pacing - glencoe.com

Pacing 35

PacingGlencoe Literature: California Treasures offers two curriculum options:

• • a 180-day course of study, which covers all the literature selections in the Student Edition

• • an Essential Course of Study, which enables you to teach the standards in a time-effective manner

This section shows you when to teach which selections, and which standards you will cover. It is divided into these parts:

• • California Treasures Student Edition

• • California Treasures Essential Course of Study

• • Weekly Pacing

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38 California Treasures Standards Road Map

California Treasures

Essential Course of Study

By teaching the Glencoe Literature: California Treasures Essential Course of

Study in the order below, you can ensure that you cover the tested standards

in the 150 days before the test. The calendar shows how to use the Essential

Course of Study as the backbone of your instruction, while still having time

to teach additional selections throughout the year. The calendar also includes

workshops from the Student Edition that teach California standards.

Pacing Calendar: 150 Days Before Test/180 Days of the Year

September October November December January

Week 1The Cask of

Amontillado

Writing Workshop:

Response to Literature

Week 5from Black Boy

Writing Workshop:

Autobiographical

Narrative

Week 9I Wandered Lonely as

a Cloud

Week 13Time

Week 17Speaking, Listening,

and Viewing

Workshop: Descriptive

Presentation

Week 2Comparing Literature:

Liberty AND The

Struggle to Be an

All-American Girl AND

Legal Alien

Week 6TIME: Adventure to

Antarctica


An Indian Summer

Day on the Prairie

AND On Summer AND

Monument

Week 14Writing Workshop:

Descriptive Essay

Week 18The Tragedy of

Romeo and Juliet

Act 1, Scene 5

Week 3American History

Speaking, Listening,

and Viewing

Workshop: Discuss

Ideas About Literature

Week 7That One Man’s Profit

Is Another’s Loss


An Indian Summer

Day on the Prairie

AND On Summer AND

Monument, continued

Week 15Theme for English B

Week 19The Tragedy of

Romeo and Juliet

Act 2, Scene 5

Week 4Of Dry Goods and

Black Bow Ties


and Viewing

Workshop: Narrative

Presentation

Week 12Remember

Week 16Lineage

Week 20The Bear

Writing Workshop:

Literary Criticism Essay

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Pacing 39

The authentic text of each Essential Course of Study selection can be

found along with extra reading support in the Read and Write practice

books—leveled consumable worktexts for English Learners, On-Level, and

Approaching students.

February March April May


and Viewing

Workshop: Oral


Week 25He—y, Come on Ou—t!

Week 29I Was a Skinny

Tomboy Kid

Week 33The Odyssey Part 1

Week 22Perseus

Writing Workshop:

Research Report


and Viewing

Workshop: Deliver

Persuasive Arguments

Week 30The Road Not Taken

Week 34The Odyssey Part 1,

continued


and Viewing

Workshop: Multimedia

Presentation

Week 27Functional Documents:

Agenda; Meeting

Minutes; Warranty;

Product Information;

Installation Guide

Week 31The Road Not Taken,

continued

Week 35Coyote and Crow

Week 24The Sentinel

Writing Workshop:

Persuasion: Editorial

Week 28

TEST WEEK

Week 32My Mother Combs

My Hair

Week 36Coyote and Crow,

continued

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Week 1The Lady, or the Tiger?The Most Dangerous GameThe Leap

Unit IntroductionLiterary Focus: Plot and SettingVocabulary Workshop: Academic Vocabulary

Reading 3.6, Reading 3.3, Reading 3.7Writing 2.1, Writing 2.3.cListening and Speaking 1.8Week 2 The Cask of Amontillado

Blues Ain’t No Mockin BirdThe InterlopersTIME: Shattered

Vocabulary Workshop: Homonyms and HomophonesReading 3.11, Reading 1.2, Reading 3.6, Reading 3.8, Reading 2.5, Reading 2.4Writing 2.3, Writing 2.1.e, Writing 2.3.aWeek 3 Rules of the Game

The Gift of the MagiComparing Literature: Liberty AND The Struggle to Be an All-American Girl AND Legal Alien

Literary Focus: Character and ThemeGrammar Workshop: Sentence CombiningVocabulary Workshop: Dictionary UseGrammar Workshop: Misplaced Modifiers

Reading 3.3, Reading 3.4, Reading 1.1, Reading 3.2Writing 1.3, Writing 2.1, Writing 2.2Language Conventions 1.2

Week 4 Sweet Potato PieThe Scarlet IbisThe Bass, the River, and Sheila Mant

Vocabulary Workshop: Multiple-Meaning Words

Reading 3.8, Reading 3.11, Reading 3.4, Reading 3.7, Reading 1.1, Reading 2.5Writing 2.1.eLanguage Conventions: 1.2

UNIT ONEUNIT ONE

Weekly PacingGlencoe Literature: California Treasures comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Glencoe Literature: California Treasures—Course 4 Student Edition covers the standards in 180 days.

California Treasures Student EditionSelections Features and Workshops Content StandardsCACA

How do I cover the standards in the 180/150 days of the year?

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Pacing 41

Week 7Of Dry Goods and Black Bow TiesOnly DaughterA Brother’s CrimeVisual Perspective: from The Murder of Abraham Lincoln

Unit Introduction Literary Focus: Autobiography and Biography

Reading 2.5, Reading 3.11Writing 2.2.b, Writing 2.1

Week 8 from Black BoyEscape from Afghanistan

Grammar Workshop: Dialogue and Speaker TagsMedia Workshop: Compare Media Genres

Reading 2.5, Reading 3.11, Reading 3.12Writing 2.3.dLanguage Conventions 1.1Listening and Speaking 2.3.a, Listening and Speaking 1.2Week 9 from All God’s Children Need

Traveling Shoes Walking Sayonarafrom Into Thin AirTIME: Adventure to Antarctica

Literary Focus: Personal and Expository EssayGrammar Workshop: Clauses and PhrasesVocabulary Workshop: Jargon

Reading 2.5, Reading 3.11, Reading 3.6, Reading 1.1, Reading 2.5 Writing 2.1.e, Writing 2.1, Writing 1.2, 1.3Language Conventions 1.1Week 10 A New Generation of Americans

That One Man’s Profit Is Another’s LossDaylight Saving

Literary Focus: Persuasive Essay and Speech Reading 2.8, Reading 3.7Writing 2.4, Writing 2.2.a, Writing 1.2Listening and Speaking 1.10

Week 11 Comparing Literature: Thoughts on Fenway Park AND Taxpayers will get a return on investment AND Other revenue sources should be pursued Put Down the Backpack

Reading 2.5, Reading 2.8Writing 2.5, Writing 2.3

UNIT TWOUNIT TWO

Week 5 The Secret Life of Walter MittyThe NecklaceAmerican HistoryHistorical Perspective:The Drums of Washington Mrs. James The Son from America

Literary Focus: Narrator and VoiceGrammar Workshop: Run-on Sentences

Reading 3.9, Reading 3.11, Reading 3.8, Reading 3.3, Reading 3.4, Reading 2.8Writing 2.1.e, Writing 2.5, Writing 2.1Literary Conventions 1.1Listening and Speaking 1.1

Week 6Writing Workshop: Response to LiteratureSpeaking, Listening, and Viewing Workshop: Discuss Ideas About Literature

Writing 2.2

Assessment: California Standards Practice

Selections Features and Workshops Content StandardsCACACACA

Selections Features and Workshops Content StandardsCACA

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How can I pace instruction to meet all my students’ needs?

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PDF Proof

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California Treasures Student EditionGlencoe Literature: California Treasures is divided into six main units, plus a shorter seventh unit that includes a variety of consumer and workplace documents. Each of the six main units is divided into parts, and includes an in-depth Writing Workshop; a Speaking, Listening, and Viewing Workshop; and an Assessment section modeled after state standardized tests. The calendar below shows how to pace your instruction in order to teach the seven units in the 180 days of the school year.

Pacing Calendar: 180 Days


Week 1Part 1

Week 5Part 3

Week 9Part 2 Week 13

Part 1

Week 17Part 3

Week 2 Week 6 Week 10Part 3

Week 14 Week 18

Week 3Part 2 Week 7

Part 1

Week 11 Week 15Part 2 Week 19

Part 1

Week 4 Week 8 Week 12 Week 16 Week 20

UNIT ONEUNIT ONE UNIT THREEUNIT THREE

UNIT TWOUNIT TWO UNIT FOURUNIT FOUR

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Pacing 37

As you follow the calendars on these pages, several options are available for formative and summative assessment. See the Assessment section of this guide for more information.


Week 21Week 25Part 1

Week 29 Week 33

Week 22Part 2

Week 26 Week 30 Week 34

Week 23 Week 27Week 31

Week 35

Week 24 Week 28Part 2

Week 32Week 36

UNIT F IVEUNIT F IVE

UNIT SIXUNIT SIX

UNIT SEVENUNIT SEVEN

What do I teach for the 180/150 days of the year?

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PACINGCACA


California Treasures Essential Course of StudyBy teaching the Glencoe Literature: California Treasures Essential Course of Study in the order below, you can ensure that you cover the tested standards in the 150 days before the test. The calendar shows how to use the Essential Course of Study as the backbone of your instruction, while still having time to teach additional selections throughout the year. The calendar also includes workshops from the Student Edition that teach California standards.

Pacing Calendar: 150 Days Before Test/180 Days of the Year


Week 1The Cask of Amontillado

Writing Workshop: Response to Literature

Week 5from Black Boy

Writing Workshop: Autobiographical Narrative

Week 9I Wandered Lonely as a Cloud

Week 13Time

Week 17Speaking, Listening, and Viewing Workshop: Descriptive Presentation

Week 2Comparing Literature: Liberty AND The Struggle to Be an All-American Girl AND Legal Alien

Week 6TIME: Adventure to Antarctica

Week 10Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument

Week 14Writing Workshop: Descriptive Essay

Week 18The Tragedy of Romeo and Juliet Act 1, Scene 5

Week 3American History

Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature

Week 7That One Man’s Profit Is Another’s Loss

Week 11Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument, continued

Week 15Theme for English B

Week 19The Tragedy of Romeo and Juliet Act 2, Scene 5

Week 4Of Dry Goods and Black Bow Ties

Week 8Speaking, Listening, and Viewing Workshop: Narrative Presentation

Week 12Remember

Week 16Lineage

Week 20The Bear

Writing Workshop: Literary Criticism Essay

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Third Proof

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Pacing 39

The authentic text of each Essential Course of Study selection can be found along with extra reading support in the Read and Write practice books—leveled consumable worktexts for English Learners, On-Level, and Approaching students.


Week 21Speaking, Listening, and Viewing Workshop: Oral Response to Literature

Week 25He—y, Come on Ou—t!

Week 29I Was a Skinny Tomboy Kid

Week 33from the Odyssey Part 1

Week 22Perseus

Writing Workshop: Research Report

Week 26Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments

Week 30The Road Not Taken

Week 34from the Odyssey Part 1, continued

Week 23Speaking, Listening, and Viewing Workshop: Multimedia Presentation

Week 27Functional Documents: Agenda; Meeting Minutes; Warranty; Product Information; Installation Guide

Week 31The Road Not Taken, continued

Week 35Coyote and Crow

Week 24The Sentinel

Writing Workshop: Persuasion: Editorial

Week 28

TEST WEEK

Week 32My Mother Combs My Hair

Week 36Coyote and Crow, continued

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Week 1The Lady, or the Tiger?

The Most Dangerous Game

The Leap

Unit Introduction

Literary Focus: Plot and Setting

Vocabulary Workshop: Academic Vocabulary

Reading 1.1, 3.3, 3.6, 3.7

Writing 2.1, Writing 2.3

Listening and Speaking 1.8, 1.9, 2.3

Language Conventions 1.2

Week 2 The Cask of Amontillado

Blues Ain’t No Mockin Bird

The Interlopers

TIME: Shattered

Vocabulary Workshop: Homonyms and Homophones

Reading 1.1, 2.3, 2.5, 3.8, 3.11

Writing 1.1, Writing 1.2, Writing 2.3


Listening and Speaking 1.1

Week 3 Rules of the Game

The Gift of the Magi

Comparing Literature: Liberty AND The Struggle to Be an All-American Girl AND Legal Alien

Literary Focus: Character and Theme

Grammar Workshop: Sentence Combining

Vocabulary Workshop: Dictionary Use

Reading 1.1, 2.3, 3.2, 3.3, 3.4, 3.5


Language Conventions 1.2, 1.3


Week 4 Sweet Potato Pie

The Scarlet Ibis

The Bass, the River, and Sheila Mant

Grammar Workshop: Misplaced Modifiers

Vocabulary Workshop: Multiple-Meaning Words

Reading 1.1, 2.2, 3.4, 3.6, 3.7, 3.8, 3.11

Writing 1.3, 1.5, 1.7, 1.8, 2.1, 2.4

Language Conventions 1.1, 1.2, 1.3


UNIT ONEUNIT ONE

Weekly PacingGlencoe Literature: California Treasures comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Glencoe Literature: California Treasures—Course 4 Student Edition covers the standards in 180 days.

California Treasures Student Edition


How do I cover the standards in the 180/150 days of the year?


Pacing 41

Week 7

Of Dry Goods and Black Bow Ties

Only Daughter

A Brother’s Crime

Visual Perspective: from The Murder of Abraham Lincoln

Unit Introduction Literary Focus: Autobiography and Biography

Reading 1.1, 2.3, 2.5, 3.9, 3.11

Writing 2.1


Week 8 from Black Boy

Escape from Afghanistan

Grammar Workshop: Dialogue and Speaker Tags

Media Workshop: Compare Media Genres

Reading 2.3, 2.5, 2.6, 3.12

Writing 1.6

Language Conventions 1.1,

Listening and Speaking 1.2, 1.7, 1.8, 2.3

Week 9 from All God’s Children Need Traveling Shoes

Walking

Sayonara

from Into Thin Air

TIME: Adventure to Antarctica

Literary Focus: Personal and Expository Essay

Grammar Workshop: Clauses and Phrases

Vocabulary Workshop: Jargon

Reading 1.1, 2.2, 2.3, 2.5, 3.6, 3.11, 3.12

Writing 1.1, 1.2, 1.3, 1.7, 1.8, 2.1, 2.2



Week 10 A New Generation of Americans

That One Man’s Profit Is Another’s Loss

Daylight Saving

Literary Focus: Persuasive Essay and Speech

Reading 1.1, 2.8, 3.7, 3.12

Writing 1.1, 1.2, 2.4


Week 11 Comparing Literature: Thoughts on Fenway Park AND Taxpayers Will Get a Return on Investment AND Other Revenue Sources Should Be Pursued Put Down the Backpack

Reading 2.4, 2.5, 2.8

Writing 1.1, 1.2, 1.5, 2.3



UNIT TWOUNIT TWO

Week 5 The Secret Life of Walter Mitty

The Necklace

American History

Historical Perspective:

The Drums of Washington Mrs. James

The Son from America

Literary Focus: Narrator and Voice

Grammar Workshop: Run-on Sentences

Reading 1.1, 2.8, 3.3, 3.4, 3.7, 3.8, 3.9, 3.11




Week 6 Writing Workshop: Response to Literature


Writing 1.1, 1.2, 1.9, 2.2







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Week 13I Wandered Lonely as a Cloud

who are you, little i AND l(a

A Red, Red Rose

A Noiseless Patient Spider

TIME: The Island Within

Unit Introduction

Literary Focus: Form and Structure

Reading 1.1, 2.5, 3.7, 3.11



Week 14 Comparing Literature: An Indian Summer Day on the Prairie AND

On Summer AND Monument

The Black Snake

The Peace of Wild Things

Haiku

Grammar Workshop: Subject-Verb Agreement

Vocabulary Workshop:Thesaurus Use

Reading 1.2, 2.3, 3.2, 3.5, 3.7, 3.11, 3.12



Week 15 How Things Work

I Was a Skinny Tomboy Kid

Choices

“Hope” is the thing with feathers—

I’m Nobody! Who are you?

Defining the Grateful Gesture

Sympathy

Literary Focus: The Language of Poetry

Reading 1.2, 3.7, 3.11



Week 16 Remember

The Road Not Taken

Time

Theme for English B

The Secret

Reading 3.7, 3.8, 3.11




Week 17 Grape Sherbet

“Good Night, Willie Lee, I’ll See You in the Morning”

Where Are Those Songs?

My Mother Combs My Hair

Visual Perspective: from Bone: Out from Boneville

Lineage

Literary Focus: Sound Devices Reading 2.5, 3.7, 3.11



Listening and Speaking 1.4, 1.5, 1.8, 1.9, 1.12

Week 18 Writing Workshop: Descriptive Essay

Speaking, Listening, and Viewing Workshop: Descriptive Presentation

Writing 1.1, 1.2, 1.9, 2.1




UNIT THREEUNIT THREE

Week 12 Writing Workshop: Autobiographical Narrative

Speaking, Listening, and Viewing Workshop: Narrative Presentation








Pacing 43

Week 25

from the Odyssey Unit Introduction

Literary Focus: Hero

Literary History: Homer and the Epic

Vocabulary Workshop: Word Origins: Words from Greek and Roman Mythology

Reading 1.1, Reading 1.3, Reading 3.3, Reading 3.4, Reading 3.6, Reading 3.7, Reading 3.9, Reading 3.11, Reading 3.12

Writing 2.4


UNIT F IVEUNIT F IVE

Week 19The Tragedy of Romeo and Juliet, Act 1

The Tragedy of Romeo and Juliet, Act 2


Unit Introduction

Literary Focus: Tragedy

Literary History:Shakespearean Theater

Reading 3.1, Reading 3.4, Reading 3.7, Reading 3.10, Reading 3.11, Reading 3.12

Week 20 The Tragedy of Romeo and Juliet, Act 4



Writing 2.4, Language

Conventions 1.1

Week 21 TIME: A Long-Overdue Encore

Comparing Literature: The Tragedy of Romeo and Juliet AND The Taxi AND Counting the Beats AND The Princess and All the Kingdom

Grammar Workshop: Verb Tense Reading 3.2, Reading 3.5, Reading 3.6

Writing 2.2

Language Conventions 1.2 Language Conventions 1.3

Week 22 The Bear

The Hitchhiker

Literary Focus: Comedy and Modern Drama

Vocabulary Workshop:Denotation and Connotation

Reading 1.2, Reading 3.1, Reading 3.4, Reading 3.11


Week 23 The Leader

Literary Perspective: How I Came to the Theater

Reading 3.1, Reading 3.8, Reading 3.10


Listening and Speaking 1.9, Listening and Speaking 1.12

Week 24 Writing Workshop: Literary Criticism Essay

Speaking, Listening, and Viewing Workshop: Oral Response to Literature

Writing 1.1, Writing 1.2, Writing 1.6, Writing 1.9, Writing 2.2

Language Conventions 1.1, Language Conventions 1.5

Listening and Speaking 1.4, Listening and Speaking 1.6, Listening and Speaking 1.8, Listening and Speaking 1.9, Listening and Speaking 1.11, Listening and Speaking 2.4


UNIT FOURUNIT FOUR




PACINGCACA


Week 26 Comparing Literature: From the Odyssey AND An Ancient Gesture AND Ithaca AND Waiting from The Penelopiad


Week 27 TIME: Leaving It All Behind

Over Hill and Under Hill from The Hobbit

Visual Perspective: from The Hobbit

Reading 2.5, Reading 3.2, Reading 3.3, Reading 3.7, Reading 3.9

Writing 2.2

Week 28 Perseus

The Fenris Wolf

Literary Focus: Archetype

Grammar Workshop: Transitional Expressions

Vocabulary Workshop: Word Origins: Words from Norse Mythology




Week 29 Coyote and Crow

Sweet Betsy from Pike

Reading 3.7


Week 30 Writing Workshop: Research Paper

Speaking, Listening, and Viewing Workshop: Multimedia Presentation

Reading 2.3

Writing 1.1, Writing 1.2, Writing 1.3, Writing 1.4, Writing 1.5, Writing 1.6, Writing 1.7, Writing 1.9, Writing 2.2, Writing 2.3

Language Conventions 1.1, Language Conventions 1.4, Language Conventions 1.5

Listening and Speaking 1.4, Listening and Speaking 1.5, Listening and Speaking 1.7, Listening and Speaking 1.14


Week 31The Sentinel

Historical Perspective: 2001: A Space Odyssey

Unit Introduction

Literary Focus: Description and Style

Grammar Workshop: Commas with Items in a Series


Writing 2.3


Week 32 He—y, Come on Ou—t!

Comparing Literature: In Memoriam AND The Gift AND Purchase


Writing 2.2

Listening and Speaking 1.4, Listening and Speaking 1.5, Listening and Speaking 1.7, Listening and Speaking 1.9, Listening and Speaking 1.12

UNIT SIXUNIT SIX




Pacing 45

Week 33 The Golden Kite, the Silver Wind

The Red-Headed League

Vocabulary Workshop: Loaded Words




Week 34 TIME: Lost Apes of the Congo

The Stolen Cigar Case


Week 35 Writing Workshop: Persuasion: Editorial

Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments

Writing 1.1, Writing 1.2, Writing 1.9, Writing 2.4





Week 36

Unit Introduction

Functional Documents





UNIT SEVENUNIT SEVEN



PACINGCACA


Week 1 The Cask of Amontillado Writing Workshop: Response to Literature

Reading 2.3, Reading 3.11


Language Conventions 1.1, Language Conventions 1.2, Language Conventions 1.3, Language Conventions 1.5

Week 2 Comparing Literature: Liberty AND The Struggle to Be an All-American Girl AND Legal Alien


Week 3 American History



Listening and Speaking 1.1, Listening and Speaking 1.8, Listening and Speaking 1.12

Week 4 Of Dry Goods and Black Bow Ties Reading 2.5

Week 5 from Black Boy

Writing Workshop: Autobiographical Narrative

Reading 2.5

Writing 1.1, Writing 1.2, Writing 1.6, Writing 2.1



Week 6 TIME: Adventure to Antarctica Reading 2.5

Week 7 That One Man’s Profit Is Another’s Loss Reading 2.8

Week 8 Speaking, Listening, and Viewing Workshop: Narrative Presentation


Week 9 I Wandered Lonely as a Cloud Reading 1.1, Reading 3.11


Week 10 Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument


Writing 2.2.a, Writing 2.2.c

Week 11 Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument, continued


Weekly PacingAll the tested California standards are addressed by teaching the selections in the Essential Course of Study. The chart below shows how the Essential Course of Study can be taught in 180 days while covering the tested standards in the 150 days before the test.

California Treasures Essential Course of Study

Selections Content StandardsCACACACA


Pacing 47

Week 12 Remember Reading 3.7

Week 13 Time Reading 3.7, Reading 3.8

Week 14 Writing Workshop: Descriptive Essay Writing 1.1, Writing 1.2, Writing 1.9, Writing 2.1


Week 15 Theme for English B Reading 3.11


Week 16 Lineage Reading 3.7

Week 17 Speaking, Listening, and Viewing Workshop: Descriptive Presentation

Listening and Speaking 1.8, Listening and Speaking 1.9, Listening and Speaking 2.6

Week 18 The Tragedy of Romeo and Juliet Act 1, Scene 5 Reading 3.10

Week 19 The Tragedy of Romeo and Juliet Act 2, Scene 5 Reading 3.4, Reading 3.7, Reading 3.11

Week 20 The Bear

Writing Workshop: Literary Criticism Essay



Week 21 Speaking, Listening, and Viewing Workshop: Oral Response to Literature


Week 22 Perseus

Writing Workshop: Research Report


Writing 2.3

Week 23 Speaking, Listening, and Viewing Workshop: Multimedia Presentation

Writing 2.2

Listening and Speaking 1.4, Listening and Speaking 1.6, Listening and Speaking 1.7, Listening and Speaking 1.14

Week 24 The Sentinel

Writing Workshop: Persuasion: Editorial



Language Conventions 1.1, Language Conventions 1.2, Language Conventions 1.3

Week 25 He—y, Come on Ou—t! Reading 3.7

Listening and Speaking 1.4, Listening and Speaking 1.5, Listening and Speaking 1.7, Listening and Speaking 1.9, Listening and Speaking 1.12

Week 26 Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments


Week 27 Functional Documents: Agenda; Meeting Minutes; Warranty; Product Information; Installation Guide


Writing 2.6.a

Week 28 Test Week

Week 29 I Was a Skinny Tomboy Kid Reading 3.11



PACINGCACA


Week 30 The Road Not Taken Reading 3.7, Reading 3.11

Writing 2.2

Week 31 The Road Not Taken, continued Reading 3.11

Writing 2.2


Week 32 My Mother Combs My Hair Reading 3.7, Reading 3.11

Writing 2.2


Week 33 from the Odyssey Part 1 Reading 3.7, Reading 3.11

Week 34 from the Odyssey Part 1, continued Reading 3.7, Reading 3.11

Week 35 Coyote and Crow Reading 3.7

Week 36 Coyote and Crow, continued Reading 3.7



ON LEVEL

ADVANCED

APPROACHING

ENGLISH LEARNERS

Universal Access 49

These students read and comprehend at a grade-appropriate level.

Approaching-level (struggling) learners are experiencing various degrees of learning difficulties. Benchmark Group: These students are generally making good progress toward the standards but may be experiencing temporary or minor difficulties. Strategic Group: These students may be one to two standard deviations below the mean according to the results of standardized testing.

English learners are nonnative speakers of English who require additional instructional support in reading, vocabulary, and comprehension. Levels of English learners addressed: Beginning/Early Intermediate, Intermediate, and Early Advanced.

These learners read one to two grade levels above their on-level peers. These gifted students need extra enrichment to maximize their instruction.

Universal AccessGlencoe Literature: California Treasures provides leveled instruction and resources to ensure learning for all students. This section explains how and when to use the components of Glencoe Literature to teach English learners, on-level, approaching-level (struggling), and advanced learners. It is divided into the following sections:

• • On Level

• • Approaching

• • English Learners

• • Advanced

• • Differentiation in the Teacher Edition

• • Enrichment Projects

How do I differentiate my instruction?

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ON LEVEL

ADVANCED

APPROACHING

ENGLISH LEARNERS

Universal Access 49

These students read and comprehend at a grade-appropriate level.

Approaching-level (struggling) learners are experiencing various degrees of learning difficulties. Benchmark Group: These students are generally making good progress toward the standards but may be experiencing temporary or minor difficulties. Strategic Group: These students may be one to two standard deviations below the mean according to the results of standardized testing.

English learners are nonnative speakers of English who require additional instructional support in reading, vocabulary, and comprehension. Levels of English learners addressed: Beginning/Early Intermediate, Intermediate, and Early Advanced.

These learners read one to two grade levels above their on-level peers. These gifted students need extra enrichment to maximize their instruction.

Universal AccessGlencoe Literature: California Treasures provides leveled instruction and resources to ensure learning for all students. This section explains how and when to use the components of Glencoe Literature to teach English learners, on-level, approaching-level (struggling), and advanced learners. It is divided into the following sections:

• • On Level

• • Approaching

• • English Learners

• • Advanced

• • Differentation in the Teacher Edition

• • Enrichment Projects

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Grade 9

How do I differentiate my instruction?

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ON LEVEL


FOCUS

TEACH

ASSESS

EXTEND

Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment

Day 1 Day 2 Day 3 Day 4 Day 5

Motivating and Building Background

Pacing Chart: The diagram below shows how to pace a single week for on-level learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson.

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Grade 9

UNIVERSAL ACCESSCACA


ON LEVEL

Universal Access 51

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward on-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Literature Launchers: Pre-Reading Videos DVD• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Media Workshop DVD

Vocabulary• California Treasures SE and TE• On-Level Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com)• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)

Assessment• Unit Teaching Resources• Assessment Resources• Standardized Test Preparation and Practice• ExamView Assessment Suite CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)• Literature Online: Assessment Resources (glencoe.com)

Reteaching• California Treasures SE and TE• On-Level Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)

Enrichment• Ethnic Anthologies• The Novel Companion• inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE

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ASSESS

EXTEND


APPROACHING


Pacing Chart: The diagram below shows how to pace a single week for approaching-level, or struggling, learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Approaching-level learners need to spend more time on Motivating and Building Background and Reteaching.

Vocabulary

Reading Skills

Writing and Grammar

Reteaching

Assessment

Enrichment


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APPROACHING

Universal Access 53

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward approaching-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• California Treasures SE and TE• Interactive Vocabulary CD-ROM• Approaching Read and Write SE and TE• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com)• Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Approaching Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• Approaching Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)

Enrichment• Ethnic Anthologies• inTIME• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE

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Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment



ENGLISH LEARNERS


Pacing Chart: The diagram below shows how to pace a single week for English learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. English learners need to spend more time on Building Background and Vocabulary.

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ENGLISH LEARNERS

Universal Access 55

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• California Treasures SE and TE • English Learners Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com) • Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies• English Language Coach

Writing and Grammar• California Treasures SE and TE• English Learners Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• English Learners Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• English Language Coach

Enrichment• Ethnic Anthologies• inTIME• World Literature SE and TE

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward English learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

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ADVANCED


Pacing Chart: The diagram below shows how to pace a single week for advanced learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Since advanced learners will work at an accelerated pace, a large portion of their instruction can be devoted to Enrichment.


Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment

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ADVANCED

Universal Access 57

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward advanced learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• The Novel Companion SE and TG• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• The Novel Companion SE and TG• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com) • Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• On-Level Read and Write SE and TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM

Enrichment• Ethnic Anthologies • inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Enrichment Projects• World Literature SE and TE

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Grade 9



Differentiation in the Teacher EditionThe Teacher Edition of Glencoe Literature: California Treasures provides a variety of features to help with differentiated instruction, all labeled and wrapped around reduced pages of the Student Edition.

These features include:

• • leveled skills instruction for English learners, on-level, approaching-level (struggling), and advanced learners

• • teaching notes for speakers of African American vernacular English

• • resource suggestions at point-of-use to help differentiate your instruction

• • vocabulary teaching activities

• • grouping suggestions

• • in-depth activities and teaching strategies for English learners, on-level, approaching-level, and advanced learners

• • Progress Checks to help assess the performance of struggling students

The following pages show where to fi nd these features in the Teacher Edition.

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Universal Access 59

TONI CADE BAMBARA 71

T he puddle had frozen over, and me and Cathy went stompin in it. The twins from next door, Tyrone and

Terry, were swingin so high out of sight we forgot we were waitin our turn on the tire. Cathy jumped up and came down hard on her heels and started tap-dancin. And the frozen patch splinterin every which way underneath kinda spooky.

“Looks like a plastic spider web,” she said. “A sort of weird spider, I guess, with many mental problems.” But really it looked like the crystal paperweight Granny kept in the parlor. She was on the back porch, Granny was, making the cakes drunk. The old ladle dripping rum into the Christmas tins, like it used to drip maple

syrup into the pails when we lived in the Judson’s woods, like it poured cider into the vats when we were on the Cooper place, like it used to scoop buttermilk and soft cheese when we lived at the dairy.

“Go tell that man we ain’t a bunch of trees.”

“Ma’am?”“I said to tell that man to get away from

here with that camera.” Me and Cathy look over toward the meadow where the men with the station wagon’d been roamin around all mornin. The tall man with a huge camera lassoed to his shoulder was buzzin our way.

“They’re makin movie pictures,” yelled Tyrone, stiffenin his legs and twistin so the tire’d come down slow so they could see.

“They’re makin movie pictures,” sang out Terry.

“That boy don’t never have anything original to say,” say Cathy grown-up.

By the time the man with the camera had cut across our neighbor’s yard, the twins were out of the trees swingin low

Blues Ain’t NoMockin Bird

Toni Cade Bambara

Description How is Cathy’s description of the cracked ice more vivid than if she had said only that it looks like a spider web?

paperweight (pa p� ər wa t ) n. a heavy, often decora-tive object traditionally used to hold down loose papers

Vocabulary

71

TeachLiterary Element

Description Answer: Her description is much more specifi c. Saying it looks like the web of a weird spider with “many mental problems” gives the impression of chaotic, jagged cracks. It also gives the reader some insight into Cathy’s personality.

Readability ScoresDale-Chall: 6.8DRP: 53Lexile: 960

Intermediate Help students understand the language in the story by explaining that dialect is a variation of language spoken by people in a particular region, certain area, or social class. Explain that the author often omits the letter g at the end of words end-ing in -ing (e.g., stompin, swingin, mornin) because she wants readers to omit this sound when they read the story.

AAVE For approaching-level students who use African American Vernacular English (AAVE), point out that the characters in this story often use double negatives: “That boy don’t never have anything original to say.” Explain that this, too, is part of the characters’ dialect. Remind students that in Standard English, two negative words should not be used together in a sentence. Ask a student to revise the sentence, using

Standard English. (He never has anything original to say.)

For an audio recording of this selection, use Listening Library Audio CD-ROM.

For additional literary element practice, see Unit 1 Teaching Resources Book, p. 80.

CA ELA WOELC 1.3 Demonstrate an understanding of proper English usage and control of grammar, paragraph and sentence structure, diction, and syntax.

UNIVERSAL ACCESS

English LearnersUNIVERSAL ACCESS

Approaching Level

JON KRAKAUER 357

In my backpack was a banner from Outside magazine, a small pennant emblazoned with a whimsical lizard

that Linda, my wife, had sewn, and some other mementos1 with which I’d intended to pose for a series of triumphant photos. Cognizant2 of my dwindling oxygen reserves, however, I left everything in my pack and stayed on top of the world just long enough to fire off four quick shots of Andy Harris and Anatoli Boukreev posing in front of the summit survey marker.

Then I turned to descend. About twenty yards below the summit I passed Neal Beidleman and a client of Fischer’s named Martin Adams3 on their way up. After exchanging a high five with Neal, I grabbed a handful of small stones from a wind-scoured patch of exposed shale, zipped the souvenirs into the pocket of my down suit, and hastened down the ridge.

1. Mementos are souvenirs.2. Here, cognizant means “aware.”

3. Throughout this essay, Krakauer mentions the names of many other climbers, including guides Andy Harris, Anatoli Boukreev, Andy Fischer, and Neal Beidleman. He also mentions climbers who were led by these guides, including Martin Adams.

Jon Krakauer

Near the top of Khumbu Icefall, Scott Fischer ascends the large overhanging serac known as the mouse trap, during the May 1996 ascent on Mount Everest.

from

Structure What is the first thing Krakauer tells his readers?

357

Teach Big Idea 1

On the Move Say: Keep these questions in mind as you read: How do our surroundings contribute to our ability to be on the move? (They aff ect how easy or diffi cult it is to move, and they can make it impossible to move.)

APPROACHING How do Krakauer’s surroundings make it life-threatening to be on the move? (They make him short of oxygen, subject to freezing tem-peratures, and at risk of falling.)

Literary Element 2

Structure Possible answer: Krakauer fi rst describes being on the top of Mount Everest. ENGLISH LEARNERS To guide

English learners, ask a student to look up the word summit in the dictionary. Have another student use the word in a sentence.

Readability ScoresDale-Chall: 9.4DRP: 64Lexile: 1160

For an audio recording of this selection, use Listening Library Audio CD-ROM.

2

1

CA ELA R 3.3 Analyze interactions between main and sub-ordinate characters in a literary text (e.g., internal and external confl icts, motivations, relationships, infl uences) and explain the way those interactions aff ect the plot.

UNIVERSAL ACCESS

Approaching Level

Strategic Help students understand the diff erent people in the essay by making a chart. Include names and descriptions or words from the essay that will help stu-dents identify the various people, locations, events, etc. Students should add informa-tion to the chart as they continue their reading. Encourage students to analyze how the actions of one person aff ect others mentioned in the story.

Resource Suggestions at Point-of-Use Helpful suggestions for using Glencoe Literature ancillary material to differentiate instruction.

Skills InstructionThese notes provide additional instruction and support for the skills taught in a lesson. They are geared toward English learners, on-level, advanced, and approaching-level students.

Teaching NotesNotes provide support for students who are speakers of African American vernacular English.

Proficiency LevelsNotes provide leveled practice and activities for two levels of approaching-level students—benchmark and strategic—and for three levels of English learners—beginning/early intermediate, intermediate, and early advanced.

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Grade 9



Literature and Reading Preview Connect to the StoryWhat kinds of wrongs or injuries would make a person want to take revenge? Do you think getting revenge makes people feel better or worse? Discuss these questions with a partner.

Build Background Much of this story is set in the catacombs of the Montresor family, which were also used as a wine cellar. Catacombs are underground cemeteries. The walls of the narrow passageways are lined with niches where bodies are placed. Carnival is an often uninhibited celebration involving costume parades, feast-ing, and other festivities. It takes place mainly in Roman Catholic regions during the weeks before Lent, a holy season of abstinence and prayer.

Set Purposes for Reading Big Idea Matters of Life and DeathAs you read “The Cask of Amontillado,” ask yourself, How do details in the story evoke the idea of death?

Literary Element MoodMood is the emotional quality of a literary work. A writer’s choice of language, subject matter, setting, and tone, as well as such sound devices as rhyme and rhythm, contribute to creat-ing mood. As you read “The Cask of Amontillado,” ask yourself, What emotions does the writing make me feel?

Reading Strategy ParaphraseParaphrasing is putting something into your own words. Unlike a summary, a paraphrase is usually about the same length as the original passage. As you read, ask yourself, How would I rephrase this passage in contemporary language?

Tip: Make a Chart Paraphrase diffi cult sentences, or parts of sentences, as you read.

Author’s Wordsp. 58“The thousand injuries of Fortunato I had borne as I best could.”

My ParaphraseI had put up with the many wrongs Fortunato did to me as well as I could.

EDGAR ALLAN POE 57

CA Content Standards

For pages 56 –66

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

preclude (pri kl ood�) v. toprevent; to make impossible; p. 58 Failing grades preclude the possibility of playing in Friday’s basketball game.

impunity (im pu � nə te ) n. free-dom from punishment, harm, or bad consequences; p. 58 No one here knew him, so he thought he could lie with impunity.

accost (ə kost�) v. to approach and speak to, especially in an aggressive manner; p. 59 Thebeggars accost and scare the shoppers.

explicit (eks plis� it) adj.definitely stated, clearly expressed; p. 60 Ms. DePietro gave explicit instructions for each stage of the assignment.

implore (im plor�) v. to ask earnestly; to beg; p. 63 Someparents implore their children to study.

Vocabulary

57

Before You Read

Beginning /Early Intermediate Point out that on page 56 Poe is described as a “literary giant.” Help students better under-stand this phrase. Brainstorm some literary giants and write their names on the board (William Shakespeare, Emily Dickinson, Mark Twain, Eudora Welty).

Ask: What makes a writer a literary giant? (Students may say that people have enjoyed their writing for many years and that they are famous and talented.)

FocusSummaryThe narrator, Montresor, vows to exact revenge on Fortunato for an unspecifi ed insult. He leads Fortu-nato into the catacombs beneath his palazzo. When they reach a niche in the cellar wall, Montresor chains Fortunato to the wall and fi lls in the niche with bricks and mortar. At the story’s end, he states that the crime has gone undetected for fi fty years.

Vocabulary

Use New Words in New Ways Explain that many stu-dents have diffi culty remembering the defi nitions of new words. Ask students to study the list of words on page 57. Instruct students to write a paragraph using the vocab-ulary words. Then ask students to use each word in a sentence. Vol-unteers may share their answers with the class.

For summaries in languages other than English, see Unit 1 Teaching Resources Book, pp. 61–66.

Interactive Read and Write

Other options for teaching this selection can be found in

Interactive Read and Write for EL Students, pp. 1–14

Interactive Read and Write for Approaching-Level Students, pp. 1–14

Interactive Read and Write for On-Level Students, pp. 1–14

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•

•

For additional vocabulary practice, see Unit 1 Teaching Resources Book, p. 69.

CA ELA WOELC 1.4 Produce legible work that shows accurate spelling and correct use of the conventions of punctuation and capitalization.

UNIVERSAL ACCESS

English Learners

Universal AccessActivities for your diverse classrooms are clearly labeled. These activities build students’ proficiency by targeting content area knowledge and by providing strategies to introduce, teach, and reinforce concepts.

Vocabulary Preteaching Because vocabulary is a key component of reading success, we provide additional vocabulary preteaching activities for struggling students and English learners in your classroom.

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049-061_G9-11_Universal_CA.indd 60049-061_G9-11_Universal_CA.indd 60 6/25/08 5:53:37 PM6/25/08 5:53:37 PM

Universal Access 61

538 UNIT 3 POETRY

Draw Conclusions About Author’s Beliefs What can you conclude about Harjo’s beliefs from these two lines?

Life Lessons What lesson about heritage does Harjo want you to learn from this passage?

Remember the sky that you were born under, know each of the star’s stories. Remember the moon, know who she is. Remember the sun’s birth at dawn, that is the 5 strongest point of time. Remember sundown and the giving away to night. Remember your birth, how your mother struggled to give you form and breath. You are evidence of her life, and her mother’s, and hers.10 Remember your father. He is your life, also. Remember the earth whose skin you are: red earth, black earth, yellow earth, white earth brown earth, we are earth. Remember the plants, trees, animal life who all have their15 tribes, their families, their histories, too. Talk to them, listen to them. They are alive poems. Remember the wind. Remember her voice. She knows the origin of this universe. Remember you are all people and all people20 are you. Remember you are this universe and this universe is you. Remember all is in motion, is growing, is you. Remember language comes from this.25 Remember the dance language is, that life is. Remember.

Joy Harjo

In the Wind. Tim Nicola. Utah alabaster, height: 19 in. Artistic Gallery, Santa Fe, NM.

538

TeachBig Idea 1

Life Lessons Answer: All generations are connected, and appreciating that connection is important to understanding one’s heritage. Students may also note the importance of respecting one’s mother.

Reading Strategy 2

Draw Conclusions About Author’s Beliefs Answer: She believes that all things in nature, including various peoples, are connected and are part of a whole.

SNative American artist Tim Nicola (1954−) considered becoming a painter but found that sculpture provided a better avenue for his artistic vision.

Say: A three-dimensional sculp-ture can often be appreciated through touch as well as sight. Consider how texture contributes to the mood of the work. How does this sculpture relate to the poem? (Students may mention the sculpture’s title or notice how the smooth curving shape suggests a sense of wholeness.)

Listening and Speaking Practice

PARTNERS REVIEWSPIRAL Respond to Literature

Ask: Wh y does the speaker repeat the word

“remember” throughout the poem? (Students may point out that the speaker wants to emphasize important ideas.) With a partner, have students read the poem and discuss the aff ect that repeti-tion has on Harjo’s poem. Ask students to answer the following questions:

Does repetition improve the poem? Why or why not?How does repetition affect Harjo’s poem?How is the use of repetition different in the two poems?

•

••

For additional practice using the reading skill or strategy, see Unit 3 Teaching Resources Book, p. 206.

1

2

To check students’ understanding of the selection, see Unit 3 Teach-ing Resources Book, p. 208.

CA ELA LS 1.1 Formulate judgments about the ideas under discussion and support those judgments with convincing evidence.

CA ELA R 2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.

Progress Check

After You Read

Respond and Think CriticallyAnalyze and Evaluate5. How effective is the author at capturing the

reader’s attention with the opening passage of this story? Explain.

6. (a)How does the narrator’s attitude toward her dead half-sister change? (b)What does informa-tion about this sibling add to the story?

Connect7. Big Idea Matters of Life and Death Both

the narrator and her mother reacted to matters of life and death in this story. Did you fi nd their reactions realistic? Explain.

8. Connect to the Author Louise Erdrich often writes about the personal power or strength of women. How do the narrator and her mother each show their personal strengths in this story?

Respond and Interpret1. What do you think is the most dramatic event in

this story? Give details to explain your choice.

2. (a)What caused the disaster at the circus, and what happened to the Flying Avalons? (b)In your opinion, why didn’t the mother save her costume or anything related to this period in her life?

3. (a)What happened to the narrator when she was seven? (b)What comparisons do you think the narrator would make between her life and her mother’s? Provide evidence from the story to substantiate your claims.

4. (a)What specific event or events in this story does the title refer to? (b)What else might the title refer to?

Review: SettingAs you learned on pages 8–9, setting is the time and place in which the events of a literary work occur. Setting includes not only the physical surroundings, but also the ideas, customs, values, and beliefs of a particular time and place.

Partner Activity Work with a classmate to record details of the setting. Create a chart like the one below and complete it with details from the story.

Time PlacePast June, years ago circus tent in

a small New Hampshire town

Present

52 UNIT 1 THE SHORT STORY

Literary Element Flashback

1. Which passage from the story indicates the beginning of the narrator’s flashback?

A As you fall there is time to think.

B . . . I am sewing with a needle of hot silver, a thread of fi re.

C It was in the hospital that she fi nally learned to read and write . . .

D As soon as I awakened, in the small room that I now use for sewing, I smelled the smoke.

2. The main purpose of the flashback in this story is to—

A show how education can improve a person’s life.

B indicate the hazards of working in a circus.

C suggest that memory is not always accurate.

D illustrate the devoted love of a mother for her daughter.

Standards Practice R 3.6CA

52

After You Read

Assess1. The circus event (the risky tra-

peze act and fi erce storm); the rescue (deadly fi re, amazing leap)

2. (a) Lightning hit the pole, send-ing Harry to his death. Anna saved herself. (b) She wanted to forget the death of her hus-band and baby.

3. (a) She was trapped inside her burning house. (b) Their lives seemed miraculous and dramatic; both survived deadly events.

4. (a) The mother’s fi rst leap to save herself and the one to save her daughter (b) A leap of faith, such as the mother’s courage in starting a new life and the daughter’s faith that her mother would save her

5. Its unusual details stimulate the reader’s interest.

6. (a) The sister seems unreal at fi rst but later becomes a more defi nite presence. (b) As people age, they can visualize death more clearly.

7. Their calm attitude was realistic. The mother was trained to take great risks; a child might not appreciate the danger she faced or the fi nality of death.

8. Students may mention the mother’s courage in times of danger, her ability to move on after tragedy, the daughter’s abil-ity to stay calm during the fi re, and her faith in her mother.

Can students explain fl ashback?

If No See Unit 1 Teaching Resources Book, p. 54.

Review: Setting Past: Time: Unnamed past—narrator’s childhood and before; Place: Circus tent; Hospital; Cemetery; Burning house; Present: Time: Unnamed present—nar-rator’s adulthood; Place: New Hamp-shire farmhouse—sewing room that was the narrator’s childhood bedroom

Literary Element

1. B is the correct answer. Sewing in the room where she slept as a child, the narrator recalls the fi re that nearly took her life.

2. D is the correct answer. The mother’s death-defying act of devotion is cen-tral to the fl ashback.

Progress CheckThis feature helps you to monitor your students’ progress and provides strategies to reinforce concepts. IF a student needs help (based on a quick and informal assessment), THEN we provide a suggestion for reteaching.

Grouping IconsFlexible grouping is an effective way to provide instruction to a diverse classroom. These symbols suggest grouping options.

Enrichment NotesEnrichment notes provide cultural and historical information that helps students build a more sophisticated understanding of the literature.

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Grade 9




Enrichment ProjectsThe Needs of Advanced LearnersAll teachers know that their students bring different interests and ability levels to the classroom. They have different motivations and needs. In some classrooms, however, every student is asked to do the same tasks at the same pace. For advanced learners who are capable of undertaking more sophisticated projects and are perhaps insufficiently challenged by both the content and pacing of average classroom work, this situation can be very frustrating. Inquiry-based enrichment projects can help address the needs of advanced learners.

What Is Inquiry-Based Learning?Inquiry is the problem-oriented, research-based exploration of basic questions that drive and organize disciplines. Through inquiry, students learn essential concepts and strategies for applying those concepts in the real world. They engage the same problems and questions that real practitioners of a given discipline engage, and therefore learn to think, read, and write like experts in that area. Inquiry-based instruction is central to Glencoe Literature: California Treasures. This approach gives students significant reasons or purposes for reading. In Glencoe Literature, reading, writing, and language activities are organized around Big Ideas, designed to make learning matter to students in immediate ways. When students practice a skill or create a writing product, they are also learning to ask and think through important real-life issues. These same Big Ideas are addressed by the inquiry-based projects for advanced learners that follow.

Using the ProjectsEach of the six projects described in the following pages relates to one of the units in Glencoe Literature: California Treasures—Course 4. Each project offers the following:

• • a focus on the unit’s Big Ideas

• • connections to the unit’s literature

• • a schedule to guide a student’s work

• • criteria for self-assessment

• • two options for developing the project

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What projects are available for my advanced learners?

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Project Development OptionsEach project offers the student two different options for developing and presenting the results of his or her inquiry. These options include:

• • print (such as narrative, poem, or essay)

• • oral (such as speech or discussion)

• • performance (such as drama or music)

• • visual (such as drawing or collage)

• • digital (such as computer-based or multimedia presentations)

• • functional (such as a handbook or survey)

Big Ideas Project Option 1 Option 2U N I T O N E

The Short Story

Matters of Life and DeathRewards and SacrificesDreams and Reality

Reflection visual print

U N I T T W O

NonfictionLooking into LivesOn the MoveFinding Common Ground

Quotations Collection

oral digital

U N I T T H R E E

PoetryNature InspiresLife LessonsThe Strength of Family

Author Study print oral

U N I T F O U R

DramaThe Power of LoveAwkward Encounters

Advice Column performance visual

U N I T F I V E

Epic and Myth

JourneysCourage and Cleverness

Proposal for a Monument

functional performance

U N I T S I X

Genre Fiction

Our World and Beyond Reader’s Guide digital functional

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UNIVERSAL ACCESSCACA Reflection

The Short StoryBig Idea 1 Big Idea 2 Big Idea 3

Matters of Life and Death Rewards and Sacrifices Dreams and Reality

U N I T O N EU N I T O N E

ProjectDevelop a personal reflection that reveals an insight about one of the three Big Ideas. Present your reflection in visual or print form.

ScheduleConnect and Explore (Weeks 1–2)

• Read literary works in Unit One. • Focus on the Big Ideas.• Explore and develop ideas about

your reflection.• Conduct inquiry.

Develop Your Project (Weeks 3–4)

• Develop your ideas into a personal reflection.

• Choose a print or visual project to express your reflection.

• Design your project and create a draft or sketch.

Revise and Present (Weeks 5–6)

• Revise your reflection.• Refine your project.• Present your project.

CriteriaYour project should

• relate to one of the three Big Ideas• show an understanding of the literature in Unit One • present an experience that reveals an insight

• show evidence of inquiry• show a thoughtful choice of an appropriate project to

express your reflection• show creativity and attention to detail


Connect and ExploreConnect to the Literature As you read the short stories in Unit One, explore your own thoughts on the three Big Ideas. Use the texts as springboards to explore questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:

• Why do dangerous experiences attract people? • Why do dangerous experiences attract people? • What is the relationship between love and sacrifice?• What is the relationship between love and sacrifice?• How do family members strengthen one another?• How do family members strengthen one another?• What would I risk to make my dreams a reality?• What would I risk to make my dreams a reality?

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Conduct Inquiry There are many ways in which you can develop ideas for your personal reflection. Here are a few:

• • If you keep a journal, you might review it for entries recording your responses to experiences you saw as risks.

• • Look at videos or photograph albums of your family and friends. Think about different ways in which family life involves sacrifices and rewards.

• • Create a graphic organizer. For example, you might create a simple chart to describe a conflict you have experienced between dreams and reality. Here is one student’s chart:

DreamsDreams• I’ve enjoyed drawing • I’ve enjoyed drawing

since I was very young.since I was very young.• I have dreamed of • I have dreamed of

having a career as an having a career as an artist. artist.

RealityReality• I don’t know if my • I don’t know if my

work will ever make it work will ever make it into a museum. into a museum.

• I should develop my • I should develop my talents toward a talents toward a practical career such practical career such as graphic design.as graphic design.

Connect to the Big Ideas Evaluate how your ideas relate to the Big Ideas. Then choose one of the three Big Ideas to focus on. Here are examples of some possible links:

• • Matters of Life and Death A reflection using “The Most Dangerous Game” as a starting point might present a personal experience that revealed the attraction of taking risks.

• • Rewards and Sacrifices A reflection based on “The Gift of the Magi” might present a personal experience showing how giving something away can also be enriching.

• • Dreams and Reality A reflection stemming from “The Secret Life of Walter Mitty” might present a personal experience about the conflicts that arise between our dreams and reality.

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Develop Your ProjectDevelop Your Ideas As you gather ideas, discuss them with your family and friends. Their perspectives can help enrich your understanding of your experiences and sharpen your focus on an appropriate project to express your personal reflection. Use your own thoughts, as well as these conversations, to choose one idea as a subject for your personal reflection. Describe in a paragraph the experience you are going to focus on. Presenting the basic details of your experience will help you develop a solid focus for your project and find your style or voice. Next, explore the insight you gained from your experience. How did you feel about your experience at the time? In looking back, how do you feel about the experience now? What have you learned from your experience?

Choose a Medium As you develop your reflection, think about whether you want to express it in print or visual form. In making this decision, ask yourself the following questions:

• • What medium do you most enjoy? What talents do you have? For example, if you enjoy writing poetry, you might want to express your reflection in the form of a narrative poem. Or you might create your own short story using the lessons that the unit has taught you about this genre.

• • What medium expresses your reflection best? For example, imagine that your reflection relates to your desire to be a comic artist. In that case, you might want to express your reflection in the form of a comic strip or comic book. Think how else you could visually reflect one of the Big Ideas. Notice that all three involve pairs of related concepts : life and death, rewards and sacrifices, dreams and reality. Perhaps your visual project could represent these concepts set alongside or opposite one another to inspire comparison.

• • What medium suits your audience best? Suppose your reflection is an examination of the rewards and sacrifices of family life. You might want your audience to be the very people you are reflecting on. In this case, a print project, such as a reflective essay that you could share with your family via e-mail, might be a good choice.

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Revise and PresentRevise Your Reflection At this point, you have roughed out a project to express your reflection. In this final stage, you should refine the ideas of your reflection and polish your project.

• • Check your organization If you are presenting a narrative of an experience, make sure that you have presented the events in a clear chronological order. This will enable your audience to follow your narrative easily and get the most out of your reflection.

• • Check your conclusion You want your reflection to conclude with an insight to share with your audience about one of the Big Ideas. Review what you feel you gained from your experience. For example, what have you learned about the attraction of risk-taking? Or the rewards of sacrifice? Or the conflict between dreams and reality?

Refine Your Project Work with a partner to revise your project. If you are writing an essay, share your rough draft. If you are creating a visual piece, have your partner review your images. In each case, ask your partner to give you feedback on the following:

• • What insight about one of the Big Ideas does your project offer?

• • How does your project show an effective choice of medium to express your reflection?

• • How does your project show an effective choice of medium for its intended audience?

Polish and Present Your Project Use the feedback provided by your partner to guide you in polishing and presenting your project. Depending on the nature of your project, choose an appropriate means for presenting it. For example, if your project is a narrative poem, you might submit it to a literary magazine. If your project is a comic strip, you might reproduce it and give copies to your family and friends.

Look Back After completing your project, think about what it means. What did you learn about the experience that was the subject of your reflection? How did looking at what you read in light of your own experience enrich your understanding of the literature in Unit One? You might want to write a summary or journal entry about what you’ve learned.

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UNIVERSAL ACCESSCACA Quotations Collection

NonfictionBig Idea 1 Big Idea 2 Big Idea 3

Looking into Lives On the Move Finding Common Ground

U N I T T W OU N I T T W O

ProjectResearch a collection of quotations relating to one of the Big Ideas. Present your collection in an oral or a digital form.


• Read literary works in Unit Two. • Explore and develop questions

about the Big Ideas.• Conduct inquiry and research.


• Organize your ideas. • Choose an oral or digital medium

to present your collection. • Design your project and create a

draft or plan.


• Revise your collection.• Refine your project. • Present your project.


• relate to one of the three Big Ideas• show an understanding of the literature in Unit Two • present a variety of opinions and perspectives

• show evidence of inquiry and research• show a thoughtful choice of medium• show creativity and attention to detail


Connect and ExploreConnect to the Literature As you read the literary works in Unit Two, explore your thoughts on the three Big Ideas. Use the texts as starting points to pursue questions that spark your interest and help you focus on the Big Ideas. Record these questions as they occur to you. For example:

• What kinds of nonfiction do I most enjoy reading? • What kinds of nonfiction do I most enjoy reading? • What are the challenges of writing nonfiction? • What are the challenges of writing nonfiction? • How do the writers of biography and autobiography decide what to • How do the writers of biography and autobiography decide what to

include and what not to include about a person’s life? include and what not to include about a person’s life? • If nonfiction is “truth in writing,” how can different pieces of nonfiction • If nonfiction is “truth in writing,” how can different pieces of nonfiction

express opposing opinions on the same topic? express opposing opinions on the same topic?

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Explore and Connect to the Big Ideas The collection of quotations that you compile will focus on one of the three Big Ideas. Read through Unit Two with a quotations collection in mind. Here are a few examples of ways to begin:

• • Looking Into Lives In Part 1, the texts you read were either biographical or autobiographical. While “Of Dry Goods and Black Bow Ties” focuses on the rise and downfall of Mr. Shimada, it also tells a more general story about what it means to be a newcomer to the United States, and about how to maintain integrity at all costs. Try to find quotes within the essay that relate to these concepts (or any other themes that you identify).

• • On the Move The authors in Part 2 extract meaning from the world around them, either by relating experiences of travel or by describing a place they find significant. These authors use writing to transport readers to a certain landscape or situation. In the excerpt from All God’s Children Need Traveling Shoes, what quotes or phrases make you feel as if you can see the sights that Maya Angelou describes, or understand how she feels about Ghana?

• • Finding Common Ground Part 3 focuses on persuasive speaking and writing. Think about what qualities make the Gettysburg Address so compelling. Which lines from this address are still frequently quoted today? Do you think the messages of the Gettysburg Address apply only to people who lived during Lincoln’s time?

Narrow Your Focus Your quotation collection will be based on other people’s words and centered on one of the Big Ideas. However, you need to work within the parameters of the Big Idea you choose to find your own concept or thesis. If a line from Richard Wright’s autobiographical piece inspired you, your collection of quotations might be based upon his life or experience. Find quotes from a variety of sources about pursuing one’s passions. Or, if you are working with the Big Idea “On the Move,” the excerpt from Jon Krakauer’s Into Thin Air might inspire your quotation collection. Find quotes that explore perspectives about Mount Everest or any other adventurous locale. For “Finding Common Ground,” you may choose to research political speeches from times of crisis, starting with the Gettysburg Address.

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Develop Your ProjectResearch Your Collection To research your project, you might start by browsing other quotation collections. What makes the quotations in these collections memorable or significant? Reflect upon the qualities that make a phrase or a passage “quotable.” Does the quote embody the speaker? Does it concisely express an opinion or viewpoint? Does it convey a mood or help you visualize a place or period? If none of these questions apply, why do you think the quote remains memorable? Once you have selected a focus for your collection, find quotes by researching and reading materials that apply to your topic. In books, use the index to guide your research. Identify quotations within these texts that might align with your collection. It will help your project to read a wide range of sources, or if you are using quotes from a single writer, to read broadly within his or her body of work. Be open to the idea that the focus of your project might shift as you read and learn more about your topic. It is important to keep your quotations in context, so keep track of the dates and sources of any notes you take.

Choose a Medium As you develop your quotation collection, think about whether you want to present it in an oral or a digital form. Ask yourself the following questions:

• • What medium do I most enjoy? What talents do I have? If you enjoy speaking in front of an audience, an oral presentation may be best. Think of creative ways to present your collection orally. You might use the quotes in your collection to create a dialogue between two opposing viewpoints, or to jumpstart a class discussion or debate. You could also present your quotes in a game-show format, in which your classmates help identify the quotes in your collection.

• • What medium expresses my collection best? For example, if the topic for your collection has compelling visuals (such as Mount Everest), making a slide show presentation with photos alongside quotations may be effective.

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Revise and PresentRevise Your Reflection At this point, you have selected the majority of the quotes to include in your project and come up with a plan for organizing and presenting your collection. In this final stage, you should refine and polish your project.

• • Check for accuracy Go back to your sources and make sure you have transcribed quotations word for word. You should know the date and general context of each quote in your collection.

• • Check your organization Be sure that your collection is organized in a way that makes sense; the audience should not wonder why you chose a certain quote, or how the quotations fit together as a whole. If you are tracking an author’s viewpoints over time, chronological order may be best. If you are focusing on the Big Idea “Finding Common Ground,” you may group together quotes that express similar opinions. Checking your organization will also help identify quotations that do not fit in your collection.

• • Check your presentation Whether you are presenting your collection in oral or digital form, practice your presentation until it feels natural. Consider ways to add excitement or interest. If you were in the audience, how would you like to see the information presented?

Refine Your Project Work with a partner to revise your project. Practice your oral or digital presentation with your partner, and ask him or her to give you feedback on the following questions:


• • Is your collection organized in an effective way?

• • Are the quotations in your collection understandable and relevant to your topic? Do they come from a variety of sources?

Look Back After completing your project, think about your project as a whole. What parts of your presentation were you proud of, and what might have gone better? How did compiling a quotation collection change the way you read nonfiction? You might want to write a summary or journal entry about what you’ve learned.

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UNIVERSAL ACCESSCACA Author Study

PoetryBig Idea 1 Big Idea 2 Big Idea 3

Nature Inspires Life Lessons The Strength of Family

U N I T T H R E EU N I T T H R E E

ProjectComplete an author study on a writer from Unit Three, focusing on his or her response to one of the Big Ideas. Present your author study in a print or an oral form.


• Read literary works in Unit Three. • Focus on the Big Ideas.• Explore and develop ideas for

your author study.• Conduct inquiry.


• Develop and organize your author study.

• Choose a print or oral project to present your author study.

• Design your project and create a draft.


• Revise your author study.• Refine your project. • Present your project.


• relate to one of the three Big Ideas• show an understanding of the literature in Unit Three• show evidence of inquiry

• show a thoughtful choice of a project to express your study

• show creativity and attention to detail


Connect and ExploreConnect to the Literature As you read the literary works in Unit Three, focus on how they illustrate the three Big Ideas. The texts may stimulate other questions that help you focus on the Big Ideas. Record these questions as they occur to you. For example:

• How does nature inspire me? • How does nature inspire me? • What are some important life lessons I have learned?• What are some important life lessons I have learned?• What role have my family or friends played in shaping who I am?• What role have my family or friends played in shaping who I am?• How do I influence my family or friends?• How do I influence my family or friends?

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Conduct Inquiry Select one of the Big Ideas that especially interests you. Then choose an author from the unit whose work relates to this Big Idea. Here are several ways to gather information about your author:

• • Use library resources to locate other books or poems by your author.

• • Do an Internet search on your author. Many authors have their own Web sites with personal comments that may give you insight into their writing.

• • Research commentaries or critical analyses that others have written about your author.

Create a graphic organizer to take notes on your author. Here is one example of how to organize your research.

Author’s Name:Author’s Name:Big Idea: Big Idea:

Author’s Life/ Author’s Life/ BackgroundBackground Author’s WorkAuthor’s Work Author’s response to Author’s response to

the Big Ideathe Big IdeaWorks by the authorWorks by the author Favorite themesFavorite themes

Specific examplesSpecific examplesLiterary devices usedLiterary devices used

Connect to the Big Ideas How do your author’s works address the Big Ideas? Here are examples of some possible links:

• • Nature Inspires In Part 1, the texts reflect how the authors were influenced by nature. In “I Wandered Lonely as a Cloud” and “A Noiseless Patient Spider,” the authors use metaphor and simile to compare something in nature with their own lives. Your author study might explore how your author uses these methods in other works.

• • Life Lessons Many of the poems in Part 2 offer insight into what an author considers important in life. In “Defining the Grateful Gesture,” the mother teaches her children to be grateful for what they have. Your author study might analyze how a writer defines his or her values.

• • The Strength of Family The literary works in Part 3 focus on interactions within families. The father in “Grape Sherbet” creates a pleasant memory that his children carry for years. Your author study might focus on how memories of family life inspire the work of a writer.

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Develop Your ProjectDevelop Your Ideas After researching a writer, use your graphic organizer to develop ideas for your author study. You may wish to focus on questions such as the following:

• • Where does the author get his or her ideas and inspiration?

• • How are the author’s ideas related to the author’s life experiences?

• • What literary devices does the author use that convey the Big Idea?

• • Which of the author’s works makes the strongest statement about the Big Idea?

• • What specific lines in the author’s work can I use to relate the work to the Big Idea?

Write a thesis statement for your author study. Then create an outline and rough draft for your project.

Choose a Format As you develop your author study, think about whether you want to express it in print or oral form. Ideas for a print project might include a poem, an essay, or a magazine article. For oral projects, consider a speech or a dramatic reading of several works of the author followed by discussion. In choosing a format, ask yourself the following questions:

• • Which format best expresses my interests and talents? For example, if you enjoy narrative writing, you might present your author study as a narrative sketch linking something from the author’s life to the Big Idea.

• • Which format is best suited to the project’s purpose? If your purpose is to show how the author’s works express emotion about the Big Idea, a dramatic oral reading of several works might be the best choice.

• • Which format suits your audience best? A print project might be best if you wish to share your work with a wider audience. Oral projects are generally aimed at a smaller audience in a single presentation.

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Revise and PresentRefine Your Project You have a draft of your author study and have chosen a format. If you are doing a print project, write a complete draft. Share it with a partner and revise your draft based on your partner’s feedback. Decide on a layout. Work with fonts, colors, and visuals to make your print project look as appealing as possible. If you are sharing your project orally, practice until you can present it smoothly and effectively. Taping and listening to your own voice is a great way to understand what your audience will experience. If you plan to include a discussion, make a list of the questions you will ask your audience.

Review Your Project As a final step before presentation, review the overall project in an objective manner. Your purpose is to be sure you have met all your goals. Ask yourself the following questions.

• • Does my project have a clear and easily understood theme?

• • Have I demonstrated an understanding of one of the Big Ideas?

• • Have I shown evidence of inquiry into the author’s life and works?

• • Have I shown how the author’s work reflects the Big Idea?

• • Have I included enough specific examples of the author’s work to make my point?

• • Is my project presented in a creative and thoughtful way? Reflect on what you have learned with these questions. Make whatever final changes you need to make the presentation as strong as possible.

Present Your Project If you are doing a print project, distribute it to your chosen audience. You may wish to share your project with family members. You can e-mail your project to friends. If you are doing an oral presentation, use facial expressions, gestures, and voice to effectively express your ideas. Interacting with your audience through discussion is another important part of an oral presentation.

Look Back After completing your project, think about what you have learned. How does a deeper understanding of an author help you appreciate his or her work? How might you use this type of connection to deepen your understanding of other literature? You might want to write a summary or journal entry about what you’ve learned.

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UNIVERSAL ACCESSCACA Advice Column

DramaBig Idea 1 Big Idea 2

The Power of Love Awkward Encounters

U N I T F O U RU N I T F O U R

ProjectCreate an exchange of letters to and from an advice columnist. Present your exchange as a performance or in a visual form.


• Read literary works in Unit Four. • Focus on the Big Ideas.• Explore and develop ideas for

your advice column exchange.• Conduct inquiry and research.


• Select a Big Idea for your letters.• Write a draft of your letters.• Choose a performance or visual

format to present your project.• Adapt your letters to your chosen

format.


• Revise and polish your letters.• Refine your presentation.• Present your project.


• focus on one of the Big Ideas• show an understanding of the literature in Unit Four • show insight into one of the Big Ideas

• express your ideas in an appropriate format• present your project in a creative and thoughtful way


Connect and ExploreConnect to the Literature As you read the literary works in Unit Four, keep the Big Ideas in mind. Use the texts as starting points to explore other questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:

• How might bad feelings between families affect my friendships? • How might bad feelings between families affect my friendships? • How have choices I’ve made affected my family or friends? • How have choices I’ve made affected my family or friends? • How has poor communication led to personal problems in my life?• How has poor communication led to personal problems in my life?• What kind of awkward encounters have I experienced?• What kind of awkward encounters have I experienced?• When have my first impressions of someone been proven wrong?• When have my first impressions of someone been proven wrong?

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Explore Ideas You have begun to explore some ideas that you can use for your project by relating the texts in Unit Four to your own life. Continue the process by reviewing these questions as possible raw material for an exchange of letters to and from an advice columnist. Take notes recording your thinking process. Here are one student’s notes:

• One of my most awkward encounters also led to a very false first • One of my most awkward encounters also led to a very false first impression.impression.

• What advice would I offer to someone going through an experience such • What advice would I offer to someone going through an experience such as this? as this?

Connect to the Big Ideas Think about problems related to the Big Ideas in Unit Four. For which type of problem might you seek advice from someone else? Here are examples of some possible connections:

• • The Power of Love In Part 1, The Tragedy of Romeo and Juliet focuses on the conflict between young love and the demands of family. What similar issues might you ask about?

• • Awkward Encounters The literary works in Part 2 focus on encounters with others that may have unintended consequences. For example, in “The Bear,” insults and name-calling produce attraction. To connect with this theme, your letters might involve a misunderstanding or uncomfortable interaction between you and others.

Outline Your Ideas Questions and answers in an advice column involve problems and solutions. Use a graphic organizer to help you work out your ideas. Here is one student’s graphic organizer:

Problem: I made a stupid remark the first day of class and my teacher now thinks I’m rude Problem: I made a stupid remark the first day of class and my teacher now thinks I’m rude and not interested in school. and not interested in school.

Question: How can I change my teacher’s opinion of me?Question: How can I change my teacher’s opinion of me?

Solution 1: In private, tell the teacher Solution 1: In private, tell the teacher that you realize your actions were wrong. that you realize your actions were wrong.

Tell the teacher you are sorry.Tell the teacher you are sorry.

Solution 2: Show your true self through Solution 2: Show your true self through your ongoing behavior as you interact your ongoing behavior as you interact

with the teacher.with the teacher.

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Develop Your ProjectDevelop Your Ideas For this project, you will create an exchange of letters with an imagined advice columnist. Use the ideas in your graphic organizer to outline possibilities for what questions you will ask and how your imagined advice columnist will respond to them. Follow these steps when you write your letters:Write a letter that asks a question. In your letter, briefly and clearly state the problem and then ask a question. Be sure your problem and question relate in some way to the Big Idea.Write a letter that responds to the question. The response should include a number of options, such as various actions you might take or other people you might ask for advice. The response might also suggest that you think about the problem in a different way.When you are satisfied with your letter outlines, write a rough draft of each letter. Create a distinct character for each letter writer. In other words, the language and style of the letter asking for advice should differ clearly from the language and style of the response letter offering advice.

Choose a Format You may present your project as a performance or in visual form. Here are some possibilities:

• • Performance You might ask several friends to join you in a skit. For example, you might read each letter aloud as others act out the problem you are describing and the advice the columnist provides. Another option is a monologue in which you read each letter in a different tone of voice.

• • Visual You might place your letters in the middle of a poster. Surround the letters with a collage of related drawings, pictures, and photographs. You could draw a series of cartoon panels that describe the problem, the question, and the response from the advice columnist. Or draw a picture that could be used to illustrate the letters.

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Revise and PresentRevise Your Project Begin your revision by analyzing each letter. Ask yourself the following questions:

• • How effectively have I addressed the Big Idea?

• • Do I provide enough background for the reader to understand my problem?

• • Do the letters sound as if different people wrote them?

• • Does the columnist’s letter offer several answers to the question or solutions to the problem?

• • Are the columnist’s suggestions practical and satisfying?

Polish Your Project As a final step, edit and proofread each letter. Then focus on making the presentation itself as effective and creative as possible.

• • Performance If you are doing a performance, practice the entire performance several times until everyone is familiar with his or her role. Include any props or costumes in your practice.

• • Visual If you are doing a visual presentation, invite comments on your visual from several friends or family members. Ask for feedback on clarity, interest, creativity, and execution of the project. Use the comments to improve and perfect your project.

Share Your Project Decide how to share your project with your audience. For a performance, you might present the performance to the class. Several students’ performances might be presented at a school assembly. Visual projects might be placed on a bulletin board designed around the theme of “Advice.” Or you might join with others to prepare a visual display around each of the Big Ideas. After all the class projects have been presented, you may wish to hold a class discussion comparing and contrasting the way different class members addressed the Big Ideas.

Look Back After completing your project, look back on the process. Was your audience convinced by your performance or your visuals? How did it feel to be on both sides of a question and response exchange? Think about how this project may have changed the way you will ask for advice, or give it, in the future. You might want to write a summary or a journal entry about what you learned.

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UNIVERSAL ACCESSCACA Proposal for a Monument

Epic and MythBig Idea 1 Big Idea 2

Journeys Courage and Cleverness

U N I T F I V EU N I T F I V E

ProjectDevelop a proposal for a monument dedicated to a character from one of the literary works in the unit. Use one of the two Big Ideas as a foundation for your concept. Present your proposal in a functional document or as a performance.


• Read literary works in Unit Five. • Focus on the Big Ideas.• Explore and develop ideas for a

monument.• Conduct inquiry and research.


• Create a proposal for a monument.

• Decide whether to present your ideas in a functional document or a performance.

• Design your project and create a draft or detailed plan.


• Revise your proposal.• Refine your project. • Present your project.


• relate to one of the two Big Ideas• show an understanding of the literary works in

Unit Five • honor a character from the unit in an insightful way

• show evidence of inquiry• show a thoughtful choice of an appropriate format for

expressing your ideas• show creativity and attention to detail


Connect and ExploreConnect to the Literature As you read the examples of epic and myth in Unit Five, explore your own thoughts on the two Big Ideas. Use the texts as starting points to explore other questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:

• What journeys have I taken, and what have I learned from them? • What journeys have I taken, and what have I learned from them? • How is going on a journey like reading a good story? • How is going on a journey like reading a good story? • Is it better to be courageous or clever? Why? • Is it better to be courageous or clever? Why? • When have I been courageous in life? When have I been clever? • When have I been courageous in life? When have I been clever?

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Universal Access 81

Explore and Develop Ideas A monument celebrates an extraordinary person or event. Conduct research to investigate famous monuments. Remember that a monument can be visual, but can also take other forms, such as a piece of music. Make a chart like the one below, listing monuments that seem effective to you and explaining why. What elements of these monuments could you use or adapt in your project?

Monument Monument In Honor OfIn Honor Of Why It WorksWhy It Works

Vietnam Veterans Vietnam Veterans Memorial, Memorial, Washington, DCWashington, DC

Soldiers killed in Soldiers killed in Vietnam or missing Vietnam or missing in actionin action

Lists each veteran by name; wall Lists each veteran by name; wall made of shiny black stone reflects made of shiny black stone reflects visitors’ facesvisitors’ faces

Lincoln PortraitLincoln Portrait by Aaron Coplandby Aaron Copland Abraham LincolnAbraham Lincoln Combines Copland’s moving music and Combines Copland’s moving music and

Lincoln’s powerful wordsLincoln’s powerful words

Connect to the Big Ideas Keep the Big Ideas in mind as you plan your project. For whichever character you choose or however you choose to honor that character, you will want to incorporate the idea of a journey, courage, or cleverness into your monument. For example:

• • Journeys In Part 1, you read about Odysseus’s long, obstacle-filled journey home after his victory in the Trojan War. A monument celebrating Odysseus (whether in digital form or as a performance) might include a map of his travels.

• • Courage and Cleverness The literary works in Part 2 focus on heroes and heroines who achieve success by being brave or clever (or both). For your project, you might choose to create a monument to Tyr, whose courage made it possible to bring the Fenris Wolf under control.

Do not feel that you must choose a “good” character as the subject of your monument. For instance, you might choose to imagine that you are a goblin who has been hired to create a monument to the Great Goblin featured in the excerpt from J. R. R. Tolkien’s The Hobbit, or you might take on the character of one of Loki’s followers and create a monument to his son, the Fenris Wolf.

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Develop Your ProjectDevelop Your Ideas After choosing a character to focus on, begin considering what your monument will look like. You may wish to discuss your ideas with a partner who can give you feedback. Below are some of the questions you might ask as you begin to give form to your thoughts:

• • Will I focus on one or two specific deeds or events, or create a monument to this person’s entire career?

• • What will my monument be—a building, a statue, a multimedia artwork, or some other concept?

• • What materials will I use for my monument?

• • What symbols might I use in my monument?

• • What inscriptions will I put on my monument to explain it to the people who come to see it in the future?

Choose a Medium As you develop your monument design, think about whether you want to present your ideas in a functional document or as a performance. In making this decision, ask yourself several questions:

• • What medium do I most enjoy? What are my talents? For example, if you like the idea of drawing detailed pictures of your monument and making plans for it on paper, you might want to create a functional document that will allow you to show a number of pictures and explain the various aspects of your design.

• • What medium expresses my ideas best? You might take a modern approach to the idea of a monument and choose to make a multimedia art installation that includes a re-creation on film of your hero in action. If so, the performance format will allow you to have a small cast of characters act out this re-creation. If, as suggested above, you choose to imagine yourself as a goblin designer commissioned to create a monument to the Great Goblin, you might also choose the performance format, so that you can present your proposal in character.

• • How do I want to present the visual elements of my plan? No matter what format you choose, presenting your ideas effectively will probably require you to use at least a few pictures. You might, for example, make posters or photocopied handouts, create a slideshow, build a model, or use an overhead projector to show sketches of your ideas.

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Universal Access 83

Revise and PresentRevise Your Reflection At this point, you have roughed out a proposal to express your ideas for a monument. In this final stage, you should refine your proposal and polish your project.

• • Check for accuracy Double-check the details of your monument against any relevant details you found within the text or in outside research. For example, if your monument involves a representation of your hero, it should match the physical details given in the reading (or your research).

• • Check your organization Your presentation will involve a certain amount of description. You should clearly explain who is being honored by your monument and why. Then you should tell what the monument looks like, what it is made of, and the site where it stands. You might organize some of your details spatially—that is, in the order you would use if you were describing a physical object from top to bottom or from left to right.

Refine Your Project Work with a partner to revise your project. If you are creating a functional document, share your rough draft. If you are creating a performance, have your partner watch a rehearsal. In each case, ask your partner to give you feedback on the following questions:


• • How does your project show links to the literature in Unit Five?

• • How does your project celebrate qualities of heroism?

Look Back After completing your project, think about what you learned during the creative process. It might be interesting to talk to other classmates who designed monuments. Compare your work to other projects that honor the same heroes. Compare it with projects that use a similar kind of monument structure. Do your classmates’ visions give you ideas about how you might refine your own plans if you were to continue working on them? What insights did your project give you about the Big Ideas? How did it enrich your understanding of the literature in Unit Five?

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UNIVERSAL ACCESSCACA Reader’s Guide

Genre FictionBig Idea

Our World and Beyond

U N I T S I XU N I T S I X

ProjectDevelop a reader’s guide to a type of genre fiction (such as science fiction, fantasy, or mystery) or a subgenre (such as time travel). Develop your guide as a digital presentation or as a functional document.


• Read literary works in Unit Six. • Focus on the Big Idea.• Explore the elements of reader’s

guides.• Conduct inquiry for your guide,

focusing on one literary genre.


• Develop your ideas into a reader’s guide.

• Choose how to present your project.

• Design your project and devise a detailed plan or a draft.


• Revise your reader’s guide.• Refine your project. • Present your project.


• relate to the Big Idea or introduce another unifying idea

• show an understanding of the literature in Unit Six • provide insights about a literary genre

• show evidence of inquiry• show a thoughtful choice of an appropriate format to

express your ideas• show creativity and attention to detail


Connect and ExploreConnect to the Literature As you read the literature in Unit Six, explore your thoughts on the Big Idea. Use the literary works as starting points to consider other questions that spark your interest and help you focus on the Big Idea. Record these questions as they occur to you. For example:

• Why do science fiction and fantasy appeal to many readers?• Why do science fiction and fantasy appeal to many readers?• What is one of my favorite science fiction or fantasy stories? • What is one of my favorite science fiction or fantasy stories? • Why is the detective such a popular character in literature?• Why is the detective such a popular character in literature?• Who is my favorite detective character? • Who is my favorite detective character?

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Universal Access 85

Explore and Develop Ideas A reader’s guide is a handbook that provides various kinds of information about an area of literature. Your reader’s guide should provide an overview of the genre (or subgenre) you choose, offer helpful pointers for readers, and suggest further reading. Choose a type of fiction that you enjoy and want to help others enjoy too. To help you get started, brainstorm answers to the following questions:

• • Why do I like this genre?

• • How did I get interested in it in the first place?

• • What are the main characteristics of this genre?

• • What are the best stories or books I’ve read so far in this genre?

Conduct Research and Inquiry Supplement your ideas with additional research using library resources (which will often be non-circulating reference books) and reliable Internet sites. Review the features available in both print and online guides and decide which ones you want to offer in your own genre guide. Provide a brief overview. How old is this genre and what is its history? Is there an author who is considered the “originator” of the genre? Find out what books are considered the classics of this genre. You might offer a “Top 10” list of classics supplemented with your own must-read favorites. Talk to friends and family members about the genre. What are their favorite stories and books? If someone dislikes the genre, what are his or her reasons? You might respond by offering a list of stories or books for those who don’t like the genre.

Connect to the Big Idea As you work on your guide, consider how the Big Idea helps you connect your thoughts. For example:

• • If you enjoyed “The Sentinel,” you might write a reader’s guide to the subcategory of science fiction that deals with travels to the moon.

• • If you enjoyed “The Red-Headed League,” you might choose to focus your guide on Sherlock Holmes.

If you have selected a type of genre fiction outside those covered in the unit—such as historical novels, Westerns, or romances—you might find that the Big Idea doesn’t fit your focus. What other unifying idea would fit the type of genre fiction you have chosen?

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Develop Your ProjectDevelop Your Ideas After reviewing your ideas and research, begin bringing them together into a guide. It may be helpful to work with a partner—you might try to find someone who doesn’t have much experience with the genre. Describe your ideas to your partner and discuss his or her reactions. Are you making yourself clear when you describe the characteristics of the genre? How successful are you at inspiring your partner to read one of your recommended stories?

Choose a Medium As you develop your reader’s guide, think about whether you want to express it as a presentation using technology or in a functional document. In making this decision, ask yourself several questions:

• • What medium do you most enjoy? If you enjoy working with computers or other technology, you might prefer to create a technological presentation. This format is ideal if you have assembled clips from films, sound effects, and lots of pictures for your guide.

• • What medium best expresses your work? If you envision your reader’s guide as being similar to a tourist’s guidebook, you may prefer to create a functional document in the form of a pamphlet. This format will work well if you wish to include maps (perhaps of fictional lands) or a moderate number of illustrations (perhaps of fantastical creatures that might show up in the stories) in addition to text. If you choose to focus on science fiction, a digital presentation may be an appropriate medium for describing the technology found within the genre.

• • What medium suits your audience best? Both formats have different advantages for audiences. A reader’s guide presented as a pamphlet is portable; your readers can refer to it on their own time and carry it with them to the library or bookstore if they decide to investigate some of your reading recommendations. As a one-time performance, your technology presentation with sound and pictures can draw an audience in and hold their attention. It may make a more vivid first impression on some people.

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Universal Access 87

Revise and PresentRevise Your Guide At this point, you have created a rough draft of your reader’s guide. In this final stage, you should refine your guide and polish your project.

• • Check your organization Is your guide easy to follow? Are its various features (such as a genre overview or list of classics) clearly labeled?

• • Check your conclusion Ideally, your guide will end with the strongest argument in favor of the genre. In trying to decide what this is, think about your biggest reason for liking these stories. Have they helped you look at life in a different way? Have they provided escape in times of trouble?

Refine Your Project Work with a partner to revise your project. If you are writing a functional document, share your rough draft. If you are creating a technological presentation, have your partner watch you rehearse it. In each case, ask your partner to give you feedback on the following questions:

• • What insight about the Big Idea (or a unifying idea related to another type of genre fiction) do you offer?

• • How does your project persuade the audience to give the genre a try?

Polish and Present Your Project Use the feedback provided by your partner to guide you in polishing and presenting your project. Choose an appropriate means for presenting it. For example, if your project is a technological presentation, consider inviting interested students to come hear it and then form a book group. If you create a pamphlet as your functional document, you could talk to the school librarian about making it available in the library.

Look Back After completing your project, think about how you can continue to use your new knowledge. Have you read all the classics of the genre yet? Did you find other interesting book titles to add to your reading list? What other genres might you be interested in exploring? You might also want to discuss with other students what you learned about the genre.

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Assessment 89

AssessmentAssessment in Glencoe Literature: California Treasures appears withevery selection and unit in the Student Edition and is supplemented byan array of strong resources, such as California Standards Practice and California Writing Resources. In addition, Glencoe offers an ACT/SATTest Preparation workbook.

This section reviews the assessment strand in Glencoe Literature and is organized into these parts:

•• Assessment in the Student Edition

•• California Standards Practice

•• Reteaching the Standards

•• California Writing Resources

•• Assessment Technology

•• Writing Workshop Rubrics

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Grade 9

This helpful workbook provides Six progress-monitoring tests, including semester tests

Reteaching lessons for the California Content Standards

California Standards Practice

Aligned with California Content Standards

A9C4_CA_Anc_CAStdPract_SE_CV_RD11 1 3/20/08 11:15:35 AMHow is assessment woven into the Glencoe Literature program?

089-105_G9_assess_CA.indd 89089-105_G9_assess_CA.indd 89 6/4/08 6:14:59 PM6/4/08 6:14:59 PM


Assessment in the Student EditionSelection AssessmentAssessment in Glencoe Literature: California Treasures begins with the After You Read pages following each selection. There you’ll fi nd questions and activities that assess students’ understanding not only of their reading of the literature but also of key skills and strategies. After You Read pages include these sections:

Respond and Think Critically These questions, following each literary selection, guide students’ comprehension and assess their understanding. One question specifi cally about the Big Idea probes students’ inquiry of the larger unit theme.

Vocabulary Practice and Academic Vocabulary This section assesses students’ understanding of selection vocabulary. In addition, an Academic Vocabulary feature offers practice with words found in academic speakingand writing.

Literary Element and Review These questions probe students’ understanding of the literary element taught in the selection. A Review feature assesses student understanding of a literary element covered in a previous selection.

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Grade 9

ASSESSMENTCACA

What assessments are available after I teach a selection?


Assessment 91

Reading Strategy These questions have students show their grasp of the lesson reading strategy.

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Grade 9

After You Read

Respond and Think Critically

534 UNIT 3 POETRY

Respond and Interpret1. How does the bird’s life help you understand

the lives of the oppressed?

2. (a)What images from nature does Dunbar use in the first stanza? (b)In what ways does Dunbar create a sense of freedom with his words?

3. (a)What causes the bird in the poem to bleed? (b)What conclusion do you think Dunbar wanted the reader to draw from this image?

4. (a)According to Dunbar, why do the caged bird’s scars “pulse again with a keener sting”? (b)Why do you think Dunbar emphasizes that the bird’s singing is not a joyful or gleeful carol?

Analyze and Evaluate 5. (a)What passages most focus your attention on

the idea of sympathy? (b)Is Dunbar’s use of the bird as a symbol of this idea effective? Explain.

6. Why do you think Dunbar uses the same rhym-ing sound for the final couplets in the second and third stanzas?

Connect7. Big Idea Life Lessons What life lesson

might Dunbar have wanted the reader to learn from reading “Sympathy”?

8. Connect to Today Dunbar struggled against discrimination to become a writer and poet. What circumstances might lead a person today to write a poem like “Sympathy”?

Literary Element Symbol

1. Why might Dunbar have chosen the bird as a symbol for the oppressed?

A Birds are more frequently kept in cages as pets than other species.

B People are similar in many ways to birds.

C A caged bird is unable to use its wings and express its true self.

D Captive birds are unattractive and largely silent.

2. Without the use of symbols, how might Dunbar have answered the question Whydoes the caged bird sing?

A Oppressed people are able to express their suff ering through art.

B People in captivity are deeply religious and often pray.

C Prisoners have the time to develop their talent for music.

D Even the oppressed are capable of great joy.

Review: MetaphorAs you learned on page 449, a metaphor is a type of figurative language in which two seemingly unlike things are compared to reveal their underly-ing similarities. Unlike a simile, which states the comparison directly with the words like or as, the comparison in a metaphor is implied. Identifying and understanding the poet’s metaphors is often vital to understanding a poem’s meaning.

Partner Activity Work with a partner to identify two metaphors in “Sympathy.” Create a graphic organizer like the one shown for each metaphor. You and your partner should each explain one metaphor and its use in the poem.

Explanation of UseMetaphorinclude text from

poem and line number(s)

Standards Practice R 3.7CA

Literature Online

Write with Style

Apply SymbolismAssignment If the caged bird’s song had words, what do you imagine they would be? Use symbol-ism to express the caged bird’s feelings in your own poetic version of the bird’s song.

Get Ideas What would the bird in Dunbar’s poem sing about? Think about what is important to the bird and choose a symbol to represent it.

Give It Structure Follow Dunbar’s three-stanza structure, and use your symbol in a different way in each stanza. Create a chart like the one below to determine how you will develop the symbolism in each stanza. In the left box, write your chosen symbol. In the right boxes, briefly describe how you will use the symbol to express the bird’s perspective in each stanza.

Symbolthe window beside

the cage

First Stanzaview through window

symbolizes what the bird is missing

Second Stanzaclosed window’s glass panes

symbolizes the barrier between the bird and

freedom

Third Stanzaopen window symbolizes

the bird’s longing to escape.

As you write, focus each stanza on the idea that is being expressed by the symbol in that stanza.

Look at Language Because readers infer the meaning of symbols based on the text, it is impor-tant that your descriptions of the symbol accurately express your meaning. Review your descriptions for precision and meaning.

EXAMPLE: leaving me as they flyMy notes slip out the open window,ˆroaming free and flying into pure blue air.

PAUL LAURENCE DUNBAR 535

Reading Strategy Apply Background Knowledge

Writers often write about experiences from their own lives, and knowing something about an author’s background can give the reader insight into the theme(s) of a particular work. Review the web diagram you made, and then answer the following questions.

1. Using what you know about the poet’s life, what do you think is the theme of “Sympathy”?

2. List three details from Dunbar’s life that correspond to the theme of the poem.

Practice with Analogies Choose the word that best completes the analogy.

1. ladle : spoon :: chalice : a. fl ower c. throne b. cup d. gilded

2. inspired : bland :: keen : a. moderate c. dull b. vivid d. moved

Vocabulary Practice

Dunbar uses the title, “Sympathy,” to unify the poem and create a central theme.

The academic word unify is closely related to the more familiar word unite. Authors can use elements such as title, setting, or imagery to unify any literary work. Using context clues, try to figure out the meaning of the word unify.Check your guess in a dictionary.

For more on academic vocabulary, see pages 54–55 and R79–R81.

Academic Vocabulary

Selection Resources For Selection Quizzes, eFlash-cards, and Reading-Writing Connection activities, go to glencoe.com and enter QuickPass code GL43028u3.

• Questions assess tested standards

• Format mirrors the state test

• Offers strong preparation for taking the test



Writing, Speaking, and Listening AssessmentWriting, speaking, and listening are ingrained in the assessment features of the Student Edition.

Writing These assignments assess students’ ability to express themselves in a variety of writing modes while guiding them to use correct grammar.

Speaking and Listening These activities measure students’ verbal responses to literature, as well as their listening skills.

602 UNIT 3 POETRY

Speaking, Listening, and Viewing Workshop

Literature Connection Poet E. E. Cummings also wrote essays and a novel. The novel was based on his experiences in prison in France dur-ing World War I. As a young man, he joined an ambulance corps and served in France, but he and a friend were mistakenly held in a deten-tion camp for about three months. After returning home, he described the experience in his first and only novel, The Enormous Room. In this workshop, you will learn to describe an observation or experience to an audience of listeners.

Create an oral presentation of your descrip-tive essay and deliver it to an audience.

Assignment

Plan Your Presentation

Reread the descriptive essay you wrote. Think about ways to re-create it for an audience of listeners. Be sure to consider the following:

What is your point of view? In your oral presentation, you will want to maintain your first-person point of view. You might also want to present yourself as even more personally involved in, and passionate or concerned about, the experience or observation you described. Look for places in your essay to make your point of view or personal involvement more obvious or more direct.

What are your best sensory details? Where have you used word choice or figurative language most effectively? What concrete images do you present? Underline or highlight these to make sure you include them in your descriptive presentation.

Where do you show changing perspectives? Where do you look at the same thing from different places or with different eyes? Will these shifting perspectives be as clear to an audience of listeners as they were to your readers? Think of ways to add signal words or other verbal or nonverbal cues to make these shifts clear.

Descriptive Presentation


For pages 602–603

Listening and Speaking: 2.6 Deliver descriptive presentations:

a. Establish clearly the speaker’s point of view on the subject of the presentation.

b. Establish clearly the speaker’s relationship with that subject (e.g., dispassionate observation, personal involvement).

c. Use effective, factual descriptions of appearance, concrete images, shifting perspectives and vantage points, and sensory details.

Choose Carefully

When you are presenting a reflection to others, you will want to choose a subject you are comfortable talking about and a subject that will be meaningful to others.

Speaking, Listening, and Viewing Workshop

Writing Workshop Response to Literature

Literature Connection What reader could fail to respond to this grim foreshadowing of death in Edgar Allan Poe’s “The Cask of Amontillado”?

“At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead. . . . ”

Perhaps Poe caused you to recoil a bit as you read these details about human remains piled several feet high. Perhaps he scared you as he led you deeper and deeper into the crypt, or burial vault. Those personal reactions are fodder for a response to literature: a personal reaction to some aspect of a work. Read these goals and strategies for writing an effective response to literature.

Checklist

Goals Strategies

To present your personal response to and thorough understanding of a story

Focus on your feelings and thoughts as you demonstrate awareness of and appreciation for the author’s style

To organize and focus your response with an introduction, body, and conclusion

Introduce the work

Present a thesis clearly stating your personal perspective

Maintain your focus in the body paragraphs

Summarize your response

To use examples to support your response

Provide accurate and detailed references to the text to support your thesis

Connect your examples to your response

To engage your audience Use first-person point of view and an active voice

Use precise language and sensory details

Match your tone to your response and keep it consistent


Content StandardsCACA Content Standards

For pages 240 –247

Writing: 2.2 Write responses to literature:

a. Demonstrate a comprehen-sive grasp of the significant ideas of literary works.

b. Support important ideas and viewpoints through accurate and detailed references to the text or to other works.

c. Demonstrate awareness of the author’s use of stylistic devices and an apprecia-tion of the effects created.

d. Identify and assess the impact of perceived ambiguities, nuances, and complexities within the text.

At any stage of a writing process, you may think of new ideas. Feel free to return to earlier stages as you write.

Prewrite

Draft

Revise

Focus Lesson:Clear Examples

Edit and Proofread

Focus Lesson: Sentence Fragments

Present/Publish

Writing Process

Respond Through Writing

Analyze Cause and Effect The plot of “The Interlopers” is moved along by a series of cause-and-eff ect relationships. These relationships involve interactions between characters and between characters and nature. Write an essay in which you analyze a cause-and-eff ect chain in the story. Explain what the events suggest about the role of nature in the characters’ lives. Use evidence from the text to support your thesis.

Understand the Task When you analyze, you identify the parts to fi nd meaning in their relationships to the whole. A thesis is the main idea of a work of nonfi ction, such as an essay. The thesis may be stated directly or implied.

Prewrite Review the graphic organizer you created for the Reading Strategy Tip on page 80. Take a few minutes to make any adjustments, adding information as needed. You can use these notes to help you organize your essay, following the chain of causes and eff ects chrono-logically in your essay.

Draft Use your chart to determine how each cause-and-eff ect relation-ship supports your thesis. You may want to use sentence frames as you draft your essay. Your body paragraphs should contain statements that support your thesis, such as the following:

The scene in which _____ shows that _____ was the cause of _____ and _____ .

Revise Ask a classmate to underline your thesis statement and highlight two statements that support your thesis. If this proves diffi cult, you may need to make your thesis and text support more clear. Get rid of super-fl uous or unrelated details. If you have used any technical terms, explain them thoroughly and correctly, to avoid confusion. You may include all or part of your cause-and-eff ect chart in your essay as a visual aid.

Edit and Proofread Proofread your paper, correcting any errors in grammar, spelling, and punctuation. Use the Grammar Tip in the side column to help you with commas and adverb clauses.

Expository Essay

SAKI 89

Commas and Adverb Clauses

In the sentences, one has a comma and one does not.

After a tree falls on them, Ulrich and Georg find them-selves trapped and injured.

Ulrich and Georg find them-selves trapped and injured after a tree falls on them.

“After a tree falls on them” is an adverb clause, a dependent clause that mod-ifies the verbs trapped and injured in the main clause.

When an adverb clause begins a sentence, it is set off by a comma. When an adverb clause follows the main clause, the comma is not needed.

Grammar Tip


Writing: 2.3 Write expository compositions, including analytical essays and research reports:

a. Marshal evidence in support of a thesis and related claims, including information on all relevant perspectives.

c. Make distinctions between the relative value and significance of specific data, facts, and ideas.

d. Include visual aids by employing appropriate technology to organize and record information on charts, maps, and graphs.

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Grade 9

ASSESSMENTCACA


Assessment 93

Unit AssessmentAt the end of each unit in Glencoe Literature: California Treasures there is a comprehensive assessment, covering reading and writing skills that address the California English-Language Arts Content Standards.

Assesses standards and skills covered in the unit

Includes high-quality reading passages

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Grade 9

12 In the last sentence of paragraph 10, the exclamation “Oh, Devil, you have sold yourself!” means that

A the Evil One has struck a bargain with the aunt.

B the Evil One has revealed himself through his words.

C Nicholas has purchased the Evil One’s services.

D the aunt has brought home the Evil One as a gift for Nicholas.

13 In the first sentence of paragraph 11, the word “discernment” means

A cruelty.B deception.C comprehension.D sympathy.

14 From which point of view is this passage written?

A first personB second personC third-person limitedD third-person omniscient

15 The main idea of this excerpt from “The Lumber Room” is that

A adults often keep the truth from children for their own good.

B adults can usually get their way through bargaining.

C children are usually more superstitious than adults.

D the lies of adults can be used against them by clever children.


Grammar and Writing: Paragraph ImprovementThe following is the rough draft of a student’s report, which may contain errors. Read through it carefully; then answer the questions on pages 255 and 256.

ASSESSMENT 255

Saki

(1) Saki was the pen name of Hector Hugh Munro, he was born in 1870 at Burma. (2)

His father was a member of the police force at the time that the country, called Myanmar now,

is still part of the British Empire. (3) He was raised in England by his grandmother and aunts.

(4) The strictness of households like his became the subject of many of his stories. (5) His short

stories made fun of Edwardian society. (6) He wrote several novels and wrote plays also.

(7) In 1893 Munro returned to Burma and joined the police force. (8) Three years later,

because of illness, quit and he returned to England. (9) Munro’s first book, The Rise of the

Russian Empire, a historical study, was published in 1900. (10) It was followed in 1902 by a

collection of short stories. (11) Many more short stories appeared in subsequent years, which

were widely read.

(12) Munro was also a correspondent for The Morning Post from 1902 to 1908,

reporting throughout Europe. (13) He had started his career of journalism even earlier he

started right after moving back to England. (14) After roving through Europe as a

correspondent, he permanently settled in London. (15) Many of the stories from this period

feature characters taking pleasure in the misfortune of their elders.

(16) After World War I began, Munro enlisted the Army as an ordinary soldier even

though his age exceeded the official limit. (17) He was killed during the war in France in 1916,

he was in a shell crater at the time. (18) Much of his work was published after he died.

1 What is the best way to rewrite sentence 1?

A Saki was the pen name of Hector Hugh Munro, born in 1870 Burma.

B Saki was the pen name for Hector Hugh Munro, born in 1870 in Burma.

C Saki was the pen name of Hector Hugh Munro, who was born in 1870 in Burma.

D Saki was the pen name for Hector Hugh Munro, who was born in 1870 Burma.

2 Which of these verb forms is the correct substitute for the underlined word in sentence 2?

A has beenB had beenC would beD was

Content Standards PracticeCA252 UNIT 1 THE SHORT STORY

Assessment

English Language Arts

Reading: FictionRead the following passage. Then, on a separate sheet of paper, answer the questions on pages 253 and 254.

Presently the angry repetitions of Nicholas’ name gave way to a shriek, and a cry for somebody to come quickly. Nicholas shut the book, restored it carefully to its place in a corner, and shook some dust from a neighboring pile of newspapers over it. Then he crept from the room, locked the door, and replaced the key exactly where he had found it. His aunt was still calling his name when he sauntered into the front garden.

“Who’s calling?” he asked.

“Me,” came the answer from the other side of the wall; “didn’t you hear me? I’ve been looking for you in the gooseberry garden and I’ve slipped into the rain-water tank. Luckily there’s no water in it, but the sides are slippery and I can’t get out. Fetch the little ladder from under the cherry tree—”

“I was told I wasn’t to go into the gooseberry garden,” said Nicholas promptly.

“I told you not to, and now I tell you that you may,” came the voice from the rain-water tank, rather impatiently.

“Your voice doesn’t sound like Aunt’s,” objected Nicholas; “you may be the Evil One tempting me to be disobedient. Aunt often tells me that the Evil One tempts me and that I always yield. This time I’m not going to yield.”

“Don’t talk nonsense” said the prisoner in the tank; “go and fetch the ladder.”

“Will there be strawberry jam for tea?” asked Nicholas innocently.

“Certainly there will be,” said the aunt, privately resolving that Nicholas should have none of it.

“Now I know that you are the Evil One and not aunt,” shouted Nicholas gleefully; “when we asked aunt for strawberry jam yesterday she said there wasn’t any. I know there are four jars of it in the store cupboard, because I looked, and of course you know it’s there, but she doesn’t, because she said there wasn’t any. Oh, Devil, you have sold yourself!”

There was an unusual sense of luxury in being able to talk to an aunt as though one was talking to the Evil One, but Nicholas knew, with childish discernment, that such luxuries were not to be overindulged in. He walked noisily away and it was a kitchenmaid, in search of parsley, who eventually rescued aunt from the rain-water tank.

1

2

3

4

5

6

7

8

9

10

11

from “The Lumber Room” by Saki (H. H. Munro)

1 What was the aunt doing in the garden?

A drinking teaB eating jamC looking for a ladderD looking for Nicholas

2 In the last sentence of paragraph 1, the word “sauntered” means

A departed.B returned.C strolled.D yelled.

3 Nicholas says he is certain that he is not really speaking with his aunt because she

A grew very angry with him.B offered him strawberry jam.C said she fell inside the tank.D told him to come to the front garden.

4 What can the reader infer that Nicholas was doing when his aunt called to him?

A cleaningB playingC readingD sleeping

5 This passage reveals Nicholas’s personality through

A irony.B direct characterization.C indirect characterization.D dialect.

6 What is the overall tone of this passage?

A angryB disapprovingC objectiveD playful

7 The reader can infer from Nicholas’s actions in the first paragraph that he is

A in a place where he does not belong.B about to displease his aunt.C responsible for his aunt’s emergency.D happy that he is not alone in the house.

8 Which literary device makes the reader question what will happen to the aunt?

A dialectB motivationC suspenseD motif

9 In paragraph 9, the word “resolving” means

A answering.B deciding.C fixing.D settling.

10 Nicholas’s tone when talking to hisaunt is

A concerned.B despairing.C ironic.D sad.

11 The author’s purpose in this passage is to

A entertain.B persuade.C describe.D explain.

ASSESSMENT 253

Content Standards PracticeCA

Literature Online

Standards Practice For more standards practice, go to glencoe.com and enter QuickPass code GL43028u1.

Format mirrors standardized tests

How do I assess the standards covered in each unit?



Unit Assessment continuedUnit tests also include practice with writing strategies and writing products that students will encounter on the ACT or SAT.

Additional standards practice and unit assessment is available at glencoe.com and in assessment technology resources. See the Assessment Technology pages in this section for more information.

Writing prompts mirror standardized test assessments

Assesses students’ ability to improve sentences and paragraphs

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Grade 9



A Three years later, illness forced Munro to quit, he returned to England.

B Three years later, illness forced Munro to quit, but he returned to England.

C Three years later, illness forced Munro to quit, return to England.

D Three years later, illness forced Munro to quit, and he returned to England.

4 In sentence 11, where should the modifier “which were widely read” be moved?

A between “Many” and “more”B between “more” and “short”C between “short” and “stories”D between “stories” and “appeared”

5 Which sentence in the third paragraph is out of chronological order?

A sentence 12B sentence 13C sentence 14D sentence 15

6 In sentence 13, what is the best way to rewrite “earlier he started”?

A earlier, he startedB earlier—he startedC earlier. He startedD he started earlier

7 What is the best way to rewrite the main clause in sentence 16?

A Munro enlisted the Army, as an ordinary soldier, even though his age exceeded the official limit.

B Munro enlisted the Army as an ordinary soldier, even though his age exceeded the official limit.

C Munro enlisted in the Army as an ordinary soldier, even though his age exceeded the official limit.

D Munro enlisted in the Army, as an ordinary soldier. Even though his age exceeded the official limit.


A He was killed during the war in France in 1916; he was in a shell crater at the time.

B During the war in France in a shell crater in 1916, he was killed.

C He was killed in a shell crater during the war in France in 1916.

D He was in a shell crater during the war in France in 1916 at the time when he was killed.

9 What is most noticeably missing from the essay?

A supporting argumentsB historical quotationsC a concluding paragraphD a personal paragraph

10 What is the best title for this essay?

A “England’s Greatest Journalist”B “The Life and Career of Saki”C “Munro’s Family Fortunes” D “History of the Short Story”

Writing: Essay

DirectionsFollow the directions in the box below to write an essay about “The Lumber Room.” You may look back at the story at any time. Use a planning sheet to jot down ideas and organize your thoughts. Then neatly write your final essay on another sheet. You may not use a dictionary or other reference materials.

Writing Task:

In “The Lumber Room,” Nicholas is put in an unusual situation that forces him to quickly analyze both his relationship with his aunt and what he knows about the world. He pretends that his aunt is the “Evil One.”

Write a short essay in which you explain Nicholas’s behavior in the story. Provide examples from Saki’s short story to illustrate your statements.

Keep these hints in mind when you write.

• Show that you understand the story you are writing about.

• Organize your essay around one or more clear ideas.

• Give examples from the story and use evidence to support your ideas and interpretations.

• Pay attention to the correct use of grammar, spelling, capitalization, and punctuation.

ASSESSMENT 257

Content Standards PracticeCA

ASSESSMENTCACA


Assessment 95

Print ResourcesAncillary resources provide additional support to assess your students’ mastery of the California standards.

Quick Checks Accompanying each selection, Unit Teaching Resources includes a Quick Check test that assesses students’ comprehension.

Diagnostic, Selection, and Unit Tests Assessment Resources provides additional tests keyed to each selection and unit in the Student Edition. By administering the diagnostic assessments prior to beginning work on a unit, you can gain a clearer idea of your students’ knowledge and skills.

Includes

Diagnostic Tests

Selection Tests

Unit Tests

AssessmentResources

Assm

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California Standards PracticeGlencoe Literature’s California Standards Practice book contains both progress-monitoring and summative assessments. These assessments measure the effectiveness of instruction and monitor student progress on a regular basis. Like the unit tests in the Student Edition, the tests in California Standards Practice are designed to be administered at the end of each unit and assess how well students have mastered the standards taught in the unit.

Two of the tests in California Standards Practice serve as semester tests. They provide a cumulative assessment of student progress up to that point. Each test covers all of the major skill areas:

• • Reading Comprehension

•• Vocabulary

•• Literary Response and Analysis

•• Spelling

•• Writing Strategies and Language Conventions

•• Writing Applications

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This helpful workbook provides Six progress-monitoring tests, including semester tests

Reteaching lessons for the California Content Standards

Annotated Teacher Edition

California Standards Practice

Aligned with California Content Standards

A9C4_CA_Anc_CAStdPract_TE_CV_RD11 1 3/28/08 12:14:58 PM

ASSESSMENTCACA


Assessment 97

Each item is correlatedto a specific standard.

Reteaching is available for each standard if students struggle to master the content.

Each test item in California Standards Practice is correlated to a standard. With the Item Analysis Chart, teachers can easily see which standards students are having diffi culty with and where reteaching is needed, ensuring that each standard will be mastered.

Each test is also available on ExamView® Assessment Suite and Progress Reporter Online Assessment.

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Grade 9

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T6 California Standards Practice, Grade 9

G R A D E

9Units 1–3

Item Analysis Chart

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Word Meanings LESSON 1

Content Standard: 9RW1.1 Vocabulary and Concept Development:

Identify and use the literal and figurative meanings of words and

understand word derivations.

LEARN IT: Word Meanings

The literal meaning of a word is the exact meaning that is found in the dictionary. However,

you will often encounter words that have meanings other than their literal meanings. You will

also encounter words that have several different literal meanings, depending on their

context. In both cases you will need to determine which meaning is the appropriate one.

The figurative meaning of a word goes beyond its literal meaning to suggest something

symbolic or metaphorical. You can identify figurative language in a text because, when you

read it literally, the phrase does not seem to make sense. To interpret figurative language,

read the surrounding text and look for clues that reveal the true meaning of the phrase.

Then ask yourself how this additional, non-literal meaning affects your response to the text.

EXAMPLE

Read the following sentence.

He was in the dumps because she refused to go to the dance with him.

In this sentence, in the dumps means

A attractive.

B smelly. C unhappy.

D messy.

Step 1 Carefully read the sentence. Are there context clues in the sentence that

help you understand what in the dumps means?

The detail that she refused to go to the dance with him tells me that something

negative has happened. In the dumps might refer to the emotional response of

the main character to this disappointing event.

Step 2 Read each answer choice. Which answer best fits the meaning of in the

dumps as it is used in the sentence?

The literal meaning of in the dumps is “to be in the trash.” Smelly and messy are

consistent with this meaning; however, they don’t make sense in the context of the

sentence. The sentence suggests that there has been an emotional response to the

girl’s refusal to go to the dance with the main character. The only answer that

suggests the appropriate emotional response is unhappy; attractive is too positive

a word for the context. The figurative meaning of in the dumps must be unhappy.

C is the correct answer.

108 California Standards Practice, Grade 9

How can I help my students pass the California state test?



Reteaching the StandardsThe Glencoe Literature: California Treasures program enables teachers to introduce each standard, teach and assess it, and then, if necessary, reteachit through an array of support materials. Reteaching resources are provided atboth the selection level for an immediate response to students who are struggling and at the unit level for students who have not demonstrated mastery on longer-range assessments.

INTRODUCE

TEACH

RETEACH

ASSESS

PROCEED

INTRODUCE

TEACH

ASSESS

For daily ongoing assessment and immediate reteaching, the Teacher Edition features a Progress Check box in the After You Read section that follows each selection. This feature will help you monitor students’ progress and provide strategies to reinforce concepts.

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ASSESSMENTCACA How is reteaching handled in the program?


Assessment 99

An Item Analysis Chart in California Standards Practice shows where each standard appears in the Student Edition, where it is tested, and where it can be retaught.

For students who do not demonstrate mastery on the unit and semester tests in California Standards Practice, the same product provides a series of standards-based reteaching lessons to support students who require additional instruction and practice. The Item Analysis Chart in the front of the Teacher Edition of California Standards Practice shows the standard tested by each test item and the reteaching lesson provided for that standard.

The tests and the reteaching lessons are also available on Progress Reporter Online Assessment and ExamView® Assessment Suite—two technology components in Glencoe’s assessment program.

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After You Read

Literature Online

After You Read

Respond and Think Critically

Respond and Interpret

1. In what ways can you relate to the speaker of

this poem?

2. (a)What does the speaker of the poem say she

liked as a girl? (b)What can you tell about her

from these details?

3. (a)Identify the point in the poem where the

verb tense changes. (b)What does this change

indicate?

Analyze and Evaluate

4. Who is the speaker of this poem? Use clues

from the text to support your answer.

5. (a)Why does the speaker of the poem want to

disguise herself as a boy? (b)In what other

ways does the speaker disguise herself?

6. One sentence in this poem runs from line 28

to line 63. What might have been the author’s

purpose in making this sentence so long?

Connect

7. Big Idea Life Lessons What lessons has the

speaker of the poem learned about being

female?

8. Connect to the Author As a girl, Villanueva

felt alienated because of her tomboy attitude.

Where in the poem does this alienation appear?

Literary Element Free Verse

Before the twentieth century, most poets used

regular meter and rhyme. Modern poets, rebelling

against tradition, began writing in free verse, creat-

ing patterns with irregular meter and form.

1. Identify two places in “I Was a Skinny Tomboy

Kid” where Villanueva uses the poem’s form to

emphasize the content of the poem.

2. How would “I Was a Skinny Tomboy Kid” differ

if Villanueva had written it using regular meter

and rhyme rather than free verse?

Reading Strategy Analyze Sensory

Details

Many authors use sensory details to help readers

imagine the characters, setting, and action in a

piece of writing. Review the chart you created,

and then answer the following questions.

1. What types of sensory details does Villanueva

use most often in her poem? Support your

answer with examples from the text.

2. Which of the sensory details in the poem do

you find most striking or effective? Explain.

514 UNIT 3 POETRY

Writing

Write a Poem in Free Verse Think about how

free verse is suited for a poem about childhood.

Write a poem in free verse about yourself as a

child. Remember that free verse can take whatever

form best supports your poem’s imagery, rhythm,

and subject matter.

At the end of the poem, the speaker assures

herself that everything is okay.

Assure is an academic word. More familiar

words that are similar in meaning are convince,

guarantee, and promise. In your life, what do

you sometimes have to assure yourself about?

For more on academic vocabulary, see pages

54–55 and R79–R81.

Academic Vocabulary

Selection Resources For Selection Quizzes, eFlash-

cards, and Reading-Writing Connection activities, go to

glencoe.com and enter QuickPass code GL43028u3.

514

Assess1. Accept reasonable answers.

2. (a) Flying from roof to roof,

almost not making it; riding her

bike to the ocean; fi shing (b)

She craved thrills, challenges,

and freedom.

3. (a) Line 74 (b) She is now

an adult looking back.

4. A woman remembering her

tomboy phase; tense shift in

line 74 and was in the title

5. (a) To rebel against the image

of girls as helpless (b) By

inventing a heroic self-image

6. Possible answer: It conveys a

long, convoluted life journey; its

rhythm is tedious; the syntax,

confusing.

7. She can be herself without

rejecting her femininity.

8. Students may point to the

speaker’s comment that she

doesn’t want to be helpless like

her mother.

Literary Element

1. In line 7, the indentation implies

traveling; lines 14 and 15 are

isolated, “being above it all”;

lines 17–23 mimic the speak-

er’s action.

2. The sense of free exploration

might be lost.

Reading Strategy

1. Sight, touch, smell, and taste

2. Accept reasonable answers.

VocabularyAcademic Vocabulary

Answers will vary.

WritingStudents’ poems should

include a childhood image

use free verse eff ectively ••

For grammar practice, see Unit 3 Teach-

ing Resources Book, p. 148.

For additional assessment, see Assess-

ment Resources, pp. 131–132.

Progress Check

Can students identify free

verse?

If No See Unit 3 Teaching

Resources Book, p. 146.

Copyright © by The McGraw-Hill Companies, Inc.

T6 California Standards Practice, G

rade 9

GR

AD

E

9U

nits 1–3

Item A

nalysis Chart

Grade 9 Tested CaliforniaContent Standards

Unit 1Unit 2

Unit 3/Semester TestGlencoe Textbook

Test Items Reteach Glencoe Textbook

Test Items Reteach GlencoeTextbook

Test Items Reteach9RL3.11 Literary Criticism: Evaluate the aesthetic qualities of style, including the impact of diction and figurative language on tone, mood, and theme, using the terminology of literary criticism (Aesthetic approach).

The Cask of Amontillado, p. 56

Blues Ain’t No Mockin Bird, p. 69

Item 21 Lesson 20, p. 222

Escape from

Afghanistan,p. 307

Items 2, 16 Lesson 20, p. 222

Comparing Literature, p. 474

Items 3, 7, 11

Lesson 20, p. 222

9RL3.12 Literary Criticism: Analyze the way in which a work of literature is related to the themes and issues of its historical period (Historical approach).

Daily Life & Culture, p. 337


9WS1.1 Organization and Focus: Establish a controlling impression or coherent thesis that conveys a clear and distinctive perspective on the subject and maintain a consistent tone and focus throughout the piece of writing.

Write with Style, p. 78

Items 4, 8 Lesson 22, p. 236

Write with Style,

p. 346

Items 10, 24

Lesson 22, p. 236

Write with Style,

p. 555


9WS1.2 Organization and Focus: Use precise language, action verbs, sensory details, appropriate modifiers, and the active rather than the passive voice.

Write with Style,

p. 182


If a student needs help (based on a quick and informal assessment), then the program provides a suggestion for reteaching.



California Writing ResourcesGlencoe Literature: California Treasures offers a strong complement of writing tools in California Writing Resources. Writing prompts within this ancillary afford comprehensive practice for all of the writing applications that appear on the California state test. The book also provides annotated anchor papers and scaffolding for all stages of the writing process.

California Writing Resources also provides rubrics for assessing students’ writing. A rubric is available for each writing application, showing the 4-point scoring that students will encounter on the California state test.

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TRANSPARENCY 1Grade 9

By this point in your life, you have experienced many things. You have probably been to a variety of places and met a variety of people. Think about an experience you have had that taught you an important lesson.

Write a composition in which you narrate a sequence of events from your life that taught you something. In your autobiographical narrative, be sure to include specific details about time and place and to explain the significance of the events to your audience.

CHECKLIST FOR YOUR WRITINGThe following checklist will help you do your best work. Make sure you:

❑ Read the explanation of the writing task carefully.❑ Support and develop your ideas with specific details and examples.

❑ Organize your writing with a strong introduction, body, and conclusion.

❑ Use precise language that is best-suited to your audience and purpose.

❑ Vary your sentences to add interest to your writing.❑ Check for errors in grammar, spelling, punctuation, and sentence structure.

TRANSPARENCY 1WRITING TASK:

NARRATIVE WRITING

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Writing Process Strategies

Writing Prompts for All Modes

Rubrics

Annotated Anchor Papers

Process of Revision

WritingResourcesR

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ASSESSMENTCACA

How can my students practice writing forhigh-stakes tests?


Assessment 101

The Glencoe Online Essay Grader includes multiple essay prompts from the Student Edition, but also allows you to create customized writing prompts. The Essay Graderautomatically provides students with holistic grades, narrative feedback, and numerical scores (based on 4-point rubrics).

More writing support is available at glencoewriting.com and within the Glencoe Online Essay Grader.

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Grade 9

Grade 9

• THE ESSAY—

—clearly addresses all parts of the writing task.

—provides a meaningful thesis.

—maintains a consistent tone and focus.

—purposefully illustrates a control of organization.

—thoughtfully supports the thesis and main ideas with specific

details and examples.

—utilizes a variety of sentence types.

—uses precise, descriptive language.

—demonstrates a clear sense of audience.

—contains few, if any, errors in the conventions of the English

language. (Errors are generally first-draft in nature.)*

* “Conventions of the English language” refers to grammar, punctuation,

spelling, capitalization, and usage.

TRANSPARENCY 11

SCORING GUIDE:

NARRATIVE WRITING

SCORE POINT 4

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When my family moved to Redding it taught me

that change is difficult, but it isn’t necessarily bad.

I was nine and a half on the day in April when my

parents told my little sister, Emma, and me that we

were moving. I remember feeling numb as we sat

around the kitchen table. The rain hit against the

windows while Emma and I sat at the table drawing

pictures and my father explained that he was taking

a job in Redding.

“When do we have to move?” I asked Dad. He told

us that we would move to Redding in July. “I know it

will be hard to move,” Dad said, “but I know that

( c o n t i n u e d )

SAMPLE ESSAY: NARRATIVE WRITING

SCORE POINT 4

TRANSPARENCY 12

The writer begins with a clear thesis and engages the reader with a personal story.

The writer includes sensory details.

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Assessment TechnologyGlencoe Literature: California Treasures also offers several exceptional technology resources to simplify the monitoring and assessment of students’ understanding of the standards.

ExamView® Assessment Suite CD-ROM allows teachers to administer ready-made diagnostic, formative, and summative assessments in both English and Spanish.

•• Teachers can edit assessment items and create new ones as needed, allowing them to customize their tests.

•• Teachers can monitor students’ progress through a variety of reporting options available in the ExamView Test Manager.

• • Teachers can provide assessment-driven remediation options for those students who need extra help.

•• Teachers also have access to all of the tests in the California Standards Practice book.

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ASSESSMENTCACA

How can I use technology to help me manage assessment?


Assessment 103

Progress Reporter Online Assessment also gives teachers the ability to administer ready-made diagnostic, formative, and summative assessment in both English and Spanish.

•• Teachers can edit assessment items or create new ones.

•• Assessments administered online are automatically scored.

•• Essay questions are also scored automatically.

•• Rationales for items, explaining why each answer is correct or incorrect, are provided.

•• Reteaching, remediation, and extension options are automatically assigned based on students’ responses.

•• Content in the California Standards Practice book is available in Progress Reporter Online Assessment.

Literature Online offers additional test practice at glencoe.com. On-page references in the Student Editions allow students and teachers to jump from the print books to online resources in just seconds. By using QuickPass codes, students are directed immediately to the appropriate pages at glencoe.com.

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Grade 9



RubricsEach unit in Glencoe Literature: California Treasures includes a Writing Workshop. These workshops teach the types of writing required by the California English-Language Arts Content Standards. Each workshop walks students through the different stages of writing: prewriting, drafting, revising, editing and proofreading, and presenting.

This section of the guide contains Writing Workshop Rubrics for Glencoe

Literature: California Treasures. The rubrics are aligned with the California 4-point assessment system, four being the highest possible score. This system refl ects the scoring methods used by readers of the writing section of the California state test.

The categories of writing in the workshops are:

•• Narrative

•• Functional Document

•• Response to Literature

•• Persuasive Essay

•• Research Report

•• Expository Essay

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Grade 9

ASSESSMENTCACA


Writing Workshop Rubric

UNIT ONE Response to Literature

4 Ideas

• The response demonstrates a complete

understanding of the assignment.

• The response makes an honest and insightful

point about the piece of literature.

• The response shows a deep understanding of

the piece of literature.

• The response demonstrates a very clear

purpose and focus.

• Perfectly tuned examples and details are

presented.• The evidence selected and presented provides

effective support for the response’s main point.

• The response demonstrates a great deal of

originality and creativity.

Organization

• The response clearly states a position about


• The opening provides a clear focus for the

response.• The focus is effective throughout the response.

• The introduction is exceptionally effective and

compelling—it grabs the reader’s attention.

• The presentation of supporting evidence is

exceptionally clear and thorough, with explicit,

vivid details.

• The sequence of ideas and supporting evidence

is exceptionally effective.

• The conclusion effectively reaffirms the focus of

the response.

Voice

• The writer’s voice is clear, consistent, and

sincere throughout the response.

• The writer’s voice is perfectly attuned to the

subject matter of the response.

• The writer’s voice is exceptionally appropriate to

the intended audience of the response.

Word Choice & Sentence Fluency

• The word choice is exceptionally precise and

accurate.• The word choice is vivid and effective, with

lively descriptive words used.

• When literary terms are necessary, they are

used appropriately and effectively.

• Sentences vary in length and structure.

• Ideas are clearly and smoothly connected using

transition words and phrases.

• The response forms a meaningful whole,

moving smoothly from beginning to end.

Conventions

• All words are spelled correctly.

• The response contains no errors in usage,

grammar, or punctuation.

• The response contains no errors in capitalization.

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Assessment 107

3 Ideas

• The response demonstrates a basic

understanding of the assignment.

• The response makes a considered point about


• The response shows some understanding of


• The response includes a purpose and focus,

but it is not always clear.

• Generally appropriate examples and details are

presented to support the response.

• The evidence selected and presented somewhat

supports the response’s main point, but some

may be off the subject.

• The response shows some originality and

creativity.

Organization

• The response implies a position about the

piece of literature.

• The opening provides a focus for the response.

• The focus is generally clear.

• The introduction is effective and attempts to

catch the reader’s attention.

• The presentation of supporting evidence is

generally clear and includes details.

• The sequence of ideas and supporting evidence

is generally effective but not always logical.

• The conclusion recalls the focus of the response.

Voice

• The writer’s voice is somewhat consistent, but

sincerity is not obvious.

• The writer’s voice is generally appropriate to

the subject matter of the response.

• The writer’s voice is generally appropriate to the

intended audience of the response.


• Word choices reflect thought but are not always

precise.• Descriptive phrasing is attempted but is not

always effective or relevant.

• When literary terms are necessary, they are

generally used appropriately.

• Sentences vary somewhat in length and

structure but could use more variation.

• Ideas are not always connected using transition

words and phrases.

• The response is generally complete but may not

move smoothly from beginning to end.

Conventions

• Some spelling errors occur, but not enough to

impede understanding.

• The response contains some errors in usage,

grammar, or punctuation, but not enough to

impede understanding.

• The response contains a few errors in

capitalization.

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Assessment 105

As students develop their drafts, the workshop provides direct, explicit, and systematic instruction.

Each workshop includes models that point out the features of strong writing, mirroring the language and criteria listed in the rubrics.

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Grade 9

Writing Workshop


Literature Connection What reader could fail to respond to this grim

foreshadowing of death in Edgar Allan Poe’s “The Cask of Amontillado”?

“At the most remote end of the crypt there appeared another

less spacious. Its walls had been lined with human remains,

piled to the vault overhead. . . . ”

Perhaps Poe caused you to recoil a bit as you read these details about

human remains piled several feet high. Perhaps he scared you as he led

you deeper and deeper into the crypt, or burial vault. Those personal

reactions are fodder for a response to literature: a personal reaction to

some aspect of a work. Read these goals and strategies for writing an

effective response to literature.

Checklist

GoalsStrategies

To present your personal

response to and thorough

understanding of a story

Focus on your feelings and thoughts

as you demonstrate awareness of

and appreciation for the author’s style

To organize and focus

your response with an

introduction, body, and

conclusion

Introduce the work

Present a thesis clearly stating your

personal perspective

Maintain your focus in the body

paragraphs

Summarize your response

To use examples to support

your response

Provide accurate and detailed

references to the text to support

your thesis

Connect your examples to your

response

To engage your audience Use first-person point of view and

an active voice

Use precise language and sensory

details

Match your tone to your response

and keep it consistent


Content StandardsCACA Content Standards

For pages 240 –247

Writing: 2.2 Write responses

to literature:

a. Demonstrate a comprehen-

sive grasp of the significant

ideas of literary works.

b. Support important ideas

and viewpoints through

accurate and detailed

references to the text or

to other works.

c. Demonstrate awareness of

the author’s use of stylistic

devices and an apprecia-

tion of the effects created.

d. Identify and assess the

impact of perceived

ambiguities, nuances, and

complexities within the text.

At any stage of a writing

process, you may think of

new ideas. Feel free to return

to earlier stages as you write.

Prewrite

Draft

Revise

Focus Lesson:

Clear Examples

Edit and Proofread

Focus Lesson:

Sentence Fragments

Present/Publish

Writing Process

12/12/07 10:5

Exposition

WRITING WORKSHOP 241

Assignment: Respond to a Short StoryWrite a response of at least 1,000 words to a short story. Include specific details and quotations to support a viewpoint about one aspect of the work, such as characters, events, or setting.

Audience: peers, classmates, and teacherPurpose: to express a clear, focused response to a short story

Analyzing a Professional ModelIn this selection, Oscar Hijuelos describes his first reading of a short story that inspired him to become a writer. Note how Hijuelos creates a con-trolling perspective through his unified focus, word choice, and tone. The comments in the margin point out features to include in your response.

“On ‘The Aleph’” by Oscar Hijuelos

I first encountered “The Aleph” by the great Argentine writer Jorge Luis Borges one afternoon over twenty years ago, in 1973—I believe—when I was down on the Lower East Side visiting a friend, a young Armenian intellectual, such as one might meet at City College in those days. While he fiddled about in his kitchen (or walked his dog, or pleaded/conversed with his girlfriend on the telephone), I sat on his itchy, cat-haired, roach-egged couch, idly riffling through a pile of books that I had pulled from his shelves, among them a mildewed, jaundiced-looking, much-read-over pocketbook edition of The Aleph and Other Stories by Borges. Now, just a few days earlier I had been informed about the results of an aptitude test I had taken, the upshot being that I was apparently most suited for the profession of accounting. That well may have been my destiny, but I am happy (unhappy?) to report that the experience of reading “The Aleph” for the first of many times had a great effect upon me and my future; I have loved and will always love that story—and I will always be indebted to Borges for

Audience EngagementUse first-person point of view, active voice, precise language, and sensory details.

Real-World ConnectionIn the workplace, you may be asked to respond to a draft proposal, memo, or other document. This task will require many of the same skills you use in responding to literature: writing in the first person, presenting a controlling perspective, organizing your response logically and coherently, maintaining your focus, and using an appro-priate tone for your audi-ence and purpose.

Writing and Research For prewriting, drafting, and revising tools, go to glencoe.com and enter QuickPass code GL43028u1.

Literature Online

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How do I assess student writing?


ASSESSMENTCACA


Writing Workshop RubricUNIT ONE Response to Literature

4 Ideas

• The response demonstrates a complete understanding of the assignment.

• The response makes an honest and insightful point about the piece of literature.

• The response shows a deep understanding of the piece of literature.

• The response demonstrates a very clear purpose and focus.

• Perfectly tuned examples and details are presented.

• The evidence selected and presented provides effective support for the response’s main point.

• The response demonstrates a great deal of originality and creativity.

Organization

• The response clearly states a position about the piece of literature.

• The opening provides a clear focus for the response.

• The focus is effective throughout the response.• The introduction is exceptionally effective and

compelling—it grabs the reader’s attention.

• The presentation of supporting evidence is exceptionally clear and thorough, with explicit, vivid details.

• The sequence of ideas and supporting evidence is exceptionally effective.

• The conclusion effectively reaffirms the focus of the response.

Voice

• The writer’s voice is clear, consistent, and sincere throughout the response.

• The writer’s voice is perfectly attuned to the subject matter of the response.

• The writer’s voice is exceptionally appropriate to the intended audience of the response.


• The word choice is exceptionally precise and accurate.

• The word choice is vivid and effective, with lively descriptive words used.

• When literary terms are necessary, they are used appropriately and effectively.

• Sentences vary in length and structure.• Ideas are clearly and smoothly connected using

transition words and phrases.• The response forms a meaningful whole,

moving smoothly from beginning to end.

Conventions

• All words are spelled correctly.• The response contains no errors in usage,


• The response contains no errors in capitalization.

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Assessment 107

3 Ideas

• The response demonstrates a basic understanding of the assignment.

• The response makes a considered point about the piece of literature.

• The response shows some understanding of the piece of literature.

• The response includes a purpose and focus, but it is not always clear.

• Generally appropriate examples and details are presented to support the response.

• The evidence selected and presented somewhat supports the response’s main point, but some may be off the subject.

• The response shows some originality and creativity.

Organization

• The response implies a position about the piece of literature.

• The opening provides a focus for the response.• The focus is generally clear.• The introduction is effective and attempts to


• The presentation of supporting evidence is generally clear and includes details.

• The sequence of ideas and supporting evidence is generally effective but not always logical.

• The conclusion recalls the focus of the response.

Voice

• The writer’s voice is somewhat consistent, but sincerity is not obvious.

• The writer’s voice is generally appropriate to the subject matter of the response.

• The writer’s voice is generally appropriate to the intended audience of the response.


• Word choices reflect thought but are not always precise.

• Descriptive phrasing is attempted but is not always effective or relevant.

• When literary terms are necessary, they are generally used appropriately.

• Sentences vary somewhat in length and structure but could use more variation.

• Ideas are not always connected using transition words and phrases.

• The response is generally complete but may not move smoothly from beginning to end.

Conventions

• Some spelling errors occur, but not enough to impede understanding.

• The response contains some errors in usage, grammar, or punctuation, but not enough to impede understanding.

• The response contains a few errors in capitalization.

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2 Ideas

• The response demonstrates little understanding of the assignment.

• The point of the response is missing or unclear.• The response shows little or a somewhat

inaccurate understanding of the piece of literature.

• The response appears to have a purpose and focus, but it is rarely clear.

• Examples and details are presented but are not always appropriate.

• The evidence is mostly unrelated to the main point.

• The response occasionally shows some originality and creativity.

Organization

• The response suggests a position about the piece of literature, but it is vague.

• The opening may not provide a focus.• The focus is not always clear.• The introduction is not entirely effective or may

not include an attempt to catch the reader’s attention.

• The presentation of supporting evidence is generally clear but may lack details.

• The sequence of ideas and evidence is not always effective or logical.

• The conclusion may not echo the focus of the response.

Voice

• The writer’s voice is not always consistent, and sincerity may be lacking.

• The writer’s voice is not always appropriate to the subject matter.

• The writer’s voice is not always appropriate to the intended audience of the response.


• Word choices reflect thought but are often not precise or accurate.

• Descriptive phrasing is occasionally attempted but is not effective or is irrelevant.

• When literary terms are necessary, they are often not used appropriately.

• Sentences only occasionally vary.• Ideas are only occasionally connected.

Conventions

• Some spelling errors may impede understanding.

• Errors in usage, grammar, or punctuation may impede understanding at times.

• Errors in capitalization may affect understanding.

UNIT ONE Response to Literature continued

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Assessment 109

1 Ideas

• The response demonstrates some understanding of the assignment, but it is not complete.

• The response suggests a point about the piece of literature, but it is vague.

• The response shows an incomplete or inaccurate understanding of the piece of literature.

• The response implies a purpose and focus, but it is not clear.

• Examples and details are rarely appropriate.• The evidence may be unrelated to the main

point.• The response shows little originality and

creativity.

Organization

• The position about the topic is not clear.• The opening does not provide a focus.• The focus is generally unclear.• The introduction is not clear and may not

include an attention-getter.

• The presentation of supporting evidence is somewhat unclear and lacks details.

• The sequence of ideas and evidence is not effective and may be illogical.

• The conclusion does not echo the focus of the response.

Voice

• Writer’s voice is generally inconsistent and often insincere.

• The writer’s voice is not often appropriate to the subject matter.

• The writer’s voice is sometimes inappropriate to the intended audience of the response.


• Word choices are generally not precise or accurate.

• Descriptive phrasing is rarely used.• Sentences and paragraphs may not flow

together.

• Ideas are rarely connected using transition words and phrases.

• The response is incomplete and does not move smoothly from beginning to end.

Conventions

• Spelling errors impede understanding.• Numerous errors in usage, grammar, and

punctuation often impede understanding.

• The response contains numerous errors in capitalization.

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4 Ideas

• The narrative demonstrates a complete understanding of the assignment.

• The narrative implies or states an insightful theme about the writer’s experience.

• The time, place, and events are presented precisely and thoroughly.

• Perfectly tuned examples and details support the theme.

• A range of well-chosen anecdotes very accurately reflect the significance of the experience.

• The narrative demonstrates a great deal of creativity and originality.

Organization

• The introduction is effective and compelling—it grabs the reader’s attention.

• The narrative has a distinct beginning, middle, and end.

• The pattern of organization is very clear and effective throughout the narrative.

• The point of view is consistent and effective throughout the narrative.

• Transitions provide a seamless progression from point to point.

• The ending effectively wraps up the narrative.

Voice

• The writer’s choice of narrative voice is exceptionally appropriate to the events recounted.

• The narrative voice is exceptionally exact, consistent, and highly effective throughout.

• The voice is exceptionally appropriate to the audience of the narrative.


• The word choice is exceptionally precise and accurate throughout the narrative.

• The sensory details are explicit and vivid.• Sentences vary in length and structure.• Ideas are clearly and smoothly connected using


• Sentences and paragraphs flow seamlessly together.

• The narrative forms a meaningful whole, moving smoothly from beginning to end.

Conventions

• All words are spelled correctly.• The narrative contains no errors in English

usage or grammar.

• The narrative contains no errors in punctuation.• The narrative contains no errors in capitalization.

Writing Workshop RubricUNIT TWO Autobiographical Narrative

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Assessment 111

3 Ideas

• The narrative demonstrates a basic understanding of the assignment.

• The narrative has a theme about the writer’s experience.

• The narrative states the time and place of the experience.

• Some examples and details are presented.• A few anecdotes reflect the significance of the

experience.• The narrative demonstrates occasional creativity

and originality.

Organization

• The introduction includes an attention-getter, but it may not be entirely effective.

• The narrative seems to have a beginning, middle, and end, but they are not entirely clear.

• The pattern of organization is not always clear and effective.

• The point of view is mostly consistent and effective.

• Transitions are used.• A clear ending is included but may not wrap up

the narrative.

Voice

• The voice is generally appropriate to the events recounted.

• The voice is often clear and effective.

• The voice is generally appropriate to the audience of the narrative.


• Word choices are thoughtful but not always precise or accurate.

• Sensory details are included but not described inventively.

• Sentences could use more variations in length and structure.

• Ideas are usually connected using transition words and phrases.

• The narrative is generally complete but may not move smoothly from beginning to end.

Conventions

• Some spelling errors exist, but not enough to impede understanding.

• The narrative contains some errors in usage or grammar, but not enough to impede understanding.

• The narrative contains some errors in punctuation, but not enough to impede understanding.

• The narrative contains a few errors in capitalization.

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UNIT TWO Autobiographical Narrative continued

2 Ideas

• The narrative demonstrates some understanding of the assignment, but it is not complete.

• The narrative seems to have a theme, but it is not always clear.

• The narrative implies a time and place, but it is not precise.

• Some examples and details are presented, but they may not support the theme.

• A few anecdotes partially reflect the significance of the experience but may not be good choices.

• The narrative demonstrates little creativity and originality.

Organization

• The introduction does not grab the reader’s attention.

• The narrative lacks one element: a beginning, middle, or end.

• The pattern of organization is only occasionally clear and effective.

• The point of view is only occasionally consistent and effective.

• Transitions are not always used.• The ending may not have a clear connection to

the narrative theme.

Voice

• The voice is not always appropriate to the events recounted.

• The voice is generally clear and consistent, but it may not be effective.

• The voice is not always appropriate to the audience and may be inappropriate.



• Sensory details are sometimes included but not described well.

• Sentences only occasionally vary in length and structure.

• Ideas are only occasionally connected using transition words and phrases.

• Sentences and paragraphs only occasionally flow together.

• The narrative is somewhat incomplete and does not move smoothly from beginning to end.

Conventions


• Errors in usage or grammar may impede understanding at times.

• Errors in punctuation may impede understanding at times.

• Errors in capitalization may intrude on understanding.

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Assessment 113

1 Ideas

• The narrative demonstrates little understanding of the assignment.

• The narrative’s theme is not clear.• The time and place may be confusing to

the reader.• Few details are presented, which may not

support the theme.

• Few anecdotes are included and do not reflect the significance of the experience.

• The narrative demonstrates very little creativity and originality.

Organization

• There is no introduction or it is not effective.• The beginning, middle, and end are not easily

identified.• The pattern of organization is rarely clear and is

generally not effective.

• The point of view is hard to determine.• Transitions are rarely used.• The ending does not connect to the

narrative theme.

Voice

• The narrative voice is often inappropriate to the events recounted.

• The narrative voice is rarely clear, consistent, or effective.

• The voice is often inappropriate to the audience.



• Sensory details are rarely included or described.

• Sentences rarely vary in length and structure.• Ideas are rarely connected using transition

words and phrases.

• Sentences and paragraphs do not flow together effectively.

• The narrative feels incomplete and lacks internal progression.

Conventions

• Spelling errors impede understanding.• The narrative contains numerous errors in

usage or grammar.• Errors in punctuation often impede

understanding.

• The narrative contains numerous errors in capitalization.

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ASSESSMENTCACA


Writing Workshop RubricUNIT THREE Descriptive Essay

4 Ideas

• The essay demonstrates a complete understanding of the assignment.

• The essay’s dominant theme is precise and very well articulated.

• The essay makes a clear, insightful point about the subject.

• The essay shows a deep, well-considered understanding of the subject.

• The ideas presented in the essay are well thought out and elaborated.

• The development of the ideas is thorough and logical.

• Support for the ideas presented is highly specific and very detailed.

Organization

• The significance of the title is clear and very insightful.

• The essay clearly states a position about the topic.

• The focus is very precise and effective throughout the essay.

• The introduction is exceptionally effective and compelling—it grabs the reader’s attention.

• Presentation of supporting evidence is exceptionally thorough, with details that are explicit and vivid.

• The sequence of supporting evidence is highly logical and exceptionally effective.

• Transitions provide a seamless progression from point to point.

• The conclusion effectively reaffirms the focus of the essay.

Voice

• The writer’s voice is consistent and effective throughout the essay.

• The writer’s voice is perfectly attuned to the subject matter.

• The writer’s voice is perfectly attuned to the audience.

• The essay’s tone demonstrates exceptional sensitivity to the subject.


• The essay displays great precision and accuracy in word choices.

• Descriptive phrasing is vivid and highly effective.

• Sentences and paragraphs flow smoothly together.

• Sentences vary in length and structure.• Ideas are clearly connected using transition

words and phrases.• The essay shows an excellent balance between

emotional reflection and reasoned observations.

Conventions

• All words are spelled correctly.• The essay contains no errors in English usage

or grammar.

• The essay contains no errors in punctuation.• The essay contains no errors in capitalization.

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Assessment 115

3 Ideas

• The essay demonstrates a basic understanding of the assignment.

• The essay’s dominant theme is precise and generally well expressed.

• The essay makes a point about the subject.• The essay shows some understanding of

the subject.

• The ideas presented in the essay are thought out but not completely elaborated.

• The development of the ideas is not entirely complete but generally logical.

• Support for the ideas presented is general and somewhat detailed.

Organization

• The significance of the title is generally clear but not explicitly so.

• The essay implies a position about the topic.• The focus is generally precise.• The introduction is effective and attempts to

grab the reader’s attention.

• Presentation of supporting evidence is generally thorough and includes details.

• The sequence of supporting evidence is generally effective but not always logical.

• Transitions are used.• The conclusion recalls the focus of the essay.

Voice

• The writer’s voice is somewhat consistent throughout the essay.

• The writer’s voice is generally appropriate to the subject matter.

• The writer’s voice is generally appropriate for the audience.

• The essay’s tone demonstrates some sensitivity to the subject.


• Word choices reflect thought but are not always precise or accurate.

• Descriptive phrasing is attempted but is not always effective.

• Sentences and paragraphs do not always flow well.


• Ideas are not always connected using transition words and phrases.

• The essay shows some balance between emotional reflection and reasoned observations.

Conventions


• The essay contains some errors in usage or grammar, but not enough to impede understanding.

• The essay contains some errors in punctuation, but not enough to impede understanding.

• The essay contains a few errors in capitalization.

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UNIT THREE Descriptive Essay continued

2 Ideas

• The essay demonstrates a basic but somewhat incomplete, understanding of the assignment.

• The essay’s dominant theme may not be entirely clear and needs to be more fully expressed.

• The essay makes a vague point about the subject.• The essay shows a partial understanding of

the subject.

• The ideas presented in the essay are thought out but not elaborated on.

• The development of the ideas is not entirely complete or logical.

• Support for the ideas presented is general and lacks detail.

Organization

• The significance of the title is not entirely clear.• The essay suggests a position about the topic,

but it may be vague.• The focus is not always obvious.• The introduction is not entirely clear or may not

include an attention-getter.• Presentation of supporting evidence is

generally effective but may lack details.

• The sequence of supporting evidence is not entirely thorough and not always logical.

• Transitions are inconsistently used.• The conclusion may not recall the focus of

the essay.

Voice

• The writer’s voice is not always consistent.• The writer’s voice is not always appropriate to

the subject matter.• The writer’s voice is not always appropriate for

the audience.

• The essay’s tone demonstrates only occasional sensitivity to the subject.



• Descriptive phrasing is occasionally attempted but is not effective.

• Sentences and paragraphs may not flow well together.



• The essay includes both emotional reflection and observation but is overly reliant on one approach.

Conventions


• Errors in usage or grammar may impede understanding at times.



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Assessment 117

1 Ideas

• The essay demonstrates an incomplete understanding of the assignment.

• The essay’s dominant theme is not clear or fully expressed.

• The essay does not make a clear point about the subject.

• The essay shows little understanding of the subject.

• The ideas presented in the essay are not fully considered or elaborated on.

• The development of the ideas is incomplete and not logical.

• Support for the ideas presented is vague and lacks detail.

Organization

• The significance of the title is not clear.• The writer’s position about the topic is not

entirely clear.• The focus is sometimes lacking.• The introduction is not clear and may not


somewhat unclear and lacks details.

• The sequence of supporting evidence is not effective and may be illogical.

• Transitions are rarely used.• The conclusion does not recall the focus of

the essay.

Voice

• The writer’s voice is not consistent.• The writer’s voice is not appropriate to the

subject matter.• The writer’s voice is not appropriate for

the audience.

• The essay’s tone demonstrates no sensitivity to the subject.



• Descriptive phrasing is rarely used.• Sentences and paragraphs may not flow well

together.

• Sentences rarely vary in length and structure.• Ideas are rarely connected using transition words

and phrases.• The essay includes only emotional reflection or

observation, but not both.

Conventions

• Spelling errors impede understanding.• The essay contains numerous errors in usage

or grammar.• Errors in punctuation often impede

understanding.

• The essay contains numerous errors in capitalization.

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Writing Workshop RubricUNIT FOUR Literary Criticism Essay

4 Ideas

• The essay demonstrates a complete understanding of the assignment.

• The essay makes an insightful point about the subject.

• The essay shows a deep understanding of theme, plot, characterization, and other elements of literary analysis.

• The essay demonstrates a very clear purpose and focus.

• The ideas presented in the essay are fully elaborated.

• The development of the ideas is thorough and perfectly logical.

• The supporting evidence provides well-chosen direct references from the literary work.

• The evidence selected and presented provides effective support for the essay’s main point.

• The essay demonstrates a great deal of originality and creativity.

Organization

• The essay takes a precise and persuasive position.

• The opening provides a clear focus for the essay.

• The focus is clear and effective throughout the essay.

• The introduction is exceptionally effective and compelling—it grabs the reader’s attention.

• Presentation of supporting evidence is exceptionally thorough, with explicit and vivid details.

• The sequence of ideas and supporting evidence is exceptionally effective.

• Transitions provide a seamless progression of ideas.

• The conclusion effectively reaffirms the focus.

Voice

• The writer’s voice is clear, consistent, and sincere throughout the essay.

• The writer’s voice is perfectly attuned to the subject matter of the essay.

• The writer’s voice is exceptionally appropriate to the intended audience of the essay.

• The essay’s tone demonstrates exceptional sensitivity to the piece of literature.


• Word choice is exceptionally precise and accurate.

• Word choice is vivid and effective.• When literary terms are necessary, they are



transition words and phrases.• The essay shows an excellent balance between

emotional reflection and reasoned observations.

Conventions

• All words are spelled correctly.• The essay contains no errors in English usage,


• The essay contains no errors in capitalization.

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Assessment 119

3 Ideas

• The essay demonstrates a basic understanding of the assignment.

• The essay makes a considered point about the subject.

• The essay shows some understanding of theme, plot, characterization, and other elements of literary analysis.

• The essay demonstrates a purpose and focus, but they are not always clear.

• The ideas presented in the essay are explained, but not in great detail.

• The development of the ideas is mostly complete and generally logical.

• The supporting evidence includes some references from the literary work.

• The evidence selected and presented provides some support for the essay’s main point.

• The essay demonstrates some originality and creativity.

Organization

• The essay takes a position on the topic, but it is not entirely precise and may not be persuasive.

• The opening generally provides a focus.• The focus is generally clear.• The introduction is effective and attempts to


• Presentation of supporting evidence is generally thorough and includes details.

• The sequence of ideas and supporting evidence is generally effective but not always logical.

• Transitions are used.• The conclusion recalls the focus of the response.

Voice

• The writer’s voice is somewhat consistent throughout the essay, but sincerity is not obvious.

• The writer’s voice is generally appropriate to the subject matter of the essay.

• The writer’s voice is appropriate to the intended audience of the essay.

• The essay’s tone demonstrates sensitivity to the piece of literature.






• Ideas are usually connected using transition words and phrases.

• The essay shows some balance between emotional reflection and reasoned observations.

Conventions


• The essay contains some errors in English usage, grammar, or punctuation, but not enough to impede understanding.

• The essay contains a few errors in capitalization.

First Proof

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ASSESSMENTCACA


UNIT FOUR Literary Criticism Essay continued

2 Ideas

• The essay demonstrates some understanding of the assignment, but it is not complete.

• The essay suggests a point about the subject, but it is not clear.

• The essay shows an incomplete or sometimes inaccurate understanding of theme, plot, characterization, and other elements of literary analysis.

• The essay implies a purpose and focus, but it is rarely clear.

• The ideas presented in the essay are not completely explained.


• The supporting evidence includes few references from the literary work.

• The evidence may be inappropriate to the main point.

• The essay only occasionally shows originality or creativity.

Organization

• The essay seems to take a position on the topic, but it is vague.

• The opening may not provide a clear focus.• The introduction is not entirely effective or may not

include an attempt to catch the reader’s attention.• Presentation of supporting evidence is

generally thorough but may lack details.

• The sequence of ideas and evidence is not always effective or logical.

• Transitions are not always used.• The conclusion may not echo the focus of

the response.

Voice


• The writer’s voice is not always appropriate to the subject matter.

• The writer’s voice is not always appropriate to the intended audience.

• The essay’s tone demonstrates only occasional sensitivity to the subject.




• Some literary terms are used, but often not appropriately.



• The essay includes emotional reflection and reasoned observations but is overly reliant on one approach.

Conventions

• Some spelling errors may impede understanding.• Errors in English usage, grammar, or punctuation

may impede understanding at times.


First Proof

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Assessment 121

1 Ideas

• The essay demonstrates little understanding of the assignment.

• The essay’s point about the subject is unclear or may be missing.

• The essay shows little or an inaccurate understanding of theme, plot, characterization, and other elements of literary analysis.

• The essay may have a purpose and focus, but they are not clear.

• The ideas presented in the essay are not explained or may be inappropriate to the subject.

• The development of ideas is generally incomplete and illogical.

• The supporting evidence includes a few inappropriate references from the literary work.

• The evidence is mainly unrelated to the main point.

• The essay shows little originality or creativity.

Organization

• The position about the topic is not obvious.• The opening does not provide a focus.• The focus is generally unclear.• The introduction is not clear and may not


somewhat incomplete and lacks details.

• The sequence of ideas and evidence is not effective and may be illogical.

• Transitions are rarely used.• The conclusion does not echo the focus of

the response.

Voice

• The writer’s voice is generally inconsistent and often insincere.

• The writer’s voice is often inappropriate to the subject matter.

• The writer’s voice is sometimes inappropriate to the intended audience of the essay.

• The essay’s tone demonstrates little sensitivity to the subject.



• Descriptive phrasing is rarely used.• Literary terms are not used appropriately.


and phrases.• The essay includes only emotional reflection or

observation, but not both.

Conventions

• Spelling errors impede understanding.• Numerous errors in English usage, grammar, or

punctuation often impede understanding.

• The essay contains numerous errors in capitalization.

First Proof

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ASSESSMENTCACA


Writing Workshop RubricUNIT F IVE Research Report

4 Ideas

• The report demonstrates a complete understanding of the assignment.

• The report addresses an interesting topic.• The report provides an insightful point about

the topic.• The report shows a deep understanding of the

complexity and nuances of the topic.• The report demonstrates a very clear purpose

and focus.

• Supporting evidence is sensible and insightful.• The development of ideas is thorough and

perfectly logical.• The report demonstrates a great deal of

originality and creativity.• The report completely avoids plagiarism through

the effective use of quotations and paraphrasing.

Organization

• The introduction effectively focuses on the topic.

• The report includes a precise, direct thesis statement that conveys the writer’s attitude about the topic.

• The opening provides a clear focus for the report.

• The focus is effectively maintained throughout the report.

• The body is presented in a completely logical order.

• The supporting factual information is exceptionally explicit and thorough.

• Transitions are seamless.• The conclusion effectively reviews the most

important points presented in the report.

Voice

• The writer’s voice is clear, consistent, and sincere throughout the report.

• The writer’s voice is perfectly attuned to the subject matter of the report.

• The writer’s voice is exceptionally appropriate for the intended audience of the report.

• The report’s tone demonstrates exceptional understanding of the research topic.


• Word choice is exceptionally precise and accurate.

• Word choice is relevant and effective.• When literary terms are necessary, they are




Conventions

• All words are spelled correctly.• The report contains no errors in English usage

or grammar.

• The report contains no errors in punctuation.• The report contains no errors in capitalization.

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Assessment 123

3 Ideas

• The report demonstrates a basic understanding of the assignment.

• The report addresses a somewhat intriguing topic.

• The report makes a considered point about the topic.

• The report shows an understanding of the complexity of the topic but is not nuanced.

• The report includes a purpose and focus, but they are not always clear.

• The supporting evidence is generally sensible but not always insightful.

• The development of ideas is mostly complete and logical.

• The report shows some originality and creativity.• The report uses quotations and paraphrasing,

but the difference between quoted material and the writer’s own content is not always clear.

Organization

• The introduction mentions the topic, but it is not entirely clear.

• The report includes a thesis statement that generally conveys the writer’s attitude about the topic.

• The focus is generally clear.

• The order is generally logical but sometimes confusing.

• Factual information is generally clear and includes some details.

• Transitions are used.• The conclusion recalls some important points.

Voice

• The writer’s voice is somewhat consistent throughout the report, but sincerity is not obvious.

• The writer’s voice is generally attuned to the subject matter of the report.

• The writer’s voice is generally appropriate for the intended audience of the report.

• The report’s tone demonstrates some understanding of the research topic.






• Ideas are usually connected using transition words and phrases, but not always.

Conventions


• The report contains some errors in English usage or grammar, but not enough to impede understanding.

• The report contains some errors in punctuation, but not enough to impede understanding.

• The report contains a few errors in capitalization.

First Proof

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ASSESSMENTCACA


UNIT F IVE Research Report continued

2 Ideas

• The report demonstrates an incomplete understanding of the assignment.

• The report addresses a somewhat humdrum topic.

• The report suggests a point about the topic, but it is not clear.

• The report shows an incomplete or sometimes inaccurate understanding of the complexity of the topic.

• The report suggests a purpose and focus, but they are rarely clear.

• The supporting evidence is not always sensible or insightful.


• The report only occasionally shows originality and creativity.

• The distinction between quoted or paraphrased material and the writer’s own content is unclear.

Organization

• The introduction focuses on the topic but it is not entirely clear.

• The report includes a thesis statement but it does not convey the writer’s attitude about the topic.

• The focus is not always clear.

• The order is often illogical or confusing.• The factual information is generally clear but

lacks details.• Transitions are not always used.• The conclusion notes only a few of the report’s

main points.

Voice


• The writer’s voice is not always appropriate for the subject matter.

• The writer’s voice is not always appropriate for the intended audience of the report.

• The report’s tone demonstrates an incomplete understanding of the research topic.




• When literary terms are necessary, they are often used inappropriately.



Conventions


• Errors in English usage or grammar may impede understanding at times.



First Proof

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Assessment 125

1 Ideas

• The report demonstrates little understanding of the assignment.

• The report’s topic is not compelling.• The report’s point about the topic is not clear.• The report shows little understanding of the

topic.• The report’s purpose and focus are not clear.

• The supporting evidence is often irrelevant.• The development of the ideas is generally

incomplete or illogical.• The report shows little originality and creativity.• The distinction between quoted or paraphrased

material and the writer’s own content is not clear and gives the impression of plagiarism.

Organization

• The introduction does not provide a focus.• The report does not include an easily

identifiable thesis statement.• The focus is generally unclear.• The report is presented in a confusing order.

• The factual information is unclear and lacks details.

• Transitions are rarely used.• The conclusion does not review the report’s

main points.

Voice

• The writer’s voice is generally inconsistent and often insincere.

• The writer’s voice is rarely appropriate to the subject.

• The writer’s voice is sometimes inappropriate for the intended audience of the report.

• The report’s tone demonstrates very little understanding of the research topic.



• Descriptive phrasing is rarely used.• Literary terms are used inappropriately.


and phrases.

Conventions

• Spelling errors impede understanding.• The report contains numerous errors in English

usage or grammar.• Errors in punctuation often impede

understanding.

• The report contains numerous errors in capitalization.

First Proof

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ASSESSMENTCACA


Writing Workshop RubricUNIT SIX Persuasion: Editorial

4 Ideas

• The editorial demonstrates a complete understanding of the assignment.

• The title accurately reflects the argument.• The topic of the editorial is timely.• The topic is clearly stated.• The editorial makes a clear and convincing

point about the topic.• Well-chosen details support the editorial

argument.

• The evidence supporting the main point is concise and relevant.

• The editorial thoroughly refutes opposing viewpoints.

• Multiple appeals are blended throughout the editorial.

• The editorial has a dynamic ending.

Organization

• The editorial’s main point is clearly and forcefully stated in the lead paragraph.

• The focus is clear and effective throughout the editorial.

• The internal order of ideas is easy to follow.• The supporting evidence presented is

exceptionally fair and accurate.

• The sequence of the supporting evidence is exceptionally logical and compelling.

• Possible counterarguments are refuted in a highly logical sequence.

• Transitions are seamless.• The closing effectively reaffirms the main point

of the editorial.

Voice

• The editorial is interesting and presents a compelling issue.

• The writer’s voice is clear, consistent, and persuasive throughout the editorial.

• Arguments and writing have a strong, clear identity.

• The editorial voice is exceptionally appropriate to the subject matter and the intended audience.

• Emotional appeals are blended with reasoned arguments.


• Lively verbs are used to strongly support the editorial argument.

• Precise word choices are vivid and effective.• Emotional appeals are blended skillfully into

the editorial.

• Sentences vary in length and structure.• Sentences and paragraphs flow very smoothly

together.• Related ideas and arguments are balanced and

unified through parallelism.

Conventions

• All words are spelled correctly.• The paper contains no errors in English usage,


• The paper contains no errors in capitalization.

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Assessment 127

3 Ideas

• The editorial demonstrates a basic understanding of the assignment.

• The title does not entirely reflect the argument.• The topic of the editorial may be dated.• The topic may not be entirely clear.• The editorial makes a point about the topic, but

it is not explicit.

• Some details support the editorial argument.• Some supporting evidence is presented but may

not always be relevant.• The editorial somewhat refutes opposing

viewpoints.• Multiple appeals are presented but not in a

compelling way.• The editorial ends with a clincher.

Organization

• The editorial’s main point is stated in the lead paragraphs.

• The focus is generally clear.• Internal order of ideas is mostly easy to follow.• The supporting evidence presented is fair but

may not be entirely accurate.

• The sequence of the supporting evidence makes sense but may not be compelling.

• Possible counterarguments are refuted but not in an orderly manner.

• Transitions are used.• The closing restates the main point of the

editorial.

Voice

• The editorial is acceptable but may not present a compelling issue.

• The writer’s voice is consistent but may not be persuasive throughout the editorial.

• Arguments and writing may not have a clear identity.

• The editorial voice is usually appropriate to the subject matter and the intended audience.

• Emotional appeals are used but may not be blended with reasoned arguments.


• Lively verbs are used but may not support the persuasive argument.

• Word choices are not always vivid but may still be effective.

• Emotional appeals are used in the editorial, but not always effectively.

• Sentences vary a little in length and structure.• Most sentences and paragraphs flow together.• Related ideas and arguments are usually

connected.

Conventions


• Errors in English usage, grammar, or punctuation may impede understanding at times.


First Proof

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ASSESSMENTCACA


UNIT SIX Persuasion: Editorial continued

2 Ideas

• The editorial demonstrates some understanding of the assignment, but it is not complete.

• The title is only loosely connected to the argument.

• The topic of the editorial is out of date or of marginal interest.

• The topic is somewhat unclear.

• The editorial’s point about the topic is somewhat vague.

• Few details support the editorial argument.• Little supporting evidence is presented.• One or two appeals are presented without

compelling arguments.• The editorial has a vague ending.

Organization

• The editorial’s main point is stated, but not in the lead paragraph.

• The focus is somewhat unclear.• Internal order of ideas is not always easy

to follow.• The supporting evidence presented may not be

fair or entirely accurate.

• The sequence of the supporting evidence may make no sense and lack interest.

• Not all counterarguments are refuted.• Transitions are not always used.• The closing makes a point, but does not reflect

the main point of the editorial.

Voice

• The editorial is less than satisfactory but may present a compelling issue.

• The writer’s voice is not consistent and may not be persuasive.

• Arguments and writing do not have a clear identity.

• The editorial voice is often inappropriate to the subject matter and the intended audience.

• Emotional appeals are used but no reasoned arguments are presented.


• Lively verbs are rarely used and may not support the persuasive argument.

• Word choices are rarely vivid or are not effective.

• Emotional appeals are only occasionally used in the editorial.

• Sentences rarely vary in length and structure.• Sentences and paragraphs only occasionally flow

together.• Related ideas and arguments are usually

connected, but not always.

Conventions


• Errors in English usage, grammar, or punctuation may impede understanding at times.


First Proof

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Assessment 129

1 Ideas

• The editorial demonstrates little or an inaccurate understanding of the assignment.

• The title is not connected to the argument.• The topic of the editorial is dated and of

little interest.• The editorial’s point about the topic is unclear.

• No relevant details support the editorial argument.

• No relevant supporting evidence is presented.• Appeals are vague and not compelling.• The editorial lacks an effective ending.

Organization

• The editorial’s main point is not clearly stated.• The focus is unclear.• Internal order of ideas seems random.• The supporting evidence presented is not fair

or is inaccurate.• The sequence of the supporting evidence

makes no sense and lacks interest.

• Few or no possible counterarguments are refuted.

• Transitions are rarely used.• The closing does not make a point.

Voice

• The editorial is less than satisfactory and does not present a compelling issue.

• The writer’s voice is not consistent or persuasive.

• Arguments and writing do not have a discernible identity.

• The editorial voice is rarely appropriate to the subject matter or the intended audience.

• Emotional appeals are not used, and no reasoned arguments are presented.


• Lively verbs are not used.• Word choices are not vivid or effective. • Emotional appeals are lacking or only one is

used in the editorial.

• Sentences do not vary in length and structure.• Sentences and paragraphs do not flow together.• Related ideas and arguments are rarely

connected.

Conventions

• Spelling errors impede understanding.• Numerous errors in English usage, grammar,

and punctuation often impede understanding.

• The paper contains numerous errors in capitalization.

First Proof

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Alignment to the Standards 131

Alignment to the StandardsGlencoe Literature: California Treasures is a standards-based program. This section provides information about the skills and standards taught across the high school program. This section also offers tools to help you communicate with the home and monitor each student’s progress in mastering the standards. It is divided into five parts:

• • Skills Scope and Sequence

• • Selections and Corresponding Standards

• • Standards and Corresponding Selections

• • Connecting School and Home

• • California English-Language Arts Content Standards Progress Report

ALIGNMENT TO THE STANDARDS

CACA


Genre Focus: Short Story

pp. 2–6

R3.6

Literary Focus: Plot and Setting

pp. 8–9

R3.6, W2.1

The Lady, or the Tiger?

by Frank R. Stockton

pp. 10–19

R3.3

The Most Dangerous Game

by Richard Connell

pp. 20–42

R1.1, R3.3, R3.6, R3.7, W1.1, W1.9,

W2.3.b, W2.3.c

The Leap by Louise Erdrich

pp. 43–53

R1.1, R3.6, LS1.3, LS1.8, LS1.9, LS2.3

Vocabulary Workshop: Academic Vocabulary

pp. 54–55

R1.1

The Cask of Amontillado

by Edgar Allan Poe

pp. 56–67

R2.3, R3.11, W2.3.a–f, LC1.1, LS1.1

Vocabulary Workshop: Homonyms and Homophones

p. 68

R1.2

Blues Ain’t No Mockin Bird

by Toni Cade Bambara

pp. 69–78

R3.11, W1.1, W1.2, W2.1.c, W2.1.e, W2.2.c

The Interlopers

by Sakipp. 79–89

R3.6, R3.8, R3.11, W2.3a, W2.3.c, W2.3.d, LS1.1

TIME: Shattered

by Christopher Batin

pp. 90–94

R2.5

Literary Focus: Character and Theme

pp. 96–97

R3.3, R3.4

Selections and Corresponding Standards

This chart identifies the Grade 9 California English-Language Arts Content

Standards that are taught or reviewed in each lesson in the Glencoe Literature:

California Treasures—Course 4 Student Edition.

Unit 1: The Short Story

Glencoe Literature: California Treasures

Selections and Workshops StandardsCACA

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Rules of the Game

by Amy Tanpp. 98–111

R1.1, R2.3, R3.3, R3.4, W1.3, LS1.7

Grammar Workshop: Sentence Combining

pp. 112–113

LC1.2

The Gift of the Magi

by O. Henrypp. 114–124

R2.5, R3.3, R3.4, W2.1.a, W2.1.c, W2.1.e

Vocabulary Workshop: Dictionary Use

p. 125

R1.1

Comparing Literature: Liberty

by Julia Alvarez

The Struggle to Be an All-American Girl

by Elizabeth Wong

Legal Alienby Pat Morapp. 126–140

R2.4, R3.2, R3.3, R3.5

Sweet Potato Pie

by Eugenia Collier

pp. 141–153

R1.1, R2.2, R3.4, R3.8, R3.11. W1.3, W1.5, W1.7, W1.8, LS1.7

Grammar Workshop: Misplaced Modifiers

p. 154

LC1.1, LC1.2, LC1.3

The Scarlet Ibis

by James Hurst

pp. 155–170

R1.1, R3.4, R3.7, W2.4.a–d

Vocabulary Workshop: Multiple Meaning Words

p. 171

R1.1

The Bass, the River, and Shelia Mant

by W. D. Wetherell

pp. 172–182

R3.4, R3.6, W1.1, W1.2, W2.1c, W2.1.e, W2.2.c

Literary Focus: Narrator and Voice

pp. 184–185

R3.9

The Secret Life of Walter Mitty

by James Thurber

pp. 186–194

R3.8, R3.9, R3.11, LS1.1, LS1.11, LS1.12

Grammar Workshop: Run-on Sentences

p. 195

LC1.1, LC1.3

The Necklace

by Guy de Maupassant

pp. 196–207

R1.1, R3.3, R3.7, R3.9, R3.11, W2.1.a–c

Glencoe Literature: California Treasures

Selections and Workshops StandardsCACA

What standards are taught

with each selection?

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ALIGNMENT TO THE STANDARDSCACA


Standards and Corresponding SelectionsThis chart lists the Grade 9 California English-Language Arts Content Standards and shows which lessons in the Glencoe Literature: California Treasures—Course 4 Student Edition teach or review each standard.

Reading

1.0 Word Analysis, Fluency, and Systematic Vocabulary DevelopmentStudents apply their knowledge of word origins to determine the meaning of new words encountered in reading materials and use those words accurately.

Standards Glencoe Literature: California Treasures Selections and WorkshopsVocabulary and Concept Development1.1 Identify and use the literal and figurative meanings of words and understand word derivations.

The Most Dangerous Game, pp. 20–42The Leap, pp. 43–53Vocabulary Workshop: Academic Vocabulary, pp. 54–55Rules of the Game, pp. 98–111Vocabulary Workshop: Dictionary Use, p. 125Sweet Potato Pie, pp. 141–153The Scarlet Ibis, pp. 155–170

Vocabulary Workshop: Multiple-Meaning Words, p. 171The Necklace, pp. 196–207The Son from America, pp. 229–239A Brother’s Crime, pp. 282–291from Into Thin Air, pp. 355–368Vocabulary Workshop: Jargon, p. 374A New Generation of Americans, pp. 378–385That One Man’s Profit Is Another’s Loss, pp. 386–389I Wandered Lonely as a Cloud, pp. 450–454A Noiseless Patient Spider, pp. 465–469Sympathy, pp. 531–535

The Tragedy of Romeo and Juliet, Act 5, pp. 724–743from the Odyssey, Part 1, pp. 834–856The Golden Kite, the Silver Wind, pp. 1034–10411.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.

Vocabulary Workshop: Homonyms and Homophones, p. 68I Was a Skinny Tomboy Kid, pp. 510–514Defining the Grateful Gesture, pp. 526–530Vocabulary Workshop: Denotation and Connotation, p. 788from the Odyssey, Part 1, pp. 834–856Vocabulary Workshop: Loaded Words, p. 1042The Red-Headed League, pp. 1043–1067The Stolen Cigar Case, pp. 1071–10811.3 Identify Greek, Roman, and Norse mythology and use the knowledge to understand the origin and meaning of new words (e.g., the word narcissistic drawn from the myth of Narcissus and Echo).

from the Odyssey, Part 1, pp. 834–856Vocabulary Workshop: Word Origins: Words form Norse Mythology, p. 953

CACA

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Structural Features of Informational Materials 2.1 Analyze the structure and format of functional workplace documents, including the graphics and headers, and explain how authors use the features to achieve their purposes.

Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide, pp. 1104–1110

Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–11272.2 Prepare a bibliography of reference materials for a report using a variety of consumer, workplace, and public documents.

Sweet Potato Pie, pp. 141–153Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122

Comprehension and Analysis of Grade-Level-Appropriate Text 2.3 Generate relevant questions about readings on issues that can be researched. The Cask of Amontillado, pp. 56–67Rules of the Game, pp. 98–111Sweet Potato Pie, pp. 141–153A Brother’s Crime, pp. 282–291from Into Thin Air, pp. 355–368Escape from Afghanistan, pp. 307–317Haiku, pp. 496–501

The Sentinel, pp. 994–1007Writing Workshop: Research Report, pp. 962–9712.4 Synthesize the content from several sources or works by a single author dealing with a single issue; paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.

Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140from Into Thin Air, pp. 355–368Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment / Other Revenue Sources Should Be Pursued, pp. 398–411Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument, pp. 475–485

Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The Penelopiad, pp. 900–906

Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide, pp. 1104–1110

2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.

TIME: Shattered, pp. 90–94The Gift of the Magi, pp. 114–124Of Dry Goods and Black Bow Ties, pp. 268–275Only Daughter, pp. 276–281A Brother’s Crime, pp. 282–291from The Murder of Abraham Lincoln, pp. 292–269Literary Focus: Form and Structure, pp. 448–449from Black Boy, pp. 297-305

Reading (continued)

2.0 Reading Comprehension (Focus on Informational Materials)Students read and understand grade-level-appropriate material. They analyze the organizational patterns, arguments, and positions advanced. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students. In addition, by grade twelve, students read two million words annually on their own, including a wide variety of classic and contemporary literature, magazines, newspapers, and online information. In grades nine and ten, students make substantial progress toward this goal.

Standards Glencoe Literature: California Treasures Selections and Workshops

CACA

(continued)

Which selections teach which standards?

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How is Glencoe Literature aligned with the California standards?

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A M E R I CA N A M E R I CA N L I T E R AT U R EL I T E R AT U R E

C O U R S E 5C O U R S E 5C O U R S E 4C O U R S E 4 B R I T I S H B R I T I S H L I T E R AT U R EL I T E R AT U R E

✔= Number of unitsthat teach skill

✔= Number of unitsthat review skill


Literary CriticismAnalyzing Literature in Context

Aesthetic Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔

Biographical Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Cultural Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Historical Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Philosophical Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Political Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Social Approach ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Literary GenresOral Tradition Forms

Myth, Folklore, and Legend ✔ ✔ ✔ ✔ ✔ ✔ ✔

Song ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Fiction

Novel Excerpt ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Short Story ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Nonfiction

Autobiography or Memoir ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Biography ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Essay ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Functional Document ✔ ✔

Graphic Novel ✔ ✔ ✔ ✔ ✔ ✔

Journal or Diary ✔ ✔ ✔ ✔ ✔ ✔

Skills Scope and SequenceThis chart provides an overview of the skills taught in the Glencoe

Literature: California Treasures high school program. For a detailed scope and sequence of skills, see the chart at the beginning of each unit in the Teacher Edition. Refer also to the Index of Skills in the Reference section in the back of each book for a comprehensive listing of all skills and concepts taught at that level.

First Proof

Second Proof

Third Proof

PDF Proof

Grade 09-10

132-137_G9-10_S&S_CA.indd 132132-137_G9-10_S&S_CA.indd 132 6/5/08 10:18:43 AM6/5/08 10:18:43 AM


C O U R S E 5C O U R S E 5C O U R S E 4 B R I T I S H B R I T I S H L I T E R AT U R EL I T E R AT U R E


Letter ✔ ✔ ✔ ✔ ✔ ✔ ✔

Magazine Article ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Newspaper Article ✔ ✔ ✔

Political Document / Public Documents

✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Speech ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Poetry

Ballad ✔ ✔ ✔ ✔ ✔

Epic ✔ ✔ ✔ ✔

Free Verse ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Haiku ✔ ✔

Lyric Poem ✔ ✔ ✔ ✔

Narrative Poem ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Sonnet ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Drama

Comedy ✔ ✔ ✔

Dramatic Monologue ✔ ✔

Tragedy ✔ ✔ ✔ ✔

Literary ElementsLiterary Structure

Author’s Purpose ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Characters / Characterization ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Lines and Stanzas ✔ ✔ ✔

Plot ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Poetic Forms ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Point of View ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Setting ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Theme ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Literary Language

Diction ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Figures of Speech ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

What skills are taught at each grade?

First Proof

Second Proof

Third Proof

PDF Proof

Grade 09-10






Flashback / Flash-forward ✔ ✔ ✔ ✔ ✔

Foreshadowing ✔ ✔ ✔ ✔

Hero ✔ ✔ ✔ ✔

Imagery and Sensory Details ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Point of View ✔ ✔ ✔ ✔ ✔ ✔

Rhetorical Strategies ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Sound Devices ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Symbolism ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Voice and Tone ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Literary Periods and MovementsAmerican Literature

Pre-Colonial Period ✔

Colonial and Revolutionary Period ✔ ✔

Romanticism ✔ ✔ ✔ ✔

Transcendentalism ✔ ✔

Regionalism ✔ ✔ ✔

Realism ✔ ✔ ✔ ✔

Naturalism ✔ ✔ ✔

Modernism ✔ ✔ ✔

Harlem Renaissance ✔

New Regionalism ✔

Contemporary Period ✔

British and World Literature

Anglo-Saxon Period ✔

Medieval Period ✔ ✔

English Renaissance ✔ ✔ ✔

Puritanism to the Enlightenment (17th and 18th centuries)

✔ ✔

Romantic Period ✔ ✔ ✔

Victorian Period ✔ ✔

Realism ✔

First Proof

Second Proof

Third Proof

PDF Proof

Grade 09-10





Naturalism ✔

International (World) Literature ✔ ✔

Contemporary Period and Postmodern Period

✔

Reading SkillsStrategies

Analyzing ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Clarifying ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Drawing Conclusions ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Making Inferences ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Making Predictions ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Monitoring Comprehension ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Paraphrasing ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Previewing ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Questioning ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Recognizing Bias ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Summarizing ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Synthesizing ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Text Structure

Cause and Effect ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Chronological Order ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Compare and Contrast ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Problem and Solution ✔ ✔ ✔

Vocabulary DevelopmentAcademic Vocabulary ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Analogies ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Antonyms ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Context Clues ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Denotation and Connotation ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Multiple-Meaning Words ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Prefixes and Suffixes ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

First Proof

Second Proof

Third Proof

PDF Proof

Grade 09-10






Synonyms ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Word Roots and Origins ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Word Usage ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Writing and GrammarTypes of Writing

Autobiographical Narrative ✔ ✔ ✔ ✔

Biographical Narrative ✔ ✔ ✔ ✔

Business Letter ✔ ✔

Descriptive Essay ✔ ✔ ✔

Dialogue / Dramatic Scene / Movie Scene

✔ ✔ ✔

Editorial ✔ ✔ ✔ ✔

Essay ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Job Application and Résumé ✔ ✔ ✔ ✔

Literary Analysis and Criticism ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Multimedia Presentation ✔ ✔ ✔

Persuasive Composition ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Reflective Composition ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Research Report ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Response to Literature ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Short Story ✔ ✔ ✔ ✔ ✔ ✔ ✔

Technical Document ✔ ✔ ✔ ✔

Writing Process

Prewriting, Drafting, Revising, Editing and Proofreading, Presenting

✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Traits of Strong Writing ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Grammar, Usage, and Mechanics

Capitalization and Punctuation ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Parts of Speech ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Sentence Combining ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

First Proof

Second Proof

Third Proof

PDF Proof

Grade 09-10





Sentence Structure ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Transitional Expressions / Phrases ✔ ✔ ✔ ✔ ✔ ✔ ✔

Speaking, Listening, and ViewingDebate ✔ ✔ ✔ ✔ ✔

Descriptive Presentation ✔ ✔

Expository Presentation ✔ ✔ ✔ ✔ ✔

Interview ✔ ✔

Literary Analysis and Criticism ✔ ✔ ✔ ✔

Media Literacy ✔ ✔ ✔ ✔

Multimedia Presentation ✔ ✔ ✔ ✔

Narrative Presentation ✔ ✔ ✔ ✔

Oral Interpretation ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Oral Report ✔ ✔ ✔ ✔ ✔ ✔ ✔

Oral Response to Literature ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Persuasive Presentation ✔ ✔ ✔ ✔ ✔ ✔ ✔

Photo Essay ✔ ✔ ✔ ✔ ✔

Reflective Presentation ✔ ✔ ✔ ✔

Speech ✔ ✔ ✔ ✔ ✔ ✔

Research, Test-Taking, and Study SkillsGraphic Organizers ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Note-Taking ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Plagiarism ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Research ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Sources and Citations ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

Assessment / Test-Taking ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔ ✔

First Proof

Second Proof

Third Proof

PDF Proof

Grade 09-10




Genre Focus: Short Storypp. 2–6

R3.6

Literary Focus: Plot and Settingpp. 8–9

R3.6, W2.1

The Lady, or the Tiger? by Frank R. Stocktonpp. 10–19

R3.3

The Most Dangerous Game by Richard Connellpp. 20–42

R1.1, R3.3, R3.6, R3.7, W2.3.b, W2.3.c, LC1.2

The Leap by Louise Erdrichpp. 43–53

R3.6, LS1.8, LS1.9, LS2.3

Vocabulary Workshop: Academic Vocabulary pp. 54–55

R1.1

The Cask of Amontillado by Edgar Allan Poepp. 56–67

R2.3, R3.11, W1.3, W1.9, W2.3.a–c, f, LC1.1

Vocabulary Workshop: Homonyms and Homophones p. 68

R1.1

Blues Ain’t No Mockin Birdby Toni Cade Bambarapp. 69–78

R3.11, W1.1, W1.2

The Interlopers by Sakipp. 79–89

R3.8, W1.1, W1.9, W2.3a, W2.3.c, W2.3.d, LC1.1, LS1.1

TIME: Shattered by Christopher Batinpp. 90–94

R2.5

Literary Focus: Character and Themepp. 96–97

R3.3, R3.4

Selections and Corresponding StandardsThis chart identifies the Grade 9 California English-Language Arts Content Standards that are taught or reviewed in each lesson in the Glencoe Literature: California Treasures—Course 4 Student Edition.

Unit 1: The Short Story

Glencoe Literature: California TreasuresSelections and Workshops StandardsCACACACA

138_178_Std_G09_CA.indd 138138_178_Std_G09_CA.indd 138 6/8/09 6:52:42 PM6/8/09 6:52:42 PM


Rules of the Gameby Amy Tanpp. 98–111

R1.1, R2.3, R3.3, R3.4, W1.3, W1.5, LS1.7

Grammar Workshop: Sentence Combining pp. 112–113

LC1.1, LC1.2

The Gift of the Magiby O. Henrypp. 114–124

R3.4, W1.9, W2.1.a, W2.1.c, W2.1.e, LC1.3

Vocabulary Workshop: Dictionary Usep. 125

R1.1

Comparing Literature: Liberty by Julia AlvarezThe Struggle to Be an All-American Girlby Elizabeth WongLegal Alienby Pat Morapp. 126–140

R2.4, R3.2, R3.3, R3.5

Sweet Potato Pie by Eugenia Collierpp. 141–153

R1.1, R2.2, R3.4, R3.8, R3.11. W1.3, W1.5, W1.7, W1.8, LS1.7

Grammar Workshop: Misplaced Modifiersp. 154

LC1.2, LC1.3

The Scarlet Ibisby James Hurstpp. 155–170

R1.1, R3.4, R3.7, W1.4, W1.9, W2.4.a–d, LC1.1

Vocabulary Workshop: Multiple Meaning Words p. 171

R1.1

The Bass, the River, and Shelia Mant by W. D. Wetherellpp. 172–182

R3.4, R3.6, W2.1c, W2.1.e

Literary Focus: Narrator and Voice pp. 184–185

R3.9

The Secret Life of Walter Mitty by James Thurberpp. 186–194

R3.8, R3.9, R3.11, LS1.1

Grammar Workshop: Run-on Sentences p. 195

LC1.1, LC1.3

The Necklace by Guy de Maupassant pp. 196–207

R3.3, R3.7, R3.9, W1.9, W2.1.a–c, LC1.2, LC1.3

Glencoe Literature: California Treasures Selections and Workshops StandardsCACACACA

What standards are taught with each selection?




Genre Focus: Nonfictionpp. 260–264

R2.5

Literary Focus: Autobiography and Biographypp. 266–267

R3.11

Of Dry Goods and Black Bow Tiesby Yoshiko Uchidapp. 268–275

R2.5

Only Daughterby Sandra Cisneros pp. 276–281

R2.5

A Brother’s Crimeby James Cross Giblinpp. 282–291

R1.1, R2.3, R2.5, R3.9, W1.9, W2.1.a, c, LC1.1

Visual Perspective: from The Murder of Abraham Lincolnby Rick Gearypp. 292–269

R2.5

American Historyby Judith Ortiz Coferpp. 208–219

R3.4, R3.9, LS1.1, LS1.8, LS1.12

Historical Perspective: The Drums of Washingtonby Arthur M. Schlesinger Jr.pp. 220–224

R2.8

Mrs. Jamesby Alice Childress pp. 225–228

R3.9, R3.11, W2.5

The Son from America by Isaac Bashevis Singerpp. 229–239

R1.1, R3.9, R3.11, W1.1, W2.1a

Writing Workshop: Response to Literaturepp. 240–247

W1.1, W1.2, W1.9, W2.2.a–d, LC1.2, LC1.3, LC1.5

Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literaturepp. 248–249

LS1.1, LS1.8, LS1.12


Unit 2: Nonfiction




from Black Boyby Richard Wrightpp. 297–305

R2.5, W1.6, LS1.8, LS2.3.a–g

Grammar Workshop: Dialogue and Speaker Tagsp. 306

LC1.1

Escape from Afghanistanby Farah Ahmedi with Tamim Ansarypp. 307–317

R2.3, R2.6, R3.12, W1.6, LS1.7

Media Workshop: Compare Media Genrespp. 318–324

LS1.2

Literary Focus: Personal and Expository Essaypp. 326–327

R2.5

from All God’s Children Need Traveling Shoesby Maya Angeloupp. 328–339

R2.5, R3.12, W1.9, W2.1.b, W2.1.c, W2.1.e, LC1.2, LC1.3

Walkingby Linda Hoganpp. 340–346

R2.5, W1.1, W1.2, W2.2.c

Grammar Workshop: Clauses and Phrasesp. 347

LC1.1

Sayonaraby Anne Morrow Lindberghpp. 348–354

R3.11, W1.1, W1.2

from Into Thin Airby Jon Krakauerpp. 355–368

R2.2, R2.3, R3.6, W1.3, W1.7, W1.8, LS1.7

TIME: Adventure to Antarcticaby Rob Johnsonpp. 369–373

R2.5

Vocabulary Workshop: Jargonpp. 374

R1.1

Literary Focus: Persuasive Essay and Speechpp. 376–377

R2.8

A New Generation of Americansby John F. Kennedypp. 378–385

R1.1, R2.8, R3.12, W1.9, W2.4.a–d, LC1.1, LC1.2, LS1.10

That One Man’s Profit Is Another’s Lossby Michel de Montaignepp. 386–389

R2.8





Daylight Savingby Benjamin Franklinpp. 390–397

R3.7, W1.1, W1.2

Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment by John L. Harrington Other Revenue Sources Should Be Pursued by William M. Strauspp. 398–411

R2.4, R2.5, R2.8, W1.4, W1.5

Put Down the Backpackby Anna Quindlenpp. 412–421

R2.8, W1.1, W1.9, W2.3.b, W2.3.c, LC1.2, LS1.12

Writing Workshop: Autobiographical Narrativepp. 422–429

W1.1, W1.2, W2.1.a–e, LC1.3, LC1.5

Speaking, Listening, and Viewing Workshop: Narrative Presentationpp. 430–431

LS2.1.a–d


Unit 3: Poetry

Genre Focus: Poetrypp. 442–446

R3.7

Literary Focus: Form and Structurepp. 448–449

R3.7

I Wandered Lonely as a Cloudby William Wordsworthpp. 450–454

R1.1, R3.11, W1.1, W1.2

who are you, little i / l(aby E. E. Cummingspp. 455–460

R3.11, LS1.7

A Red, Red Roseby Robert Burnspp. 461–464

R3.11

A Noiseless Patient Spiderby Walt Whitmanpp. 465–469

R3.7, R3.11, W1.1, W1.2

TIME: The Island Withinby Leslie Marshallpp. 470–474

R2.5




Comparing Literature: An Indian Summer Day on the Prairie by Vachel Lindsay On Summer by Lorraine Hansberry Monument by Natasha Trethewaypp. 475–485

R3.2, R3.5, R3.7

The Black Snakeby Mary Oliverpp. 486–490

R3.11, W1.3

The Peace of Wild Thingsby Wendell Berrypp. 491–494

R3.7

Grammar Workshop: Subject-Verb Agreementp. 495

LC1.3

Haikuby Matsuo Basho, Kathy Peake, Chiyo, and Paula Yuppp. 496–501

R2.3, R3.7, R3.11, R3.12, W1.1, W1.9, W2.3.a–f, LC1.3

Vocabulary Workshop: Thesaurus Usep. 502

R1.2, W1.2

Literary Focus: The Language of Poetrypp. 504–505

R3.7

How Things Workby Gary Sotopp. 506–509

R3.7

I Was a Skinny Tomboy Kidby Alma Luz Villanuevapp. 510–514

R3.11

Choicesby Nikki Giovannipp. 515–518

R3.7

“Hope” is the thing with feathers— / I’m Nobody! Who are you?by Emily Dickensonpp. 519–525

R3.7, W1.9, W2.1.b–e, LC1.1

Defining the Grateful Gestureby Yvonne Sapiapp. 526–530

R1.2, R3.7

Sympathyby Paul Laurence Dunbarpp. 531–535

R3.7, W1.1, W1.2





Rememberby Joy Harjopp. 536–539

R3.7

The Road Not Takenby Robert Frostpp. 540–545

R3.7, R3.11, W1.6, W1.9, W2.2.a–d, LC1.3

Timeby Joseph Bruchacpp. 546–549

R3.7, R3.8

Theme for English Bby Langston Hughespp. 550–555

R3.11, W1.1, W1.2, W2.2.c

The Secretby Denise Levertovpp. 556–560

R3.8, LS1.3

Literary Focus: Sound Devicespp. 562–563

R3.7

Grape Sherbetby Rita Dovepp. 564–568

R3.7, R3.11, W1.1, W1.2

“Good Night, Willie Lee, I’ll See You in the Morning”by Alice Walkerpp. 569–572

R3.7

Where Are Those Songs?by Micere Githae Mugopp. 573–579

R3.7, LS1.4, LS1.5, LS1.8, LS1.9, LS1.12

My Mother Combs My Hairby Chitra Banerjee Divakarunipp. 580–586

R3.7, R3.11, W1.6, W1.9, W2.2.a–d, LC1.3

Visual Perspective: from Bone: Out from Bonevilleby Jeff Smithpp. 587–589

R2.5

Lineageby Margaret Walkerpp. 590–593

R3.7

Writing Workshop: Descriptive Essaypp. 594–601

W1.1, W1.2, W1.9, W2.1.a W2.1.b, W2.1.e, LC1.2, LC1.4

Speaking, Listening, and Writing Workshop: Descriptive Presentationpp. 602–603

LS1.8, LS1.9, LS2.6.a–c




Unit 4: Drama

Genre Focus: Dramapp. 614–618

R3.1

Literary Focus: Tragedypp. 620–621

R3.1

Literary History: Shakespearean Dramapp. 622–623

R3.1, R3.12

The Tragedy of Romeo and Juliet, Act 1by William Shakespearepp. 624–654

R3.10


R3.4, R3.7, R3.11


R3.10


R3.7, R3.8


R1.1, R3.1, R3.11, R3.12, W1.9, W2.4.a, W2.4.b, W2.4.d, LC1.1

TIME: A Long-Overdue Encoreby Barry Hillenbrandpp. 744–747

R3.6

Grammar Workshop: Verb Tensep. 748

LC1.2, LC1.3

Comparing Literature: The Tragedy of Romeo and Juliet by William ShakespeareThe Taxi by Amy Lowell Counting the Beats by Robert Graves The Princess and All the Kingdom by Pär Lagerkvistpp. 749–754

R3.2, R3.5, W2.2.a, b

Literary Focus: Comedy and Modern Dramapp. 756–757

R3.1, R3.8

The Bearby Anton Chekhovpp. 758–772

R3.1, R3.4, W1.1, W1.2

The Hitchhikerby Lucille Fletcherpp. 773–787

R3.11





Vocabulary Workshop: Denotation and Connotationp. 788

R1.2

The Leaderby Eugene Ionescopp. 789–799

R3.1, R3.10, LS1.1, LS1.9, LS1.12

Literary Perspective: How I Came to the Theater, from Conversations with Eugene Ionescoby Claude Bonnefoypp. 800–803

R3.8

Writing Workshop: Literary Criticism Essaypp. 804–811

W1.1, W1.2, W1.6, W1.9, W2.2.a–c, LC1.1, LC1.5

Speaking, Listening, and Viewing Workshop: Oral Response to Literaturepp. 812–813

LS1.4, LS1.6, LS1.8, LS1.9, LS1.11, LS2.4.a–d


Unit 5: Epic and Myth

Genre Focus: Epic and Mythpp. 824–828

R3.7

Literary Focus: Heropp. 830–831

R3.7

Literary History: Homer and the Epicpp. 832–833

R3.12

from the Odyssey, Part 1by Homerpp. 834–856

R3.7, R3.11


R3.3, R3.6


R3.4


R1.1, R3.3, R3.6, R3.9, R3.12, W2.4.a–d, LC1.2

Vocabulary Workshop: Word Origins: Words from Greek and Roman Mythologyp. 899

R1.3

Glencoe Literature: California TreasuresSelections and Workshops StandardsCACACACA



Comparing Literature: from the Odyssey by Homer An Ancient Gesture by Edna St. Vincent Millay Ithaca by C.P. Cavafy Waiting, from The Penelopiad by Margaret Atwoodpp. 900–906

R3.2, R3.5, R3.7

TIME: Leaving It All Behindby Susan Jakespp. 907–911

R2.5

Over Hill and Under Hill, from The Hobbitby J. R. R. Tolkienpp. 912–925

R3.3, R3.7, R3.9, W2.2.a–c

Visual Perspective: from The HobbitAdapted by Charles Dixon, Illustrated by David Wenzelpp. 926–930

R3.2

Literary Focus: Archetypespp. 932–933

R3.7

Perseusby Edith Hamiltonpp. 934–944

R3.6, R3.7, W1.1, W1.4, W1.9, W2.2, W2.3.a–e, LC1.2

Grammar Workshop: Transitional Expressionsp. 945

LC1.3

The Fenris WolfRetold by Olivia Coolidgepp. 946–952

R3.7, W2.1.c, W2.1.e

Vocabulary Workshop: Word Origins: Words from Norse Mythologyp. 953

R1.3

Coyote and CrowRetold by Ella Clarkpp. 954–957

R3.7

Sweet Betsy from PikeTraditionalpp. 958–961

R3.7, LS1.7, LS1.12

Writing Workshop: Research Paperpp. 962–971

R2.2, R2.3, R2.4, W1.1, W1.2, W1.3, W1.4, W1.5, W1.6, W1.7, W1.9, W2.3.a, W2.3.b, W2.3.c, W2.3.e, LC 1.1, LC1.4, LC1.5

Speaking, Listening, and Viewing Workshop: Multimedia Presentationpp. 972–975

W2.2.d, LS1.4, LS1.6, LS1.7, LS1.14





Unit 6: Genre Fiction

Genre Focus: Genre Fictionpp. 986–990

R3.7

Literary Focus: Description and Stylepp. 992–993

R3.7

The Sentinelby Arthur C. Clarke pp. 994–1007

R2.3, R3.3, R3.6, R3.7, W1.1, W1.4, W1.6, W1.9, W2.3.a, W2.3.b, W2.3.d, W2.3.f, LC1.1

Historical Perspective: 2001: A Space Odysseypp. 1008–1010

R2.8

Grammar Workshop: Commas with Items in a Seriesp. 1011

LC1.1

He—y, Come on Ou—t!by Shinichi Hoshi, translated by Stanleigh H. Jonespp. 1012–1019

R3.7, LS1.4, LS1.5, LS1.7, LS1.9, LS1.12

Comparing Literature: In Memoriam by Nancy Kress The Gift by Li-Young Lee Purchase by Naomi Long Madgettpp. 1020–1033

R3.2, R3.3, R3.4, R3.5, W2.2.a–d

The Golden Kite, the Silver Windby Ray Bradburypp. 1034–1041

R3.7, R3.11, W1.1, W1.2

Vocabulary Workshop: Loaded Wordsp. 1042

R1.2

The Red-Headed LeagueBy Sir Arthur Conan Doylepp. 1043–1067

R3.4, R3.6, R3.7, W1.1, W1.4, W1.9, W2.2, W2.3.a, W2.3.d, W2.3.e, LC1.3

TIME: Lost Apes of the Congoby Stephan Farispp. 1068–1070

R2.5, R2.8

The Stolen Cigar Caseby Bret Hartepp. 1071–1081

R1.2, R3.11

Writing Workshop: Persuasion: Editorialpp. 1082–1089

W1.1, W1.2, W1.9, W2.4.a, W2.4.b, W2.4.d, LC1.2, LC1.3

Speaking, Listening, and Viewing Workshop: Deliver Persuasive Argumentspp. 1090–1091

LS1.3, LS1.5, LS1.8, LS1.12, LS1.13, LS2.5.a–d




Unit 7: Consumer and Workplace Documents

Focus on Functional Documents: Why Read Functional Documents?pp. 1102–1103

R2.1, R2.7, R2.8

Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guidepp. 1104–1110

R2.1, R2.4, R2.5, R2.6, R2.7, W2.6

Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Mappp. 1111–1117

R2.1, R2.5, R2.7, W2.6.a, W2.6.d

Lesson 3: Contract, Press Release, Web Sitepp. 1118–1122

R2.1, R2.2, R2.7, W2.6.a–b

Lesson 4: E-mail, Application, Cover Letterpp. 1123–1127

R2.1, R2.7, W2.1, W2.5.a–d





Standards and Corresponding SelectionsThis chart lists the Grade 9 California English-Language Arts Content Standards and shows which lessons in the Glencoe Literature: California

Treasures—Course 4 Student Edition teach or review each standard.

Reading

1.0 Word Analysis, Fluency, and Systematic Vocabulary DevelopmentStudents apply their knowledge of word origins to determine the meaning of new words encountered in reading materials and use those words accurately.


Vocabulary and Concept Development

1.1 Identify and use the literal and figurative meanings of words and understand word derivations.

The Most Dangerous Game, p. 41Vocabulary Workshop: Academic Vocabulary, pp. 54–55Vocabulary Workshop: Homonyms and Homophones, p. 68Rules of the Game, p. 111Vocabulary Workshop: Dictionary Use, p. 125Sweet Potato Pie, p. 153The Scarlet Ibis, p. 169Vocabulary Workshop: Multiple-Meaning Words, p. 171The Son from America, p. 239A Brother’s Crime, p. 290Vocabulary Workshop: Jargon, p. 374A New Generation of Americans, p. 384I Wandered Lonely as a Cloud, p. 454The Tragedy of Romeo and Juliet, Act 5, p. 742from the Odyssey, Part 4, p. 897

1.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.

Vocabulary Workshop: Thesaurus Use, p. 502Defining the Grateful Gesture, p. 530Vocabulary Workshop: Denotation and Connotation, p. 788Vocabulary Workshop: Loaded Words, p. 1042The Stolen Cigar Case, p. 1081

1.3 Identify Greek, Roman, and Norse mythology and use the knowledge to understand the origin and meaning of new words (e.g., the word narcissistic drawn from the myth of Narcissus and Echo).

Vocabulary Workshop: Word Origins from Greek and Roman Mythology, p. 899Vocabulary Workshop: Word Origins: Words form Norse Mythology, p. 953

CACACACA



Structural Features of Informational Materials

2.1 Analyze the structure and format of functional workplace documents, including the graphics and headers, and explain how authors use the features to achieve their purposes.

Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide,

pp. 1104–1110Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127

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

Sweet Potato Pie, p. 153from Into Thin Air, p. 368Writing Workshop: Research Paper, pp. 962–971Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122

Comprehension and Analysis of Grade-Level-Appropriate Text

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

The Cask of Amontillado, p. 67Rules of the Game, p. 111A Brother’s Crime, p. 291Escape from Afghanistan, p. 317from Into Thin Air, p. 368Haiku, p. 501Writing Workshop: Research Report, pp. 962–971The Sentinel, p. 1007

2.4 Synthesize the content from several sources or works by a single author dealing with a single issue; paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.

Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /

Other Revenue Sources Should Be Pursued, pp. 398–411Writing Workshop: Research Paper, pp. 962–971


TIME: Shattered, pp. 90–94Of Dry Goods and Black Bow Ties, pp. 268–275Only Daughter, pp. 276–281A Brother’s Crime, p. 291from The Murder of Abraham Lincoln, pp. 292–269from Black Boy, pp. 297-305

Reading (continued)


Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA

(continued)

Which selections teach which standards?




from All God’s Children Need Traveling Shoes, pp. 328–339Walking, pp. 340–346TIME: Adventure to Antarctica, pp. 369–373Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return On Investment /

Other Revenue Sources Should Be Pursued, pp. 398–411TIME: The Island Within, pp. 470–474from Bone: Out from Boneville, pp. 587–589TIME: Leaving It All Behind, pp. 907–911TIME: Lost Apes of the Congo, pp. 1068–1070Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide,

pp. 1104–1110Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117

2.6 Demonstrate use of sophisticated learning tools by following technical directions (e.g., those found with graphic calculators and specialized software programs and in access guides to World Wide Web sites on the Internet).

Escape from Afghanistan, p. 317Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide,

pp. 1104–1110

Expository Critique

2.7 Critique the logic of functional documents by examining the sequence of information and procedures in anticipation of possible reader misunderstandings.

Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement, Installation Guide,

pp. 1104–1110Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127

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

The Drums of Washington, pp. 220–224 Literary Focus: Persuasive Essay and Speech, pp. 376–377A New Generation of Americans, pp. 378–385That One Man’s Profit Is Another’s Loss, pp. 386–389Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /

Other Revenue Sources Should Be Pursued, pp. 398–411Put Down the Backpack, pp. 412–4212001: A Space Odyssey, pp. 1008–1010TIME: Lost Apes of the Congo, pp. 1068–1070Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103

Reading (continued)




Structural Features of Literature

3.1 Articulate the relationship between the expressed purposes and the characteristics of different forms of dramatic literature (e.g., comedy, tragedy, drama, dramatic monologue).

Literary Focus: Tragedy, pp. 620–621Literary History: Shakespearean Drama, pp. 622–623The Tragedy of Romeo and Juliet, Act 5, pp. 724–743Literary Focus: Comedy and Modern Drama, pp. 756–747The Bear, pp. 758–772The Leader, pp. 789–799

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

Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument,

pp. 475–485Comparing Literature: The Taxi / Counting the Beats / The Princess and All the Kingdom,

pp. 749–754Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The

Penelopiad, pp. 900–906from The Hobbit, pp. 926–930Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033

Narrative Analysis of Grade-Level-Appropriate Text

3.3 Analyze interactions between main and subordinate characters in a literary text (e.g., internal and external conflicts, motivations, relationships, influences) and explain the way those interactions affect the plot.

The Lady, or the Tiger?, pp. 10–19The Most Dangerous Game, pp. 20–42Literary Focus: Character and Theme, pp. 96–97Rules of the Game, pp. 98–111Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140The Necklace, pp. 196–207from the Odyssey, Part 2, pp. 857–870Over Hill and Under Hill, from The Hobbit, pp. 912–925The Sentinel, pp. 994–1007Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033

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

Literary Focus: Character and Theme, pp. 96–97Rules of the Game, pp. 98–111The Gift of the Magi, pp. 114–124Sweet Potato Pie, pp. 141–153The Scarlet Ibis, pp. 155–170The Bass, the River, and Shelia Mant, pp. 172–182American History, pp. 208–219The Tragedy of Romeo and Juliet, Act 2, pp. 655–678The Bear, pp. 758–772 from the Odyssey, Part 3, pp. 871–884Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033The Red-Headed League, pp. 1043–1067

Reading (continued)

3.0 Literary Response and Analysis Students read and respond to historically or culturally significant works of literature that reflect and enhance their studies of history and social science. They conduct in-depth analyses of recurrent patterns and themes. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students.


(continued)




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

Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument,

pp. 475–485Comparing Literature: The Taxi / Counting the Beats / The Princess and All the Kingdom,

pp. 749–754Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The

Penelopiad, pp. 900–906Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033

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

Genre Focus: Short Story, pp. 2–6Literary Focus: Plot and Setting, pp. 8–9The Most Dangerous Game, pp. 20–42The Leap, pp. 43–53The Bass, the River, and Shelia Mant, pp. 172–182from Into Thin Air, pp. 355–368TIME: A Long Overdue Encore, pp. 744–747from the Odyssey, Part 2, pp. 857–870from the Odyssey, Part 4, pp. 885–897Perseus, pp. 934–944The Sentinel, pp. 994–1007The Red-Headed League, pp. 1043–1067

3.7 Recognize and understand the significance of various literary devices, including figurative language, imagery, allegory, and symbolism, and explain their appeal.

The Most Dangerous Game, pp. 20–42The Scarlet Ibis, pp. 155–170The Necklace, pp. 196–207Daylight Saving, pp. 390–397Genre Focus: Poetry, pp. 442–446A Noiseless Patient Spider, pp. 465–469Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument,

pp. 475–485The Peace of Wild Things, pp. 491–494Haiku, pp. 496–501Literary Focus: The Language of Poetry, pp. 504–505How Things Work, pp. 506–509Choices, pp. 515–518“Hope” is the thing with feathers — / I’m Nobody! Who are you?, pp. 519–525Defining the Grateful Gesture, pp. 526–530Sympathy, pp. 531–535Remember, pp. 536–539The Road Not Taken, pp. 540–545Time, pp. 546–549Literary Focus: Sound Devices, pp. 562–563Grape Sherbet, pp. 564–568“Good Night, Willie Lee, I’ll See You in the Morning,” pp. 569–572Where Are Those Songs?, pp. 573–579My Mother Combs My Hair, pp. 580–586Lineage, pp. 590–593The Tragedy of Romeo and Juliet, Act 2, pp. 655–678The Tragedy of Romeo and Juliet, Act 4, pp. 707–723 Genre Focus: Epic and Myth, pp. 824–828Literary Focus: Hero, pp. 830–831from the Odyssey, Part 1, pp. 834–856Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The

Penelopiad, pp. 900–906Over Hill and Under Hill, from The Hobbit, pp. 912–925

Reading (continued)


(continued)



Literary Focus: Archetypes, pp. 932–933Perseus, pp. 934–944The Fenris Wolf, pp. 946–952Coyote and Crow, pp. 954–957Sweet Betsy from Pike, pp. 958–961Genre Focus: Genre Fiction, pp. 986–990Literary Focus: Description and Style, pp. 992–993The Sentinel, pp. 994–1007He—y, Come on Ou—t!, pp. 1012–1019The Golden Kite, the Silver Wind, pp. 1034–1041The Red-Headed League, pp. 1043–1067

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

The Interlopers, pp. 79–89Sweet Potato Pie, pp. 141–153The Secret Life of Walter Mitty, pp. 186–194Time, pp. 546–549The Secret, pp. 556–560The Tragedy of Romeo and Juliet, Act 4, pp. 707–723Literary Focus: Comedy and Modern Drama, pp. 756–757How I Came to the Theater, pp. 800–803

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

Literary Focus: Narrator and Voice, pp. 184–185The Secret Life of Walter Mitty, pp. 186–194The Necklace, pp. 196–207American History, pp. 208–219Mrs. James, pp. 225–228The Son from America, pp. 229–239A Brother’s Crime, pp. 282–291Over Hill and Under Hill, from The Hobbit, pp. 912–925

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

The Tragedy of Romeo and Juliet, Act 1, pp. 624–654The Tragedy of Romeo and Juliet, Act 3, pp. 679–706The Leader, pp. 789–799

Literary Criticism

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

The Cask of Amontillado, pp. 56–67Blues Ain’t No Mockin Bird, pp. 69–78Sweet Potato Pie, pp. 141–153The Secret Life of Walter Mitty, pp. 186–194Mrs. James, pp. 225–228 The Son from America, pp. 229–239Literary Focus: Autobiography and Biography, pp. 266–267 Sayonara, pp. 348–354I Wandered Lonely as a Cloud, pp. 450–454who are you, little i / l(a, pp. 455–460A Red, Red Rose, pp. 461–464A Noiseless Patient Spider, pp. 465–469The Black Snake, pp. 486–490Haiku, pp. 496–501I Was a Skinny Tomboy Kid, pp. 510–514The Road Not Taken, pp. 540–545Theme for English B, pp. 550–555Grape Sherbet, pp. 564–568My Mother Combs My Hair, pp. 580–586The Tragedy of Romeo and Juliet, Act 2, pp. 655–678The Tragedy of Romeo and Juliet, Act 5, pp. 724–743

Reading (continued)


(continued)




from the Odyssey, Part 1, pp. 834–856The Golden Kite, the Silver Wind, pp. 1034–1041The Stolen Cigar Case, pp. 1071–1081

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

Escape from Afghanistan, pp. 307–317from All God’s Children Need Traveling Shoes, pp. 328–339A New Generation of Americans, pp. 378–385Haiku, pp. 496–501Literary History: Shakespearean Drama, pp. 622–623The Tragedy of Romeo and Juliet, Act 5, pp. 724–743Literary History: Homer and the Epic, pp. 832–833from the Odyssey, Part 4, pp. 885–898

Reading (continued)


Writing

1.0 Writing Strategies Students write coherent and focused essays that convey a well-defined perspective and tightly reasoned argument. The writing demonstrates students’ awareness of the audience and purpose. Students progress through the stages of the writing process as needed.


Organization and Focus

1.1 Establish a controlling impression or coherent thesis that conveys a clear and distinctive perspective on the subject and maintain a consistent tone and focus throughout the piece of writing.

Blues Ain’t No Mockin Bird, p. 78The Interlopers, p. 89The Son from America, p. 239Writing Workshop: Response to Literature, pp. 240–247Walking, p. 346Sayonara, p. 354Daylight Saving, p. 397Put Down the Backpack, p. 421Writing Workshop: Autobiographical Narrative, pp. 422–429I Wandered Lonely as a Cloud, p. 454A Noiseless Patient Spider, p. 469Haiku, p. 501Sympathy, p. 535Theme for English B, p. 555Grape Sherbet, p. 568Writing Workshop: Descriptive Essay, pp. 594–601The Bear, p. 772Writing Workshop: Literary Criticism Essay, pp. 804–811Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007The Golden Kite, the Silver Wind, p. 1041The Red-Headed League, p. 1067Writing Workshop: Persuasion: Editorial, pp. 1082–1089

CACACACA

(continued)



1.2 Use precise language, action verbs, sensory details, appropriate modifiers, and the active rather than the passive voice.

Blues Ain’t No Mockin Bird, p. 78Writing Workshop: Response to Literature, pp. 240–247Walking, p. 346Sayonara, p. 354Daylight Saving, p. 397Writing Workshop: Autobiographical Narrative, pp. 422–429I Wandered Lonely as a Cloud, p. 454A Noiseless Patient Spider, p. 469Vocabulary Workshop: Thesaurus Use, p. 502Sympathy, p. 535Theme for English B, p. 555Grape Sherbet, p. 568Writing Workshop: Descriptive Essay, pp. 594–601The Bear, p. 772Writing Workshop: Literary Criticism Essay, pp. 804–811Writing Workshop: Research Paper, pp. 962–971The Golden Kite, the Silver Wind, p. 1041Writing Workshop: Persuasion: Editorial, pp. 1082–1089

Research and Technology

1.3 Use clear research questions and suitable research methods (e.g., library, electronic media, personal interview) to elicit and present evidence from primary and secondary sources.

The Cask of Amontillado, p. 67Rules of the Game, p. 111Sweet Potato Pie, p. 153from Into Thin Air, p. 368The Black Snake, p. 490Writing Workshop: Research Paper, pp. 962–971

1.4 Develop the main ideas within the body of the composition through supporting evidence (e.g., scenarios, commonly held beliefs, hypotheses, definitions).

The Scarlet Ibis, p. 170Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /

Other Revenue Sources Should Be Pursued, pp. 398–411Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007The Red-Headed League, p. 1067

1.5 Synthesize information from multiple sources and identify complexities and discrepancies in the information and the different perspectives found in each medium (e.g., almanacs, microfiche, news sources, in-depth field studies, speeches, journals, technical documents).

Rules of the Game, p. 111Sweet Potato Pie, p. 153Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /

Other Revenue Sources Should Be Pursued, pp. 398–411Writing Workshop: Research Paper, pp. 962–971

1.6 Integrate quotations and citations into a written text while maintaining the flow of ideas.

from Black Boy, p. 305Escape from Afghanistan, pp. 307–317The Road Not Taken, p. 545My Mother Combs My Hair, p. 586Writing Workshop: Literary Criticism Essay, pp. 804–811Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007

1.7 Use appropriate conventions for documentation in the text, notes, and bibliographies by adhering to those in style manuals (e.g., Modern Language Association Handbook, The Chicago Manual of Style).

Sweet Potato Pie, p. 153from Into Thin Air, p. 368Writing Workshop: Research Paper, pp. 962–971

Writing (continued)





1.8 Design and publish documents by using advanced publishing software and graphic programs.

Sweet Potato Pie, pp. 141–153from Into Thin Air, p. 368

Evaluation and Revision

1.9 Revise writing to improve the logic and coherence of the organization and controlling perspective, the precision of word choice, and the tone by taking into consideration the audience, purpose, and formality of the context.

The Cask of Amontillado, p. 67The Interlopers, p. 89The Gift of the Magi, p. 124The Scarlet Ibis, p. 170The Necklace, p. 207Writing Workshop: Response to Literature, pp. 240–247A Brother’s Crime, p. 291from All God’s Children Need Traveling Shoes, p. 339A New Generation of Americans, p. 385Put Down the Backpack, pp. 412–421Writing Workshop: Autobiographical Narrative, pp. 422–429Haiku, p. 501Hope is the thing with feathers— / I’m Nobody! Who are You? p. 525The Road Not Taken, p. 545My Mother Combs My Hair, p. 586Writing Workshop: Descriptive Essay, pp. 594–601The Tragedy of Romeo and Juliet, Act 5, p. 743Writing Workshop: Literary Criticism Essay, pp. 804–811Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007The Red-Headed League, p. 1067Writing Workshop: Persuasion: Editorial, pp. 1082–1089

Writing (continued)


2.1 Write biographical or autobiographical narratives or short stories: a. Relate a sequence of events and

communicate the significance of the events to the audience.

b. Locate scenes and incidents in specific places.

c. Describe with concrete sensory details the sights, sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of the characters; use interior monologue to depict the characters’ feelings.

Literary Focus: Plot and Setting, pp. 8–9The Gift of the Magi, p. 124 (a, c, e)The Bass, the River, and Shelia Mant, p. 182The Necklace, p. 207The Son from America, p. 239 (a)A Brother’s Crime, p. 291 (a, c)from All God’s Children Need Traveling Shoes, p. 339 (b, c, e)Writing Workshop: Autobiographical Narrative, pp. 422–429“Hope” is the thing with feathers— / I’m Nobody! Who are you?, p. 525 (b, c, d, e)Writing Workshop: Descriptive Essay, pp. 594–601 (a, b, e) The Fenris Wolf, p. 952 (c, e)Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127

(continued)

2.0 Writing Applications (Genres and Their Characteristics) Students combine the rhetorical strategies of narration, exposition, persuasion, and description to produce texts of at least 1,500 words each. Student writing demonstrates a command of standard American English and the research, organizational, and drafting strategies outlined in Writing Standard 1.0.

Using the writing strategies of grades nine and ten outlined in Writing Standard 1.0, students:




(continued)

d. Pace the presentation of actions to accommodate changes in time and mood.

e. Make effective use of descriptions of appearance, images, shifting perspectives, and sensory details.

2.2 Write responses to literature: a. Demonstrate a comprehensive grasp

of the significant ideas of literary works. b. Support important ideas and

viewpoints through accurate and detailed references to the text or to other works.

c. Demonstrate awareness of the author’s use of stylistic devices and an appreciation of the effects created.


Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, p. 140 (a, b)Writing Workshop: Response to Literature, pp. 240–247Walking, p. 346 (c)The Black Snake, p. 489The Road Not Taken, p. 545Theme for English B, p. 555 (c)My Mother Combs My Hair, p. 586Comparing Literature: The Taxi / Counting the Beats / The Princess and All the Kingdom, p. 754 (a, b)Writing Workshop: Literary Criticism Essay, pp. 804–811Over Hill and Under Hill, from The Hobbit, p. 925 (a–c)Perseus, p. 944Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033The Red-Headed League, p. 1067Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122

2.3 Write expository compositions, including analytical essays and research reports: a. Marshal evidence in support

of a thesis and related claims, including information on all relevant perspectives.

b. Convey information and ideas from primary and secondary sources accurately and coherently.



e. Anticipate and address readers’ potential misunderstandings, biases, and expectations.

f. Use technical terms and notations accurately.

The Most Dangerous Game, p. 42 (b, c) The Cask of Amontillado, p. 67 (a–c, f )The Interlopers, p. 89 (a, c, d)Put Down the Backpack, p. 421 (b, c) Haiku, p. 501Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971 (a, b, c, e)The Sentinel, p. 1007 (a, b, d, f )The Red-Headed League, p. 1067 (a, d, e)

2.4 Write persuasive compositions: a. Structure ideas and arguments in a

sustained and logical fashion. b. Use specific rhetorical devices to

support assertions (e.g., appeal to logic through reasoning; appeal to emotion or ethical belief; relate a personal anecdote, case study, or analogy).

c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, and expressions of commonly accepted beliefs and logical reasoning.

d. Address readers’ concerns, counterclaims, biases, and expectations.

The Scarlet Ibis, p. 170A New Generation of Americans, p. 385The Tragedy of Romeo and Juliet, Act 5, p. 743 (a, b, d)from the Odyssey, Part 4, p. 898Writing Workshop: Persuasion: Editorial, pp. 1082–1089 (a, b, d)Logic and Persuasion Handbook, pp. R60–R63




2.5 Write business letters: a. Provide clear and purposeful

information and address the intended audience appropriately.

b. Use appropriate vocabulary, tone, and style to take into account the nature of the relationship with, and the knowledge and interests of, the recipients.

c. Highlight central ideas or images. d. Follow a conventional style with

page formats, fonts, and spacing that contribute to the documents’ readability and impact.

Mrs. James, p. 228Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127Functional Documents Handbook, pp. R22, R25

2.6 Write technical documents (e.g., a manual on rules of behavior for conflict resolution, procedures for conducting a meeting, minutes of a meeting): a. Report information and convey ideas

logically and correctly. b. Offer detailed and accurate

specifications. c. Include scenarios, definitions, and

examples to aid comprehension (e.g., troubleshooting guide).

d. Anticipate readers’ problems, mistakes, and misunderstandings.

Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide, pp. 1104–1110

Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117 (a, d)Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122 (a, b)Functional Documents Handbook, pp. R26–R27

Writing (continued)


Grammar and Mechanics of Writing

1.1 Identify and correctly use clauses (e.g., main and subordinate), phrases (e.g., gerund, infinitive, and participial), and mechanics of punctuation (e.g., semicolons, colons, ellipses, hyphens).

The Cask of Amontillado, p. 67The Interlopers, p. 89Grammar Workshop: Sentence Combining, pp. 112–113The Scarlet Ibis, p. 170Grammar Workshop: Run-on Sentences, p. 195A Brother’s Crime, p. 291

Written and Oral English Language Conventions

The standards for written and oral English language conventions have been placed between those for writing and for listening and speaking because these conventions are essential to both sets of skills.

1.0 Written and Oral English Language Conventions Students write and speak with a command of standard English conventions.


(continued)



Grammar Workshop: Dialogue and Speaker Tags, p. 306Grammar Workshop: Clauses and Phrases, p. 347A New Generation of Americans, p. 385“Hope” is the thing with feathers–– / I’m Nobody! Who are you?, p. 525The Tragedy of Romeo and Juliet, Act 5, p. 743Writing Workshop: Research Paper, p. 971The Sentinel, p. 1007Grammar Workshop: Commas with Items in a Series, p. 1011

1.2 Understand sentence construction (e.g., parallel structure, subordination, proper placement of modifiers) and proper English usage (e.g., consistency of verb tenses).

The Most Dangerous Game, p. 42Grammar Workshop: Sentence Combining, pp. 112 –113Grammar Workshop: Misplaced Modifiers, p. 154The Necklace, p. 207Writing Workshop: Response to Literature, p. 247from All God’s Children Need Traveling Shoes, p. 339A New Generation of Americans, p. 385Put Down the Backpack, p. 421Writing Workshop: Descriptive Essay, p. 601Grammar Workshop: Verb Tense, p. 748from the Odyssey, Part 4, p. 898Perseus, p. 944Writing Workshop: Persuasion: Editorial, p. 1089

1.3 Demonstrate an understanding of proper English usage and control of grammar, paragraph and sentence structure, diction, and syntax.

The Gift of the Magi, p. 124Grammar Workshop: Misplaced Modifiers, p. 154Grammar Workshop: Run-on Sentences, p. 195The Necklace, p. 207Writing Workshop: Response to Literature, p. 247from All God’s Children Need Traveling Shoes, p. 339Writing Workshop: Autobiographical Narrative, p. 429Grammar Workshop: Subject-Verb Agreement, p. 495Haiku, p. 501The Road Not Taken, p. 545My Mother Combs My Hair, p. 586Grammar Workshop: Verb Tense, p. 748Grammar Workshop: Transitional Expressions, p. 945The Red-Headed League, p. 1067

Manuscript Form

1.4 Produce legible work that shows accurate spelling and correct use of the conventions of punctuation and capitalization.

Writing Workshop: Descriptive Essay, pp. 594–601Writing Workshop: Research Report, pp. 962–971Language Handbook, pp. R29, R40–R59

1.5 Reflect appropriate manuscript requirements, including title page presentation, pagination, spacing and margins, and integration of source and support material (e.g., in-text citation, use of direct quotations, paraphrasing) with appropriate citations.

Writing Workshop: Response to Literature, p. 247Writing Workshop: Autobiographical Narrative, pp. 422–429Writing Workshop: Literary Criticism Essay, pp. 804–811Writing Workshop: Research Report, pp. 962–971Lesson 4 E-mail, Application, Cover Letter, pp. 1123–1127Language Handbook, R30

Written and Oral English Language Conventions (continued)





Comprehension

1.1 Formulate judgments about the ideas under discussion and support those judgments with convincing evidence.

The Interlopers, p. 89American History, p. 219Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, pp. 248–249The Leader, p. 799

1.2 Compare and contrast the ways in which media genres (e.g., televised news, news magazines, documentaries, online information) cover the same event.

Media Workshop: Compare Media Genres, pp. 318–324

Organization and Delivery of Oral Communication

1.3 Choose logical patterns of organization (e.g., chronological, topical, cause and effect) to inform and to persuade, by soliciting agreement or action, or to unite audiences behind a common belief or cause.

from Into Thin Air, p. 368The Secret, p. 560Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091

1.4 Choose appropriate techniques for developing the introduction and conclusion (e.g., by using literary quotations, anecdotes, references to authoritative sources).

Where Are Those Songs?, p. 579He—y, Come on Ou—t!, pp. 1012–1019Speaking, Listening, and Viewing Workshop: Oral Response to Literature, p. 812Speaking, Listening, and Viewing Workshop: Multimedia Presentation, p. 974

1.5 Recognize and use elements of classical speech forms (e.g., introduction, first and second transitions, body, conclusion) in formulating rational arguments and applying the art of persuasion and debate.

Where Are Those Songs?, p. 579He—y, Come on Ou—t!, p. 1019Speaking, Listening, and Viewing Workshop: Persuasive Argument, pp. 1090–1091

1.6 Present and advance a clear thesis statement and choose appropriate types of proof (e.g., statistics, testimony, specific instances) that meet standard tests for evidence, including credibility, validity, and relevance.

The Black Snake, p. 490Speaking, Listening, and Viewing Workshop: Oral Response to Literature, p. 812Speaking, Listening, and Viewing, Workshop: Multimedia Presentation, p. 974

1.7 Use props, visual aids, graphs, and electronic media to enhance the appeal and accuracy of presentations.

Rules of the Game, p. 111Sweet Potato Pie, p. 153

Listening and Speaking

1.0 Listening and Speaking Strategies Students formulate adroit judgments about oral communication. They deliver focused and coherent presentations of their own that convey clear and distinct perspectives and solid reasoning. They use gestures, tone, and vocabulary tailored to the audience and purpose.


(continued)



Escape from Afghanistan, p. 317from Into Thin Air, p. 368Sweet Betsy from Pike, p. 961Speaking, Listening, and Viewing Workshop: Multimedia Presentation, pp. 972–975He—y, Come on Ou—t!, p. 1019

1.8 Produce concise notes for extemporaneous delivery.

The Leap, p. 53American History, p. 219Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, p. 248from Black Boy, p. 305Where Are Those Songs?, p. 579Speaking, Listening, and Viewing, Workshop: Descriptive Presentation, p. 603Speaking, Listening, and Viewing Workshop: Oral Response to Literature, p. 812Speaking, Listening, and Viewing Workshop: Persuasive Argument, pp. 1090–1091

1.9 Analyze the occasion and the interests of the audience and choose effective verbal and nonverbal techniques (e.g., voice, gestures, eye contact) for presentations.

The Leap, p. 53Where Are Those Songs?, p. 579Speaking, Listening, and Viewing: Descriptive Presentation, p. 603The Leader, p. 799Speaking, Listening, and Viewing: Oral Response to Literature, p. 813He—y, Come on Ou—t!, p. 1019

Analysis and Evaluation of Oral and Media Communications

1.10 Analyze historically significant speeches (e.g., Abraham Lincoln’s “Gettysburg Address,” Martin Luther King, Jr. ’s “I Have a Dream”) to find the rhetorical devices and features that make them memorable.

A New Generation of Americans, p. 385

1.11 Assess how language and delivery affect the mood and tone of the oral communication and make an impact on the audience.

The Secret Life of Walter Mitty, p. 194Speaking, Listening, and Viewing Workshop: Oral Response to Literature, pp. 812–813

1.12 Evaluate the clarity, quality, effectiveness, and general coherence of a speaker’s important points, arguments, evidence, organization of ideas, delivery, diction, and syntax.

American History, p. 219Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, pp. 248–249Put Down the Backpack, p. 421Where Are Those Songs?, p. 579The Leader, p. 799Sweet Betsy from Pike, p. 961He—y, Come on Ou—t!, p. 1019Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091

1.13 Analyze the types of arguments used by the speaker, including argument by causation, analogy, authority, emotion, and logic.

Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091Writing Workshop: Persuasion: Editorial, pp. 1082–1089

1.14 Identify the aesthetic effects of a media presentation and evaluate the techniques used to create them (e.g., compare Shakespeare’s Henry V with Kenneth Branagh’s 1990 film version).

Speaking, Listening, and Viewing Workshop: Multimedia Presentation, pp. 972–975

Listening and Speaking (continued)





2.1 Deliver narrative presentations:a. Narrate a sequence of events and

communicate their significance to the audience.

b. Locate scenes and incidents in specific places.

c. Describe with concrete sensory details the sights, sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of characters.

d. Pace the presentation of actions to accommodate time or mood changes.

Speaking, Listening, and Viewing Workshop: Narrative Presentation, pp. 430–431

2.2 Deliver expository presentations: a. Marshal evidence in support

of a thesis and related claims, including information on all relevant perspectives.



d. Include visual aids by employing appropriate technology to organize and display information on charts, maps, and graphs.

e. Anticipate and address the listener’s potential misunderstandings, biases, and expectations.


Speaking, Listening, and Viewing Workshop: Multimedia Presentation, pp. 972–975 (d)

2.3 Apply appropriate interviewing techniques: a. Prepare and ask relevant questions. b. Make notes of responses. c. Use language that conveys maturity,

sensitivity, and respect. d. Respond correctly and effectively to

questions. e. Demonstrate knowledge of the subject

or organization.

The Leap, p. 53from Black Boy, p. 305


2.0 Speaking Applications (Genres and Their Characteristics) Students deliver polished formal and extemporaneous presentations that combine the traditional rhetorical strategies of narration, exposition, persuasion, and description. Student speaking demonstrates a command of standard American English and the organizational and delivery strategies outlined in Listening and Speaking Standard 1.0.

Using the speaking strategies of grades nine and ten outlined in Listening and Speaking Standard 1.0, students:


(continued)



f. Compile and report responses. g. Evaluate the effectiveness of the

interview.

2.4 Deliver oral responses to literature: a. Advance a judgment demonstrating a

comprehensive grasp of the significant ideas of works or passages (i.e., make and support warranted assertions about the text).




Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, pp. 248–249Speaking, Listening, and Viewing Workshop: Oral Response to Literature, pp. 812–813

2.5 Deliver persuasive arguments (including evaluation and analysis of problems and solutions and causes and effects): a. Structure ideas and arguments in a

coherent, logical fashion. b. Use rhetorical devices to support

assertions (e.g., by appeal to logic through reasoning; by appeal to emotion or ethical belief; by use of personal anecdote, case study, or analogy).

c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, expressions of commonly accepted beliefs, and logical reasoning.

d. Anticipate and address the listener’s concerns and counterarguments.

Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091

2.6 Deliver descriptive presentations: a. Establish clearly the speaker’s

point of view on the subject of the presentation.

b. Establish clearly the speaker’s relationship with that subject (e.g., dispassionate observation, personal involvement).


Speaking, Listening, and Writing Workshop: Descriptive Presentation, pp. 602–603






Connecting School and HomeLearning happens not only in the classroom but also in the home with the help of involved parents and guardians. The pages that follow provide two resources to promote communication between the school and the home. One is a model letter, and the other is a monitoring chart to track student progress.

These resources are designed to help teachers communicate with parents and guardians about how students are using Glencoe Literature: California

Treasures to master the California standards. The resources are:

Letter Home• • The letter home is a model letter for parents/guardians. The letter is

reproducible. It explains how students are using Glencoe Literature

to prepare for the California state test and provides an overview of the California English-Language Arts Content Standards. Teachers can also customize this letter at glencoe.com.

California English-Language Arts Content Standards Progress Report• • A monitoring chart allows teachers to communicate each student’s

progress individually by noting the date on which a student reaches each of three levels of progress: developing, improving, and mastery. A comment space at the bottom of each standard subcategory allows teachers to record ideas for improvement and future instruction. This chart can also be distributed to parents/guardians to communicate specific areas where the student needs improvement.

How do I keep parents and guardians informed of students’ progress?

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Dear Parent/Guardian:

Your child is currently using the Glencoe Literature: California Treasures program in class to ensure mastery of the California English-Language Arts Content Standards that are tested on the California state test later this year. Glencoe Literature is a comprehensive program that helps all students master the standards.

Glencoe Literature is designed to:• fully align with the California standards• offer ongoing assessment• engage students with literary selections grouped around thematic Big Ideas• provide universal access for all students—on-level students, students

approaching grade level, English learners, and advanced learners

The California standards are divided into four categories: Reading, Writing, Written and Oral English Language Conventions, and Listening and Speaking. These categories represent goals we hope students can meet at an above satisfactory level to ensure continued learning and success on the California state test.

Enclosed is a chart that helps track your child’s progress as he or she encounters standards in Glencoe Literature. The chart lists the expectations of students in each standards category. The chart marks a student’s progress by providing space to write the date on which a student reaches each of three levels of progress.

Sincerely,

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Name Grading Period Date

Glencoe Literature Units

California English-Language Arts Content Standards Progress Report

Reading

1.0 Word Analysis, Fluency, and Systematic Vocabulary Development Students apply their knowledge of word origins to determine the meaning of new words encountered in reading materials and use those words accurately.

Content Standards Developing Improving Mastery

Vocabulary and Concept Development

1.1 Identify and use the literal and figurative meanings of words and understand word derivations.

1.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.

1.3 Identify Greek, Roman, and Norse mythology and use the knowledge to understand the origin and meaning of new words (e.g., the word narcissistic drawn from the myth of Narcissus and Echo).

Comments



Structural Features of Informational Materials

2.1 Analyze the structure and format of functional workplace documents, including the graphics and headers, and explain how authors use the features to achieve their purposes.

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

CACACACA

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Comprehension and Analysis of Grade-Level-Appropriate Text

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

2.4 Synthesize the content from several sources or works by a single author dealing with a single issue; paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.


2.6 Demonstrate use of sophisticated learning tools by following technical directions (e.g., those found with graphic calculators and specialized software programs and in access guides to World Wide Web sites on the Internet).

Expository Critique

2.7 Critique the logic of functional documents by examining the sequence of information and procedures in anticipation of possible reader misunderstandings.

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

Comments

3.0 Literary Response and AnalysisStudents read and respond to historically or culturally significant works of literature that reflect and enhance their studies of history and social science. They conduct in-depth analyses of recurrent patterns and themes. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students.

Content Standards Developing Improving MasteryStructural Features of Literature

3.1 Articulate the relationship between the expressed purposes and the characteristics of different forms of dramatic literature (e.g., comedy, tragedy, drama, dramatic monologue).

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Reading (continued)

Content Standards Developing Improving MasteryCACACACA

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

Narrative Analysis of Grade-Level-Appropriate Text

3.3 Analyze interactions between main and subordinate characters in a literary text (e.g., internal and external conflicts, motivations, relationships, influences) and explain the way those interactions affect the plot.

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

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

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

3.7 Recognize and understand the significance of various literary devices, including figurative language, imagery, allegory, and symbolism, and explain their appeal.

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

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

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

Literary Criticism

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

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

Comments

Reading (continued)


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1.1 Establish a controlling impression or coherent thesis that conveys a clear and distinctive perspective on the subject and maintain a consistent tone and focus throughout the piece of writing.

1.2 Use precise language, action verbs, sensory details, appropriate modifiers, and the active rather than the passive voice.

Research and Technology

1.3 Use clear research questions and suitable research methods (e.g., library, electronic media, personal interview) to elicit and present evidence from primary and secondary sources.

1.4 Develop the main ideas within the body of the composition through supporting evidence (e.g., scenarios, commonly held beliefs, hypotheses, definitions).

1.5 Synthesize information from multiple sources and identify complexities and discrepancies in the information and the different perspectives found in each medium (e.g., almanacs, microfiche, news sources, in-depth field studies, speeches, journals, technical documents).

1.6 Integrate quotations and citations into a written text while maintaining the flow of ideas.

1.7 Use appropriate conventions for documentation in the text, notes, and bibliographies by adhering to those in style manuals (e.g., Modern Language Association Handbook, The Chicago Manual of Style).

1.8 Design and publish documents by using advanced publishing software and graphic programs.

Evaluation and Revision

1.9 Revise writing to improve the logic and coherence of the organization and controlling perspective, the precision of word choice, and the tone by taking into consideration the audience, purpose, and formality of the context.

Comments

Writing

1.0 Writing StrategiesStudents write coherent and focused essays that convey a well-defined perspective and tightly reasoned argument. The writing demonstrates students’ awareness of the audience and purpose. Students progress through the stages of the writing process as needed.


Organization and Focus

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2.0 Writing Applications (Genres and Their Characteristics) Students combine the rhetorical strategies of narration, exposition, persuasion, and description to produce texts of at least 1,500 words each. Student writing demonstrates a command of standard American English and the research, organizational, and drafting strategies outlined in Writing Standard 1.0.

Using the writing strategies of grades nine and ten outlined in Writing Standard 1.0, students:


2.1 Write biographical or autobiographical narratives or short stories:

a. Relate a sequence of events and communicate the significance of the events to the audience.

b. Locate scenes and incidents in specific places. c. Describe with concrete sensory details the sights,

sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of the characters; use interior monologue to depict the characters’ feelings.

d. Pace the presentation of actions to accommodate changes in time and mood.

e. Make effective use of descriptions of appearance, images, shifting perspectives, and sensory details.

2.2 Write responses to literature: a. Demonstrate a comprehensive grasp of the significant

ideas of literary works. b. Support important ideas and viewpoints through

accurate and detailed references to the text or to other works.



2.3 Write expository compositions, including analytical essays and research reports:

a. Marshal evidence in support of a thesis and related claims, including information on all relevant perspectives.




e. Anticipate and address readers’ potential misunderstandings, biases, and expectations.


CACACACA

Writing (continued)

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2.4 Write persuasive compositions: a. Structure ideas and arguments in a sustained and

logical fashion. b. Use specific rhetorical devices to support assertions

(e.g., appeal to logic through reasoning; appeal to emotion or ethical belief; relate a personal anecdote, case study, or analogy).

c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, and expressions of commonly accepted beliefs and logical reasoning.

d. Address readers’ concerns, counterclaims, biases, and expectations.

2.5 Write business letters: a. Provide clear and purposeful information and address

the intended audience appropriately. b. Use appropriate vocabulary, tone, and style to take into

account the nature of the relationship with, and the knowledge and interests of, the recipients.

c. Highlight central ideas or images. d. Follow a conventional style with page formats, fonts,

and spacing that contribute to the documents’ readability and impact.

2.6 Write technical documents (e.g., a manual on rules of behavior for conflict resolution, procedures for conducting a meeting, minutes of a meeting): a. Report information and convey ideas logically and

correctly. b. Offer detailed and accurate specifications. c. Include scenarios, definitions, and examples to aid

comprehension (e.g., troubleshooting guide). d. Anticipate readers’ problems, mistakes, and

misunderstandings.

Comments

Writing (continued)


Written and Oral English Language Conventions

The standards for written and oral English language conventions have been placed between those for writing and for listening and speaking because these conventions are essential to both sets of skills.

1.0 Written and Oral English Language ConventionsStudents write and speak with a command of standard English conventions.

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Written and Oral English Language Conventions (continued)


Grammar and Mechanics of Writing

1.1 Identify and correctly use clauses (e.g., main and subordinate), phrases (e.g., gerund, infinitive, and participial), and mechanics of punctuation (e.g., semicolons, colons, ellipses, hyphens).

1.2 Understand sentence construction (e.g., parallel structure, subordination, proper placement of modifiers) and proper English usage (e.g., consistency of verb tenses).

1.3 Demonstrate an understanding of proper English usage and control of grammar, paragraph and sentence structure, diction, and syntax.

Manuscript Form

1.4 Produce legible work that shows accurate spelling and correct use of the conventions of punctuation and capitalization.

1.5 Reflect appropriate manuscript requirements, including title page presentation, pagination, spacing and margins, and integration of source and support material (e.g., in-text citation, use of direct quotations, paraphrasing) with appropriate citations.

Comments

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Listening and Speaking

1.0 Listening and Speaking StrategiesStudents formulate adroit judgments about oral communication. They deliver focused and coherent presentations of their own that convey clear and distinct perspectives and solid reasoning. They use gestures, tone, and vocabulary tailored to the audience and purpose.


Comprehension

1.1 Formulate judgments about the ideas under discussion and support those judgments with convincing evidence.

1.2 Compare and contrast the ways in which media genres (e.g., televised news, news magazines, documentaries, online information) cover the same event.

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Organization and Delivery of Oral Communication

1.3 Choose logical patterns of organization (e.g., chronological, topical, cause and effect) to inform and to persuade, by soliciting agreement or action, or to unite audiences behind a common belief or cause.

1.4 Choose appropriate techniques for developing the introduction and conclusion (e.g., by using literary quotations, anecdotes, references to authoritative sources).

1.5 Recognize and use elements of classical speech forms (e.g., introduction, first and second transitions, body, conclusion) in formulating rational arguments and applying the art of persuasion and debate.

1.6 Present and advance a clear thesis statement and choose appropriate types of proof (e.g., statistics, testimony, specific instances) that meet standard tests for evidence, including credibility, validity, and relevance.

1.7 Use props, visual aids, graphs, and electronic media to enhance the appeal and accuracy of presentations.

1.8 Produce concise notes for extemporaneous delivery.

1.9 Analyze the occasion and the interests of the audience and choose effective verbal and nonverbal techniques (e.g., voice, gestures, eye contact) for presentations.

Analysis and Evaluation of Oral and Media Communications

1.10 Analyze historically significant speeches (e.g., Abraham Lincoln’s “Gettysburg Address,” Martin Luther King Jr.’s “I Have a Dream”) to find the rhetorical devices and features that make them memorable.

1.11 Assess how language and delivery affect the mood and tone of the oral communication and make an impact on the audience.

1.12 Evaluate the clarity, quality, effectiveness, and general coherence of a speaker’s important points, arguments, evidence, organization of ideas, delivery, diction, and syntax.

1.13 Analyze the types of arguments used by the speaker, including argument by causation, analogy, authority, emotion, and logic.



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1.14 Identify the aesthetic effects of a media presentation and evaluate the techniques used to create them (e.g., compare Shakespeare’s Henry V with Kenneth Branagh’s 1990 film version).

Comments

2.0 Speaking Applications (Genres and Their Characteristics) Students deliver polished formal and extemporaneous presentations that combine the traditional rhetorical strategies of narration, exposition, persuasion, and description. Student speaking demonstrates a command of standard American English and the organizational and delivery strategies outlined in Listening and Speaking Standard 1.0.

Using the speaking strategies of grades nine and ten outlined in Listening and Speaking Standard 1.0, students:


2.1 Deliver narrative presentations: a. Narrate a sequence of events and communicate their

significance to the audience. b. Locate scenes and incidents in specific places. c. Describe with concrete sensory details the sights,

sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of characters.

d. Pace the presentation of actions to accommodate time or mood changes.

2.2 Deliver expository presentations:a. Marshal evidence in support of a thesis and

related claims, including information on all relevant perspectives.



d. Include visual aids by employing appropriate technology to organize and display information on charts, maps, and graphs.

e. Anticipate and address the listener’s potential misunderstandings, biases, and expectations.


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2.3 Apply appropriate interviewing techniques: a. Prepare and ask relevant questions. b. Make notes of responses. c. Use language that conveys maturity, sensitivity, and

respect. d. Respond correctly and effectively to questions. e. Demonstrate knowledge of the subject or organization. f. Compile and report responses. g. Evaluate the effectiveness of the interview.

2.4 Deliver oral responses to literature: a. Advance a judgment demonstrating a comprehensive

grasp of the significant ideas of works or passages (i.e., make and support warranted assertions about the text).




2.5 Deliver persuasive arguments (including evaluation and analysis of problems and solutions and causes and effects): a. Structure ideas and arguments in a coherent, logical

fashion. b. Use rhetorical devices to support assertions (e.g.,

by appeal to logic through reasoning; by appeal to emotion or ethical belief; by use of personal anecdote, case study, or analogy).

c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, expressions of commonly accepted beliefs, and logical reasoning.

d. Anticipate and address the listener’s concerns and counterarguments.

2.6 Deliver descriptive presentations: a. Establish clearly the speaker’s point of view on the

subject of the presentation. b. Establish clearly the speaker’s relationship with that

subject (e.g., dispassionate observation, personal involvement).


Comments



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