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Teacher Wraparound Edition
TEACHER EDITION
Program Consultants
Jeffrey D. Wilhelm, Ph.D.
Douglas Fisher, Ph.D.
Beverly Ann Chin, Ph.D.
Jacqueline Jones Royster, DA
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acknowledgments in future editions.
Acknowledgments continued on p. R98.
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ISBN: (student edition) 978-0-07-877979-4

MHID: (student edition) 0-07-877979-0
ISBN: (teacher edition) 978-0-07-877986-2
MHID: (teacher edition) 0-07-877986-3
Printed in the United States of America.
1 2 3 4 5 6 7 8 9 10 071/043 13 12 11 10 09 08
T2
Consultants
Senior Program Consultants
Jeffrey D. Wilhelm, PhD, a former middle Douglas Fisher, PhD, is Professor of

and secondary school English and reading teacher, Language and Literacy Education and Director
is currently Professor of Education at Boise State of Professional Development at San Diego State
University. He is the author or coauthor of numer- University, where he teaches English language
ous articles and several books on the teaching of development and literacy. He also serves as Director
reading and literacy, including award-winning titles of City Heights Educational Pilot, which won
such as You Gotta BE the Book and Reading Don’t the Christa McAuliffe Award from the American
Fix No Chevys. He also works with local schools as Association of State Colleges and Universities. He
part of the Adolescent Literacy Project and recently has published numerous articles on reading and
helped establish the National Writing Project site at literacy, differentiated instruction, and curricu-
Boise State University. lum design. He is coauthor of the book Improving
Adolescent Literacies: Strategies That Work and coedi-
tor of the book Inclusive Urban Schools.
Program Consultants
Beverly Ann Chin, PhD, is Professor of Jacqueline Jones Royster, DA, is Professor
English, Director of the English Teaching Program, of English and Senior Vice Provost and Executive
former Director of the Montana Writing Project, and Dean of the Colleges of Arts and Sciences at The
former Director of Composition at the University Ohio State University. She is currently on the
of Montana in Missoula. She currently serves as Writing Advisory Committee of the National
a Member at Large of the Conference of English Commission on Writing and serves as chair for both
Leadership. Dr. Chin is a nationally recognized the Columbus Literacy Council and the Ohioana
leader in English language arts standards, cur- Library Association. In addition to the teaching of
riculum, and assessment. Formerly a high school writing, Dr. Royster’s professional interests include
teacher and an adult education reading teacher, Dr. the rhetorical history of African American women
Chin has taught in English language arts education and the social and cultural implications of literate
at several universities and has received awards for practices. She has contributed to and helped to edit
her teaching and service. numerous books, anthologies, and journals.
T3
Advisory Board
Special Consultants
Donald R. Bear, PhD Jana Echevarria, PhD Dinah Zike, MEd,
Professor, Department of Professor, Educational was a classroom teacher and
Curriculum and Instruction Psychology, California State a consultant for many years
Director, E. L. Cord Foundation University, Long Beach. before she began to develop
Center for Learning and Literacy Author of Making Content Foldables™—a variety of easily
at the University of Nevada, Comprehensible for English created graphic organizers. Zike
Reno. Author of Words Their Learners: the SIOP Model has written and developed more
Way and Words Their Way with than 150 supplemental books
English Learners and materials used in classrooms
worldwide. Her Big Book of Books
and Activities won the Teachers’
Choice Award.
Glencoe National Reading and Language Arts Advisory Council

Mary A. Avalos, PhD Nancy Drew, EdD Kimberly Lawless, PhD
Assistant Department Chair, LaPointe Educational Consultants Associate Professor
Department of Teaching Corpus Christi, Texas Curriculum, Instruction
and Learning and Evaluation
Research Assistant Professor, Susan Florio-Ruane, EdD College of Education
Department of Teaching Professor University of Illinois
and Learning College of Education at Chicago
University of Miami Michigan State University Chicago, Illinois
Coral Gables, Florida East Lansing, Michigan
William Ray, MA
Wanda J. Blanchett, PhD Sharon Fontenot O’Neal, Lincoln-Sudbury Regional
Associate Dean for Academic PhD High School
Affairs and Associate Associate Professor Sudbury, Massachusetts
Professor of Exceptional Texas State University
Education San Marcos, Texas Janet Saito-Furukawa,
School of Education MEd
University of Wisconsin– Nancy Frey, PhD English Language Arts Specialist
Milwaukee Associate Professor of Literacy District 4
Milwaukee, Wisconsin in Teacher Education Los Angeles, California
School of Teacher Education
William G. Brozo, PhD San Diego State University Bonnie Valdes, MEd
Professor of Literacy San Diego, California Independent Reading Consultant
Graduate School of Education CRISS Master Trainer
College of Education and Victoria Ridgeway Gillis, Largo, Florida
Human Development PhD
George Mason University Associate Professor
Fairfax, Virginia Reading Education
Clemson University
Clemson, South Carolina
T4
Teacher Reviewers
The following teachers contributed to the review of Glencoe Literature.
Bridget M. Agnew Melanie A. LaFleur Susan Winslow Putnam
St. Michael School Many High School Butler High School
Chicago, Illinois Many, Louisiana Matthews, North Carolina
Monica Anzaldua Araiza Patricia Lee Paul C. Putnoki
Dr. Juliet V. Garcia Middle School Radnor Middle School Torrington Middle School
Brownsville, Texas Wayne, Pennsylvania Torrington, Connecticut
Katherine R. Baer Linda Copley Lemons Jane Thompson Rae
Howard County Public Schools Cleveland High School Cab Calloway High School of
Ellicott City, Maryland Cleveland, Tennessee the Arts
Tanya Baxter Heather S. Lewis Wilmington, Delaware
Roald Amundsen High School Waverly Middle School Stephanie L. Robin
Chicago, Illinois Lansing, Michigan N. P. Moss Middle School
Danielle R. Brain Sandra C. Lott Lafayette, Louisiana
Thomas R. Proctor Senior Aiken Optional School Ann C. Ryan
High School Alexandria, Louisiana Lindenwold High School
Utica, New York Connie M. Malacarne Lindenwold, New Jersey
Yolanda Conder O’Fallon Township High School Pamela Schoen
Owasso Mid-High School O’Fallon, Illinois Hopkins High School
Owasso, Oklahoma Lori Howton Means Minnetonka, Minnesota
Gwenn de Mauriac Edward A. Fulton Junior Megan Schumacher
The Wiscasset Schools High School Friends’ Central School
Wiscasset, Maine O’Fallon, Illinois Wynnewood, Pennsylvania
Courtney Doan Claire C. Meitl Fareeda J. Shabazz
Bloomington High School Howard County Public Schools Paul Revere Elementary School
Bloomington, Illinois Ellicott City, Maryland Chicago, Illinois
Susan M. Griffin Patricia P. Mitcham Molly Steinlage
Edison Preparatory School Mohawk High School Brookpark Middle School
Tulsa, Oklahoma (Retired) Grove City, Ohio
Cindi Davis Harris New Castle, Pennsylvania Barry Stevenson
Helix Charter High School Lisa Morefield Garnet Valley Middle School
La Mesa, California South-Western Career Academy Glen Mills, Pennsylvania
Joseph F. Hutchinson Grove City, Ohio Paul Stevenson
Toledo Public Schools Kevin M. Morrison Edison Preparatory School
Toledo, Ohio Hazelwood East High School Tulsa, Oklahoma
Ginger Jordan St. Louis, Missouri Kathy Thompson
Florien High School Jenine M. Pokorak Owasso Mid-High School
Florien, Louisiana School Without Walls Senior Owasso, Oklahoma
Dianne Konkel High School
Cypress Lake Middle School Washington, DC
Fort Myers, Florida
T5
T E AC H E R E D I T I O N OV E R V I E W
Table of Contents for the Student Edition

and Teacher Edition .......................................................... ......... T10
How to Use Glencoe Literature ................................................... T35
Course 5 Scope and Sequence ................................................. T40
Essential Course of Study ................................................ ......... T44
Teacher Edition Walk-Through ..................................... ......... T48
Guide to Readability ......................................................... ......... T56
T6
African American Vernacular English .................................. T57
Language Transfers . . . . . . . . . . . . . . . . . . . . ................................................. T60
Classroom Resources
Print Resources . . . . . . . . . . . . . . . . . . . . . . . . . ................................................. T72
Technology Resources . . . . . . . . . . . . . . . . ................................................. T75
Library Resources . . . . . . . . . . . . . . . . . . . . . . ................................................. T79
T7
Book Overview
How to Use Glencoe Literature ............................................................... T35
Cyber Safety . . . . . . . . . . . . .............................................................................. T39
U N IT ON E The Short Story ............................................................................. 1

Part 1: Encountering the Unexpected . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7
Part 2: Making Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85
Part 3: Life Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183
U N IT T WO Nonfiction . . . . . ............................................................................... 277

Part 1: The Power of Memory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283
Part 2: Quests and Encounters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365
Part 3: Keeping Freedom Alive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391
U N IT TH R EE Poetry . . . . . . . . . . . . . . ............................................................................... 467

Part 1: The Energy of the Everyday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473
Part 2: Loves and Losses . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 531
Part 3: Issues of Identity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 591
U N IT FOU R Drama . . . . . . . . . . . . . ............................................................................... 651

Part 1: Loyalty and Betrayal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 657
Part 2: Portraits of Real Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 817
Coming to America,
1985.
Malcah Zeldis.
T8
Book Overview
Triumph of the
Revolution, Distribution
of Food (Trionfo de la
revolucion, reparto de los
alimentos), 1926–1927.
Diego Rivera. Banco de
Mexico Trust. Fresco,
3.54 x 3.67 m. Chapel.
Universidad Autonoma,
Chapingo, Mexico.
U N IT F I V E Legends and Myths .................................................. ................ 893

Part 1: Acts of Courage ....................................................... ................ 899
Part 2: Rescuing and Conquering ........................................................ 955
U N IT SI X Genre Fiction............................................................... .............. 1015

The Extraordinary and Fantastic ......................................................... 1021
U N IT SEVEN Consumer and Workplace Documents ........................... 1137
Reference Section
Literary Terms Handbook ......................................................... ................. R1
Foldables® ........................................................................................... R20
Functional Documents ............................................................................ R22
Writing Handbook ................................................................... ............... R28
Reading Handbook ................................................................................ R38
Language Handbook ............................................................... ............... R40
Logic and Persuasion Handbook ............................................................... R60
Glossary/Glosario ................................................................... ............... R64
Academic Word List ............................................................................... R80
Index of Skills ....................................................................................... R83
Index of Authors and Titles ...................................................................... R95
Acknowledgments ................................................................................. R98
T9
Contents
Skills and Standards
U N IT O N E
The Short Story
Genre Focus: Short Story ............................................................ 2
Literary Analysis Model
ER N E S T H E M I N G WAY
Old Man at the Bridge ............................. Short Story ........ 4
Wrap-Up ....................................................................................... 6
Part One Encountering the Unexpected ........................................... 7

Literary Focus Plot and Setting ....................................................... 8
Flashback, SAKI The Open Window ......................... Short Story ...... 10
Identify Sequence
Foreshadowing, Analyze MARK T WAIN The Californian’s Tale ... Short Story ...... 17
Cause-and-Effect
Relationships Literary Perspective
J OYC E C A RO L OAT E S
Storytelling Is As Old As Mankind ............. Essay ...... 28
Vocabulary Workshop Denotation and Connotation .................... 32
Conflict, JACK FINNE Y
Respond to Characters
Contents of the Dead Man’s Pocket ... Short Story ...... 33
Vocabulary Workshop Academic Vocabulary ............................ .... 52
Mood, R . K . N A R AYA N An Astrologer’s Day... Short Story ...... 54
Analyze Cultural Context
Grammar Workshop Apostrophes in Possessives ......................... 63
Dialect, CHINUA ACHEBE Civil Peace................... Short Story ...... 64

Analyze Historical Context
Vocabulary Workshop Dictionary Use........................................... 72
Allegory, EDGAR ALLAN POE
Interpret Imagery
The Masque of the Red Death .............. Short Story ...... 73
T10
Contents
“Seize him and unmask him—that we may

know whom we have to hang, at sunrise . . .”
—Edgar Allan Poe
Part Two Making Choices ..................................................................... 85

Literary Focus Theme and Character ............................................ 86
Motivation,
Connect to Personal A M Y TA N Two Kinds.................................. Short Story ...... 88
Experience
Dialogue, JAMES THURBER
Make Generalizations About
Characters The Car We Had to Push ......................... Short Story .... 103
Implied Theme, GABRIEL GARCÍA MÁRQUEZ
Make Inferences About Theme
Tuesday Siesta............................................. Short Story .... 112
Vocabulary Workshop Multiple-Meaning Words ......... ............... 122
J H U M PA L A H I R I
Theme, When Mr. Pirzada Came to Dine ......... Short Story .... 123
Compare and Contrast
Characters Grammar Workshop Sentence Combining .................. ............... 142
PAU L E M A R S H A L L
Characterization, To Da-duh, in Memoriam ....................... Short Story .... 144
Make Inferences About
Characters E D W I D G E DA N T I C AT
Irony, The Book of the Dead .............................. Short Story .... 157
Analyze Plot
LUISA VALENZUEL A The Censors .......... Short Story .... 172
Satire,
Analyze Cause-and-Effect CARL SAFINA
Relationships Cry of the Ancient Mariner .................................. ............... 178
T11
Part Three Life Transitions ................................................................... 183

Literary Focus Narrator and Voice ............................................... 184
Reliable/Unreliable Narrator, ALICE WALKER Everyday Use ................. Short Story .... 186
Question
Comparing Literature Across Genres

Point of View, DORIS LESSING Through the Tunnel .. Short Story .... 199
Visualize
LAME DEER The Vision Quest ...................... Legend .... 212
F. S C O T T F I T Z G E R A L D Dear Pie....................... Letter .. .. 215
Point of View, JUDITH ORTIZ COFER

Interpret Imagery
Catch the Moon .......................................... Short Story .... 218
Grammar Workshop Sentence Fragments .................................. 229
Persona, ISABEL ALLENDE And of Clay Are
Analyze Sensory Details
We Created ................................................... Short Story .... 230
Style, L E S L I E M A R M O N S I L KO Lullaby ............ Short Story .... 245
Evaluate Characters
Writing Workshop Literary Criticism.......................................... .. 258
Professional Model
PAU L E M A R S H A L L
Real-Life Story Behind
“To Da-Duh, In Memoriam” ........................... Essay .. .. 259
Speaking, Listening, and
Viewing Workshop Literary Criticism .......................................... 266
Independent Reading ................................................................ 268
Assessment .............................................................................. .. 270
MARK T WAIN from When the Buffalo
Climbed a Tree ............................................ Short Story .... 270
JAMES THURBER
The Unicorn in the Garden .................... Short Story .... 271
T12
Contents
U N IT T WO
Nonfiction
Genre Focus: Nonfiction ......................................................... 278
RO BER T E . H E M EN WAY
from Zora Neale Hurston ......................... Biography .... 280
Wrap-Up .................................................................... ............... 282
Part One
The Power of Memory ......... 283
Literary Focus Narrative Nonfiction:

Autobiography and Biography ...................................... ............... 284
Historical Narrative, J E A N N E W A K AT S U K I H O U S TO N
Summarize
AND JA MES D. HOUSTON
from Farewell to Manzanar .......................... Memoir .... 288
Grammar Workshop Subject-Verb Agreement ............................ 303
Theme,
Analyze Cause-and-Effect
Relationships
M A R K M AT H A B A N E from Kaffir Boy ........... Memoir .... 304
Memoir, M AYA A N G E L O U
Draw Conclusions About
Author’s Beliefs
Living Well. Living Good................................. Essay .... 321
“Living life as art requires a readiness to forgive.”

—Maya Angelou
When I Get that Feeling, 2000. Colin Bootman.

Oil on board. Private collection.
T13
Author’s Purpose, M A R K S T E V E N S A N D A N N A LY N S W A N
Make Generalizations About
Events
First Impressions from DeKooning:
An American Master ................................. Biography .. .. 328
Vocabulary Workshop Jargon ..................................................... 340
Voice, FR ANK MCOURT Typhoid Fever

Analyze Style
from Angela’s Ashes ....................................... Memoir .... 341
Historical Perspective
C A R O LY N T . H U G H E S
Anecdote,
from Looking Forward to the Past ................ Profile .... 352
Connect to Personal
Experience ANNIE DILLARD Terwilliger Bunts One
from An American Childhood .................... Memoir .. .. 356
Part Two
Quests and Encounters ... 365
Literary Focus Expository and Personal Essays ............................ 366
Narrative Essay, JEWELLE L. GOMEZ
Connect to Personal
Experience
A Swimming Lesson ........................ Narrative Essay .... 368
Structure, LEWIS THOMAS
Draw Conclusions About
Meaning
The Tucson Zoo ................................ Expository Essay .... 375
Thesis, SANDR A CISNEROS Straw into Gold: The
Analyze Text Structure
Metamorphosis of the Everyday .... Personal Essay .... 382
Part Three
Keeping Freedom Alive .. .. 391
Literary Focus Persuasive Essay and Speech ............................... 392
Rhetorical Devices, SUSAN B. ANTHONY On Women’s Right
Recognize Bias
to Vote . .................................................................. Speech .... 394
T14
Contents
Allusion, MARTIN LUTHER KING JR. I’ve Been to

Identify Problem and Solution
the Mountaintop ............................................... Speech .... 401
Comparing Literature Different Viewpoints

Rhetorical Devices, CHESTER BROWN
Identify Assumptions and
Ambiguities
Not Just Comics .................................... Graphic Novel .... 419
TERESA MÉNDEZ “Hamlet” Too Hard?
Try a Comic Book.......................... Newspaper Article .... 422
ANDREW ARNOLD
The Graphic Novel
Silver Anniversary ............................ Web site Article .... 426
Quotation, CARL SANDBURG Address on the Anniversary

Distinguish Fact and Opinion
of Lincoln’s Birth .............................................. Speech .... 431
BAR ACK OBAMA
What I See in Lincoln’s Eyes ................ Personal Essay .... 439
Author’s Purpose, TONI MORRISON
Identify Problem and Solution
Cinderella’s Stepsisters .................................. Speech .... 442
Writing Workshop Biographical Narrative ................................... 448
Professional Model
ALICE JACKSON BAUGHN

from Eudora Welty: 1909–2001 ............... Biography .... 449
Speaking, Listening, and Viewing Workshop
Photo Essay ................................................................................. 456
Assessment ................................................................. ............... 460
from Wouldn’t Take Nothing

M AYA A N G E L O U
for My Journey Now .......................... Personal Essay .... 460
T15
U N IT T H R EE
Genre Focus: Poetry ................................................................ 468

W A LT W H I T M A N
O Captain! My Captain! .................................... Poem .... 470
Wrap-Up ................................................................................. .. 472
................................... .. 473
Literary Focus Form and Structure .............................................. 474
Line and Stanza, RO BER T H AY D EN Those Winter Sundays..... Poem .... 476
Analyze Tone
Vocabulary Workshop Homonyms and Homophones ............. .. 480
Enjambment, B I L LY C O L L I N S Creatures ................................... Poem .... 481

Analyze Poetic Structure
Meter and Rhythm, WILLIAM SHAKESPEARE Shall I Compare
Analyze Form
Thee to a Summer’s Day? ............................... Sonnet .... 486
Rhyme and Rhyme Scheme, JE AN TOOMER Reapers ....................................... Poem .... 492
Analyze Meter and Rhythm
Free Verse, PA B LO N E RU DA Ode to My Socks .................... Ode .... 496
Monitor Comprehension
“Violent socks, my feet were two fish made

of wool”
—Pablo Neruda
Personage Lancant Une Pierre a un Oiseau,

1926. Joan Miro.
T16
Contents
Prose Poetry, ALEKSANDR SOLZHENITSYN

Visualize
A Storm in the Mountains..................... Prose Poem .... 504
Grammar Workshop:
Pronoun-Antecedent Agreement .................................. ............... 509
Speaker, N . SCOT T M O M A DAY

Apply Background Knowledge
The Print of the Paw ................................ Prose Poem .... 510
To An Aged Bear .................................................. Poem .... 513
Haiku,
Interpret Imagery M AT S U O B A S H O Three Haiku ......................... Haiku .... 516
Tanka,
Compare and Contrast L ADY ISE Two Tanka .......................................... Tanka .... 521
Imagery
Verse Paragraph,
CHITR A BANER JEE DIVAK ARUNI
Make Inferences About the Woman with Kite ................................................. Poem .... 525
Speaker
............................................... ............... 531

Literary Focus The Language of Poetry ........................ ............... 532
Personification, After Great Pain,

E M I LY D I C K I N S O N
Compare and Contrast Tone A Formal Feeling Comes................................... Poem .... 534
Heart! We Will Forget Him! ............................. Poem .... 537
Mood, THEODORE ROETHKE
Analyze Diction The Meadow Mouse ........................................... Poem .... 541
Lyric Poetry, W I L L I A M B U T L E R Y E AT S
Analyze Repetition and Rhyme
Down by the Salley Gardens .......................... Poem .... 547
He Wishes for the Cloths of Heaven ............ Poem .... 550
Metaphor and Simile, JIMMY SANTIAGO BACA
Preview and Review
I Am Offering This Poem ................................. Poem .... 554
Juxtaposition, E.E. CUMMINGS since feeling is first............. Poem .... 559
Paraphrase
Repetition, Draw Conclusions G W E N D O LY N B R O O K S Horses Graze.............. Poem .... 563
About Meaning
Imagery, R I TA D OV E Parlor .................................................. Poem .... 568
Interpret Imagery
Diction, SHERMAN ALEXIE Secondhand Grief ............ Poem .... 572
Visualize
Narrative Poetry, DUDLE Y R ANDALL Ballad of Birmingham .. Ballad .... 576
Apply Background Knowledge
T17
Media Workshop Compare Media Genres ................................ .. 582
ROGER EBERT
4 Little Girls ............................................... Film Review .... 588
.............................................................. 591
Literary Focus Sound Devices ................................................... .. 592
Alliteration, LUCILLE CLIF TON miss rosie ............................. Poem .... 594
Analyze Sensory Details
Assonance and Consonance, ROBERT FROST After Apple-Picking ............. Poem .... 599
Clarify Meaning
Fire and Ice ............................................................. Poem .. .. 603
Symbol, NAOMI SHIHAB NYE Arabic Coffee ................ Poem .. .. 607
Analyze Rhythm
CHANG-RAE LEE
We Are Family ................................................................. .. 612
Rhyme and Rhyme Scheme, L ANGSTON HUGHES Dream Boogie ............... Poem .... 620
Make Inferences About Theme
Motto . . . ..................................................................... Poem .. .. 621
STUDS TERKEL from Giants of Jazz ....... Biography .... 623
W YNTON MARSALIS Playing Jazz ................... Letter .... 627
Writing Workshop Reflective Essay ............................................ 632
Professional Model
JOY H AR JO
Suspended .............................................................. Essay .. .. 633
Reflective Presentation .............................................................. .. 640
T18
Contents
Assessment ................................................................. ............... 644
L ANGSTON HUGHES
Daybreak in Alabama ........................................ Poem .... 644
NAOMI SHIHAB NYE
from Red Velvet Dress ............................. Short Story .... 644
U N IT F O U R
Genre Focus: Drama................................................................ 652

AUGUST WILSON
The Janitor ............................................. Modern Drama .... 654
Wrap-Up .................................................................... ............... 656
.. 657
Literary Focus Tragedy ................................................. ............... 658
Literary History Classical Greek Drama ....................................... 660
Protagonist and Antagonist, SOPHOCLES Antigone .................................... Tragedy .... 662

Interpret Imagery
M A R YA N N B I R D
Ever Alluring ...................................................................... 709
Vocabulary Workshop Denotation and Connotation .. ............... 713
Literary History Shakespearean Drama ...................................... 714
T19
Blank Verse, WILLIAM SHAKESPEARE

Characters The Tragedy of Julius Caesar ..................... Tragedy .... 716
Act I . . . . . . .................................................................................. .. 720
Act II . . . . .................................................................................... 739
Act III . . .................................................................................... 760
Act IV . . .................................................................................... 783
Act V . . . . .................................................................................... 800
“We all stand up against the spirit

of Caesar, and in the spirit of men
there is no blood.”
—William Shakespeare
..... 817
Literary Focus Comedy and Modern Drama ............................... 818
Farce, ANTON CHEKHOV
Recognize Author’s Purpose
A Marriage Proposal...................................... Comedy .... 820
Grammar Workshop Commas with Interjections and
Parenthetical Expressions ............................................................ 836
Conflict, HAROLD PINTER
Analyze Mood
That’s Your Trouble............................ Modern Drama .... 837
Literary Perspective
HAROLD PINTER
Writing for the Theater ................................... Speech .... 842
T20
Contents
Characterization, JOSEPHINA NIGGLI The Ring of

Analyze Plot and Setting
General Macías .................................... Modern Drama .... 846
C A R M E N TA F O L L A Marked ................................ Poem .... 866
ISAK DINESEN The Ring ........................... Short Story .... 867
Writing Workshop Persuasive Speech ......................... ............... 874
Professional Model
EVERET T DIRKSEN
Why Marigolds Should Be the
National Flower................................................. Speech .... 875
Persuasive Speech ....................................................................... 882
Assessment ................................................................. ............... 886
SOPHOCLES from Oedipus the King ........ Tragedy .... 886
UNIT FIVE
Legendsand
Myths
Genre Focus: Legends and Myths ......................................... 894
JOAN C . VERNIERO AND ROBIN FIT ZSIMMONS
from The Journey of Gilgamesh........................ Epic .... 896
Wrap-Up .................................................................... ............... 898
T21
Acts of Courage ............................... 899
Literary Focus The Legendary Hero ............................................. 900

Dialogue, SIR THOMAS MALORY
Analyze Plot
from Le Morte d’Arthur .................................. Legend .... 902
“Sir Launcelot, I know that Queen Gwynevere

loves you, and you her.”
—Sir Thomas Malory
Grammar Workshop Main and Subordinate Clauses .................. 924

MIGUEL DE CERVA N T ES
Parody, from Don Quixote ............................................... Novel .... 925
Evaluate Characters
AMANDA RIPLE Y
What Makes a Hero?.......................................................... 937
Dialogue, D. T. N I A N E from Sundiata .................................. Epic .. .. 942
Identify Genre
Visual Perspective
WILL EISNER
The Lion of Mali, From Sundiata:
A Legend of Africa .............................. Graphic Novel .... 951
T22
Contents
Rescuing and Conquering

Literary Focus Myth and the Oral Tradition ................................. 956
Plot Pattern Archetypes, BRIAN BR ANSTON The Stealing of

Characters
Thor’s Hammer.......................................... Norse Myth .... 958
Vocabulary Workshop Word Origins ........................................... 967
Image Archetype,
Identify Sequence E D I T H H A M I LTO N from Theseus ........... Greek Myth .... 968
Vocabulary Workshop Word Origins ........................................... 979
Comparing Literature Across Time and Place
Suspense, Synthesize J OS EPH B RUC H AC A N D G AY L E ROS S Where the Girl

Rescued Her Brother ........ Native American Legend .... 981
ZOR A NE ALE HURSTON John Henry .......... Tall Tale .... 988
ANONYMOUS
A Song of Greatness ......................... Chippewa Song .... 990
Writing Workshop Research Report ............................................ 992

Multimedia Presentation .............................................. ............. 1002
Independent Reading .............................................................. 1006
Assessment ................................................................. ............. 1008
DONNA ROSENBERG from King Arthur...... Legend .. 1008
T23
U N IT S I X
Genre Focus: Science Fiction, Modern Fables,

and Mystery ........................................................................... 1016
I TA LO C A LV I N O
The Happy Man’s Shirt ..................................... Fable .. 1018
Wrap-Up ................................................................................. 1020
Literary Focus Description and Style ......................................... 1022

Foreshadowing, R AY BR A DBU RY
Identify Genre
A Sound of Thunder........................... Science Fiction .. 1024
“Destroy this one man, and you

destroy a race, a people,
an entire history of life.”
—Ray Bradbury
Moral, STEPHEN VINCENT BENÉT

Visualize
By the Waters of Babylon ................. Science Fiction .. 1040
Grammar Workshop Dangling Participles ................................. 1057
T24
Contents

Stream of Consciousness,
Interpret Imagery
JAMAICA KINCAID What I Have Been
Doing Lately ................................................ Short Story .. 1059
DENISE LE VERTOV People at Night ................ Poem .. 1065
A N N A A K H M ATOVA A Dream ............................ Poem .. 1068
Scientific Perspective
WILLIAM J. BROAD
One Legend Found, Many Still to Go ....... Article .. 1070
Analogy,
Activate Prior Knowledge
ISA AC ASIMOV Robot Dreams.......... Science Fiction .. 1074
ADA M COHEN
The Machine Nurturer ...................................................... 1083
Point of View,
Recognize Author’s Purpose
M A RG A R E T AT W O O D Bread ........................... Fantasy .. 1088
Motivation,
Make Inferences About AG AT H A C H R I S T I E The Witness for
Characters the Prosecution ................................................ Mystery .. 1093
Grammar Workshop Semicolons as Connectors ........................ 1116
Vocabulary Workshop Thesaurus Use ....................................... 1117
Writing Workshop Short Story ................................................... 1118
Professional Model
ISA AC ASIMOV
from Frustration.......................................... Short Story ... 1119
Oral Interpretation of a Story ..................................................... 1126
Independent Reading .............................................................. 1128
Assessment ................................................................. ............. 1130
FRANZ KAFKA
from The Metamorphosis ....................... Short Story .. 1130
T25
UNIT SEVEN
Consumer and
workplace
documents
Focus on Functional Documents ............................................. 1138
E-mail . . . ................................................................................. 1141
Application ......................................................................... 1142
Cover Letter ........................................................................ 1143
Professional Article ......................................................... 1146
Warranty ............................................................................... 1147
Software Product Information..................................... 1148
Installation Guide ............................................................ 1149
Announcement Memo .................................................... 1152
Train Schedule and Itinerary ....................................... 1153
Meeting Itinerary.............................................................. 1154
Written Directions ............................................................ 1155
Meeting Agenda................................................................ 1156
Pamphlet .............................................................................. 1159
Contract ................................................................................ 1160
Web Site ............................................................................... 1162
T26
Contents
REFERENCE SECTION
Literary Terms Handbook ................................................... ................. R1
Foldables® ...................................................................................... R20
Functional Documents ....................................................................... R22
Writing Handbook ............................................................. ................ R28
Using the Traits of Strong Writing ...................................... ................ R28
Research Paper Writing ................................................................... R31
Reading Handbook ........................................................... ................ R38
Language Handbook ......................................................................... R40
Grammar Glossary ......................................................................... R40
Troubleshooter .............................................................. ................ R47
Mechanics ................................................................................... R53
Spelling ....................................................................... ................ R57
Logic and Persuasion Handbook .......................................................... R60
Glossary/Glosario ............................................................. ................ R64
Academic Word List .......................................................................... R80
Index of Skills .................................................................................. R83
Index of Authors and Titles ................................................................. R95
Acknowledgments ............................................................ ................ R98
T27
Selections by Genre
Fiction Lullaby . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247
Leslie Marmon Silko
Short Story from When the Buffalo Climbed a Tree. . . . . . 270
Old Man at the Bridge. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4 Mark Twain
Ernest Hemingway The Unicorn in the Garden. . . . . . . . . . . . . . . . . . . . . . . . 271
The Open Window. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .12 James Thurber
Saki from Red Velvet Dress . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644
The Californian’s Tale . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .19 Naomi Shihab Nye
Mark Twain The Ring. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 867
Contents of the Dead Man’s Pocket . . . . . . . . . . . . .35 Isak Dinesen
Jack Finney A Sound of Thunder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1026
An Astrologer’s Day. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 Ray Bradbury
R. K. Narayan By the Waters of Babylon . . . . . . . . . . . . . . . . . . . . . . . . 1042
Civil Peace . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .66 Stephen Vincent Benét
Chinua Achebe What I Have Been Doing Lately . . . . . . . . . . . . . . 1061
The Masque of the Red Death . . . . . . . . . . . . . . . . . . . . .75 Jamaica Kincaid
Edgar Allan Poe Robot Dreams . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1076
Two Kinds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .90 Isaac Asimov
Amy Tan Bread . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1090
The Car We Had to Push . . . . . . . . . . . . . . . . . . . . . . . . . . . 105 Margaret Atwood
James Thurber The Witness for the Prosecution . . . . . . . . . . . . . . 1095
Tuesday Siesta. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 Agatha Christie
Gabriel García Márquez from Frustration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .1119
When Mr. Pirzada Came to Dine . . . . . . . . . . . . . . . 125 Isaac Asimov
Jhumpa Lahiri from The Metamorphosis . . . . . . . . . . . . . . . . . . . . . . . . .1130
To Da-duh, in Memoriam . . . . . . . . . . . . . . . . . . . . . . . . . . 146 Franz Kafka
Paule Marshall
The Book of the Dead . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159 Myth, Folktale, and Fable
Edwidge Danticat The Stealing of Thor’s Hammer. . . . . . . . . . . . . . . . . 960
The Censors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 Brian Branston
Luisa Valenzuela from Theseus. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 970
Everyday Use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 Edith Hamilton
Alice Walker John Henry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 988
Through the Tunnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 Zora Neale Hurston
Doris Lessing The Happy Man’s Shirt . . . . . . . . . . . . . . . . . . . . . . . . . . . 1018
Catch the Moon. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 Italo Calvino
Judith Ortiz Cofer
And of Clay Are We Created . . . . . . . . . . . . . . . . . . . . . 232
Isabel Allende
T28
Selections by Genre
Epic Woman with Kite . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 527

from The Journey of Gilgamesh. . . . . . . . . . . . . . . . . 896 Chitra Banerjee Divakaruni
Joan C. Verniero and Robin Fitzsimmons After Great Pain, A Formal Feeling Comes 536
from Sundiata . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 944 Heart! We Will Forget Him! . . . . . . . . . . . . . . . . . . . . . . . 537
D. T. Niane Emily Dickinson
The Meadow Mouse. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 543
Legend Theodore Roethke
The Vision Quest . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 Down by the Salley Gardens. . . . . . . . . . . . . . . . . . . . . 549
Lame Deer He Wishes for the Cloths of Heaven . . . . . . . . . . 550
William Butler Yeats
from Le Morte d’Arthur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 904
Sir Thomas Malory I Am Offering This Poem . . . . . . . . . . . . . . . . . . . . . . . . . . 556
Jimmy Santiago Baca
Where the Girl Rescued Her Brother . . . . . . . . . 983
Joseph Bruchac and Gayle Ross since feeling is first . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 561
E. E. Cummings
from King Arthur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1008
Donna Rosenberg Horses Graze . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 565
Gwendolyn Brooks
Novel Parlor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 570
from Don Quixote . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 927 Rita Dove
Miguel de Cervantes Secondhand Grief . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 574
Sherman Alexie
Poetry Ballad of Birmingham . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 578
O Captain! My Captain! . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 Dudley Randall
Walt Whitman miss rosie. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 596
Those Winter Sundays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 478 Lucille Clifton
Robert Hayden After Apple-Picking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 601
Creatures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 483 Fire and Ice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 603
Billy Collins Robert Frost
Shall I Compare Thee to a Summer’s Day? 488
William Shakespeare
Woman Flying a Kite,
Reapers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 494 1750. Indian. Book
Jean Toomer illumination painting,
miniature painting.
Ode to My Socks. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 498
Sangaram Singh.
Pablo Neruda
A Storm in the Mountains . . . . . . . . . . . . . . . . . . . . . . . . . 506
Aleksandr Solzhenitsyn
The Print of the Paw . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 512
To An Aged Bear . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 513
N. Scott Momaday
Three Haiku. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 518
Matsuo Bashoˉ
Two Tanka . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523
Lady Ise
T29
Arabic Coffee. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 609 Graphic Novel
Naomi Shihab Nye Not Just Comics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419
Dream Boogie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 620 Chester Brown
Motto. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 621 The Lion of Mali, from Sundiata: A Legend
Langston Hughes of Africa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 951
Daybreak in Alabama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 644 Will Eisner
Langston Hughes
Marked . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 866 Nonfiction and Informational Text
Carmen Tafolla
Biography, Autobiography, or Memoir
People at Night . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065
from Zora Neale Hurston. . . . . . . . . . . . . . . . . . . . . . . . . . . 280
Denise Levertov
Robert E. Hemenway
A Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1068
from Farewell to Manzanar. . . . . . . . . . . . . . . . . . . . . . . . 288
Anna Akhmatova
Jeanne Wakatsuki Houston and
James D. Houston
Song
from Kaffir Boy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306
A Song of Greatness. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 990 Mark Mathabane
Chippewa
Living Well. Living Good. . . . . . . . . . . . . . . . . . . . . . . . . . 323
Drama Maya Angelou
First Impressions from DeKooning:
Tragedy An American Master. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330
Antigone. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 664 Mark Stevens and Annalyn Swan
Sophocles Typhoid Fever from Angela’s Ashes. . . . . . . . . . . 343
The Tragedy of Julius Caesar. . . . . . . . . . . . . . . . . . . . . 718 Frank McCourt
William Shakespeare Terwilliger Bunts One from An American
from Oedipus the King. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 886 Childhood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358
Sophocles Annie Dillard
from Eudora Welty: 1909–2001. . . . . . . . . . . . . . . . . . . . 449
Comedy Alice Jackson Baughn
A Marriage Proposal . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 822 from Giants of Jazz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 623
Anton Chekhov Studs Terkel
Modern Drama
The Janitor. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 654
August Wilson
That’s Your Trouble . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 839
Harold Pinter
The Ring of General Macías . . . . . . . . . . . . . . . . . . . . . . 848
Josephina Niggli
T30
Selections by Genre
Essay Newspaper Article

Storytelling Is As Old As Mankind . . . . . . . . . . . . .28 “Hamlet” Too Hard? Try a Comic Book. . . . . . 422
Joyce Carol Oates Teresa Méndez
Real-Life Story Behind “To Da-Duh, One Legend Found, Many Still to Go . . . . . . 1070
In Memoriam”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 William J. Broad
Paule Marshall
A Swimming Lesson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 Speech
Jewelle L. Gomez On Women’s Right to Vote . . . . . . . . . . . . . . . . . . . . . . . . 396
The Tucson Zoo. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377 Susan B. Anthony
Lewis Thomas I’ve Been to the Mountaintop . . . . . . . . . . . . . . . . . . . . 403
Straw into Gold: The Metamorphosis of Martin Luther King Jr.
the Everyday . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 Address on the Anniversary of
Sandra Cisneros Lincoln’s Birth . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433
What I See in Lincoln’s Eyes. . . . . . . . . . . . . . . . . . . . . . 439 Carl Sandburg
Barack Obama Cinderella’s Stepsisters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444
from Wouldn’t Take Nothing for My Toni Morrison
Journey Now . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 Writing for the Theater. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 842
Maya Angelou Harold Pinter
We Are Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 612 Why Marigolds Should Be the National
Chang-rae Lee Flower . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 875
Suspended . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 633 Everett Dirksen
Joy Harjo
Web Site Article
Profile The Graphic Novel Silver Anniversary. . . . . . 426
from Looking Forward to the Past. . . . . . . . . . . . . . 352 Andrew Arnold
Carolyn T. Hughes
The Machine Nurturer . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1083
Adam Cohen
Letter
Dear Pie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215
F. Scott Fitzgerald
Playing Jazz . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 627
Wynton Marsalis
Movie Review
4 Little Girls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 588
Roger Ebert
T31
Features
Comparing Literature
Perspectives
Across Genres
Award-winning nonfiction book excerpts and

U N IT ON E
primary source documents
Through the Tunnel
Literary Perspective Storytelling Is As Old As Doris Lessing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .201
Mankind. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 28
The Vision Quest
Joyce Carol Oates
Lame Deer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212
Historical Perspective from Looking Forward to Dear Pie
the Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .352 F. Scott Fitzgerald . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .215
Carolyn T. Hughes
4 Little Girls. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .588 Comparing Literature
Roger Ebert Different Viewpoints
Literary Perspective
Writing for the Theater. . . . . . . . . . . . . . . . . . . . . . . . . . . . . .842 U N IT T WO
Harold Pinter Not Just Comics

Visual Perspective Chester Brown . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .419
The Lion of Mali, from Sundiata: “Hamlet” Too Hard? Try a Comic Book
A Legend of Africa. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .951 Teresa Méndez . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .422
Will Eisner The Graphic Novel Silver Anniversary
Scientific Perspective One Legend Found, Andrew Arnold. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .426
Many Still to Go . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1070
William J. Broad
High-interest, informative magazine articles
Cry of the Ancient Mariner . . . . . . . . . . . . . . . . . . . . . . .178

Carl Safina
What I See in Lincoln’s Eyes. . . . . . . . . . . . . . . . . . . . . .439
Barack Obama Comparing Literature
We Are Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .612 Across Genres
Chang-rae Lee
Ever Alluring . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .709 U N IT TH R E E
Maryann Bird
Dream Boogie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .620
What Makes a Hero? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .937 Motto
Amanda Ripley Langston Hughes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .620
The Machine Nurturer. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1083 from Giants of Jazz
Adam Cohen Studs Terkel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .623
T32
Features
Playing Jazz
Wynton Marsalis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .627
Independent Reading
Comparing Literature Unit 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .268
Unit 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .458
Themes Across Genres
Unit 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .642
Unit 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .884
U N IT FOU R Unit 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1006
The Ring of General Macías Unit 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1128
Josephina Niggli. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .848
Marked
Carmen Tafolla. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .866
The Ring Assessment
Isak Dinesen . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .867
Unit 1. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270
Unit 2. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .460
Comparing Literature Unit 3. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .644
Unit 4. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .886
Unit 5. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1008
Unit 6. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1130
U N IT F I V E
Where the Girl Rescued Her Brother

Joseph Bruchac and Gayle Ross . . . . . . . . . . . . . . . .983 LITERARY FOCUS
John Henry
Zora Neale Hurston. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .988 Plot and Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8
A Song of Greatness Theme and Character . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86
Chippewa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .990 Narrator and Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .184
Narrative Nonfiction: Autobiography
Comparing Literature and Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .284
Expository and Personal Essays . . . . . . . . . . . . . . . . .366
Persuasive Essay and Speech. . . . . . . . . . . . . . . . . . . . .392
Form and Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .474
U N IT SI X
The Language of Poetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . .532
What I Have Been Doing Lately Sound Devices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .592
Jamaica Kincaid. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1061
Tragedy. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .658
People at Night
Comedy and Modern Drama . . . . . . . . . . . . . . . . . . . . .818
Denise Levertov . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065
The Legendary Hero. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .900
A Dream
Anna Akhmatova . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1068 Myth and the Oral Tradition. . . . . . . . . . . . . . . . . . . . . .956
Description and Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1022
Literary History
Classical Greek Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .660
Shakespearean Drama. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .714
T33
Skills Workshops
Writing Workshops Grammar Workshops
Literary Criticism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ 258 Apostrophes in Possessives .................... ..... 63
P R O F E S S I O N A L M O D E L : Real-Life Story
Behind “To Da-Duh, In Memoriam” Sentence Combining.............................. ... 142
by Paule Marshall
Sentence Fragments .................................. 229
Biographical Narrative . . . . . . . . . . . . . . . . . . . . . ......... 448
PROFESSIONAL MODEL: Subject-Verb Agreement ........................... 303
from Eudora Welty: 1909–2001
by Alice Jackson Baughn Pronoun-Antecedent Agreement ............... 509
Reflective Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......... 632 Commas with Interjections and Parenthetical

P R O F E S S I O N A L M O D E L : Suspended Expressions .............................................. 836
by Joy Harjo
Main and Subordinate Clauses .............. ... 924
Persuasive Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ 874
P R O F E S S I O N A L M O D E L : Why Marigolds Dangling Participles ............................... 1057
Should Be the National Flower
by Everett Dirksen Semicolons as Connectors ........................ 1116
Research Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ 992
Short Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ....... 1118 Vocabulary Workshops

P R O F E S S I O N A L M O D E L : from Frustration
by Isaac Asimov Denotation and Connotation .................. ..... 32
Dictionary Use ............................................ 72

Speaking, Listening,
Multiple-Meaning Words .......................... 122
and Viewing Workshops
Jargon....................................................... 340
Literary Criticism. . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......... 266
Homonyms and Homophones ................ ... 480
Photo Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ......... 456
Denotation and Connotation .................. ... 713
Reflective Presentation . . . . . . . . . . . . . . . . . . . . . ........ 640
Word Origins ......................................... ... 967
Persuasive Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . ........ 882
Word Origins ............................................ 979
Multimedia Presentation . . . . . . . . . . . . . . . . . ....... 1002
Thesaurus Use ....................................... .. 1117
Oral Interpretation of a Story . . . . . . . . . . . . ....... 1126
Media Workshops
Compare Media Genres .............................. 582
T34
How to Use Glencoe Literature
Organization Why do I need

The literature you will read is organized by literary this book?
element and genre into six units: The Short Story, Nonfiction,
Poetry, Drama, Legends and Myths, and Genre Fiction. Glencoe Literature is more
than just a collection of
Each unit contains the following: stories, poems, nonfiction
A UNIT INTRODUCTION provides you with the background articles, and other literary
information to help make your reading experience more works. Every part is built
meaningful. around Big Ideas, concepts
that you will want to think
• GENRE FOCUS defines the literary elements that make up a about, talk about, and
unit. maybe even argue about.
Big Ideas help you become
part of an important
Learning Objectives
Imagery
conversation. You can join
For pages 466–472 In a shoe box stuffed in an old nylon stocking
In studying this text, you will
focus on the following
objectives: What distinguishes poetry
Imagery is descriptive language used to
represent objects, feelings, and thoughts. It
often appeals to one or more of the five
Sleeps the baby mouse I found in the
meadow,
Where he trembled and shook beneath a stick
in lively discussions about
senses: sight, hearing, touch, taste, and smell.
Literary Study:
Analyzing form and structure.
Analyzing language.
Analyzing sound devices.
from prose? —Theodore Roethke, from “The Meadow Mouse”
who we are, where we
How does poetry give a sense of the mystery and marvel of life?
It uses what African American poet Quincy Troupe calls “the music
of language.” Says Troupe, “I want the words to sing.” The ele-
The Sound of Poetry have been, and where we
ments of poetry, while they may be found in other genres, are
essential to the art of poetry.
Rhyme Black reapers with the sound of steel on stones

Are sharpening scythes. I see them place the hones
a
a
are going.
The Form and Structure of Poetry Rhyme is the repetition of a final stressed
vowel and succeeding sounds in two or more
In their hip-pockets as a thing that’s done,
And start their silent swinging, one by one.
b
b
words. Internal rhyme occurs within lines of —Jean Toomer, from “Reapers”
poetry. End rhyme occurs at the ends of lines.
Lines and Stanzas The mother smiled to know her child Rhyme scheme, the pattern formed by end
rhymes, is shown by a row of letters (aabb) in
Poetry is arranged in lines and stanzas. A line Was in a sacred place,
But that smile was the last smile which a different letter of the alphabet signals
is a horizontal row of words, which may or ͝ ´ had
If I/ ͝ loved
´ ͝ less
/ you ´ / or͝ played
´ / you
͝ slyly
´͝
each new rhyme.
may not form a complete sentence. A stanza To come upon her face.
͝ ´ / have
I might ͝ held
´ / you ͝ for
´ /͝ ´ / mer
a sum ͝ more,
´
is a group of lines forming a unit and sepa- —Dudley Randall, from “Ballad of Birmingham”
rated from the next stanza by a line of space. Rhythm and Meter —Edna St. Vincent Millay, from “Well, I Have
A poet chooses words and arranges them to Lost You; and I Lost you Fairly”
create rhythm, the pattern of stressed and
unstressed syllables in a line. Rhythm can be
The Language of Poetry regular or irregular. Meter is a regular rhythm.
The basic unit in measuring rhythm is the foot, alliteration
which usually contains one stressed syllable
past the puff-cheeked clouds, she
marked with (´) and one or more unstressed
Figurative Language simile follows it, her eyes slit-smiling at the sun.
syllables marked with (͝).
She laughs like wild water, shaking —Chitra Banerjee Divakaruni, from “Woman with
A figure of speech is a word or expression her braids loose, she laughs Kite”
that is not literally true but expresses some —Chitra Banerjee Divakaruni, from “Woman with Kite” Other Sound Devices
truth beyond the literal level. consonance
personification • Alliteration is the repetition of consonant
• A simile uses the word like or as to com- sounds at the beginnings of words. And kisses are a better fate
Sometime too hot the eye of heaven shines,
pare two seemingly unlike things. —E. E. Cummings, from “since feeling is first”
And often is his gold complexion dimmed; • Consonance is the repetition of consonant
• A metaphor compares two or more things —William Shakespeare, from “Shall I Compare sounds within words or at the ends of words.
by implying that one thing is another. Thee to a Summer’s Day?”
• Assonance is the repetition of vowel
• Personification involves giving human char- metaphor sounds within non-rhyming words.
acteristics to an animal, object, or idea. the spring rain Literature Online
• Onomatopoeia is the use of a word or
is a
phrase, such as swoosh or clank, that imitates Literature and Reading For more selections in this
thread of pearls genre, go to glencoe.com and enter QuickPass code
or suggests the sound of what it describes.
—Lady Ise, from a tanka GL59794u3.
468 U N IT 3 POETRY IN T R O DU CT IO N 469
• The LITERARY ANALYSIS MODEL uses an example to help

you identify different literary elements and analyze their use
within the text.
• BIG IDEAS target three concepts that you can trace as you
read the literature.
LITERARY SELECTIONS follow each Part Introduction. The

selections are organized as follows.
T35
Before You Read
World Literature
England
Reading and Thinking
The Open Window The main literary works in your textbook are
Meet Saki arranged in three parts.
(1870–1916)
W
hat if, as a child, you were locked
away in a country house with two
strict, bickering aunts as your
guardians? How would you satisfy your
desire for diversion? If you possessed the
• Start with BEFORE YOU READ. Learn
satiric humor, wit, and writing talents of Saki,
you might have found satisfaction as he did,
by writing stories.
valuable background information about
Childhood Trials Hector Hugh Munro (Saki’s
real name) was the third child in an upper-
class English family. He was born in the former
British colony of Burma. When his mother
the literature and preview the skills and
“The best stories of Munro are all of
strategies that will guide your reading.
was pregnant with her fourth child, the family
returned to England, but she was killed in an childhood, its humor and its comedy as
accident before giving birth. Saki’s father well its cruelty and unhappiness.”
decided to return to Burma. He sent his three
children to live with his mother and two —Graham Greene, from The Best of Saki
unmarried sisters in an English village.
Saki’s aunts were not at all suited to caring
for children. They imposed strict rules and Finding Success Also in 1900, Saki began writ-
MEET THE AUTHOR presents a

constantly quarreled with each other. Saki ing captions for political cartoons. It was at this
never forgot his childhood experiences and time that he took his rather surprising pen
many of his stories would have tyrannical name, the single name Saki, an allusion to the
aunts and young children who wreaked Rubáiyát of Omar Khayyám, a famous epic poem.
detailed biography of the writer

havoc on adults.
Saki was able to focus solely on writing short
From Burma to London When Saki was stories from 1909 until 1914, when he joined
twenty-three, he took a position with the the army to fight in World War I. Saki was
military police in Burma. He was enthralled mortally wounded on a French battlefield.
by the region’s exotic landscape, especially
the wild animals. Munro’s fascination with
and respect for animals emerges as another
However, his literature lives on. Saki’s stories
and three novels have been published in the
volume The Complete Works of Saki, and they
whose work you will read and
repeated feature of his stories. continue to delight readers today.
When he contracted malaria, Saki returned to
England. When he was well, he moved to
London to pursue his literary career. In 1900
Literature Online
analyze.
Author Search For more about Saki, go to glencoe.com
his first work, The Rise of the Russian Empire, and enter QuickPass code GL59794u1. Learning Objectives
was published.
Literature and Reading Preview
For pages 10–16
10 U N IT 1 T H E SH O RT S T O RY
E. O. Hoppe/Mansell/Time Life Pictures/Getty Images
Connect to the Short Story In studying this text, you will
Has your first impression of someone ever turned out to be
objectives:
wrong? Freewrite for a few minutes about a time when you
Literary Study: Analyzing
LITERATURE AND
were mistaken about a first impression.
flashback.
Build Background Reading: Identifying sequence
“The Open Window” takes place in the early 1900s at an

English country house set on an estate with hunting grounds.
At the time of this story, it was not unusual for upper-class
families to welcome into their homes strangers who brought
READING PREVIEW lists the
with them a letter of introduction from a mutual acquaintance. Vocabulary
Set Purposes for Reading

Big Idea Encountering the Unexpected
self-possessed (self́ pə zest)
adj. in control of oneself; com-
posed; p. 12 Many people were
basic tools you will use to read
As you read “The Open Window,” ask yourself, how does Saki
use the twists and turns in the story to manipulate not only the
story characters, but his readers as well?
nervous, but she was completely
self-possessed.
duly (dō ̄ṓ̄ le) adv. rightfully;
and analyze the literary work.
suitably; p. 12 He was duly
Literary Element Flashback impressed with the grand house.
A flashback is an interruption of the chronological order of the infirmity (in fur mə tē) n. a
story to show an event that happened earlier. As you read, ask weakness or ailment; p. 13 He
yourself, How does Saki use flashback to give information that once was a vibrant, energetic man,
helps explain the main events of the story? but age and infirmity had slowed
him down.
Reading Strategy Identify Sequence
To identify sequence is to recognize the order of events in a
imminent (im ə nənt) adj.
literary work. As you read, ask yourself, What clues or signal
likely to happen soon; p. 14
words point to the chronological, or time, order of events?
Dark, thick clouds are gathering,
and rain seems imminent.
Tip: Organize Events Use a sequence chart to put important
events in the story in chronological order.
Sequence of Events
The first thing that happens is:
Framton Nuttel waits for Mrs. Sappleton with her
niece Vera.
➧ ➧
After that:
Vera asks Nuttel if he knows anything about her aunt,
and he says, “Only her name and address.”
Next:
Vera tells Nuttel about her aunt’s “great tragedy.”
SAKI 11
Saki
y aunt will be down presently, introduction to all the people I know there.
Mr. Nuttel,” said a very self-
possessed young lady of fif-
Some of them, as far as I can remember,
were quite nice.”
• Next, read the LITERATURE SELECTION. As
teen; “in the meantime you must try and
put up with me.”
Framton Nuttel endeavored to say the
Framton wondered whether Mrs.
Sappleton, the lady to whom he was pre-
senting one of the letters of introduction,
you flip through the selections, you will
correct something which should duly flat-
ter the niece of the moment without
came into the nice division.
“Do you know many of the people notice that parts of the text are highlighted
unduly discounting the aunt that was to round here?” asked the niece, when she
come. Privately he doubted more than ever
whether these formal visits on a succession
judged that they had had sufficient silent
communion.
in different colors. At the bottom of the page
of total strangers would do much towards “Hardly a soul,” said Framton. “My
helping the nerve cure which he was sup-
posed to be undergoing.
sister was staying here, at the rectory, you
know, some four years ago, and she gave
are color-coded questions that relate to the
“I know how it will be,” his sister had
said when he was preparing to migrate to
me letters of introduction to some of the
people here.” highlighted text. Yellow represents a Big Idea,
this rural retreat; “you will bury yourself He made the last statement in a tone of
down there and not speak to a living soul,
and your nerves will be worse than ever
distinct regret.
“Then you know practically nothing
magenta represents a Literary Element, and
from moping. I shall just give you letters of about my aunt?” pursued the self-
possessed young lady.
“Only her name and address,” admitted
blue represents a Reading Strategy. These
Flashback What background information does this flash-
back provide?
the caller. He was wondering whether Mrs.
Sappleton was in the married or widowed questions will help you gain a better
understanding of the text.
Vocabulary
self-possessed (self́ pə zest) adj. in control of one- Identify Sequence Is this taking place before or after
self; composed Framton Nuttel’s arrival at the Sappletons’ home? Explain
duly (dō ō̄ ̄ lē) adv. rightfully; suitably how it relates to the flashback that precedes it.
12 U N IT 1 THE SHO RT STO RY

Alan Klehr/Veer
T36
How to Use Glencoe Literature
After You Read

• Wrap up the literature with AFTER YOU Respond and Think Critically
READ. Explore what you have learned Respond and Interpret Vera’s behavior, what might you conclude about
Vera’s motives?
1. What was your reaction to Vera and Framton
through a wide range of reading, thinking, Nuttel? 6. The author subtly plays with the theme of hunt-
ing in this story. How is Vera like a hunter and
2. (a)Why does Framton Nuttel visit Mrs. Sappleton?
vocabulary, and writing activities. (b)What do you think Vera notices as they sit in
Framton Nuttel like her prey?
silence and wait for Mrs. Sappleton? Connect
3. (a)What does Vera ask Framton Nuttel to break
7. Big Idea Encountering the Unexpected
the silence? (b)Do you think that she asks this
A surprise reversal of events is a common
question because she is curious, or do you
theme in Saki’s stories. How does Saki employ
think she has another motive? Explain.
this theme in “The Open Window”?
4. (a)What is Vera’s reaction to the appearance of
8. Connect to Today Would you like to be
the three men returning from the moor? (b)How
friends with Vera? Why or why not? Use details
do you think this contributed to Nuttel’s reaction?
from the story to support your opinion.
Analyze and Evaluate
5. (a)How might Vera’s poise and self-confidence
contribute to her being believed? (b)In analyzing
Literary Element Flashback Review: Plot

ACT Skills Practice As you learned on page 8, plot refers to the
sequence of events in a story.
1. How does the author create an opportunity for
Vera to tell her lengthy flashback? Partner Activity Meet with another classmate and
work together to identify the plot elements of “The
A The event she describes occurred three
Open Window.” Working with your partner, create a
years earlier.
plot diagram like the one below. Then fill it in with
B The hunting party is late returning. specific events from the story.
C Vera speaks rapidly and dramatically. START
D Mr. Nuttel has to wait some time for Vera’s
aunt to appear. Exposition
➧ ➧ ➧ ➧
2. How does Vera’s fanciful flashback have ironic
consequences? Rising Action
F Vera’s aunt is puzzled by Mr. Nuttel’s abrupt

departure. Climax
G The hunting party looks exactly the way Vera
described it.
Falling Action
H Visiting his neighbors does nothing to help
Mr. Nuttel’s nerves.
J Mr. Nuttel believes every word of Vera’s tall tale. Resolution
F IN ISH
SAKI 15
Vocabulary
VOCABULARY WORDS that may be new
or difficult for you are chosen from most
selections. They are introduced on the
BEFORE YOU READ page. Each word is
accompanied by its pronunciation, its part of
speech, its definition, and the page number on Reading Strategy Make Generalizations Write with Style
About Characters
which it appears. The vocabulary word is also ACT Skills Practice Apply Interior Monologue
used in a sample sentence. Vocabulary words 1. Which pair of words best describes the attitude
of the narrator’s family to technology?
Assignment Write an interior monologue to show
the grandfather’s jumbled thoughts at the point in
are highlighted in the literary work. A. confident and optimistic

B. resentful and angry
the story when the narrator’s father is trying to
explain that no one has died.
C. confused and frightened Get Ideas Reread the long paragraph that begins
“Our poor old Reo came to a horrible end…” List
D. reckless and irresponsible
thoughts that might be going through the grandfa-
ther’s mind before, during, and after his brief dia-
Vocabulary Practice
logue with the narrator’s father. Use details from
Practice with Word Origins Studying the the narrative to help you make inferences about
etymology, or origin and history, of a word can what the grandfather might be thinking. List the
VOCABULARY PRACTICE On the help you understand its meaning. Create a

word map, like the one below, for each of
details and inferences in a chart like the one below.
these vocabulary words from the text. Detail Inference

AFTER YOU READ pages, you will be able repercussion exhortation contend lucid
to practice using the vocabulary words in Etymology Latin

magna meaning
“great” + animus,
Definition showing
greatness in generosity
or feeling
Give It Structure Use stream-of-consciousness
an exercise. This exercise will show you meaning “spirit”
writing to express the grandfather’s free-flowing
thoughts. The stream-of-consciousness does not
how to apply a vocabulary strategy to magnanimous have to be logical or even grammatically correct. It
should mimic what might be going through the
grandfather’s mind. For example, the grandfather
understand new or difficult words. Sample sentence Janice felt the
repercussions of her mistake.
might associate a car crash with the sound of fall-
ing kitchen objects.
Look at Language Use the grandfather’s spoken
Academic Vocabulary language as a guide to how he might think or talk
to himself. Re-create his language using his diction
The narrator relates a series of events. and the length, structure, and type of his sentences
Series is a multiple-meaning word. Using as a model.
ACADEMIC VOCABULARY Many of context cues, try to figure out the meaning of
series in each sentence and explain the simi-
EXAMPLE
Dead, my foot! Why ain’t they fixed that car yet?
the AFTER YOU READ pages will also larities and differences between the meanings.
1. Use commas to separate items in a series.
It’s a shame.
introduce you to a word that is frequently 2. The January issue is the first of the series.
For more on academic vocabulary, see pages
used in academic work. You will be 52 and 53. Literature Online
Selection Resources For Selection Quizzes, eFlash-
prompted to complete an activity based cards, and Reading-Writing Connection activities, go to

glencoe.com and enter QuickPass code GL59794u1.
on that word. JAMES THURBER 111
T37
Writing Workshops
Learning Objectives
For pages 258–265 Writing Workshop Assignment: Write Literary Criticism

Exposition Each unit in Glencoe Literature includes a
Write an essay of literary criticism of at least 1,500 words. Use your
Writing Workshop. The workshop walks you

In this workshop, you will
objectives: Literary Criticism essay to show how a literary work is related to themes and issues of
its historical period and to an individual’s life. As you work, keep your
Writing: Writing a literary audience and purpose in mind.
criticism.
Real-World Connection
Grammar: Literature Connection In “A Californian’s Tale,” Mark Twain does
through the writing process as you work on an

Audience: your teacher Various writing tasks in the
Understanding how to vary more than tell an entertaining story: he also presents historical facts.
Purpose: to explain and inform by analyzing how a work of literature workplace, from informative
sentence openers.
“Thirty-five years ago I was out prospecting on the is related to a real time, place, or person presentations to corporate
Understanding how to correct publications, will require
Stanislaus, tramping all day long with pick and pan and
run-on sentences.
horn, and washing a hatful of dirt here and there, always you to use many of the
expecting to make a rich strike, and never doing it.” same skills you use in writ-
Writing Process
Twain recreates a real time and place and provides details about what
happened there. A writer of literary criticism can use those details in ana-
lyzing the story from a historical perspective. Study the rubric below to learn
about writing literary criticism based on biographical or historical details.
Analyze a Professional Model
In the literary criticism that follows, Paule Marshall presents biographical
details that shed light on her short story, “To Da-duh, In Memoriam.”
The reader learns not only that Da-duh was a real person but also that
ing literary criticism: choos-
ing an appropriate and
formal tone, maintaining a
clear focus, and marshaling
evidence in support of your
extended piece of writing related to the unit.
At any stage, you may think she appears throughout Marshall’s works. As you read the criticism, ideas or claims.
of new ideas. Checklist identify its features. Pay close attention to the comments in the margin:
Prewrite they point out features to include in your own literary criticism.
Goals Strategies
Draft
✓
• You will create writing goals and apply

To comment on how a work Establish a clear thesis or controlling
Revise is related to a particular impression
place or time (history) or to ✓ Display a keen understanding of the
Real-Life Story Behind “To Da-duh,
Focus Lesson:
Sentence Openers
an individual life (biography) work including its subtle meanings In Memoriam” by Paule Marshall
Edit and Proofread To explain and develop ✓ Make accurate and detailed Focus
strategies to meet them.

ideas references to the text This is the most autobiographical of stories, a reminiscence
Focus Lesson: Run-on Create and maintain a bio-
✓ Demonstrate awareness of the largely of a visit I paid to my grandmother (whose nick- graphical or historical focus.
Sentences
author’s style and appreciation of name was Da-duh) on the island of Barbados when I was
Present/Publish the effects created
nine. Ours was a complex relationship—close, affectionate Formal Tone
To maintain a consistent ✓ Use precise language and the active Maintain a formal tone
yet rivalrous. During the year I spent with her a subtle kind
focus and tone voice throughout your paper.
of power struggle went on between us. It was as if we both
To present organized, linked,
and fluid ideas to the reader
✓
✓
Create a clear introduction, body,
and conclusion
Use each body paragraph to present
and develop one main idea
Use transitions
knew, at a level beyond words, that I had come into the
world not only to love her and to continue her line but to
take her very life in order that I might live.
Purpose
• You will pick up tips and polish your critical
Years later, when I got around to writing the story, I tried
Literature Online
Writing and Research For
prewriting, drafting, and revising
tools, go to glencoe.com and
giving the contest I had sensed between us a wider meaning.
I wanted the basic theme of youth and old age to suggest
rivalries, dichotomies of a cultural and political nature, hav-
Display a keen understand-
ing of the work, including its
subtle meanings or complex
ideas.
skills as you analyze professional and
enter QuickPass code
ing to do with the relationship of western civilization and
workshop models.
GL59794u1.
the Third World.
258 U N I T 1 THE SHO RT STO RY WRITING WO RKSHOP 259
• You will focus on mastering specific aspects

of writing, including organization, grammar,
and vocabulary.
• You will use a rubric to evaluate your own
Assessment
writing.
English–Language Arts
Reading: Fiction
Carefully read the following passages. Use context clues to help you define any words
with which you are unfamiliar. Pay close attention to story elements such as theme,
voice, and tone. Then, on a separate sheet of paper, answer the questions on page 272.
from “When the Buffalo Climbed a Tree” by Mark Twain

line
“Your saddle? Did you take your saddle up in the tree with you?”
“Take it up in the tree with me? Why, how you talk. Of course I didn’t. No man could do that. It
fell in the tree when it came down.”
“Oh—exactly.”
5 “Certainly. I unwound the lariat, and fastened one end of it to the limb. It was the very best green
raw-hide, and capable of sustaining tons. I made a slip-noose in the other end, and then hung it
down to see the length. It reached down twenty-two feet—half way to the ground. I then loaded
every barrel of the Allen with a double charge. I felt satisfied. I said to myself, if he never thinks of
that one thing that I dread, all right—but if he does, all right anyhow—I am fixed for him. But don’t
10 you know that the very thing a man dreads is the thing that always happens? Indeed it is so. I
watched the bull, now, with anxiety—anxiety which no one can conceive of who has not been in
such a situation and felt that at any moment death might come. Presently a thought came into the
bull’s eye. I knew it! Said I—if my nerve fails now, I am lost. Sure enough, it was just as I had
dreaded, he started in to climb the tree—”
15 “What, the bull?”
“Of course—who else?”
“But a bull can’t climb a tree.”
“He can’t, can’t he? Since you know so much about it, did you ever see a bull try?”
“No! I never dreamt of such a thing.”
20 “Well, then, what is the use of your talking that way, then? Because you never saw a thing
done, is that any reason why it can’t be done?”
“Well, all right—go on. What did you do?”
“The bull started up, and got along well for about ten feet, then slipped and slid back. I breathed
Assessment
easier. He tried it again—got up a little higher—slipped again. But he came at it once more, and this
25 time he was careful. He got gradually higher and higher, and my spirits went down more and more.
Up he came—an inch at a time—with his eyes hot, and his tongue hanging out. Higher and higher—
At the end of each unit, you will be tested on
hitched his foot over the stump of a limb, and looked up, as much as to say, ‘You are my meat, friend.’
Up again—higher and higher, and getting more excited the closer he got. He was within ten feet of the literature, reading, and vocabulary skills
you have just learned. Designed to simulate
standardized tests, this test will give you the
270 U N IT 1 THE SHO RT STO RY
practice you need to succeed while providing
an assessment of how well you have met the
unit objectives.
Nonfiction
BOUND BOOK Short Stories
Poem
s
Rea
Try using this organizer to d
explore your personal
Res er-
pon
Organizing Information
Jou se
responses to the poetry, rna
l
Graphic organizers—such as Foldables®,
play and nonfiction. diagrams, and charts—help you keep your
information and ideas organized.
T38
Be Cyber Safe and Smart
Words to Know
Cyber Safety cyber world the world of computers and high-
As you explore the Glencoe Literature program, tech communications
you will have many opportunities to go online. cyber safety actions that protect Internet
When you use the Internet at school or home, users from harm
you enter a kind of community—the cyber world. cyber ethics responsible code of conduct for
using the Internet
In this online world, you need to follow safety
cyber bully a person who uses technology to
rules and protect yourself. Here are some tips to
frighten, bother, or harm someone else
keep in mind:
cyber citizen a person who uses the Internet
to communicate
✔ Be a responsible cyber citizen. Use the Internet to share knowledge that makes people’s
❑
lives better. Respect other people’s feelings and do not break any laws.
✔ Beware of cyber bullying. People can be hurt and embarrassed by comments that have
❑
been made public. You should immediately tell your teacher or counselor if you feel
threatened by another student’s computer postings.
✔ Do not give out personal information, such as your address and telephone number,
❑
without your parents’ or guardians’ permission.
✔ Tell your teacher, parent, or guardian right away if you find or read any information that
❑
makes you feel uneasy or afraid.
✔ Do not email your picture to anyone.
❑
✔ Do not open email or text messages from strangers.
❑
✔ Do not tell anyone your Internet password.
❑
✔ Do not make illegal copies of computer games and programs, and software CDs.
❑
Literature Online
For more about internet safety
and responsibility, go to
glencoe.com
T39
SCOP E AN D SEQU ENCE
This chart provides an overview of the scope and sequence for Glencoe Literature—Course 5. For a detailed scope and
sequence of skills, see the chart at the beginning of each unit in the Teacher Edition. Refer also to the Index of Skills in
the Reference section in the back of the book for a comprehensive listing of all skills and concepts taught in Course 5.
✔ = Introduced ✔ = Reviewed U N IT O N E U N IT T WO U N IT T H R EE U N IT F O U R U N IT F I VE U N IT S IX UNIT SEVEN
Literary Criticism
Analyzing Literature in Context
Historical Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔
Artistic Approach ✔ ✔ ✔ ✔
Biographical Approach ✔ ✔
Literary Genres
Oral Tradition Forms
Song ✔
Myth, Folklore, and Legend ✔
Fiction
Short Story ✔ ✔ ✔
Novel Excerpt ✔
Nonfiction
Autobiography or Memoir ✔
Biography ✔ ✔
Magazine Article ✔ ✔ ✔ ✔ ✔ ✔
Newspaper Article ✔
Speech ✔ ✔
Informational Text ✔ ✔ ✔ ✔ ✔ ✔ ✔
Public Document ✔ ✔ ✔
Letter ✔ ✔ ✔
Functional Document ✔
Graphic Novel ✔ ✔
Poetry
Narrative Poem ✔ ✔
Ballad ✔ ✔
Epic ✔
T40
U N IT O N E U N IT T WO U N IT T H R EE U N IT F O U R U N IT F I VE U N IT S IX UNIT SEVEN
Drama
Comedy ✔
Tragedy ✔
Literary Elements
Literary Structure
Plot ✔ ✔ ✔ ✔
Setting ✔ ✔ ✔ ✔ ✔ ✔
Characters ✔ ✔ ✔ ✔ ✔ ✔
Point of View ✔ ✔ ✔
Theme ✔ ✔ ✔ ✔ ✔ ✔
Voice and Tone ✔ ✔ ✔ ✔ ✔
Author’s Purpose ✔ ✔ ✔ ✔ ✔
Literary Language
Imagery ✔ ✔ ✔ ✔ ✔
Symbolism ✔ ✔ ✔
Figures of Speech ✔ ✔ ✔
Sound Devices ✔ ✔
Diction ✔ ✔ ✔
Rhetorical Strategies ✔ ✔ ✔ ✔
T41
SCOP E AN D SEQU ENCE
✔ = Introduced ✔ = Reviewed U N IT O N E U N IT T WO U N IT T H R EE U N IT F O U R U N IT F I VE U N IT S IX UNIT SEVEN
Reading Skills
Strategies
Analyzing ✔ ✔ ✔ ✔ ✔ ✔ ✔
Clarifying ✔ ✔
Drawing Conclusions ✔ ✔ ✔
Making Inferences ✔ ✔ ✔ ✔ ✔
Making Predictions ✔ ✔
Monitoring Comprehension ✔
Paraphrasing ✔ ✔
Previewing ✔ ✔ ✔ ✔ ✔ ✔ ✔
Questioning ✔ ✔ ✔ ✔
Recognizing Bias ✔ ✔
Summarizing ✔ ✔ ✔
Synthesizing ✔ ✔ ✔ ✔ ✔ ✔ ✔
Vocabulary Development
Analogies ✔ ✔ ✔ ✔ ✔ ✔
Antonyms ✔ ✔ ✔ ✔ ✔ ✔
Context Clues ✔ ✔ ✔ ✔ ✔ ✔
Denotation and Connotation ✔ ✔ ✔ ✔ ✔ ✔
Multiple-Meaning Words ✔ ✔
Prefixes and Suffixes ✔
Synonyms ✔ ✔ ✔ ✔ ✔
Word Roots and Origins ✔ ✔ ✔ ✔ ✔ ✔
Writing and Grammar

Types of Writing
Literary Criticism: Biographical
or Historical Approach ✔ ✔ ✔ ✔ ✔ ✔
Biographical Narrative ✔ ✔
Essay ✔ ✔ ✔ ✔ ✔ ✔
Persuasive Speech ✔
Research Report ✔ ✔
Short Story ✔
T42
U N IT O N E U N IT T WO U N IT T H R EE U N IT F O U R U N IT F I VE U N IT S IX UNIT SEVEN
Writing Process
Prewriting, Drafting, Revising,
Editing and Proofreading, Presenting ✔ ✔ ✔ ✔ ✔ ✔
Traits of Strong Writing ✔ ✔ ✔ ✔ ✔ ✔
Grammar, Usage, and Mechanics
Parts of Speech ✔ ✔ ✔ ✔ ✔ ✔
Capitalization and Punctuation ✔ ✔ ✔ ✔ ✔ ✔
Sentence Structure ✔ ✔ ✔ ✔ ✔ ✔
Speaking, Listening, and Viewing

Presenting Literary Criticism ✔
Photo Essay ✔
Reflective Presentation ✔
Persuasive Speech ✔
Multimedia Presentation ✔
Oral Interpretation of a Short Story ✔
T43
ESSENTIAL COU RSE OF STU DY
Teaching the Standards: Grade 10

The following abbreviated curriculum is a suggestion for addressing those objectives that students commonly encounter on
standardized tests. You may use it as a guide for prioritizing instruction in preparation for the tests.
Unit 1
Selections/Lessons Pacing/Days Genre Where to Find Instruction Commonly Tested Objectives
An Astrologer’s Day 2–6 Short Story SE, p. 56 Literary Study: Analyzing mood.
RW, RW-APP, pp. 1–12 Reading: Analyzing cultural context.
RW-EL, pp. 1–12, 306 Reading: Understanding word origins.
Tuesday Siesta 2–7 Short Story SE, p. 114 Literary Study: Analyzing implied theme.
RW, RW-APP, pp. 13–26 Reading: Making inferences about theme.
RW-EL, pp. 13–26, 307 Reading: Understanding word parts.
When Mr. Pirzada 4–11 Short Story SE, p. 125 Literary Study: Analyzing theme.
Came to Dine RW, RW-APP, pp. 27–50 Reading: Comparing and contrasting
RW-EL, pp. 27–50, 308 characters.
Reading: Understanding context clues.
Catch the Moon 3–7 Short Story SE, p. 220 Literary Study: Analyzing point of view.
RW, RW-APP, pp. 51–66 Reading: Interpreting imagery.
RW-EL, pp. 51–66, 309 Reading: Understanding denotation and
connotation
Unit 2
Selections/Lessons Pacing/Days Genre Where to Find Instruction Commonly Tested Objectives
Living Well. Living 2–5 Autobiog- SE, p. 323 Literary Study: Analyzing memoir.
Good raphy RW, RW-APP, pp. 67–76 Reading: Drawing conclusions about the
RW-EL, pp. 67–76, 310 author’s beliefs.
Reading: Understanding analogies.
The Tucson Zoo 3–7 Expository SE, p. 377 Literary Study: Analyzing structure.
Essay RW, RW-APP, pp. 77–88, Reading: Drawing conclusions about
306–307 meaning.
RW-EL, pp. 77–88, Reading: Understanding antonyms.
311–313
Straw into Gold, The 2–5 Personal SE, p. 384 Literary Study: Analyzing thesis.
Metamorphosis of Essay RW, RW-APP, p.89–98, Reading: Analyzing text structure.
the Everyday 308 Reading: Understanding analogies.
RW-EL, pp. 89–98,
314–315
[Note: SE= Student Edition; RW= Read and Write; RW-APP= Approaching Level; RW-EL= English Learner]
T44
Another random document with
no related content on Scribd:
254
Smell and taste, perversion of,
250
Spinal irritation,
251
Temperature and pulse,
252
Urinary secretion, state of,
253
Vaginismus,
246
Vomiting,
254
Synonyms,
206
Treatment,
273
Baths, use of, in,
282
283
Bromides, use of,
276
Chloroform, use of,
285
286
Climatic,
283
Cold, use of,
282
283
Education, necessity of proper,
274
Electricity, use of,
281-286
Emetics in controlling seizures,
285
Exercise and gymnastics, use in,
275
280
Gold and sodium chloride, use of,
279
Gynæcological, question of,
286
287
Harsh measures, questionable value of,
276
Hydrotherapy in,
281
282
in children,
275
Iron and zinc salts, use in,
278
Massage and Swedish movements,
280
Metallo-therapy,
284
Mind- and faith-cures, value of,
277
278
Mitchell's rest-cure,
279
Moral,
276
Musk, valerian, asafœtida, etc.,
278
Nitrite of amyl,
285
of contractures,
286
of paralyses,
286
of paroxysms,
285
Opium, use of,
278
Oöphorectomy, question of,
287
Prophylactic and hygienic,
274
Sea-bathing in,
283
Hysteria as a cause of disseminated sclerosis,
884
of vertigo,
425
distinguished from brain tumors,
1055
Hysterical headache,
402
insanity,
148
YSTERO-EPILEPSY
288
Definition and synonyms,
288
Diagnosis,
307
from true epilepsy,
308
from simulation,
310
Duration and course,
307
Etiology,
291
Age, influence of,
291
Emotional,
293
Painful menstruation,
293
Sex, race, and climate,
291
History,
289
Pathology,
291
Prognosis,
310
Symptoms,
293
Anæsthesia,
298
Contracture,
297
Digestive,
297
Hallucinations,
301
Hystero-epileptogenic zones, significance of,
298
of contortions and great movements,
301
of delirium,
301
of emotional attitudes,
301
of epileptoid period,
300
of irregular types,
302
of regular types,
293
of paroxysms,
293
304
306
Ovarian hyperæsthesia,
298
pressure, effect of,
299
Permanent,
307
Prodromal,
297
Treatment,
310
Compression of nerve-trunks,
310
Electricity, use of,
311-313
Metallic salts, use of,
313
Metallo-therapy,
313
Nitrite of amyl and nitro-glycerin,

311
Oöphorectomy, question of,
312
Potassium bromide, use of,
313
Torsion of abdominal walls to arrest paroxysms,
311
Varieties,
290
I.
Ice, use of, in acute simple meningitis,
720
in cerebral meningeal hemorrhage,
715
in neuritis,
1194
in tubercular meningitis,
736
Idiocy, intellectual and moral,
138
Ill-health, influence on causation of insanity,
116
117
Illusions in nervous diseases,
20
Imbecility, intellectual and moral,
138
in inflammation of the brain,
791
Imitation, influence on causation of catalepsy,
319
of hysteria,
222-229
Impotence in tumors of spinal cord,

1096
Impulsive insanity,
146
Inco-ordination in nervous diseases,
47-50
Inebriety, trance state in,
346
NFANTILE
PINAL
P
ARALYSIS
1113
Anatomical lesions,
1131
Atrophy of anterior spinal horns, characters, etc.,
1133
1138
1139
nerve-roots and anterior columns of the cord,
1138
1139
Autopsies, tables of,

1133-1136
1139
Microscopic lesions,
1137
Theories interpreting the lesions of the cord,
1140-1444
regarding origin, premature,
1132
Complication with progressive muscular atrophy,
1149
Course of,
1148
Definitions,
1113
Deformities of atrophic paralysis,
1127
Criticism of theory of muscular antagonism,
1128
Dislocations in,
1130
Mechanism of,
1128
1131
Muscular contraction in,
1127
Relation of weight and muscular forces,

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Glencoe Literature Course 5 Teacher

Edition Glencoe Mcgraw Hill

Glencoe Literature American Literature, Teacher's

Literature, Course 2 Grade 7 TE Mcgraw-Hill [Mcgraw-

Read and Write Course 3 Mcgraw-Hill [Mcgraw-Hill]

Read and Write Course 3 Teachers Edition Mcgraw-Hill

Read and Write Course 1 Teachers Edition Mcgraw-Hill

Glencoe Short Stories 1 1st Edition Jeffrey D. Wilhelm

Glencoe Short Stories 3 1st Edition Jeffrey D. Wilhelm

Glencoe Short Stories 2 1st Edition Jeffrey D. Wilhelm

Acknowledgments continued on p. R98.

Send all inquiries to:

ISBN: (student edition) 978-0-07-877979-4

Printed in the United States of America.

Jeffrey D. Wilhelm, PhD, a former middle Douglas Fisher, PhD, is Professor of

Glencoe National Reading and Language Arts Advisory Council

Table of Contents for the Student Edition

Course 5 Scope and Sequence ................................................. T40

Essential Course of Study ................................................ ......... T44

Teacher Edition Walk-Through ..................................... ......... T48

Guide to Readability ......................................................... ......... T56

Language Transfers . . . . . . . . . . . . . . . . . . . . ................................................. T60

U N IT ON E The Short Story ............................................................................. 1

U N IT T WO Nonfiction . . . . . ............................................................................... 277

U N IT TH R EE Poetry . . . . . . . . . . . . . . ............................................................................... 467

U N IT FOU R Drama . . . . . . . . . . . . . ............................................................................... 651

U N IT F I V E Legends and Myths .................................................. ................ 893

U N IT SI X Genre Fiction............................................................... .............. 1015

U N IT SEVEN Consumer and Workplace Documents ........................... 1137

Part One Encountering the Unexpected ........................................... 7

Dialect, CHINUA ACHEBE Civil Peace................... Short Story ...... 64

“Seize him and unmask him—that we may

Part Two Making Choices ..................................................................... 85

Part Three Life Transitions ................................................................... 183

Comparing Literature Across Genres

Point of View, JUDITH ORTIZ COFER

Literary Focus Narrative Nonfiction:

“Living life as art requires a readiness to forgive.”

When I Get that Feeling, 2000. Colin Bootman.

Voice, FR ANK MCOURT Typhoid Fever

Allusion, MARTIN LUTHER KING JR. I’ve Been to

Comparing Literature Different Viewpoints

Quotation, CARL SANDBURG Address on the Anniversary

ALICE JACKSON BAUGHN

Assessment ................................................................. ............... 460

from Wouldn’t Take Nothing

Genre Focus: Poetry ................................................................ 468

Enjambment, B I L LY C O L L I N S Creatures ................................... Poem .... 481

“Violent socks, my feet were two fish made

Personage Lancant Une Pierre a un Oiseau,

Prose Poetry, ALEKSANDR SOLZHENITSYN

Speaker, N . SCOT T M O M A DAY

............................................... ............... 531

Personiﬁcation, After Great Pain,

Media Workshop Compare Media Genres ................................ .. 582

Comparing Literature Across Genres

Writing Workshop Reflective Essay ............................................ 632

Independent Reading ................................................................ 642

Assessment ................................................................. ............... 644