narratives...2.2 prepare a bibliography of reference materials for a report using a variety of...

M a s t e r i n g t h e S t a n d a r d s

NarrativesWriters on Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JOYCE CAROL OATES 1

C H A P T E R 1 Plot“All the best stories in the world are but one story in reality—the story of escape.” —A. C. Benson

What Do You Think? Why are stories of escape so interesting and timeless?

Literary Skills Focus How Do Authors Develop Time

and Sequence? . . . . . . . . . . . . . . . . . . . . . . . . 4

Reading Skills Focus What Reading Skills Help You

Analyze Plot?. . . . . . . . . . . . . . . . . . . . . . . . . 6

Liam O’Flaherty Reading Model � e Sniper . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 8

Literary Selections

Richard Connell � e Most Dangerous Game. . . . . . . . . . . . . . . . . . . . . . . .SHORT STORY 14

Jean Fong Kwok Disguises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SHORT STORY 38

Julia Alvarez Liberty . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SHORT STORY 52

U N I T 1

California Standards

Word Analysis, Fluency, and Systematic Vocabulary Development1.1 Identify and use the literal and � gurative meanings of words and understand word derivations.

Reading Comprehension (Focus on Informational Materials)2.4 Synthesize the content from several sources or works by a single author dealing with a single issue; paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.

Literary Response and Analysis3.2 Compare and contrast the presentation of a similar theme or topic across genres to explain how the selection of genre shapes the theme or topic.

3.6 Analyze and trace an author’s development of time and sequence, including the use of complex literary devices (e.g., foreshadowing, � ashbacks).

A4 Contents

Re a d i n g • Wr i t i n g • L i s t e n i n g • S p e a k i n g

Comparing Texts

Comparing � emes: Stories of Escape . . . . . . . . . . . . . . . . . . . . . . 64

Ray Bradbury A Sound of � under . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .SHORT STORY 65

Val Plumwood Being Prey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUTOBIOGRAPHY 78

Informational Text Focus

Synthesizing Sources: Analyzing Main Ideas . . . . . . . . . . . . . . . . 86

Thomas Fleming � e Great Escape . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MAGAZINE ARTICLE 87

National Geographic News Did Animals Sense Tsunami

Was Coming? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .MAGAZINE ARTICLE 95

Standards Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

Kate Chopin Literary Skills Review Caline . . . . . . . . . . . . . . . . . SHORT STORY 100

New York Times Upfront Informational Skills Review

Travis’s Dilemma. . . . . . . . . . . . . . . . . . . . . MAGAZINE ARTICLE 103

Vocabulary Skills Review . . . . . . . . . . . . . . . . . . . . CONTEXT CLUES 107

Read On: For Independent Reading . . . . . . . . . . . . . . . . . . . . . . 108

Contents A5


NarrativesC H A P T E R 2 Character

“I am the person I know best.” —Frida Kahlo

What Do You Think? How do other people a� ect the way we think about ourselves?

Literary Skills Focus What Do You Need to

Know About Characters? . . . . . . . . . . . . 112


Analyze Characters? . . . . . . . . . . . . . . . . 114

Ernest Hemingway Reading Model Old Man at the Bridge . . . . . . . . . SHORT STORY 116

Literary Selections

Langston Hughes � ank You, M’am . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 120

Roald Dahl from Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . AUTOBIOGRAPHY 130

Judith Ortiz Cofer American History. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 142

U N I T 1



Reading Comprehension (Focus on Informational Materials)2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.

Literary Response and Analysis3.3 Analyze interactions between main and subordinate characters in a literary text (e.g., internal and external con� icts, motivations, relationships, in� uences) and explain the way those interactions a� ect the plot.

3.4 Determine characters’ traits by what the characters say about themselves in narration, dialogue, dramatic monologue, and soliloquy.

3.5 Compare works that express a universal theme and provide evidence to support the ideas expressed in each work.

A6 Contents


Comparing Texts

Comparing Universal � emes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156

Sandra Cisneros Papa Who Wakes Up Tired in the Dark . . . . . . . . . . SHORT STORY 157

Langston Hughes Mother to Son . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 160

Robert Hayden � ose Winter Sundays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .POEM 161


Evaluating Primary Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

Writing An Interview with Dave Eggers . . . . . . . . . . . . . . MAGAZINE ARTICLE 165

Carlos Capellan Teaching Chess, and Life . . . . . . . . . . . . . . . . . . . NEWSPAPER ARTICLE 171


Tim O’Brien Literary Skills Review Ambush . . . . . . . . . . . . . . . SHORT STORY 174

Jane Armstrong Informational Skills Review I Got It:

Mentoring Isn’t for the Mentor . . . . . . . MAGAZINE ARTICLE 177

Vocabulary Skills Review . . . . . . . . . . . . . . . . . LITERAL MEANINGS 180


Contents A7


NarrativesC H A P T E R 3 Narrator and Voice

“Only enemies speak the truth. Friends lie endlessly, caught in the web of duty.” —Stephen King

What Do You Think? Who are our friends, and who are our enemies?

How can we tell the di� erence?

Literary Skills Focus What Do You Need to Know

About Narrator and Voice? . . . . . . . . . . 186


Analyze Narrator and Voice? . . . . . . . . 188

María Elena Llano Reading Model In the Family . . . . . . . . . . . . . . . . . . SHORT STORY 190

Literary Selections

Saki � e Interlopers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 196

Sylvia Plath Initiation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 208

Ursula K. Le Guin � e Wife’s Story. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 220

U N I T 1





3.9 Explain how voice, persona, and the choice of a narrator a� ect characterization and the tone, plot, and credibility of a text.

A8 Contents


Comparing Texts

Author Study: Edgar Allan Poe . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Edgar Allan Poe Letter to John Allan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LETTER 229

Edgar Allan Poe Alone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .POEM 235

Edgar Allan Poe � e Cask of Amontillado . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 237


Synthesizing Sources: Drawing Conclusions. . . . . . . . . . . . . . . . 248

Kenneth Silverman Poe’s Final Days from Edgar A. Poe:

Mournful and Never-Ending Remembrance . . . . . . .BIOGRAPHY 249

The New York Times Poe’s Death Is Rewritten as Case of Rabies,

Not Telltale Alcohol . . . . . . . . . . . . . . . . . . . . . . . . NEWSPAPER ARTICLE 254

The New York Times If Only Poe Had Succeeded When He Said

Nevermore to Drink . . . . . . . . . . . . . . . . . . . . . . LETTER TO THE EDITOR 256

The New York Times Rabies Death � eory . . . . . . . . . . . . . . . . . . . . . . LETTER TO THE EDITOR 257


Sandra Cisneros Literary Skills Review

Geraldo No Last Name . . . . . . . . . . . . . . . . . . . SHORT STORY 260

D’Arcy Lyness Informational Skills Review Coping with Cliques and

James Garbarino, Ellen deLara from And Words Can Hurt Forever . . . . . . . . . . ARTICLES 262



Contents A9


NarrativesC H A P T E R 4 Symbolism and Irony

“When you cannot make up your mind which of two evenly balanced courses of action you should take—choose the bolder.” —Ezra Pound

What Do You Think? How do we make hard choices?

Literary Skills Focus What Do You Need to Know

About Symbolism and Irony? . . . . . . . . 272


Analyze Symbolism and Irony?. . . . . . 274

Isak Dinesen Reading Model Peter and Rosa . . . . . . . . . . . . . . . . SHORT STORY 276

Literary Selections

James Hurst � e Scarlet Ibis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 280

O. Henry � e Gi� of the Magi. . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 298

Ray Bradbury � e Golden Kite, the Silver Wind . . . . . . . . . . . . . . . . SHORT STORY 310

U N I T 1




Literary Response and Analysis3.7 Recognize and understand the signi� cance of various literary devices including � gurative language, allegory, and symbolism, and explain their appeal.

3.8 Interpret and evaluate the impact of ambiguities, subtleties, contradictions, and ironies in a text.

Writing Applications (Genres and Their Characteristics)2.1 Write biographical or autobiographical narratives or short stories. a. Relate a sequence of events and communicate the signi� cance of the events to the audience. b. Locate scenes and incidents in speci� c places. c. Describe with concrete sensory details the sights, sounds, and smells of a scene and the speci� c actions, movements, gestures, and feelings of the characters; use interior monologue to depict the characters’ feelings.d. Pace the presentation of actions to accommodate changes in time and mood. e. Make e� ective use of descriptions of appearance, images, shifting perspectives, and sensory details.

A10 Contents


Comparing Texts

Comparing � emes Across Genres . . . . . . . . . . . . . . . . . . . . . . . . 320

Pauline Kaldas Airport . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 321

Robert Frost � e Road Not Taken . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .POEM 330

Cindy Sherman Untitled Film Still #48 . . . . . . . . . . . . . . . . . . . . . . . . . . . PHOTOGRAPH 332


Synthesizing Sources: Works by One Author . . . . . . . . . . . . . . . 334

Albert Einstein Weapons of the Spirit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTERVIEW 335

Albert Einstein Letter to President Roosevelt . . . . . . . . . . . . . . . . . . . . . . . . .LETTER 337

Albert Einstein On the Abolition of the � reat of War . . . . . . . . . . . . . . . . .ESSAY 339

Albert Einstein � e Arms Race . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTERVIEW 341


Literary Skills Review

retold by Italo Calvino � e Happy Man’s Shirt . . . . . . . . . . . . . . . . . . . SHORT STORY 344

Sarah Lyall Informational Skills Review Look Who’s in the

School Kitchen, Dishing Out Advice and

Glorious Food? English Schoolchildren

� ink Not . . . . . . . . . . . . . . . . . . . . . . . . . NEWSPAPER ARTICLES 347



Writing Workshop . . . . . . . . . . . . . . . . . . . . BIOGRAPHICAL NARRATIVE 354

Preparing for Timed Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Listening and Speaking Workshop

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRESENTING AN ORAL NARRATIVE 364

Writing Skills Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

Contents A11


Reading for LifeWriters on Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .CAROL JAGO 368

C H A P T E R 5 Reading for Life“Ninety percent of leadership is the ability to communicate something people want.” —Dianne Feinstein

What Do You Think? What does it take to succeed in the world?

Informational Text Focus What Documents Will

You Read for Life? . . . . . . . . . . . . . 372

Reading Skills Focus What Reading Skills Help You Analyze

Informational Documents? . . . . . . . . . 374

Reading Model Consumer Documents . . . . . . . . . . DOCUMENTS 376

U N I T 2



Reading Comprehension (Focus on Informational Materials)2.1 Analyze the structure and format of functional workplace documents, including the graphics and headers, and explain how authors use the features to achieve their purposes.

2.2 Prepare a bibliography of reference materials for a report using a variety of consumer, workplace, and public documents.

2.3 Generate relevant questions about readings on issues that can be researched.

2.6 Demonstrate use of sophisticated learning tools by following technical directions (e.g., those found with graphic calculators and specialized software programs and in access guides to World Wide Web sites on the Internet). 2.7 Critique the logic of functional documents by examining the sequence of information and procedures in anticipation of possible reader misunderstandings.

A12 Contents



Following Technical Directions . . . . . . . . . . . . . . . . .USER’S MANUAL 380

Citing Internet Sources. . . . . . . . . . . . . . . . . . . . . . . . . STYLE MANUAL 388

Analyzing Workplace Documents . . . . . . . WORKPLACE DOCUMENTS 392

Evaluating the Logic of Functional Documents

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FUNCTIONAL DOCUMENTS 400

Reading Documents from Real Life

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . WEB PAGE AND NEWSPAPER ARTICLE 406


Informational Skills Review Using the O� ce

De� brillator . . . . . . . . . . . . . . . . . . . . . . . . . EMPLOYEE MANUAL 412

Vocabulary Skills Review . . . . . . . . . . . . . . . . . . . . CONTEXT CLUES 415


Contents A13


Reading for LifeC H A P T E R 6 Argument

“First we have to believe, and then we believe.” —Martha Graham

What Do You Think? What do you believe in, and why?

Informational Text Focus How Do You Analyze

an Author’s Argument? . . . . . . . . 420


Evaluate an Author’s Argument? . . . . 422

Chief Joseph Reading Model from An Indian’s Views

of Indian A� airs . . . . . . . . . . . . . . . . . . . SPEECH 424

Literary Selections

Sojourner Truth Ain’t I a Woman? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SPEECH 428

Alex Nikolai Ste� en � e Next Green Revolution. . . . . . . . . . . . . . . . . . . . . . . . . . . .ESSAY 434

Toni Morrison Cinderella’s Stepsisters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SPEECH 442

U N I T 2




2.8 Evaluate the credibility of an author’s argument or defense of a claim by critiquing the relationship between generalizations and evidence, the comprehensiveness of evidence, and the way in which the author’s intent a� ects the structure and tone of the text (e.g., in professional journals, editorials, political speeches, primary source material).

Writing Applications (Genres and Their Characteristics)2.4 Write persuasive compositions. a. Structure ideas and arguments in a sustained and logical fashion. b. Use speci� c rhetorical devices to support assertions (e.g., appeal to logic through reasoning; appeal to emotion or ethical belief; relate a personal anecdote, case study, or analogy). c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, and expressions of commonly accepted beliefs and logical reasoning. d. Address readers’ concerns, counterclaims, biases, and expectations.

A14 Contents



Synthesizing Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

Scott McCloud Setting the Record Straight

from Understanding Comics . . . . . . . . . . . . . . . . . . . GRAPHIC ESSAY 449

Robin Brenner Graphic Novels 101: FAQ . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FAQ 459

Marjane Satrapi Why I Wrote Persepolis . . . . . . . . . . . . . . . . . . . . . . . . . . . . INTERVIEW 463


Evaluating Arguments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468

Sandhya Nankani Kaavya Viswanathan: Unconscious Copycat

or Plagiarist?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . BLOG 469

Joshua Foer Kaavya Syndrome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .WEB ARTICLE 473


Henry Aaron Informational Skills Review Jackie Robinson. . . . . . . . . . . . 478



Writing Workshop . . . . . . . . . . . . . . . . . . . . . . . . . .PERSUASIVE ESSAY 486



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . GIVING A PERSUASIVE SPEECH 496

Writing Skills Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498

Contents A15


PoetryWriters on Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . JUDITH ORTIZ COFER 500

C H A P T E R 7 Poetry“The man who has no imagination has no wings.” —Muhammad Ali

What Do You Think? What are the uses of the imagination?

Literary Skills Focus What Are the Elements

of Poetry? . . . . . . . . . . . . . . . . . . . . . . . . . . 504


Analyze Poetry? . . . . . . . . . . . . . . . . . . . . 508

Simon J. Ortiz Reading Model My Father’s Song. . . . . . . . . . . . . . . . . . . . . . . . . 510

Philip Booth Reading Model First Lesson. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 511

U N I T 3


Word Analysis, Fluency, and Systematic Vocabulary Development1.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.


3.7 Recognize and understand the signi� cance of various literary devices, including � gurative language, imagery, allegory, and symbolism, and explain their appeal.

Writing Applications (Genres and Their Characteristics)2.2 Write responses to literature. a. Demonstrate a comprehensive grasp of the signi� cant ideas of literary works. b. Support important ideas and viewpoints through accurate and detailed references to the text or to other works. c. Demonstrate awareness of the author’s use of stylistic devices and an appreciation of the e� ects created. d. Identify and assess the impact of perceived ambiguities, nuances, and complexities within the text.

A16 Contents


Literary Selections

Imagery and Form . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 514

�� Star� sh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 515

�� in Just- . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 518

�� Haiku . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . HAIKU 520

��ō��

�� Once by the Paci� c. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . SONNET 524

�� Country Scene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 528

�� e Car . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 532

�� Daily . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 536

�� A Blessing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 538

Figures of Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

�� Fog. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 545

�� Fire and Ice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 548

�� “Hope” is the thing with feathers. . . . . . . . . . . . . . . . . . . . . . POEM 550

�� Fame is a � ckle food . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 553

�� Tiburón . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 555

�� Fi� een. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 558

�� Internment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 560

�� Sanctuary. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 563

�� Women. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 565

Sounds of Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570

�� I Wandered Lonely as a Cloud . . . . . . . . . . . . . . . . . . . . . . . . POEM 571

�� e Courage � at My Mother Had . . . . . . . . . . . . . . . . . . . POEM 575

�� Advice for a Stegosaurus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 578

Contents A17


Poetry CONTINUED

U N I T 3

Li-Young Lee � e Gi� . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 580

Nikki Giovanni Possum Crossing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 583

Walt Whitman from Song of Myself, Number 32. . . . . . . . . . . . . . . . . . . . . . POEM 585

Walt Whitman I Hear America Singing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 588

Pat Mora Legal Alien / Extranjera legal . . . . . . . . . . . . . . . . . . . . . . . . . POEM 591

A18 Contents


Comparing Texts

Comparing Historical Accounts Across Genres. . . . . . . . . . . . . 596

Taylor Branch � e History Behind the Ballad . . . . . . . . . . . . . HISTORICAL ACCOUNT 597

Dudley Randall Ballad of Birmingham. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 600

Roger Ebert 4 Little Girls . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MOVIE REVIEW 602


Anita Endrezze Literary Skills Review � e Girl Who Loved the Sky . . . . . . 606

Vocabulary Skills Review . . . . . . . CONNOTATIONS AND DENOTATIONS 608


Writing Workshop . . . . . . . . . . . . . . . . . . . . . . . . RESPONSE TO POETRY 612



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRESENTING A RESPONSE TO A POEM 622


Contents A19


DramaWriters on Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . .ANNA DEAVERE SMITH 626

C H A P T E R 8 Elements of Drama “Love the actor, for he gives you his heart.” —Bela Lugosi

What Do You Think? What would you sacri� ce for love?

Literary Skills Focus What Are the

Elements of Drama?. . . . . . . . . . . . . . . . . 630

Reading Skills Focus What Reading Skills Help

You Analyze Drama? . . . . . . . . . . . . . . . 634

Edmond Rostand Reading Model from Cyrano de Bergerac . . . . . . . . . . . .DRAMA 636

U N I T 4



Reading Comprehension (Focus on Informational Materials)2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.

Literary Response and Analysis3.1 Articulate the relationship between the expressed purposes and the characteristics of di� erent forms of dramatic literature (e.g., comedy, tragedy, drama, dramatic monologue).

3.10 Identify and describe the function of dialogue, scene design, soliloquies, asides, and character foils in dramatic literature.

Writing Applications (Genres and Their Characteristics)2.3 Write expository compositions, including analytical essays and research reports. a. Marshal evidence in support of a thesis and related claims, including information on all relevant perspectives. b. Convey information and ideas from primary and secondary sources accurately and coherently. c. Make distinctions between the relative value and signi� cance of speci� c data, facts, and ideas. d. Include visual aids by employing appropriate technology to organize and record information on charts, maps, and graphs. e. Anticipate and address readers’ potential misunderstandings, biases, and expectations. f. Use technical terms and notations accurately.

A20 Contents


Literary Selections

David Mamet � e Frog Prince . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . COMEDY 650

William Shakespeare � e Tragedy of Romeo and Juliet . . . . . . . . . . . . . . . . . . . TRAGEDY 680

� e Prologue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 683

Act I . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 684

Act II. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 719

Act III . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 749

Act IV . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 785

Act V. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 807

Comparing Texts

Comparing Genres. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 828

retold by Mary Pope Osborne Lost at Sea: � e Story of Ceyx and Alcyone. . . . . . . . . . . . .MYTH 829

Mary Zimmerman Alcyone and Ceyx from Metamorphoses . . . . . . . . . . . . . . . PLAY 834


Analyzing Primary and Secondary Sources. . . . . . . . . . . . . . . . . 848

Dinitia Smith “Dear Juliet”: Seeking Succor from a Veteran of Love

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . NEWSPAPER ARTICLE 849

from � e Juliet Club. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .LETTER 854


Neil Simon Literary Skills Review from Barefoot in the Park . . . .DRAMA 856

Eric Sevareid Informational Skills Review

Kennedy’s Assassination. . . . . . . . . . . ENCYCLOPEDIA ARTICLE 860

Pierre Salinger Informational Skills Review

For Me, It Was a Dramatic Day . . . . . . . . . . .RECOLLECTION 861



Writing Workshop . . . . . . . . . . . . . . . . . . . . . . . . . . EXPOSITORY ESSAY 868



. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ANALYZING AND EVALUATING SPEECHES 878


Contents A21


EpicWriters on Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . IAN JOHNSTON 886

C H A P T E R 9 Myth and Epic“It is good to have an end to journey toward, but it is the journey that matters in the end.” —Ursula K. Le Guin

What Do You Think? How is life a journey?

Literary Skills Focus What Do Myths and Epics Reveal

About � eir Historical Periods? . . . . . 890


Analyze Myths and Epics? . . . . . . . . . . 892

retold by Robert Graves Reading Model Paris and Queen Helen . . . . . . . . . . . . . . .MYTH 894

U N I T 5


Word Analysis, Fluency, and Systematic Vocabulary Development1.3 Identify Greek, Roman, and Norse mythology and use the knowledge to understand the origin and mean-ing of new words (e.g. the word narcissistic drawn from the myth of Narcissus and Echo).

Reading Comprehension (Focus on Informational Materials)2.3 Generate relevant questions about readings on issues that can be researched.


3.3 Analyze interactions between main and subordinate characters in a literary text (e.g., internal and external con� icts, motivations, relationships, in� uences) and explain the way those interactions a� ect the plot.

3.12 Analyze the ways in which a work of literature is related to the themes and issues of its historical period. (Historical approach)

Writing Applications2.3 Write expository compositions, including analytical essays and research reports. a. Marshal evidence in support of a thesis and related claims, including information on all relevant perspectives. b. Convey information and ideas from primary and secondary sources accurately and coherently.c. Make distinctions between the relative value and signi� cance of speci� c data, facts, and ideas. d. Include visual aids by employing appropriate technology to organize and record information on charts, maps, and graphs. e. Anticipate and address readers’ potential misunderstandings, biases, and expectations. f. Use techni-cal terms and notations accurately.

A22 Contents


Literary Selections

David Adams Leeming An Introduction to the Odyssey . . . . . . . . . . . . . . . . . . . . . . . . . . . 901

Homer from the Odyssey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . EPIC 911

Tell the Story (Book 1) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 913Part One: � e Wanderings 914, Calypso, the Sweet Nymph (Book 5) 914, “I Am Laertes’ Son. . . .” (Book 9) 919, � e Lotus Eaters (Book 9) 922, � e Cyclops (Book 9) 923, � e Enchantress Circe (Book 10) 935, � e Land of the Dead (Book 11) 937, � e Sirens; Scylla and Charybdis (Book 12) 940, � e Cattle of the Sun God (Book 12) 947

Part Two: Coming Home 954, � e Meeting of Father and Son (Book 16) 955, � e Beggar and the Faithful Dog (Book 17) 959, � e Test of the Great Bow (Book 21) 962, Death at the Palace (Book 22) 968, Odysseus and Penelope (Book 23) 972

retold by Olivia Coolidge � e Fenris Wolf . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . MYTH 982

Comparing Texts

Comparing Journeys Across Genres . . . . . . . . . . . . . . . . . . . . . . . 990

Sandra Cisneros Mexico Next Right from Caramelo . . . . . . . . . . . . . . NOVEL EXCERPT 991

Sonia Nazario � e Boy Le� Behind from Enrique’s Journey . . . . . . NONFICTION 997


Generating Research Questions. . . . . . . . . . . . . . . . . . . . . . . . . . 1010

Jennifer Armstrong from Shipwreck at the Bottom of the World . . . . . . NARRATIVE 1011

NOVA Online Tending Sir Ernest’s Legacy: An Interview with

Alexandra Shackleton . . . . . . . . . . . . . . . . . . . . . . . . . . . INTERVIEW 1019

Standards Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1026

retold by Gayle Ross Literary Skills Review Strawberries . . . . . . . . . . . . . . . MYTH 1026

from World Almanac Informational Skills Review � e Appalachian

Trail: A Hike � rough History . . . . . . . . . . . . . . ARTICLE 1029

Vocabulary Skills Review . . . . . . . . . . . . . . . . LITERAL MEANINGS 1032

Read On: For Independent Reading . . . . . . . . . . . . . . . . . . . . 1034

Writing Workshop . . . . . . . . . . . . . . . . . . . . . . . . . RESEARCH PAPER 1036

Preparing for Timed Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . 1049

Listening and Speaking Workshop. . . . . PRESENTING RESEARCH 1050

Writing Skills Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1052

Contents A23


Literary CriticismWriters on Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . FRANCINE PROSE 1050

C H A P T E R 10 Literary Criticism

“Memories of our lives, of our works and our deeds

will continue in others.” —Rosa Parks

What Do You Think? How do our memories shape

who we are?

Literary Skills Focus What is Literary Criticism? . . . . . . . . 1054


Criticize Literature?. . . . . . . . . . . . . . . 1056

Esmeralda Santiago Reading Model How to Eat a Guava . . . . . . . . . . . . . . . . ESSAY 1058

Literary Selections

Mark Twain Cub Pilot on the Mississippi . . . . . . . . . . . . . . . . . AUTOBIOGRAPHY 1062

Truman Capote A Christmas Memory . . . . . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 1076

U N I T 6


Word Analysis, Fluency, and Systematic Vocabulary Development1.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.

Literary Response and Analysis

3.11 Evaluate the aesthetic qualities of style, including the impact of diction and � gurative language on tone, mood, and theme, using the terminology of literary criticism. (Aesthetic approach)

3.12 Analyze the way in which a work of literature is related to the themes and issues of its historical period. (Historical approach)

Writing Applications 2.5 Write business letters. a. Provide clear and purposeful information and address the intended audience appropriately. b. Use appropriate vocabulary, tone, and style to take into account the nature of the relationship with, and the knowledge and interests of, the recipients. c. Highlight central ideas or images. d. Follow a conventional style with page formats, fonts, and spacing that contribute to the documents’ readability and impact.

2.6 Write technical documents (e.g., a manual on rules of behavior for a con� ict resolution, procedures for conducting a meeting, minutes of a meeting). a meeting, minutes of a meeting): a. Report information and convey ideas logically and correctly. b. O� er detailed and accurate speci� cations. c. Include scenarios, de� nitions, and examples to aid comprehension (e.g., troubleshooting guide). d. Anticipate readers’ problems, mistakes, and misunderstandings.

A24 Contents


Gary Soto � e Grandfather . . . . . . . . . . . . . . . . . . . . . . . . . . . . .PERSONAL ESSAY 1092

Paule Marshall To Da-duh, in Memoriam . . . . . . . . . . . . . . . . . . . . . . SHORT STORY 1100

Comparing Texts

Author Study: Maya Angelou . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1116

Maya Angelou from I Know Why the Caged Bird Sings . . . . . . .AUTOBIOGRAPHY 1117

Maya Angelou Caged Bird . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 1124

Maya Angelou New Directions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ESSAY 1126

Maya Angelou Woman Work. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . POEM 1129


Analyzing Functional Documents . . . . . . . . . . . . . . . . . . . . . . . 1132

StoryCorps About StoryCorps . . . . . . . . . . . . . . . . . . . . . . . . MISSION STATEMENT 1133

StoryCorps Do-It-Yourself Interview . . . . . . . . . . . . . . . .FUNCTIONAL DOCUMENT 1136

Standards Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1142

Jo Ann Beard Literary Skills Review

In the Current . . . . . . . . . . . . . . . . . AUTOBIOGRAPHICAL ESSAY 1142

National Weather Service Informational Skills Review Hurricanes . . .

Unleashing Nature’s Fury . . . . . . . . FUNCTIONAL DOCUMENT 1144

Vocabulary Skills Review . . . . . . . . . . . . . . . . . . . CONTEXT CLUES 1149

Read On: For Independent Reading . . . . . . . . . . . . . . . . . . . . 1150

Writing Workshop . . . . . . . . . . . . . . . . . BUSINESS COMMUNICATIONS 1152

Preparing for Timed Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . 1161


. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . PRESENTING A DESCRIPTIVE SPEECH 1162

Writing Skills Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1164

RESOURCE CENTER

Reading Matters . . . . . . . . . . . . . . 1167

Handbook of Literary Terms . . . 1179

Handbook of Reading and

Informational Terms . . . . . . . . . . 1191

Writer’s Handbook . . . . . . . . . . . . 1201

Glossary . . . . . . . . . . . . . . . . . . . . . 1212

Spanish Glossary . . . . . . . . . . . . . 1217

Academic Vocabulary Glossary

in English and Spanish . . . . . . . . 1221

Contents A25