1. Choose and read a novel from the provided list (http://www.perfectionlearning.com/top%20100-american-lit-titles)
2. Literary Analysis
A. MLA Format
Insert header (Last name PG number)
1st page only:
Student Name
Instructor Name
Course
Date
Double Space Font Size 12 Times New Roman
Title (represents author’s purpose)
Works Cited Page
MLA Citations Alphabetical Order Double Spaced, handing indent
B. Literary Analysis: Using Elements of Literature
To successfully analyze literature, you’ll need to remember that authors make specific choices for particular reasons.
Your essay should point out the author’s choices and attempt to explain their significance.
Choose 3 of the Literary Elements below and analyze the author's choices surrounding the use of that element. You must write and argue an original claim about the work, supporting that claim with the literary choices made by the author.
For example, In Huckleberry Finn, Mark Twain develops a contrast between life on the river and life on the shore through figurative language, characterization, and symbolism.”
C. ESSAY FORMAT
I. Introduction (1 paragraph)
Catch your audience's attention and orient your audience with background info/ SHORT synopsis of novel, state your claim, and list your 3 supporting ideas; Transition
5th "The Most Dangerous Game"
Introduction
Running through the dark and mysterious jungle, being hunted from behind, Rainsford is scared for his life! Wondering what he should do next, he begins to consider life as he knows it. He is the huntee and General Zaroff is the hunter. In "The Most Dangerous Game" by Richard Connell, 2 characters are playing a serious game of cat and mouse. The author uses the dialogue of these two characters to create a suspenseful setting with a serious tone and fearful mood. On a desolate island, we meet General Zaroff in a mansion fit for a King.
Paragraph 2
At the beginning of the story, we are first introduced to the setting: the eerie island known as "Shiptrap Island." This information is revealed in the original dialogue of the story between Rainsford and his ship mate Whitney. After readers discover of this information, the stage is set for the rest of the story. Following Rainsford's arrival on the island, after he fell from his ship, he finds a large mansion remarking that, "Yet, about it all, hung an air of unreality" (Connell 43). These realizations set a precedent for the remainder of the story in that the setting is frequently introduced through dialogue.
Paragraph 3
"The Cossack was the cat: he was the mouse. Then is was Rainsford that knew the full menaing of terror" (Connell 54). Quotes like these help to establish the seriousness of the story. In life and death situations humor and light heartedness are not commonly used. Connell captures the hunt and the seriousness of it with words like "terror" to show Rainsford's fear. Connell also uses the mood to tell the story.
Paragraph 4
Connell sets a fearful and suspenseful mood throughout the gamut of the story. He uses descriptive adjectives and imagery to provoke the reader's senses. When Zaroff says to Rainsford, "Here in my preserve on this island... I hunt more dangerous game" (Connell 47), the reader becomes nervous of the General. The audience is also in a mood of suspense and fear. The author achieves his purpose of creating a scary mood, even though some disagree.
Paragraph 5
Although this short story is praised for its characterization, some readers claim that the two main characters do not create suspense. However, through powerful dialogue, readers see that Zaroff is a crazed hunter and Rainsford is a man of morals. Rainsford states, "Thank You, I am a hunter, not a murderer" (Connell 49). Connell also uses many other methods to characterize these men in a way that creates suspense.
Paragraph 6
The dialogue of Rainsford and Zaroff in Connell's "The Most Dangerous Game" gives the story a suspenseful setting with a serious tone and fearful mood. The suspenseful setting is shown through the desolate island and eerie mansion. The author's serious tone is created through powerful dialogue, and the fearful mood is developed by the game itself. "The Most Dangerous Game" uses a variety of literary elements that enhance the story and excite the reader.
2nd "The Necklace"
Introduction
"Before the mirror, she let the wraps fall from her shoulders to see her self once again in all of her glory. Suddenly she gave a cry. The necklace was gone (Maupassant 31)." In the short story "The Necklace" by Guy de Maupassant, the reader meets a young married couple of middle class. However, unhappy with her stature, the young wife wants more. Actually, she believes she deserves more than what her husband can provide. Mme. Loisel's greed is portrayed through symbols in the story. The author characterizes her as vain and shallow and uses the necklace as a symbol of her lust for wealth. Through characterization, setting, and symbolism the author creates a timeless theme of greed.
Paragraph 2
Each character in "The Necklace" possesses greed or does nothing to stop the greedy acts of others. Mme. Loisel's greed is constantly unchecked and that leads to the destruction of her entire life. "She so longed to pleased, be envied, be fascinating and sought after (Maupassant 28)." Mme. Loisel's life is dictated by her need to be seen and admired even if she is unable to afford and maintain that illusion. Monsieur Loisel only adds to the fire by giving her the money she wants to buy frivolous things. Madame Frostier also portrays greed through maintaining the idea that the necklace is only crystal, not diamond. Not only do the Loisel's characters showcase greed, but the setting, France in the early 1700s, also conveys the greed of two two classes: the rich and the poor.
Paragraph 3
Set in a time where the rich are the rich and the poor are nothing, "The Necklace" portrays one couples eternal need for status and wealth. "There is nothing more humiliating than to look poor among a lot of rich __________ (Maupassant 30)," explains Mme. Loisel, as she expresses her discontent with her lack of nice things. The author uses this quote to illustrate her insecurity around rich people. In the mid 18th century, Paris, France had a great imbalance in social structure. The continual drive to be apart of the upper class is a theme that is very relative to society in 2016. The Loisel's were apart of the poor class of citizens that allowed their greed and want for nicer things to ruin their lives, as shown through the necklace that Madame Frostier loans to MMe. Loisel to wear to the party so that she will feel "richer" among the rich.
Paragraph 4
"All at once she found, in a black satin box, a superb diamond necklace... clasping it around her throat... she stood in ecstasy looking at her reflection (Maupassant 30)."
Paragraph 5
However, some readers may disagree that the necklace represents MMe. Loisel's greed. There may be some content to suggest that the necklace stands for her vanity. For example, "it's embarrassing not to have a jewel or a gem- nothing to wear on my dress (Maupassant 30)" shows that MMe. Loisel needs precious stones to feel beautiful. It's true: her vanity plays a part. Yet, her vanity is what fuels the greater characterization, greed. Mme. always wants what she cannot have and perhaps beauty is one of those things.
Paragraph 6
The author uses MMe. Loisel and the necklace to create a sense of greed using characterization, setting, and symbolism. THrough her selfish actions, MMe. Loisel is characterized as a shallow character while Mr. Loisel does all he can for his wife and can be characterized as selfless and tolerant. Through the setting, the reader can see that greed is prevalent in 1700s France just as it is today. Symbolism is heavy in this story. The necklace itself symbolizes lust, want, and desire. "The Necklace" is a prime example of how people will always want more, no matter how well off they are.
II. Body (3 paragraphs)
A. Supporting Idea/ Literary Element 1; In text Citation; Transition
B. Supporting Idea/ Literary Element 2; In text Citation; Transition
C. Supporting Idea/ Literary Element 3; In text Citation; Transition
III. Counterclaim; Transition (1 paragraph)
IV. Conclusion (1 paragraph)
V. MLA Works Cited Page (Last Page of Essay)
You and your group have taken a boat ride that has ended terribly. Your captain wrecked the boat and you swam to shore. However, the shore in which you have landed is a deserted island!
What does it take to survive?
Create a Chart with the following information. Be prepared to share your plan with your class
Perspective
A novel is an extended story written in prose. Or, to put it more simply, novels tell stories.
The novel is a relatively modern form of literature. The modern novel has existed for only the past three hundred years. Earlier narratives—such as Homer's Iliad or Chaucer's Canterbury Tales —were written in verse.
Novels and stories portray the trials and tribulations of life and the crises of human existence. The characters and settings reflect real life, although a sub-set of novels features more unrealistic (and often melodramatic) plots in imagined historical or future times (as with J. R. R. Tolkien's The Hobbit , Jules Verne's Twenty Thousand Leagues Under the Sea , or modern science fiction).
While written in prose, stories often exhibit poetic use of language and dialogue commonly associated with drama. (See Poetry and Drama .)
The Author and the Narrator
The author of a story often plays an active role within a story. The author, in the voice of the narrator, can openly comment on characters and their actions and predicaments. This "point of view" has been compared to the angle from which a camera might observe actions. The two major options for the point of view of a story are named after the pronouns authors might use:
first person narrator who participates in the story – I did this.
third person narrator who stands outside the story itself – He/she did/thought this
The two different forms of narrator enable two different effects. A first person narrator might be an observer who sees all events, a minor character (as with Ishmael in Moby Dick), or even a major participant (as with the main character in Salinger's The Catcher in the Rye). When a character in the story, the narrator is limited in his or her understanding. Such narrators cannot be privy to other characters' thoughts or to actions at which they are not present.
First-Person Narrator
I said, "Who killed him?" and he said, "I don't know who killed him but he's dead all right," and it was dark and there was water standing in the street and no lights and windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Bay and she was all right only she was full of water.
Ernest Hemingway, After the Storm
Call me Ishmael. Some years ago--never mind how long precisely--having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world.
Herman Melville, Moby Dick
"Good-bye, my son. Bless you!" Mr. Turveydrop said this in quite a pious manner, and it seemed to do his son good, who, in parting from him, was so pleased with them, so dutiful to him, and so proud of him that I almost felt as if it were an unkindness to the younger man not to be able to believe implicitly in the elder.
Charles Dickens, Bleak House
A third person narrator can be all-knowing and might describe the action from one or many character's viewpoints. Such a narrator can guiding the reader's understanding by commenting on and evaluating actions as they occur (as in the novels of Dickens or Austen) or simply describe the action without much commentary.
Third-Person Narrator
(In the opening line the narrator, describing the story in the third person, nevertheless speaks to the reader in the first person.) We have as yet hardly spoken of the infant; that little creature, whose innocent life had sprung, by the inscrutable decree of Providence, a lovely and immortal flower, out of the rank luxuriance of a guilty passion. How strange it seemed to the sad woman, as she watched the growth, and the beauty that became every day more brilliant, and the intelligence that threw its quivering sunshine over the tiny features of this child! Her Pearl!--For so had Hester called her; not as a name expressive of her aspect, which had nothing of the calm, white, unimpassioned luster that would be indicated by the comparison. But she named the infant "Pearl," as being of great price,--purchased with all she had,--her mother's only treasure! How strange, indeed! Man had marked this woman's sin by a scarlet letter, which had such potent and disastrous efficacy that no human sympathy could reach her, save it were sinful like herself.
Nathaniel Hawthorne, The Scarlet Letter
Reading Stories: Content
Our first concern when reading a story or novel is following the plot or story line—a term encompassing both the characters and their actions. These two elements—character and action—contribute the major content of the story.
The plot must have a context; it must take place somewhere and at some time. We can thus add a third element of content, the setting (see below). Analysis of stories looks at the interrelationship between patterns of these three aspects of the story: character, action, and setting.
Character
Characters (i.e., personalities in a story) have unique characters (i.e., human qualities). We judge character by how characters are described and how their actions are depicted. That is, we look at both what is said about characters by a narrator or other characters and at the actions and behaviors attributed to them. Characters often represent common character types: e.g., the bureaucrat, the bully, and the siren.
Action
Stories recount the loves, struggles, and confrontations of the characters. Stories involve conflict and its resolution. Conflict can arise from tension between individuals, between an individual and legal religious, political, or other institutions, or with one's own conscience. Conflict can thus involve an internal or external battle. Conflict with others can involve differing values, competing goals, the possession of a certain object (such as an inheritance or the crown in Hamlet), or the conflict can take symbolic form (as in Captain Ahab's struggle against nature represented by the whale Moby Dick).
In the actions of characters we see values, goals, and alliances. From each action we infer behaviors, character traits and values—what the action is an example of. Such an understanding constitutes "explaining" the action.
Setting
The setting includes all of the forces and institutions acting on the characters. Setting includes the geographical location, social climate, the historical period, and the cultural mores—any and all factors that influence the characters and against which the characters act and against which their actions are measured.
An understanding and/or appreciation for the Puritan beliefs of sin, for instance, is essential for understanding and /or appreciating Hawthorne's The Scarlet Letter. In some instances, locations can represent forces: fields can suggest openness and opportunity, rooms can suggest seclusion or isolation,
Imagine the action taking place elsewhere, at another time, in another culture to realize the effect of a particular setting.
Reading Stories: Language
Of the three elements examined here (content, language, and structure), language is the least important, although hardly insignificant, element of a story. Language plays a role predominantly in terms of the use of symbolism and projecting an overall tone. We might think of this as part of the mental setting in which the action takes place. Analyzing The Scarlet Letter, we might note how language is used to indicate the lightness of the scene of Hester and her daughter Pearl in contrast to the darkness of the scene in which Hester confronts Reverend Dimmesdale. Language also can play a major role in terms of accents or dialects, as in Twain's Huckleberry Finn.
Reading Stories: Structure
Description of the structure of a story can be understood in two ways.
In the first case, we have the linear progression from chapter to chapter. Within this structure, there is the building of suspense, the unfolding of conflict and its resolution. It is here that we discuss the plot, the rising action, climax, and resolution.
Alternatively, we can look at the patterns of actions and interrelationship of characters occurring throughout the story.
Note that stories, unlike non-fiction, are generally read and or appreciated only in their entirety. We can read a portion of a nonfiction work for specific information; to understand a story we must follow the complete unfolding and resolution of the plot. The same is generally true for drama as well.
1. Research each title, or at least the titles that seem appealing to you.
2. Choose and reserve a title. There are 67 honors students and only 1 person can reserve each title. First come, first serve.
3. Start reading.
4. Literary Analysis
Literary Analysis: Using Elements of Literature
To successfully analyze literature, you’ll need to remember that authors make specific choices for particular reasons. Your essay should point out the author’s choices and attempt to explain their significance.
Choose 3 of the Literary Elements below and analyze the author's choices surrounding the use of that element.
Allegory - narrative form in which the characters are representative of some larger humanistic trait (i.e. greed, vanity, or bravery) and attempt to convey some larger lesson or meaning to life. Although allegory was originally and traditionally character based, modern allegories tend to parallel story and theme.
•William Faulkner’s A Rose for Emily- the decline of the Old South
•Robert Louis Stevenson’s Strange Case of Dr. Jekyll and Mr. Hyde- man’s struggle to contain his inner primal instincts
•District 9- South African Apartheid
•X Men- the evils of prejudice
•Harry Potter- the dangers of seeking “racial purity”
Character - representation of a person, place, or thing performing traditionally human activities or functions in a work of fiction
•Protagonist - The character the story revolves around.
•Antagonist - A character or force that opposes the protagonist.
•Minor character - Often provides support and illuminates the protagonist.
•Static character - A character that remains the same.
•Dynamic character - A character that changes in some important way.
•Characterization - The choices an author makes to reveal a character’s personality, such as appearance, actions, dialogue, and motivations.
Look for: Connections, links, and clues between and about characters. Ask yourself what the function and significance of each character is. Make this determination based upon the character's history, what the reader is told (and not told), and what other characters say about themselves and others.
Connotation - implied meaning of word. BEWARE! Connotations can change over time.
•confidence/ arrogance
•mouse/ rat
•cautious/ scared
•curious/ nosey
•frugal/ cheap
Figurative language - the use of words to express meaning beyond the literal meaning of the words themselves
•Metaphor - contrasting to seemingly unalike things to enhance the meaning of a situation or theme without using like or as
◦You are the sunshine of my life.
•Simile - contrasting to seemingly unalike things to enhance the meaning of a situation or theme using like or as
◦What happens to a dream deferred, does it dry up like a raisin in the sun
•Hyperbole - exaggeration
◦I have a million things to do today.
•Personification - giving non-human objects human characteristics
◦America has thrown her hat into the ring, and will be joining forces with the British.
Imagery - the author’s attempt to create a mental picture (or reference point) in the mind of the reader. Remember, though the most immediate forms of imagery are visual, strong and effective imagery can be used to invoke an emotional, sensational (taste, touch, smell etc) or even physical response.
Plot - the arrangement of ideas and/or incidents that make up a story
•Foreshadowing - When the writer clues the reader in to something that will eventually occur in the story; it may be explicit (obvious) or implied (disguised).
•Suspense - The tension that the author uses to create a feeling of discomfort about the unknown
•Conflict - Struggle between opposing forces.
•Exposition - Background information regarding the setting, characters, plot.
•Rising Action - The process the story follows as it builds to its main conflict
•Crisis - A significant turning point in the story that determines how it must end
•Resolution/Denouement - The way the story turns out.
Point of View - pertains to who tells the story and how it is told. The point of view of a story can sometimes indirectly establish the author's intentions.
•Narrator - The person telling the story who may or may not be a character in the story.
•First-person - Narrator participates in action but sometimes has limited knowledge/vision.
•Second person - Narrator addresses the reader directly as though she is part of the story. (i.e. “You walk into your bedroom. You see clutter everywhere and…”)
•Third Person (Objective) - Narrator is unnamed/unidentified (a detached observer). Does not assume character's perspective and is not a character in the story. The narrator reports on events and lets the reader supply the meaning.
•Omniscient - All-knowing narrator (multiple perspectives). The narrator knows what each character is thinking and feeling, not just what they are doing throughout the story. This type of narrator usually jumps around within the text, following one character for a few pages or chapters, and then switching to another character for a few pages, chapters, etc. Omniscient narrators also sometimes step out of a particular character’s mind to evaluate him or her in some meaningful way.
Setting - the place or location of the action. The setting provides the historical and cultural context for characters. It often can symbolize the emotional state of characters. Example – In Poe’s The Fall of the House of Usher, the crumbling old mansion reflects the decaying state of both the family and the narrator’s mind. We also see this type of emphasis on setting in Thomas Mann’s Death in Venice.
Symbolism - when an object is meant to be representative of something or an idea greater than the object itself.
•Cross - representative of Christ or Christianity
•Bald Eagle - America or Patriotism
•Owl - wisdom or knowledge
•Yellow - implies cowardice or rot
Tone - the implied attitude towards the subject of the poem. Is it hopeful, pessimistic, dreary, worried? A poet conveys tone by combining all of the elements listed above to create a precise impression on the reader.
ESSAY FORMAT
I. Introduction
Catch your audience's attention and orient your audience with background info/ SHORT synopsis of novel, state your claim, and list your 3 supporting ideas.
Transition
II. Body
A. Supporting Idea/ Literary Element 1
Transition
B. Supporting Idea/ Literary Element 2
Transition
C. Supporting Idea/ Literary Element 3
Transition
III. Counterclaim
Transition
IV. Conclusion
V. MLA Works Cited Page
5. Presentation of PLOT
Create a 5 minute video and post it on Youtube. You will have to create a Youtube Account.
Discuss the Exposition, Inciting Incident, Characters (Protagonist, Antagonist), Rising Action, Conflict, Climax, and Falling Action of your novel. Do not SPOIL the ending.
Then, review your book. Would you recommend it to your peers? Why or Why not?
Use pictures, images, sound effects, and songs to liven up your video! It should be entertaining.
6. Critique your peers.
You will be given a rubric to score each video as we watch them in class.
During the time when The Martian Chronicles (Bradbury's most famous work) was published, the United States was locked in a Cold War with the Soviet Union.
Between the years of 1945 and 1963, America and the USSR went through a period where each nation sought to invent and create as many technological advancements as possible to show who was more dominant in firepower and science.
Many of the anxieties that came from this period run similarly to anxieties found in the book, The Martian Chronicles.
--when nuclear war breaks out in the book, the settlers are worried for the families they left on Earth
--Americans were worried about the implications of a full-on nuclear war with the Soviets so soon after coming out of WWII.
It was a shaky period during the nation’s history, filled with high emotion and an unknown future.
The Martian Chronicles reflected that time period effectively.
Bradbury wrote Fahrenheit 451 at the beginning of the Atomic Age and the Cold War.
On August 6 and 9, 1945 following the successful testing of an A bomb in Trinity, New Mexico, the US dropped two atomic bombs on Japan, resulting in its surrender and the end of WWII.
The news that the Soviet Union had its own atomic bomb in 1949 heightened the growing tension between the East and West.
The most famous reference to the growing alienation between the Soviet Union and the West came in a speech delivered
by Winston Churchill in 1946 at Westminster College in Fulton, Missouri. Churchill described an “iron curtain”
dividing central and Eastern Europe from the West:
"From Stettin in the Baltic to Trieste in the Adriatic an iron curtain has descended across the Continent. Behind that
line lie all the capitals of the ancient states of Central and Eastern Europe. Warsaw, Berlin, Prague, Vienna, Budapest,
Belgrade, Bucharest, and Sofia, all these famous cities and the populations around them lie in what I must call the
Soviet sphere, and all are subject in one form or another, not only to Soviet influence but to a very high and, in some
cases, increasing measure of control from Moscow."
A SPEECH
Speech is the vocalized form of human communication.
Speech is researched in terms of the speech production and speech perception of the sounds used in vocal language.
All Summer in A Day Questions to consider as you read...
1. What is the setting of this story? Why is it so important?
2. Why are the children so excited at the beginning of the story?
3. What does Margot remember that the other children do not?
4. What happens while Margot is in the closet?
5. From what you know of her character based on her behavior throughout the story, how do you think Margot will react when she is let out of the closet? Should Bradbury have described what happens next, or do you like the story as it is?
6. What do you think the title of Bradbury’s story means? Do you think it’s a good title? Why or why not?
Fahrenheit 451: Part I, The Hearth and the Salamander
Respond to each question in an original, supported sentence.
For Example (Fill in the blanks with support for the novel):
1. At the beginning of Part I, Montage was working as a __________________________, so he was ____________________________________.
1. What was Montag doing at the very beginning of the novel?
2. What did Montag see in the reflection of Clarisse's eyes?
3. Identify the season and time setting for this book.
4. In what way did Clarisse find Montag to be different from other firemen?
5. What did Montag's wife Mildred wear in her ears?
6. For Montag, what childhood memory was evoked from the soft, constant light of Clarisse's face?
7. Who did Montag meet outside his house, moving along on the sidewalk?
8. How old was Montag?
9. What was Clarisse's parting question to Montag?
10. Who was Mildred?
11. How did Montag feel about his job as a fireman?
12. What appliance decorated three walls in the parlor of Montag's house?
13. Why did Captain Beatty become suspicious of Montag?
14. What metaphor did the author use to create vivid images of the fire hose?
15. What treasures from the air conditioning vent did Montag share with Mildred?
16. According to Clarisse, why were their billboards two hundred feet long?
17. What did the Emergency men do when they reached Montag's house?
18. What was unusual about the fire call to Mrs. Blake's house?
19. What information concerning Clarisse did Montag learn from Mildred?
20. Why did Montag call the emergency hospital minutes after getting home?
Part II, The Sieve and the Sand
1. Where were the firemen summoned to minutes after Montag returned to the firehouse?
2. How did Mrs. Phelphs and Mrs. Bowles each react to Montag's reading of "Dover Beach"?
3. How did Faber react to Montag's initial phone call?
4. Where were the husbands of Mrs. Phelphs and Mrs. Bowles?
5. Why did the Mechanical Hound puzzle Montag when he returned to the firehouse to turn over a stolen
book to Captain Beatty?
6. Why did Faber retire from his college position at such a young age?
7. When Montag called Professor Faber at his home, what question did he ask him?
8. How did Mildred cover for her husband's rash book sharing?
9. Where had Montag obtained the book he showed Faber?
10. Whom did Montag seek out for help?
11. List three elements Faber felt were missing from their society.
12. Why did Montag seek out the help of Professor Faber?
13. Why was Faber frightened when he found Montag at this door soon after the phone call?
14. What homemade communication tool did Faber give Montag?
15. Angry, what did Montag do after he could not engage the women in a meaningful conversation?
16. What interrupted the firehouse poker game?
17. What was Mildred doing when Montag arrived home from Faber's house?
18. Why was Montag concerned about people in his society?
19. Infer who or what came to Montag's front door, scratching.
20. What book did Montag take along to Faber's house and why was Faber so awed by it?
Part III, Burning Bright
1. Led by Granger, what decision did all the homeless men make?
2. How did Montag escape the Mechanical Hound?
3. How did the camp members know their new arrival's name was Montag?
4. What safety precautions did Montag take when he reached the river?
5. Through the green bullet, what advice did Faber give Montag?
6. What concern was Mildred mumbling as she climbed into the waiting taxi?
7. After Montag set his own house ablaze, what did Beatty tell him?
8. What did Granger say they'd build first?
9. What tool did Montag use to set his own house afire?
10. After discovering the green bullet, what threat did Beatty announce?
11. When Montag reached the hobo camp, why did Granger give him a bottle of colorless fluid to drink?
12. What happened as Montag and his new friends headed south to move their camp farther from the
city?
13. Who did Beatty blame for influencing Montag's recent use of illegal books?
14. How did Montag counter Beatty's threats and taunts?
15. Why was Faber taking the bus to St. Louis?
16. What did Mildred do just as Montag and Beatty arrived?
17. Realizing Millie was killed in the bombing, why did Montag struggle to remember her?
18. What did Montag suddenly realize when he fell down in the alley, fleeing his home?
19. What did Montag gather from his home before fleeing?
20. Who lived in hobo camps, otherwise known as "walking camps"?
Directions: read each short story and determine the theme or message in the story. Remember that a good answer will focus on big world lessons, not small world details of the story.
Even though they were sisters, Suzie and June were nothing alike. If Suzie wanted to jump rope, June wanted to play hopscotch. If June wanted to watch soap operas, Suzie wanted to watch talk shows. Tensions rose to the point that the girls could no longer stand one another’s company. It seemed that they had nothing in common, until the day that progress reports came out. While riding the bus home from school, the girls—startled by how upset the other looked—realized that they were both failing a subject. Suzie was failing math and June was failing reading. Since both girls wanted to pass their classes, they got to talking and agreed to help one another. So everyday after school for the next few weeks, Suzie tutored June in reading and then June tutored Suzie in math. By the time report cards came were distributed, Suzie and June were passing all of their classes. The girls were delighted, but their mother was happiest of all. Not just because her daughters passed their classes, but because they had learned to be good sisters.
1. What is the theme of this story? _________________________________________________
______________________________________________________________________________
2. What happens in the story that leads you to believe this? _____________________________
______________________________________________________________________________
All Victor ever wanted to do with his life was be a singer. He didn’t pay attention in school and he spent all of his time at home watching music videos online and impersonating his idols. His mother tried to teach him the value of getting an education and having a backup plan, but Victor would respond the same way every time, “Mom, I won’t need to know any of that boring old stuff when I’m famous. You’ll see.” But there was one major problem with Victor’s plan: he wasn’t any good at singing. Victor wanted to be a singer so badly, that he didn’t notice the pained look on the faces of those who endured his singing. Because he wanted to be a singer so badly, when honest people told him to find something else to do with his life, he accused them of being “jealous haters” and ignored their advice. After Victor dropped out of high school to focus on his music career, the years passed and the doors never opened.
3. What is the theme of this story? _________________________________________________
______________________________________________________________________________
4. What happens in the story that leads you to believe this? _____________________________
______________________________________________________________________________
Kyle liked Lucy more than any other girl in the school, but he had an odd way of showing it. When she walked ahead of him in line, he kicked at her shoe. When she passed him on the school yard, he called her “lame Lucy.” He even wrote a mean word on her homework during the bus ride to school. But what puzzled Lucy the most was receiving an invitation to Kyle’s birthday party. Figuring that he was just planning a mean trick on her, Lucy decided not to go, and while Kyle eagerly awaited Lucy’s arrival, Lucy talked on the phone to Jacob. When Kyle finally realized that Lucy was not coming to his party, he was crushed.
5. What is the theme of this story? _________________________________________________
______________________________________________________________________________
6. What happens in the story that leads you to believe this? _____________________________
______________________________________________________________________________
The little grey mouse that lived in my wall prospered for many days on nibbles of my lunch. I’d pack a meal before bed and, while I slept, he would take small bites of my lunch, which I left on the counter. He’d take a cracker crumble here, and a bread crumb there, but he wouldn’t take too much and he’d always clean up after himself. Things were going quite well for him and I didn’t even know he existed, until he got sloppy. One night while I slept, he ate all of my chips and left behind a big mess. When I awoke to this sight, I knew what had happened to my chips. So the next night when he returned for another snack, he found a nice, delicious piece of cheese… lightly balanced on a mouse trap. Now I don’t have to share my chips anymore.
7. What is the theme of this story? _________________________________________________
______________________________________________________________________________
8. What happens in the story that leads you to believe this? _____________________________
______________________________________________________________________________
Ulysses spent all of his free time reading books and felt that he was very intelligent. One day a nice student from his class asked him if he wanted to go sledding and Ulysses responded, “I’ve read about sledding in books, and it sounds miserable. No, thank you.” On another day, a different friendly student asked Ulysses if he wanted to go out for hotdogs after school. Ulysses responded, “I’ve read that hotdogs are filled with rat parts and pig bellies. No, thank you.” Nobody asked Ulysses to hang out again, but he did read about friends in his books.
9. What is the theme of this story? _________________________________________________
______________________________________________________________________________
10. What happens in the story that leads you to believe this? ____________________________
_______________________________________________
Related Texts:
Poems
"Burning a Book," by William Stafford
Protecting each other, right in the center
a few pages glow a long time.
The cover goes first, then outer leaves
curling away, then spine and a scattering.
Truth, brittle and faint, burns easily,
its fire as hot as the fire lies make---
flame doesn't care. You can usually find
a few charred words in the ashes.
And some books ought to burn, trying
for character
but just faking it. More disturbing
than book ashes are whole libraries that
no one
got around to writing----desolate
towns, miles of unthought in cities,
and the terrorized countryside where
wild dogs
own anything that moves. If a book
isn't written, no one needs to burn it----
ignorance can dance in the absence of fire.
So I've burned books. And there are many
I haven't even written, and nobody has.
(1987)
Barter
BY SARA TEASDALE
Life has loveliness to sell,
All beautiful and splendid things,
Blue waves whitened on a cliff,
Soaring fire that sways and sings,
And children's faces looking up
Holding wonder like a cup.
Life has loveliness to sell,
Music like a curve of gold,
Scent of pine trees in the rain,
Eyes that love you, arms that hold,
And for your spirit's still delight,
Holy thoughts that star the night.
Spend all you have for loveliness,
Buy it and never count the cost;
For one white singing hour of peace
Count many a year of strife well lost,
And for a breath of ecstasy
Give all you have been, or could be.
Informational Texts (Nonfiction)
• “Learning to Read and Write,” Frederick Douglass
• “Superman and Me,” Sherman Alexie
• “The Great Imagination Heist,” Reynolds Price
• “You Have Insulted Me: A Letter,” Kurt Vonnegut
• “Reading Books Is Fundamental” from The New York Times, Charles M. Blow
• “The Science of Storytelling: Why Telling a Story Is the Most Powerful Way to Activate Our Brains,” Leo Widrich
• “Video Games and the Future of Storytelling” from Big Think, Salman Rushdie
GROUP FINDINGS
September 16, 2015
Gaige: Pioneer of Sci Fi Genre
Boston: Published first story in 1941.
Nakotah: The author of over 500 works.
Gabe: in 1967 fahrenheit 451 into a film. Fahrenheit 451 was first published in 1951
Maddie: When he was twelve, Ray began to put his imagination into words, by banging out his first stories on a six-dollar typewriter. Two years later, his family moved to LA. It was around this time that he decided he wanted to write professionally.
Faith: Born on August 22, 1920, in Waukegan, Illinois.
Gaige- Used visons of the future to explore the problems of today, such as technological advancement issues. ; The Martian Chronicles was written in a poetic form.
Katie: Was a creative consultant for Epcot & Disney.
Maddie: The most widely recognized author in Sci Fi.
Luke: Began submitting stories to national magazines at 15.
Abby: Co- Screen Writer for Moby Dick.
Jordan: Predicts the future and exposes society.
Olivia: had an intense fear of the dark as a child.
Kennealy: fascinated by technology, but feared it being "unchecked"
Justin: Nearly blind
Grace: Started writing when he was 12
Sydnee: first published story 1941
Julianna: As of 2010, he wrote over 500 short stories.
Lawson: writing influenced by horror films that he began watching at 6
Grace: Sold newspapers on the street corner
Justin: Wrote every day
Carmen: Began submitting his stories at 15
Zayda: Began writing full time after HS graduation
If you would like to add to our notes, please create a comment!
Fiction is commonly divided into three areas according to the general appearance of the text:
stories and novels: prose--that is, the usual paragraph structure--forming chapters
poetry: lines of varying length, forming stanzas
plays: spoken lines and stage directions, arranged in scenes and acts
Other than for documentaries, movies are fiction because they present a "made up" story. Movie reviews, on the other hand, are nonfiction, because they discuss something real—namely movies.
Note that newspaper articles are nonfiction—even when fabricated. The test is not whether the assertions are true. Nonfiction can make false assertions, and often does. The question is whether the assertions claim to describe reality, no matter how speculative the discussion may be. Claims of alien abduction are classified as nonfiction, while "what if" scenarios of history are, by their very nature, fiction.
The distinction between fiction and nonfiction has been blurred in recent years. Novelists (writers of fiction) have based stories on real life events and characters (nonfiction), and historians (writers of nonfiction) have incorporated imagined dialogue (fiction) to suggest the thoughts of historical figures.
Novels / Stories
Perspective
A novel is an extended story written in prose. Or, to put it more simply, novels tell stories.
The novel is a relatively modern form of literature. The modern novel has existed for only the past three hundred years. Earlier narratives—such as Homer's Iliad or Chaucer's Canterbury Tales —were written in verse.
Novels and stories portray the trials and tribulations of life and the crises of human existence. The characters and settings reflect real life, although a sub-set of novels features more unrealistic (and often melodramatic) plots in imagined historical or future times (as with J. R. R. Tolkien's The Hobbit , Jules Verne's Twenty Thousand Leagues Under the Sea , or modern science fiction).
While written in prose, stories often exhibit poetic use of language and dialogue commonly associated with drama. (See Poetry and Drama .)
The Author and the Narrator
The author of a story often plays an active role within a story. The author, in the voice of the narrator, can openly comment on characters and their actions and predicaments. This "point of view" has been compared to the angle from which a camera might observe actions. The two major options for the point of view of a story are named after the pronouns authors might use:
first person narrator who participates in the story – I did this.
third person narrator who stands outside the story itself – He/she did/thought this
The two different forms of narrator enable two different effects. A first person narrator might be an observer who sees all events, a minor character (as with Ishmael in Moby Dick), or even a major participant (as with the main character in Salinger's The Catcher in the Rye). When a character in the story, the narrator is limited in his or her understanding. Such narrators cannot be privy to other characters' thoughts or to actions at which they are not present.
First-Person Narrator
I said, "Who killed him?" and he said, "I don't know who killed him but he's dead all right," and it was dark and there was water standing in the street and no lights and windows broke and boats all up in the town and trees blown down and everything all blown and I got a skiff and went out and found my boat where I had her inside Mango Bay and she was all right only she was full of water.
Ernest Hemingway, After the Storm
Call me Ishmael. Some years ago--never mind how long precisely--having little or no money in my purse, and nothing particular to interest me on shore, I thought I would sail about a little and see the watery part of the world.
Herman Melville, Moby Dick
"Good-bye, my son. Bless you!" Mr. Turveydrop said this in quite a pious manner, and it seemed to do his son good, who, in parting from him, was so pleased with them, so dutiful to him, and so proud of him that I almost felt as if it were an unkindness to the younger man not to be able to believe implicitly in the elder.
Charles Dickens, Bleak House
A third person narrator can be all-knowing and might describe the action from one or many character's viewpoints. Such a narrator can guiding the reader's understanding by commenting on and evaluating actions as they occur (as in the novels of Dickens or Austen) or simply describe the action without much commentary.
Third-Person Narrator
(In the opening line the narrator, describing the story in the third person, nevertheless speaks to the reader in the first person.) We have as yet hardly spoken of the infant; that little creature, whose innocent life had sprung, by the inscrutable decree of Providence, a lovely and immortal flower, out of the rank luxuriance of a guilty passion. How strange it seemed to the sad woman, as she watched the growth, and the beauty that became every day more brilliant, and the intelligence that threw its quivering sunshine over the tiny features of this child! Her Pearl!--For so had Hester called her; not as a name expressive of her aspect, which had nothing of the calm, white, unimpassioned luster that would be indicated by the comparison. But she named the infant "Pearl," as being of great price,--purchased with all she had,--her mother's only treasure! How strange, indeed! Man had marked this woman's sin by a scarlet letter, which had such potent and disastrous efficacy that no human sympathy could reach her, save it were sinful like herself.
Nathaniel Hawthorne, The Scarlet Letter
Reading Stories: Content
Our first concern when reading a story or novel is following the plot or story line—a term encompassing both the characters and their actions. These two elements—character and action—contribute the major content of the story.
The plot must have a context; it must take place somewhere and at some time. We can thus add a third element of content, the setting (see below). Analysis of stories looks at the interrelationship between patterns of these three aspects of the story: character, action, and setting.
Character
Characters (i.e., personalities in a story) have unique characters (i.e., human qualities). We judge character by how characters are described and how their actions are depicted. That is, we look at both what is said about characters by a narrator or other characters and at the actions and behaviors attributed to them. Characters often represent common character types: e.g., the bureaucrat, the bully, and the siren.
Action
Stories recount the loves, struggles, and confrontations of the characters. Stories involve conflict and its resolution. Conflict can arise from tension between individuals, between an individual and legal religious, political, or other institutions, or with one's own conscience. Conflict can thus involve an internal or external battle. Conflict with others can involve differing values, competing goals, the possession of a certain object (such as an inheritance or the crown in Hamlet), or the conflict can take symbolic form (as in Captain Ahab's struggle against nature represented by the whale Moby Dick).
In the actions of characters we see values, goals, and alliances. From each action we infer behaviors, character traits and values—what the action is an example of. Such an understanding constitutes "explaining" the action.
Setting
The setting includes all of the forces and institutions acting on the characters. Setting includes the geographical location, social climate, the historical period, and the cultural mores—any and all factors that influence the characters and against which the characters act and against which their actions are measured.
An understanding and/or appreciation for the Puritan beliefs of sin, for instance, is essential for understanding and /or appreciating Hawthorne's The Scarlet Letter. In some instances, locations can represent forces: fields can suggest openness and opportunity, rooms can suggest seclusion or isolation,
Imagine the action taking place elsewhere, at another time, in another culture to realize the effect of a particular setting.
Reading Stories: Language
Of the three elements examined here (content, language, and structure), language is the least important, although hardly insignificant, element of a story. Language plays a role predominantly in terms of the use of symbolism and projecting an overall tone. We might think of this as part of the mental setting in which the action takes place. Analyzing The Scarlet Letter, we might note how language is used to indicate the lightness of the scene of Hester and her daughter Pearl in contrast to the darkness of the scene in which Hester confronts Reverend Dimmesdale. Language also can play a major role in terms of accents or dialects, as in Twain's Huckleberry Finn.
Reading Stories: Structure
Description of the structure of a story can be understood in two ways.
In the first case, we have the linear progression from chapter to chapter. Within this structure, there is the building of suspense, the unfolding of conflict and its resolution. It is here that we discuss the plot, the rising action, climax, and resolution.
Alternatively, we can look at the patterns of actions and interrelationship of characters occurring throughout the story.
Note that stories, unlike non-fiction, are generally read and or appreciated only in their entirety. We can read a portion of a nonfiction work for specific information; to understand a story we must follow the complete unfolding and resolution of the plot. The same is generally true for drama as well.
Vocabulary
Plot Diagram- The diagram used to map the plot of a story.
Exposition- The essential background information at the beginning of a literary work
Rising action- the development of conflict and complications in a literary work
Climax- the turning point in a literary work
Falling action- results or effects of the climax of a literary work
Resolution/denouement- end of a literary work when loose ends are tied up and questions are answered
Alliteration – repetition of the initial consonant sounds of words: “Peter Piper picked a peck of pickled peppers”
Allusion – a reference to something well-known that exists outside the literary work
Antagonist- character that is the source of conflict in a literary work
Aside – a dramatic device in which a character makes a short speech intended for the audience but not heard by the other characters on stage
Assonance – repetition of vowel sounds followed by different consonant sounds: “Anna’s apples,” “the pond is long gone”
Characterization- The manner in which an author develops characters and their personalities
Conflict - struggle between two or more opposing forces (person vs. person; nature; society; self; fate/God.
Dialogue - direct speech between characters in a literary work
Diction - word choice to create a specific effect
Figurative Language –language that represents one thing in terms of something dissimilar (non-literal language). Includes simile, metaphor, personification, hyperbole, symbol)
Flashback- the method of returning to an earlier point in time for the purpose of making the present clearer
Foreshadowing- hint of what is to come in a literary work
Genre – type or category to which a literary work belongs
Hyperbole – extreme exaggeration to add meaning
Imagery – language that appeals to the five senses
Irony - Dramatic… when the reader or audience knows something a character does not
Situational… when there is a disparity between what is expected and what actually occurs
Verbal… when the speaker says one thing but means the opposite
Metaphor – an implied comparison between dissimilar objects: “Her talent blossomed”
Motif- a recurring feature of a literary work that is related to the theme
Onomatopoeia – use of a word whose sound imitates its meaning: “hiss”
Oxymoron – phrase that consists of two words that are contradictory: “living dead” or “Microsoft works”
Personification – figure of speech in which non-human things are given human characteristics
Plot- The sequence of events in a literary work
Point of view- the vantage point or perspective from which a literary work is told…
1st person point of view- the narrator is a character in the story (use of ‘I’)
3rd person point of view- the narrator is outside of the story (use of ‘he’ ‘she’ ‘they’)
Protagonist- the main character in a literary work
Rhyme – repetition of similar or identical sounds: “look and crook”
Rhyme Scheme – pattern of rhyme among lines of poetry [denoted using letters, as in ABAB CDCD EE]
Setting- The time and place of a literary work
Simile – a direct comparison of dissimilar objects, usually using like or as: “I wandered lonely as a cloud”
Soliloquy - a dramatic device in which a character is alone and speaks his or her thoughts aloud
Speaker – voice in a poem; the person or thing that is speaking
Stanza – group of lines forming a unit in a poem
Stereotype- standardized, conventional ideas about characters, plots and settings
Suspense – technique that keeps the reader guessing what will happen next
Symbol/symbolism – one thing (object, person, place) used to represent something else
Theme – the underlying main idea of a literary work. Theme differs from the subject of a literary work in that it involves a statement or opinion about the subject.
Tone – the author’s attitude toward the subject of a work.
1. Read the Article assigned to your group independently.
2. Roles:
ORANGE (1) Secretary "I will write!"
PURPLE (2) Speaker "I will share out!"
YELLOW (3) Discussion Supervisor "I'll keep my friends on task!"
PINK (4) Optimist "I'll cheer on my team!"
2. Identify the following:
Title
Author
Author's Purpose
Intended Audience
Claim
Counterclaims
Key Words
3. As each group presents, you are to make notes in your Unit I Section of your notebook.
A Microscope in the Kitchen
I grew up with buckets, shovels, and nets waiting by the back door; hip-waders hanging in the closet; tide table charts covering the refrigerator door; and a microscope was sitting on the kitchen table. Having studied, my mother is a marine biologist. Our household might have been described as uncooperative. Our meals weren’t always served in the expected order of breakfast, lunch, and supper. Everything was subservient to the disposal of the tides. When the tide was low, Mom could be found down on the mudflats. When the tide was high, she would be standing on the inlet bridge with her plankton net.
I have great respect for my mother. I learned early that the moon affected the tides. Mom was always waiting for a full or new moon, when low tide would be lower than average and high tide higher than average. The moon being aligned with Earth and the sun when full or new, so its gravity combines with the sun’s gravity to create an even stronger gravitational pull. I knew that it took about eight hours for the tides to change from high to low, sixteen hours for a complete cycle of tides. 9 I didn’t have to wait to learn these things in school. In our house they were everyday knowledge.
[1] Often, my brother and I, joined our mother on her adventures into tidal lands. [2] At the very low tides of the full moon, when almost all the water was sucked away, we found the hideaways where crabs, snails, starfish, and sea urchins hid in order not to be seen. [3] Sometimes we would dig with shovels in the mud, where yellow and white worms lived in their leathery tunnels. 13
For plankton tows, we would stand on the bridge while Mom lowered a cone-shaped net that is often used by marine biologists. Then we would patiently wait. After a while, she would pull up the net, and we would go home. Later, we would see her sitting at the kitchen table, peering at a drop of water through the lenses of her microscope from the bottle—watching the thousands of tiny swimming organisms.
My Father's Garden
[1] When I was a boy growing up in Delhi, India, we had a kitchen garden behind our downstairs apartment. My father was an avid gardener, he still is: and every Saturday morning he would put on his work clothes, pick up his hoe and trowel, and would head out the back door. 3
[2] As a ten-year-old, I was supremely unenthusiastic about swinging a hoe in the garden when I could be out playing with my friends. Having tried and failed, my father was unable to make a gardener of me. I had no qualms, of course, about enjoying the results of his labor: the potatoes, squash, cucumbers, and cauliflower that he pursued out of the earth. I would even help him dig out the potatoes or cut a cucumber from its vine. To me, it was much more fun to reap than sowing.
[3] Many years later, living in an upstairs apartment, I am more often sorry I didn’t follow my father out to the garden. I have several indoor plants, but the experience is not the same. The few times that I’ve helped a friend with yard work has given me the joy of touching the soil with an open palm, to get the earth under my fingernails, of patting down the berm around a newly transplanted sapling. Now that I live far from my father (I live in Iowa on the other side of the world), I wish I’d spend more time with him in the garden.
[4] My favorite photograph of my father shows him squatting on his heels, trowel in hand, behind a golden heap of onions freshly pulled from the ground. 12 His glowing smile are evidence of his pride in the onions—the proof of his labor and love—and in me, the photographer, his son. In that photo, his love of the land and his love for me are somehow intertwined, indivisible. It is that same love—love of kin, love of land—that pushes under my fingernails, pushes against my skin, when I thrust my hand into the yielding earth and think that on its far side my father might be doing the same.
The Andean Panpipe
Whether its bright and jaunty or haunting and melancholic, the music of the Andes highlands has a mellow sound unique in the musical world. The instrument responsible for this sound is the antara, or Andean panpipe, known for the hollow-sounding, breathy notes it creates. The antara has its origins in the Incan civilization, once the more richer and more powerful empire in South America.
The antara consists of a connected row of hollow, vertical pipes of varying lengths, which are then lined up. The pipes, which can vary numerously from three to fifteen, are fashioned from clay that is rolled around a mold. Each pipe is individually rolled to create the proper pitch before being bound to the other pipes.
The antara dates back to the ninth century. Evidence about how musicians played the instrument have come from painted images on Incan ceramic pottery. Musicians are depicted playing a six-pipe antara by holding the lower ends of the two longer pipes with the right hand while placing the left hand near the remaining tops of the four pipes. The antara was also sometimes held in one hand while the other hand beat a cylindrical drum.
[1] Due to the limited number of notes that can be played on an antara, early musicians’ most likely worked in groups, coordinating the timing and pitch of their instruments to extend the range of sounds produced. (10) [2] Other pottery images show two antara players facing each other while dancing. [3] Each player holds a set of pipes so that both sets are connected to the other set by a string, as if to suggest that those two antaras should be played together. [4] Even to this day, descendants of the Incas, the Quechua people of Peru and Bolivia, prefer to play matched antaras bound together. 12
Unfortunately, the music of the Incas can probably never be exactly re-creating. Yet one can hear in the music of their descendants, beautiful variations on a musical sound that has survived for many centuries. 15
3.Given that all of the choices are true, which one provides the most significant new information?
A. NO CHANGE B. thus forming this musical instrument.
C. arranged from shortest to longest.
D. which are fastened together.
7.The best placement for the underlined portion would be:
A. where it is now. B. before the word left.
C. before the word of. D. before the word four.
10.If the writer were to delete the phrase “coordinating the timing and pitch of their instruments” from the preceding sentence, the sentence would primarily lose:
F. a description of how musicians overcame the limitations of the antara.
G. an indication that music was an important element in Incan life.
H. the idea that the antara was a key feature of Incan music.
J. nothing of significance, because the phrase is redundant.
12.For the sake of the logic and coherence of this paragraph, Sentence 4 should be placed:
F. where it is now. G. before Sentence 1.
H. after Sentence 1. J. after Sentence 2.
15.If the writer were to change the pronoun one to we in the preceding sentence, this closing sentence would:
A. indicate that the writer is a descendant of the Incas.
B. suggest that the essay’s audience are all musicians.
C. take on a somewhat more personal tone.
D. become more clearly a call to action.
September 28
1. Your friend (talk-talks) too much.
2. The man with the roses (look-looks) like your brother.
3. The women in the pool (swim-swims) well.
4. Bill (drive-drives) a cab.
5. The football players (run-runs) five miles every day.
6. That red-haired lady in the fur hat (live-lives) across the street.
7. He (cook-cooks) dinner for his family.
8. The boys (walk-walks) to school every day.
9. The weather on the coast (appear-appears) to be good this weekend.
10. The center on the basketball team (bounce-bounces) the ball too high.
September 29
1. Each of the girls (look-looks) good on skis.
2. Everybody (was-were) asked to remain quiet.
3. Neither of the men (is-are) here yet.
4. (Is-Are) each of the girls ready to leave?
5. Several of the sheep (is-are) sick.
6. Some members of the faculty (is-are) present.
7. Nobody in the class (has-have) the answer.
8. Each of the girls (observe-observes) all the regulations.
9. All of the milk (is-are) gone.
10. Most of the seats (was-were) taken.
September 30
1. Margo and her parents (visit-visits) each other often.
2. Either the cups or the glasses (are-is) in the dishwasher.
3. Vern and Fred (need-needs) a ride to work.
4. There (is-are) a dog, a cat, and a bird in the garage.
5. Neither Matt nor his brothers (was-were) at the party.
6. Here into the main ring of the circus (come-comes) the trained elephants.
7. Either the workers or the boss (deliver-delivers) the merchandise.
8. The committee (work-works) hard for better schools.
9. There (is-are) many things to do before the holidays.
10. The jury (was-were) polled for their verdicts.
11. Here (is-are) the nails you need for the projects.
12. Either Joyce or Ellen (was-were) here.
13. The United States (is-are) a country of contrast.
14. A magazine and a book (was-were) lying on the floor.
15. The family (is-are) occupied with their individual problems.
Oct 5- 9
INSTRUCTIONS: Correct each sentence to create parallel structure.
Parallel structure means using the same pattern of words to show that two or more ideas have the same level of importance. This can happen at the word, phrase, or clause level. The usual way to join parallel structures is with the use of coordinating conjunctions such as "and" or "or."
For Example:
Mary likes hiking, swimming, and riding a bicycle.
The production manager was asked to write his report quickly, accurately, and thoroughly.
The teacher said that he was a poor student because he waited until the last minute to study for the exam, completed his lab problems in a careless manner, and lacked motivation.
1. IT was a special pleasure to see things eaten, to see things blackened and changed.
2. With his symbolic helmet numbered 451 on his stolid head, and his eyes all orange flame with the thought of what came next, he flicks the igniter and the house jumped up in a gorging fire that burned the evening sky red and yellow and black.
3. He stroded in a swarm of fireflies.
4. While the books went up in sparkling whirls and blowing away on a wind turned dark with burning.
5. The girl stopped and looked as if she might pull back in surprise, but instead stood regarding Montag with eyes so dark and shining and alive, that he felt he had said something quite wonderful.
6. But he knew his mouth had only moved to say hello, and then when she seemed hypnotized by the salamander on his arm and the phoenix-disc carved upon his chest, he spoke again.
7. Of course I'm happy. What does she think? I'm not?
8. He stood looking up at the ventilator grille in the hall and suddenly remembered that something lay hidden behind the grille, something that seemed to peer down at him now.
9. He moved his eyes quickly away. What a strange meeting on a depressingly strange night.
10. Yet how large that time seemed now. How immense a figure she was on the stage before him; what a shadow she threw on the wall with her slender body!
Oct 12-16
Instructions: For each, add commas where needed and briefly describe the Who, What, When, and Where of the quote.
1. "So many people are. Afraid of firemen I mean. But you're just a man after all..." He saw himself in her eyes suspended in two shining drops of bright water himself dark and tiny in fine detail the lines about his mouth everything there as if her eyes were two miraculous bits of violet amber that might capture and hold him intact.”
Who, What, When, Where:______________________________________________________________________________________ ___________________________________________________________________________________________________________
2. “Her face turned to him now was fragile milk crystal with a soft and constant light in it. It was not the hysterical light of electricity but-what? But the strangely comfortable and rare and gently flattering light of the candle.”
Who, What, When, Where:______________________________________________________________________________________ ___________________________________________________________________________________________________________
3. “One time when he was a child in a power-failure his mother had found and lit a last candle and there had been a brief hour of rediscovery of such illumination that space lost its vast dimensions and drew comfortably around them and they mother and son alone transformed, hoping that the power might not come on again too soon…”
Who, What, When, Where:______________________________________________________________________________________ ___________________________________________________________________________________________________________
4. "Well" said Beatty "take the night off!" He examined his eternal matchbox the lid of which said GUARANTEED: ONE MILLION LIGHTS IN THIS IGNITER and began to strike the chemical match abstractedly blow out strike blow out strike speak a few words blow out.
Who, What, When, Where:______________________________________________________________________________________ ___________________________________________________________________________________________________________
5. He looked at the flame. He blew he looked at the smoke. "When will you be well?"
"Tomorrow. The next day maybe. First of the week." Beatty puffed his pipe. "Every fireman sooner or later hits this. They only need understanding to know how the wheels run. Need to know the history of our profession. They don't feed it to rookies like they used to.
Who, What, When, Where:______________________________________________________________________________________ ___________________________________________________________________________________________________________
October 19-23
Instructions: For each, correct grammatical errors, define underlined words and briefly describe the Who, What, When, and Where of the quotation from Fahrenheit 451.
1. They had sat in the green soft light without saying a word for a moment and then Montag talked about the weather and then the old man responded with a pale voice. It was a strange quiet meeting. The old man admitted to being a retired English professor who had been thrown out upon the world forty years ago when the last liberal arts college shut for lack of students and patronage. His name was Faber and when he finally lost his fear of Montag he talked in a cadenced voice looking at the sky and the trees and the green park and when an hour had passed he said something to Montag and Montag sensed it was a rhymeless poem.
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2. Then the old man grew even more courageous and said something else and that was a poem too. Faber held his hand over his left coat-pocket and spoke these words gently and Montag knew if he reached out he might pull a book of poetry from the man's coat. But he did not reach out. His. hands stayed on his knees, numbed and useless. "I don't talk things sir" said Faber. "I talk the meaning of things. I sit here and know I'm alive."
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3. Now as the vacuum-underground rushed him through the dead cellars of town jolting him he remembered the terrible logic of that sieve and he looked down and saw that he was carrying the Bible open.
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4. There were people in the suction train but he held the book in his hands and the silly thought came to him if you read fast and read all maybe some of the sand will stay in the sieve.
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5. Trumpets blared "Denham's Dentrifice" Shut up thought Montag Consider the lilies of the field "Denham's Dentifrice."
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