emc’s mirrors & windows

Grade 9

Help your students excel and develop the skills they need to meet the Illinois Learning Standards for English Language Arts with EMC’s Mirrors & Windows: Connecting with Literature.

This new and innovative Grades 6–12 literature program also provides extensive and varied preparation opportunities and materials for Illinois ISAT and PSAE tests.

By mastering and applying skills that are basic to all learning, critical to success in the workplace, and essential to life as productive citizens, students will become excellent

communicators, team players, and problem-solvers.

©2009 by EMC Publishing, LLCAll Rights Reserved

EMC’s Mirrors & WindowsProgram Overview and Correlation

to Illinois Learning Standards for English Language ArtsYour Best Resource for Meeting the

Illinois Learning Standards for English Language Arts

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IL2

210 UNIT 2 NONFICTION

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them anyhow,” she said. My glamorous aisle mate took out her cell phone and passed it around to anyone who wanted to make a call, or to hear the reassuring voice of a loved one.

There was someone I wanted to call. Back in Vermont, my husband was anticipating my arrival late that night. He had been complaining that he wasn’t getting to see very much of me because of my book tour. That’s why I had decided to take this particular flight—oh, yes, those stories! I had planned to surprise him by getting in a few days early. Now I just wanted him to know I

was okay and on my way. When my name was finally called to board my new flight, I felt a bit tearful to be parting from people whose lives had so intensely, if for a moment, touched mine.

Now, back on terra firma,2 walking down a Vermont road, I sometimes hear an airplane and look up at that small, glinting, piece of metal. I remember the passengers on that fateful, lucky flight and wish I could thank them for the many acts of kindness I witnessed and received. I am indebted to my

fellow passengers and wish I could pay them back. Just then, remembering my aisle mate’s hand clutching mine while I

clutched the hand of the high school student, I was struck by lightning all over again: The point is not to pay back kindness but to pass it on. ❖

ANALYZE LITERATURE

Diction What words and interjec-tions are included in these last few paragraphs? How do these word choices contribute to the explanation of Alvarez’s “aha moment”?

2. terra firma. [Latin] “solid ground”

APPLY THE MODEL

Have you ever been frightened but somehow found the strength to get through a difficult situation? What makes people pull together and support one another during a crisis?&&

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Reading, Writing, and Communicating

A Reading Model for each genre applies • reading strategies and skills before, during, and after reading.The gradual release of responsibility model • uses a scaffolded approach to increase reading comprehension and guide students to independent reading.Students are provided multiple opportunities • in each unit to improve and expand their vocabulary skills within the context of the literature selections.

You will have no problem meeting the English Language Arts benchmarks with the Mirrors & Windows program.

Reader’s Context questions before reading • engage readers by asking questions that connect to students’ prior knowledge and personal experience.Mirrors & Windows• questions after reading ask essential questions about students’ understanding of the literature selections.Literature selections are paired with • other texts to establish context and to help students see relationships between literature and real-world topics or events.

USE READING SKILLSSequence of Events Sequence refers to the order in which things happen. When you read nonfiction, keep track of the sequence of events by making a Sequence Map like the one below.

Bolt of __________lightning __________

PREVIEW VOCABULARYTry to unlock the meanings of the underlined vocabulary words using the contrast clues provided in the sentences below.1. The villagers were stricken by

a mysterious sickness, but they tried to continue living a care-free existence.

2. Although her father has a Southern drawl, Bea has a chipper voice that bounces around the room.

3. The indiscriminate scolding angered the employees who were not guilty of stealing; however, the boss thought it was better than confronting the thief.

4. After the dentist tightened their braces, Marco was in excruciating pain, but his sister Jaclyn was only a little uncomfortable.

5. My father lamented the fact that he never took photos of the fish he caught; on the other hand, he enjoyed being able to exaggerate.

BUILD BACKGROUNDLiterary Context In “Aha Moment,” Julia Alvarez portrays one fateful flight taken while on a book tour. The impact on Alvarez’s life from this event—her “aha moment”—remains long after the airplane lands. Her near-death experience teaches her valuable lessons about courage, camaraderie, and appreciation of life’s blessings.

Reader’s Context Think of a time when a machine or some technology let you down at a critical moment. How did you cope?

ANALYZE LITERATURE: DictionDiction, when applied to writing, refers to word choice. Much of a writer’s style is determined by the types of words that he or she chooses. Diction can be formal or informal, simple or complex, contemporary or old-fashioned, coarse or refined. For example, consider the difference between saying, “I

had an aha moment” and “I had an epiphany.” As you read, note the words Julia Alvarez has chosen to describe her eventful flight.

SET PURPOSEWhen applied to literature, the term epiphany refers to a moment of sudden insight in which the essence, or nature, of a person, thing, or situation is revealed. Predict what kind of an epiphany the author might have had from a rough flight. Then, as you read, look for what Julia Alvarez describes as being “struck by lightning” or having an “aha moment.”

MEET THE AUTHORJulia Alvarez (b. 1950) was born in New York but was raised in the Dominican Republic until age ten. At that time, her father joined an underground resistance movement against the dictatorship of Molina Trujillo, and the family was forced to flee and move back to the United States. A native speaker of Spanish, Alvarez explains that her love of language and writing came from having to pay so much close attention to the English in her classrooms in New York. Though she had won many awards for her poetry and essays, she did not publish her first novel, How the García Girls Lost Their Accents, until 1991.

AHA MOMENT 207

AHA MOMENTA Narrative by Julia Alvarez

APPLY THE MODEL

GUIDED READING

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BUILD BACKGROUND• Connect your own knowledge and experiences to

what you read. What do you already know about the topic? What questions do you still have about it?

• Based on the information in the Build Background and Meet the Author sections, what points or perspec-tives do you think the author will make in the selection?

ANALYZE LITERATURE• The Analyze Literature feature focuses on one or

more literary techniques that are used in the

selection. Make note of how the author uses these elements as you read.

SET PURPOSE• Preview the text to set a purpose for reading. Notice

if there are any photographs, artworks, or charts accompanying the text. Your prior knowledge about the subject may also help you set a purpose.

USE READING SKILLS• Before reading, apply reading skills such as deter-

mining the author’s purpose, analyzing text structure, and previewing new vocabulary.

USE READING STRATEGIES• Ask questions about things that interest or confuse

you. Consider the author’s purpose. Does the infor-mation and the argument presented in the selection support this purpose?

• Visualize or form pictures in your head to help you mentally see the images that the author describes.

• Make predictions about what will happen next in narrative nonfiction selections. As you read, gather more clues that will either confirm or change your predictions.

• Make inferences, or educated guesses, about what is not stated directly. Some points may be implied or hinted at, or they may be left out altogether.

• Clarify your understanding of what you are reading by rereading or reading aloud portions of the text you didn’t understand.

ANALYZE LITERATURE• In nonfiction writing, pay attention to the word

choices and phrasing to understand how the author feels about the subject. What do the author’s words reveal about his or her attitude?

MAKE CONNECTIONS• Notice where there are connections between your

life and the selection.

REFER TO TEXT• Think about the facts. Remember details, such as

descriptions of people, places, or situations. Who was involved? Where and when did it take place?

• Try to summarize the author’s points or ideas in two or three sentences.

• With narrative nonfiction, recall the sequence of events or the order in which things happened.

REASON WITH TEXT• Apply what you know about the subject from your

prior knowledge or from one part of the text to answer any additional questions.

• Analyze the text by breaking down information into smaller units.

• Evaluate the text. Is the author effective in drawing you into his or her narrative nonfiction selection? Does it ring true? Has the author achieved his or her purpose?

ANALYZE LITERATURE• Review the author’s use of literary techniques,

such as diction, or choice of language. What other techniques were used?

EXTEND THE TEXT• Explore ideas beyond the nonfiction selection by

writing or engaging in other creative projects.

NONFICTION READING MODEL


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Read with Understanding and Fluency

Read, Understand, and Respond to Diverse Genre and Universal Themes


IL3

Across the Curriculum

Two postreading Writing Options after selections • cover major writing modes such as creative, technical, and persuasive writing. Unit-based Writing Workshops contain detailed • examples and in-depth explanations for skills such as prewriting, drafting, revising, editing, and writing the fi nal product.

Unit-based Speaking & Listening Workshops on • topics such as listening strategies, researching and presenting effective oral communication, and incorporating multimedia into presentations.

In addition to the textbook lessons, the Mirrors & Windows program includes one-of-a-kind Meeting the Standards unit support customized for the Illinois standards.

Deliver a Persuasive SpeechAn effective way to convince others to adopt your opinion is by delivering a persua-sive speech. The goal of this type of speech is to change someone’s mind or way of thinking about a topic. You must portray yourself as the authority figure, so you need to know your material well. In a persuasive speech, do not be afraid to show a little emotion—this is not a sterile or static speech. Your body and voice must match the tone of your words. Use the following guidelines to present your speech to your audience. Prepare by rehearsing your speech in pairs or small groups.

1. Be sincere and enthusiasticFeel strongly about your topic. Apathy is infectious and will quickly spread to your audience. When you are trying to convince someone of something, you must first establish your credibility, or in other words, you must sell yourself before you sell your message. You must be committed to the ideals and goals of your speech and what you are saying. Do not use words such as “maybe” or “might”—use positive words such as “will” and “must.”

2. Maintain good but relaxed postureDon’t slouch or lean. It’s fine to move around a bit; doing so releases normal nervous tension. Keep your hands free to gesture naturally instead of clutching note cards, props, or the podium so often or hard that you “tie up” your hands.

3. Speak slowlyOral communication is more difficult for audiences to process and understand than written language and visual images. Pause briefly before each major point and before any direct quotations, allowing important or complex information to sink in. Don’t be afraid of silence. Focus on communicating with the audience. By looking for feedback from the audience, you will be able to pace yourself appropriately.

4. Maintain genuine eye contactTreat the audience as individuals, not as a mass of people. Look at individual faces.

5. Speak in a genuine, relaxed, conversa-tional toneDon’t act or stiffen up. Be yourself, but make sure to vary your pitch and volume. Avoid speaking in a mono-tone. Let your words speak for themselves; reflect your nature through your voice.

6. Communicate with the audienceFocus on conveying your message, not on “getting through” the speech. Concentrate on communicating with the audience, not speaking at or to them.

Your presentation will be evaluated on these elements:

Content❏✔ clear chronology—beginning, middle, and

end

❏✔ strong opening and closing sentences

❏✔ persuasive and well-supported thesis

❏✔ simple vocabulary and sentence structure

Delivery and Presentation❏✔ appropriate volume, pace, and enunciation

❏✔ effective tone, intonation, and stress

❏✔ effective nonverbal expression and gestures

Speaking and Listening Rubric

339SPEAKING & LISTENING WORKSHOP

Speaking TipRemain confident and composed. Remember that listeners are gener-ally supportive of speakers and usually don’t detect any signs of nervousness. To help yourself overcome initial apprehension, take two or three deep breaths as you are stepping up to speak.

SPEAKING & LISTENING WORKSHOPSPEAKING & LISTENING WORKSHOP

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Speaking RubricYour presentation will be evaluated on these elements:

Content

presentation is clear and well-organized

arguments are strong and well-supported

opposing arguments are addressed

Delivery and Presentation

tone is moderate and reasonable

nonverbal communication effectively supports content

questions are answered completely and politely

Listening RubricAs a peer reviewer or audience member, I should do the following:

listen quietly and attentively

maintain eye contact with speaker

ask appropriate questions

(as peer reviewer) provide constructive feedback

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Persuasive EssayPersuasive words have power: Martin Luther King Jr.’s “I Have a Dream” speech, Nelson Mandela’s “Glory and Hope” speech, and Rachel Carson’s book Silent Spring all inspired important changes in society. Each author stated his or her opinion and provided convincing, reasonable evidence to support it. They felt passionately about the truth of their position. Their words have had a lasting effect.

Expressing an informed opinion is an attempt to win an audience, to convince people to agree with or understand your point of view. You encounter persuasive language every day. Advertisers persuade you to make a purchase; newspaper editorials persuade you to consider an opinion on an issue. Persuasion combines passion with logic and reasoning to influence the minds and sometimes change the lives of others.

For this assignment, choose a topic you believe in and care about. Prewrite, draft, and revise an informed persuasive essay that expresses your opinion of this important topic.

➊ PREWRITE

Select Your Topic Brainstorm a list of topics that concern you. To find ideas, read through a news-paper or current events magazine. Choose a topic that you not only have a strong

opinion about, but a topic that either you or a relative have had some experience with. It is important that you have both emotional and logical argumentation for your essay to be persuasive and effective.

Gather InformationRead more articles on your topic. Talk with people about the issue you chose. Remember that there are two or more sides to every issue. Anticipating opposing viewpoints can help you make a strong case for your own argument. Take notes on the different ideas and perspectives you discover.

Next, pose a question about your topic and write it at the top of a chart like the one on page 341. Then list pro and con reasons to support both sides of the argument—for and against. Don’t evaluate your ideas at this point.

Organize Your IdeasReview the pro and con reasons you listed in your chart. Consider which points, or arguments, you feel most strongly about. If any seem particularly weak, cross them out.

You need at least three reasons to support your thesis statement. To gradually convince your readers, present your arguments in order of importance, ending with the strongest point. Number your reasons, one through three, in a logical progression.

Assignment Write a persuasive essayPurposeTo persuade readers to consider your point of viewAudienceAdults and peers affected by your topic who may or may not agree with your position


A successful persuasive essay

❏✔ has an introduction identifying the topic and generating interest in it

❏✔ includes a thesis statement that clearly establishes the writer’s position on the topic

❏✔ provides at least three informed reasons in the body and supporting evidence for each reason

❏✔ acknowledges opposing viewpoints and offers responses to those objections

❏✔ presents ideas in a reasonable, respectful, and sincere way

❏✔ issues a call-to-action or a recommendation for the reader in the conclusion

Writing Rubric

WRITING WORKSHOPWRITING WORKSHOP Persuasive Writing

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Write Your Thesis StatementDetermine the general idea that the numbered points on your graphic organizer support. Write a thesis statement that answers, in your opinion, the question at the top of your graphic organizer. One student, Rhonda, wrote this thesis state-ment in response to her initial question, “Should separate math and/or science classes be offered for girls and boys?”:

Girls should compete with boys in math and science classes.

➋ DRAFTWrite your essay by following the three-part framework described on page 342: introduction, body, and conclusion.

Draft Your IntroductionIn a persuasive essay, the introduction grabs readers’ attention, drawing them in. You might want to start out with a significant quotation, an anecdote or a story, or an important fact or statistic. The introduction should also identify and briefly explain the issue, both to inform readers and to alert them to the problem. Declare your opinion on the issue in your thesis statement.

Rhonda’s introduction, shown in the first column of the chart on page 343, presents the issue and gets the readers’ interest in the first sentence. Next, she provides the rationale for having separate math and science classes for boys and girls. At the end of the introduction, in her thesis statement, she opposes gender-segregated classrooms. Her tone, however, is too strong and informal. She risks offending her readers. How could she state her opinion in a more respectful tone?

Draft Your Body In the body, you support your thesis statement. You provide reasons why you hold your opinion. You already have them—the numbered points in your chart.

Topic Question:Should separate math and/or science classes be offered for girls and boys?Pro Con• Reduces distraction • Allows for a teaching style that

is more aligned to gender learning style

• Balances attention and encourage-ment

• Reduces the number of girls who are dropping out of math

• 2 Doesn’t parallel real world• 3 Fosters notion that separate is

good• 1 Offers a defeatist approach and

encourages gender bias

341WRITING WORKSHOP

What Great Writers DoGreat writers don’t shy away from a highly debatable thesis statement. Notice how they also respectfully acknowledge

possible opposition to their views:• “I am not unmindful that some of you

have come here out of great trials and tribulations.” —Martin Luther King Jr.

• “We understand it still that there is no easy road to freedom.” —Nelson Mandela

• “All this is not to say there is no insect problem and no need of control. I am saying, rather, that control must be geared to realities…” —Rachel Carson

Pro and Con Chart

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Listen and Speak Effectively in a Variety of Situations

Write to Communicate for a Variety of Purposes


IL4

...an Emphasis on Literary Analysis

...a Belief in Higher Levels of Rigor

Mirrors & Windows and Illinois Standards Share...

Mirrors & Windows is the most rigorous secondary literature program currently available. The scaffolded instructional approach gradually reduces the level of instruction and support as students work their way through the program, encouraging students to become independent readers and thinkers.

Independent Readings provide students with • opportunities to apply the strategies and skills that they have learned previously in the program, and to monitor their own comprehension.Text-to-Text Connections encourage students to make • connections between the literary selections and other literature, informational texts, and primary sources.Exceeding the Standards• resource books offer additional in-depth study, practice, and enrichment.

USE READING SKILLSAnalyze Authors’ Approach Being able to recognize how an author approaches his or her subject and audience will assist you in understanding the selection. An author may be informative, humorous, persua-sive, or forceful when presenting his or her work. As you read, determine how the authors of these selections approach their subjects and how they present them to readers. Consider how the choice of approach affects the selection.

BUILD BACKGROUNDLiterary Context The how-to essay “Furor Scribendi” (Latin for “A Rage for Writing”) appears in Octavia Butler’s collection Bloodchild and Other Stories (1995). This story collection has received many honors, including being named as the New York Times Notable Book of the Year. The essay advises readers on the art of becoming a good writer.

Like Butler, Garrison Keillor refuses to believe that writing is something only a few people can or should do. In his essay “How to Write a Letter,” Keillor tells why it’s important to keep letter writing alive as an art and as a skill. This selection is an excerpt from Keillor’s book We Are Still Married: Stories and Letters, published in 1989.

Reader’s Context Do you write for pleasure? How often do you write to someone via letter or e-mail? How might writing be a valued hobby to a person?

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Furor ScribendiA How-to Writing by Octavia Butler

How to Write a LetterA How-to Writing by Garrison Keillor

COMPARE LITERATURE: How-to WritingA how-to writing usually provides the steps to a process. Writers may use explanations, examples, and other details to make the process clearer. “Furor Scribendi” and “How to Write a Letter” both give how-to advice about writing. As you read the essays, think about what each author wants you to know, think, feel, or do. Compare Butler’s purpose in “Furor Scribendi” to Keillor’s purpose in “How to Write a Letter.”

MEET THE AUTHORSOctavia Butler (1947–2006) is best known as a science fiction writer. Starting in the late 1970s, she wrote a number of novels that were well-received by the public. Her best-known book, Kindred, was published in 1988. Butler has received numerous awards, including the Hugo Award from the World Science Fiction Society and the Nebula Award from the Science Fiction Writers of America. In 1995, Butler was awarded a “genius grant” from the MacArthur Foundation. In a note of self-mockery, Butler said that “nobody made me take an IQ test before I got [my grant]. I knew I’m no genius.”

Garrison Keillor (b. 1942) is the host of the award-winning public radio show A Prairie Home Companion, a variety show loosely based on radio broadcasts of the pre-television era. The best-known portion of the show is “The News from Lake Wobegon,” in which Keillor

describes with humor and warmth the lives of average people in a fictitious Minnesota town. Keillor has been a contributor to The New Yorker and other magazines, has written several books, and has edited collections of poetry.

OMPARING LITERATURE COMPARING LITERATURE COMPARING LITERATURE COM296 UNIT 2 NONFICTION

KEILLOR

BUTLER

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MPARING LITERATURE COMPARING LITERATURE COMPARING LITERATURE COM297FUROR SCRIBENDI / HOW TO WRITE A LETTER

Writing for publication may be both the easiest and the hardest thing you’ll

ever do. Learning the rules—if they can be called rules—is the easy part. Following them, turning them into regular habits, is an ongoing struggle. Here are the rules:

1. Read. Read about the art, the craft, and the business of writing. Read the kind of work you’d like to write. Read good literature and bad, fiction and fact. Read every day and learn from what you read. If you commute to work or if you spend part of your day doing relatively mindless work, listen to book tapes. If your library doesn’t have a good supply of complete books on audio tape, companies like Recorded Books, Books on Tape, Brilliance Corporation, and the Literate Ear will rent or sell you a wide selection of such books for your pleasure and continuing education. These provide a painless way to ponder use of language, the sounds of words, conflict, charac-terization, plotting, and the multitudes of ideas you can find in history, biography, medicine, the sciences, etc.

2. Take classes and go to writers’ work-shops. Writing is communication. You need other people to let you know whether you’re communicating what you think you are and whether you’re doing it in ways that are not

only accessible and entertaining, but as compel-ling as you can make them. In other words, you need to know that you’re telling a good story. You want to be the writer who keeps readers up late at night, not the one who drives them off to watch television. Workshops and classes are rented readers—rented audi ences—for your work. Learn from the comments, questions, and suggestions of both the teacher and the class. These rela tive strangers are more likely to tell you the truth about your work than are your friends and family who may not want to hurt or offend you. One tiresome truth they might tell you, for instance, is that you need to take a grammar class. If they say this, listen. Take the class. Vocabulary and grammar are your primary tools. They’re most effectively used, even most effectively abused, by people who understand them. No com puter program, no friend or employee can take the place of a sound knowledge of your tools.

3. Write. Write every day. Write whether you feel like writing or not. Choose a time of day. Perhaps you can get up an hour earlier, stay up an hour later, give up an hour of recre ation, or even give up your lunch hour. If you can’t think of anything in your chosen genre, keep a journal. You should be keeping one anyway. Journal writing helps you to be more observant

Furor

ScribendiA How-to Writing by

Octavia ButlerYou want to be the writer who keeps readers up late at night, not the one who drives them off to watch television.

Girl Writing, 1908. Pierre Bonnard.


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MPARING LITERATURE COMPARING LITERATURE COMPARING LITERATURE COM299FUROR SCRIBENDI / HOW TO WRITE A LETTER

We shy persons need to write a letter now and

then, or else we’ll dry up and blow away. It’s true. And I speak as one who loves to reach for the phone, dial the number, and say, “Big Bopper here—what’s shakin’, babes?” The telephone is to

shyness what Hawaii is to February, it’s a way out of the woods, and yet: a letter is better.

Such a sweet gift—a piece of handmade writing in an envelope that is not a bill, sitting in our friend’s path when she trudges home from a long day spent among wahoos and savages, a day our words will help repair. They don’t need to be immortal, just sincere. She can read them twice and again tomorrow: You’re

We need to write, otherwise nobody will know who we are.

A How-to Writing by Garrison Keillor

REFER TO TEXT REASON WITH TEXT1a. List a writer’s two “primary tools.” 1b. Explain why it is important to use all of

your writer’s tools. Understand Find meaning

2a. State what, according to Butler, is essential to any writer.

2b. Apply Butler’s advice to another part of your life, such as a relationship, an activity, or schoolwork. How might her advice assist you?

Apply Use information

3a. Identify who might have difficulty being honest and open when responding to your writing.

3b. How would questions and criticism help during the writing process? Infer why strangers might offer better criticism than friends and family.

Analyze Take things apart

4a. Recall what Butler claims is more reli-able than inspiration and talent.

4b. Critique the idea that writers should not rely on inspiration and talent. Explain your response.

Evaluate Make judgments

5a. Identify the intended audience of the selection.

5b. Modify Butler’s essay so that it can serve as a guide for your classmates about the art of writing for classes. Choose advice that you can use from the selection, and identify advice you should alter or add.

Create Bring ideas together

▼▼▼▼▼


USE READING SKILLS WITH NONFICTION

Identify Supporting DetailsSupporting details are the facts and information that provide the evidence and structure that make up nonfiction writing. To identify supporting details, you need to do the following:

• Locate basic facts, such as names, dates, and events.

• Determine the importance of those facts to the understanding of the selection. Some facts or details will be more important than others. The main ideas are what the selection is about; the minor ideas and details provide support for the main ones.

• Determine the mode of writing the author is using. The possible modes and types of writing that employ those modes are listed on page 205.

• Interpret subtly stated details. These details can help clarify the author’s stance or purpose, or they may give fuller meaning to the basic facts.

• Understand the function of a part of a passage. Is the author providing information, supporting a previously made point, presenting a conflicting argument, building suspense? Pay attention to how your understanding of a topic or your feelings toward it changes as you read.

• Draw conclusions about how the author uses the supporting details to achieve his or her desired result. Put together clues from the text with your prior knowledge to make inferences.

READING NONFICTION INDEPENDENTLYTheme: Facing Challenges“My favorite heroes in The Odyssey

are the older warriors who have been

through many wars. They don’t hide

their scars, they wear them proudly as

a kind of armor.”

–Twyla Tharp, from “An ‘A’ in Failure”

The road of life rarely runs smoothly; everybody faces challenges and obstacles from time to time. Sometimes, the challenges come from things outside you, larger in scope than any day-to-day trouble might be. War, racial discrimination, and poverty force people to find new ways to cope. Other chal-lenges, however, are more exclusive to you alone. Whether it’s grappling with shyness, disability, or fear, these personal challenges can also be a large force in shaping who you are. As you read the selections in this section, consider what challenges the central figures face.


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ch as names, dates, and

tance of those facts toe selection. Some facts or ortant than others. The selection is about; the provide support for

of writing the author ises and types of writing that listed on page 205.

ed details. These detailsor’s stance or purpose, or

aning to the basic facts.tion of a part of a passage.nformation, supporting , presenting a conflictingense? Pay attention toof a topic or your feelings

u read.out how the author uses o achieve his or her desired s from the text with your e inferences.

Distinguish Fact from OpinionA fact is a statement that could be proven by direct observation. Every statement of fact is either true or false.

EXAMPLE

Many Greek myths deal with human emotion. (This statement is a fact that can be proven by examining the content of Greek myths.)

An opinion is a statement that expresses an attitude or a desire, not a fact about the world. One common type of opinion statement is a value statement. A value statement expresses an attitude toward something.

EXAMPLE

Ancient Greece produced some beautiful and inspiring myths. (The adjectives used to describe myths express an attitude or opinion toward something that cannot be proven.)

A policy statement is an opinion that tells not what is but what someone believes should be.

EXAMPLES

The president should be reelected.You must not play your radio during study hall.

A prediction makes a statement about the future. Because the future is unpredictable, most predictions can be considered opinions.

EXAMPLES

People will live longer in the future.Tomorrow will be partly cloudy.

When evaluating a fact, ask yourself whether it can be proven through direct observation or by checking a reliable source such as a reference book or an unbi-ased expert. An opinion is only as good as the facts that support it. When reading, be critical about the statements that you encounter.

Fact or Opinion Chart

Fact: Two thirds of households in the United States have pets.

Proof: Survey by the American Veterinary Medical Association

Opinion: “They’re shaggy-looking, they’re suffering the same emotional loss that people are.”

Support: Quotation by a St. Bernard Parish councilman

305READING NONFICTION INDEPENDENTLY

When reading nonfiction, you need to be aware of what type of writing it is, how it uses supporting details, and what the author’s intent is. The following checklist of questions offers a framework for approaching nonfiction reading.

As you start to read…

❏ What are the basic facts, such as names, dates, locations, and events?

❏ What is the mode or purpose of the writ-ing? Narrative, informative, persuasive, descriptive, or personal?

As you continue reading…

❏ What seem to be the most important ideas in this selection?

❏ Are there more facts or opinions? ❏ How are the opinions supported?

After you’ve finished reading…

❏ How does the author use supporting details to convey his or her message?

❏ What can you infer by the author’s choice of words and details about how the author regards the subject or wants the reader to regard the subject?

Framework for Nonfiction

What Good Readers Do Monitor Your Reading Progress

All readers encounter difficulty when they read, especially if the reading material is not self-selected. When you have to read something, note problems you are having, and make a plan to fix them.

❏ Because I do not understand this part, I will…

❏ Because I am having trouble staying interested in the selection, I will…

❏ Because the words are too hard, I will…

❏ Because the selection is very long, I will…

❏ Because I cannot remember what I have just read, I will…

0304-0337_Lit3eG09_U02_3_IndSel.305 305 11/28/07 9:35:29 AM

No other literature program contains as much background information on literary analysis, or as many opportunities for students to apply higher-level analysis skills to the development of their own personal, thoughtful responses to literature.

Comparing Literature selections ask students to • analyze and compare the literary elements of two selections. Understanding Literary Criticism lessons expose • students to the various theories and methods of literary analysis.


IL5

Informational TextConnection

Mary Deinlein is an education specialist at the Smithsonian MigratorySmithsonian Institution in Washington, DC, the Center’s goal is to promstanding, appreciation, and protection of the grand phenomenon of birdto reach this goal is to study the behavior, habitats (natural homes), midiseases of birds. “When It Comes to Pesticides, Birds Are Sittingarticle that examines the dangers of pesticides to the world’s bird popu

The French philosopher Michel de Montaigne (1533–1592) wrote, “Let have her way. She understands her business better than we do.” As you whether you agree or disagree with this quotation.

When It Comes to Pesticides, Birds Are SittingA Scientific Article by Mary Deinlein

The Legacy of Silent SpringIn 1962, Rachel Carson’s eloquent and best-

selling book, Silent Spring, drew international attention to the environmental contamination wrought1 by pesticides, particularly the insecti-cide DDT. Carson cited declines in the number of songbirds due to poisoning as a key piece of evidence.

Six years later came documentation of a more insidious2 effect of pesticide use. Accumulations of DDE, a compound produced when DDT degrades,

d f l l

dicofol, dieldrin, endrin, heptalindane, and methoxychlor, amof these pesticide ingredients, sand heptachlor, are poisonous amounts. However, the most dthe organochlorines are their pis, their tendency to remain cha long time—and their solubilimeans they become stored in forganisms and can accumulateof these two traits, contaminan

d h h

DEINLEIN

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Mirrors & Windows emphasizes technology, computer, and work-related skills to help your students succeed in the 21st century.

Nonfi ction units include an overview of • Informational Text and Visual Media. Informational Text Connections present related • informational texts, graphics, and technical and consumer documents.

Writing Workshops include assignments to develop • applied writing skills.

Exceeding the Standards: Special • Topics resource books offer lessons on computer skills and personal and career development.

...a Focus on Language Arts to...

INFORMATIONAL TEXTIf you wanted to find out who won last night’s foot-ball game, when your favorite band is coming to town, or how to bake a cake, where would you look? Whether you use the Internet, a newspaper, or a cookbook to find out what you need to know, you are using an informational text, a form of nonfiction that aims to convey or explain information.

TYPES OF INFORMATIONAL TEXT

Articles An article is an informational piece of writing about a particular topic, issue, event, or series of events. Articles usually appear in newspapers, popular maga-zines, or professional journals, or on websites. An editorial is a magazine or newspaper article that gives the opinions of the editors or publishers. A review is an article that is a critical evaluation of a work, such as a book, play, movie, or musical performance or recording.

How-to WritingHow-to writing does exactly that—tells you, in detail, how to do something. Some how-to documents use numbered lists to give instructions; others explain procedures with diagrams or in paragraph form. “How to Write a Short Story” (page 333) uses numbered steps followed by explanations.

WebsitesA website is an electronic source of information that is available through the Internet. Anybody can create a website, and the information found there is very rarely monitored or censored. Websites that are created by credible organizations or experts usually contain trustworthy information that could serve as a valuable research source. However, many websites also contain misinformation. Make sure to evaluate the credibility of what you find by checking it against authorized sources.

Graphic AidsCharts, graphs, maps, diagrams, spreadsheets, draw-ings, and illustrations are visual materials that present information in understandable ways. When you work

with a graphic, look for elements such as its title, labels, column or row headings, a key or legend, a scale or unit of measurement, and its source.

READING CRITICALLYJust because an article is printed in a reputable news-paper or magazine doesn’t mean all the information is reliable or presented objectively. When you read an article critically, you first look for the facts and then look beyond the facts at what the writer is trying to say. Ask yourself these questions:• What is the writer’s main idea? Is it clear?• What evidence does the writer give to support his

or her main idea? For example, does the article contain facts and statistics, quotations from experts, or statements from eyewitnesses?

• Does the evidence come from reliable sources?• How much evidence is presented? Is it convincing?• Is there another side of the story? What is a

possible opposing viewpoint?

Distinguish Fact from OpinionA fact is a statement that can be proven by direct observation or supported by reliable resources. Every statement of fact is either true or false. An opinion, on the other hand, expresses an attitude or a desire, not a fact about the world. You can agree or disagree with an opinion, but not prove it to be true or false.

Opinions can take different forms: value statements, policy statements, or predictions. Value statements use judgment words, such as good, bad, nice, cheap, ugly, and hopeless. Policy statements express rules or ideas about how things should be. Words such as should, should not, must, or must not are often used. Predictions make statements about the future and are signaled by words such as may, might, and could. Because the future is largely unknowable, predictions are considered opinions.

Both facts and opinions require analysis on the part of the active reader. When evaluating a fact, ask yourself whether it can be proven through observation or by checking a reliable, unbiased source. An opinion can also be evaluated by checking the facts that support it.


Understanding Informational TextRecognize BiasSomething to look out for while you read critically is a writer’s bias. Bias is a personal judgment about some-thing, or a mental leaning in one direction or another. You may think bias is a negative thing, but everyone has it in some form.

Look for What’s MissingYou should also direct a critical eye to the facts that a writer may have left out. Look for quotations from experts that seem to be out of context or seem incon-sistent with other statements the experts have made.

When an informational text is making an argument for or against something, make sure all three parts of

the argument exist. The three parts of a good argu-ment are 1) the author’s assertion, or statement of belief; 2) facts, figures, statistics, and examples to support the argument; and 3) the opposing viewpoint of the argument, also known as the counterargument. If any of these three parts are missing, you can be fairly certain the argument is flawed.

Be Aware of PropagandaThe intentional use of false arguments to persuade others is called propaganda. Propaganda most often appears in nonfiction. There are many types of faulty arguments of which a discerning reader should be aware. They are listed in the chart below.

TYPE OF ARGUMENT DEFINITION EXAMPLE ANALYSIS

Glittering Generality

statement given to make something sound more appealing than it actually is

This video game system is the best one ever made!

Nothing in this statement tells why the video game system is the best.

Spin a technique of creating manipulative and misleading statements in order to slant public perception of the news

The accident was a minor incident because only twenty-five people were injured.

Someone is interpreting the accident as minor so the public will see it as such.

Stereotype an overgeneralization about a group of people that is always based on a lack of knowledge or experience

All teenagers want to do is find ways to get into trouble.

There is no proof for this statement, as some teenagers do get into trouble, but others do not.

Circular Reasoning the error of trying to support an opinion by restating it in different words

That adventure film was exciting because it was full of action.

The “reason” given for the film being exciting is really just another way of saying it was exciting.

Loaded Words words that stir up strong feelings, either positive or negative

The new coach is incredibly kind and a lot of fun.

This statement is not a reasonable evaluation of the coach’s skills or abilities.

Bandwagon Appeal statement that plays to a person’s desire to be part of the crowd—to be like everyone else and do what everyone else is doing

Those who want to be cool wear Star jeans.

This statement doesn’t prove, or even say, anything about the quality of the clothing.

317UNDERSTANDING INFORMATIONAL TEXT


IL6

Mirrors & Windows provides instructional support for students of all ability levels and learning styles.

Differentiated Instruction activities in the • Teacher’s Editions offer teaching ideas for Reading Profi ciency, English Language Learning, Enrichment, and Learning Styles (Audio, Visual, and Kinesthetic).

Provide Extensive Support for Meeting Illinois’ Learning Standards

Differentiated Instruction• resource books provide additional support for Developing Readers, English Language Learners, and Advanced Students.


0202-0211_Lit3eG09_U02_1_UOpen.i209 209 11/28/07 8:54:51 AM


5

10

15

I was in the tiny bathroom in the back of the plane when I felt the slamming jolt, then the horrible swerve that threw

me against the door. Oh, Lord, I thought, this is it! Somehow I managed to unbolt the door and scramble out. The flight attendants, already strapped in, waved wildly for me to sit down. As I lunged ahead toward my seat, passengers looked up at me with the stricken expression of creatures who know

they are about to die.“I think we got hit by lightning,” the girl in the seat next to mine

said. She was from a small town in east Texas, and this was only her second time on an airplane. She had won a trip to England by competing in a high school geography bee and was supposed to make a connecting flight when we landed in Newark.

In the next seat, at the window, sat a young businessman who had been confidently working. Now he looked worried—something that really worries me: when confident-looking businessmen look worried. The laptop was put away. “Something’s not right,” he said.

AHA MOMENTA Narrative by Julia Alvarez

I heard vaguely through my fear,

“Engine number two…hit…emergency landing….”

strick • en (stri> k@n) adj., plagued by fear, dis-ease, or misfortune

ANALYZE LITERATURE

Diction What words does Alvarez use in the first paragraph to describe movement? How do those words provide insight into Alvarez’s emotions at the time?

APPLY THE MODEL

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SummaryIn this narrative, Julia Alvarez is on a plane that experiences engine trouble. Although she is frightened, she offers comfort to another passenger, and a fellow passenger supports her. The passengers on the flight reevaluate what is important and form a support-ive community. From the experience, Alvarez learns the importance of pass-ing kindness on, rather than “paying it back.”

Teach the Model

The Mirrors & Windows questions

at the end of the selection focus on the theme of support and becoming united with others. Ask students what makes them feel connected to other people, even complete strangers.

attt tthhee eend ofoonn tthee theme

WW

W

IRRORS INDOWS

Analyze Literature Diction Answers: Students should note Alvarez uses the words and phrases slamming jolt, swerve, threw, managed, scramble, waved, and lunged. These words and phrases sug-gest violent movement, danger, and a sense of fear. Ask students to identify modifiers that add to this effect, such as horrible, wildly, and stricken. A

Program ResourcesPlanning and AssessmentProgram Planning Guide, Selection Lesson PlanE-Lesson PlannerAssessment Guide, Selection Quiz ExamView

Technology Tools Interactive Student Text on CDVisual Teaching PackageAudio Librarymirrorsandwindows.com

Meeting the StandardsNonfiction: Unit 2, How to Use an Active

Reading Model

Differentiating InstructionEnglish Language Learners, Use Contrast Clues

Quiz Mirrors&

Windows

A

A

0202-0211_Lit3eG09_U02_1_ATE 208 5/1/08 2:04:36 PM

209AHA MOMENT

209AHA MOMENT

20

35

40

45

50

The pilot’s voice came over the speaker. I heard vaguely through my fear, “Engine number two...hit…emergency landing...New Orleans.” When he was done, the voice of a flight attendant came on, reminding us of the emergency procedures she had reviewed before takeoff. Of course I never paid attention to this drill, always figuring that if we ever got to the point where we needed to use life jackets, I would have already died of terror.

Now we began a roller-coaster ride through the thunderclouds. I was ready to faint, but when I saw the face of the girl next to me I pulled myself together. I reached for her hand and reassured her that we were going to make it. “What a story you’re going to tell when you get home!” I said. “After this, London’s going to seem like small potatoes.”

“Yes, ma’am,” she mumbled.I wondered where I was getting my strength. Then I

saw that my other hand was tightly held by a ringed hand. Someone was comforting me—a glamorous young woman across the aisle, the female equivalent of the confident businessman. She must have seen how scared I was and reached over.

“I tell you,” she confided. “the problems I brought up on this plane with me sure don’t seem real big right now.” I loved her southern drawl, her indiscriminate use of perfume, her soulful squeezes. I was sure that even if I survived a plane crash, I’d have a couple of broken fingers from all the T.L.C.1 “Are you okay?” she kept asking me.

Among the many feelings going through my head during those excruciating 20 minutes was pride—pride in how well everybody was behaving. No one panicked. No one screamed. As we jolted and screeched our way downward, I could hear small pockets of soothing conversation everywhere.

I thought of something I had heard a friend say about the wonderful gift his dying father had given the family. He had died peacefully, as if not to alarm any of them about an experi-ence they would all have to go through someday.

And then—yes!—we landed safely. Outside on the ground, attendants and officials were waiting to transfer us to alternate flights. But we passengers clung together. We chatted about the lives we now felt blessed to be living, as difficult or rocky as they might be. The young businessman lamented that he had not had a chance to buy his two girls a present. An older woman offered him her box of expensive chocolates, still untouched, tied with a lovely bow. “I shouldn’t be eating

drawl (dr0l) n., a slow manner of speechin • dis • crim • i • nate (in< dis krim> n@t or in< dis kri> m@ n@t) adj., reckless; without concern for distinctionex • cru • ci • at • ing (ik skr2> sh7 6 ti4) adj., very painful

1. T.L.C. Abbreviation for “tender loving care”

USE READING SKILLS

Sequence of Events How might this scene be described? Why might this scene be significant?

USE READING STRATEGIES

Ask Questions What is the gift of Alvarez’s friend’s dying father? Why would she think about that at a moment like this?

la • ment (l@ ment>) v., express sadness or regret

0202-0211_Lit3eG09_U02_1_UOpen.i209 209 11/28/07 8:54:51 AM

Use Reading SkillsSequence of Events Answers: Students may describe this scene as being chaotic (“we began a roller-coaster ride through the thunder-clouds”) or perhaps comforting (“I reached for her hand and reassured her….”). This scene is significant because Alvarez went from being very frightened, to being a source of strength. B

Use Reading StrategiesMake Inferences Ask students to infer why seeing the girl’s face next to her forced Alvarez to stay calm. Answer: Think aloud to model how to answer inference questions. For example, say, “I remember that the girl sitting next to Alvarez was a high school student who had not flown much. Alvarez probably realized the girl must be even more scared than she was.”

Use Reading StrategiesAsk Questions Answers: The gift of the dying father was that he had died peacefully, as if not to alarm his family. In the same way, the calmness and conversations surrounding Alvarez help to keep other passengers calm during the frightening experience. C

Teach the Model

Reading ProficiencyHave students read along while listening to the dramatic recording in the Audio Library.

English Language LearningExplain that jargon is specialized language used by people in certain professions. Review the aeronautical jargon in the selection with students. Encourage students to use each term in a sentence of their own to help them remem-ber its meaning.

flight attendants—people who work on the plane to assist passengers, 208

connecting flight—a flight you get on at a sec-ond airport if your flight does not go directly to your destination, 208

pilot—person who flies the plane, 209takeoff—when the plane leaves the ground, 209board—get on a plane, 210

Differentiated Instruction

B

B

C

C

0202-0211_Lit3eG09_U02_1_ATE 209 5/1/08 2:04:40 PM


IL7

Ensure Success on Illinois’ Achievement Tests

Meeting the StandardsMeeting the Standards• unit resource books are customized for Illinois’ standards and include an ISAT and PSAE practice test for each unit.

Exceeding the StandardsExceeding the Standards: Test Practice• resource book includes timed practice tests in formats most commonly found in standard achievement, state-specifi c, and high-stakes tests and exams.

Additional help and • practice is available at mirrorsandwindows.com.

The Mirrors & Windows program contains extensive opportunities and support materials to help prepare your students for succeeding on the ISAT, PSAE, and other high-stakes tests.

Assessment Guide and ExamView® Assessment Suite

Selection Test questions in Exam• View® are labeled by level of diffi culty as Easy, Medium, or Diffi cult.Assessment tools include lesson tests and unit • exams, formative reading surveys, and oral reading fl uency tests.


IL8

EMCMirrors & Windows – Level IV

Correlated to Illinois Learning Standards for

English Language Arts,

Early High School (Grade 9)

On the following pages you will find a listing of the Illinois standards and benchmarks for each selection

and lesson in Mirrors & Windows: Connecting with Literature followed by the Illinois Learning Standards.


IL9

Selection Correlation to the Illinois Learning Standards

Unit 1 Fiction Illinois Learning StandardsEnglish Language Arts

Introduction to Fiction 2 Literature 2.A.4b, 2.A.4c

Guided ReadingFiction Reading Model 4

Reading 1.B.4a, 1.B.4b

Thank You, M’am by Langston Hughes 5

Reading 1.B.4a, 1.B.4b, 1.C.4aLiterature 2.A.4bWriting 3.B.4a

Understanding Plot 12 Reading 1.C.4aLiterature 2.A.4b

The Interlopers by Saki 14

Reading 1.B.4b, 1.B.4c, 1.C.4aLiterature 2.A.4a, 2.A.4b

A Poison Tree by William Blake 22

Reading 1.A.4a, 1.B.4aLiterature 1.C.4bWriting 3.B.4aResearch 5.A.4a, 5.A.4b, 5.C.4a, 5.C.4b

Grammar & Style Subject and Verb Agreement 24

Writing 3.A.4

The Most Dangerous Game by Richard Connell 26

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4bWriting 3.B.4aSpeaking and Listening: 4.A.4a, 4.B.4bResearch: 5.C.4c

Vocabulary & Spelling Context Clues 44

Reading 1.A.4b

Directed ReadingUnderstanding Point of View 46

Reading 1.B.4b, 1.C.4b, 1.C.4e

Blues Ain’t No Mockin Bird by Toni Cade Bambara 48

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4b, 2.A.4dWriting 3.B.4aSpeaking and Listening 4.B.4aResearch 5.A.4a, 5.A.4b

Grammar & Style Pronouns and Pronoun Agreement 56

Writing 3.A.4

The Cask of Amontillado by Edgar Allan Poe 58

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b, 2.B.4cWriting 3.B.4aResearch 5.A.4a, 5.A.4b, 5.B.4a, 5.C.4b

Grade 9


IL10

Selection Correlation to the Illinois


Understanding Character 68 Literature 2.A.4b, 2.B.4c

Destiny by Louise Erdrich 70

Reading 1.A.4a, 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4bWriting 3.B.4aSpeaking and Listening 4.B.4a

Comparing Literature 82 The Good Deed by Pearl S. Buck 83

Reading 1.C.4a, 1.C.4b, 1.C.4eLiterature 2.A.4b, 2.A.4c

Tears of Autumn by Yoshiko Uchida 99

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b, 2.B.4cWriting 3.B.4aSpeaking and Listening 4.A.4aResearch 5.A.4b, 5.C.4a, 5.C.4b

Understanding Setting 106 Reading 1.C.4aLiterature 2.A.4b

The Scarlet Ibis by James Hurst 108

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4a, 2.A.4b, 2.B.4cWriting 3.B.4aSpeaking and Listening 4.B.4aResearch 5.C.4a

American History by Judith Ortiz Cofer 120

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b

Informational Text Connection TV Coverage of JFK’s Death Forged Medium’s Role by Joanne Ostrow 129

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.B.4aWriting 3.B.4aSpeaking and Listening 4.A.4a

Vocabulary & Spelling Denotation and Connotation 132

Reading 1.A.4b

Grammar & Style Sentence Variety 134

Writing 3.A.4

Understanding Theme 136 Reading 1.B.4a, 1.B.4bLiterature 2.A.4a, 2.A.4b

Comparing Literature 138 The Gift of the Magi by O. Henry 139

Reading 1.B.4a, 1.B.4b, 1.C.4a, 1.C.4bLiterature 2.A.4b

The Necklace by Guy de Maupassant 143

Reading 1.B.4b, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4bWriting 3.B.4aSpeaking and Listening 4.A.4a


IL11

Learning Standards


Independent ReadingReading Fiction IndependentlyTheme: Defi ning Moments 152

Reading 1.B.4b, 1.C.4dLiterature 2.A.4b

The Ravine by Graham Salisbury 154

Reading 1.B.4b, 1.C.4a, 1.C.4b, 1.C.4dLiterature 2.A.4a, 2.A.4b

The Vision Quest by Lame Deer 161

Reading 1.B.4a, 1.B.4b, 1.C.4a, 1.B.4c, 1.C.4bLiterature 2.A.4b

The Sniper by Liam O’Flaherty 165

Reading 1.B.4b, 1.B.4cLiterature 2.A.4a

Rules of the Game by Amy Tan 170

Reading 1.B.4a, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b

Informational Text Connection The Rules of Chess 180

Reading 1.B.4bWriting 3.B.4a

The Man to Send Rain Clouds by Leslie Marmon Silko 183

Reading 1.B.4a, 1.B.4b, 1.C.4bLiterature 2.A.4a, 2.A.4b

Literature Connection Without Title by Diane Glancy 188

Reading 1.B.4bLiterature 2.A.4a

For Your Reading List 190 Reading 1.B.4c

Speaking & Listening Workshop Deliver a Narrative Presentation 191

Speaking and Listening 4.A.4a, 4.B.4a

Writing Workshop Expository Writing: Character Analysis 192

Writing 3.A.4, 3.B.4a, 3.B.4b, 3.B.4c

Test Practice WorkshopReading Skills: Make Inferences The One Sitting There by Joanna H. Wo 198

Reading 1.B.4b, 1.C.4a, 1.C.4b

Writing Skills: Refl ective Essay 200Revising and Editing Skills

Writing 3.A.4, 3.B.4a

Unit 2 Nonfi ction Illinois Learning StandardsEnglish Language Arts

Introduction to Nonfi ction 204 Reading 1.B.4bLiterature 2.A.4c

Guided ReadingNonfi ction Reading Model 206



IL12



Aha Moment by Julia Alvarez 207

Reading 1.A.4a, 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4dWriting 3.B.4aSpeaking and Listening 4.B.4aResearch 5.A.4a, 5.A.4b, 5.C.4b

Understanding Biography, Autobiography, and Memoir 212

Reading 1.B.4a, 1.B.4bLiterature 2.A.4c

The Teacher Who Changed My Life by Nicholas Gage 214

Reading 1.B.4a, 1.B.4b, 1.C.4b, 1.C.4cLiterature 2.A.4cWriting 3.B.4aResearch 5.A.4a, 5.A.4b, 5.C.4a

Grammar & Style Prepositional, Infi nitive, and Participial Phrases 220

Writing 3.A.4

from Swimming to Antarctica by Lynne Cox 222

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4aWriting 3.B.4aSpeaking and Listening 4.B.4aResearch 5.A.4a, 5.A.4b, 5.C.4b

Becoming a Composer by Lindsley Cameron 232

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.B.4aWriting 3.B.4aResearch 5.A.4a, 5.A.4b, 5.B.4b

Grammar & Style Comma Use 240

Writing 3.A.4

Directed ReadingUnderstanding Essays 242

Reading 1.B.4a, 1.B.4bLiterature 2.A.4c

Us and Them by David Sedaris 244

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4aWriting 3.B.4a, 3.C.4b

The Obligation to Endure from Silent Spring by Rachel Carson 253

Reading 1.B.4a, 1.B.4b, 1.C.4aLiterature 2.A.4d

Informational Text Connection When It Comes to Pesticides Birds Are Sitting Ducks by Mary Deinlein 260

Reading 1.B.4b, 1.C.4cWriting 3.B.4aResearch 5.A.4a, 5.A.4b, 5.B.4a, 5.C.4a, 5.C.4b

Grammar & Style Possessive Nouns and Pronouns 264

Writing 3.A.4

Understanding Speeches 266 Reading 1.B.4bLiterature 2.A.4a, 2.A.4c


IL13

Learning Standards


I Have a Dream by Martin Luther King, Jr. 268

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4a

Literature Connection Martin Luther King Jr by Gwendolyn Brooks 274

Reading 1.B.4b, 1.C.4bWriting 3.B.4aSpeaking and Listening 4.B.4a

Glory and Hope by Nelson Mandela 276

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bWriting 3.B.4a, 3.C.4bSpeaking and Listening 4.B.4aResearch 5.C.4b

Vocabulary & Spelling Figurative Language 282

Reading 1.A.4a

Understanding Informational Texts 284


Trapped New Orleans Pets Still Being Rescued by Laura Parker and Anita Manning 286

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4b

Literature Connection Close Encounter of the Human Kind by Abraham Verghese 292

Reading 1.B.4b, 1.B.4c, 1.C.4bWriting 3.B.4aSpeaking and Listening 4.B.4aResearch 5.A.4b, 5.C.4a, 5.C.4b

Comparing Literature 296 Furor Scribendi by Octavia Butler 297

Reading 1.B.4b, 1.C.4dLiterature 2.A.4d

How to Write a Letter by Garrison Keillor 299

Reading 1.C.4bLiterature 2.A.4dWriting 3.B.4aResearch 5.A.4a, 5.A.4b, 5.B.4a, 5.C.4b

Independent ReadingReading Nonfi ction IndependentlyTheme: Facing Challenges 304

Reading 1.B.4b

It’s Not Talent; It’s Just Work by Annie Dillard 306

Reading 1.B.4b, 1.B.4c, 1.C.4bWriting 3.B.4a

An Ethnic Trump by Gish Jen 308


Literature Connection Saying Yes by Diana Chang 311


Indian Education by Sherman Alexie 312

Reading 1.B.4b, 1.B.4cLiterature 2.A.4d


IL14



Only Daughter by Sandra Cisneros 316

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 1.C.4eWriting 3.B.4a

This Is Not Who We Are by Naomi Shihab Nye 320

Reading 1.A.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4a

An “A” in Failure by Twyla Tharp 325

Reading 1.A.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4aWriting 3.B.4a

The Burden of Expectations by Jere Longman 328

Reading 1.A.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4a, 2.A.4dWriting 3.B.4a

Climbing Mount Fuji by Dave Barry 334

Reading 1.B.4b, 1.B.4cLiterature 2.A.4aWriting 3.B.4a


Speaking & Listening Workshop Deliver a Persuasive Speech 339

Speaking and Listening 4.A.4a, 4.A.4d, 4.B.4a, 4.B.4c, 4.B.4d

Writing Workshop Persuasive Writing 340

Writing 3.A.4, 3.B.4a, 3.B.4b, 3.B.4c

Test Practice Workshop Reading Skills: Identify the Author’s Purpose Speech to the Convention of the American Equal Rights Association, New York City, 1867 by Sojourner Truth 346

Reading 1.B.4b, 1.C.4d, 1.C.4e

Writing Skills: Persuasive WritingRevising and Editing Skills 348


Unit 3 Poetry Illinois Learning StandardsEnglish Language Arts

Introduction to Poetry 352 Reading 1.A.4aLiterature 2.A.4a, 2.A.4c

Guided ReadingPoetry Reading Model 354

Reading 1.B.4a

BEWARE: Do Not Read This Poem by Ishmael Reed 355

Reading 1.A.4a, 1.B.4a, 1.B.4b, 1.B.4c Literature 2.A.4a, 2.B.4aWriting 3.B.4aSpeaking and Listening 4.B.4aResearch 5.A.4a, 5.A.4b


IL15

Learning Standards


Understanding Speaker and Tone 360 Reading 1.B.4bLiterature 2.A.4a, 2.A.4d

Gifts 362 To the Oak by Shu Ting

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.B.4aWriting 3.B.4aSpeaking and Listening 4.B.4aResearch 5.A.4a, 5.C.4a, 5.C.4b

Comparing Literature 366 Cold as Heaven by Judith Ortiz Cofer 367 Gentle Communion by Pat Mora 368

Reading 1.A.4a, 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4a, 2.B.4aWriting 3.B.4aSpeaking and Listening 4.A.4aResearch 5.C.4b

Oral History by Pat Mora 371

Reading 1.B.4b, 1.B.4c

Directed ReadingUnderstanding Setting and Context 372

Reading 1.B.4bLiterature 2.A.4b

Ballad of Birmingham by Dudley Randall 374

Reading 1.B.4a, 1.B.4bLiterature 2.A.4b

Primary Source Connection Birmingham Bomb Kills 4 Negro Girls in Church by Claude Sitton 376

Reading 1.B.4b, 1.B.4cLiterature 2.A.4aWriting 3.B.4a, 3.C.4bResearch 5.A.4a, 5.C.4b

Local Sensibilities by Wing Tek Lum 378

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4eLiterature 2.A.4a

Informational Text Connection 442nd Regimental Combat Team 382

Reading 1.B.4bWriting 3.B.4a, 3.C.4bSpeaking and Listening 4.A.4a, 4.B.4aResearch 5.A.4a, 5.B.4a, 5.C.4a

Understanding Figurative Language 384

Reading 1.A.4a, 1.B.4bLiterature 2.A.4a

Comparing Literature 386 Metaphor by Eve Merriam 387 A Simile by N. Scott Momaday 388

Reading 1.A.4a, 1.B.4b, 1.B.4cLiterature 2.A.4aWriting 3.B.4a

Understanding Sight and Sound 390 Reading 1.B.4bLiterature 2.A.4a


IL16



The Bells by Edgar Allan Poe 392

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4aWriting 3.B.4a, 3.C.4a Speaking and Listening 4.A.4aResearch 5.A.4a

Grammar & Style Verb Tense 398

Writing 3.A.4

Comparing Literature 400 The Secret by Denise Levertov 401 Poetry by Pablo Neruda 402

Reading 1.B.4a, 1.B.4b, 1.B.4cLiterature 2.A.4a, 2.A.4cWriting 3.B.4a Speaking and Listening 4.A.4a, 4.A.4b

Comparing Literature 404 Sympathy by Paul Laurence Dunbar 405 Caged Bird by Maya Angelou 406

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4aWriting 3.B.4a

Literature Connection “Hope” is the thing with feathers by Emily Dickinson 408

Reading 1.B.4bLiterature 2.A.4aWriting 3.B.4a Research 5.A.4a, 5.C.4a, 5.C.4b

Grammar & Style Active and Passive Voice 410

Writing 3.A.4

Understanding Structure and Form 412

Reading 1.B.4bLiterature 2.A.4c

The Song of Wandering Aengus by William Butler Yeats 414

Reading 1.B.4a, 1.B.4b, 1.B.4cLiterature 2.A.4

Primary Source Connection Aengus 416

Reading 1.B.4b, 1.C.4bLiterature 2.B.4aWriting 3.B.4a Speaking and Listening 4.A.4a

Vocabulary & Spelling Literal and Figurative Meanings 418

Reading 1.A.4a

The Universe by May Swenson 420

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4cWriting 3.B.4aSpeaking and Listening 4.A.4a

Vocabulary & Spelling Spelling Correctly 424

Writing 3.A.4


IL17

Learning Standards


Comparing Literature 426 Sonnet by C.S. Lewis 427 American Sonnet by Billy Collins 428

Reading 1.B.4a, 1.B.4b, 1.B.4cLiterature 2.A.4eWriting 3.B.4a, 3.C.4bSpeaking and Listening 4.B.4bResearch 5.A.4a, 5.A.4b, 5.C.4a, 5.C.4b

Bread by Margaret Atwood 430

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4cWriting 3.B.4aSpeaking and Listening 4.B.4bResearch 5.A.4a, 5.A.4b, 5.C.4b

Three Haiku by Matsuō Basho, Nicholar Virgilio, and Alan Pizzarelli 434

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4cWriting 3.B.4a

Information Text Connection from How to Haiku by Bruce Ross 436

Reading 1.B.4bLiterature 2.A.4cWriting 3.B.4aSpeaking and Listening 4.A.4aResearch 5.C.4b

Independent ReadingReading Poetry IndependentlyTheme: What We Keep 438

Reading 1.B.4b

The Past by Ha Jin 440


Fifteen by William Stafford 442

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4d

Hanging Fire by Audre Lorde 444

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4dWriting 3.B.4a

Theme for English B by Langston Hughes 446

Reading 1.C.4b, 1.C.4dLiterature 2.A.4cWriting 3.B.4aResearch 5.C.4a

To be of use For the young who want to by Marge Piercy 448

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4aWriting 3.B.4a

What Are Friends For by Rosellen Brown 452


Women by Alice Walker 454



IL18



Combing by Gladys Cardiff 456


My Papa’s Waltz by Theodore Roethke 458

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4dWriting 3.B.4a

My Father’s Song by Simon Ortiz 460

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4cWriting 3.B.4a

The Funeral by Gordon Parks 462


since feeling is fi rst by E. E. Cummings 464

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4a, 2.A.4bWriting 3.B.4a

Patterns by Amy Lowell 466

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4a, 2.A.4b, 2.A.4dWriting 3.B.4a

Courage by Anne Sexton 470

Reading 1.C.4b, 1.C.4dLiterature 2.A.4aWriting 3.B.4a


Speaking & Listening Workshop Present a Poem 473

Speaking and Listening 4.A.4a, 4.B.4c

Writing Workshop Expository Writing: Compare-and-Contrast Essay 474

Writing 3.A.4, 3.B.4a, 3.B.4b, 3.B.4c

Test Practice WorkshopReading Skills: Compare and Contrast Otherwise by Jane Kenyon 480 The Old Life by Donald Hall 481

Reading 1.B.4b

Writing Skills: Descriptive WritingRevising and Editing Skills 482



IL19

Learning Standards

Unit 4 Drama Illinois Learning StandardsEnglish Language Arts

Introduction to Drama 486 Reading 1.B.4bLiterature 2.A.4b, 2.A.4c

Guided ReadingDrama Reading Model 490


The Inspector-General by Anton Chekhov 491

Reading 1.A.4a, 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4a, 2.A.4cWriting 3.B.4aSpeaking and Listening 4.A.4a, 4.B.4bResearch 5.C.4a

Understanding Shakespeare 498 Reading 1.B.4aLiterature 2.A.4b, 2.A.4c, 2.A.4d

The Tragedy of Romeo and Juliet Act I by William Shakespeare 504

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b, 2.A.4c, 2.A.4d, 2.B.4a

Vocabulary & Spelling Word Origins 532

Reading 1.A.4a

The Tragedy of Romeo and Juliet Act II by William Shakespeare 534

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b, 2.B.4a, 2.B.4c

Grammar & Style Capitalization 554

Writing 3.A.4

The Tragedy of Romeo and Juliet Act III by William Shakespeare 556

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4b, 1.C.4dLiterature 2.A.4a, 2.A.4b, 2.A.4c, 2.A.4d, 2.B.4a, 2.B.4c

Grammar & Style Modifi ers 582

Writing 3.A.4

The Tragedy of Romeo and Juliet Act IV by William Shakespeare 584

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4b, 1.C.4eLiterature 2.A.4a, 2.A.4b, 2.A.4c, 2.B.4a

Grammar & Style Complete Sentences 598

Writing 3.A.4

The Tragedy of Romeo and Juliet Act V by William Shakespeare 600

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4b, 1.C.4eLiterature 2.A.4a, 2.A.4b, 2.A.4c

Literature Connection The Argument by Arthur Brooke 615 Purgatory by Maxine Kumin 616

Reading 1.B.4b, 1.B.4cLiterature 2.B.4a


IL20


Unit 4 Drama Illinois Learning StandardsEnglish Language Arts

Informational Text Connection Romeo and Juliet Over the Centuries by Dorothy May 617

Reading 1.B.4b, 1.B.4cLiterature 2.B.4aWriting 3.B.4aSpeaking and Listening 4.B.4b

Vocabulary & Spelling Reference Materials for Vocabulary Words 620

Reading 1.A.4a

Grammar & Style Compound Sentences and Clauses 622

Writing 3.A.4

Independent ReadingReading Drama IndependentlyTheme: Temptation and Loss 624

Reading 1.B.4bLiterature 2.A.4b

The Seven Ages of Man by William Shakespeare 626

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4aWriting 3.B.4a

The Devil and Daniel Webster by Stephen Vincent Benét 628

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b, 2.A.4cWriting 3.B.4a


Speaking & Listening Workshop Present a Dramatic Scene 647

Speaking and Listening 4.A.4a, 4.B.4c, 4.B.4d

Writing Workshop Descriptive Writing: Dramatic Scene 648

Writing 3.A.4, 3.B.4a, 3.B.4b, 3.B.4c

Test Practice WorkshopReading Skills: Evaluating Cause and Effect Light-Struck or Star Struck? Knight Ridder Tribune News Service 654

Reading 1.B.4b, 1.C.4b

Writing Skills: Expository WritingRevising and Editing Skills 656


Unit 5 Folk Literature Illinois Learning StandardsEnglish Language Arts

Introduction to Folk Literature 660 Reading 1.B.4bLiterature 2.A.4c

Guided ReadingFolk Literature Reading Model 662



IL21

Learning Standards


The Story of Dædalus and Icarus from Metamorphoses by Ovid 663

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4bWriting 3.B.4aSpeaking and Listening 4.B.4b

Understanding Myths and Legends 668 Reading 1.B.4bLiterature 2.A.4c

Echo & Narcissus by Walker Brents 670

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4cWriting 3.B.4a, 3.C.4bSpeaking and Listening 4.B.4aResearch 5.C.4b

Grammar & Style Coordination, Subordination, and Apposition 676

Writing 3.A.4

The Silver Pool by Ella Young 678

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4cWriting 3.B.4aSpeaking and Listening 4.B.4a

Grammar & Style Semicolons and Colons 686

Writing 3.A.4

Directed ReadingUnderstanding Folk Tales 688

Reading 1.B.4bLiterature 2.A.4a, 2.A.4c, 2.B.4b

The White Snake by Jacob and Wilhelm Grimm 690

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4cWriting 3.B.4a, 3.C.4bResearch 5.B.4a

Grammar & Style Hyphens, Ellipses, and Italics 696

Writing 3.A.4

The Golden Lamb by Jean Russell Larson 698

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4cWriting 3.B.4a, 3.C.4aSpeaking and Listening 4.B.4a, 4.B.4bResearch 5.A.4a, 5.A.4b

Vocabulary & Spelling Prefi xes, Roots, and Suffi xes 706

Reading 1.A.4a, 1.A.4b

Understanding Epics 708 Reading 1.B.4bLiterature 2.A.4c

Understanding Homer’s Epics 710 Reading 1.B.4a, 1.B.4b, 1.C.4fLiterature 2.A.4c


IL22



from The Odyssey (Part I) by Homer 712

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4b, 1.C.4dLiterature 2.A.4a, 2.A.4b, 2.A.4c

Primary Source Connection Poseidon, God of the Sea by Walker Brents 734

Reading 1.B.4b, 1.B.4c, 1.C.4b

Informational Text Connection Cyclops Myth Spurred by “One-Eyed” Fossils? by Hillary Mayell 738


from The Odyssey (Part II) by Homer 742

Reading 1.B.4a, 1.B.4b, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b

Literature Connection Siren Song by Margaret Atwood 760


Literature Connection Ithaca by Constantine Cavafy 762

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4b

from The Odyssey (Part III) by Homer 764

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4b, 2.A.4c

Literature Connection An Ancient Gesture by Edna St. Vincent Millay 785

Reading 1.B.4b, 1.C.4b

Cultural Connection Says Penelope by Katerina Anghelaki-Rooke 787

Reading 1.B.4b, 1.C.4bWriting 3.B.4aSpeaking and Listening 4.B.4a, 4.B.4b

Independent ReadingReading Folk Literature IndependentlyTheme: Pass It On 790

Reading 1.B.4b, 1.C.4d

Perseus by Edith Hamilton 792


Iya, the Camp-Eater by Zitkala-Sa 798

Reading 1.B.4b, 1.B.4cLiterature 2.A.4a, 2.A.4cWriting 3.B.4aResearch 5.A.4b

The Mosquito by George F. Schultz 802

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.B.4bWriting 3.B.4a


IL23

Learning Standards


The Princess and the Tin Box by James Thurber 805

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4c, 2.B.4aWriting 3.B.4a

The Appointment in Samarra by W. Somerset Maugham 808


Informational Text Connection History of Samarra Article from Encyclopedia of the Orient 810

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.A.4bWriting 3.B.4a


Speaking & Listening Workshop Gathering Information from an Interview 813

Speaking and Listening 4.A.4a

Writing Workshop Narrative Writing: Oral History 814

Writing 3.A.4, 3.B.4a, 3.B.4b, 3.B.4c, 3.C.4b

Test Practice WorkshopReading Skills: Identifying theMain Idea Goha and the Pot by Mahmoud Ibrahim Mostafa 820

Reading 1.B.4b, 1.C.4d

Writing Skills: Narrative Writing 822Revising and Editing Skills


Unit 6 Independent Reading Illinois Learning StandardsEnglish Language Arts

Reading Independently:Use Reading Strategies 826

Reading 1.B.4a

Theme: Journeys from Song of the Open Road by Walt Whitman 828


I Wandered Lonely as a Cloud by William Wordsworth 830

Reading 1.B.4b, 1.B.4c

Literature Connection from The Grasmere Journals by Dorothy Wordsworth 831

Reading 1.B.4b, 1.B.4c, 1.C.4bLiterature 2.B.4aWriting 3.B.4a

Homeless by Anna Quindlen 833

Reading 1.B.4a, 1.B.4b, 1.B.4c, 1.C.4dLiterature 2.B.4aWriting 3.B.4a


IL24



from Learning Joy from Dogs Without Collars by Lauralee Summer 836

Reading 1.B.4b, 1.B.4cLiterature 2.A.4b, 2.A.4c, 2.A.4dWriting 3.B.4a

from Blue Highways: A Journey into America by William Least Heat-Moon 840

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4b, 1.C.4dLiterature 2.A.4aWriting 3.B.4a

Journey by Joyce Carol Oates 849

Reading 1.B.4b, 1.B.4c, 1.C.4dLiterature 2.A.4a

Literature Connection The Journey by Mary Oliver 851

Reading 1.B.4b, 1.B.4c, 1.C.4dLiterature 2.A.4bWriting 3.B.4a

New Directions by Maya Angelou 853

Reading 1.B.4b, 1.B.4c, 1.C.4dLiterature 2.A.4b

Literature Connection The Road Not Taken by Robert Frost 856


The Road and the End by Carl Sandburg 858

Reading 1.B.4b, 1.B.4cLiterature 2.A.4a, 2.B.4aWriting 3.B.4a

Reading Independently:Use Reading Skills 860

Reading 1.B.4a

Theme: Visions of the Future All Watched Over by Machines of Loving Grace by Richard Brautigan 862

Reading 1.B.4b, 1.B.4c, 1.C.4d, 1.C.4e Literature 2.B.4bWriting 3.B.4a

Minister Without Portfolio by Mildred Clingerman 864

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4bLiterature 2.A.4a, 2.A.4bWriting 3.B.4a

The Test by Theodore L. Thomas 870

Reading 1.B.4b, 1.B.4c, 1.C.4eLiterature 2.B.4a

Literature Connection Auto Wreck by Karl Shapiro 874

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eWriting 3.B.4a

A Sound of Thunder by Ray Bradbury 876

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4b, 1.C.4eLiterature 2.A.4a, 2.A.4bWriting 3.B.4a


IL25

Learning Standards


The Feeling of Power by Isaac Asimov 886

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4a, 2.B.4aWriting 3.B.4a

Harrison Bergeron by Kurt Vonnegut 894

Reading 1.B.4b, 1.B.4c, 1.C.4a, 1.C.4b, 1.C.4dLiterature 2.A.4aWriting 3.B.4a

The Censors by Luis Valenzuela 900

Reading 1.B.4b, 1.B.4c, 1.C.4d, 1.C.4eLiterature 2.A.4aWriting 3.B.4a

History Lesson by Arthur C. Clarke 904

Reading 1.B.4b, 1.B.4c, 1.C.4b, 1.C.4eLiterature 2.A.4b

Literature Connection There Will Come Soft Rains by Sara Teasdale 911


Designing the Future by Anne Underwood 912

Reading 1.B.4b, 1.B.4c, 1.C.4dLiterature 2.A.4c, 2.B.4aWriting 3.B.4a


Speaking & Listening Workshop Give a Descriptive Writing Presentation 919

Writing 3.B.4aSpeaking and Listening 4.A.4a, 4.B.4a, 4.B.4c

Writing Workshop Expository Writing: Research Paper: The I-Search 920

Writing 3.A.4, 3.B.4a, 3.B.4b, 3.B.4cResearch 5.A.4a, 5.A.4b, 5.A.4c, 5.C.4b

Test Practice WorkshopReading Skills: Synthesizing Ideas and Drawing Conclusions For the Future of Florida: Repair the Everglades! by Marjory Stoneman Douglas 928

Reading 1.B.4b

Writing Skills: Persuasive Writing 930Revising and Editing Skills



Correlation to the Illinois

IL26

ReadingSTATE GOAL 1Read with understanding and fl uency.

A. Apply word analysis and vocabulary skills to comprehend selections.

Illinois Learning StandardsEnglish Language ArtsEarly High School (Grade 9)

EMC Mirrors & WindowsLevel IV

1.A.4a Expand knowledge of word origins and derivations and use idioms, analogies, metaphors and similes to extend vocabulary development.

22, 72, 282–283, 322, 326, 332, 353, 355, 357, 359, 367, 384–385, 386, 418–419, 495, 532–533, 620–621, 706–707

1.A.4b Compare the meaning of words and phrases and use analogies to explain the relationships among them.

44–45, 132–133, 706–707

B. Apply reading strategies to improve understanding and fl uency.



1.B.4a Preview reading materials, clarify meaning, analyze overall themes and coherence, and relate reading with information from other sources.

4–5, 22–23, 26, 58, 70, 108, 120, 129–130, 136–137, 138, 161, 170, 183, 206, 207, 212–213, 214–218, 222–230, 242–243, 244, 253, 268, 276, 284–285, 286, 354, 355, 362, 366, 374, 378, 392, 400, 404, 414, 420, 426, 430, 434, 490, 491, 498–503, 504, 628, 662, 663, 670, 678, 690, 698, 710–711, 712, 742, 764, 826–827, 833, 860–861

1.B.4b Analyze, interpret and compare a variety of texts for purpose, structure, content, detail and effect.

4, 5–11, 14–21, 26–43, 46–47, 48–55, 120–128, 129–131, 136–137, 138–142, 143–151, 152–153, 154–160, 161–164, 165–169, 180–182, 183–187, 188–189, 198–199, 204–205, 206, 207–211, 212–213, 253–259, 260–263, 266–267, 268–273, 274–275, 276–281, 284, 286–291, 292–295, 296–298, 304–305, 306–307, 308–310, 311, 312–315, 316–319, 320–324, 325–327, 328–333, 334–337, 346–347, 355–359, 360–361, 362–365, 366–370, 371, 372–373, 374–375, 376–377, 378–381, 382–383, 384–385, 386–389, 390–391, 392–397, 400–403, 404–407, 408–409, 412–413, 414–415, 416–417, 420–423, 426–429, 430–433, 434–435, 436–437, 438–439, 440–441, 442–443, 444–445, 448–451, 452–453, 454–455, 456–457, 458–459, 464–465, 466–469, 470–471, 480–481, 486–489, 490, 491–497, 504–531, 534–553, 556–581, 584–597, 600–614, 615–616, 617–619, 624–625, 626–627, 628–645, 654–655, 660–661, 662, 663–667, 668–669, 670–675, 678–685, 688–689, 690–695, 698–705, 708–709, 710–711, 712–733, 734–737, 738–741, 742–759, 760–761, 762–763, 764–784, 785–786, 787–789, 802–804, 805–807, 808–809, 810–811, 820–821, 828–829, 830, 831–832, 833–835, 836–839, 840–848, 849–850, 851–852, 853–855, 856–857, 858–859, 862–863, 864–869, 870–873, 874–875, 876–885, 886–893, 894–899, 900–903, 904–910, 911, 912–917, 928–929


Learning Standards

IL27

1.B.4c Read age-appropriate material with fl uency and accuracy.

14–21, 26–42, 48–54, 70–80, 99–104, 108–118, 120–128, 129–130, 161–164, 165–169, 190, 207–210, 222–230, 232–238, 244–250, 268–273, 276–280, 286–291, 292–294, 306–307, 308–310, 311, 312–315, 316–319, 320–324, 325–327, 328–333, 334, 337, 355–358, 362–364, 366–369, 371, 376–377, 386–388, 392–396, 400–402, 404–407, 414–415, 420–422, 426–428, 430–432, 434–435, 440–441, 442–443, 444–445, 448–451, 452, 454–455, 456–457, 458–459, 460, 462, 464–465, 466–469, 472, 491–496, 504–530, 534–553, 556–581, 584–597, 600–614, 615–616, 617–618, 626–627, 628–645, 646, 663–666, 670–674, 678–684, 690–694, 698–704, 712–733, 734–737, 738–741, 760–761, 762–763, 764–786, 792–797, 798–801, 802–804, 805–807, 808–809, 810–811, 812, 828–829, 830, 831–832, 833–835, 836–839, 840–848, 849–850, 851–852, 853–855, 856–857, 858–859, 862, 864–869, 870–873, 874–875, 876–885, 886–893, 894–899, 900–903, 904–910, 911, 912–917, 918

C. Comprehend a broad range of reading materials.



1.C.4a Use questions and predictions to guide reading.

5–11, 12–13, 14–21, 26–43, 58–66, 70–80, 82–98, 99–104, 106–107, 120–128, 143–151, 154–160, 161–164, 170–179, 198–199, 222–230, 232–238, 253–259, 504–531, 534–553, 556–581, 584–597, 600–614, 628–645, 663–667, 670–675, 678–685, 690–695, 712–733, 742–759, 764–784, 840–848, 864–869, 876–885, 894–899

1.C.4b Explain and justify an interpretation of a text.

22, 26–43, 46–47, 48–55, 58–66, 70–80, 82–98, 99–104, 108–118, 120–128, 129–130, 138–142, 143–151, 154–160, 161–164, 170–179, 183–187, 198–199, 207–210, 214–218, 222–230, 232–238, 244–250, 268–273, 274–275, 276–280, 286–291, 292–294, 299–302, 306–307, 308–310, 316–320, 320–324, 325–327, 328–333, 362–365, 366–370, 392–397, 404–407, 416–417, 420–423, 430–433, 434–435, 440–441, 442–443, 444–445, 446–447, 448–451, 452–453, 454–455, 456–457, 458–459, 460, 462, 464–465, 466–469, 470–471, 491–497, 504–531, 534–553, 556–581, 584–597, 600–614, 626–627, 628–645, 654–655, 663–667, 670–675, 678–685, 690–695, 698–705, 712–733, 734–737, 738–741, 742–759, 760–761, 762–763, 764–784, 785–786, 787–789, 792–797, 802–804, 810–811, 828–829, 831–832, 840–848, 856–857, 864–869, 874–875, 876–885, 886–893, 894–899, 904–910, 911

1.C.4c Interpret, evaluate and apply information from a variety of sources to other situations (e.g., academic, vocational, technical, personal).

214–218, 260–263

1.C.4d Summarize and make generalizations from content and relate them to the purpose of the material.

153, 160, 299, 346–347, 447, 471, 493, 494, 562, 571, 717, 790–791, 820–821, 835, 844, 848, 852, 854, 863, 899, 902, 917

1.C.4e Analyze how authors and illustrators use text and art to express and emphasize their ideas (e.g., imagery, multiple points of view).

248, 271, 317, 347, 381, 406, 421, 431, 465, 468, 494, 584, 588, 590, 592, 593, 603, 606, 609, 626–627

1.C.4f Interpret tables, graphs and maps in conjunction with related text.

710

38,



IL28

LiteratureSTATE GOAL 2Read and understand literature representative of various societies, eras and ideas.

A. Understand how literary elements and techniques are used to convey meaning.



2.A.4a Analyze and evaluate the effective use of literary techniques (e.g., fi gurative language, allusion, dialogue, description, symbolism, word choice, dialect) in classic and contemporary literature representing a variety of forms and media.

16, 17, 20, 28, 33, 62, 100, 109, 113, 127, 136, 150, 155, 158, 166, 167, 169, 172, 188, 267, 269, 271, 272, 311, 322, 323, 326, 332, 335, 353, 357, 360–361, 367, 376, 380, 384–385, 386, 387, 388, 390–391, 392, 394, 395, 396, 402, 406, 407, 408, 449, 450, 455, 463, 465, 467, 470–471, 491, 493, 495, 496, 510, 511, 513, 514, 516, 517, 520, 521, 523, 527, 529, 537, 539, 540, 558, 564, 572, 573, 594, 601, 626, 636, 644, 673, 680, 689, 721, 724, 729, 752, 753, 756, 775, 779, 800, 809, 844, 845, 849, 850, 859, 867, 878, 888, 895, 897, 901

2.A.4b Explain relationships between and among literary elements including character, plot, setting, theme, confl ict and resolution and their infl uence on the effectiveness of the literary piece.

2–3, 5–11, 12–13, 14–21, 26–43, 48–55, 58–59, 68–69, 70–81, 82–83, 99–105, 106–107, 108–119, 120–128, 136–137, 138–139, 143–151, 152–153, 154–160, 161–164, 170–179, 183–187, 372–373, 374–375, 464–465, 466–469, 486–489, 498–503, 504–531, 534–553, 556–581, 584–597, 600–614, 624–625, 628–645, 663–667, 712–733, 742–759, 762–763, 764–784, 810–811, 836–839, 851–852, 853–855, 864–869, 876–885, 904–910

2.A.4c Describe relationships between the author’s style, literary form (e.g., short stories, novels, drama, fables, biographies, documentaries, poetry, essays) and intended effect on the reader.

82–83, 204–205, 212–213, 214–218, 242–243, 266–267, 352–353, 400–403, 412–413, 414–415, 420–423, 430–433, 434–435, 436–437, 446–447, 460–461, 486–489, 491–497, 498–503, 504–531, 556–581, 584–598, 600–614, 628–645, 660–661, 668–669, 670–675, 678–685, 688–689, 690–695, 698–705, 708–709, 710–711, 712–738, 764–784, 792–797, 798–801, 805–807, 828–829, 836–839, 912–917

2.A.4d Describe the infl uence of the author’s language structure and word choice to convey the author’s viewpoint.

48–55, 207–211, 253–259, 296–298, 299–303, 312–315, 328–333, 360–361, 442–443, 444–445, 458–459, 466–469, 498–503, 504–531, 556–581, 836–839

B. Read and interpret a variety of literary works.



2.B.4a Critique ideas and impressions generated by oral, visual, written and electronic materials.

129–131, 232–239, 355–359, 362–365, 366–369, 416–417, 504–531, 534–553, 556–581, 584–597, 615–616, 617–619, 805–807, 831–832, 833–835, 858–859, 870–873, 886–893, 912–917

2.B.4b Analyze form, content, purpose and major themes of American literature and literature of other countries in their historical perspectives.

688–689, 802–804, 862–863


Learning Standards

IL29

2.B.4c Discuss and evaluate motive, resulting behavior and consequences demonstrated in literature.

58–67, 68–69, 99–105, 108–119, 534–553, 556–581

WritingSTATE GOAL 3Write to communicate for a variety of purposes.

A. Use correct grammar, spelling, punctuation, capitalization and structure.



3.A.4 Use standard English to edit documents for clarity, subject/verb agreement, adverb and adjective agreement and verb tense; proofread for spelling, capitalization and punctuation; and ensure that documents are formatted in fi nal form for submission and/or publication.

24–25, 56–57, 134–135, 200–201, 220–221, 240–241, 264–265, 340–345, 348–349, 398–399, 410–411, 424–425, 474–479, 482–483, 554–555, 582–583, 598–599, 622–623, 648–653, 656–657, 676–677, 686–687, 696–697, 822–823, 920–927

B. Compose well–organized and coherent writing for specifi c purposes and audiences.



3.B.4a Produce documents that exhibit a range of writing techniques appropriate to purpose and audience, with clarity of focus, logic of organization, appropriate elaboration and support and overall coherence.

11, 23, 43, 55, 67, 81, 105, 119, 131, 151, 182, 192–197, 200–201, 211, 219, 231, 239, 252, 263, 275, 281, 295, 303, 307, 310, 319, 327, 333, 337, 340–345, 348–349, 359, 365, 370, 383, 389, 397, 403, 407, 409, 417, 423, 429, 433, 435, 437, 441, 445, 447, 449, 453, 455, 457, 459, 461, 463, 465, 469, 471, 474–479, 482–483, 497, 614, 627, 667, 675, 685, 695, 705, 789, 797, 801, 804, 807, 811, 819, 822–823, 829, 832, 835, 839, 848, 852, 859, 863, 869, 875, 885, 893, 899, 903, 911, 917, 919, 920–927, 930–931

3.B.4b Produce, edit, revise and format work for submission and/or publication (e.g., manuscript form, appropriate citation of sources) using contemporary technology.

192–197, 340–345, 474–479, 648–653, 814–819, 920–927

3.B.4c Evaluate written work for its effectiveness and make recommendations for its improvement.

192–197, 340–345, 474–479, 648–653, 814–819, 920–927



IL30

C. Communicate ideas in writing to accomplish a variety of purposes.



3.C.4a Write for real or potentially real situations in academic, professional and civic contexts (e.g., college applications, job applications, business letters, petitions).

397, 705

3.C.4b Using available technology, produce compositions and multimedia works for specifi ed audiences.

251, 281, 377, 383, 429, 675, 695, 818

Speaking and ListeningSTATE GOAL 4Listen and speak effectively in a variety of situations.

A. Listen effectively in formal and informal situations.



4.A.4a Apply listening skills as individuals and members of a group in a variety of settings (e.g., lectures, discussions, conversations, team projects, presentations, interviews).

43, 105, 131, 151, 191, 339, 370, 383, 397, 403, 417, 423, 437, 473, 497, 647, 813, 919

4.A.4b Apply listening skills in practical settings (e.g., classroom note taking, interpersonal confl ict situations, giving and receiving directions, evaluating persuasive messages).

Students apply listening skills in classroom settings as they complete and participate in all learning activities. Representative pages:11, 43, 131, 239, 370, 403, 497, 685, 705

4.A.4c Follow complex oral instructions. Students follow oral instructions as they complete activities in the Extend the Text activities that follow reading selections. Representative pages:119, 219, 295, 429, 667

4.A.4d Demonstrate understanding of the relationship of verbal and nonverbal messages within a context (e.g., contradictory, supportive, repetitive, substitutive).

Students demonstrate understanding of verbal and nonverbal messages when they participate in classroom discussions and activities. Representative pages:67, 105, 191, 383, 403, 423, 497


Learning Standards

IL31

B. Speak effectively using language appropriate to the situation and audience.



4.B.4a Deliver planned informative and persuasive oral presentations using visual aids and contemporary technology as individuals and members of a group; demonstrate organization, clarity, vocabulary, credible and accurate supporting evidence.

191, 211, 231, 275, 281, 295, 339, 365, 369, 383, 675, 685, 705, 789, 919

4.B.4b Use group discussion skills to assume leadership and participant roles within an assigned project or to reach a group goal.

43, 429, 430, 497, 619, 667, 705, 789

4.B.4c Use strategies to manage or overcome communication anxiety and apprehension (e.g., developed outlines, notecards, practice).

339, 473, 647, 919

4.B.4d Use verbal and nonverbal strategies to maintain communication and to resolve individual and group confl ict.

339, 647

ResearchSTATE GOAL 5Use the language arts to acquire, assess and communicate information.

A. Locate, organize, and use information from various sources to answer questions, solve problems and communicate ideas.



5.A.4a Demonstrate a knowledge of strategies needed to prepare a credible research report (e.g., notes, planning sheets).

23, 67, 211, 219, 231, 239, 263, 303, 359, 365, 377, 383, 397, 409, 429, 433, 705, 920–927

5.A.4b Design and present a project (e.g., research report, scientifi c study, career/higher education opportunities) using various formats from multiple sources.

23, 55, 67, 105, 211, 219, 231, 239, 263, 295, 303, 359, 429, 433, 705, 801, 920–927


IL32

Correlation to the Illinois Learning Standards

B. Analyze and evaluate information acquired from various sources.



5.B.4a Choose and evaluate primary and secondary sources (print and nonprint) for a variety of purposes.

59, 263, 303, 383, 695

5.B.4b Use multiple sources and multiple formats; cite according to standard style manuals.

239, 920–927

C. Apply acquired information, concepts and ideas to communicate in a variety of formats.



5.C.4a Plan, compose, edit and revise information (e.g., brochures, formal reports, proposals, research summaries, analyses, editorials, articles, overheads, multimedia displays) for presentation to an audience.

23, 105, 119, 219, 263, 295, 365, 383, 409, 429, 447, 497

5.C.4b Produce oral presentations and written documents using supportive research and incorporating contemporary technology.

23, 67, 105, 211, 231, 263, 281, 295, 303, 370, 377, 409, 429, 437, 675, 920–927

5.C.4c Prepare for and participate in formal debates.

43


emc’s mirrors & windows

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