBYß&RANCESß(ODGSONß"URNETT $RAMATIZEDßBYß!DELEß4HANE
Becky. I just wanted to ask you, miss—you’ve been such a rich young #LOSEß2EAD lady and been waited on hand and foot. What’ll you do now, miss, ßß(OWßDOESß"ECKYßFEELß without any maid? Please, would you let me wait on you after I’m done ABOUTß3ARA ßß(OWßDOESß with my pots and kettles? 3ARAßFEELßABOUTß"ECKY ßß (OWßCANßYOUßTELL 5 Sara (with a sob). Oh, Becky! Do you remember when I told you that
we were just the same? Not a rich girl and a poor girl, but just two girls. ßß%XPLORINGßAß"IGßNUESTION Becky. Yes, miss. You said it was an accident that I was not you and you "ECKYßANDß3ARAßAREß were not me. FRIENDS ßEVENßTHOUGHß Sara. Well, you see how true it is, Becky. There’s no difference now. I’m THEYßCOMEßFROMß 10 not a princess any more. (becky presses sara’s hand to her cheek.) DIFFERENTßBACKGROUNDSßß Becky. Yes, miss, you are! Whatever happens to you, you’ll be a princess 7HATßOTHERßDIFFERENCESß CANßPEOPLEßOVERCOMEßINß just the same—and nothing could make it any different. THEßNAMEßOFßFRIENDSHIP ß
introducing the essentials
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß The Daily News Today’s Headlines READINGßNONFICTIONß TERMSßFORß NONFICTION &ROMßARTICLESßONßTHEß7EBßTOßFRONT PAGEßNEWS ßINFORMATIONALßTEXTSßAREßALLß AROUNDßYOUß)NFORMATIONALßTEXTßINCLUDESßNOTßONLYßENCYCLOPEDIAßENTRIESß ß PURPOSE ANDßNEWSßARTICLES ßBUTßALSOßAUTOBIOGRAPHIES ßPERSONALßNARRATIVES ß ß ORGANIZATION MEMOIRS ßESSAYS ßANDßSPEECHESßß"YßREADINGßALLßTHESEßDIFFERENTßTYPESßOFß ß MAINßIDEA NONFICTION ßYOUßCANßLEARNßABOUTßREALßPEOPLE ßPLACES ßEVENTS ßANDßISSUESß ß TEXTßFEATURESß THATßMATTERß
TYPESßOFßINFORMATIONALßTEXTSß AUTOBIOGRAPHY NEWSßARTICLE BIOGRAPHY &ACTUALßWRITINGßTHATß 4HEßTRUEßSTORYßOFßAßPERSON´Sß REPORTSßONßRECENTßEVENTS LIFE ßTOLDßBYßTHATßPERSONß AUTOBIOGRAPHY ßORßBYß SOMEONEßELSEßBIOGRAPHY
PERSONALßNARRATIVE What REFERENCEßARTICLE AUTOBIOGRAPHICALßESSAY Video )NFORMATIVEßWRITINGß !ßSHORTßPIECEßOFßWRITINGß Games THATßPROVIDESßFACTSßANDß ABOUTßAßSINGLEßSUBJECT Taught BACKGROUNDßONßAßSPECIFICß Me SUBJECT
SPEECH CONSUMERßDOCUMENT !NßORALßPRESENTATIONßOFß 0RINTEDßMATERIALßTHATß AßSPEAKER´SßIDEASßORß USUALLYßCOMESßWITHßAß BELIEFS PRODUCTßORßAßSERVICE
3TRATEGIESß&ORß2EADING ß #ONSIDERßTHEßPURPOSEß )SßTHEßWRITERßTRYINGßTOß ß 0REVIEWßTHEßTEXTß 3OMEßTYPESßOFßNONFICTIONß PERSUADE ßINSPIRE ßORßINFORM ßß5NDERSTANDINGß HAVEßTEXTßFEATURES ßLIKEßSUBHEADINGSßORßCAPTIONSßß THEßAUTHOR´SßPURPOSEßCANßHELPßYOUßKNOWßWHATßTOß "EFOREßYOUßREAD ßLOOKßATßTHEßFEATURESßTOßGETßAß LOOKßFORßINßTHEßTEXT SENSEßOFßWHATßTHEßTEXTßISßABOUT ß .OTEßTHEßMAINßIDEASß !SßYOUßREAD ßLOOKßFORßTHEß ß %XAMINEßTHEßGRAPHICßAIDSß0HOTOGRAPHSßANDß MAINßIDEAS ßORßTHEßMOSTßIMPORTANTßPOINTSßABOUTß ILLUSTRATIONSßALSOßCONVEYßINFORMATIONßß4ABLES ß AßTOPICßß2ECORDßTHESEßIDEASßINßAßNOTEBOOKßTOßHELPß CHARTS ßANDßDIAGRAMSßMAYßALSOßPROVIDEß YOUßREMEMBERßTHEM ADDITIONALßINFORMATIONßABOUTßAßTOPIC
the power of ideas
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 'ENRESß7ORKSHOP
MODELßßREADINGßAßBIOGRAPHYß 4HISßEXCERPTßISßFROMßAßBIOGRAPHYßABOUTß3TEVENß3PIELBERG ßAßFAMOUSßMOVIEß DIRECTORßß(OWßDOESßITßHELPßYOUßUNDERSTANDßTHEßIDEAßOFßINSPIRATION ßß
FROM Steven Spielberg: for "IOGRAPHYßBYß Crazy Movies 3USANß'OLDMANß 2UBIN
When Steven Spielberg was ten, his father woke him up and took him #LOSEß2EAD out to the desert near where they lived in Phoenix, Arizona. They spread ßß7HATßDOßYOUßLEARNß out a blanket and lay on their backs looking up at the sky. Steven’s ABOUTß3TEVENß3PIELBERGß father, Arnold Spielberg, liked astronomy and hoped to see a comet FROMßTHISßEXCERPT 5 that was supposed to appear. Instead, they saw a meteor shower. “The ßß %XPLORINGßAß"IGßNUESTION stars were just tremendous,” recalled Arnold. “They were so intense it 4HEßMEMORYßOFßAß was frightening.” He gave Steven a scientific explanation of what was METEORßSHOWERßLEDß 3PIELBERGßTOßCREATEß happening. SCIENCEßFICTIONßFILMSßß “But I didn’t want to hear that,” said Steven. “I wanted to think of 7HATßOTHERßEXPERIENCESß 10 them as falling stars.” That memory of falling stars stayed with him and MIGHTßINSPIREßPEOPLEßTOß inspired his first full-length movie, Firelight. PURSUEßCERTAINßCAREERS ß
MODELßßREADINGßAßREFERENCEßARTICLEß 4URNINGßAßMOMENTßOFßINSPIRATIONßINTOßAßLIFE LONGßCAREERßTAKESßMOREßTHANß JUSTßWISHINGßONßAßFALLINGßSTARßß(ARDßWORKßANDßAßCURIOUSßMINDßAREßESSENTIALßß !SßYOUßREADßTHISß7EBßARTICLE ßTHINKßABOUTßTHEßIDEAßOFßCURIOSITY
Meteors 3TUDENTßREFERENCEßARTICLE #LOSEß2EAD Meteors are small particles of stone and iron ßß7HATßDOßYOUßLEARNß that enter the Earth’s atmosphere at great ABOUTßTHISßARTICLEßSIMPLYß speeds. Friction with the atmosphere causes BYßPREVIEWINGßTHEßTITLE ß intense heat, triggering the meteor to give off a THEßSUBHEADING ßANDßTHEß brilliant light. This flying bright light creates the PHOTOGRAPH ß appearance of a shooting or falling star. ß %XPLORINGßAß"IGßNUESTION Meteorites 0EOPLEßHAVEßALWAYSß BEENßFASCINATEDßBYß Most meteors burn up before they reach the MYSTERIESßOFßSCIENCEßANDß Earth’s surface. Occasionally, though, very This meteorite was NATUREßß7HATßSCIENTIFICß large meteors—called meteorites—make found at the edge of MYSTERIESßHAVEßSPARKEDß impact with the Earth’s surface. the Kalahari Desert. YOURßCURIOSITY ß
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß READINGßMEDIA TERMSßFORß MEDIA (ASßANßADßEVERßPERSUADEDßYOUßTOßBUYßSOMETHINGßYOUßDIDN´TßNEED ßß$Oß YOUßEVERßFINDßYOURSELFßGLUEDßTOßTHEßTELEVISIONßORßUNABLEßTOßTEARßYOURSELFß ß MEDIUM AWAYßFROMßTHEß7EB ßß-EDIAßMESSAGESßINFLUENCEßYOURßLIFEßINßALLßKINDSßOFß ß MESSAGE WAYSßß4HAT´SßWHYßIT´SßIMPORTANTßTOßBECOMEßMEDIAßLITERATE°THATßIS ß ß TARGETßAUDIENCE LEARNßHOWßTOß±READ ²ßANALYZE ßANDßEVALUATEßWHATßYOUßSEEßANDßHEARßß9OUß CANßBEGINßBYßIDENTIFYINGßTHEßSTRUCTURALßFEATURESßOFßEACHßMEDIUMßANDß USINGßTHOSEßFEATURESßTOßHELPßYOUßFINDßTHEßINFORMATIONßYOUßWANT
TYPEßOFßMEDIAß STRATEGIESßFORßVIEWINGßß ß FILMSßANDßTVßSHOWS ß+NOWßWHAT´SßHAPPENINGß!SKß -OTIONßPICTURES ß AßFRIENDßORßANßADULTßIFßYOU´REß SHOWNßINßMOVIEß CONFUSEDßABOUTßTHEßPLOTßß THEATERSßORßBROADCASTß ß 3POTßTHEßTECHNIQUESß !SKßYOURSELFß ONßTELEVISION ßTHATß (OWßDOESßTHEßDIRECTORßUSEßSOUNDß TELLßSTORIES ANDßVISUALSßTOßMAKEßTHEßSTORYßMOREß INTERESTING
NEWSßMEDIA ß 'ETßTHEßFACTSß -AKEßSUREßTHEßREPORTß 2EPORTSßOFßRECENTß ANSWERSßTHEßQUESTIONSßWHO ßWHAT ß EVENTSßINßNEWSPAPERSß WHEN ßWHERE ßWHY ßANDßHOW ßß ANDßMAGAZINESßANDß ß %VALUATEßTHEßINFORMATIONß ONß46 ßTHEßRADIO ßANDß !SKßYOURSELFß#ANß)ßTRUSTßWHATß THEß7EB )´MßSEEINGßANDßHEARING
ß ADVERTISINGß ß 2ECOGNIZEßTHEßPITCHß #ONSIDERß 4HEßPROMOTIONßOFß WHATßTHEßSPONSORßWANTSßTHEß PRODUCTS ßSERVICES ß AUDIENCEßTOßBUY ßBELIEVE ßORßDOß ANDßIDEASßUSINGßPRINTß ß $ON´TßBEßDUPEDßBYßDAZZLEß 6ISUALSß ANDßBROADCASTßMEDIA ANDßSOUNDSßCANßBEßPERSUASIVEßß $ON´TßLETßFLASHYßTECHNIQUESßINFLUENCEß YOURßDECISIONS
ß WEBßSITESß ß +NOWßTHEßSOURCEß !NYONEßCANß #OLLECTIONSßOFßRELATEDß PUBLISHßONßTHEß7EBßß!SKß)SßTHISß PAGESßONßTHEß7ORLDß AßGOODßSOURCEßOFßINFORMATION 7IDEß7EBßINCLUDEß ß $ON´TßGETßLOSTß !LWAYSßREMEMBERß HYPERLINKSßANDßMENUS YOURßPURPOSEßFORßVISITINGßAßSITEßSOß YOUßDON´TßVEERßTOOßFARßOFFßCOURSE
the power of ideas
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES ,ITERARYß%SSENTI'ENRALESSß7ORKSHOP
7RITEßYOURßREACTIONSßANDßOBSERVATIONSß ,ITERATUREßANDß.ONFICTIONß3TRATEGIES INßYOURß2EADER7RITERß.OTEBOOK
!SKß9OURSELFßTHEß2IGHTßNUESTIONS -AKEß#ONNECTIONS 3OMETIMES ßREADINGßTEXTSßCANßBEßAßCHALLENGEßß !ßTEXTßISßMOREßMEANINGFULßWHENßYOUß 4HEßFOLLOWINGßFEATURESßWILLßHELPßYOUßFINDß CONNECTßTOßITßPERSONALLYßß5SEßTHESEß ANSWERSßTOßTHEßQUESTIONSßYOUßMAYßHAVEßWHILEß STRATEGIESßTOß±GETßINTO²ßAßTEXT YOUßREADß ß #ONNECTßTOß9OURß,IFEß )SßFEARß 7HEREßTOß,OOKßß7HATß9OU´LLß&IND PARALYZING ßß7HATßMAKESßAßFAMILY ßß 4HINKßABOUTßHOWßYOURßOWNß 4EXTß!NALYSISß7ORKSHOPSß )NTERACTIVEßPRACTICEß EXPERIENCESßCANßHELPßYOUßUNDERSTANDß ATßTHEßBEGINNINGß MODELSßANDß#LOSEß BIGßIDEASßINßLITERATUREßANDßNONFICTIONß OFßEVERYßUNIT 2EADßQUESTIONS ß #ONNECTßTOß/THERß3UBJECTSß 4HEß 3IDEßNOTES ßDISCUSSIONß NUESTIONSßTHATß EFFECTSßOFßFEAR ßMETEORßSHOWERS ß QUESTIONS ßANDß FOCUSßONßTHEß CAREERS°THEßSUBJECTSßYOUßREADßABOUTß INSTRUCTIONALßNOTES ANALYSISßOFßLITERARYßß CANßHELPßYOUßLEARNßMOREßABOUTßTHEß ANDßNONFICTIONß WORLDßß)FßAßSUBJECTßINTERESTSßYOU ß ELEMENTS INVESTIGATEßITßONßTHEß7EB
'UIDEDßQUESTIONSß 6cVanh^h ;gVbZh FORßANALYZINGß DIFFERENTßGENRES 'OßTOßTHINKCENTRALCOM +%97/2$ß(-,
2ECORDß9OURß2EACTIONS *OTßDOWNßYOURßQUESTIONS ßTHOUGHTS ßANDßIMPRESSIONSßABOUTßWHATßYOUßAREßREADINGßß2ECORDß DISCUSSIONSßABOUTßTHEßSTORIESßYOUßHAVEßREADßß4RYßAßVARIETYßOFßFORMATSß JOURNAL GRAPHICßORGANIZER 7RITEßYOURßREACTIONSßASßYOUßREAD !FTERßREADING ßCREATEßAßGRAPHICßORGANIZERßTOßDEEPENß YOURßUNDERSTANDINGßOFßEVENTSßANDßCHARACTERSß The Little Princess BeckyÕs Traits Evidence Becky treats Sara like a princess, even though polite calls Sara ÒmissÓ Sara is no longer rich. comforting presses SaraÕs hand to ItÕs interesting that her cheek Becky still views Sara loyal tells Sara she is still the same way. a princess no matter what
introducing the essentials
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß "EFOREß2EADING
6IDEOßLINKßATß 4HEß3CHOLARSHIPß*ACKET THINKCENTRALCOM 3HORTß3TORYßBYß-ARTAß3ALINAS
8IBUTUBOETJOUIFXBZPGZPVS %3&".4 9OURßDREAMßMAYßBEßTOßGOßTOßCAMP ßTOßBEßAßSTARßONßTHEßBASKETBALLß COURT ßTOßBEßCLASSßPRESIDENT ßORßTOßGOßTOßCOLLEGEßSOMEDAYßß7HATEVERß 2,ßß #ITEßTEXTUALßEVIDENCEßTOß ITßIS ßHARDßWORKßANDßLUCKßCANßHELPßYOUßFULFILLßTHATßDREAMßß"UT ßLIKEßTHEß SUPPORTßINFERENCESßDRAWNßFROMß THEßTEXTß 2,ßß !NALYZEßHOWßANß NARRATORßOFß±4HEß3CHOLARSHIPß*ACKET ²ßYOUßMAYßENCOUNTERßOBSTACLESß AUTHORßDEVELOPSßANDßCONTRASTSß THEßPOINTSßOFßVIEWßOFßCHARACTERSßORß THATßBLOCKßYOURßPROGRESS NARRATORSßINßAßTEXT N5)#+72)4%ß 7ITHßAßSMALLßGROUPßOFßCLASSMATES ßDISCUSSß 1. No money for camp YOURßDREAMßFORßTHEßFUTUREßß7HATßOBSTACLESßMIGHTßYOUß ßapply for scholarship ENCOUNTERßWHILEßWORKINGßTOßMAKEßYOURßDREAMßCOMEß TRUE ßß4HEN ßINßYOURßJOURNAL ßWRITEßONEßORßTWOßWAYSßTOß 2. OVERCOMEßEACHßOBSTACLE 3.
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES -EETßTHEß!UTHOR ßTEXTßANALYSISßFIRST PERSONßPOINTßOFßVIEW 7HENßYOUßLISTENßTOßAßFRIENDßTALK ßYOUßCANßLEARNßAßGREATßDEALß -ARTAß3ALINAS ABOUTßHIMßORßHERßß9OURßFRIEND´SßPERSONALITY ßEXPERIENCES ßANDß BORNß OPINIONSßALLßCOMEßTHROUGHßß4HEßSAMEßISßTRUEßWHENßYOUßREADß #ALIFORNIAß.ATIVEß AßSTORYßFROMßONEßCHARACTER´SßPOINTßOFßVIEWßß7HENßAßSTORYßISß -ARTAß3ALINASßWASßBORNßINß#OALINGA ß TOLDßFROMßTHEßFIRST PERSONßPOINTßOFßVIEW ßTHEßNARRATOR #ALIFORNIA ßANDßRECEIVEDßAßDEGREEßINß CREATIVEßWRITINGßFROMßTHEß5NIVERSITYßOFß ß ISßAßCHARACTERßINßTHEßSTORY #ALIFORNIAßATß)RVINEßß±4HEß3CHOLARSHIPß ß TELLSßTHEßSTORYßUSINGßTHEßPRONOUNSß) ßME ßWE ßANDßUS *ACKET²ßISßONEßOFßSEVERALßSHORTßSTORIESß ß TELLSßTHEßSTORYßASßHEßORßSHEßEXPERIENCESßIT 3ALINASßHASßPUBLISHEDßINßJOURNALSßANDß COLLECTIONS !SßYOUßREADß±4HEß3CHOLARSHIPß*ACKET ²ßNOTICEßHOWßTHEß INFORMATIONßYOUßRECEIVEßISßLIMITEDßTOßWHATßTHEßNARRATORß BACKGROUNDßTOßTHEßSTORY SEES ßHEARS ßTHINKS ßANDßFEELS 4EXASß(ISTORYß 4HEßMAINßCHARACTERßINß±4HEß ßREADINGßSKILLßMAKEßINFERENCES 3CHOLARSHIPß*ACKET²ßISßAß-EXICAN ß /NEßWAYßTOßGETßTHEßMOSTßOUTßOFßWHATßYOUßREADßISßTOßMAKEß !MERICANßGIRLßWHOßLIVESßINß4EXASßß4HEß LOGICALßGUESSES ßORßINFERENCES ßABOUTßTHINGSßTHATßAREßNOTß HISTORYßOFß4EJANOS ßORß4EXASß-EXICANS ß DIRECTLYßSTATEDßß"ASEßYOURßINFERENCESßONßDETAILSßINßTHEßSTORYß DATESßBACKßMOREßTHANßßYEARSßß!Sß ANDßONßYOURßOWNßKNOWLEDGEßANDßEXPERIENCESßß!SßYOUßREADß EARLYßASß ß4EJANOSßESTABLISHEDßAß RANCHßCOMMUNITYßINßWHATßWASßTHENß ±4HEß3CHOLARSHIPß*ACKET ²ßRECORDßEACHßINFERENCEßYOUßMAKEßINß NORTHEASTERNß-EXICOßß!BOUTßß ANßEQUATIONßLIKEßTHEßONEßSHOWN YEARSßLATER ß-EXICOßINVITEDßIMMIGRANTSß Details from the Text My Experiences Inference FROMßTHEß5NITEDß3TATESßTOßSETTLEß INßTHEßREGIONßß4HEß4EJANOSßANDßTHEß Martha couldnÕt I couldnÕt go MarthaÕs grand- IMMIGRANTSßEVENTUALLYßJOINEDßFORCESß play sports because to playoffs parents donÕt TOß½ßGHTßFORßTHEIRßINDEPENDENCEßFROMß of cost. because of expense. have extra money. -EXICO ßANDßINß ß4EXASßBECAMEß PARTßOFßTHEß5NITEDß3TATESßß-EXICANSß CONTINUEDßMIGRATINGßTOß4EXAS ßBUTßTHEYß ßVOCABULARYßINßCONTEXT OFTENßFACEDßDISCRIMINATIONßß4ODAY ß 4HESEßWORDSßHELPßTELLßTHEßSTORYßOFßAßGIRLßFACINGßOBSTACLESßß OVERßSEVENßMILLIONßRESIDENTSßOFß4EXASß 7RITEßTHEßWORDßTHATßBESTßCOMPLETESßEACHßSENTENCEßß AREß-EXICANß!MERICANS
WORDß AGILEß DISMAYß FALSIFYß ß LISTßß DESPAIRßß EAVESDROPß VILE
ß ß 3HEßUNHAPPILYßSWALLOWEDßTHEß?????ßMEDICINE 6ji]dg ß ß (EßWOULDßOFTENß?????ßONßHISßPARENTS´ßCONVERSATIONS Dca^cZ ß ß (EßTRIEDßNOTßTOß?????ßOVERßTHEßTERRIBLEßNEWS 'OßTOßTHINKCENTRALCOM ß ß 3HEßCLIMBEDßTHEßTREEßINßAßVERYß?????ßMANNER +%97/2$ß(-, ß ß 4HEREßWASßAßLOOKßOFß?????ßWHENßSHEßRECEIVEDßTHEßNEWS ß ß $ON´Tß?????ßTHEßRECORDSßTOßHIDEßTHEßTRUTH
#OMPLETEßTHEßACTIVITIESßINßYOURß2EADER7RITERß.OTEBOOK
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß Marta Salinas
he small Texas school that I went to had a tradition carried out T every year during the eighth-grade graduation: a beautiful gold and green jacket (the school colors) was awarded to the class valedictorian, the student who had maintained the highest grades for eight years. ß The scholarship jacket had a big gold S on the left front side and /NßTHEßBASISßOFßTHEß your name written in gold letters on the pocket. DETAILSßINßTHEßPAINTING ß HOWßDOßYOUßTHINKßTHEß My oldest sister, Rosie, had won the jacket a few years back, and GIRLßISßFEELING I fully expected to also. I was fourteen and in the eighth grade. I had been a straight A student since the first grade and this last year had looked 10 forward very much to owning that jacket. My father was a farm laborer who couldn’t earn enough money to feed eight children, so when I was six I was given to my grandparents to raise. We couldn’t participate in sports at school because there were registration fees, uniform costs, and trips out AGILEß 7WE:Y ßADJßQUICKß of town; so, even though our family was quite agile and athletic there ANDßLIGHTßINßMOVEMENT would never be a school sports jacket for us. This one, the scholarship jacket, was our only chance. Aß A ß &)234 0%2 3/. In May, close to graduation, spring fever had struck as usual with a 0/).4ß/&ß6)%7ß vengeance.1 No one paid any attention in class; instead we stared out the 7HOßISßTHEßNARRATOR ßß 7HATßHAVEßYOUßLEARNEDß windows and at each other, wanting to speed up the last few weeks of FROMßHERßSOßFAR
ßß WITHßAßVENGEANCE c9[FW:[` ßTOßANßEXTREMEßDEGREE Bernadita (1922), Robert Henri. Oil on canvas, 1 1 24 /8˝ × 20 /8˝. Gift of the San Diego Wednesday unit 2: analyzing character and point of view Club. © San Diego Museum of Art (1926:138).
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 20 school. I despaired every time I looked in the mirror. Pencil thin, not DESPAIRß Q<"`]u_E ßVß a curve anywhere. I was called “beanpole” and “string bean,” and I knew TOßLOSEßHOPE that’s what I looked like. A flat chest, no hips, and a brain; that’s what I had. That really wasn’t much for a fourteen-year-old to work with, Language Coach I thought, as I absent-mindedly wandered from my history class to the -ETAPHORSß 7RITERSßUSEß METAPHORSßTOßCOMPAREß gym. Another hour of sweating in basketball and displaying my toothpick TWOßTHINGSßWITHOUTß legs was coming up. Then I remembered my P.E. shorts were still in a bag USINGßLIKEßORßASßß)NßLINEß under my desk where I’d forgotten them. I had to walk all the way back ß±#OACHß4HOMPSONß and get them. Coach Thompson was a real bear if someone wasn’t dressed WASßAßREALßBEAR²ßISßAß METAPHORßß(OWßMIGHTß for P.E. She had said I was a good forward and even tried to talk Grandma THEßCOACHßREACTßTOß 30 into letting me join the team once. Of course Grandma said no. SOMEONEßWHOßISßLATE
was almost back at my classroom door when I heard voices raised Ißin anger as if in some sort of argument. I stopped. I didn’t mean to eavesdrop, I just hesitated, not knowing what to do. I needed those EAVESDROPß 8cgEQ_?]F ß shorts and I was going to be late, but I didn’t want to interrupt an VßTOßLISTENßSECRETLYßTOßAß argument between my teachers. I recognized the voices: Mr. Schmidt, PRIVATEßCONVERSATION OFßOTHERS my history teacher, and Mr. Boone, my math teacher. They seemed to be arguing about me. I couldn’t believe it. I still remember the feeling of shock that rooted me flat against the wall as if I were trying to blend in with the graffiti written there. 40 “I refuse to do it! I don’t care who her father is, her grades don’t even begin to compare to Martha’s. I won’t lie or falsify records. Martha has FALSIFYß S YE`:"S;F ßVßTOß a straight A-plus average and you know it.” That was Mr. Schmidt and MAKEßFALSEßBYßADDINGß he sounded very angry. Mr. Boone’s voice sounded calm and quiet. TOßORßCHANGING “Look. Joann’s father is not only on the Board, he owns the only store in town: we could say it was a close tie and—” The pounding in my ears drowned out the rest of the words, only a word here and there filtered through. “. . . Martha is Mexican . . . resign . . . won’t do it . . . . ” Mr. Schmidt came rushing out and luckily for me went down the opposite way toward the auditorium, so he didn’t see me. 50 Shaking, I waited a few minutes and then went in and grabbed my bag and B ß &)234 0%2 3/. fled from the room. Mr. Boone looked up when I came in but didn’t say 0/).4ß/&ß6)%7ß anything. To this day I don’t remember if I got in trouble in P.E. for being 2EREADßLINES߯ßß late or how I made it through the rest of the afternoon. I went home very (OWßDOESßTHEßARGUMENTß BETWEENß-Rß3CHMIDTß sad and cried into my pillow that night so Grandmother wouldn’t hear me. ANDß-Rß"OONEßMAKEß It seemed a cruel coincidence that I had overheard that conversation. Bß -ARTHAßFEEL The next day when the principal called me into his office I knew what it would be about. He looked uncomfortable and unhappy. I decided I wasn’t going to make it any easier for him, so I looked him straight in the C eyes. He looked away and fidgeted with the papers on his desk. C -!+%ß).&%2 %.#%3 60 “Martha,” he said, “there’s been a change in policy this year regarding 7HYßISßTHEßPRINCIPALß the scholarship jacket. As you know, it has always been free.” He cleared UNHAPPY
unit 2: analyzing character and point of view
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES his throat and continued. “This year the Board has decided to charge fifteen dollars, which still won’t cover the complete cost of the jacket.” I stared at him in shock, and a small sound of dismay escaped my DISMAYß Q<`"Z6E ßNß throat. I hadn’t expected this. He still avoided looking in my eyes. DISTRESSßCAUSEDßBYß “So if you are unable to pay the fifteen dollars for the jacket it will TROUBLEßORßSOMETHINGß UNEXPECTED be given to the next one in line.” I didn’t need to ask who that was. Standing with all the dignity I could muster, I said, “I’ll speak to my grandfather about it, sir, and let you know tomorrow.” I cried on the 70 walk home from the bus stop. The dirt road was a quarter mile from the highway, so by the time I got home, my eyes were red and puffy. “Where’s Grandpa?” I asked Grandma, looking down at the floor so she wouldn’t ask me why I’d been crying. She was sewing on a quilt as usual and didn’t look up. “I think he’s out back working in the bean field.”
went outside and looked out at the fields. There he was. I could see I him walking between the rows, his body bent over the little plants, hoe in hand. I walked slowly out to him, trying to think how I could best ask him for the money. There was a cool breeze blowing and a sweet 2 80 smell of mesquite fruit in the air, but I didn’t appreciate it. I kicked at
a dirt clod. I wanted that jacket so much. It was more than just being ß2,ß a valedictorian and giving a little thank you speech for the jacket on graduation night. It represented eight years of hard work and expectation. Dß ß&)234 0%2 3/. 0/).4ß/&ß6)%7ß I knew I had to be honest with Grandpa; it was my only chance. He saw .OTICEßHOWßTHEßAUTHERß my shadow and looked up. DEVELOPSßTHEßFIRST He waited for me to speak. I cleared my throat nervously and clasped PERSONßNARRATIONßBYß my hands behind my back so he wouldn’t see them shaking. “Grandpa, I DRAWINGßINßREADERS ß CAUSINGßTHEMßTOßCONNECTß have a big favor to ask you,” I said in Spanish, the only language he knew. TOßTHEßNARRATORßANDß He still waited silently. I tried again. “Grandpa, this year the principal TOßIDENTIFYßWITHßTHEß 90 said the scholarship jacket is not going to be free. It’s going to cost fifteen CONFLICTSßHEßORßSHEßFACESßß dollars, and I have to take the money in tomorrow, otherwise it’ll be given 2EREADßLINES߯ßß "ASEDßONßTHEßFIRST to someone else.” The last words came out in an eager rush. Grandpa PERSONßNARRATION ßWHATß straightened up tiredly and leaned his chin on the hoe handle. He looked AREßYOURßOWNßTHOUGHTSß out over the field that was filled with the tiny green bean plants. I waited, ABOUTß-ARTHAßASßSHEß TAKESßHERßPROBLEMßTOßHERß desperately hoping he’d say I could have the money. Dß GRANDFATHER He turned to me and asked quietly, “What does a scholarship jacket mean?” I answered quickly; maybe there was a chance. “It means you’ve earned it by having the highest grades for eight years and that’s why 100 they’re giving it to you.” Too late I realized the significance of my words.
ß ß SWEETßSMELLßOFßMESQUITEß Z9"`X8aE ß-ESQUITE ßAßSMALLßTREEßORßSHRUBßNATIVEßTOßHOT ßDRYßREGIONSßOFß.ORTHß !MERICA ßHASßSMALLßFLOWERSßANDßLARGEßSUPER RICHßPODSßTHATßGIVEßOFFßAßSWEETßSMELL
the scholarship jacket
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß (OWßDOESßTHEßMANß SHOWNßCOMPAREßWITHß YOURßIMAGEßOFß-ARTHA´Sß GRANDFATHER Portrait of Patience Escalier (1888), Vincent van Gogh. Oil on canvas. Private collection. © Lefevre Fine Art Ltd., London/Bridgeman Art Library.
Grandpa knew that I understood it was not a matter of money. It wasn’t that. He went back to hoeing the weeds that sprang up between the delicate little bean plants. It was a time-consuming job; sometimes the small shoots were right next to each other. Finally he spoke again as I turned to leave, crying. “Then if you pay for it, Marta, it’s not a scholarship jacket, is it? Tell your principal I will not pay the fifteen dollars.” E E -!+%ß).&%2 %.#%3 I walked back to the house and locked myself in the bathroom for 7HYßWON´Tß-ARTHA´Sß a long time. I was angry with Grandfather even though I knew he was GRANDFATHERßPAYßTHEß MONEYßFORßTHEßJACKET 110 right, and I was angry with the Board, whoever they were. Why did they have to change the rules just when it was my turn to win the jacket? Those were the days of belief and innocence.
t was a very sad and withdrawn girl who dragged into the principal’s I office the next day. This time he did look me in the eyes. “What did your grandfather say?” I sat very straight in my chair. “He said to tell you he won’t pay the fifteen dollars.” The principal muttered something I couldn’t understand under his breath and walked over to the window. He stood looking out
unit 2: analyzing character and point of view
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 120 at something outside. He looked bigger than usual when he stood up; he was a tall, gaunt man with gray hair, and I watched the back of his F head while I waited for him to speak. F &)234 0%2 3/. “Why?” he finally asked. “Your grandfather has the money. He owns 0/).4ß/&ß6)%7ß 2EREADßLINES߯ßß a two-hundred acre ranch.” (OWßDOESßTHEßFIRST I looked at him, forcing my eyes to stay dry. “I know, sir, but he said if PERSONßPOINTßOFßVIEWß I had to pay for it, then it wouldn’t be a scholarship jacket.” I stood up to LIMITßYOURßUNDERSTANDINGß leave. “I guess you’ll just have to give it to Joann.” I hadn’t meant to say OFßWHATßTHEßPRINCIPALß that, it had just slipped out. I was almost to the door when he stopped me. ISßTHINKING “Martha—wait.” 130 I turned and looked at him, waiting. What did he want now? I could feel my heart pounding loudly in my chest and see my blouse fluttering where my breasts should have been. Something bitter and vile tasting was VILEß c;Y ßADJßDISGUSTINGß coming up in my mouth; I was afraid I was going to be sick. I didn’t need UNPLEASANT any sympathy speeches. He sighed loudly and went back to his big desk. He watched me, biting his lip. “Okay. We’ll make an exception in your case. I’ll tell the Board, you’ll G get your jacket.” G -!+%ß).&%2 %.#%3 I could hardly believe my ears. I spoke in a trembling rush. “Oh, thank 7HYßDOßYOUßTHINKß you, sir!” Suddenly I felt great. I didn’t know about adrenalin3 in those THEßPRINCIPALßCHANGEDß HISßMIND 140 days, but I knew something was pumping through me, making me feel as tall as the sky. I wanted to yell, jump, run the mile, do something. I ran out so I could cry in the hall where there was no one to see me. At the end of the day, Mr. Schmidt winked at me and said, “I hear you’re getting the scholarship jacket this year.” His face looked as happy and innocent as a baby’s, but I knew better. Without answering I gave him a quick hug and ran to the bus. I cried on the walk home again, but this time because I was so happy. I couldn’t wait to tell Grandpa and ran straight to the field. I joined him in the row where he was working, and without saying anything I crouched down and 150 started pulling up the weeds with my hands. Grandpa worked alongside me for a few minutes, and he didn’t ask what had happened. After I had a little pile of weeds between the rows, I stood up and faced him. Language Coach “The principal said he’s making an exception for me, Grandpa, and 7ORDß$EFINITIONSß &INDß I’m getting the jacket after all. That’s after I told him what you said.” THEßPHRASEßMAKINGßANß EXCEPTIONßINßLINEßßß Grandpa didn’t say anything; he just gave me a pat on the shoulder 4HEßWORDßEXCEPTIONß and a smile. He pulled out the crumpled red handkerchief that he always MEANSß±ANßEXCLUSIONßORß carried in his back pocket and wiped the sweat off his forehead. AßLEAVINGßOUT²ßß)NßYOURß “Better go see if your grandmother needs any help with supper.” OWNßWORDS ßEXPLAINß WHATßTHEßPRINCIPALßISß I gave him a big grin. He didn’t fool me. I skipped and ran back DOINGßFORß-ARTHA 160 to the house whistling some silly tune. ß ß ADRENALINß :"Q_9[E:"Y<[ ßAßHORMONEßTHATßSPEEDSßUPßTHEßHEARTBEATßANDßINCREASESßBODILYßENERGYßß 4HEßBODYßPRODUCESßADRENALINßWHENßAßPERSONßEXPERIENCESßEMOTIONSßSUCHßASßEXCITEMENTßORßFEAR
the scholarship jacket
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß !FTERß2EADING
#OMPREHENSION
ß ß 2ECALLß 7HYßDOESß-ARTHAßCALLßTHEßSCHOLARSHIPßJACKETß±OURßONLYßCHANCE² 2,ßß #ITEßTEXTUALßEVIDENCEßTOß SUPPORTßINFERENCESßDRAWNßFROMß ß ß #LARIFYß 7HATßDOß-Rß"OONEßANDß-Rß3CHMIDTßARGUEßABOUT THEßTEXTß 2,ßß !NALYZEßHOWßANß AUTHORßDEVELOPSßANDßCONTRASTSß ß ß 3UMMARIZEß 4ELLßWHYßTHEßSCHOLARSHIPßJACKETßISßSOßIMPORTANTßTOß-ARTHAßß THEßPOINTSßOFßVIEWßOFßCHARACTERSß ORßNARRATORSßINßAßTEXT #ITEßEVIDENCEßFROMßTHEßSTORY 4EXTß!NALYSIS ß ß -AKEß)NFERENCESß 2EVIEWßTHEßINFERENCESßTHATßYOUßRECORDEDßINßEQUATIONSßß (AVEßANYßOFßYOURßINFERENCESßCHANGEDßAFTERßREADINGßTHEßSTORY ßß)FßSO ßWRITEßAß REVISEDßINFERENCEßNEXTßTOßTHEßEQUATIONßß%XPLAINßYOURßREASONS ß ß )NTERPRETß 2EREADßLINES߯ßß$URINGßTHEßTEACHERS´ßARGUMENT ßONEßOFßTHEß TEACHERSßSAYS ß±-ARTHAßISß-EXICAN²ßß7HATßCOULDßHEßMEANßBYßTHIS ß ß !NALYZEß#HARACTERß -ARTHAßISßTHEßMAINßCHARACTERßINßTHEßSTORYßß5SEßAßWEBß TOßDESCRIBEßHOWßTHEßMINORßCHARACTERSßINTERACTßWITHß-ARTHAßANDßWHATß EFFECTßTHEYßHAVEßONßTHEßSTORY
Mr. Schmidt: Mr. Boone:
Martha
The Principal: The Grandfather:
ß ß $RAWß#ONCLUSIONSß -ARTHA´SßGRANDFATHERßSAYSßLITTLE ßBUTßHISßWORDSßANDß ACTIONSßMEANßMUCHßTOß-ARTHAßß7HATßDOESß-ARTHAßLEARNßFROMßHIM ßß %XPLAINßHOWßYOUßCAMEßTOßTHISßCONCLUSION ß #ONTRASTß0OINTSßOFß6IEWß 4HEßSTORYßOFß±4HEß3CHOLARSHIPß*ACKET²ßISßTOLDßFROMß THEßFIRST PERSONßPOINTßOFßVIEWßß4HINKßABOUTßHOWßTHEßSTORYßMIGHTßCHANGEßIFß YOUßKNEWßEVERYONE´SßTHOUGHTSßANDßFEELINGSßß)NßWHATßWAYSßWOULDßTHEßSTORYß BEßDIFFERENT ßß7OULDßSUCHßAßCHANGEßAFFECTßTHEßOVERALLßTHEME ßß%XPLAIN %XTENSIONßANDß#HALLENGE ß 3PEECHß 7RITEßAßTHANK YOUßSPEECHßFORß-ARTHAßTOßGIVEßWHENßSHEßRECEIVESß HERßSCHOLARSHIPßJACKETßß)NßTHEßSPEECH ßMENTIONßTHEßCHALLENGESß-ARTHAßHADß TOßOVERCOMEßINßORDERßTOßACHIEVEßTHISßAWARD 8IBUTUBOETJOUIFXBZPGZPVS%3&".4 2EVIEWßTHEßLISTßOFßOBSTACLESßYOUßDEVISEDßFORßTHEßN5)#+72)4%ßONßPAGEßßß 7EREßANYßOFßTHEßOBSTACLESßASßDIFFICULTßASßTHEßONEß-ARTHAßFACED ßß%XPLAIN
unit 2: analyzing character and point of view
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 6OCABULARYßINß#ONTEXT ß VOCABULARYßPRACTICE !NSWERßEACHßQUESTIONßTOßSHOWßYOURßUNDERSTANDINGßOFßTHEß agile VOCABULARYßWORDS ß ß7HICHßISßAßWAYßTOßFALSIFY°FORGINGßAßSIGNATUREßORßCORRECTINGßANßERROR despair ß ß7OULDßANßAGILEßPERSONßBEßMOREßLIKELYßTOßSINGßWELLßORßRUNßQUICKLY dismay ß ß)Fß)ßBEGANßTOßDESPAIR ßWOULDß)ßMOREßLIKELYßMINGLEßWITHßOTHERSß ORßKEEPßTOßMYSELF eavesdrop ß ß7HICHßISßTHEßMOREßVILEßMATERIAL°ROTTINGßGARBAGEßORßROSEßPETALS ß ß7OULDßLOSINGßONE´SßGLASSESßORßHAVINGßLUNCHßWITHßFRIENDSßMOREß falsify LIKELYßCAUSEßDISMAY vile ß ß)FßYOUßWEREßGOINGßTOßEAVESDROP ßWOULDßYOUßTALKßONßTHEßPHONEß ORßLISTENßBEHINDßAßDOOR ACADEMICßVOCABULARYßINßWRITING
ßANALYZEß ß ßAWAREß ß ßßDEVELOPß ß ßREACTß ß ßRESPOND
)Nß±4HEß3CHOLARSHIPß*ACKET ²ßAßMINORßCHARACTERßEXPERIENCESßAßCHANGEßß)NßAß BRIEFßPARAGRAPH ßANALYZEßTHEßPRINCIPALßß$ESCRIBEßWHATßTHEßSTORYßREVEALSßABOUTß HISßAPPEARANCEßANDßACTIONSßß5SEßATßLEASTßONEßOFßTHEß!CADEMICß6OCABULARYß WORDSßINßYOURßDESCRIPTION VOCABULARYßSTRATEGYßCONTEXTßCLUES 3OMETIMESßWRITERSßTELLßYOUßDIRECTLYßWHATßDIFFICULTßWORDSßMEANßß4HISßKINDß ,ßAß 5SEßCONTEXTßASßAßCLUEßTOßTHEß OFßCONTEXTßCLUE ßAßDEFINITION ßUSUALLYßFOLLOWSßTHEßDIFFICULTßWORDßß)TßISßSETßOFFß MEANINGßOFßAßWORD BYßCOMMASßORßDASHESßORßBYßEXPRESSIONSßLIKEßTHATßISßß,OOKßFORßAßDEFINITIONß OFßVALEDICTORIANßONßPAGEßßOFßTHISßSTORY
02!#4)#%ß $EFINEßTHEßBOLDFACEDßWORDSßß)DENTIFYßCONTEXTßCLUESßTHATßHELPEDß YOUßUNDERSTANDßTHEßMEANINGßOFßTHEßWORD ßß ß,ORETTAßISßAßPOLYGLOT°THATßIS ßSOMEONEßWHOßKNOWSßSEVERALßLANGUAGES ßß ß4HEßHURRICANEßBEGANßASßANßAMORPHOUSßMASS°AßSHAPELESSßGROUPßOFß CLOUDS >ciZgVXi^kZ ßß ß7HENß)ßDISPARAGEDßHIM ßHEßPUTßMEßDOWNßINßTHEßSAMEßWAY KdXVWjaVgn ßß 3HEßWASßNOTßSIMPLYßHAPPYßTOßRECEIVEßTHEßGIFTßSHEßWASßEUPHORIC 'OßTOßTHINKCENTRALCOM ßß 4HEßSLEEPßCLINICßTREATSßSOMNAMBULISTS ßPEOPLEßWHOßWALKßINßTHEIRßSLEEP +%97/2$ß(-,
the scholarship jacket
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß "EFOREß2EADING 0ROMETHEUS 'REEKß-YTHß2ETOLDßBYß"ERNARDß%VSLIN
6IDEOßLINKßATß /RPHEUSßANDß%URYDICE THINKCENTRALCOM 'REEKß-YTHß2ETOLDßBYß/LIVIAß#OOLIDGE
K>9:DIG6>A:G +%97/2$ß(-, %PZPV5)*/, CFGPSFZPVBDU
(AVEßYOUßEVERßMADEßAßDECISIONßYOUßWISHEDßYOUßCOULDßTAKEßBACK ßß)Fß SO ßTHENßYOUßKNOWßTHATßYOURßACTIONSßSOMETIMESßHAVEßCONSEQUENCES ß 2,ßß #ITEßTEXTUALßEVIDENCEßTOß ORßEFFECTS ßTHATßYOUßDIDN´TßBARGAINßFORßß9OU´REßNOTßALONEßß!SßYOU´LLßSEEß SUPPORTßANALYSISßOFßWHATßTHEßTEXTß SAYSßEXPLICITLYß 2,ßß 2EADßANDß INßTHEß'REEKßMYTHSßYOU´REßABOUTßTOßREAD ßPEOPLEßHAVEßBEENßACTINGß COMPREHENDßLITERATUREß ,ßBß 5SEß THEßRELATIONSHIPßBETWEENßPARTICULARß WITHOUTßTHINKINGßSINCEßANCIENTßTIMES WORDSßEG ßANTONYM ßTOßBETTERß UNDERSTANDßEACHßOFßTHEßWORDS N5)#+72)4%ß 4HINKßOFßAßRISKYßDECISIONßYOUßMIGHTßMAKE ßSUCHßASß CHOOSINGßNOTßTOßSTUDYßFORßAßTESTßORßCHOOSINGßTOßMAKEßFRIENDSßWITHßAß PERSONßOUTSIDEßYOURßGROUPßß7HATßAREßTHEßPOSSIBLEßCONSEQUENCESßOFß THEßDECISION ßBOTHßNEGATIVEßANDßPOSITIVE ßß7RITEßAßSHORTßPARAGRAPHß EXPLAININGßWHETHERßYOUßWOULDßBEßWILLINGßTOßFACEßTHESEßCONSEQUENCES
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES -EETßTHEß!UTHORS ßTEXTßANALYSISßCHARACTERISTICSßOFßMYTHS 3INCEßANCIENTßTIMES ßPEOPLEßHAVEßPASSEDßDOWNßMYTHS ßORß "ERNARDß%VSLIN ¯ STORIESßTHATßEXPLAINßMYSTERIESßOFßTHEßUNIVERSEßß-OSTßMYTHSß SHAREßTHESEßCHARACTERISTICS $RAWNßTOß-YTHSß )NßTHEßMID S ß"ERNARDß ß 4HEYßTELLßHOWßSOMETHINGßCAMEßTOßBE ßORßTHEYßREVEALßTHEß %VSLINßFOUNDßHISßCALLINGß EFFECTSßOFßHUMANßBEHAVIOR RETELLINGßMYTHSßANDß ß 4HEYßFEATUREßGODSßORßOTHERßBEINGSßWITHßSUPERNATURALßPOWERSßß LEGENDSßß(ISßßBOOKß 4HESEßBEINGSßOFTENßSHOWßSUCHßHUMANßQUALITIESßASßANGERß (ERCULESßWONßTHEß -ANYßFAMOUSßMYTHS ßLIKEßTHEßONESßYOU´REßABOUTßTOßREAD ß 7ASHINGTONß)RVINGß #HILDREN´Sß"OOKß WEREßFIRSTßTOLDßINß'REECEßOVERß ßYEARSßAGOßß!SßYOUßREAD ß #HOICEß!WARD NOTEßWHATßTHEßMYTHSßEXPLAINßANDßHOWßTHEßGODSßACT
ßREADINGßSTRATEGYßASKßnUESTIONS /LIVIAß#OOLIDGE 4HEßUNUSUALßCHARACTERS ßPLACES ßANDßSITUATIONSßINßTHESEß ¯ MYTHSßMAYßSOMETIMESßDISTRACTßORßCONFUSEßYOUßß!SßYOUß READ ßTRYßMONITORING ßORßCHECKING ßYOURßUNDERSTANDINGßß/NEß "RIDGINGß0ASTß ANDß0RESENTß WAYßTOßDOßTHISßISßBYßASKINGßYOURSELFßQUESTIONSßABOUTßWHAT´Sß !SßAßCHILD ß/LIVIAß GOINGßONßß)FßYOUßCAN´TßANSWER ßCLARIFYßYOURßUNDERSTANDINGßBYß #OOLIDGEßANDßHERß READINGßMOREßSLOWLY ßGOINGßBACK ßORßREADINGßONßß.OTEßYOURß SISTERßMADEßUPßFAIRYß QUESTIONSßANDßTHEßANSWERSßINßAßCHARTßLIKEßTHEßONEßSHOWN TALESßTOßTELLßEACHßOTHERßß !SßANßADULT ß#OOLIDGEß BECAMEßAßFAMOUSß Q What does Prometheus ask Zeus? RETELLERßOFß'REEKß TALESßANDßMYTHS
A BACKGROUNDßTOßTHEßMYTHS :EUS ß0ROMETHEUS ßANDß(ADESß 4HEß'REEKßGODSßWEREßNOTßALLßEQUALßINß POWERßORßSTATUSßß0ROMETHEUSßWASßAß ßVOCABULARYßINßCONTEXT PARTßOFßAßFAMILYßOFßGIANTS ßTHEß4ITANSßß )NßTHEßSELECTIONS ßTHEßBOLDFACEDßWORDSßHELPßTELLßWHATßHAPPENSß :EUSßDEFEATEDßTHEMßANDßBECAMEßRULERß WHENßTHEßGODSßAREßDISOBEYEDßß2ESTATEßEACHßSENTENCE ßUSINGß OFßALLßGODSßß(EßORDEREDß0ROMETHEUSßTOß AßDIFFERENTßWORDßORßWORDSßFORßTHEßBOLDFACEDßTERMS CREATEßHUMANSßß(ADES ßWHOßAPPEARSß INß±/RPHEUSßANDß%URYDICE ²ßWASßTHEß ß 4HEßGODSßWEREßINFINITELYßMOREßPOWERFULßTHANßTHEßHUMANS RULERßOFßTHEßUNDERWORLDßß(E ßTOO ß ß (EßHADßLITTLEßAPTITUDEßFORßFOLLOWINGßORDERSß ANSWEREDßTOß:EUS ß (EßSWOREßVENGEANCEßAGAINSTßHISßENEMIESß ß !FTERßHERßSONßWASßBANISHED ßSHEßWASßINCONSOLABLE ßß 3HEßWANTEDßTOßASCENDßTHEßMOUNTAINßWHEREßTHEßGODSßLIVEDß 6ji]dghDca^cZ 'OßTOßTHINKCENTRALCOMßß+%97/2$ß(-, #OMPLETEßTHEßACTIVITIESßINßYOURß2EADER7RITERß.OTEBOOK
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß Retold by Bernard Evslin
rometheus was a young Titan, no great admirer of Zeus. Although P he knew the great lord of the sky hated explicit questions, he did 1 not hesitate to beard him when there was something he wanted to know. .OTICEßTHEßEXPRESSIONß One morning he came to Zeus and said, “O Thunderer, I do not ONßTHEßGOD´SßFACEßANDß understand your design. You have caused the race of man2 to appear THEßPOSITIONßOFßHISßARMSßß 7HATßCANßYOUßINFERß on earth, but you keep him in ignorance and darkness.” ABOUTßTHEßEMOTIONßHEß “Perhaps you had better leave the race of man to me,” said Zeus. MIGHTßBEßFEELING ß “What you call ignorance is innocence. What you call darkness is the shadow of my decree. Man is happy now. And he is so framed that he Aß '2 %%+ ß -94(3ß 10 will remain happy unless someone persuades him that he is unhappy. "ASEDßONßTHEß Let us not speak of this again.” CONVERSATIONßBETWEENß But Prometheus said, “Look at him. Look below. He crouches in caves. THEßTWOßGODS ßWHATß He is at the mercy of beast and weather. He eats his meat raw. If you ASPECTßOFßTHEßNATURALß WORLDßDOßYOUßTHINKßTHISß mean something by this, enlighten me with your wisdom. Tell me why MYTHßWILLßEXPLAIN ßß you refuse to give man the gift of fire.” Aß -AKEßAßPREDICTIONß
ßß BEARDßTOßCONFRONTßORßDEFY ß ß MANß)NßOLDERßTRANSLATIONS ßTHEßEXPRESSIONßMANßWASßCOMMONLYßUSEDßTOßREFERßTOßALLßPEOPLE Detail from Prometheus Carrying Fire, Jan Cossiers. Prado, Madrid. © Art Resource, unit 6: myths, legends, and tales New York.
ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES prometheus
(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß Zeus answered, “Do you not know, Prometheus, that every gift brings a penalty? This is the way the Fates3 weave destiny—by which gods also must abide. Man does not have fire, true, nor the crafts which fire teaches. On the other hand, he does not know disease, warfare, old age, 20 or that inward pest called worry. He is happy, I say, happy without fire. And so he shall remain.” “Happy as beasts are happy,” said Prometheus. “Of what use to make a separate race called man and endow4 him with little fur, some wit, and a curious charm of unpredictability? If he must live like this, why separate him from the beasts at all?” “He has another quality,” said Zeus, “the capacity for worship. An aptitude for admiring our power, being puzzled by our riddles APTITUDEß 7]Ea<"aAQF ßNß and amazed by our caprice.5 That is why he was made.” NATURALßABILITY “Would not fire, and the graces he can put on with fire, make him 30 more interesting?” INFINITELY <[ES:"[ At first men were frightened by the gift. It was so hot, so quick; it bit INß'REECE sharply when you touched it and for pure spite made the shadows dance. They thanked Prometheus and asked him to take it away. But he took B !3+ßN5%34)/.3 -AKEßSUREßYOUß the haunch of a newly killed deer and held it over the fire. And when UNDERSTANDßTHEßCONFLICTß the meat began to sear and sputter, filling the cave with its rich smells, BETWEENß0ROMETHEUSß 50 the people felt themselves melting with hunger and flung themselves ANDß:EUSßß7HATß on the meat and devoured it greedily, burning their tongues. QUESTIONSßDOßYOUßHAVEß ABOUTßWHATßHASßALREADYß “This that I have brought you is called ‘fire,’” Prometheus said. HAPPENEDßANDßABOUTß “It is an ill-natured spirit, a little brother of the sun, but if you handle WHATßWILLßHAPPENßNEXT ß ß THEß&ATESßINß'REEKßMYTHOLOGY ßTHEßTHREEßGODDESSESßWHOßDECIDEßTHEßCOURSEßOFßPEOPLE´SßLIVES ßß ENDOWß 9["Q\bE ßTOßPROVIDEßWITHßAßQUALITYßORßTALENT ßßCAPRICEß X:"]_8`E ßTHEßQUALITYßOFßACTINGßWITHOUTßPLANNINGßORßTHINKINGßBEFOREHAND ß ß VAUNTINGßPRIDEßTHATßNEEDSßLITTLEßSUSTENANCEßBOASTFULßPRIDEßTHATßNEEDSßLITTLEßSUPPORT unit 6: myths, legends, and tales ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES it carefully, it can change your whole life. It is very greedy; you must feed it twigs, but only until it becomes a proper size. Then you must stop, or it will eat everything in sight—and you too. If it escapes, use this magic: water. It fears the water spirit, and if you touch it with water, it will fly away until you need it again.” He left the fire burning in the first cave, with children staring at it 60 wide-eyed, and then went to every cave in the land. hen one day Zeus looked down from the mountain and was amazed. T Everything had changed. Man had come out of his cave. Zeus saw woodmen’s huts, farmhouses, villages, walled towns, even a castle or two. He saw men cooking their food, carrying torches to light their way at night. He saw forges7 blazing, men beating out ploughs, keels, swords, spears. They were making ships and raising white wings of sails and daring to use the fury of the winds for their journeys. They were wearing helmets, riding out in chariots to do battle, like the gods themselves. C C '2 %%+ ß -94(3ß Zeus was full of rage. He seized his largest thunderbolt. “So they want !CCORDINGßTOßTHISßMYTH ß WHATßEVENTßALLOWEDß 70 fire,” he said to himself. “I’ll give them fire—more than they can use. PEOPLEßTOßBUILDßHOMES ß I’ll turn their miserable little ball of earth into a cinder.” But then FARM ßANDßGOßTOßWAR ßß another thought came to him, and he lowered his arm. “No,” he said to himself, “I shall have vengeance—and entertainment too. Let them VENGEANCE c9[EW:[` ß destroy themselves with their new skills. This will make a long, twisted NßTHEßINFLICTIONßOFß PUNISHMENTßINßRETURNßFORß game, interesting to watch. I’ll attend to them later. My first business ANßOFFENSE is with Prometheus.” He called his giant guards and had them seize Prometheus, drag him off to the Caucasus,8 and there bind him to a mountain peak with great chains specially forged by Hephaestus9—chains which even a Titan in 80 agony could not break. And when the friend of man was bound to the mountain, Zeus sent two vultures to hover about him forever, tearing at his belly and eating his liver. D D !3+ßN5%34)/.3 Men knew a terrible thing was happening on the mountain, but they 7HATßDOESß:EUSßDOßß did not know what. But the wind shrieked like a giant in torment and TOß0ROMETHEUS ßANDß WHY ßß4OßCLARIFYßTHEß sometimes like fierce birds. ANSWER ßTHINKßABOUTßß Many centuries he lay there—until another hero was born brave THEßCONFLICTßBETWEENßß enough to defy the gods. He climbed to the peak in the Caucasus and THEßTWOßGODSßß4HENß struck the shackles from Prometheus and killed the vultures. His name REREADßLINESß¯ß was Heracles.10 ßß FORGESß S _EW prometheus (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß Orpheus Eurydiceand Retold by Olivia Coolidge n the legend of Orpheus the Greek love of music found its fullest I expression. Orpheus, it is said, could make such heavenly songs that $ESCRIBEßTHEßLISTENERS´ß when he sat down to sing, the trees would crowd around to shade him. EXPRESSIONSßß(OWßCANß YOUßCONNECTßTHISßANCIENTß The ivy and vine stretched out their tendrils. Great oaks would bend their SCENEßTOßYOURßOWNß spreading branches over his head. The very rocks would edge down the EXPERIENCEßWITHßMUSIC ß mountainsides. Wild beasts crouched harmless by him, and nymphs1 and woodland gods would listen to him enchanted. Eß Eß '2 %%+ ß -94(3ß Orpheus himself, however, had eyes for no one but the nymph, .OTEßWHATßQUALITYß Eurydice.2 His love for her was his inspiration, and his power sprang from MAKESß/RPHEUSßSPECIALß !CCORDINGßTOßTHEßFIRSTß 10 the passionate longing that he knew in his own heart. All nature rejoiced SENTENCE ßHOWßMUCHßß with him on his bridal day, but on that very morning, as Eurydice went DIDßTHEß'REEKSßVALUEßß down to the riverside with her maidens to gather flowers for a bridal THISßQUALITY ßß garland, she was bitten in the foot by a snake, and she died in spite of all attempts to save her. ßß NYMPHSß [ ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß Orpheus was inconsolable. All day long he mourned his bride, while INCONSOLABLEßß birds, beasts, and the earth itself sorrowed with him. When at last the <[´X:["`>EY:"O:Y ßADJß IMPOSSIBLEßORßDIFFICULTßß shadows of the sun grew long, Orpheus took his lyre and made his way TOßCOMFORT to the yawning cave which leads down into the underworld, where the soul of dead Eurydice had gone. 6)35!,ß 3 20 Even grey Charon, the ferryman of the Styx, forgot to ask his 6/#!"5,!29 passenger for the price of crossing. The dog, Cerberus, the three-headed monster who guards Hades’ gate, stopped full in his tracks and listened motionless until Orpheus had passed. As he entered the land of Hades, the pale ghosts came after him like great, uncounted flocks of silent birds. All the land lay hushed as that marvelous voice resounded across the mud and marshes of its dreadful rivers. In the daffodil fields of Elysium4 the happy dead sat silent among their flowers. In the farthest corners of the place of punishment, the hissing flames stood still. Accursed Sisyphus,5 who toils eternally to push a mighty rock uphill, sat down and knew not 6 30 he was resting. Tantalus, who strains forever after visions of cool water, forgot his thirst and ceased to clutch at the empty air. LYRE Y;_ ßNßANßANCIENTß The pillared hall of Hades opened before the hero’s song. The ranks STRINGEDßINSTRUMENTß of long-dead heroes who sit at Hades’ board looked up and turned their RESEMBLINGßAßSMALLßHARP eyes away from the pitiless form of Hades and his pale, unhappy queen. Grim and unmoving sat the dark king of the dead on his ebony throne, yet the tears shone on his rigid cheeks in the light of his ghastly torches. Even his hard heart, which knew all misery and cared nothing for it, was touched by the love and longing of the music. F F !3+ßN5%34)/.3 7HATßQUESTIONSßDOß t last the minstrel came to an end, and a long sigh like wind in pine YOUßHAVEßABOUTßWHATß THEßUNDERWORLDßISßLIKE ß 40 A trees was heard from the assembled ghosts. Then the king spoke, 2EVIEWINGßWHATßYOU´VEß and his deep voice echoed through his silent land. “Go back to the light READ ßALONGßWITHßTHEß of day,” he said. “Go quickly while my monsters are stilled by your song. FOOTNOTES ßMIGHTßHELPß Climb up the steep road to daylight, and never once turn back. The spirit YOUßFINDßANSWERS of Eurydice shall follow, but if you look around at her, she will return to me.” Orpheus turned and strode from the hall of Hades, and the flocks of following ghosts made way for him to pass. In vain he searched their ranks for a sight of his lost Eurydice. In vain he listened for the faintest sound behind. The barge of Charon sank to the very gunwales7 beneath ß ß 3TYXß `a unit 6: myths, legends, and tales ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 50 his weight, but no following passenger pressed it lower down. The way from the land of Hades to the upper world is long and hard, far easier ,ßB to descend than climb. It was dark and misty, full of strange shapes and Language Coach noises, yet in many places merely black and silent as the tomb. Here !NTONYMSß !NTO NYMSß Orpheus would stop and listen, but nothing moved behind him. For all AREßWORDSßWITHßOPPOSITEß MEANINGSßß9OUßCANß he could hear, he was utterly alone. Then he would wonder if the pitiless SOMETIMESßFIGUREßOUTß Hades were deceiving him. Suppose he came up to the light again and THEßMEANINGßOFßANß Eurydice was not there! Once he had charmed the ferryman and the UNFAMILIARßWORDßINß dreadful monsters, but now they had heard his song. The second time his AßSENTENCEßWHENßITSß ANTONYMßAPPEARSßINßTHEß spell would be less powerful; he could never go again. Perhaps he had lost SAMEßSENTENCEßß2EADß 60 Eurydice by his readiness to believe. G LINES߯ßß4HEßWORDß Every step he took, some instinct told him that he was going farther DESCENDßISßANßANTONYMß from his bride. He toiled up the path in reluctance and despair, stopping, FORßCLIMBßß#ANßYOUßTELLß listening, sighing, taking a few slow steps, until the dark thinned out WHATßDESCENDßMEANS into greyness. Up ahead a speck of light showed clearly the entrance to the cavern. G '2 %%+ ß -94(3ß At that final moment Orpheus could bear no more. To go out into 2ECALLßTHEßRULEß(ADESß the light of day without his love seemed to him impossible. Before he GAVEßTOß/RPHEUSßß had quite ascended, there was still a moment in which he could go back. 0REDICTßWHETHERß Quick in the greyness he turned and saw a dim shade at his heels, as /RPHEUSßWILLßOBEYßIT Orpheus Leading Eurydice from the Underworld (1861), Jean Baptiste Camille Corot. Oil on canvas, 112.3 cm 137.1 cm. © Museum of Fine Arts, Houston. © Bridgeman Art Library. ASCENDß :"`9[QE ßVßTOßGOß ORßMOVEßUPWARDßRISE orpheus and eurydice (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 70 indistinct as the grey mist behind her. But still he could see the look of sadness on her face as he sprung forward saying, “Eurydice!” and threw his arms about her. The shade dissolved in the circle of his arms like smoke. A little whisper seemed to say, “Farewell,” as she scattered into mist and was gone. H H !3+ßN5%34)/.3 The unfortunate lover hastened back again down the steep, dark 2EREADßLINESß¯ß path. But all was in vain. This time the ghostly ferryman was deaf to his 7HATßISßTHEß±DIMß SHADE²ßATß/RPHEUS´ß prayers. The very wildness of his mood made it impossible for him to HEELS ßß7HYßDOESßTHEß attain the beauty of his former music. At last, his despair was so great SHADEßDISAPPEAR ßß)Fß that he could not even sing at all. For seven days he sat huddled together YOU´REßNOTßSURE ßTRYß REREADINGßLINESß¯ß 80 on the grey mud banks, listening to the wailing of the terrible river. The ANDßTHENßREREADINGßTHISß flitting ghosts shrank back in a wide circle from the living man, but he PASSAGEßTOßCLARIFYßYOURß paid them no attention. Only he sat with his eyes on Charon, his ears UNDERSTANDING ringing with the dreadful noise of Styx. Orpheus arose at last and stumbled back along the steep road he knew so well by now. When he came up to earth again, his song was pitiful but more beautiful than ever. Even the nightingale who mourned all night long would hush her voice to listen as Orpheus sat in some hidden place singing of his lost Eurydice. Men and women he could bear no longer, and when they came to hear him, he drove them away. At last the women 8 90 of Thrace, maddened by Dionysus and infuriated by Orpheus’ contempt, fell upon him and killed him. It is said that as the body was swept down the river Hebrus, the dead lips still moved faintly and the rocks echoed for the last time, “Eurydice.” But the poet’s eager spirit was already far I !3+ßN5%34)/.3 down the familiar path. In the daffodil meadows he met the shade of Eurydice, and there they (OWßAREß/RPHEUSßANDß %URYDICEßREUNITED ßß)Fß walk together, or where the path is narrow, the shade of Orpheus goes YOUßHAVEßANYßQUESTIONS ß ahead and looks back at his love. I REVIEWßTHISßPAGE ß ß WOMENßOFß4HRACEß aU_6` ßMADDENEDßBYß$IONYSUSß Q unit 6: myths, legends, and tales ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES #ONNECTß0OEM Orpheus (1618), Marcello Provenzale. © Massimo Listri/Corbis. Orpheus with his lute1 made trees, And the mountain tops that freeze, of Bow themselves when he did sing: Song To his music plants and flowers 5 Ever sprung; as sun and showers There had made a lasting spring. Every thing that heard him play, Orpheus Even the billows2 of the sea, William Hung their heads, and then lay by. 10 In sweet music is such art, Shakespeare Killing care and grief of heart Fall asleep, or hearing, die. ßß LUTEßAßSMALL ßSTRINGEDßMUSICALßINSTRUMENTßß WITHßAßPEAR SHAPEDßBODY ß ß BILLOWSßHUGEßWAVES connect: poem (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß !FTERß2EADING #OMPREHENSION ß ß 2ECALLß7HENß0ROMETHEUSßGIVESßHUMANSßFIRE ßWHATßISßTHEIRßFIRSTßREACTION 2,ßß #ITEßTEXTUALßEVIDENCEßTOß SUPPORTßANALYSISßOFßWHATßTHEßTEXTß ß ß 2ECALLß 7HYßDOESß:EUSßDECIDEßNOTßTOßPUNISHßTHEßHUMANSßFORßHAVINGßFIRE SAYSßEXPLICITLYß 2,ßß 2EADßANDß COMPREHENDßLITERATUREß ß ß #LARIFYß 7HYßDOESß(ADESßATßFIRSTßAGREEßTOßRETURNß%URYDICEßTOß/RPHEUS 7ßß #ONDUCTßSHORTßRESEARCHß PROJECTSßTOßANSWERßAßQUESTION 4EXTß!NALYSIS ß ß !SKßNUESTIONSß 2EVIEWßTHEßCHARTßYOUßCREATEDßASßYOUßREADßß!REßTHEREß QUESTIONSßYOUßAREßUNSUREßHOWßTOßANSWER ßß#OMPAREßYOURßCHARTßWITHß AßCLASSMATE´Sßß4OGETHER ßGOßOVERßTHEßSTORYßTOßANSWERßANYßREMAININGß QUESTIONS ß ß #OMPAREß,ITERARYß7ORKSß #OMPAREßß±/RPHEUSßANDß%URYDICE²ßTOß7ILLIAMß 3HAKESPEARE´Sß±3ONGßOFß/RPHEUS²ßONßPAGEßßß)DENTIFYßTHEßPARTßOFßTHEß MYTHßTHEßPOEMßDESCRIBESßß7HICHßLITERARYßWORK ßTHEßMYTHßORßTHEßPOEM ß BETTERßHELPSßYOUßVISUALIZEßTHEßSCENE ßß%XPLAINßYOURßANSWERßWITHßDETAILSß FROMßTHEßSELECTIONßYOUßCHOOSEß ß ß !NALYZEß#HARACTERISTICSßOFß'REEKß-YTHSß 2EVIEWßLINES߯ßOFß ±0ROMETHEUS²ßß7HYßISßTHISßPASSAGEßIMPORTANTßINßTERMSßOFßEXPLAININGß WHEREßFIREßCOMESßFROM ßß'IVEßSPECIFICßDETAILSßFROMßTHEßPASSAGEßTOßSUPPORTß YOURßANSWER ß ß $RAWß#ONCLUSIONSß 7HATßKINDßOFßBEHAVIORß Rewarded Punished DOßYOUßTHINKßTHESEßMYTHSßWEREßMEANTß TOßENCOURAGE ßß-AKEßAßCHARTßANDßGOß BACKßTHROUGHßTHEßSTORIES ßNOTINGßWHICHß BEHAVIORSßAREßREWARDEDßANDßWHICHßAREß PUNISHEDßß4HENßGIVEßYOURßCONCLUSIONSßABOUTßWHATßKINDßOFßBEHAVIORßTHEß 'REEKSßHOPEDßTOßENCOURAGEßINßPEOPLEßBYßTELLINGßTHESEßMYTHS %XTENSIONßANDß#HALLENGE 1. Zeus ßßß )NQUIRYßANDß2ESEARCHß :EUSßANDß(ADESßWEREßPARTßOFßAßGROUPßOFßßGODSß 2. 3. 4. 5. WHOßRULEDßFROMß-OUNTß/LYMPUSßß$OßRESEARCHßTOßFINDßOUTßMOREßABOUTß THEß/LYMPIANSßß4HENßCREATEßAßPOSTERßTHATßLISTSßALLßßOFßTHESEßGODSßANDß 6. 7. GODDESSESßANDßTELLSßWHATßTHEYßWEREßKNOWNßFOR 8. 9. 10. 11. %PZPV5)*/,CFGPSFZPVBDU 12. Mount Olympus )MAGINEßYOUßCOULDßASKß0ROMETHEUSßORß/RPHEUSßTHISßQUESTIONßß#HOOSEßONEß OFßTHESEßCHARACTERSßANDßWRITEßTHEßANSWERßYOUßTHINKßHEßWOULDßGIVEßONßTHEß BASISßOFßHISßEXPERIENCES unit 6: myths, legends, and tales ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 6OCABULARYßINß#ONTEXT ß VOCABULARYßPRACTICE $ECIDEßWHETHERßTHEßWORDSßINßEACHßPAIRßAREßSYNONYMSßWORDSßTHATß aptitude MEANßTHEßSAME ßORßANTONYMSßWORDSßTHATßMEANßTHEßOPPOSITE ß ascend ß APTITUDETALENT ßßASCENDDESCEND inconsolable ßßINCONSOLABLECOMFORTED ßßINFINITELYBARELYß infinitely ßßVENGEANCEMERCY ACADEMICßVOCABULARYßINßWRITING vengeance ßATTRIBUTEß ß ßCONDUCTß ß ßPHYSICALß ß ßSTATUSß ß ßTASK )NßTHESEßMYTHS ßTHEßGODSßOFTENßDISAPPROVEßOFßTHEßWAYßPEOPLEßCONDUCTß THEMSELVESßß7RITEßAßPARAGRAPHßDESCRIBINGßHOWßTHEßGODSßREACTßTOßTHEßHUMANS´ß BEHAVIORßß5SEßATßLEASTßTWOßOFßTHEß!CADEMICß6OCABULARYßWORDSßINßYOURß RESPONSE VOCABULARYßSTRATEGYßFOREIGNßWORDSßINßENGLISH 4HEß%NGLISHßLANGUAGEßISßCONSTANTLYßADOPTINGßFOREIGNßWORDSßANDßPHRASES ß ,ßCß #ONSULTßGENERALßREFERENCEß ESPECIALLYß'REEKßANDß,ATINßß3OMEßWORDSßMAYßKEEPßTHEIRßORIGINALßMEANINGS ß MATERIALSßEG ßDICTIONARIES ß BUTßOTHERSßMAYßCHANGEßß&ORßEXAMPLE ßTHEßFIRSTßLINEßOFßTHEß'REEKßMYTHß ,ßß !CQUIREßANDßUSEßACCURATELYß GRADE APPROPRIATEßGENERALß ±0ROMETHEUS²ßDESCRIBESß0ROMETHEUSßASß±AßYOUNGß4ITAN²ß)Nß'REEKßMYTHOLOGY ß ACADEMICßWORDS THEß4ITANSßWEREßAßFAMILYßOFßGIANTSßß4ODAY ßTHEßWORDßTITANßMEANSß±AßPERSONßORß THINGßTHATßHASßGREATßPOWERßORßINFLUENCE²ß!ßDICTIONARYßWILLßHAVEßTHEßDEFINITIONSß ANDßHISTORIESßOFßMANYßFOREIGNßWORDSßANDßPHRASESßTHATßAREßCOMMONLYßUSEDßINß %NGLISHß 02!#4)#%ß #REATEßAßCHARTßLIKEßTHEßONEßSHOWNßß5SEßAßDICTIONARYßTOßFILLßINßTHEß CHARTßFORßEACHßWORD Foreign Word Original Language Original Meaning Meaning in English alfresco Latin in the fresh air, in the fresh air outdoors >ciZgVXi^kZ ßALIBIß ßADßNAUSEAM KdXVWjaVgn ß DEßFACTOß ßMEAßCULPA 'OßTOßTHINKCENTRALCOM ß APOGEEß ßHOIßPOLLOI +%97/2$ß(-, prometheus / orpheus and eurydice (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß "EFOREß2EADING FROMß)T´Sß.OTß!BOUTßTHEß"IKE !UTOBIOGRAPHYßBYß,ANCEß!RMSTRONG WITHß3ALLYß*ENKINSß FROMßß$AYSßINß*ULY .ONFICTIONß!CCOUNTßBYß*OHNß7ILCOCKSON K>9:DIG6>A:G +%97/2$ß(-, 8IBUJTB8*//&3 9OUßMIGHTßNORMALLYßASSOCIATEßAßWINNERßWITHßAßCONTEST ßAßGAME ßORß AßSPORTßß"UTßCANßYOUßALSOßBEßAßWINNERßWHENßYOU´REßNOTßCOMPETINGß 2)ßß #ITEßTEXTUALßEVIDENCEßTOß WITHßOTHERßPEOPLE ßß)FßSO ßHOW ßß)NßTHEßSELECTIONSßYOU´REßABOUTßTOßREAD ß SUPPORTßINFERENCESßDRAWNßFROMß THEßTEXTßß2)ßß $ETERMINEßTWOß YOUßWILLßFINDßOUTßHOWß,ANCEß!RMSTRONGßFACEDßTWOßVERYßDIFFERENTß ORßMOREßCENTRALßIDEASßINßAßTEXTßß 2)ßß $ETERMINEßANßAUTHOR´SßPOINTß CHALLENGESßANDßCAMEßOUTßAßWINNERßINßBOTHß OFßVIEWßORßPURPOSEßINßAßTEXT 3+%4#(ß)4ß $OßYOUßREMEMBERßAßTIMEßINßYOURßLIFEßWHENßYOUßFELTßLIKEß AßWINNER ßß-AYBEßYOUßWONßAßSPELLINGßBEEßORßACHIEVEDßSOMETHINGß THATßNOßONEßELSEßEVERßHADßß0ERHAPSßYOUßFACEDßAßFEARßORßAßCHALLENGEß #REATEßAßSKETCHßOFßTHEßMOMENTßANDßINCLUDEßAßTITLEßTHATßDESCRIBESßWHATß ISßHAPPENINGßß3HAREßYOURßSKETCHßWITHßTHEßCLASS ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES -EETßTHEß!UTHOR ßßTEXTßANALYSISßAUTHOR´SßPURPOSEß ANDßTHEME ,ANCEß!RMSTRONG )NßLITERARYßWORKS ßTHEßWRITER´SßGOALßISßTOßCONVEYßAßTHEME ßORß BORNß CENTRALßIDEAßABOUTßLIFEßORßHUMANßNATUREßß!ßREADERßEXAMINESß !GAINSTß!LLß/DDSß THEßTITLE ßCHARACTERS ßLANGUAGE ßANDßLESSONSßLEARNEDßß)NßANß ,ANCEß!RMSTRONGßWASßAßRISINGßSTARßINß EXPOSITORYßTEXT ßSUCHßASßAßMAGAZINEßARTICLE ßTHEßAUTHOR´Sß THEßWORLDßOFßPROFESSIONALßCYCLINGßWHENß PURPOSEßISßTOßEXPRESSßTHOUGHTSßORßFEELINGS ßINFORMßORßEXPLAIN ß HISßLIFEßWASßTURNEDßUPSIDEßDOWNß)Nß PERSUADE ßORßENTERTAINßONßAßPARTICULARßTOPICßß4OßDETERMINEßANß ßHEßWASßDIAGNOSEDßWITHßCANCERß AUTHOR´SßPURPOSE ßYOUßEXAMINE ANDßGIVENßLESSßTHANßAßßPERCENTßCHANCEß OFßSURVIVALßß(EßUNDERWENTßDIF½ßCULTß ßSUBJECTßANDßTONEßßßDETAILSßANDßWORDSßßßEFFECTßONßTHEßREADER CHEMOTHERAPYßTREATMENTSßTHATßMADEß !SßYOUßREADßTHEßEXCERPTßFROMß)T´Sß.OTß!BOUTßTHEß"IKE ßLOOKßFORß HIMßVERYßILLßANDßDIDßNOTßGUARANTEEß CLUESßABOUTßTHEßTHEMEßCONVEYEDßBYß!RMSTRONGßß!SßYOUßREADß SUCCESSßß(OWEVER ß!RMSTRONGßRETURNEDß THEßEXCERPTßFROMß±ß$AYSßINß*ULY ²ßLOOKßFORßCLUESßTOßHELPßYOUß TOßPROFESSIONALßBICYCLINGßANDßWONßHISß DETERMINEßTHEßAUTHOR´SßPURPOSEß ½ßRSTß4OURßDEß&RANCEßINßß(EßWENTßONß TOßWINßAGAINßINß ß ß ß ß ßREADINGßSKILLßMAKEßINFERENCES ANDßß*OHNß7ILCOCKSONßCAPTUREDß 4OßUNDERSTANDßWHATßYOUßREAD ßITßHELPSßTOßMAKEßINFERENCES ß THEßMOMENTSßOFßTHEßHISTORY MAKINGß ORßMAKEßLOGICALßGUESSESßBASEDßONßNEWßCLUESßANDßWHATßYOUß SIXTHß4OURßDEß&RANCEßWINßOFßßINß ALREADYßKNOWßß!SßYOUßREAD ßMAKEßEQUATIONSßTOßRECORDßYOURß ß$AYSßINß*ULY INFERENCESßABOUTß,ANCEß!RMSTRONG ß 4HENßINß ß!RMSTRONGßDIDßTHEß UNBELIEVABLEßONCEßAGAIN°HEßWONß Clue + What I Know = Inference AßSEVENTHß4OURßDEß&RANCEßß!FTERßHISß ßWIN ßHEßANNOUNCEDßTHATßHEß WOULDßDEVOTEßHISßTIMEßANDßENERGYßTOß AßDIFFERENTßKINDßOFßCHALLENGEßCANCERß ßVOCABULARYßINßCONTEXT RESEARCH &ROMßTHEßFOLLOWINGßWORDSßABOUTß!RMSTRONG´SßVICTORIES ß BACKGROUNDßTOßTHEß CHOOSEßTHEßWORDßTHATßBESTßCOMPLETESßEACHßSENTENCE AUTOBIOGRAPHY 4HEß4OURßDEß&RANCEß WORDß CULMINATE PRESTIGIOUS STANCE 4HEß4OURßDEß&RANCEßISßAß WEEKß LIST PERCEPTION RECESSED TERSE BICYCLINGßRACEßTHATßCOVERSßABOUTß ßMILESßINß&RANCEßANDßOTHERß ß ß 4HEßATHLETE´SßCOMEBACKßWILLßßßßßßßßßßßßINßAßPRIZEDßMEDAL %UROPEANßCOUNTRIES ß ß (ISßßßßßßßßßßßß ßWITHßHISßFEETßFIRMLYßPLANTED ßWASßONEßTHATß SHOWEDßDETERMINATION ß ß 3HEßGAVEßßßßßßßßßßß ßONE WORDßANSWERSßTOßSOMEßOFßHISßQUESTIONS 6ji]dg Dca^cZ ß ß 4HEßWINNERßRECEIVEDßAßßßßßßßßßßßßAWARDßBEFITTINGßAßHERO 'OßTOßTHINKCENTRALCOM ß ß 3PECIALßFEATURESßONßTHEßBICYCLEßAREßßßßßßßßßßßßINßORDERßTOßAIDß +%97/2$ß(-, THEßCYCLIST ßß (ISßNURSEßSPOKEßWITHßWISDOMßANDßßßßßßßßßßß #OMPLETEßTHEßACTIVITIESßINßYOURß2EADER7RITERß.OTEBOOK (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß )T´Sßßßßßßßßßßßßß!BOUTßTHEß"IKE ,ANCEß!RMSTRONG After his cancer diagnosis, Lance Armstrong launched a relentless attack against his disease with the help of the doctors and nurses at Indiana University Medical Center in Indianapolis. The photo on the right shows Armstrong after chemotherapy treatment. here are angels on this earth and they come in subtle forms, and T I decided LaTrice Haney was one of them. Outwardly, she looked like just another efficient, clipboard-and-syringe-wielding1 nurse in a starched outfit. She worked extremely long days and nights, and on her off hours she went home to her husband, Randy, a truck driver, and their two children, Taylor, aged seven, and Morgan, four. But if she was tired, she never seemed it. She struck me as a woman utterly lacking in ordinary resentments, sure of her responsibilities and blessings and unwavering in her administering of care, and if that wasn’t angelic 10 behavior, I didn’t know what was. Often I’d be alone in the late afternoons and evenings except for TERSEß a_` ßADJßSPEAKINGß LaTrice, and if I had the strength, we’d talk seriously. With most people LITTLEßCOMMUNICATINGßINß I was shy and terse, but I found myself talking to LaTrice, maybe because FEWßWORDS she was so gentle-spoken and expressive herself. LaTrice was only in her PERCEPTIONß late 20s, a pretty young woman with a coffee-and-cream complexion, ]:_"`9]E`U:[ Nß but she had self-possession and perception beyond her years. While other INSIGHTßABILITYßTOß people our age were out nightclubbing, she was already the head nurse UNDERSTANDßPEOPLEßANDß SITUATIONS for the oncology research unit.2 I wondered why she did it. “My satis- faction is to make it a little easier for people,” she said. A >RQELOÑP 20 She asked me about cycling, and I found myself telling her about the MROMLPB>KA QEBJB bike with a sense of pleasure I hadn’t realized I possessed. “How did you 2EREADßLINESß¯ß start riding?” she asked me. I told her about my first bikes, and the early ANDßTAKEßNOTEßOFßTHEß sense of liberation, and that cycling was all I had done since I was 16. TITLEßß"ASEDßONßTHISß I talked about my various teammates over the years, about their humor and INFORMATION ßWHATßDOß YOUßTHINKßMIGHTßBEßTHEß selflessness, and I talked about my mother, and what she had meant to me.ß A THEMEßOFßTHISßEXCERPT I told her what cycling had given me, the tours of Europe and the extraordinary education, and the wealth. I showed her a picture of ß ß SYRINGE WIELDINGß `:"_<[WEd8YEQ<[T ßHOLDINGßANDßUSINGßANßINSTRUMENTßFORßGIVINGßPATIENTSßINJECTIONS ß ß ONCOLOGYß ?["X?YE:"W8 ßRESEARCHßUNITßINßAßHOSPITALßORßCLINIC ßTHEßDIVISIONßORßSECTIONßDEDICATEDßTOßTHEßSTUDYß OFßCANCER unit 7: biography and autobiography ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß my house, with pride, and invited her to come visit, and I showed her snapshots of my cycling career. She leafed through images of me racing 30 across the backdrops of France, Italy, and Spain, and she’d point to a picture and ask, “Where are you here?” B B -!+%ß).&%2 %.#%3 I confided that I was worried about my sponsor, Cofidis,3 and explained 7HYßMIGHTß,A4RICEß the difficulty I was having with them. I told her I felt pressured. “I need ASKß,ANCEßSPECIFICß QUESTIONSßABOUTßHISß to stay in shape, I need to stay in shape,” I said over and over again. BICYCLINGßCAREER “Lance, listen to your body,” she said gently. “I know your mind wants to run away. I know it’s saying to you, ‘Hey, let’s go ride.’ But listen to your body. Let it rest.” I described my bike, the elegant high performance of the ultralight tubing and aerodynamic wheels. I told her how much each piece cost, and 40 weighed, and what its purpose was. I explained how a bike could be broken down so I could practically carry it in my pocket, and that I knew every Language Coach part and bit of it so intimately that I could adjust it in a matter of moments. 7ORDß$EFINITIONSß 4HEß I explained that a bike has to fit your body, and that at times I felt WORDßAERODYNAMICß melded to it. The lighter the frame, the more responsive it is, and my racing MEANSß±DESIGNEDß 4 WITHßROUNDEDßEDGESß bike weighed just 18 pounds. Wheels exert centrifugal force on the bike SOßASßTOßREDUCEßWINDß itself, I told her. The more centrifugal force, the more momentum. It was DRAG²ßß7HYßWOULDßSUCHß the essential building block of speed. “There are 32 spokes in a wheel,” WHEELSßAPPEALßTOßAß I said. Quick-release levers allow you to pop the wheel out and change PROFESSIONALßBICYCLIST it quickly, and my crew could fix a flat tire in less than 10 seconds. 50 “Don’t you get tired of leaning over like that?” she asked. Yes, I said, until my back ached like it was broken, but that was the price of speed. The handlebars are only as wide as the rider’s shoulders, I explained, and they curve downward in half-moons so you can assume STANCEß `a7[` ßNßPOSTUREß an aerodynamic stance on the bike. POSITION “Why do you ride on those little seats?” she asked. The seat is narrow, contoured to the anatomy, and the reason is that RECESSEDß _8E`9`aF ßADJß SET INßORßSETßBACKß RECESSßV when you are on it for six hours at a time, you don’t want anything to chafe your legs. Better a hard seat than the torture of saddle sores. C -!+%ß).&%2 %.#%3 Even the clothes have a purpose. They are flimsy for a reason: to mold 7HYßISß,ANCEßABLEßTOß TALKßSOßENTHUSIASTICALLYß 60 to the body because you have to wear them in weather that ranges from ABOUTßHISßBIKEßEVENß hot to hail. Basically, they’re a second skin. The shorts have a chamois THOUGHßHEßISßSERIOUSLYß padded5 seat, and the stitches are recessed to avoid rash. C ILL ßß When I had nothing left to tell LaTrice about the bike, I told her about the wind. I described how it felt in my face and in my hair. I told her about being in the open air, with the views of soaring Alps, and the ß ß #OFIDISßTHEßSPONSORßOFßTHEß&RENCHßCYCLINGßTEAMßTHATß!RMSTRONGßTHENßRODEßFOR ß ß CENTRIFUGALß `9["a_ unit 7: biography and autobiography ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES glimmer of valley lakes in the distance. Sometimes the wind blew as if it were my personal friend, sometimes as if it were my bitter enemy, sometimes as if it were the hand of God pushing me along. I described the full sail of a mountain descent, gliding on two wheels only an inch wide. D D -!+%ß).&%2 %.#%3 70 “You’re just out there, free,” I said. 2EREADßLINES߯ßß “You love it,” she said. 7HATßCANßYOUßINFERß ABOUTßWHYß,ANCEßRIDESß “Yeah?” I said. HISßBIKE “Oh, I see it in your eyes,” she said. understood that LaTrice was an angel one evening late in my last cycle I of chemo.6 I lay on my side, dozing on and off, watching the steady, clear drip-drip of the chemo as it slid into my veins. LaTrice sat with me, keeping me company, even though I was barely able to talk. “What do you think, LaTrice?” I asked, whispering. “Am I going to pull through this?” 80 “Yeah,” she said. “Yeah, you are.” “I hope you’re right,” I said, and closed my eyes again. LaTrice leaned over to me. “Lance,” she said softly, “I hope someday to be just a figment of your 7 imagination. I’m not here to be in your life for the rest of your life. E >RQELOÑPMROMLPB After you leave here, I hope I never see you ever again. When you’re >KAQEBJBß cured, hey, let me see you in the papers, on TV, but not back here. I hope 2EREADßLINES߯ßß 7HATßDOESßTHISßQUOTEß to help you at the time you need me, and then I hope I’ll be gone. You’ll SUGGESTßABOUTßTHEß say, ‘Who was that nurse back in Indiana? Did I dream her?’” E THEME It is one of the single loveliest things anyone has ever said to me. 90 And I will always remember every blessed word. ß ß CHEMOß X8EZ> ßSHORTßFORßCHEMOTHERAPY ß ß FIGMENTßOFßYOURßIMAGINATIONßSOMETHINGßNOTßREALßAßFANTASIZEDßORßMADE UPßIMAGE ,ANCEß!RMSTRONGßANDß,A4RICEß(ANEY it’s not about the bike (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß DAYSßINßJULY * /(.ß7 ),#/#+3/. Although Armstrong went on to win a seventh Tour de France in 2005, the 2004 race was especially meaningful since no other cyclist had ever won a sixth Tour. ,OOKßBACKßATßTHEßPICTUREß OFß,ANCEß!RMSTRONGßONß aris is looking magnificent. Her golden domes and eagles PAGEßßß7HATßCOMESßß P and gilded gates are all glowing in the late-afternoon sunshine. TOßMINDßASßYOUßCONTRASTß The dark-green plane trees along the Champs-Élysées have been newly THEßTWOßPICTURES trimmed. Rainbows shimmer in the spray from the crystal fountains of the Place de la Concorde.1 And across the Seine River, the thousand- foot-high Eiffel Tower stands starkly regal against an opaque blue sky. Another Tour de France has just ended, this one culminating in a CULMINATE historical sixth consecutive victory for a long-jawed young man from XDYEZ:"[6aF ßVßßTOßREACHß the lone star state of Texas. He stands now on the top step of the podium, THEßHIGHESTßPOINTßORß DEGREE 10 at the finish line on the Champs-Élysées. Dressed in a golden tunic, Lance Armstrong holds a yellow LiveStrong2 cap over his heart as a full- blooded rendition of the “Star Spangled Banner” rings out, resounding PRESTIGIOUSß ]_9"`a8EW:` ß 3 proudly over the russet-brown cobblestones of these Elysian Fields. . . . ADJßßHAVINGßAßHIGHß At the foot of the yellow steps of the canopied, most prestigious REPUTATION viewing stand, Armstrong’s coach Chris Carmichael reminds me: “I told you back in March, it wasn’t even going to be close. You gotta Fß ß>RQELOÑP know the intensity of this guy. Nobody has got his intensity. Nobody. MROMLPB>KA It’s just phenomenal.” Fß QEBJB #ONSIDERßWHATß#HRISß #ARMICHAELßSAYSßABOUTß ßß #HAMPS bLYSmESß `UvC"g6"Y8"g6E ßßß0LACEßDEßLAß#ONCORDEß ]Yv`EQ:YvX C"X _QE ßAßFAMOUSßBOULEVARDßANDßß !RMSTRONGßß7HATßMIGHTß AßLARGEßPLAZAßINß0ARIS BEßTHEßWRITER´SßPURPOSEß ß ß ,IVE3TRONGßLIVESTRONGORGßISßTHEßOFFICIALß7EBßSITEßFORßTHEß,ANCEß!RMSTRONGß&OUNDATION INßINCLUDINGßTHEßQUOTE ß ß %LYSIAN <"Y unit 7: biography and autobiography ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß Armstrong said on the eve of this day, “Winning in ’99 was a complete 20 shock and surprise for me. Not that I’ve gotten used to winning the Tour de France, but I do know what it means and I know what it feels like to ride into the Champs-Élysées. . . . This one is very, very special for me. They’re all special, but this one is something that in ’99 I never believed possible. I never thought I’d win a second one, or a third, or however many. This one is incredibly special. I’m humbled by it. A lot of people just one month ago thought it wouldn’t be possible for me to do it. We tried to stay calm, the team tried to stay calm . . . and we were confident that we had a good chance.” G G ß! 54(/2´3ß 0520/3%ß ! .$ß think back to December, and remember something Armstrong told 4(%-%ß 30 me in Austin: “I’m doing three or four hours of exercise every day right 2EREADßLINESß¯ß I 7HATßEFFECTßISßTHEßWRITERß now. Yesterday I was in DC, so I got up early—I’d just come back from CREATINGßBYßINCLUDINGß 4 Europe and had jetlag —and I went down to the gym for an hour and THISßQUOTE ßß a half . . . yes, lifting weights. It was pouring with freezing rain outside, so I went back to the room, and rode my bike for an hour on the rollers. It’s not easy to ride rollers. I hate that.” But he doesn’t hate this: homage from a half-million people lining the most glorious boulevard in the world. When he and his U.S. Postal team are introduced by race announcer Daniel Mangeas, as the last team to start their lap of honor around the Champs-Élysées, the modern 40 “anthem” of the British rock group Queen thumps into the balmy Paris air: ß ß JETßLAGßTIREDNESSßANDßOTHERßEFFECTSßTHATßMAYßBEßCAUSEDßBYßAßLONGßFLIGHTßTHROUGHßSEVERALßTIMEßZONES unit 7: biography and autobiography ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES !RMSTRONG ßINßYELLOW ßTAKESßAßVICTORYßLAPßWITHßHISßTEAMMATESßALONGßTHEß#HAMPS bLYSmESßINß0ARIS “We are the champions, my friend. . . . We are the champions. We are the champions. We are the champions . . . of the world.” Girlfriends perch on boyfriends’ shoulders to get a better view. Banners unfurl, one saying, “The eyes of Texas are upon you.” Thousands of fans from all over the United States line the barriers, most dressed in yellow. Two guys from Texas in the crowd say, “We did it. And next year we’ll come again!” . . . H H -!+%ß).&%2 %.#%3 Now they’re playing another song over the loudspeakers. Its words float 7HYßAREßTHEßFANSß down the boulevard backed by the thumping guitar chords of the champion’s DRESSEDßINßYELLOW ß 50 gal: “All I want to do . . . is have some fun . . .” And Lance is having fun. The celebrations will continue all night, maybe for the rest of his life. A life that almost ended in 1996. Six Tour de France wins have come along since then, since his chemo nurse LaTrice gave him that silver cross. “I really love this event,” Armstrong says. “I think it’s an epic sport. It’s something I will sit around the TV and watch in ten years, and in twenty years.” He will always be a fan of the Tour, but right now he’s the champion. Le patron.5 t’s after 7 p.m. and the crowds are starting to leave. One of the last I to go is a friendly, middle-aged American. He rolls up his Texas flag, 60 grabs his wife’s hand, and, before he walks down the stone steps into the Metro,6 proclaims to the world, “He’s the man!” ßß LEßPATRONß Y:]v"a_ C ß&RENCHßTHEßBOSS ß ß -ETROßTHEß0ARISßSUBWAY 23 days in july (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß !FTERß2EADING #OMPREHENSION ß ß 2ECALLß )NßTHEßEXCERPTßFROMß)T´Sß.OTß!BOUTßTHEß"IKE ßWHYßISß!RMSTRONGßINß THEßHOSPITAL 2)ßß #ITEßTEXTUALßEVIDENCEßTOß ß ß #LARIFYß 7HYßDOESß!RMSTRONGßCALLßHISßHEADßNURSE ß,A4RICE ßANß±ANGEL² SUPPORTßINFERENCESßDRAWNß FROMßTHEßTEXTß 2)ßß $ETERMINEß ß ß #LARIFYß 2EREADßLINES߯ßINßTHEßEXCERPTßFROMß±ß$AYSßINß*ULY²ßß!RMSTRONGß TWOßORßMOREßCENTRALßIDEASßINßAß TEXTß 2)ßß $ETERMINEßANßAUTHOR´Sß SAYSßWINNINGßTHEßß4OURßDEß&RANCEßWASß±INCREDIBLYßSPECIAL²ßTOßHIMßß7HYß POINTßOFßVIEWßORßPURPOSEßINßAß TEXTß 2)ßß !NALYZEßHOWßTWOß WASßITßSOßSPECIAL ORßMOREßAUTHORSßWRITINGßABOUTß THEßSAMEßTOPICßSHAPEßTHEIRß 4EXTß!NALYSIS PRESENTATIONßOFßKEYßINFORMATION ß ß -AKEß)NFERENCESß 2EVIEWßTHEßINFERENCEßEQUATIONSßTHATßYOUßMADEßWHILEß READINGßß7HICH ßIFßANY ßOFßYOURßINFERENCESßHAVEßCHANGED ßß%XPLAINßYOURß REASONSßFORßEITHERßCHANGINGßANßINFERENCEßORßKEEPINGßANßORIGINALßINFERENCE ßß #OMPAREßANDß#ONTRASTß 4HEßAUTOBIO Private GRAPHYß)T´Sß.OTß!BOUTßTHEß"IKEßSHOWSß Public He describes THEßPRIVATEßSIDEßOFß,ANCEß!RMSTRONGßß/Nß himself as shy. THEßOTHERßHAND ß*OHNß7ILCOCKSON´SßACCOUNTß PORTRAYSß!RMSTRONGßINßPUBLICßß5SEßAß9ßCHARTßLIKEß THEßONEßSHOWNßTOßCOMPAREßANDßCONTRASTßTHEßPRIVATEß Similarities ANDßPUBLICßMAN ß ß %XAMINEß!UTHOR´Sß0URPOSEßANDß4HEMEß %XPLAINßTHEßDIFFERENCEßBETWEENßTHEß THEMEßOFß)T´Sß.OTß!BOUTßTHEß"IKEßANDßTHEßAUTHOR´SßPURPOSEßINß±ß$AYSßINß *ULY²ßß5SEßEVIDENCEßFROMßTHEßTEXTßTOßSUPPORTßYOURßANSWER ß ß $RAWß#ONCLUSIONSß)Nß ß!RMSTRONGßBEATßCANCERßß)Nß ßHEßBECAMEßAß SIX TIMEßWINNERßOFßTHEß4OURßDEß&RANCEßß#ONSIDERINGßWHATßYOUßLEARNEDßFROMß THEßSELECTIONSßTHATßYOUßJUSTßREAD ßWHATßQUALITIESßHELPEDß!RMSTRONGßWINß SUCHßBIGßVICTORIES %XTENSIONßANDß#HALLENGE ß ß )NQUIRYßANDß2ESEARCHß 2ESEARCHßTHEß4OURßDEß&RANCEß ANDßCREATEßAßTOURIST´SßGUIDEßTOßTHEßRACEßß0ROVIDEßTHEß READERßWITHßSOMEßHISTORICALßINFORMATION ßEXPLAINß THEßRULESßOFßTHEßRACE ßANDßINCLUDEßAßMAPßOFßTHEß UPCOMINGßRACEß 8IBUJTB8*//&3 4AKEßANOTHERßLOOKßATßTHEßWINNERßSKETCHßYOUßCREATEDßFORßTHEßACTIVITYßONß PAGEßßß4AKEßAßLOOKßATßTHEßVICTORYßPHOTOGRAPHßOFß,ANCEß!RMSTRONGß ONßPAGEßßß4HINKßABOUTßTHEßDETAILSßYOU´VEßLEARNEDßABOUTß!RMSTRONG´Sß STRUGGLESßß7HATßDOESßYOURßSKETCHßHAVEßINßCOMMONßWITHßTHEßPHOTOGRAPH unit 7: biography and autobiography ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 6OCABULARYßINß#ONTEXT ß VOCABULARYßPRACTICE &ORßEACHßITEM ßCHOOSEßTHEßWORDßTHATßDIFFERSßMOSTßINßMEANINGßFROMßTHEßOTHERß culminate WORDSßß2EFERßTOßAßDICTIONARYßIFßYOUßNEEDßHELPß perception ßß CHATTY ßTALKATIVE ßTERSE ßGOSSIPY prestigious ßß CULMINATE ßTOP ßBEGIN ßCROWNß ßß AWKWARD ßHIDDEN ßRECESSED ßINSET recessed ßß POSE ßPOSTURE ßWORRY ßSTANCE ßß INTUITION ßIGNORANCE ßUNDERSTANDING ßPERCEPTION stance ß ß PRESTIGIOUS ßNOTABLE ßHONORABLE ßUNWORTHY terse ACADEMICßVOCABULARYßINßWRITING ßDEMONSTRATEß ß ßGOALß ß ßIMPACTß ß ßLINKß ß ßUNDERTAKE ,ANCEß!RMSTRONGßASßPORTRAYEDßINßTHEßFIRSTßSELECTIONßISßPURSUINGßAßVERYßDIFFERENTß GOALßFROMßTHEß,ANCEß!RMSTRONGßOFßTHEßSECONDßSELECTIONßß7RITEßAßBRIEFß DESCRIPTIONßOFßTHESEßGOALSßß4RYßTOßUSEßONEßORßMOREßOFßTHEß!CADEMICß6OCABULARYß WORDSßINßYOURßDESCRIPTION VOCABULARYßSTRATEGYßANGLO SAXONßAFFIXES -ANYßWORDSßWEßCOMMONLYßUSEßCOMEßFROMß!NGLO 3AXONß/LDß%NGLISH ßß3OMEß OFßTHESEß!NGLO 3AXONßWORDSßAREßUSEDßTODAYßASßAFFIXES°WORDßPARTSßTHATßCANß ,ßBß 5SEßGRADE APPROPRIATEß AFFIXESßASßCLUESßTOßTHEßMEANINGß BEßATTACHEDßTOßTHEßBEGINNINGßPREFIX ßORßENDßSUFFIX ßOFßBASEßWORDSßTOßCREATEß OFßAßWORD NEWßWORDSß4HEßCHARTßSHOWSß!NGLO 3AXONßPREFIXESßANDßSUFFIXESßANDßTHEIRß MEANINGSß5NDERSTANDINGßTHEßMEANINGßOFßTHEßAFFIXESßCANßHELPß 0REFIX-EANING YOUßDETERMINEßTHEßMEANINGSßOFßUNFAMILIARßWORDSßTHATßCONTAINß OVER ABOVEßTOOßMUCH THESEßWORDßPARTS UNDER BELOWßLESSßTHAN 02!#4)#%ß !DDßEITHERßANß!NGLO 3AXONßPREFIXßORßSUFFIXßFROMßTHEß 3UFFIX-EANING CHARTßTOßTHEßBASEßWORDßINßEACHßSENTENCEßß5SEßAßDICTIONARYßTOß MOST MOST ßNEARESTßTO CHECKßYOURßANSWERS HOOD STATE ßQUALITY ßORßGROUP ßß ß3HEßTHOUGHTßTHEßPROJECTßWOULDßTAKEßLONGERßTHANßITßDID ßSOß SHEßACCIDENTALLYß?????ESTIMATEDßTHEßTIMEßITßWOULDßTAKEßTOß COMPLETEßIT ßß ß7E´REßPLANNINGßTOßMAKEßWELCOMINGßSPEECHESßATßTHEßNEIGHBOR?????ßBLOCKß PARTYßNEXTßWEEKßß >ciZgVXi^kZ ßß !ßBIOGRAPHYßOFTENßINCLUDESßDETAILSßABOUTßAßPERSON´SßCHILD????? KdXVWjaVgn ßß 7EARßEXTRAßLAYERSßFORßTHEßTRIPßBYßPUTTINGßAßSWEATSHIRTßOVERßYOURß?????SHIRT 'OßTOßTHINKCENTRALCOM +%97/2$ß(-, ßß !ßDIARYßENTRYßCANßEXPRESSßAßSUBJECT´SßINNER?????ßFEELINGSß it’s not about the bike / 23 days in july (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß -EDIA FROMß*ACKIEß2OBINSON 3TUDY $OCUMENTARYßONßßMedia ßß3MARTßDVD ROM 8IBUNBLFTBQFSTPOB 53"*-#-";&3 *ACKIEß2OBINSONßDIDßMOREßTHANßPLAYßBASEBALLßß(EßHELPEDßPAVEßTHEß WAYßFORßRACIALßEQUALITYßINßPROFESSIONALßSPORTSßß9OU´VEßREADßABOUTßTHEß 3,ßß !NALYZEßTHEßMAINßIDEASßANDß KEYßMOMENTßINßHISßREMARKABLEßCAREERßß.OWßWATCHßAßDOCUMENTARYß SUPPORTINGßDETAILSßPRESENTEDßINß DIVERSEßMEDIAßANDßFORMATSßANDß THATßSHOWSßTHEßOBSTACLESß*ACKIEß2OBINSONßOVERCAMEßTOßPAVEßAßNEWß EXPLAINßHOWßTHEßIDEASßCLARIFYßAß TOPIC ßTEXT ßORßISSUEßUNDERßSTUDY PATHßFORßBASEBALLßßß "ACKGROUND 2ETIRINGß.UMBERßß )T´SßCOMMONßFORßAßPROFESSIONALßTEAMßTOß RETIREßTHEßJERSEYßNUMBERßOFßANßOUTSTANDINGßPLAYERßß)T´SßQUITEß UNCOMMONßTOßRETIREßAßNUMBERßTHROUGHOUTßANßENTIREßLEAGUEßß 4HISßHAPPENEDßINß ßWHENß*ACKIEß2OBINSON´SßNUMBER ß ß WASßRETIREDßTOßMARKßTHEßTHßANNIVERSARYßOFßBREAKINGßTHEß COLORßBARRIERßINßBASEBALLßß-ANYßBASEBALLßGREATSßWEREßATßTHEß CEREMONYßTOßPAYßTRIBUTEßTOßTHISßTRAILBLAZERßßßß ß 4HISßDOCUMENTARYßFROMßTHEß!%ß#HANNEL´Sß"IOGRAPHYß SERIESßSHOWSßHOWß2OBINSON´SßCOURAGEßWONßHIMßTHEßRESPECTß OFßHISßTEAMMATESßANDßEARNEDßHIMßADMIRATIONßNATIONWIDE ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES -EDIAß,ITERACYß$OCUMENTARY !ßDOCUMENTARYßISßAßNONFICTIONßFILMßORßTELEVISIONßPRODUCTIONßTHATßTELLSß ABOUTßIMPORTANTßPEOPLE ßHISTORICßPLACES ßORßMAJORßEVENTSßß4HEßPURPOSEß OFßAßDOCUMENTARYßMAYßBEßTOßINFORM ßTOßEXPLAIN ßORßTOßPERSUADEßß!ßDOCUMENTARYß THATßISßBIOGRAPHICALßPRESENTSßTHEßFACTUALßDETAILSßOFßAßPERSON´SßLIFE ßFOCUSINGß ONßMAJORßEVENTSßß-OSTßDOCUMENTARIESßUSEßINTERESTINGßVISUALSßANDßSOUNDSß ANDßAREßEDITEDßTOßMAKEßTHEßINFORMATIONßEASYßTOßFOLLOW BASICßFEATURESß STRATEGIESßFORßVIEWING 6ISUALS ßß,OOKßFORßFOOTAGEßTHATßHELPSßYOUß 4OßBRINGßAßSUBJECTß UNDERSTANDßTHEßSUBJECTßß&OOTAGEßCANß TOßLIFE ßAßDOCUMENTARYß INCLUDEßPHOTOGRAPHS ßLETTERS ßINTERVIEWS ß USESßPHOTOGRAPHS ß NEWSßREPORTS ßFILMßCLIPS ßANDßEVENßHOMEß FILM ßINTERVIEWS ß VIDEOßMOVIESßß$OCUMENTARYßFILMMAKERSß ORßGRAPHICS USEßFOOTAGEßTOßSHOWßKEYßINFORMATIONßORß DETAILSßABOUTßAßPERSON ßAßPLACE ßORßANßEVENTß ANDßTOßGIVEßAßSENSEßOFßAßPARTICULARßTIME ßß0AYßATTENTIONßTOßINTERVIEWSßß0EOPLEßWHOß AREßINTERVIEWEDßCANßBEßEXPERTSßONßAßTOPIC ß ORßPEOPLEßWHOßAREßDIRECTLYßINVOLVEDßWITHß THEßSUBJECTßOFßTHEßDOCUMENTARY 3OUNDß ßß,ISTENßCAREFULLYßTOßTHEßVOICE OVERßNARRATORßß -ANYßDOCUMENTARIESß 4HEßVOICE OVERßTELLSßVIEWERSßWHYßTHEßSUBJECTß INCLUDEßVOICE OVERß ISßIMPORTANTßANDßPROVIDESßCLUESßABOUTßHOWß NARRATION ßWHICHßISß THEßINFORMATIONßISßORGANIZEDßß4HEßVOICE OVERß THEßVOICEßOFßANßUNSEENß MAYßALSOßSUMMARIZEßKEYßSCENESßORßEVENTSß SPEAKERßWHOßISßHEARDßASß ßß&OLLOWßMUSICALßCUESßß-USICßCANßBEßUSEDß THEßDOCUMENTARYßPLAYSß SIMPLYßTOßENTERTAINßVIEWERSßß)TßCANßALSOß /THERßSOUNDSßINCLUDEß SIGNALßAßCHANGEßINßTHEßDOCUMENTARY´Sß MUSIC ßSOUNDßEFFECTS ß SETTINGßORßCHANGESßINßMOOD ANDßDIALOGUE %DITING ß 0AYßATTENTIONßTOßHOWßTHEßINFORMATIONßISß %DITINGßISßTHEßPROCESSß PRESENTEDßANDßEDITEDßß-OSTßDOCUMENTARIESß OFßSELECTINGßANDß WILLßSHOWßEVENTSßFROMßBEGINNINGßTOßENDßINßAß ARRANGINGßVISUALSßANDß CHRONOLOGICAL ßORßTIME ORDER ßSEQUENCEß SOUNDSßINßAßWAYßTHATß MAKESßSENSEßANDßISß INTERESTINGßFORßVIEWERS media study (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 6IEWINGß'UIDEßFOR Media ßß3MARTßDVD ROM ßß6IDEOß#LIPß*ACKIEß2OBINSON *ACKIEß2OBINSON ß 'ENREß$OCUMENTARY ß 2UNNINGß4IMEßßMINUTES 4ODAY ßALLßATHLETESßHAVEßANßEQUALßCHANCEßTOßPLAYßINßPROFESSIONALß SPORTS ßBUTßTHEREßWASßAßTIMEßWHENß*ACKIEß2OBINSONßWASßTHEß ONLYß!FRICAN !MERICANßATHLETEßOUTßINßTHEßFIELDßß!SßYOUßVIEWßTHEß DOCUMENTARY ßPAYßATTENTIONßTOßTHEßCOMMENTSßOFßTHOSEßWHOßKNEWß ANDßWORKEDßWITHß2OBINSONßß4HEYßWILLßHELPßYOUßUNDERSTANDßWHYß HEßISßCONSIDEREDßAßHEROßBYßSOßMANYßPEOPLEß ß4OßCONTINUEßEXPLORINGßTHEßFEATURESßOFßAßDOCUMENTARY ßANSWERß THEßFOLLOWINGßQUESTIONS NOWßVIEW &)234ß6)%7).'ß #OMPREHENSION ß ß 2ECALLß 7HOßISßTHEßPLAYERßWHOßBECAMEß*ACKIEß2OBINSON´Sß FRIENDßDURINGß2OBINSON´SßFIRSTßYEARßWITHßTHEß$ODGERS ß ß#LARIFYß 4HEßDOCUMENTARYßENDSßWITHßTHISßQUOTATIONßFROMß*ACKIEß 2OBINSONß±!ßLIFEßISßNOTßIMPORTANTßEXCEPTßINßTHEßIMPACTßITßHASßONß OTHERßLIVES²ßß)NßYOURßOWNßWORDS ßEXPLAINßWHATßTHISßMEANS #,/3%ß6)%7).'ß -EDIAß,ITERACY ß ß %XAMINEß-USICALß#UESß $ESCRIBEßTHEßMUSICßTHATßISßUSEDß DURINGßTHEßFOOTAGEßOFßTHEßß7ORLDß3ERIESßß7HATßKINDßOFß MOOD ßORßFEELING ßDOESßTHEßMUSICßCREATE ß ß !NALYZEß)NTERVIEWSß !NDREWß9OUNG ßAßCIVILßRIGHTSßLEADER ß EXPLAINSßWHYßHEßADMIRESß*ACKIEß2OBINSONßß"ASEDßONßTHEß INTERVIEW ßWHATßDOßYOUßTHINKß9OUNGßWANTSßTODAY´SßVIEWERSß TOßADMIREßABOUTß*ACKIEß2OBINSON ß ß %VALUATEß&OOTAGEß 4HEßDOCUMENTARYßUSESßSUCHßFOOTAGEß ASßINTERVIEWS ßPHOTOGRAPHS ßANDßVIDEOßß7HICHßOFßTHESEß FEATURESßHELPEDßYOUßUNDERSTANDßMOSTßABOUTßTHEßIMPACTß OFß±4HEß.OBLEß%XPERIMENT² ßß%XPLAIN ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES -EDIAß3TUDY 7RITEßORß$ISCUSS !NALYZEßTHEß$OCUMENTARYß 4HEßTELEVISIONßDOCUMENTARYßCLIPßYOU´VEßJUSTß 3,ßß %NGAGEßEFFECTIVELYß INßDISCUSSIONSßONE TO VIEWEDßSHOWSßHIGHLIGHTSßOFß*ACKIEß2OBINSON´SßLIFEßANDßBASEBALLßCAREERßß ONE ß 3,ßß !NALYZEßTHEßMAINß 7HATßNEWßINFORMATIONßDIDßYOUßLEARNßABOUTß*ACKIEß2OBINSONßFROMßTHEß IDEASßANDßSUPPORTINGßDETAILSß PRESENTEDßINßDIVERSEßMEDIAßANDß DOCUMENTARY ßß4HINKßABOUT FORMATSßANDßEXPLAINßHOWßTHEß IDEASßCLARIFYßAßTOPIC ßTEXT ßORß ß THEßINTERVIEWSßWITHß2ACHELß2OBINSON ß!NDREWß9OUNG ß"RANCHß2ICKEY ßANDß ISSUEßUNDERßSTUDY *ACKIEß2OBINSONßHIMSELF ß THEßFILMßFOOTAGEßTHATßSHOWSß*ACKIEß2OBINSONßASßAßPLAYER ßTHEß"ROOKLYNßFANS ß ANDßTHEßß7ORLDß3ERIES ß THEßVOICE OVERßNARRATIONßTHATßPROVIDESßDETAILSßOFßKEYßEVENTSßINß2OBINSON´SßLIFE 0RODUCEß9OURß/WNß-EDIA BZY^V Iddah 2ECORDßANß)NTERVIEWß )MAGINEßYOU´REßCREATINGßAßDOCUMENTARYßABOUTßSOMEONEß 'OßTOßTHINKCENTRALCOM YOUßTHINKßISßANßEVERYDAYßHEROßß-AKEßPLANSßFORßANßINTERVIEWßß)FßYOUßDON´TßHAVEß +%97/2$ß(-, DIRECTßCONTACTßWITHßAßHERO ßCREATEßAßLISTßOFßJOBSßTHATßYOUßTHINKßINVOLVEßHEROISMß ANDßCOURAGEßß4HENßGETßPERMISSIONßTOßFINDßANDßINTERVIEWßSOMEONEßWHOSEßJOBß YOUßHAVEßLISTED (%2%´3ß(/7ß 5SEßTHEßTIPSßANDßTHEßSTUDENTßMODELßTOßHELPßYOUßPREPAREßFORßANDß CARRYßOUTßANßINTERVIEWßSESSION ß $OßSOMEßRESEARCHßABOUTßYOURßINTERVIEWßSUBJECTßß4HENßCONTACTßTHEßPERSONß ANDßARRANGEßANßINTERVIEWßß!RRANGEßTOßHAVEßANßADULTßACCOMPANYßYOUßFORß THISßSESSION ß -AKEßAßLISTßOFßQUESTIONSßYOU´DßLIKEßTOßASKßß/RGANIZEßTHOSEßQUESTIONSßINTOß AßKEY WORDßOUTLINEßß&ORßEXAMPLE ßQUESTIONSßABOUTßTHEßSUBJECT´SßCHILDHOODß ANDßEDUCATIONßCOULDßBEßLISTEDßUNDERßTHEßKEYßWORDß"ACKGROUND ß $URINGßTHEßINTERVIEW ßLISTENßTOßTHEßPERSON´SßRESPONSESßANDßASKßFOLLOW UPß QUESTIONSßß2EFERßTOßYOURßKEY WORDßOUTLINEßFORßQUESTIONßIDEAS STUDENTßMODEL 4ECHß4IP QUESTIONS )FßAVAILABLE ßUSEßANßAUDIOß Background ORßVIDEOßRECORDERßTOßTAPEß Where did you grow up? THEßINTERVIEW Who was your hero when you were young? Earliest Success What was the first project you really felt successful doing? How did you feel about being given greater responsibility? Favorite Activities What do you like to do most in your spare time? Do you have a favorite book? media study (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 7RITINGß 0ERSUASIVEß%SSAY 7ORKSHOP 4HEßWRITERSßINßTHISßUNITßEXPLOREDßREAL LIFEßISSUESßANDßASSERTEDßFIRMßCLAIMS ßORß ARGUMENT POSITIONSßß4HEYßSUPPORTEDßTHEIRßCLAIMSßWITHßREASONSßANDßEVIDENCE ßANDßTHEYßALSOß USEDßPERSUASIVEßTECHNIQUESßTOßSWAYßTHEIRßAUDIENCESßß)NßTHISßWORKSHOP ßYOUßWILLß LEARNßHOWßTOßWRITEßAßSTRONGßPERSUASIVEßESSAYßUSINGßTHESEßKEYßELEMENTS #OMPLETEßTHEßWORKSHOPßACTIVITIESßINßYOURß2EADER7RITERß.OTEBOOK WRITEßWITHßAßPURPOSEß COMMONßCOREßTRAITS WRITINGßTASK ß DEVELOPMENTßOFßIDEAS 7RITEßAßPERSUASIVEßESSAYßTHATßASSERTSßAßSTRONGßCLAIMßONßANß ß INCLUDESßANßINTRODUCTIONßTHATß ISSUEßß3UPPORTßYOURßCLAIMßWITHßREASONSßANDßEVIDENCEßTHATßWILLß IDENTIFIESßANßISSUEßANDßSTATESßAß CONVINCEßYOURßAUDIENCEßTOßACTßORßTHINKßAßCERTAINßWAY CLAIM ß PROVIDESßLOGICALßREASONSßANDß )DEAß3TARTERS RELEVANTßEVIDENCEßTOßSUPPORTß ß WAYSßTOßIMPROVEßYOURßNEIGHBORHOODßORßSCHOOL THEßCLAIM ß REQUESTßTOßFAMILYßMEMBERSßFORßAßPRIVILEGEßORßACTIVITY ß ANTICIPATESßANDßACKNOWLEDGESß ß SOCIALßPROBLEMS ßSUCHßASßDISCRIMINATION OPPOSINGßCLAIMS ß SCHOOLßLOCKERßSEARCHES ß OFFERSßAßCONCLUDINGßSECTIONßTHATß FOLLOWSßFROMßANDßSUPPORTSßTHEß THEßESSENTIALS CLAIM (EREßAREßSOMEßCOMMONßPURPOSES ßAUDIENCES ßANDßFORMATSßFORß WRITINGßPERSUASIVEßESSAYS ß ORGANIZATIONßOFßIDEAS ß ORGANIZESßREASONSßANDßEVIDENCEß PURPOSES AUDIENCES FORMATS INßAßLOGICALßWAY ß TOßCONVINCEß ß CLASSMATESßANDß ß ESSAYßFORßCLASS ß USESßTRANSITIONS°WORDS ß OTHERSßTOß TEACHER ß EDITORIALßINß PHRASES ßANDßCLAUSES°TOßCREATEß AGREEßWITHß ß PARENTS SCHOOLßORßLOCALß COHESIONßANDßLINKßIDEAS YOURßCLAIM ß SCHOOLß NEWSPAPER ß TOßMOTIVATEß COMMUNITY ß SPEECH ß ßLANGUAGEßFACILITYßANDß OTHERSßTOßTAKEß CONVENTIONS ß NEIGHBORS ß COMMITTEEß ACTION ß MAINTAINSßAßFORMALßSTYLEßß ß SCHOOLßORßTOWNß PROPOSAL ANDßTONE OFFICIALS ß BLOG ß USESßRHETORICALßQUESTIONSß ß 7EBßUSERS CORRECTLYßANDßEFFECTIVELY ß EMPLOYSßCORRECTßGRAMMAR ß MECHANICS ßANDßSPELLING Lg^i^c\ Dca^cZ 'OßTOßTHINKCENTRALCOMß +%97/2$ß(-,. unit 8: information, argument, and persuasion ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 7ßA Eß 7RITEßARGUMENTSßTOßSUPPORTßCLAIMSßWITHßCLEARßREASONSß ANDßRELEVANTßEVIDENCEßß7ßß $EVELOPßANDßSTRENGTHENßWRITINGßASß 0LANNING0REWRITING NEEDEDßBYßPLANNING 'ETTINGß3TARTED CHOOSEßANßISSUE WHATßDOESßITßLOOKßLIKE !NßISSUEßISßAßSUBJECT ßSITUATION ßORßIDEAßABOUTß Issue: Should kids be paid for chores? WHICHßPEOPLEßDISAGREE ßSUCHßASßTHEßBESTßWAYßTOß RAISEßMONEYßFORßAßCLASSßTRIPßORßWHETHERßVIDEOß Pros Cons GAMESßAREßHARMFULßTOßCHILDRENßß5SEßTHEß)DEAß ßßThey would have their ßßThey should do chores 3TARTERSßONßPAGEßßTOßHELPßYOUßBRAINSTORMß own money to spend without being paid to ISSUESßTHATßINTERESTßYOUßß3ELECTßANßISSUEßTHATß on what they wanted help their family out. YOUßFEELßSTRONGLYßABOUT ßANDßTHENßUSEßAßCHARTßTOß and would not have ßßParents would have to keep asking their LISTßARGUMENTSßONßBOTHßSIDESßß9OUßWANTßTOßMAKEß less control over parents for money. SUREßYOURßISSUEßISßONEßONßWHICHßPEOPLEßCOULDß what kids spend their ACTUALLYßDISAGREE ßßThey would learn money on. responsibility and develop a work ethic. THINKßABOUTßAUDIENCEßANDßPURPOSE ASKßYOURSELF !SßYOUßBEGINßTHINKINGßABOUTßYOURßISSUEßINß ß 7HOßWILLßREADßMYßESSAY MOREßDEPTH ßKEEPßYOURßPURPOSEßANDßAUDIENCEß ß 7HATßINTERESTßDOßMYßREADERSßHAVEßINßTHEßISSUE INßMINDßß9OURßPURPOSEßISßTOßCONVINCEßYOURß ß (OWßDOßMYßREADERSßCURRENTLYßFEELßABOUTßTHEß AUDIENCEßTOßAGREEßWITHßYOURßPOSITIONßONßAß ISSUE ßß(OWßDOß)ßKNOW CONTROVERSIALßISSUEßß4OßBEßSUCCESSFUL ßYOUßNEEDß ß 7HATßREASONSßMIGHTßTHEßREADERSßHAVEßFORß TOßUNDERSTANDßYOURßAUDIENCE´SßBACKGROUNDßANDß OPPOSINGßMYßCLAIM ßORßPOSITION THEIRßPERSPECTIVEßONßTHEßTOPICßß4HENßYOUßCANß ß 7HATßARGUMENTSßCANß)ßUSEßTOßCOUNTERßTHEß CHOOSEßTHEßREASONSßANDßEVIDENCEßTHATßWILLßBEß READERS´ßOPPOSINGßCLAIMS ß MOSTßCONVINCINGßFORßTHEMß STATEßYOURßCLAIM WHATßDOESßITßLOOKßLIKE %VERYßISSUEßHASßATßLEASTßTWOßSIDES°FORßITßANDß AGAINSTßITßß!SßAßWRITER ßYOUßNEEDßTOßADOPTßAß Issue Viewpoint Claim VIEWPOINTßONßTHEßISSUEßANDßCONFIDENTLYßSTATEß YOURßPOSITIONßINßAßCLEARßCLAIMß-AKEßSUREßYOURß chores in favor of I strongly CLAIMßISßAßSTATEMENTßTHATßYOUßCANßPROVEßORß payment for believe that chores kids should be SUPPORTßWITHßSOLIDßREASONSßANDßEVIDENCEß)FßYOUß paid for doing DISCOVERßTHATßYOURßCLAIMßCAN´TßBEßSUPPORTEDß chores around EASILY ßTHENßYOUßSHOULDßREWORKßIT the house. writing workshop (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 0LANNING0REWRITINGßCONTINUED 'ETTINGß3TARTED GATHERßSUPPORTßFORßYOURßCLAIM WHATßDOESßITßLOOKßLIKE 3TRONGßREASONSßTELLßWHYßYOUßBELIEVEßWHATßYOUßDOß 4HEYßAREßLOGICAL ßORßCLEARLYßANDßDIRECTLYßINßSUPPORTß Reason Evidence OFßYOURßCLAIMßß%ACHßOFßYOURßREASONSßMUSTßTHENß Paying for chores John Covey, author and BEßSUPPORTEDßBYßATßLEASTßONEßOFßTHESEßKINDSßOFß teaches responsibility. father of ten, says that RELEVANT ßORßRELATED ßEVIDENCE doing chores helps kids ß ANCEDOTE°AßBRIEFßSTORYßTHATßILLUSTRATESßAßPOINT to grow up. (expert opinion) ß EXAMPLE°AßSPECIFICßINSTANCEßTHATßILLUSTRATESßAß GENERALßIDEA Paying for chores story about my cousin ß EXPERTßOPINION°AßSTATEMENTßMADEßBYßANß ends conflict in the Jeremy (anecdote) AUTHORITYßONßAßSUBJECT household. ß FACT°AßSTATEMENTßTHATßCANßBEßPROVENßTRUE ß STATISTIC°AßFACTßGIVENßINßNUMBERßFORM &ORßANYßFACTSßANDßSTATISTICSßYOUßGATHER ßMAKEßSUREß THEYßAREßACCURATE ßORßCORRECT ßANDßTHATßTHEYßCOMEß FROMßCREDIBLE ßORßTRUSTWORTHY ßSOURCESßß ANTICIPATEßREADERßCONCERNS WHATßDOESßITßLOOKßLIKE 3OMEßREADERSßMAYßBEßOPPOSEDßTOßYOURßVIEWPOINTßß !DDRESSßTHEIRßALTERNATEßORßOPPOSINGßCLAIMSßANDß Opposing Claim: Kids should do chores without being paid to help their family out. EXPLAINßWHYßYOURßVIEWPOINTßISßMOREßVALIDßß2ETURNß TOßTHEßCHARTßINßWHICHßYOUßLISTEDßTHEßPROSßANDßCONSß My response: That would be nice, but itÕs not OFßYOURßISSUEßß$EPENDINGßONßWHICHßPOSITIONßYOUß realistic. Kids will always need money, and parents TOOK ßTHEßDETAILSßINßTHEßOTHERßCOLUMNßAREßPOSSIBLEß will always need help with chores. Paying kids to do chores is a good compromise. OPPOSINGßCLAIMSßß4HINKßOFßARGUMENTSßYOUßCOULDß DEVELOPßTOßCOUNTERßTHESEßCLAIMS 0%%2ß2%6)%7 ß ß%XPLAINßTOßAßPEERßTHEßCLAIMßYOUßINTENDßTOßASSERTßANDßTHEßAUDIENCEßYOUßß WILLßBEßSEEKINGßTOßPERSUADEßß$ESCRIBEßYOURßEVIDENCEßANDßEVALUATEßITßFORßACCURACYßANDß CREDIBILITYß)FßTHEßEVIDENCEßISN´TßASßSTRONGßASßYOUßMIGHTßLIKE ßASKß7HATßNEWßAPPROACHß COULDß)ßTAKEßTOßSTRENGTHENßMYßCLAIM YOUR )NßYOURß2EADER7RITERß.OTEBOOK ßWRITEßYOURßCLAIMßß4HENßCOMPLETEßAßCHARTß SIMILARßTOßTHEßONEßONßTHISßPAGE ßIDENTIFYINGßEVIDENCEßFORßEACHßOFßYOURßREASONSßß TURN 4RYßTOßVARYßYOURßTYPESßOFßEVIDENCEßTOßAPPEALßTOßDIFFERENTßMEMBERSßOFßYOURß AUDIENCEßß!TßTHEßBOTTOMßOFßTHEßCHART ßSTATEßPOSSIBLEßOPPOSINGßCLAIMSßANDß OUTLINEßYOURßRESPONSES unit 8: information, argument, and persuasion ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 7RITINGß7ORKSHOP 7ßCß 5SEßWORDS ßPHRASES ßANDßCLAUSESßTOßCREATEßCOHESIONß ANDßCLARIFYßTHEßRELATIONSHIPSßAMONGßCLAIMS ßREASONS ß ANDßEVIDENCEßß7ßß 0RODUCEßCLEARßANDßCOHERENTßWRITINGß $RAFTING APPROPRIATEßTOßTASK ßPURPOSE ßANDßAUDIENCE 4HEßFOLLOWINGßCHARTßSHOWSßHOWßTOßORGANIZEßYOURßDRAFTßTOßCREATEßANßß EFFECTIVEßPERSUASIVEßESSAY /RGANIZINGßAß0ERSUASIVEß%SSAY INTRODUCTION ß 'RABßTHEßAUDIENCE´SßATTENTIONßWITHßAßQUOTATIONßORßAßSTATISTIC ß 3TATEßYOURßPOSITIONßINßAßSTRONGßCLAIM BODY ß 0RESENTßYOURßREASONSßINßAßLOGICALßORDER ßSUCHßASßORDERßOFßIMPORTANCE ß 3UPPORTßEACHßREASONßWITHßACCURATEßFACTS ßRELEVANTßEXAMPLES ßANDßOTHERßTYPESßOFßEVIDENCE ß !DDRESSßOPPOSINGßCLAIMSßTOßYOURßARGUMENTßANDßPROVIDEßRESPONSES ß -AINTAINßAßFORMALßSTYLEßBYßUSINGßAßSERIOUSßTONE ßAßCONFIDENTßVOICE ßANDßTHOUGHTFUL ß PERSUASIVEßWORDS CONCLUDINGßSECTION ß 2ESTATEßYOURßCLAIM ß %NDßWITHßAßCALLßTOßACTION°TELLßREADERSßWHATßTHEYßSHOULDßDOßIFßTHEYßAGREEßWITHßYOURßPOSITION GRAMMARßINßCONTEXTßUSINGßTRANSITIONS 7HENßYOURßCLAIM ßREASONS ßANDßEVIDENCEßAREßTIEDßTOGETHERßWELL ßYOURßESSAYßISßCOHERENT ß ORßSMOOTHßANDßEASYßTOßFOLLOWßß5SEßTRANSITIONS°WORDS ßPHRASES ßANDßCLAUSESßTHATßSHOWß THEßRELATIONSHIPSßAMONGßYOURßIDEAS°TOßCREATEßAßCOHERENTßARGUMENT 4RANSITIONSß4HATßß #REATEß#OHESION %XAMPLES ßß HOWEVER Kids should be paid for their chores. Some people IFßßßßTHEN disagree. They claim that chores are a normal family FURTHERMORE expectation and shouldnÕt be rewarded with money. ONEßREASON However, if kids canÕt learn to manage their own money, CONSEQUENTLY then they may make poor spending choices as adults. FORßEXAMPLE Furthermore, kids would be more motivated to do the ALTHOUGH chores their parents nag them to do. SO YOUR $EVELOPßAßFIRSTßDRAFTßOFßYOURßESSAYß)NCLUDEßWORDS ßPHRASES ßANDßCLAUSESß TOßCONNECTßYOURßIDEASßANDßCREATEßAßCOHESIVEßARGUMENT TURN writing workshop (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 2EVISING .OßONEßWRITESßAßPERFECTßESSAYßINßTHEßFIRSTßDRAFTßß4HEßREVISINGßSTAGEßGIVESßYOUß AßCHANCEßTOßIMPROVEßUPONßTHEßCONTENT ßORGANIZATION ßANDßSTYLEßOFßYOURßDRAFTßß 5SEßTHEßCHARTßSHOWNßTOßHELPßYOUßREVISEßANDßREWRITEßWHEREßNECESSARYß#HECKß THATßYOUßACHIEVEßYOURßPURPOSEßANDßPERSUADEßYOURßAUDIENCE PERSUASIVEßESSAY !SKß9OURSELF 4IPS 2EVISIONß3TRATEGIES ß $OESßTHEßINTRODUCTIONßGRABß 0UTßSTARSßNEXTßTOßQUESTIONS ß !DDßANßATTENTION GRABBERßTOßTHEß THEßAUDIENCE´SßATTENTION ß ANECDOTES ßORßSTATEMENTSßTHATß BEGINNINGßOFßTHEßINTRODUCTION WOULDßINTERESTßTHEßAUDIENCEß ß$OESßTHEßINTRODUCTIONßHAVEßß 5NDERLINEßTHEßCLAIMßß!SKßAß !DDßAßCLAIM ßORßREPLACEßTHEßCLAIMß AßSTRONGßCLAIM PEERßTOßREADßITßANDßIDENTIFYßTHEß WITHßAßSTRONGERßONE WRITER´SßPOSITION ß!REßTHEREßATßLEASTßTWOßLOGICALß (IGHLIGHTßTHEßREASONSßTHATß )FßNECESSARY ßADDßLOGICALßREASONSß REASONSßTHATßSUPPORTßTHEß SUPPORTßTHEßCLAIMß#IRCLEßTHEß THATßSUPPORTßTHEßCLAIMßß!DDß CLAIM ß$OESßATßLEASTßONEß EVIDENCEßTHATßSUPPORTSßEACHß RELEVANTßEVIDENCEßTOßSUPPORTß PIECEßOFßRELEVANTßEVIDENCEß REASONß$RAWßANßARROWßFROMßTHEß EACHßREASONßß%LABORATEßONßPIECESß SUPPORTßEACHßREASON EVIDENCEßTOßTHEßREASON OFßEVIDENCEßBYßADDINGßDETAILSßORß EXPLAININGßTHEIRßMEANING ß!REßTHEßREASONSßINßTHEßORDERß .UMBERßTHEßREASONSßINßTHEß 2EORDERßTHEßIDEASßINßAßLOGICALß THATßISßMOSTßPERSUASIVE ßß MARGIN ßRANKINGßTHEMßBYßTHEIRß ORDER ßSUCHßASßORDERßOFß STRENGTHßANDßPERSUASIVENESS IMPORTANCE ß$OESßTHEßARGUMENTß $RAWßAßWAVYßLINEßUNDERßTHEß )FßNECESSARY ßADDßAßSENTENCEß ACKNOWLEDGEßOPPOSINGß OPPOSINGßCLAIMSßANDßYOURß ORßTWOßTHATßADDRESSESßOTHERß CLAIMSßANDßCOUNTERßTHEM RESPONSESßTOßTHEM VIEWPOINTS ß$OESßTHEßCONCLUDINGßSECTIONß 0UTßAßCHECKßMARKßNEXTßTOßTHEß !DDßAßRESTATEMENTßOFßTHEßCLAIMß RESTATEßTHEßCLAIMßANDßINCLUDEß RESTATEMENTßß5NDERLINEßTHEßCALLß IFßITßISßMISSINGßß!DDßAßCALLßTOß AßCALLßTOßACTION TOßACTION ACTIONßIFßTHEREßISßNONE YOUR ß 0%%2ß2%6)%7 ß 7ITHßAßPEER ßGOßOVERßTHEßCHARTßß4HENßREVIEWßYOURßDRAFTSß TOGETHERßß!NSWERßEACHßQUESTIONßINßTHEßCHARTßTOßIDENTIFYßWHICHßPARTSßOFß TURN YOURßDRAFTSßNEEDßREWORKINGßORßAßNEWßAPPROACH unit 8: information, argument, and persuasion ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 7RITINGß7ORKSHOP 7ßß $EVELOPßANDßSTRENGTHENßWRITINGßASß NEEDEDßBYßREVISING ßEDITING ßREWRITING ßORß TRYINGßAßNEWßAPPROACH ßFOCUSINGßONßHOWß ANALYZEßAßSTUDENTßDRAFT WELLßPURPOSEßANDßAUDIENCEßHAVEßBEENß 2EADßTHISßSTUDENT´SßDRAFTßANDßTHEßCOMMENTSßABOUTßITßASßß ADDRESSED AßMODELßFORßREVISINGßYOURßOWNßPERSUASIVEßESSAY Kids Should Be Paid for Chores by T. J. Wilson, Atlantic Middle School ß4ß*ßGRABSßTHEßATTENTIONß According to the Joint Council on Economic Education, teenagers OFßHISßAUDIENCEßBYß between the ages of 13 and 17 will spend $89 billion in this country. PRESENTINGßAßSTATISTIC Where will that staggering amount of money come from? Many teens are not allowed to work outside of the home; therefore, I strongly believe that ß )NßHISßINTRODUCTION ß4ß*ß kids should be paid for doing chores around the house. Kids all across the CLEARLYßSTATESßHISßCLAIM country constantly nag their parents for money to go to the movies, buy ONßTHEßISSUE music, and purchase trendy clothes. Consequently, many parents complain about their kids always asking them for money. Constant friction results. Parents complain that kids don’t help out around the house enough. Lots of times, kids get nagged until they clean ß4ß*ßPROVIDESßSOMEß up their rooms, put out the trash, cut the lawn, shovel the snow, and do EXAMPLESßTOßSUPPORTß many other chores. But conflicts result at home. Why can’t kids and parents HISßPOINTßABOUTß CONFLICTßß(EßCOULDß reach a compromise about money and chores? This would end the feuding ADDßANßANECDOTEßTHATß and make everyone in the household happy. Parents would pay kids a small SHOWSßHOWßAßREAL LIFEß fee for doing chores without being reminded. Kids would no longer ask for CONFLICTßWASßRESOLVED money. ,%!2.ß(/7 ß5SEß!NECDOTESßASß3UPPORTINGß%VIDENCEß 4ß*´SßSECONDßPARAGRAPHß ENDSßWITHßTHEßPOINTßTHATßPAYINGßKIDSßFORßCHORESßCOULDßENDßFEUDINGßINßTHEß HOUSEHOLDßß)NSTEADßOFßSIMPLYßSTATINGßTHISßOUTCOME ßHEßDECIDEDßHEßCOULDßBEßMOREß PERSUASIVEßBYßSHOWINGßITßTHROUGHßANßANECDOTE ßAßBRIEFßSTORYßTHATßPROVESßHISßPOINT TßJ´SßREVISIONßTOßPARAGRAPHß This would end the feuding and make everyone in the household happy. Parents would pay kids a small fee for doing chores without being reminded. Kids would no longer ask for money. For example, my cousin Jeremy in Dallas constantly argued with his dad about mowing the lawn and walking the dog. Every time Jeremy asked for money, the accusations began again. Then they decided on a set fee for the chores: $20.00 a week for mowing and $7.00 a week for daily dog walks. Jeremy now eagerly does his chores, and he doesnÕt argue with his dad°even the dog is happy! writing workshop (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß ANALYZEßAßSTUDENTßDRAFTßCONTINUED ß4ß*ßCITESßANßEXPERTß This compromise teaches kids responsibility. John Covey, a father of ten OPINIONßTOßSUPPORTßHISß and co-author of The Seven Habits of Effective Families, says there are two SECONDßREASONßINßFAVORß reasons to get children to do chores: “to get the job done and to help them OFßPAYINGßKIDSßTOßDOß grow.” Teens learn to be responsible and develop a work ethic. When their CHORES chores are completed with no nagging, they’d be paid whatever their parents had agreed to pay them. Kids could spend the money on things they like or save money for expensive items. In an ideal world, kids would happily do chores, never ask for money, and parents would have the resources to pay for outside help or have the )NßTHISßPARAGRAPH ß4ß*ß PRESENTSßAßRESPONSEßTOß time to do all the work themselves. But for most families this is a fantasy. ANßOPPOSINGßCLAIM The real world demands a compromise on chores and money. Kids would stop begging for money. Parents would stop nagging kids to ß4ß*´SßCONCLUDINGß clean up their rooms or the kitchen. Both parents and kids would be getting SECTIONßLACKSßAßCALLß what they want. TOßACTION ,%!2.ß(/7 ß#ONCLUDEßWITHßAß#ALLßTOß!CTIONß )NßREVISINGßHISßESSAY ß4ß*ßREALIZEDß THAT ßALTHOUGHßHISßCONCLUSIONßRESTATESßHISßMOSTßIMPORTANTßIDEAS ßITßDOESßNOTßTELLß HISßAUDIENCEßEXACTLYßWHATßHEßWANTSßTHEMßTOßDOßß(EßADDEDßAßCALLßTOßACTIONßTOß MAKEßHISßCONCLUDINGßSECTIONßSTRONGER TßJ´SßREVISIONßTOßPARAGRAPHß Do you want to Do you want your parents to you about chores. Kids would stop begging for money. Parents would stop nagging kids to Talk to your parents today. Propose a compromise of responsibility and payment for chores. clean up their rooms or the kitchen. Both parents and kids would be getting what they want. YOUR 5SEßFEEDBACKßFROMßYOURßPEERSßANDßYOURßTEACHERßASßWELLßASßTHEßTWOß ±,EARNß(OW²ßLESSONSßTOßREVISEßYOURßPERSUASIVEßESSAYßß%VALUATEßHOWß TURN WELLßYOURßESSAYßCONVINCESßYOURßAUDIENCEßTOßACTßONßTHEßISSUEßTHROUGHß COMPELLINGßREASONS ßSTRONGßEVIDENCE ßANDßAßROUSINGßß CALLßTOßACTIONß unit 8: information, argument, and persuasion ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 7RITINGß7ORKSHOP 7ßß $EVELOPßANDßSTRENGTHENßWRITINGßBYßREVISING ßEDITING ß REWRITING ßORßTRYINGßAßNEWßAPPROACHßß,ßß $EMONSTRATEß COMMANDßOFßTHEßCONVENTIONSßOFßSTANDARDß%NGLISHß %DITINGßANDß0UBLISHING CAPITALIZATION ßPUNCTUATION ßANDßSPELLING )NßAßPERSUASIVEßESSAY ßYOUßWANTßYOURßAUDIENCEßTOßSEEßYOUßASßANßAUTHORITYßONß YOURßTOPICßß%RRORSßINßGRAMMAR ßSPELLING ßANDßPUNCTUATIONßMAKEßYOUßSOUNDßLESSß AUTHORITATIVEßß)NßTHEßEDITINGßSTAGE ßYOUßFINDßANDßCORRECTßSUCHßERRORSßSOßYOURß AUDIENCEßCANßFULLYßAPPRECIATEßTHEßPERSUASIVENESSßOFßYOURßARGUMENT GRAMMARßINßCONTEXTßPUNCTUATINGßRHETORICALßnUESTIONS 2HETORICALßQUESTIONSßDIRECTLYßADDRESSßTHEßAUDIENCEßBUTßDOßNOTßDEMANDß ANSWERSßß)NSTEAD ßTHEYßAREßUSEDßTOßCATCHßREADERS´ßATTENTIONßANDßMAKEßTHEMß THINKßß3TILL ßTHEYßMUSTßBEßPUNCTUATEDßCORRECTLYßWITHßQUESTIONßMARKS 4YPEßOFßNUESTION %XAMPLE REQUESTßFORßINFOMATION What time should we meet for lunch tomorrow? RHETORICALßQUESTION How would you like to eat the same boring sandwich for lunch every single day? 7HENß4ß*ßEDITEDßHISßESSAY ßHEßDISCOVEREDßTHATßHEßHADßFORGOTTENßTOßUSEß THEßCORRECTßPUNCTUATIONßMARKSßFORßSOMEßRHETORICALßQUESTIONS ? Do you want to stop begging for money. Do you want your parents to ? stop nagging you about chores. Talk to your parents today. Propose a compromise of responsibility and payment for chores. Both parents and kids would be getting what they want. PUBLISHßYOURßWRITING 3HAREßYOURßESSAYßWITHßANßAUDIENCE ß -AKEßCOPIESßOFßYOURßESSAYßFORßOTHERSßWITHßANßINTERESTßINßYOURßISSUE ß $EVELOPßYOURßESSAYßINTOßANßEDITORIALßFORßYOURßSCHOOLßORßLOCALßNEWSPAPER ß 0RESENTßYOURßESSAYßASßTHEßFIRSTßENTRYßINßAßCLASSßBLOGßß%LICITßOTHERS´ßOPINIONSßONß THEßISSUEßANDßYOURßCLAIM ß !DAPTßYOURßESSAYßINTOßAßPERSUASIVEßSPEECHßTOßPRESENTßTOßANßAUDIENCE YOUR #ORRECTßANYßERRORSßINßYOURßESSAYßBYßCAREFULLYßPROOFREADINGßITßß0UNCTUATEß ANYßRHETORICALßQUESTIONSßCORRECTLYßß4HENßPUBLISHßYOURßFINALßPRODUCTß TURN WHEREßITßISßMOSTßLIKELYßTOßREACHßYOURßINTENDEDßAUDIENCE writing workshop (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 3CORINGß2UBRIC 5SEßTHEßRUBRICßBELOWßTOßEVALUATEßYOURßPERSUASIVEßESSAYßFROMßTHEß7RITINGß 7ORKSHOPßORßYOURßRESPONSEßTOßTHEßON DEMANDßTASKßONßTHEßNEXTßPAGE PERSUASIVEßESSAY SCORE COMMONßCOREßTRAITS ß $EVELOPMENTßß%FFECTIVELYßINTRODUCESßTHEßISSUEßANDßASSERTSßAßCLAIMßSUPPORTSßTHEß CLAIMßWITHßRELEVANTßREASONSßANDßEVIDENCEßADDRESSESßOPPOSINGßCLAIMSßENDSßWITHßAß STRONG ßMEMORABLEßCONCLUDINGßSECTIONß ß /RGANIZATIONßß!RRANGESßREASONSßANDßEVIDENCEßINßAßLOGICALßORDERßUSESßTRANSITIONSßTOß CREATEßCOHESIONßANDßLINKßIDEAS ß ,ANGUAGEßß#ONSISTENTLYßMAINTAINSßAßFORMALßSTYLEßSHOWSßAßSTRONGßCOMMANDßOFß CONVENTIONS ß $EVELOPMENTßß#OMPETENTLYßINTRODUCESßTHEßISSUEßANDßSTATESßAßCLAIMßOFFERSß LOGICALßREASONSßANDßEVIDENCEßACKNOWLEDGESßOPPOSINGßCLAIMSßENDSßWITHßAßSTRONGß CONCLUDINGßSECTIONß ß /RGANIZATIONßß#ITESßREASONSßANDßEVIDENCEßLOGICALLYßUSESßTRANSITIONSßTOßLINKßIDEAS ß ,ANGUAGEßß-AINTAINSßAßFORMALßSTYLEßHASßAßFEWßERRORSßINßCONVENTIONS ß $EVELOPMENTßß)NTRODUCESßTHEßISSUEßANDßSTATESßAßCLAIMßOFFERSßMOSTLYßRELEVANTß SUPPORTßNEEDSßTOßMOREßTHOROUGHLYßADDRESSßOPPOSINGßCLAIMSßHASßANßADEQUATEß CONCLUDINGßSECTION ß /RGANIZATIONß(ASßAßLOGICALßORGANIZATIONßCOULDßUSEßAßFEWßMOREßTRANSITIONS ß ,ANGUAGEßß-OSTLYßMAINTAINSßAßFORMALßSTYLEßINCLUDESßAßFEWßDISTRACTINGßERRORSßINß CONVENTIONS ß $EVELOPMENTß3TATESßAßCLAIMßPROVIDESßSOMEßREASONS ßBUTßNEEDSßMOREßEVIDENCEßDOESß NOTßSUFFICIENTLYßADDRESSßOTHERßVIEWPOINTSßHASßAßSOMEWHATßWEAKßCONCLUDINGßSECTIONß ß /RGANIZATIONßß2EFLECTSßSOMEßFLAWSßINßORGANIZATIONßNEEDSßMOREßTRANSITIONS ß ,ANGUAGEßß/FTENßLAPSESßINTOßANßINFORMALßSTYLEßHASßSEVERALßERRORSßINßCONVENTIONS ß $EVELOPMENTß(ASßAßWEAKßCLAIMßOFFERSßSOMEßIRRELEVANTßREASONSßANDßNEEDSßMOREß EVIDENCEßFAILSßTOßACKNOWLEDGEßOTHERßVIEWPOINTSßHASßAßWEAKßCONCLUDINGßSECTIONß ß /RGANIZATIONßß(ASßORGANIZATIONALßFLAWSßLACKSßTRANSITIONSßTHROUGHOUT ß ,ANGUAGEßß5SESßANßINFORMALßSTYLEßHASßMANYßDISTRACTINGßERRORSßINßCONVENTIONS ß $EVELOPMENTßß,ACKSßAßCLEARßCLAIMßOFFERSßLITTLE ßIFßANY ßSUPPORTßIGNORESßOPPOSINGß VIEWPOINTSßHASßNOßCONCLUDINGßSECTION ß /RGANIZATIONßß(ASßNOßORGANIZATIONßANDßTRANSITIONS ß ,ANGUAGEßß,ACKSßAßFORMALßSTYLEßHASßMAJORßPROBLEMSßWITHßGRAMMAR ßMECHANICS ß ANDßSPELLING unit 8: information, argument, and persuasion ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES 7RITINGß7ORKSHOP 7ßß 7RITEßROUTINELYßOVERß SHORTERßTIMEßFRAMESßFORßAß RANGEßOFßTASKS ßPURPOSES ßANDß 0REPARINGßFORß4IMEDß7RITING AUDIENCES ß ANALYZEßTHEßTASKß ßMINß 2EADßTHEßTASKßCAREFULLYßß4HENßREADßITßAGAIN ßUNDERLININGßTHEßWORDSßTHATßTELLßß THEßTYPEßOFßWRITING ßTHEßTOPIC ßANDßTHEßPURPOSEß WRITINGßTASK Topic Your school is considering adding a 15-minute period each morning for students to relax, talk, listen to music, and get a snack. The school day would be lengthened to accommodate this break. Write an essay for your school paper convincing readers to support this proposal. Use logical reasons and relevant evidence. Purpose Type of writing ßPLANßYOURßRESPONSEß ßMINß !SKßYOURSELFß7HYßWOULDßITßBEßAßGOODßIDEAßTOß HAVEßAßBREAKßINßTHEßMIDDLEßOFßTHEßMORNING ßß9OURß Reasons Evidence ANSWERSßWILLßBEßYOURßREASONSßß5SEßAßCHARTßTOßLISTß REASONSßANDßGATHERßEVIDENCE ßSUCHßASßEXAMPLESß ANDßANECDOTES ßTOßSUPPORTßEACHßOFßYOURßREASONSßß !LSO ßNOTEßANßOPPOSINGßCLAIMßYOURßREADERSß Possible Opposing Claim: MIGHTßHAVEßß7HATßREASONSßANDßEVIDENCEßMIGHTß ADDRESSßTHEIRßCONCERNS ß RESPONDßTOßTHEßTASKß ßMINß /NCEßYOUßHAVEßGATHEREDßYOURßREASONSßANDßEVIDENCE ßDRAFTßYOURßESSAYßß!SßYOUß WRITE ßKEEPßTHESEßGUIDELINESßINßMIND ß )NßTHEßINTRODUCTION ßGRABßYOURßAUDIENCE´SßATTENTIONßANDßSTATEßYOURßCLAIM ß )NßEACHßBODYßPARAGRAPH ßPROVIDEßAßREASONßANDßTHEßEVIDENCEßTHATßSUPPORTSßIT ß !CKNOWLEDGEßANDßADDRESSßANßOPPOSINGßCLAIM ß #ONCLUDEßBYßRESTATINGßYOURßCLAIMßANDßPROPOSINGßSOMEßACTIONßTHATßYOURß AUDIENCEßSHOULDßTAKE ßIMPROVEßYOURßRESPONSEß ¯ßMINß 2EVISINGß 2EVIEWßKEYßASPECTSßOFßTHEßESSAYßß$OßYOUßSTATEßYOURßCLAIMßCLEARLY ßß$Oß YOUßINCLUDEßCONVINCINGßREASONS ßSOLIDßEVIDENCE ßANDßAßCALLßTOßACTION 0ROOFREADINGß .EATLYßCORRECTßANYßERRORSßINßGRAMMAR ßSPELLING ßANDßMECHANICS #HECKINGß9OURß&INALß#OPYß "EFOREßYOUßTURNßINßYOURßESSAY ßREADßITßONCEßMOREßTOß CATCHßANYßERRORSßYOUßMAYßHAVEßMISSEDßANDßTOßMAKEßANYßFINISHINGßTOUCHESß writing workshop (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß 3PEAKINGß 0RESENTINGßAß0ERSUASIVEß3PEECH ,ISTENINGß )FßYOUßHAVEßEVERßTALKEDßAßFRIENDßORßRELATIVEßINTOßAGREEINGßWITHßYOURßOPINIONßABOUTß 7ORKSHOP SOMETHING ßTHENßYOUßHAVEßSPOKENßPERSUASIVELYßß!ßPERSUASIVEßSPEECHßSHARESß THEßSAMEßPURPOSEßASßAßPERSUASIVEßESSAY°YOUßWANTßTOßCONVINCEßANßAUDIENCEß THROUGHßYOURßWORDSßTOßAGREEßWITHßYOURßCLAIM ßORßPOSITION ßONßANßISSUE #OMPLETEßTHEßWORKSHOPßACTIVITIESßINßYOURß2EADER7RITERß.OTEBOOK SPEAKßWITHßAßPURPOSEß COMMONßCOREßTRAITS TASK AßSTRONGßPERSUASIVEßSPEECHßßßß !DAPTßYOURßWRITTENßESSAYßINTOßAß ß CLEARLYßPRESENTSßAßCLAIMßANDßFINDINGS PERSUASIVEßSPEECHßß0RACTICEßYOURß ß ßEMPHASIZESßSALIENT ßORßIMPORTANT ßPOINTSßWITHß SPEECH ßANDßTHENßPRESENTßITßTOßYOURß LOGICALßREASONSßANDßRELEVANTßEVIDENCE CLASSßß!SßYOUßLISTENßTOßOTHERßSTUDENTS´ß ß ßISßORGANIZEDßLOGICALLY SPEECHES ßEVALUATEßTHEIRßDELIVERYßANDß ß ßANTICIPATESßANDßCOUNTERSßPOSSIBLEßOPPOSINGßCLAIMS THEßEVIDENCEßTHEYßPRESENT ß ßISßSTRENGTHENEDßBYßTHEßSPEAKER´SßEYEßCONTACT ß ADEQUATEßVOLUME ßANDßCLEARßPRONUNCIATION !DAPTß9OURß%SSAY 3,ßß $ELINEATEßAßSPEAKER´Sß !ßGOODßPERSUASIVEßSPEAKERßENGAGESßTHEßAUDIENCEßß5SEßTHESEßSTRATEGIESßTOß ARGUMENTßANDßCLAIMS ßEVALUATINGß THEßREASONINGßANDßEVIDENCEß GRABßLISTENERS´ßATTENTIONßANDßMAKEßTHEMßCAREßABOUTßYOURßISSUE 3,ßß 0RESENTßCLAIMSßANDßFINDINGSß USEßAPPROPRIATEßEYEßCONTACT ß ß 0ROVIDEßTHEßBIGßPICTUREß 0RESENTßALLßSIDESßOFßTHEßISSUEßASßWELLßASßANYßTERMSß VOLUME ßANDßPRONUNCIATIONß ANDßDETAILSßTHATßYOURßAUDIENCEßWILLßNEEDßTOßKNOW 3,ßß )NCLUDEßVISUALßDISPLAYSßTOß CLARIFYßCLAIMSß 3,ßß $EMONSTRATEß ß 'IVEßLOGICALßREASONSßANDßRELEVANTßEVIDENCEß 0RESENTßREASONSßWHYßYOURß COMMANDßOFßFORMALß%NGLISH AUDIENCEßSHOULDßAGREEßWITHßYOU ßANDßSUPPORTßTHEMßWITHßEVIDENCEß ANECDOTES ßEXAMPLES ßEXPERTßOPINIONS ßFACTS ßDETAILS ßANDßSTATISTICS ß 0RESENTßVISUALSßANDßMEDIAßDISPLAYSß 5SEßHANDMADEßVISUALSßORßTECHNOLOGY BASEDßMEDIAßDISPLAYSßTOßCLARIFYßCLAIMSßANDßEMPHASIZEßPOINTS ß /RGANIZEß 5SEßANßORGANIZATIONßTHATßWILLßHELPßYOUßFULFILLßYOURßPURPOSE °ß ß)FßYOURßAUDIENCEßOPPOSESßYOURßCLAIM ßYOURßPURPOSEßISßTOßGETßTHEMßTOß CONSIDERßITßß&IRSTßACKNOWLEDGEßTHEIRßPOINTßOFßVIEW ßANDßTHENßPRESENTßYOURß REASONSßANDßEVIDENCEßINßRESPONSE °ß ß)FßYOURßAUDIENCEßAGREESßWITHßYOURßCLAIM ßYOURßPURPOSEßISßTOßGETßTHEMßTOß TAKEßACTIONßß&IRSTßSOLIDIFYßTHEIRßEXISTINGßOPINIONßBYßSTATINGßYOURßCLAIMßANDß HeZV`^c\ LISTINGßREASONSßANDßEVIDENCEßß4HENßCLOSEßWITHßAßCLEARßCALLßTOßACTION A^hiZc^c\Dca^cZ °ß ß)FßYOURßAUDIENCEßISßUNSUREßABOUTßYOURßPOSITION ßYOURßPURPOSEßISßTOßPERSUADEß 'OßTOßTHINKCENTRALCOM THEMßTOßAGREEßWITHßYOUßß0RESENTßYOURßREASONSßANDßEVIDENCEßCLEARLY ßANDßBEß +%97/2$ß(-, SUREßTOßADDRESSßPOSSIBLEßOPPOSINGßCLAIMS unit 8: information, argument, and persuasion ßßß(OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGES $ELIVERß9OURß0ERSUASIVEß3PEECH !ßSTRONGßPRESENTERßCANßMAKEßANYßARGUMENTßPERSUASIVEßBYßEFFECTIVELYßUSINGß VERBALßANDßNONVERBALßTECHNIQUESßSUCHßASßTHOSEßLISTEDßBELOW ß %NUNCIATIONßß0RONOUNCEßWORDSßCAREFULLYßANDßCLEARLY ß 4EMPOßß!DJUSTßTHEßSPEEDßANDßRHYTHMßOFßYOURßSPEECHßß"EßSUREßTOßPAUSEßTOß EMPHASIZEßSALIENTßPOINTS ß 6OICEß-ODULATIONßß3TRESSßCERTAINßWORDSßANDßPHRASESßBYßCHANGINGßTHEßVOLUMEß OFßYOURßVOICE ß "ODYß,ANGUAGEßß3HOWßTHATßYOUßBELIEVEßYOURßPOSITIONßISßAßGOODßONEßBYßUSINGß FACIALßEXPRESSIONSßTHATßCONVEYßCERTAINTYßß!ßCONFIDENTßPOSTUREßCANßMAKEßYOUß SEEMßMOREßCREDIBLE ßORßBELIEVABLE ß %YEß#ONTACTßß+EEPßYOURßAUDIENCEßMEMBERSßINVOLVEDßBYßMAINTAININGßEYEß CONTACTßWITHßTHEMßTHROUGHOUTßYOURßSPEECH ß &ORMALß%NGLISHßß5SEßLANGUAGEßTHATßISßAPPROPRIATEßFORßAßFORMALßSPEECHß9OURß AUDIENCEßWILLßTAKEßYOUßMOREßSERIOUSLYßIFßYOUßAVOIDßOVERLYßCASUALßPHRASESßß %VALUATEßAß0ERSUASIVEß3PEECH +EEPßTHESEßTIPSßINßMINDßASßYOUßLISTENßTOßOTHERßSTUDENTS´ßSPEECHES ß $ELINEATE ßORßTRACE ßTHEßSPEAKER´SßARGUMENTßSOßTHATßYOUßCANßDECIDEß WHETHERßYOUßAGREEßWITHßHIMßORßHERß3TARTßBYßASKINGßYOURSELFß7HATß ISßTHEßSPEAKER´SßCLAIM ß)Fß)ßACCEPTßTHISßCLAIM ßWHATßACTIONßDOESßTHEß SPEAKERßWANTßMEßTOßTAKE ßß ß %VALUATEßTHEßFINDINGSßTHATßTHEßSPEAKERßPRESENTSßINßSUPPORTßOFßTHEß CLAIMß!REßTHEßREASONSßPROVIDEDßSOUND ßORßLOGICAL ß)SßTHEßEVIDENCEß RELEVANTßANDßSUFFICIENT ßORßCLEARßANDßVARIEDßENOUGHßTOßBEßPERSUASIVE ßß ß %VALUATEßTHEßSPEAKER´SßDELIVERYßß(OWßWELLßDOESßHEßORßSHEßUSEßVERBALß ANDßNONVERBALßTECHNIQUESßTOßCONVEYßTHEßINFORMATION ßß ß $ECIDEßWHETHERßTHEßSPEECHßISßORGANIZEDßINßANßEFFECTIVEßWAYß!REß THEßREASONSßPRESENTEDßINßTHEßMOSTßPERSUASIVEßORDER ßß ß 4AKEßBRIEFßNOTESßONßTHEßSPEAKER´SßMAINßPOINTSßß!TßTHEßENDßOFßTHEß SPEECH ßASKßQUESTIONSßORßMAKEßCOMMENTSßABOUTßTHEßREASONSßANDß EVIDENCEßTHEßSPEAKERßHASßPRESENTEDßß YOUR !SßAß3PEAKERß 'IVEßYOURßPRESENTATIONßTOßAßPARTNER ßINCORPORATINGß THEßTECHNIQUESßDESCRIBEDßONßTHISßPAGEßß TURN !SßAß,ISTENERß ,ISTENßTOßYOURßPARTNER´SßSPEECHßCAREFULLYßß!SKß QUESTIONSßABOUTßTHEßREASONSßANDßEVIDENCEßBEFOREßSUMMARIZINGß THEßPURPOSEßANDßCONTENTßOFßTHEßSPEECHßß%VALUATEßTHEßEFFECTIVENESSß OFßYOURßPARTNER´SßDELIVERY (OLTß-C$OUGALß,ITERATURE ß3ELECTEDß0AGESßßß