Standards-Based Unit High School to College and Career Transitions

Standards-basedStandards-based UnitUnit SRE High School to College and Career Transitions B

SeniorSenior EnglishEnglish Redesigned:Redesigned: A 12th-grade English Transitional Course Southern Getting a Sense of Things Regional Education Unit Plan Board

592 Tenth Street, N.W. Atlanta, GA 30318 (404) 875-9211 www.sreb.org

2 Unit Plan Overview

Unit Title: Getting A Sense of Things

Course Name: Senior English Redesigned

Grade Level(s): 12

Unit Overview Students will read “The Lottery” by Shirley Jackson and “Jury of Her Peers” by Susan Glaspell to discover the importance of sensory detail to defining a sense of place and to examine the role of cultural heritage. Students will produce an essay examining personal culture and a team-generated technical process piece which they will present orally to ‘prospective buyers’.

Timeframe: 10 90-minute classes

Essential Questions: (Open-ended style which promote in-depth investigation) 1. How does familiarity affect a person’s sense of things? 2. What are the elements of culture? 3. How are familiarity and culture interdependent? 4. How does technical reading and writing deepen a person’s understanding of his culture? 5. In what ways do familiarity and lack of familiarity alike foster hatred and evil? 6. What role does critical thinking play in fighting hatred and evil?

SREB Readiness Indicators

1. Develop vocabulary appropriate to reading, writing and speaking proficiency. 3. Analyze the relationship(s) and purpose(s) within a text and across texts. (Compare/contrast) 5. Connect what is read to personal experience and the world beyond the classroom. 7. Compose writing that conveys a clear main point with logical support. 8. Edit and review writing for the strongest effect. 12. Use active listening strategies to organize and respond to information presented in different formats for different purposes.

State/Local Standards: Kentucky

1. Develop abilities in language arts. 2. Be able to read, write, speak, and listen for a variety of purposes. 3. Be able to apply a variety of reading strategies to make sense of a variety of print and not-print texts. 4. Be able to develop mechanically correct, clear, focused, and controlled sentences and paragraphs. 5. Be able to compile a variety of written forms for a variety of purposes and audiences. 6. Be able to present oral and written literary analyses. 7. Be able to participate meaningfully in a discussion of a given work of literature. 8. Be able to answer essay questions in three high-quality forms (paragraph, thesis + body paragraphs, and introduction including thesis, body paragraphs, and conclusion).

Acknowledgment(s): Maria M. Flynn

Getting A Sense of Things– Overview 3 Unit Plan Overview

Literacy Strategies Habits of Success _X_ Admit/Exit slips 1. _X_ Create Relationships _X_ Graphic organizer Teamwork/responsibility/effective communication ___ Know/Want to 2. ___ Study, Manage Time, Organize Know/Learn Chart Organization/time management/study skills (KWL) _X_ Open-response 3. _X_ Improve Reading/Writing Skills questions Use reading and writing to learn strategies _X_ Two-column/Cornell 4. ___ Improve Mathematics Skills notes Estimate/compute/solve/synthesize _X_ Re-telling 5. ___ Set Goals/Plan _X_ Reflection Set goals/plan/monitor progress ___ Jigsaw reading ___ Peer Review 6. ___ Access Resources ___ Peer Editing Research/analyze/utilize ___ Anticipation Guide ___ RAFT (Role/Audience/ Format/ Topic) ___ Summarization (GIST) (Generating Interactions Between Schemata and Text) ___ Paired Reading ___ Other

Assessments: Pre, Daily/Weekly and Post

Post-assessment consists of two parts 1. Content-based (traditional paper and pencil test) See Attachment 14. 2. Performance – or product-based Students will write an essay. (Rubric is in Attachment 13.) In teams, students will also create a proposal and presentation (see Attachments 8, 8a, 8b, 8c)

Getting A Sense of Things– Overview 4 Daily Activities Plan

Unit Title: Getting a Sense of Things

Day 1 of 10

SREB’s Readiness Indicator(s) for Daily Activities

1. Develop vocabulary appropriate to reading, writing and speaking proficiency. 3. Analyze the relationship(s) and purpose(s) within a text and across texts. 5. Connect what is read to personal experience and the world beyond the classroom. 12. Use active listening strategies to organize and respond to information presented in different formats for different purposes.

State/District Standard(s) for Daily Activities: Kentucky

1. Develop abilities in language arts. a. Higher Thinking – analyze, classify, relate d. The Quality Process – plan, draft, analyze, and revise. 2. Be able to read, write, speak, and listen for a variety of purposes. a. Be able to analyze literature to enhance your writing. d. Be able to produce... personal writing... f. Develop an understanding of language structure and expand knowledge of language (i.e., mechanics, usage, vocabulary) 7. Be able to participate meaningfully in a discussion of a given work of literature. a. Be able to respond directly to specific questions clearly and briefly with appropriate textual references.

Anticipated Times* Sequence of Instruction Activities Checklist (90-minute Block Schedule)

3 minutes Get Started . Grammar editing DOL: review [Daily Oral Language exercises that the teacher writes on the board or overhead and which students must correct in their journals. The teacher reviews correct answers with students including reasons for corrections. Sentences should be student-generated and be taken from their last writing assignment/admit or exit slip/journal entry, etc. They should also illustrate a major grammatical (sentence fault, irregular verb form, or S-V agreement) or comma error (between subject and verb, between adjective and noun, omitted in items in a series).] 5 minutes Engage . Brainstorm Students will individually write down as many things as they can think of that identify their personal culture (e.g., music they listen to, food they eat, clothes they wear, holidays and how they celebrate them) 10 minutes Explore . Brainstorm . . Hand out Elements of Culture Grid I (Attachment 1). Create lists . . Discuss to define and expand the terms. Culture Graphic organizer and values need particular attention. (Students should place terms in two-column Cornell format with a definition for each and a list of things that

Getting A Sense of Things– Day 1 5 Daily Activities Plan

term might include. [See Attachment 1a]) . Students will place their brainstorm data on the grid and then work individually 5 more minutes to fill in additional details about their culture. . Students will pair up, preferably with someone they don’t know very well, and compare grids. They will add shared elements they’ve missed, but the object is to discover interesting differences. (Students will stay in pairs.) 10 minutes (15) Explain . Student presentations Students will share discoveries with the class. 40 minutes (10) Practice Together . Whole group graphic . Students will listen while the teacher reads aloud organizers “The Lottery” by Shirley Jackson. (See attachment 2. This will take approximately 25 minutes.) . Students will listen for cultural data to record on a class grid after the story is finished. . After the reading, the teacher will listen briefly to student responses to the literature itself. . Together the class will then list elements of culture within the literature using the grid on an overhead projector. 10 minutes (10) Practice in Teams/Groups/Buddy-pairs . Answer questions . The teacher will write the following questions on the board. . Students will work out an answer in pairs. . The teacher will lead a class discussion of the answers. Questions: 1. Where or within which culture does the story take place and how do you to know? P.S. Use the grid. 2. Where specifically does “The Lottery” take place? (Students move chairs back into place and take their proper places.) 7 minutes (15) Evaluate Understanding (Daily/Weekly/ . Individual project/ Post-Assessment) investigation/ Students will finalize their personal grids and turn presentation them in. 5 minutes (5) Closing Activities . Exit slip . Exit slip: Assign homework What was evil in “The Lottery”? The teacher will hand out copies of “The Lottery” (Attachment 2). Homework: Students will read “The Lottery” again and mark words they do not know. As Needed Enrichment/Extension/Re-teaching/ . Categorizing Accommodation(s) The teacher will ask students to consider which elements of culture are universal (common to all cultures) and which are specific (to their own and to “The Lottery” culture).

Resources/Instructional Materials Needed . Attachments 1, 1a and 2 . Overhead projector and marker . The Cultural Elements grid on projector film Notes For “The Lottery,” the ‘other’ column on the culture grid is for universal things like taxes, planting, and doing dishes which do not define cultures to the extent some other items do. Reserve space in the computer lab for all or some of the period on day 8. Students will need enough time to completely type their essays.

The blocks of time for the sequence of instruction are suggested as a pacing guide. Some activities may take more time than suggested, and every element in the sequence of instruction may not occur every day.

Unit Name: Getting a Sense of Things

Day 2 of 10

1. Develop vocabulary appropriate to reading, writing and speaking proficiency. 3. Analyze the relationship(s) and purpose(s) within a text and across texts. 5. Connect what is read to personal experience and the world beyond the classroom.

State/District Standard(s) for Daily Activities: Kentucky 1. Develop abilities in language arts. a. Higher Thinking – classify d. The Quality Process – plan 2. Be able to read, write, speak, and listen for a variety of purposes. f. Develop an understanding of language structure

15 minutes Get Started . Vocabulary The teacher and students will begin to create a unit word wall from words that caused trouble in “The Lottery.” (See attachment 3 for instructions.) (Students should also be encouraged to continue the Cornell note-taking system for their personal vocabulary list. They will use these words on the unit exam.) 10 minutes Engage . Play a game Students will play 20 Questions. (One student thinks of an object. The rest of the class can ask up to 20 questions to discover what that person is thinking of. The only clue they have to start with is whether it is an animal, vegetable, or mineral. The answer to each question should narrow the possibilities and thus enable the students to get more and more specific until they reach the answer.)1 10 minutes Explore . Class discussion The teacher will lead a discussion of the exit slip answers from Day 1.2 15 minutes Explain . Interactive discussion Students will brainstorm universal cultural elements.3 The teacher will use the overhead film with notes from Day 1 to enable students to apply this universal/specific concept to “The Lottery,” noting especially the absence of cultural specifics. The teacher should relate this absence to the difficulty of pinpointing the setting of the story. 10 minutes Practice Together . Whole group graphic The teacher will lead the class in completing the chart organizers in Attachment 4.4

10 minutes Practice in Teams/Groups/Buddy-pairs . Solve similar The students will use the attached tree graphics to problems explore two multi-layered hierarchies from universal to specific (Attachment 4a) and from specific to universal (Attachment 4b). 20 minutes Practice Alone . Plan for writing . The teacher will hand back the personal Cultural assignment Elements grids. . Students will look again at the data on their personal grids and organize it from Universals to Specifics (instructions are in Attachment 4c which provides an example. Students should be told they will need this handout again on Day 3). . Students will draw and fill in three hierarchical trees based on their own cultures. 1 minutes Evaluate Understanding (Daily/Weekly/ . Individual project/ Post-Assessment) investigation/ The teacher will take up the hierarchical tree presentation diagrams. 4 minutes Closing Activities . Exit slip Exit slip: What might I want to change about my culture because it is evil and how? As Needed Enrichment/Extension/Re-teaching/ Accommodation(s) Some student should add the word hierarchy to the word wall. Resources/Instructional Materials Needed . Large note cards for Word Wall . Colored markers or pencils for Word Wall . Overhead film of Attachment 1 with notes from Day 1, overhead projector, pen . Attachment 4 on overhead film . Copies of Attachment 4a and 4b, one each for each pair of students . Personal Cultural Elements grids marked to return to students . Attachment 4c for each student Notes 1 20 Questions is a fun way for student to begin to think from general to specific. 2 Many students will probably have identified the stoning of Tessie Hutchinson (a specific) as being evil. The teacher should encourage them to think about possible motivation for the stoning (a fertility ritual sacrifice) and the universal cultural element it illustrates (tradition). But there’s also an underlying evil in that the people do what they do with enthusiasm. This discussion comes to fruition on the unit exam. 3 To get the discussion started, the teacher may have to choose something with which the whole class will be able to identify, like transportation. Every culture travels, but many cultures have an element or two that separate them from others, e.g., snow cultures have snow mobiles. There is also an example of this kind of thinking in “The Lottery,” namely in the organization of the lottery drawing: Families: Households: Hutchinson: Tessie The hierarchical thinking process is fundamental to writing well-organized essays, buying a car, or creating a new computer application where thinking usually moves from a broad idea to narrow ones, but it is also the basis for troubleshooting car problems, diagnosing illnesses, and working puzzles where thinking begins narrow with noises, symptoms, or clues and moves toward the broad solution. 4 This discussion should include listing the 5 senses and connecting that concept with the use of words to

convey sensory information. The sensory quality of a manual transmission is kinesthetic.

Day 3 of 10

1. Develop vocabulary appropriate to reading, writing and speaking proficiency. 3. Analyze the relationship(s) and purpose(s) within a text and across texts. 5. Connect what is read to personal experience and the world beyond the classroom. 7. Compose writing that conveys a clear main point with logical support. 12. Use active listening strategies to organize and respond to information presented in different formats for different purposes.

State/District Standard(s) for Daily Activities: Kentucky 1. Develop abilities in language arts. a. Higher Thinking – analyze, relate, envisioning d. The Quality Process – draft 2. Be able to read, write, speak, and listen for a variety of purposes. f. Develop an understanding of language structure. 4. Be able to develop mechanically correct, clear, focused, and controlled sentences and paragraphs. a. Be able to write clear, proper, and focused sentences. b. Be able to develop complete, focused, unified, and organized paragraphs. c. Be able to use proper transitions to connect ideas, sentences, and paragraphs. d. Be able to apply correct mechanics (spelling, punctuation, capitalization, format). e. Be able to use clear standard English and specific technical vocabulary including, correct usage, subject/verb agreement, correct use of modifiers. 5. Be able to compile a variety of written forms for a variety of purposes and audiences. a. Be able to produce quality examples in several of the following forms: personal...

5 minutes Get Started . Grammar editing DOL: (Sentences should come from Exit Slip answers exercise and should illustrate major errors.) 5 minutes Engage . Model/demonstrate Build a House on the Board . The teacher writes the word ‘house’ on the board and asks students to visualize a house.1 . The teacher invites one student to provide one detail about the house he/she envisions and writes it on the board. . The teacher continues to gather detailed information about this house from various students. . The teacher will help the students discover that the added sensory details enabled all students to imagine pretty much the same house and will also help them apply that discovery to good detailed writing.

10 minutes Explore . Investigate Using colored pens to color-code the types of sentences, the teacher will help the class analyze a well-written 8-sentence paragraph to discover how each sentence works to communicate the main idea.2 (Attachment 5) 15 minutes Explain . Demonstration . The teacher will introduce the 8-sentence paragraph pattern in Attachment 6, define terms (perhaps on the word wall), and illustrate using Attachment 6a (topic and concluding sentences), 6b (point sentences), 6c (development sentences) in overlay format on the overhead projector, and 6d (in correct paragraph form - handout). . The teacher will provide students with colored pencils and help them use the same color-coding technique to make the connection between the Cultural Elements Tree in Attachment 4c and the various sentence types in Attachment 6d.3 10 minutes Practice in Teams/Groups/Buddy-pairs . Solve similar . In small groups, students will do the 8-sentence problems paragraph unscrambling exercises. (Attachment 7) . The teacher will share the proper order and discuss.4 35 minutes Practice Alone . Draft writing The teacher will return the Cultural Element Trees and help students see the connection between the tree organization and the 8-sentence paragraph pattern. Students will then begin drafting an 8-sentence paragraph from one of their tree diagrams.5 0 minutes Evaluate Understanding (Daily/Weekly/ . Student conferences Post-Assessment) The teacher will circulate and evaluate each student’s understanding while they compose their paragraphs. The teacher should also locate two possible paragraphs to be shared with the class on Day 4. 10 minutes Closing Activities . Play a game Students will play 20 questions again. Resources/Instructional Materials Needed . DOL sentences. . Overhead projector, at least three colored pens, and film copies of Attachments 5, 6, 6a, 6b, 6c and 6d. . Plenty of colored pencils for students. . Handouts of Attachments 6d and 7. . A few extra copies of Attachment 4d. Notes 1 The teacher should help students realize that no two houses being visualized are alike. 2 Each level of development should have its own color: TS and CS; point sentences; development sentences. The teacher should add the word ‘function’ to the word wall and associate that word with the jobs that the sentences in paragraphs do. 3 Students will need four colors: one for the topic sentence, concluding sentence, and corresponding general subject on the grid; another for point sentences and corresponding second level specifics on the grid; and two other colors for the parts of the development sentences that correspond to third and fourth level specifics on the grid.

4 It is not intended for the gender bias of the second paragraph to go unnoted. Gender bias is a cultural universal that often turns evil, either covertly or overtly. The teacher should point this out because it will surface again in “Jury of Her Peers” on Day 7. During the discussion of the technical part of this exercise, the teacher should enable students to make four fundamental observations: . The topic sentence contains two parts, and topic and the writer’s attitude toward that topic. (This is true of good essay body paragraphs. It is generally not true of report body paragraphs. This is a good time to reinforce any previous discussions about fact versus opinion and to remind students that an essay by definition is the defense of an opinion.) . The concluding sentence restates the topic and attitude in different words. . Development sentences are long and point sentences are short. . Transition words indicate order. These are not intended as rules, just observations. 5 Students should be directed to double space to facilitate revision. If students are not composing at computers, they should be instructed to skip every other line. They should also number multiple pages and staple or clip them together.

Day 4 of 10

1. Develop vocabulary appropriate to reading, writing and speaking proficiency. 7. Compose writing that conveys a clear main point with logical support. 8. Edit and revise writing for the strongest effect.

State/District Standard(s) for Daily Activities: Kentucky 1. Develop abilities in language arts. a. Higher Thinking – decide c. Goal Setting/Attainment – plan d. The Quality Process – draft, analyze, revise 2. Be able to read, write, speak, and listen for a variety of purposes. d. Revise personal writing f. Develop an understanding of language structure and expand knowledge of language 4. Be able to develop mechanically correct, clear, focused, and controlled sentences and paragraphs. a. Be able to write clear, proper, and focused sentences. b. Be able to develop complete, focused, unified, and organized paragraphs. c. Be able to use proper transitions to connect ideas, sentences, and paragraphs. d. e able to apply correct mechanics (spelling, punctuation, capitalization, format). e. Be able to use clear standard English and specific technical vocabulary including, correct usage, subject/verb agreement, correct use of modifiers. 5. Be able to compile a variety of written forms for a variety of purposes and audiences. a. Be able to produce quality examples in several of the following forms: Personal

5 minutes Get Started . Answer questions 1. What are the two things a good topic sentence for an essay paragraph includes? 2. What is the function of a concluding sentence? The teacher will examine and re-teach or discuss. The word function should be added to the word wall and any other word, either from 20 questions or the paragraph activity. 10 minutes Engage . Read aloud The teacher will ask for two volunteers to share their paragraphs from Day 3.1 The teacher can read if the students are too reluctant. The class is to listen for topic and attitude. 25 minutes Practice Alone . Draft writing . Students will revise their topic and concluding sentences if necessary. . Students will write a second 8-sentence paragraph based on another Cultural Element Tree and begin the third if time allows.

10 minutes Explain . Team Project . To break up the writing time, the teacher will hand out and explain the Theme Park ride proposal assignment sheet and grading guides. (Attachments 8, 8a, 8b, and 8c) . The class together will determine the theme and location of the park for which all teams will design and propose a ride. . The teacher will divide the class into teams where they will begin this project.1 15 minutes Practice in Teams/Groups/Buddy-pairs . Team Project Students will brainstorm a theme park ride. 22 minutes Practice Alone . Draft writing Students will write to finish the second and third paragraphs they are working on from their Cultural Element Trees. NA minutes Evaluate Understanding (Daily Assessment) . Monitor writing . The teacher will circulate during the writing sessions checking especially for understanding of the topic and concluding sentence concept. The teacher will also again locate two possible paragraphs to be shared on Day 5. . The teacher will have colored pencils handy to help students having organizational difficulty. 3 minutes Closing Activities . Assign/explain Homework: homework . Finish the third paragraph . Begin any work determined by the team. Resources/Instructional Materials Needed . Colored pencils for students having trouble analyzing their use of the 8-sentence paragraph pattern. . A copy of Attachment 8 for each student. Teams should also be given the evaluation forms, Attachments 8a, 8b, and 8c. Notes 1 The teacher should stratify each team carefully so that each contains someone who can draw at least moderately well and someone who writes fairly well. If PowerPoint and CAD skills and access are available equally for all teams, the use of that technology would greatly enhance the students’ experience with this project. If not, unless the teacher wants to extend this unit so that students have time to acquire some of those skills, teams just need some supplies such as colored pencils, pens, markers, and poster board. The class should be told what materials they will have to supply for themselves.

Day 5 of 10

1. Develop vocabulary appropriate to reading, writing and speaking proficiency. 7. Compose writing that conveys a clear main point with logical support. 8. Edit and revise writing for the strongest effect.

1. Develop abilities in language arts. a. Higher Thinking – decide c. Goal Setting/Attainment – plan, organize d. The Quality Process – analyze, revise 2. Be able to read, write, speak, and listen for a variety of purposes. d. Be able to produce and revise personal writing. f. Develop an understanding of language structure and expand knowledge of language. 4. Be able to develop mechanically correct, clear, focused, and controlled sentences and paragraphs. a. Be able to write clear, proper, and focused sentences. b. Be able to develop complete, focused, unified, and organized paragraphs. c. Be able to use proper transitions to connect ideas, sentences, and paragraphs. d. e able to apply correct mechanics (spelling, punctuation, capitalization, format). e. Be able to use clear standard English and specific technical vocabulary including, correct usage, subject/verb agreement, correct use of modifiers. 5. Be able to compile a variety of written forms for a variety of purposes and audiences. a. Be able to produce quality examples in several of the following forms: Personal b. Be able to submit writing for authentic audiences. c. Be able to use appropriate styles, organizations, and formats for specific audiences and broad and narrow purposes: Inform. e. Be able to evaluate, select, and revise pieces appropriate for a writing portfolio.

5 minutes Get Started . Grammar editing DOL: exercise (Sentences should come from student writing, exit or admit slips, and should reflect major errors.) 10 minutes Engage . Read aloud . The teacher will ask for two volunteers to share their paragraphs from Day 4. Again, the teacher can read if the students are too reluctant. This time, the class is to listen for point sentences. . The teacher will lead the class in a discussion of what they hear including the concepts of transition and emphatic order in the discussion. (These words should be added to the word wall.) 20 minutes Practice Alone . Revise work Students will make final edits and recopy the one paragraph they choose to turn in for a weekly grade.

2 minutes Evaluate Understanding (Weekly Assessment) . Writing sample The teacher will take up one paragraph for a grade1. 50 minutes Practice in Teams/Groups/Buddy-pairs . Group project Teams will meet to work on Theme Park Ride Project. collaboration 3 minutes Closing Activities . Exit slip Teams will provide a written progress report at the end of the class period. Resources/Instructional Materials Needed Any arrangements for leaving the projects in the classroom should be made before the class leaves today. Notes 1 See rubric in Attachment 9. It is to be expected that Development Sentences will be weak. For use on Day 6, the teacher should create a handout using X development sentences (X = the number of teams + one), only one from any paragraph. List each sentence (without identifying any student) and provide plenty of space to ‘make these sentences more effective’ in between.

Day 6 of 10

7. Compose writing that conveys a clear main point with logical support. 8. Edit and revise writing for the strongest effect.

1. Develop abilities in language arts. a. Higher Thinking – evaluate c. Goal Setting/Attainment – envision, plan, organize d. The Quality Process – analyze, revise 2. Be able to read, write, speak, and listen for a variety of purposes. f. Develop an understanding of language structure and expand knowledge of language. 4. Be able to develop mechanically correct, clear, focused, and controlled sentences and paragraphs. a. Be able to write clear, proper, and focused sentences. b. Be able to develop complete, focused, unified, and organized paragraphs. c. Be able to use proper transitions to connect ideas, sentences, and paragraphs. d. Be able to apply correct mechanics (spelling, punctuation, capitalization, format). e. Be able to use clear standard English and specific technical vocabulary including, correct usage, subject/verb agreement, correct use of modifiers. 5. Be able to compile a variety of written forms for a variety of purposes and audiences. a. Be able to produce quality examples in several of the following forms: Personal c. Be able to use appropriate styles, organizations, and formats for specific audiences and broad and narrow purposes: Inform.

5 minutes Get Started . Grammar editing DOL: (Sentences should be taken from 8-sentence exercise paragraphs and should illustrate major errors.) 5 minutes Engage . Discuss previous . The teacher will review briefly the 8-sentence experiences paragraph pattern. . The teacher will let the students divide into their teams. . The teacher will distribute weak development sentences handout. 5 minutes Explain . Review and . The teacher will remind students of the ‘build a Application house on the board’ exercise and how the details enabled everyone to envision almost the same house. . The teacher will illustrate that the sentences on the handout do not have that characteristic by asking several students what mental picture one particular sentence creates for them. . The students should discover that, because the sentence is not well-detailed, it does not communicate uniformly to each reader.

5 minutes Practice Together . Collaborative writing The teacher will allow the class to help make that particular sentence more effective by adding details. 10 minutes Practice in Teams/Groups/Buddy-pairs . Peer review/edit . The teacher will assign each team one sentence. . The team together will make their sentence more effective by adding sensory detail. . The teams will share their resulting sentences by writing them on the board or on an overhead film. . The class will judge the improvements. 20 minutes Practice Alone . Revise writing . The teacher will hand back graded paragraphs. . Students will individually begin revising their graded paragraph and, as time permits, evaluate their other two paragraphs for similar revision needs, paying close attention to development sentences. 35 minutes Practice in Teams/Groups/Buddy-pairs . Group writing . The teacher will give teams time to work on their Theme Park Ride Project. . Teams will finalize their time tables to turn in. 2 minutes Evaluate Understanding (Daily Assessment) . Team Graphic The teacher will take up time tables. Organizer 3 minutes Closing Activities . Assign/explain Homework: homework Revise all 3 paragraphs for word processing on Day 8. Resources/Instructional Materials Needed . Development Sentences handout prepared from paragraphs taken up on Day 5. Notes Students should be warned that they may not have time to work in teams on Day 7.

Day 7 of 10

1. Develop vocabulary appropriate to reading, writing and speaking proficiency. 3. Analyze the relationship(s) and purpose(s) within a text and across texts. 5. Connect what is read to personal experience and the world beyond the classroom. 7. Compose writing that conveys a clear main point with logical support.

1. Develop abilities in language arts. a. Higher Thinking – summarize d. The Quality Process – analyze 2. Be able to read, write, speak, and listen for a variety of purposes. a. Be able to analyze literature to enhance your writing. d. Be able to produce and revise personal writing 3. Be able to apply a variety of reading strategies to make sense of a variety of print and non-print texts. a. Know ways to evaluate, synthesize, and analyze [literary] reading materials to complete research tasks and projects. b. Know ways to respond critically to a variety of literary genres: 3) Be able to make complex or subtle generalizations about people, ideas, and situations. f. 2) Summarize events and ideas in any passage. i. Identify implied, subtle, or complex cause-effect relationships in virtually any passage. 4. Be able to develop mechanically correct, clear, focused, and controlled sentences and paragraphs. a. Be able to write clear, proper, and focused sentences. 7. Be able to participate meaningfully in a discussion of a given work of literature. c. Be able to use appropriate styles, organizations, and formats for specific audiences and broad and narrow purposes: Inform. d. Be able to demonstrate creative and clear analytical skills.

5 minutes Get Started . Grammar editing DOL: (Again, sentences come from student writing and illustrate major errors.) 5 minutes Engage . Pre-reading activity The teacher will introduce the short story “A Jury of Her Peers” by Susan Glaspell. (See Attachment 10)

40 minutes Explore . Active reading (This time is dependent upon The students will read the story in teams using the student reading rates.) Say Something format, underlining any words they don’t know.1 10 minutes Explain . Interactive discussion . The instructor will allow the students to discuss the story to discover who killed John Wright, how, what the motive was, how the women knew and why the men didn’t. . The students will identify details from the story which define the culture and the setting for the story.2 . The students will note any similarities with “The Lottery.” . The students will add words to the Word Wall. * * * * . The teacher will introduce and explain the thesis worksheet in attachment 11.3 . The teacher will explain essay format and instruct students to organize their materials so that their essay will be ready to word process on Day 8. (See Attachment 13 for grading rubric.) 8 minutes Practice Alone . Draft writing Students will apply the thesis worksheet instructions to their culture paragraphs. 2 minutes Evaluate Understanding (Daily Assessment) . Pre-writing sample Students will hand in thesis worksheet. 6 minutes Closing Activities . Assign homework The teacher will Review the word wall. review lesson The teacher will announce the test to be given on Day 9. Students need to review the two short stories (though they will be allowed to use them on the exam), the Word Wall and Cornell vocabulary notes, their culture grids, DOL principles, and the 8-sentence paragraph. As Needed Enrichment/Extension/Re-teaching/ Accommodation(s) Interested students might speculate on how “Jury of Her Peers” would be affected by changing the setting to a city. If time allows, students will conduct whatever team business they have pending. Resources/Instructional Materials Needed . Handouts printed front and back of Attachment 9. . Handouts printed front and back of Attachment 10. . Grading rubric handout from Attachment 13.

Notes 1 Say Something is a means of reading a story together in a small group without leaving the slower readers completely behind. It works like this: Students gather in a small group and read to a previously agreed upon stopping point. Everyone is given some time to get to that point and then everyone in the group says something about what he or she has read. The last one finished goes first. Students are encouraged to relate one part of the plot to that point or to ask questions about something they don’t understand. The thing is, everyone says something. Someone should predict what’s going to happen before the group begins reading the next section. 2 Students should be encouraged to discuss the author’s use of dialect to define culture. 3 This worksheet teaches an unembellished thesis statement because the emphasis in this assignment is on paragraph construction. Many college English instructors expect students to write a thesis map or three-part thesis. Consequently, that should be a goal for this class.

Check with computer lab to confirm space for class on day 8.

Day 8 of 10

7. Compose writing that conveys a clear main point with logical support. 8. Edit and revise writing for the strongest effect.

2. Be able to read, write, speak, and listen for a variety of purposes. e. Possess technical skills: technology: word processing.

5 minutes Get Started . Prepare to write Students will move to the computer lab to word process their essays.1 5 minutes Engage . Teacher instructions The teacher will provide essay formatting instructions.2 (See Attachment 12) 5 minutes Explore . World processing Students will format their essays. 70 minutes Practice Alone . World processing Students will word process their essays to turn in. Students can use remaining computer lab time to do any research or document generation they need for their team projects. minutes Evaluate Understanding (Daily/Weekly/ . Individual student Post-Assessment) conferences Circulate during typing to coach students one on one regarding order of paragraphs and transition techniques. Students will turn in typed essays for a grade. 5 minutes Closing Activities . Assign homework. Remind students of their unit test on Day 9 and of Answer questions their proposal presentations will be given on Day 10. The teacher should entertain any questions the students might have. Resources/Instructional Materials Needed . Attachment 12 for each student. Notes 1 The teacher may want students to bring Team Project materials with them to work on while others finish typing. 2 Students should be instructed to keep the format handout for future reference. Not only should they use this format for the essays they write in this class, but also the format provided is MLA Style and is appropriate for college English composition courses as well as most any other college course in which the instructor has not provided specific formatting specifications.

Day 9 of 10

8. Edit and revise writing for the strongest effect.

1. Develop abilities in language arts. a. Higher Thinking: evaluate, predict, decide, simplify. b. Communications: present, persuade, collaborate, explain, recommend. c. Goal setting/attainment: brainstorm, envision, research, plan, organize, persist. d. The Quality Process: plan, draft, analyze, and revise when producing products. 2. Be able to read, write, speak, and listen for a variety of purposes. c. Be able to conduct and present research: create a model and explain a process. d. Be able to produce and revise transactive and persuasive writing. e. Possess technical skills: present proposal, technical research, bid, technical analysis 5. Be able to compile a variety of written forms for a variety of purposes and audiences. c. Be able to use appropriate styles, organization, and formats for specific audiences and broad and narrow purposes.

5 minutes Get Started . Grammar editing DOL: (Sentences should come from student essays exercise and should illustrate major errors.) minutes Engage . Answer questions The teacher will answer any questions pertaining to the test. 45 minutes Evaluate Understanding (Post-Assessment) Students will complete the Unit test. (See Attachment 14) 35 minutes Practice in Teams/Groups/Buddy-pairs . Quiz/test Students will finalize plans for presentations on Day 10. Notes

Day 10 of 10

11. Use appropriate organization, language, voice, delivery style and visual aids to match the audience and purpose of oral presentations. 12. Use active listening strategies to organize and respond to information presented in different formats from different purposes.

1. Develop abilities in language arts. a. Higher Thinking: analyze, evaluate, decide b. Communications: present, persuade, collaborate, explain, recommend. c. Goal setting/attainment 2. Be able to read, write, speak, and listen for a variety of purposes. c. Be able to conduct and present research. 5. Be able to compile a variety of written forms for a variety of purposes and audiences. a. Be able to produce quality examples in several of the following forms: technical writing. b. Be able to submit writing for authentic audiences.

Anticipated Times * Sequence of Instruction Activities Checklist (90-minute Block Schedule)

5 minutes Get Started . Grammar editing DOL: (Sentences should come from student essays exercise and should illustrate major errors.)

minutes Evaluate Understanding (Post-Assessment) . Individual project/ Teams present their Theme Park Ride Proposals. investigation/ . The class serves as prospective buyers evaluating presentation the presentation and the idea (Attachment 8b). . The teacher evaluates the content of the proposal (Attachment 8c). . The team members evaluate each other’s participation (Attachment 8a).

Minutes Closing Activities . Exit slip Students will answer the question “Which ride best complements the culture we defined when we began the Theme Park Ride project and why?” As Needed Enrichment/Extension/Re-teaching/ Accommodation(s) Resources/Instructional Materials Needed The teacher will need sufficient copies of the evaluation tools: . Attachment 8a: Team Participation Evaluation (one for each student) . Attachment 8b: Proposal evaluation (Number of teams minus 1 times number of students) . Attachment 8c: Content Rubric (one for each team)

Notes This activity may need an extra class period or part of one because of the length and number of the presentations. The teacher will determine the weight to be applied to each section of the project grade.

Getting A Sense of Things– Day 10 26 Attachment 1

Cultural Elements Grid I

Enter data about the culture you are examining in the appropriate places on the grid below.

LANGUAGE ENVIRONMENT TRADITIONS RELIGION VALUES OTHER

Getting A Sense of Things– Attachment 1 1-A Attachment 1a

Vocabulary Definitions in Cornell Note-taking System Format

From: http://www.clt.cornell.edu/campus/learn/LSC%20Resources/cornellsystem.pdf

The idea of this system is to cover the note-taking column while studying. The website above gives the complete instructions Cornell University provides its students.

Cue Column Note-taking Column

A quality of a place created by the expectations that people who live there have Culture about dress, mode of transportation, food, music, language, holiday traditions, etc.

Those things a person would miss greatly if they were gone, like a pet, clean water, pizza, a parent, etc. An addiction, by contrast, is a false value which a Values person would be relieved to have gone, providing they admit they are addicted, of course.)

Summary of notes on this page.

Getting A Sense of Things– Attachment 1a 2-A Attachment 2

“The Lottery” By Shirley Jackson

The morning of June 27th was clear and sunny, with the fresh warmth of a full-summer day; the flowers were blossoming profusely and the grass was richly green. The people of the village began to gather in the square, between the post office and the bank, around ten o'clock; in some towns there were so many people that the lottery took two days and had to be started on June 26th, but in this village, where there were only about three hundred people, the whole lottery took less than two hours, so it could begin at ten o'clock in the morning and still be through in time to allow the villagers to get home for noon dinner.

The children assembled first, of course. School was recently over for the summer, and the feeling of liberty sat uneasily on most of them; they tended to gather together quietly for a while before they broke into boisterous play, and their talk was still of the classroom and the teacher, of books and reprimands. Bobby Martin had already stuffed his pockets full of stones, and the other boys soon followed his example, selecting the smoothest and roundest stones; Bobby and Harry Jones and Dickie Delacroix-- the villagers pronounced this name "Dellacroy"--eventually made a great pile of stones in one corner of the square and guarded it against the raids of the other boys. The girls stood aside, talking among themselves, looking over their shoulders at the boys, and the very small children rolled in the dust or clung to the hands of their older brothers or sisters.

Soon the men began to gather, surveying their own children, speaking of planting and rain, tractors and taxes. They stood together, away from the pile of stones in the corner, and their jokes were quiet and they smiled rather than laughed. The women, wearing faded house dresses and sweaters, came shortly after their menfolk. They greeted one another and exchanged bits of gossip as they went to join their husbands. Soon the women, standing by their husbands, began to call to their children, and the children came reluctantly, having to be called four or five times. Bobby Martin ducked under his mother's grasping hand and ran, laughing, back to the pile of stones. His father spoke up sharply, and Bobby came quickly and took his place between his father and his oldest brother.

The lottery was conducted – as were the square dances, the teen club, the Halloween program – by Mr. Summers who had time and energy to devote to civic activities. He was a round-faced, jovial man and he ran the coal business, and people were sorry for him because he had no children and his wife was a scold. When he arrived in the square, carrying the black wooden box, there was a murmur of conversation among the villagers, and he waved and called, "Little late today, folks." The postmaster, Mr. Graves, followed him, carrying a three-legged stool, and the stool was put in the center of the square and Mr. Summers set the black box down on it. The villagers kept their distance, leaving a space between themselves and the stool, and when Mr. Summers said, "Some of you fellows want to give me a hand?" there was a hesitation before two men, Mr. Martin and his oldest son, Baxter, came forward to hold the box steady on the stool while Mr. Summers stirred up the papers inside it.

The original paraphernalia for the lottery had been lost long ago, and the black box now resting on the stool had been put into use even before Old Man Warner, the oldest man in town, was born. Mr. Summers spoke frequently to the villagers about making a new box, but no one liked to upset even as much tradition as was represented by the black box. There was a story that the present box had been made with some pieces of the box that had preceded it, the one that had been constructed when the first people settled down to make a village here. Every year, after the lottery, Mr. Summers began talking again about a new box, but every year the subject was allowed to fade off without anything's being done. The black box grew shabbier each year: by now it was no longer completely black but splintered badly along one side to show the original wood color, and in some places faded or stained.

Mr. Martin and his oldest son, Baxter, held the black box securely on the stool until Mr. Summers had stirred the papers thoroughly with his hand. Because so much of the ritual had been forgotten or discarded, Mr. Summers had been successful in having slips of paper substituted for the chips of wood that had been used for generations. Chips of wood, Mr. Summers had argued, had been all very well when the village was tiny, but now that the population was more than three hundred and likely to keep on growing, it was necessary to use something that would fit more easily into the black box. The night before the lottery, Mr. Summers and Mr. Graves made up the slips of paper and put them in the box, and it was then taken to the safe of Mr. Summers' coal company and locked up until Mr. Summers was ready to take it to the square the next

Getting A Sense of Things– Attachment 2 3-A Attachment 2 morning. The rest of the year, the box was put way, sometimes one place, sometimes another; it had spent one year in Mr. Graves's barn and another year underfoot in the post office, and sometimes it was set on a shelf in the Martin grocery and left there.

There was a great deal of fussing to be done before Mr. Summers declared the lottery open. There were the lists to make up – of heads of families, heads of households in each family, members of each household in each family. There was the proper swearing-in of Mr. Summers by the postmaster, as the official of the lottery; at one time, some people remembered, there had been a recital of some sort, performed by the official of the lottery, a perfunctory, tuneless chant that had been rattled off duly each year; some people believed that the official of the lottery used to stand just so when he said or sang it, others believed that he was supposed to walk among the people, but years and years ago this part of the ritual had been allowed to lapse. There had been, also, a ritual salute, which the official of the lottery had had to use in addressing each person who came up to draw from the box, but this also had changed with time, until now it was felt necessary only for the official to speak to each person approaching. Mr. Summers was very good at all this; in his clean white shirt and blue jeans, with one hand resting carelessly on the black box, he seemed very proper and important as he talked interminably to Mr. Graves and the Martins.

Just as Mr. Summers finally left off talking and turned to the assembled villagers, Mrs. Hutchinson came hurriedly along the path to the square, her sweater thrown over her shoulders, and slid into place in the back of the crowd. "Clean forgot what day it was," she said to Mrs. Delacroix, who stood next to her, and they both laughed softly. "Thought my old man was out back stacking wood," Mrs. Hutchinson went on, "and then I looked out the window and the kids was gone, and then I remembered it was the twenty-seventh and came a- running." She dried her hands on her apron, and Mrs. Delacroix said, "You're in time, though. They're still talking away up there."

Mrs. Hutchinson craned her neck to see through the crowd and found her husband and children standing near the front. She tapped Mrs. Delacroix on the arm as a farewell and began to make her way through the crowd. The people separated good-humoredly to let her through: two or three people said, in voices just loud enough to be heard across the crowd, "Here comes your, Missus, Hutchinson," and "Bill, she made it after all." Mrs. Hutchinson reached her husband, and Mr. Summers, who had been waiting, said cheerfully, "Thought we were going to have to get on without you, Tessie." Mrs. Hutchinson said, grinning, "Wouldn't have me leave m'dishes in the sink, now, would you, Joe?," and soft laughter ran through the crowd as the people stirred back into position after Mrs. Hutchinson's arrival.

"Well, now," Mr. Summers said soberly, "guess we better get started, get this over with, so's we can go back to work. Anybody ain't here?"

"Dunbar," several people said. "Dunbar. Dunbar."

Mr. Summers consulted his list. "Clyde Dunbar," he said. "That's right. He's broke his leg, hasn't he? Who's drawing for him?"

"Me, I guess," a woman said, and Mr. Summers turned to look at her. "Wife draws for her husband," Mr. Summers said. "Don't you have a grown boy to do it for you, Janey?" Although Mr. Summers and everyone else in the village knew the answer perfectly well, it was the business of the official of the lottery to ask such questions formally. Mr. Summers waited with an expression of polite interest while Mrs. Dunbar answered.

"Horace's not but sixteen yet," Mrs. Dunbar said regretfully. "Guess I gotta fill in for the old man this year."

"Right," Mr. Summers said. He made a note on the list he was holding. Then he asked, "Watson boy drawing this year?"

A tall boy in the crowd raised his hand. "Here," he said. "I’m drawing for my mother and me." He blinked his eyes nervously and ducked his head as several voices in the crowd said things like "Good fellow, Jack." and "Glad to see your mother's got a man to do it."

Getting A Sense of Things– Attachment 2 4-A Attachment 2

"Well," Mr. Summers said, "guess that's everyone. Old Man Warner make it?"

"Here," a voice said, and Mr. Summers nodded.

A sudden hush fell on the crowd as Mr. Summers cleared his throat and looked at the list. "All ready?" he called. "Now, I'll read the names – heads of families first – and the men come up and take a paper out of the box. Keep the paper folded in your hand without looking at it until everyone has had a turn. Everything clear?"

The people had done it so many times that they only half listened to the directions: most of them were quiet. wetting their lips, not looking around. Then Mr. Summers raised one hand high and said, "Adams." A man disengaged himself from the crowd and came forward. "Hi. Steve," Mr. Summers said, and Mr. Adams said, "Hi. Joe." They grinned at one another humorlessly and nervously. Then Mr. Adams reached into the black box and took out a folded paper. He held it firmly by one corner as he turned and went hastily back to his place in the crowd, where he stood a little apart from his family, not looking down at his hand.

"Allen," Mr. Summers said. "Anderson. . . . Bentham."

"Seems like there's no time at all between lotteries any more." Mrs. Delacroix said to Mrs. Graves in the back row.

"Seems like we got through with the last one only last week."

"Time sure goes fast,” Mrs. Graves said.

"Clark. . . . Delacroix."

"There goes my old man," Mrs. Delacroix said. She held her breath while her husband went forward.

"Dunbar," Mr. Summers said, and Mrs. Dunbar went steadily to the box while one of the women said, "Go on, Janey," and another said, "There she goes."

"We're next," Mrs. Graves said. She watched while Mr. Graves came around from the side of the box, greeted Mr. Summers gravely and selected a slip of paper from the box. By now, all through the crowd there were men holding the small folded papers in their large hands, turning them over and over nervously. Mrs. Dunbar and her two sons stood together, Mrs. Dunbar holding the slip of paper.

"Harburt. . . . Hutchinson."

"Get up there, Bill," Mrs. Hutchinson said, and the people near her laughed.

"Jones."

"They do say," Mr. Adams said to Old Man Warner, who stood next to him, "that over in the north village they're talking of giving up the lottery."

Old Man Warner snorted. "Pack of crazy fools," he said. "Listening to the young folks, nothing's good enough for them. Next thing you know, they'll be wanting to go back to living in caves, nobody work any more, live that way for a while. Used to be a saying about 'Lottery in June, corn be heavy soon.' First thing you know, we'd all be eating stewed chickweed and acorns. There's always been a lottery," he added petulantly. "Bad enough to see young Joe Summers up there joking with everybody."

"Some places have already quit lotteries," Mrs. Adams said.

"Nothing but trouble in that," Old Man Warner said stoutly. "Pack of young fools."

"Martin." And Bobby Martin watched his father go forward. "Overdyke. . . . Percy."

"I wish they'd hurry," Mrs. Dunbar said to her older son. "I wish they'd hurry."

"They're almost through," her son said.

"You get ready to run tell Dad," Mrs. Dunbar said.

Mr. Summers called his own name and then stepped forward precisely and selected a slip from the box. Then he called, "Warner."

"Seventy-seventh year I been in the lottery," Old Man Warner said as he went through the crowd. "Seventy- seventh time."

"Watson." The tall boy came awkwardly through the crowd. Someone said, "Don't be nervous, Jack," and Mr. Summers said, "Take your time, son."

"Zanini."

After that, there was a long pause, a breathless pause, until Mr. Summers, holding his slip of paper in the air, said, "All right, fellows." For a minute, no one moved, and then all the slips of paper were opened. Suddenly, all the women began to speak at once, saving. "Who is it?," "Who's got it?," "Is it the Dunbars?," "Is it the Watsons?" Then the voices began to say, "It's Hutchinson. It's Bill," "Bill Hutchinson's got it."

"Go tell your father," Mrs. Dunbar said to her older son.

People began to look around to see the Hutchinsons. Bill Hutchinson was standing quiet, staring down at the paper in his hand. Suddenly, Tessie Hutchinson shouted to Mr. Summers, "You didn't give him time enough to take any paper he wanted. I saw you. It wasn't fair!"

"Be a good sport, Tessie," Mrs. Delacroix called, and Mrs. Graves said, "All of us took the same chance."

"Shut up, Tessie," Bill Hutchinson said.

"Well, everyone," Mr. Summers said, "that was done pretty fast, and now we've got to be hurrying a little more to get done in time." He consulted his next list. "Bill," he said, "you draw for the Hutchinson family. You got any other households in the Hutchinsons?"

"There's Don and Eva," Mrs. Hutchinson yelled. "Make them take their chance!"

"Daughters draw with their husbands' families, Tessie," Mr. Summers said gently. "You know that as well as anyone else."

"It wasn't fair," Tessie said.

"I guess not, Joe." Bill Hutchinson said regretfully. "My daughter draws with her husband's family; that's only fair. And I've got no other family except the kids."

"Then, as far as drawing for families is concerned, it's you," Mr. Summers said in explanation, "and as far as drawing for households is concerned, that's you, too. Right?"

"Right," Bill Hutchinson said.

"How many kids, Bill?" Mr. Summers asked formally.

"Three," Bill Hutchinson said.

"There's Bill, Jr., and Nancy, and little Dave. And Tessie and me."

"All right, then," Mr. Summers said. "Harry, you got their tickets back?"

Mr. Graves nodded and held up the slips of paper. "Put them in the box, then," Mr. Summers directed. "Take Bill's and put it in."

"I think we ought to start over," Mrs. Hutchinson said, as quietly as she could. "I tell you it wasn't fair. You didn't give him time enough to choose. Everybody saw that."

Mr. Graves had selected the five slips and put them in the box, and he dropped all the papers but those onto the ground where the breeze caught them and lifted them off.

"Listen, everybody," Mrs. Hutchinson was saying to the people around her.

"Ready, Bill?" Mr. Summers asked, and Bill Hutchinson, with one quick glance around at his wife and children, nodded.

"Remember," Mr. Summers said, "take the slips and keep them folded until each person has taken one. Harry, you help little Dave." Mr. Graves took the hand of the little boy, who came willingly with him up to the box. "Take a paper out of the box, Davy," Mr. Summers said. Davy put his hand into the box and laughed. "Take just one paper," Mr. Summers said. "Harry, you hold it for him." Mr. Graves took the child's hand and removed the folded paper from the tight fist and held it while little Dave stood next to him and looked up at him wonderingly.

"Nancy next," Mr. Summers said. Nancy was twelve, and her school friends breathed heavily as she went forward switching her skirt, and took a slip daintily from the box. "Bill, Jr.," Mr. Summers said, and Billy, his face red and his feet overlarge, near knocked the box over as he got a paper out. "Tessie," Mr. Summers said. She hesitated for a minute, looking around defiantly, and then set her lips and went up to the box. She snatched a paper out and held it behind her.

"Bill," Mr. Summers said, and Bill Hutchinson reached into the box and felt around, bringing his hand out at last with the slip of paper in it.

The crowd was quiet. A girl whispered, "I hope it's not Nancy," and the sound of the whisper reached the edges of the crowd.

"It's not the way it used to be." Old Man Warner said clearly. "People ain't the way they used to be."

"All right," Mr. Summers said. "Open the papers. Harry, you open little Dave's."

Mr. Graves opened the slip of paper and there was a general sigh through the crowd as he held it up and everyone could see that it was blank. Nancy and Bill, Jr., opened theirs at the same time, and both beamed and laughed, turning around to the crowd and holding their slips of paper above their heads.

"Tessie," Mr. Summers said. There was a pause, and then Mr. Summers looked at Bill Hutchinson, and Bill unfolded his paper and showed it. It was blank.

"It's Tessie," Mr. Summers said, and his voice was hushed. "Show us her paper. Bill."

Bill Hutchinson went over to his wife and forced the slip of paper out of her hand. It had a black spot on it, the black spot Mr. Summers had made the night before with the heavy pencil in the coal company office. Bill Hutchinson held it up, and there was a stir in the crowd.

"All right, folks," Mr. Summers said. "Let's finish quickly."

Although the villagers had forgotten the ritual and lost the original black box, they still remembered to use stones. The pile of stones the boys had made earlier was ready; there were stones on the ground with the blowing scraps of paper that had come out of the box. Mrs. Delacroix selected a stone so large she had to pick it up with both hands and turned to Mrs. Dunbar. "Come on," she said. "Hurry up."

Mrs. Dunbar had small stones in both hands, and she said, gasping for breath, "I can't run at all. You'll have to go ahead and I'll catch up with you."

The children had stones already. And someone gave little Davy Hutchinson a few pebbles.

Tessie Hutchinson was in the center of a cleared space by now, and she held her hands out desperately as the villagers moved in on her. "It isn't fair," she said. A stone hit her on the side of the head. Old Man Warner was saying, "Come on, come on, everyone." Steve Adams was in the front of the crowd of villagers, with Mrs. Graves beside him.

"It isn't fair, it isn't right," Mrs. Hutchinson screamed, and then they were upon her.

Word Walls

Word walls are sheets of paper on which students and the teacher write interesting, confusing and important words from what they are reading. The words are then posted in a prominent place in the classroom. Students refer to the words on the word wall for writing activities, comprehension assistance and for word- study activities.

The steps in developing a word wall are 1. Provide students with an article or excerpt that has key information and vocabulary for a unit being studied. 2. Students preview the article to identify up to five words that they do not know, think are very important to the content or that others may not know. Each word is written on a separate sheet of paper or large card. 3. With a partner, students use the context in which the words occur and write their own definitions on the sheets with the words. 4. In larger groups or as a whole group, all definitions for a single word are discussed. The group agrees on a common definition based on the context in which the word is used. 5. The “accepted” definition is posted on the word wall for all students.

There are many ways to vary the process of developing a word wall. . Include the pronunciation for difficult or foreign words. . Write a new sentence in which the word is used correctly. . Identify the part of speech . Post all definitions until all the passage is read and then have students vote on the best definition. . Allow students to write some definitions that sound reasonable but are not accurate as a way of assessing understanding. . Let the teacher pre-select the terms. . At the end of the unit, select words that may be applicable to the next unit or are the most important concepts and move those words to a permanent word wall.

Possible Vocabulary List for “The Lottery” beamed defiantly paraphernalia scold (noun) boisterous disengaged perfunctory switching (as in ‘switching her skirt’) chickweed duly petulantly civic interminably profusely craned jovial reprimands daintily lapse ritual

Universal Specifics Details Sensory Details

Corolla Midnight blue with gold trim Manual transmission

Automobile Toyota

Prius Black with stone interior Chrome wheels

Fill in the grid with specifics, details, and sensory details for the universal topic given.

Movies

Getting A Sense of Things– Attachment 4a 11-A Attachment 4b

Fill in the chart by working backwards from the specifics given to the universal topic.

Pepperoni

Mushrooms

Getting A Sense of Things– Attachment 4b 12-A Attachment 4c

Instructions: Divide your page into four parts to draw your own detailed Culture Tree with universals, specifics, details, and sensory details from your grid. This will help you gather information about three elements of your culture. You should have three pages in all. This page is an example to help you get started. Remember that you want to end up with details that make you see, hear, taste, feel, or smell.

EXAMPLE

Bales of hay Prickly with clean smell

Fun to jump off of

Hayloft

Look out Through the hay pitch

Through the spaces between boards

Chickens Scratching the dirt for food Flapping, squawking when chased

Granddaddy’s Barn Animals

Kittens Scratching and hissing when caught Looked so soft and cute

Dark, mysterious Rustling noises: Mice? Snakes?

Old rusty machines

Stalls

Dirty Horse manure

Cobwebs

Getting A Sense of Things– Attachment 4c 13-A Attachment 5

People with little or no education often have to take the worst jobs.

One of the few options they have is to be field workers. These people

have to work long hours in the sun cultivating crops by hand or bending

over to pick produce, and they receive low pay with no benefits because

they didn’t finish school. Another undesirable choice under-educated

people may have to make is to be custodians. Again for low pay and no

benefits, these people have to stay inside scrubbing floors and toilets,

washing windows and walls, or vacuuming and dusting for 8 hours a

day at least 5 days a week. But perhaps the worst option for people

who drop out of school may be to work in a processing plant. These

workers have to work an assembly line, often in a very cold, smelly and

dangerous environment, cutting up chickens, culling beans, or wrapping

product non-stop forty hours a week, with their pace determined by an

unforgiving conveyor belt. People who have not spent enough time in

school have little choice but to take the jobs paying the least and

requiring the most tedious or strenuous labor.

8-Sentence Paragraph Pattern

Topic Sentence (TS)

Point Sentence 1 (Pt. 1)

Development Sentence (Dev.)

Concluding Sentence (CS)

TS: After giving our grandparents their hugs, we’d always run straight to our granddaddy’s barn.

CS: Our granddaddy’s barn was a fascinating place to play.

Pt. 1: We’d first climb up the splintery vertical ladder to the hayloft.

Pt. 2: The barn animals also attracted us.

Pt. 3: And the stalls were interesting to us too but in a creepy way.

Getting A Sense of Things– Attachment 6b 17-A Attachment 6b

Dev. There we would scramble up on stacks of sweet-smelling hay, jump off, and clamber back up again; but when we got sweaty and the hay started prickling us, we’d stop and go sit as close to the edge of the hay pitch as we dared and wish we had the courage to jump off.

Dev. There were chickens scratching in the dirt or squawking and flapping as we chased them, and there were often cute, cuddly-looking kittens that hissed and clawed us if we were clever enough to catch them.

Dev. Not only were they dirty with horse manure and cobwebs, but they were also dark and mysterious with old rusty machines sitting around and skittery noises that were probably just from mice, though we were sure it was snakes.

Getting A Sense of Things– Attachment 6b 18-A Attachment 6d

After giving our grandparents their hugs, we’d always run straight

to our granddaddy’s barn. We’d first climb up the splintery vertical

ladder to the hayloft. There we would scramble up on stacks of sweet-

smelling hay, jump off, and clamber back up again; but when we got

sweaty and the hay started prickling us, we’d stop and go sit as close

to the edge of the hay pitch as we dared and wish we had the courage

to jump out. The barn animals also attracted us. There were chickens

scratching in the dirt or squawking and flapping as we chased them,

and there were often cute, cuddly-looking kittens that hissed and

clawed us if we were clever enough to catch them. And the stalls were

interesting to us too but in a creepy way. Not only were they dirty

with horse manure and cobwebs, but they were also dark and

mysterious with old rusty machines sitting around and skittery noises

that were probably just from mice, though we were sure it was snakes.

Our granddaddy’s barn was a fascinating place to play.

Getting A Sense of Things– Attachment 6b 19-A Attachment 7

Basic 8-Sentence Paragraph Unscrambling Exercise

Directions: These two paragraphs have been broken apart into sentences and the sentences have been scrambled. Unscramble them by numbering them in an appropriate order to result in a well-organized 8-sentence paragraph.

PARAGRAPH 1 ____ And, of course, there would be filling food in our lunch boxes. ____ As I struggle now to find something interesting and wholesome to take in my lunches, I realize what a talent Mama had for knowing how to please us. ____ She would make meat sandwiches or peanut butter and jelly, and sometimes she would pack a slice or two of leftover pizza. ____ Mama always packed such great lunches. ____ But what we usually looked for in our lunches first was the sweet stuff. ____ First of all, insisting that we eat it, she packed healthy food. ____ There was always fudge or chocolate chip cookies, cake or brownies, or something, even if it was just two or three pieces of hard candy.

____ She would alternate items like raw veggies and dip with apples, oranges, trail mix, and cheese sticks.

PARAGRAPH 2 ____ But worst of all, they complain about the bait. ____ They talk too loudly, wiggle around in the boat, and drop things so that every fish within a hundred yards knows where the boat is. ____ If their lines are not knotted up in their reels, they are caught around the throttle of the motor, and if their lines haven’t gotten tangled up in the brush, they have been cast across their partner’s line so that they are tangled up together. ____ Women should never be allowed in a fishing boat. ____ And they are always getting their lines tangled up. ____ No woman should ever go fishing unless she stays on the bank and her partner goes out in the boat. ____ For one thing, they are noisy. ____ They cannot stand the smell of dough bait, or they get sick putting the hook through a minnow, or they get goose bumps when the crickets crawl over their hands, or they are disgusted by the ball of worms in the bottom of the Styrofoam bait cup.

Theme Park Ride Proposal Team Project

Team Rules: 1. It is everyone’s responsibility to see that everyone participates. This project will require imagining, drawing and poster-making, organizing, writing, editing, typing, cost research (this means asking someone who knows) and presenting. No one is good at all of these. No one is inept at all of these. That’s why it’s a team. 2. Treat everyone’s contribution with respect. 3. If there’s a job no one wants, someone will step up and get it done. 4. Team members evaluate team members. The teacher evaluates the writing. The class (your prospective buyer) evaluates the proposal.

Object: Design a theme park ride and present your proposal to a prospective buyer.

Proposal requirements: . A drawing of proposed ride (big enough to be seen during your presentation). . A description of the culture in which the theme park exists (display a good sense of this place even if it’s imaginary because your buyers want your ride to sell), why you think it will be popular, and a description of the ride itself. . A technical explanation of how the ride works including drawings of mechanical elements. . A written projection of cost and profit including an explanation of how it was determined and source(s) of information.

Steps: 1. Brainstorm your idea. Consider the culture in which the ride will operate, what the ride will do, what it will look like, what you will name it, etc. Choose someone to keep notes of team meetings. 2. Determine who will do what and by when. Plan your time-table carefully working backward from your presentation date. Use a table something like this:

Job Responsible team Preliminary due date Final due date member

Present Proposal Whole team Day 10

3. Consider your prospective buyer and plan your presentation, what you will wear, who will present what, how you will fit it all into the time allotted, etc. 4. Polish your product and sell it to your prospective buyer. 5. Evaluate yourself and your team members on the basis of percent of effort, respect for others, dependability, and overall contribution to the final product.

Theme Park Team Project Team Member Evaluation Form

Directions: Place team members’ names across the top with the evaluating team member in the final column. Give each person a score for each category by circling the appropriate number, with 1 being poor, 3 being okay, 5 being excellent, and 2 and 4 being somewhere in between. For each 1 or 5 you give, include a specific explanation in the comment section at the bottom.

Project name:

Team Members (your name) (evaluating team member’s name goes in the final column) % of effort 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 Respectfulness 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 Dependability 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 Overall Contribution 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 1 2 3 4 5 Proposed grade

Comments (Please indicate team member and category. Use the back if necessary):

Evaluator’s Name: ______

Proposal Evaluation

As possible buyers for the proposed theme park ride, please fill out this sheet evaluating the proposal, not the team.

Name of Ride: ______

Team members: ______

Rank order of this proposal ______(Note: You will not be ranking your own.)

Notes:

Intended age group______

Appearance:

Appeal:

Appropriateness of Excitement level:

Safety:

Getting A Sense of Things– Attachment 8b 23-A Attachment 8c

Rubric for Content of Theme Park Ride Proposal

Team Members: ______

______

Proposed Ride: ______

Component Criteria Assessment Point Value Points Awarded Size 1 2 3 4 5 8 Drawing Neatness 1 2 3 4 5 8 Originality 1 2 3 4 5 9 Subtotals 25 Sensory Detail 1 2 3 4 5 8 Description Grammar 1 2 3 4 5 8 Effectiveness 1 2 3 4 5 9 Subtotals 25 Technical Drawings 1 2 3 4 5 8 Explanation Grammar 1 2 3 4 5 8 Clarity 1 2 3 4 5 9 Subtotal 25 Cost/Profit Grammar 1 2 3 4 5 8 Projection Research 1 2 3 4 5 8 Rationale 1 2 3 4 5 9 Subtotal 25

Team Grade: ______

Getting A Sense of Things– Attachment 8c 24-A Attachment 9

Rubric for Grading 8-sentence Paragraph

Student’s name: ______

Component Criteria Assessment Point Value Points Awarded Topic Yes No 4 Topic Sentence Attitude Yes No 4 Sentence Fault Yes No 2 Comma Error Yes No 2 Subtotals 12 Restates TS Yes No 6 Concluding Sentence Sentence Fault Yes No 2 Comma Error Yes No 2 Subtotals 10 Distinct 1 2 3 3 (1 each) Point Sentences Three 1 2 3 3 (1 each) (Circle the number Transition 1 2 3 3 (1 each) of any Key words 1 2 3 3 (1 each) unsatisfactory Sentence Fault 1 2 3 6 (2 each) sentence) Comma Error 1 2 3 6 (2 each) Subtotals 24 Paired with Point 1 2 3 Development Sentence 3 (1 each) Sentences Sensory detail 1 2 3 9 (3 each) (Circle the number) Sentence Fault 1 2 3 6 (2 each) Comma Error 1 2 3 6 (2 each) Subtotals 24 Unified 1 2 3 4 5 5 Overall Effect Organized 1 2 3 4 5 10 Developed 1 2 3 4 5 15 Subtotals 30

Jury of Her Peers by Susan Glaspell

When Martha Hale opened the storm-door and got a cut of the north wind, she ran back for her big woolen scarf. As she hurriedly wound that round her head her eye made a scandalized sweep of her kitchen. It was no ordinary thing that called her away--it was probably further from ordinary than anything that had ever happened in Dickson County. But what her eye took in was that her kitchen was in no shape for leaving: her bread all ready for mixing, half the flour sifted and half unsifted.

She hated to see things half done; but she had been at that when the team from town stopped to get Mr. Hale, and then the sheriff came running in to say his wife wished Mrs. Hale would come too--adding, with a grin, that he guessed she was getting scary and wanted another woman along. So she had dropped everything right where it was.

"Martha!" now came her husband's impatient voice. "Don't keep folks waiting out here in the cold."

She again opened the storm-door, and this time joined the three men and the one woman waiting for her in the big two-seated buggy.

After she had the robes tucked around her she took another look at the woman who sat beside her on the back seat. She had met Mrs. Peters the year before at the county fair, and the thing she remembered about her was that she didn't seem like a sheriff's wife. She was small and thin and didn't have a strong voice. Mrs. Gorman, sheriff's wife before Gorman went out and Peters came in, had a voice that somehow seemed to be backing up the law with every word. But if Mrs. Peters didn't look like a sheriff's wife, Peters made it up in looking like a sheriff. He was to a dot the kind of man who could get himself elected sheriff--a heavy man with a big voice, who was particularly genial with the law-abiding, as if to make it plain that he knew the difference between criminals and non-criminals. And right there it came into Mrs. Hale's mind, with a stab, that this man who was so pleasant and lively with all of them was going to the Wrights' now as a sheriff.

"The country's not very pleasant this time of year," Mrs. Peters at last ventured, as if she felt they ought to be talking as well as the men.

Mrs. Hale scarcely finished her reply, for they had gone up a little hill and could see the Wright place now, and seeing it did not make her feel like talking. It looked very lonesome this cold March morning. It had always been a lonesome-looking place. It was down in a hollow, and the poplar trees around it were lonesome- looking trees. The men were looking at it and talking about what had happened. The county attorney was bending to one side of the buggy, and kept looking steadily at the place as they drew up to it.

"I'm glad you came with me," Mrs. Peters said nervously, as the two women were about to follow the men in through the kitchen door.

Even after she had her foot on the door-step, her hand on the knob, Martha Hale had a moment of feeling she could not cross that threshold. And the reason it seemed she couldn't cross it now was simply because she hadn't crossed it before. Time and time again it had been in her mind, "I ought to go over and see Minnie Foster"--she still thought of her as Minnie Foster, though for twenty years she had been Mrs. Wright. And then there was always something to do and Minnie Foster would go from her mind. But now she could come.

The men went over to the stove. The women stood close together by the door. Young Henderson, the county attorney, turned around and said, "Come up to the fire, ladies."

Mrs. Peters took a step forward, then stopped. "I'm not--cold," she said.

And so the two women stood by the door, at first not even so much as looking around the kitchen.

The men talked for a minute about what a good thing it was the sheriff had sent his deputy out that morning to make a fire for them, and then Sheriff Peters stepped back from the stove, unbuttoned his outer coat, and leaned his hands on the kitchen table in a way that seemed to mark the beginning of official business. "Now,

Mr. Hale," he said in a sort of semi-official voice, "before we move things about, you tell Mr. Henderson just what it was you saw when you came here yesterday morning."

The county attorney was looking around the kitchen.

"By the way," he said, "has anything been moved?" He turned to the sheriff. "Are things just as you left them yesterday?"

Peters looked from cupboard to sink; from that to a small worn rocker a little to one side of the kitchen table.

"It's just the same."

"Somebody should have been left here yesterday," said the county attorney.

"Oh--yesterday," returned the sheriff, with a little gesture as of yesterday having been more than he could bear to think of. "When I had to send Frank to Morris Center for that man who went crazy--let me tell you. I had my hands full yesterday. I knew you could get back from Omaha by today, George, and as long as I went over everything here myself--"

"Well, Mr. Hale," said the county attorney, in a way of letting what was past and gone go, "tell just what happened when you came here yesterday morning."

Mrs. Hale, still leaning against the door, had that sinking feeling of the mother whose child is about to speak a piece. Lewis often wandered along and got things mixed up in a story. She hoped he would tell this straight and plain, and not say unnecessary things that would just make things harder for Minnie Foster. He didn't begin at once, and she noticed that he looked queer--as if standing in that kitchen and having to tell what he had seen there yesterday morning made him almost sick.

"Yes, Mr. Hale?" the county attorney reminded.

"Harry and I had started to town with a load of potatoes," Mrs. Hale's husband began.

Harry was Mrs. Hale's oldest boy. He wasn't with them now, for the very good reason that those potatoes never got to town yesterday and he was taking them this morning, so he hadn't been home when the sheriff stopped to say he wanted Mr. Hale to come over to the Wright place and tell the county attorney his story there, where he could point it all out. With all Mrs. Hale's other emotions came the fear now that maybe Harry wasn't dressed warm enough--they hadn't any of them realized how that north wind did bite.

"We come along this road," Hale was going on, with a motion of his hand to the road over which they had just come, "and as we got in sight of the house I says to Harry, 'I'm going' to see if I can't get John Wright to take a telephone.' You see," he explained to Henderson, "unless I can get somebody to go in with me they won't come out this branch road except for a price I can't pay. I'd spoke to Wright about it once before; but he put me off, saying folks talked too much anyway, and all he asked was peace and quiet--guess you know about how much he talked himself. But I thought maybe if I went to the house and talked about it before his wife, and said all the women-folks liked the telephones, and that in this lonesome stretch of road it would be a good thing--well, I said to Harry that that was what I was going to say--though I said at the same time that I didn't know as what his wife wanted made much difference to John--"

Now there he was!--saying things he didn't need to say. Mrs. Hale tried to catch her husband's eye, but fortunately the county attorney interrupted with:

"Let's talk about that a little later, Mr. Hale. I do want to talk about that but, I'm anxious now to get along to just what happened when you got here."

When he began this time, it was very deliberately and carefully:

"I didn't see or hear anything. I knocked at the door. And still it was all quiet inside. I knew they must be up-- it was past eight o'clock. So I knocked again, louder, and I thought I heard somebody say, 'Come in.' I wasn't

Getting A Sense of Things– Attachment 10 27-A Attachment 10 sure--I'm not sure yet. But I opened the door--this door," jerking a hand toward the door by which the two women stood. "and there, in that rocker"--pointing to it--"sat Mrs. Wright."

Everyone in the kitchen looked at the rocker. It came into Mrs. Hale's mind that that rocker didn't look in the least like Minnie Foster--the Minnie Foster of twenty years before. It was a dingy red, with wooden rungs up the back, and the middle rung was gone, and the chair sagged to one side.

"How did she--look?" the county attorney was inquiring.

"Well," said Hale, "she looked--queer."

"How do you mean--queer?"

As he asked it he took out a note-book and pencil. Mrs. Hale did not like the sight of that pencil. She kept her eye fixed on her husband, as if to keep him from saying unnecessary things that would go into that note-book and make trouble.

Hale did speak guardedly, as if the pencil had affected him too.

"Well, as if she didn't know what she was going to do next. And kind of--done up."

"How did she seem to feel about your coming?"

"Why, I don't think she minded--one way or other. She didn't pay much attention. I said, 'Ho' do, Mrs. Wright? It's cold, ain't it?' And she said. 'Is it?'--and went on pleatin' at her apron.

"Well, I was surprised. She didn't ask me to come up to the stove, or to sit down, but just set there, not even lookin' at me. And so I said: 'I want to see John.'

"And then she--laughed. I guess you would call it a laugh.

"I thought of Harry and the team outside, so I said, a little sharp, 'Can I see John?' 'No,' says she--kind of dull like. 'Ain't he home?' says I. Then she looked at me. 'Yes,' says she, 'he's home.' 'Then why can't I see him?' I asked her, out of patience with her now. 'Cause he's dead' says she, just as quiet and dull--and fell to pleatin' her apron. 'Dead?' says, I, like you do when you can't take in what you've heard.

"She just nodded her head, not getting a bit excited, but rockin' back and forth.

"'Why--where is he?' says I, not knowing what to say.

"She just pointed upstairs--like this"--pointing to the room above.

"I got up, with the idea of going up there myself. By this time I--didn't know what to do. I walked from there to here; then I says: 'Why, what did he die of?'

"'He died of a rope around his neck,' says she; and just went on pleatin' at her apron."

* * * * * STOP READING AND SAY SOMETHING * * * * *

Hale stopped speaking, and stood staring at the rocker, as if he were still seeing the woman who had sat there the morning before. Nobody spoke; it was as if every one were seeing the woman who had sat there the morning before.

"And what did you do then?" the county attorney at last broke the silence.

"I went out and called Harry. I thought I might--need help. I got Harry in, and we went upstairs." His voice fell almost to a whisper. "There he was--lying over the--"

"I think I'd rather have you go into that upstairs," the county attorney interrupted, "where you can point it all out. Just go on now with the rest of the story."

"Well, my first thought was to get that rope off. It looked--"

He stopped, his face twitching.

"But Harry, he went up to him, and he said. 'No, he's dead all right, and we'd better not touch anything.' So we went downstairs.

"She was still sitting that same way. 'Has anybody been notified?' I asked. 'No, says she, unconcerned.

"'Who did this, Mrs. Wright?' said Harry. He said it businesslike, and she stopped pleatin' at her apron. 'I don't know,' she says. 'You don't know?' says Harry. 'Weren't you sleepin' in the bed with him?' 'Yes,' says she, 'but I was on the inside. 'Somebody slipped a rope round his neck and strangled him, and you didn't wake up?' says Harry. 'I didn't wake up,' she said after him.

"We may have looked as if we didn't see how that could be, for after a minute she said, 'I sleep sound.'

"Harry was going to ask her more questions, but I said maybe that weren't our business; maybe we ought to let her tell her story first to the coroner or the sheriff. So Harry went fast as he could over to High Road--the Rivers' place, where there's a telephone."

"And what did she do when she knew you had gone for the coroner?" The attorney got his pencil in his hand all ready for writing.

"She moved from that chair to this one over here"--Hale pointed to a small chair in the corner--"and just sat there with her hands held together and lookin down. I got a feeling that I ought to make some conversation, so I said I had come in to see if John wanted to put in a telephone; and at that she started to laugh, and then she stopped and looked at me--scared."

At the sound of a moving pencil the man who was telling the story looked up.

"I dunno--maybe it wasn't scared," he hastened: "I wouldn't like to say it was. Soon Harry got back, and then Dr. Lloyd came, and you, Mr. Peters, and so I guess that's all I know that you don't."

He said that last with relief, and moved a little, as if relaxing. Everyone moved a little. The county attorney walked toward the stair door.

"I guess we'll go upstairs first--then out to the barn and around there."

He paused and looked around the kitchen.

"You're convinced there was nothing important here?" he asked the sheriff. "Nothing that would--point to any motive?"

The sheriff too looked all around, as if to re-convince himself.

"Nothing here but kitchen things," he said, with a little laugh for the insignificance of kitchen things.

The county attorney was looking at the cupboard--a peculiar, ungainly structure, half closet and half cupboard, the upper part of it being built in the wall, and the lower part just the old-fashioned kitchen cupboard. As if its queerness attracted him, he got a chair and opened the upper part and looked in. After a moment he drew his hand away sticky.

"Here's a nice mess," he said resentfully.

The two women had drawn nearer, and now the sheriff's wife spoke.

"Oh--her fruit," she said, looking to Mrs. Hale for sympathetic understanding.

She turned back to the county attorney and explained: "She worried about that when it turned so cold last night. She said the fire would go out and her jars might burst."

Mrs. Peters' husband broke into a laugh.

"Well, can you beat the women! Held for murder, and worrying about her preserves!"

The young attorney set his lips.

"I guess before we're through with her she may have something more serious than preserves to worry about."

"Oh, well," said Mrs. Hale's husband, with good-natured superiority, "women are used to worrying over trifles."

The two women moved a little closer together. Neither of them spoke. The county attorney seemed suddenly to remember his manners--and think of his future.

"And yet," said he, with the gallantry of a young politician. "for all their worries, what would we do without the ladies?"

The women did not speak, did not unbend. He went to the sink and began washing his hands. He turned to wipe them on the roller towel--whirled it for a cleaner place.

"Dirty towels! Not much of a housekeeper, would you say, ladies?"

He kicked his foot against some dirty pans under the sink.

"There's a great deal of work to be done on a farm," said Mrs. Hale stiffly.

"To be sure. And yet"--with a little bow to her--'I know there are some Dickson County farm-houses that do not have such roller towels." He gave it a pull to expose its full length again.

"Those towels get dirty awful quick. Men's hands aren't always as clean as they might be.

"Ah, loyal to your sex, I see," he laughed. He stopped and gave her a keen look, "But you and Mrs. Wright were neighbors. I suppose you were friends, too."

Martha Hale shook her head.

"I've seen little enough of her of late years. I've not been in this house--it's more than a year."

"And why was that? You didn't like her?"

"I liked her well enough," she replied with spirit. "Farmers' wives have their hands full, Mr. Henderson. And then--" She looked around the kitchen.

"Yes?" he encouraged.

"It never seemed a very cheerful place," said she, more to herself than to him.

"No," he agreed; "I don't think anyone would call it cheerful. I shouldn't say she had the home-making instinct."

"Well, I don't know as Wright had, either," she muttered.

"You mean they didn't get on very well?" he was quick to ask.

"No; I don't mean anything," she answered, with decision. As she turned a little away from him, she added: "But I don't think a place would be any the cheerfuller for John Wright's bein' in it."

"I'd like to talk to you about that a little later, Mrs. Hale," he said. "I'm anxious to get the lay of things upstairs now."

He moved toward the stair door, followed by the two men.

"I suppose anything Mrs. Peters does'll be all right?" the sheriff inquired. "She was to take in some clothes for her, you know--and a few little things. We left in such a hurry yesterday."

The county attorney looked at the two women they were leaving alone there among the kitchen things.

"Yes--Mrs. Peters," he said, his glance resting on the woman who was not Mrs. Peters, the big farmer woman who stood behind the sheriff's wife. "Of course Mrs. Peters is one of us," he said, in a manner of entrusting responsibility. "And keep your eye out, Mrs. Peters, for anything that might be of use. No telling; you women might come upon a clue to the motive--and that's the thing we need."

Mr. Hale rubbed his face after the fashion of a showman getting ready for a pleasantry.

"But would the women know a clue if they did come upon it?" he said; and, having delivered himself of this, he followed the others through the stair door.

The women stood motionless and silent, listening to the footsteps, first upon the stairs, then in the room above them.

Then, as if releasing herself from something strange. Mrs. Hale began to arrange the dirty pans under the sink, which the county attorney's disdainful push of the foot had deranged.

"I'd hate to have men comin' into my kitchen," she said testily--"snoopin' round and criticizin'."

"Of course it's no more than their duty," said the sheriff's wife, in her manner of timid acquiescence.

"Duty's all right," replied Mrs. Hale bluffly; "but I guess that deputy sheriff that come out to make the fire might have got a little of this on." She gave the roller towel a pull. 'Wish I'd thought of that sooner! Seems mean to talk about her for not having things slicked up, when she had to come away in such a hurry."

She looked around the kitchen. Certainly it was not "slicked up." Her eye was held by a bucket of sugar on a low shelf. The cover was off the wooden bucket, and beside it was a paper bag--half full.

Mrs. Hale moved toward it.

"She was putting this in there," she said to herself--slowly.

She thought of the flour in her kitchen at home--half sifted, half not sifted. She had been interrupted, and had left things half done. What had interrupted Minnie Foster? Why had that work been left half done? She made a move as if to finish it,--unfinished things always bothered her,--and then she glanced around and saw that Mrs. Peters was watching her--and she didn't want Mrs. Peters to get that feeling she had got of work begun and then--for some reason--not finished.

"It's a shame about her fruit," she said, and walked toward the cupboard that the county attorney had opened, and got on the chair, murmuring: "I wonder if it's all gone."

It was a sorry enough looking sight, but "Here's one that's all right," she said at last. She held it toward the light. "This is cherries, too." She looked again. "I declare I believe that's the only one."

With a sigh, she got down from the chair, went to the sink, and wiped off the bottle.

"She’ll feel awful bad, after all her hard work in the hot weather. I remember the afternoon I put up my cherries last summer.

She set the bottle on the table, and, with another sigh, started to sit down in the rocker. But she did not sit down. Something kept her from sitting down in that chair. She straightened--stepped back, and, half turned away, stood looking at it, seeing the woman who had sat there "pleatin' at her apron."

The thin voice of the sheriff's wife broke in upon her: "I must be getting those things from the front-room closet." She opened the door into the other room, started in, stepped back. "You coming with me, Mrs. Hale?" she asked nervously. "You--you could help me get them."

They were soon back--the stark coldness of that shut-up room was not a thing to linger in.

"My!" said Mrs. Peters, dropping the things on the table and hurrying to the stove.

Mrs. Hale stood examining the clothes the woman who was being detained in town had said she wanted.

"Wright was close!" she exclaimed, holding up a shabby black skirt that bore the marks of much making over. "I think maybe that's why she kept so much to herself. I s'pose she felt she couldn't do her part; and then, you don't enjoy things when you feel shabby. She used to wear pretty clothes and be lively--when she was Minnie Foster, one of the town girls, singing in the choir. But that--oh, that was twenty years ago."

With a carefulness in which there was something tender, she folded the shabby clothes and piled them at one corner of the table. She looked up at Mrs. Peters, and there was something in the other woman's look that irritated her.

"She don't care," she said to herself. "Much difference it makes to her whether Minnie Foster had pretty clothes when she was a girl."

Then she looked again, and she wasn't so sure; in fact, she hadn't at any time been perfectly sure about Mrs. Peters. She had that shrinking manner, and yet her eyes looked as if they could see a long way into things.

"This all you was to take in?" asked Mrs. Hale.

"No," said the sheriff’s wife; "she said she wanted an apron. Funny thing to want, " she ventured in her nervous little way, "for there's not much to get you dirty in jail, goodness knows. But I suppose just to make her feel more natural. If you're used to wearing an apron--. She said they were in the bottom drawer of this cupboard. Yes--here they are. And then her little shawl that always hung on the stair door."

She took the small gray shawl from behind the door leading upstairs, and stood a minute looking at it.

Suddenly Mrs. Hale took a quick step toward the other woman, "Mrs. Peters!"

"Yes, Mrs. Hale?"

"Do you think she--did it?'

A frightened look blurred the other thing in Mrs. Peters' eyes.

"Oh, I don't know," she said, in a voice that seemed to shrink away from the subject.

"Well, I don't think she did," affirmed Mrs. Hale stoutly. "Asking for an apron, and her little shawl. Worryin' about her fruit."

"Mr. Peters says--." Footsteps were heard in the room above; she stopped, looked up, then went on in a lowered voice: "Mr. Peters says--it looks bad for her. Mr. Henderson is awful sarcastic in a speech, and he's going to make fun of her saying she didn't--wake up."

For a moment Mrs. Hale had no answer. Then, "Well, I guess John Wright didn't wake up--when they was slippin' that rope under his neck," she muttered.

"No, it's strange," breathed Mrs. Peters. "They think it was such a--funny way to kill a man."

She began to laugh; at sound of the laugh, abruptly stopped.

"That's just what Mr. Hale said," said Mrs. Hale, in a resolutely natural voice. "There was a gun in the house. He says that's what he can't understand."

"Mr. Henderson said, coming out, that what was needed for the case was a motive. Something to show anger--or sudden feeling."

'Well, I don't see any signs of anger around here," said Mrs. Hale, "I don't--" She stopped. It was as if her mind tripped on something. Her eye was caught by a dish-towel in the middle of the kitchen table. Slowly she moved toward the table. One half of it was wiped clean, the other half messy. Her eyes made a slow, almost unwilling turn to the bucket of sugar and the half empty bag beside it. Things begun--and not finished.

After a moment she stepped back, and said, in that manner of releasing herself:

"Wonder how they're finding things upstairs? I hope she had it a little more red up up there. You know,"--she paused, and feeling gathered,--"it seems kind of sneaking: locking her up in town and coming out here to get her own house to turn against her!"

"But, Mrs. Hale," said the sheriff's wife, "the law is the law."

"I s'pose 'tis," answered Mrs. Hale shortly.

She turned to the stove, saying something about that fire not being much to brag of. She worked with it a minute, and when she straightened up she said aggressively:

"The law is the law--and a bad stove is a bad stove. How'd you like to cook on this?"--pointing with the poker to the broken lining. She opened the oven door and started to express her opinion of the oven; but she was swept into her own thoughts, thinking of what it would mean, year after year, to have that stove to wrestle with. The thought of Minnie Foster trying to bake in that oven--and the thought of her never going over to see Minnie Foster--.

She was startled by hearing Mrs. Peters say: "A person gets discouraged--and loses heart."

The sheriff's wife had looked from the stove to the sink--to the pail of water which had been carried in from outside. The two women stood there silent, above them the footsteps of the men who were looking for evidence against the woman who had worked in that kitchen. That look of seeing into things, of seeing through a thing to something else, was in the eyes of the sheriff's wife now. When Mrs. Hale next spoke to her, it was gently:

"Better loosen up your things, Mrs. Peters. We'll not feel them when we go out."

Mrs. Peters went to the back of the room to hang up the fur tippet she was wearing. A moment later she exclaimed, "Why, she was piecing a quilt," and held up a large sewing basket piled high with quilt pieces.

Mrs. Hale spread some of the blocks on the table.

"It's log-cabin pattern," she said, putting several of them together, "Pretty, isn't it?"

They were so engaged with the quilt that they did not hear the footsteps on the stairs. Just as the stair door opened Mrs. Hale was saying:

"Do you suppose she was going to quilt it or just knot it?"

The sheriff threw up his hands.

"They wonder whether she was going to quilt it or just knot it!"

There was a laugh for the ways of women, a warming of hands over the stove, and then the county attorney said briskly:

"Well, let's go right out to the barn and get that cleared up."

"I don't see as there's anything so strange," Mrs. Hale said resentfully, after the outside door had closed on the three men--"our taking up our time with little things while we're waiting for them to get the evidence. I don't see as it's anything to laugh about."

"Of course they've got awful important things on their minds," said the sheriff's wife apologetically.

They returned to an inspection of the block for the quilt. Mrs. Hale was looking at the fine, even sewing, and preoccupied with thoughts of the woman who had done that sewing, when she heard the sheriff's wife say, in a queer tone:

"Why, look at this one."

She turned to take the block held out to her.

"The sewing," said Mrs. Peters, in a troubled way, "All the rest of them have been so nice and even--but--this one. Why, it looks as if she didn't know what she was about!"

Their eyes met--something flashed to life, passed between them; then, as if with an effort, they seemed to pull away from each other. A moment Mrs. Hale sat there, her hands folded over that sewing which was so unlike all the rest of the sewing. Then she had pulled a knot and drawn the threads.

"Oh, what are you doing, Mrs. Hale?" asked the sheriff's wife, startled.

"Just pulling out a stitch or two that's not sewed very good," said Mrs. Hale mildly.

"I don't think we ought to touch things," Mrs. Peters said, a little helplessly.

"I'll just finish up this end," answered Mrs. Hale, still in that mild, matter-of-fact fashion.

She threaded a needle and started to replace bad sewing with good. For a little while she sewed in silence. Then, in that thin, timid voice, she heard:

"Mrs. Hale!"

"Yes, Mrs. Peters?"

'What do you suppose she was so--nervous about?"

"Oh, I don't know," said Mrs. Hale, as if dismissing a thing not important enough to spend much time on. "I don't know as she was--nervous. I sew awful queer sometimes when I'm just tired."

She cut a thread, and out of the corner of her eye looked up at Mrs. Peters. The small, lean face of the sheriff's wife seemed to have tightened up. Her eyes had that look of peering into something. But next moment she moved, and said in her thin, indecisive way:

'Well, I must get those clothes wrapped. They may be through sooner than we think. I wonder where I could find a piece of paper--and string."

"In that cupboard, maybe," suggested to Mrs. Hale, after a glance around.

One piece of the crazy sewing remained unripped. Mrs. Peter's back turned, Martha Hale now scrutinized that piece, compared it with the dainty, accurate sewing of the other blocks. The difference was startling. Holding this block made her feel queer, as if the distracted thoughts of the woman who had perhaps turned to it to try and quiet herself were communicating themselves to her.

Mrs. Peters' voice roused her.

"Here's a bird-cage," she said. "Did she have a bird, Mrs. Hale?"

'Why, I don't know whether she did or not." She turned to look at the cage Mrs. Peters was holding up. "I've not been here in so long." She sighed. "There was a man round last year selling canaries cheap--but I don't know as she took one. Maybe she did. She used to sing real pretty herself."

Mrs. Peters looked around the kitchen.

"Seems kind of funny to think of a bird here." She half laughed--an attempt to put up a barrier. "But she must have had one--or why would she have a cage? I wonder what happened to it."

"I suppose maybe the cat got it," suggested Mrs. Hale, resuming her sewing.

"No; she didn't have a cat. She's got that feeling some people have about cats--being afraid of them. When they brought her to our house yesterday, my cat got in the room, and she was real upset and asked me to take it out."

"My sister Bessie was like that," laughed Mrs. Hale.

The sheriff's wife did not reply. The silence made Mrs. Hale turn round. Mrs. Peters was examining the bird- cage.

"Look at this door," she said slowly. "It's broke. One hinge has been pulled apart."

Mrs. Hale came nearer.

"Looks as if someone must have been--rough with it."

Again their eyes met--startled, questioning, apprehensive. For a moment neither spoke nor stirred. Then Mrs. Hale, turning away, said brusquely:

"If they're going to find any evidence, I wish they'd be about it. I don't like this place."

"But I'm awful glad you came with me, Mrs. Hale." Mrs. Peters put the bird-cage on the table and sat down. "It would be lonesome for me--sitting here alone."

"Yes, it would, wouldn't it?" agreed Mrs. Hale, a certain determined naturalness in her voice. She had picked up the sewing, but now it dropped in her lap, and she murmured in a different voice: "But I tell you what I do wish, Mrs. Peters. I wish I had come over sometimes when she was here. I wish--I had."

"But of course you were awful busy, Mrs. Hale. Your house--and your children."

"I could've come," retorted Mrs. Hale shortly. "I stayed away because it weren't cheerful--and that's why I ought to have come. I"--she looked around--"I've never liked this place. Maybe because it's down in a hollow and you don't see the road. I don't know what it is, but it's a lonesome place, and always was. I wish I had come over to see Minnie Foster sometimes. I can see now--" She did not put it into words.

"Well, you mustn't reproach yourself," counseled Mrs. Peters. "Somehow, we just don't see how it is with other folks till--something comes up."

"Not having children makes less work," mused Mrs. Hale, after a silence, "but it makes a quiet house--and Wright out to work all day--and no company when he did come in. Did you know John Wright, Mrs. Peters?"

"Not to know him. I've seen him in town. They say he was a good man."

"Yes--good," conceded John Wright's neighbor grimly. "He didn't drink, and kept his word as well as most, I guess, and paid his debts. But he was a hard man, Mrs. Peters. Just to pass the time of day with him--." She stopped, shivered a little. "Like a raw wind that gets to the bone." Her eye fell upon the cage on the table before her, and she added, almost bitterly: "I should think she would've wanted a bird!"

Suddenly she leaned forward, looking intently at the cage. "But what do you s'pose went wrong with it?"

"I don't know," returned Mrs. Peters; "unless it got sick and died."

But after she said it she reached over and swung the broken door. Both women watched it as if somehow held by it.

"You didn't know--her?" Mrs. Hale asked, a gentler note in her voice.

"Not till they brought her yesterday," said the sheriff's wife.

"She--come to think of it, she was kind of like a bird herself. Real sweet and pretty, but kind of timid and-- fluttery. How--she--did--change."

That held her for a long time. Finally, as if struck with a happy thought and relieved to get back to everyday things, she exclaimed:

"Tell you what, Mrs. Peters, why don't you take the quilt in with you? It might take up her mind."

"Why, I think that's a real nice idea, Mrs. Hale," agreed the sheriff's wife, as if she too were glad to come into the atmosphere of a simple kindness. "There couldn't possibly be any objection to that, could there? Now, just what will I take? I wonder if her patches are in here--and her things?"

They turned to the sewing basket.

"Here's some red," said Mrs. Hale, bringing out a roll of cloth. Underneath that was a box. "Here, maybe her scissors are in here--and her things." She held it up. "What a pretty box! I'll warrant that was something she had a long time ago--when she was a girl."

She held it in her hand a moment; then, with a little sigh, opened it.

Instantly her hand went to her nose.

"Why—!"

Mrs. Peters drew nearer--then turned away.

"There's something wrapped up in this piece of silk," faltered Mrs. Hale.

"This isn't her scissors," said Mrs. Peters, in a shrinking voice.

Her hand not steady, Mrs. Hale raised the piece of silk. "Oh, Mrs. Peters!" she cried. "It's--"

Mrs. Peters bent closer.

"It's the bird," she whispered.

"But, Mrs. Peters!" cried Mrs. Hale. "Look at it! Its neck--look at its neck! It's all--other side to."

She held the box away from her.

The sheriff's wife again bent closer.

"Somebody wrung its neck," said she, in a voice that was slow and deep.

And then again the eyes of the two women met--this time clung together in a look of dawning comprehension, of growing horror. Mrs. Peters looked from the dead bird to the broken door of the cage. Again their eyes met. And just then there was a sound at the outside door. Mrs. Hale slipped the box under the quilt pieces in the basket, and sank into the chair before it. Mrs. Peters stood holding to the table. The county attorney and the sheriff came in from outside.

"Well, ladies," said the county attorney, as one turning from serious things to little pleasantries, "have you decided whether she was going to quilt it or knot it?"

"We think," began the sheriff's wife in a flurried voice, "that she was going to--knot it."

He was too preoccupied to notice the change that came in her voice on that last.

"Well, that's very interesting, I'm sure," he said tolerantly. He caught sight of the bird-cage.

"Has the bird flown?"

"We think the cat got it," said Mrs. Hale in a voice curiously even.

He was walking up and down, as if thinking something out.

"Is there a cat?" he asked absently.

Mrs. Hale shot a look up at the sheriff's wife.

"Well, not now," said Mrs. Peters. "They're superstitious, you know; they leave."

She sank into her chair.

The county attorney did not heed her. "No sign at all of anyone having come in from the outside," he said to Peters, in the manner of continuing an interrupted conversation. "Their own rope. Now let's go upstairs again and go over it, piece by piece. It would have to have been someone who knew just the--"

The stair door closed behind them and their voices were lost.

The two women sat motionless, not looking at each other, but as if peering into something and at the same time holding back. When they spoke now it was as if they were afraid of what they were saying, but as if they could not help saying it.

"She liked the bird," said Martha Hale, low and slowly. "She was going to bury it in that pretty box."

When I was a girl," said Mrs. Peters, under her breath, "my kitten--there was a boy took a hatchet, and before my eyes--before I could get there--" She covered her face an instant. "If they hadn't held me back I would have"--she caught herself, looked upstairs where footsteps were heard, and finished weakly--"hurt him."

Then they sat without speaking or moving.

"I wonder how it would seem," Mrs. Hale at last began, as if feeling her way over strange ground--"never to have had any children around?" Her eyes made a slow sweep of the kitchen, as if seeing what that kitchen had meant through all the years "No, Wright wouldn't like the bird," she said after that--"a thing that sang. She used to sing. He killed that too." Her voice tightened.

Mrs. Peters moved uneasily. "Of course we don't know who killed the bird."

"I knew John Wright," was Mrs. Hale's answer.

"It was an awful thing was done in this house that night, Mrs. Hale," said the sheriff's wife. "Killing a man while he slept--slipping a thing round his neck that choked the life out of him."

Mrs. Hale's hand went out to the bird cage.

"We don't know who killed him," whispered Mrs. Peters wildly. "We don't know."

Mrs. Hale had not moved. "If there had been years and years of--nothing, then a bird to sing to you, it would be awful--still--after the bird was still."

It was as if something within her not herself had spoken, and it found in Mrs. Peters something she did not know as herself.

"I know what stillness is," she said, in a queer, monotonous voice. "When we homesteaded in Dakota, and my first baby died--after he was two years old--and me with no other then--"

Mrs. Hale stirred. "How soon do you suppose they'll be through looking for the evidence?"

"I know what stillness is," repeated Mrs. Peters, in just that same way. Then she too pulled back. "The law has got to punish crime, Mrs. Hale," she said in her tight little way.

"I wish you'd seen Minnie Foster," was the answer, "when she wore a white dress with blue ribbons, and stood up there in the choir and sang."

The picture of that girl, the fact that she had lived neighbor to that girl for twenty years, and had let her die for lack of life, was suddenly more than she could bear.

"Oh, I wish I'd come over here once in a while!" she cried. "That was a crime! Who's going to punish that?"

"We mustn't take on," said Mrs. Peters, with a frightened look toward the stairs.

"I might 'a' known she needed help! I tell you, it's queer, Mrs. Peters. We live close together, and we live far apart. We all go through the same things--it's all just a different kind of the same thing! If it weren't--why do you and I understand? Why do we know--what we know this minute?"

She dashed her hand across her eyes. Then, seeing the jar of fruit on the table she reached for it and choked out:

"If I was you I wouldn't tell her her fruit was gone! Tell her it ain't. Tell her it's all right--all of it. Here--take this in to prove it to her! She--she may never know whether it was broke or not." She turned away.

Mrs. Peters reached out for the bottle of fruit as if she were glad to take it--as if touching a familiar thing, having something to do, could keep her from something else. She got up, looked about for something to wrap the fruit in, took a petticoat from the pile of clothes she had brought from the front room, and nervously started winding that round the bottle.

"My!" she began, in a high, false voice, "it's a good thing the men couldn't hear us! Getting all stirred up over a little thing like a--dead canary." She hurried over that. "As if that could have anything to do with--with--My, wouldn't they laugh?"

Footsteps were heard on the stairs.

"Maybe they would," muttered Mrs. Hale--"maybe they wouldn't."

"No, Peters," said the county attorney incisively; "it's all perfectly clear, except the reason for doing it. But you know juries when it comes to women. If there was some definite thing--something to show. Something to make a story about. A thing that would connect up with this clumsy way of doing it."

In a covert way Mrs. Hale looked at Mrs. Peters. Mrs. Peters was looking at her. Quickly they looked away from each other. The outer door opened and Mr. Hale came in.

"I've got the team round now," he said. "Pretty cold out there."

"I'm going to stay here awhile by myself," the county attorney suddenly announced. "You can send Frank out for me, can't you?" he asked the sheriff. "I want to go over everything. I'm not satisfied we can't do better."

Again, for one brief moment, the two women's eyes found one another.

The sheriff came up to the table.

"Did you want to see what Mrs. Peters was going to take in?"

The county attorney picked up the apron. He laughed.

"Oh, I guess they're not very dangerous things the ladies have picked out."

Mrs. Hale's hand was on the sewing basket in which the box was concealed. She felt that she ought to take her hand off the basket. She did not seem able to. He picked up one of the quilt blocks which she had piled on to cover the box. Her eyes felt like fire. She had a feeling that if he took up the basket she would snatch it from him.

But he did not take it up. With another little laugh, he turned away, saying:

"No; Mrs. Peters doesn't need supervising. For that matter, a sheriff's wife is married to the law. Ever think of it that way, Mrs. Peters?"

Mrs. Peters was standing beside the table. Mrs. Hale shot a look up at her; but she could not see her face. Mrs. Peters had turned away. When she spoke, her voice was muffled.

"Not--just that way," she said.

"Married to the law!" chuckled Mrs. Peters' husband. He moved toward the door into the front room, and said to the county attorney:

"I just want you to come in here a minute, George. We ought to take a look at these windows."

"Oh--windows," said the county attorney scoffingly.

"We'll be right out, Mr. Hale," said the sheriff to the farmer, who was still waiting by the door.

Hale went to look after the horses. The sheriff followed the county attorney into the other room. Again--for one final moment--the two women were alone in that kitchen.

Martha Hale sprang up, her hands tight together, looking at that other woman, with whom it rested. At first she could not see her eyes, for the sheriff's wife had not turned back since she turned away at that suggestion of being married to the law. But now Mrs. Hale made her turn back. Her eyes made her turn back. Slowly, unwillingly, Mrs. Peters turned her head until her eyes met the eyes of the other woman. There was a moment when they held each other in a steady, burning look in which there was no evasion or flinching. Then Martha Hale's eyes pointed the way to the basket in which was hidden the thing that would make certain the conviction of the other woman--that woman who was not there and yet who had been there with them all through that hour.

For a moment Mrs. Peters did not move. And then she did it. With a rush forward, she threw back the quilt pieces, got the box, tried to put it in her handbag. It was too big. Desperately she opened it, started to take the bird out. But there she broke--she could not touch the bird. She stood there helpless, foolish.

There was the sound of a knob turning in the inner door. Martha Hale snatched the box from the sheriff's wife, and got it in the pocket of her big coat just as the sheriff and the county attorney came back into the kitchen.

"Well, Henry," said the county attorney facetiously, "at least we found out that she was not going to quilt it. She was going to--what is it you call it, ladies?"

Mrs. Hale's hand was against the pocket of her coat.

"We call it--knot it, Mr. Henderson."

Thesis Worksheet

A thesis is a special sentence or statement which tells your audience what you are going to prove in your essay. Usually a writer begins with the thesis and it controls the essay he or she produces. Because this series of lessons focuses on paragraph structure, however, you now have three related paragraphs that need to be united by a thesis statement. Look at the diagram below and you’ll get a sense of how it works. Your thesis will join your Cultural Element Trees together. Like your topic sentences, your thesis will have two parts: the topic (in this case your personal culture) and your attitude toward it (I don’t ever want to move away, perhaps.)

Thesis Topic Sentence Point Sentences Development

Thesis TS

1. For each of your topic sentences, write the topic and your attitude toward it in the appropriate blank. Example: My grandfather’s barn (topic); first place we went after giving them hugs (attitude). (topic); (attitude). (topic); (attitude). (topic); (attitude).

2. Now, label the culture you’ve written three paragraphs about: (Examples, backwoods Grayson County Kentucky; my family’s country-city mix; Atlanta exurbia; New Orleans French Quarter)

3. Then, sum up the attitudes for your paragraphs: (Examples, a great place to grow up; keeps me from knowing who I really am; a confusion of good and bad; I hope it lasts forever)

4. Now put them together: Examples: . The backwoods of Grayson County Kentucky is a great place to grow up. . Moving back and forth between rural and urban North Carolina keeps me from knowing who I really am; . Life in Atlanta exurbia is a confusing mixture of good and bad; . I hope the New Orleans French Quarter lasts forever.)

You have a thesis for your essay.

Paper Formatting Instructions

(Save this handout. These instructions will work for any college class unless the instructor gives you specific directions.)

1. Open MS Word (Start: All Programs: Microsoft Office: Microsoft Office Word). Don’t type yet.

2. Double space your paper: . Click on the word Format on the second bar at the top of the screen. . Choose Paragraph. . Choose the Line Spacing dropdown menu. . Choose Double. . Click OK.

3. Add your last name and page numbers . Click on View on the second bar at the top of your screen. . Click on Header and Footer. . Tab twice to move the cursor to the right margin. . Type your last name and space. . Press Ctrl+F9. A pair of brackets appears. . Type the word PAGE between the brackets. . Click Close on the Header/Footer toolbar. . Click on Insert on the second bar. . Choose Page Numbers. . Make sure the box beside Show number on first page is NOT checked. (Do not be concerned if nothing shows up on your first page. It isn’t supposed to. And don’t be concerned if you have the word PAGE at the top of your second page. It will turn into a number when you print. If you don’t believe it, press ENTER enough times to get to a second page; then go to File and click Print Preview.)

4. You are typing a formal essay. Use font size 12 and Times New Roman. No cursive or otherwise fancy print.

5. On your first page at the LEFT margin, type your name and press ENTER. (Your cursor should drop down two lines. If not, go back to #2.) Type your class, ENTER, your assignment, ENTER, and the date you will turn the paper in. Press ENTER.

6. Press the CENTER icon (It is a bunch of horizontal lines centered and is located probably on the third bar at the top.) and type your title. Press ENTER.

Reminder: - Do not underline your title, enclose it in quotation marks, or use all caps. - Capitalize the first and last words of your title. - Also capitalize all other words except articles (a, an, the) and prepositions with four or fewer letters.

7. Press TAB to indent your first paragraph and start typing. Your paper format should be beautiful.

Getting A Sense of Things– Attachment 12 43-A Attachment 13 (Print and copy front and back)

Rubric for Grading Essay based on 8-sentence Paragraph unit: Getting a Sense of Things

Student’s name: ______

Component Sub-Component Criteria Teacher Point Value Points Awarded with criteria (name problem) Comment Introduction Thesis (Topic, Attitude, 4 Sentence Fault, Comma Error1) Subtotal 4

Topic Sentence (Topic, Attitude, 4 Fault, Comma) Body Concluding Sentence 4 (Restates TS, Fault, Comma) Paragraph 1 Point Sentences (Distinct, Three, Transition, Key 8 words, Fault, Comma

Dev. Sentences (Paired with point sentence, 9 sensory detail, Fault, Comma Subtotal 25

Topic Sentence (Topic, Attitude, 4 Fault, Comma) Body Concluding Sentence 4 (Restates TS, Fault, Comma) Paragraph 2 Point Sentences (Distinct, Three, Transition, Key 8 words, Fault, Comma

Topic Sentence (Topic, Attitude, 4 Fault, Comma) Body Concluding Sentence (Restates TS, 4 Fault, Comma)

Getting A Sense of Things– Attachment 13 44-A Attachment 13 (Print and copy front and back)

Paragraph 3 Point Sentences (Distinct, Three, Transition, Key 8 words, Fault, Comma

Conclusion Restatement of Thesis (Topic, Attitude, 4 Sentence Fault, Comma Error)

Subtotal 4 Overall Effect Unified 5

Organized 5

Developed 7

Subtotal 17 Total

1 Only major comma errors should be marked, e.g., items in a series errors, commas occurring between major elements like subject and verb, adjective and noun, or others emphasized heavily in DOL.

Additional comments:

______

Final Grade: ______

Unit Test: Getting a Sense of Things

Vocabulary Section: 30 points Using correctly at least one different Word Wall word per sentence, write 10 sentences that are correct in major sentence structure and comma usage aspects. Your sentences should average 15 words per sentence. (1 point for correct usage of WW word, 1 point for correct sentence structure, 1 point for correct comma usage.)

Cultures Section: 30 Points Fill in the grid below with information from the short stories and your consideration of your own culture. You may use your copies of the stories if you need to. (1 point for each answer.)

Element of Culture “The Lottery” “Jury of Her Peers” Your Culture Transportation Weather Chores Handcrafts Men Women Teens Evil Houses Clothing

8-Sentence Paragraph Section: 40 points Write an 8-sentence paragraph on cultural evils using evil in “Jury of Her Peers,” “The Lottery,” and your culture for your point sentences. Arrange these points from least evil to most evil. Double space so you have room to make your final edit. (This page is for your final copy. Draft your paragraph on a separate sheet.) . use of the 8-sentence paragraph pattern (8 points) . the success of your sentence structure and comma usage (16 points) . your use of sensory detail (8 points) . the overall effect of your paragraph (8 points).

POSSIBLE KEY

Cultures Section: 30 Points Fill in the grid below with information from the short stories and your consideration of your own culture. You may use your copies of the stories if you need to. (1 point for each answer.)

Element of Culture “The Lottery” “Jury of Her Peers” Your Culture Transportation Walking Horse and wagon Weather Tessie needed a sweater in June Very cold winter Chores Washing dishes Taking produce to town Handcrafts The black box Quilts Men Responsible for the family Thought women didn’t know much Women Submissive Thought men didn’t know much Teenage girls Supported their friends Liked pretty clothes and were lively Evil Enjoying another’s misfortunes Spouse abuse Heat for houses Wood burning stoves Wood or coal Clothing Apron, sweater Apron, shawl

Getting A Sense of Things– Attachment 14 49-A