Central Board of Secondary Educa on

Central Board of Secondary Educa on

Class - 10

Unit - 4

The Butterfl y Effect

The CBSE-International is grateful for permission to reproduce and/or translate

copyright material used in this publication. The acknowledgements have been

included wherever appropriate and sources from where the material has been

taken duly mentioned. In case anything has been missed out, the Board will be

pleased to rectify the error at the earliest possible opportunity.

All Rights of these documents are reserved. No part of this publication may be

reproduced, printed or transmitted in any form without the prior permission of

the CBSE-i. This material is meant for the use of schools who are a part of the

CBSE-International only.

Preface

The Curriculum initiated by Central Board of Secondary Education –International (CBSE-i) is a progressive step in making the educational content and methodology more sensitive and responsive to the global needs. It signifi es the emergence of a fresh thought process in imparting a curriculum which would restore the independence of the learner to pursue the learning process in harmony with the existing personal, social and cultural ethos.

The Central Board of Secondary Education has been providing support to the academic needs of the learners worldwide. It has about 11500 schools affi liated to it and over 158 schools situated in more than 23 countries. The Board has always been conscious of the varying needs of the learners in countries abroad and has been working towards contextualizing certain elements of the learning process to the physical, geographical, social and cultural environment in which they are engaged. The International Curriculum being designed by CBSE-i, has been visualized and developed with these requirements in view.

The nucleus of the entire process of constructing the curricular structure is the learner. The objective of the curriculum is to nurture the independence of the learner, given the fact that every learner is unique. The learner has to understand, appreciate, protect and build on values, beliefs and traditional wisdom, make the necessary modifi cations, improvisations and additions wherever and whenever necessary.

The recent scientifi c and technological advances have thrown open the gateways of knowledge at an astonishing pace. The speed and methods of assimilating knowledge have put forth many challenges to the educators, forcing them to rethink their approaches for knowledge processing by their learners. In this context, it has become imperative for them to incorporate those skills which will enable the young learners to become ‘life long learners’. The ability to stay current, to upgrade skills with emerging technologies, to understand the nuances involved in change management and the relevant life skills have to be a part of the learning domains of the global learners. The CBSE-i curriculum has taken cognizance of these requirements.

The CBSE-i aims to carry forward the basic strength of the Indian system of education while promoting critical and creative thinking skills, effective communication skills, interpersonal and collaborative skills along with information and media skills. There is an inbuilt fl exibility in the curriculum, as it provides a foundation and an extension curriculum, in all subject areas to cater to the different pace of learners.

The CBSE has introduced the CBSE-i curriculum in schools affi liated to CBSE at the international level in 2010 and is now introducing it to other affi liated schools who meet the requirements for introducing this curriculum. The focus of CBSE-i is to ensure that the learner is stress-free and committed to active learning. The learner would be evaluated on a continuous and comprehensive basis consequent to the mutual interactions between the teacher and the learner. There are some non-evaluative components in the curriculum which would be commented upon by the teachers and the school. The objective of this part or the core of the curriculum is to scaffold the learning experiences and to relate tacit knowledge with formal knowledge. This would involve trans-disciplinary linkages that would form the core of the learning process. Perspectives, SEWA (Social Empowerment through Work and Action), Life Skills and Research would be the constituents of this ‘Core’. The Core skills are the most signifi cant aspects of a learner’s holistic growth and learning curve.

The International Curriculum has been designed keeping in view the foundations of the National Curriculum Framework (NCF 2005) and the experience gathered by the Board over the last seven decades in imparting effective learning to millions of learners, many of whom are now global citizens.

The Board does not interpret this development as an alternative to other curricula existing at the international level, but as an exercise in providing the much needed Indian leadership for global education at the school level. The International Curriculum would evolve on its own, building on learning experiences inside the classroom over a period of time. The Board while addressing the issues of empowerment with the help of the schools’ administering this system strongly recommends that practicing teachers become skillful learners on their own and also transfer their learning experiences to their peers through the interactive platforms provided by the Board.

I profusely thank Shri G. Balasubramanian, former Director (Academics), CBSE, Ms. Abha Adams and her team and Dr. Sadhana Parashar, Head (Innovations and Research) CBSE along with other Education Offi cers involved in the development and implementation of this material.

The CBSE-i website has already started enabling all stakeholders to participate in this initiative through the discussion forums provided on the portal. Any further suggestions are welcome.

Vineet JoshiChairman

Acknowledgements

IdeatorsMs. Aditi Misra Ms. Anuradha Sen Ms. Jaishree Srivastava Dr. Rajesh HassijaMs. Amita Mishra Ms. Archana Sagar Dr. Kamla Menon Ms. Rupa ChakravartyMs. Anita Sharma Ms. Geeta Varshney Dr. Meena Dhami Ms. Sarita ManujaMs. Anita Makkar Ms. Guneet Ohri Ms. Neelima Sharma Ms. Seema RawatDr. Anju Srivastava Dr. Indu Khetrapal Dr. N. K. Sehgal Dr. Uma Chaudhry

AdvisoryShri Vineet Joshi, Chairman,CBSE

Conceptual FrameworkShri G. Balasubramanian, Former Director (Acad), CBSEMs. Abha Adams, Consultant, Step-by-Step School, Noida Dr. Sadhana Parashar, Head (I & R),CBSE

Coordinators: Dr. Sadhana Parashar, Head (I and R)Shri R. P. Sharma, Consultant Ms. Seema Lakra, S O

Ms. Sugandh Sharma, E O (Com)Ms. Ritu Narang, R O (Innovation)Ms. Preeti Hans, Proof Reader

Dr. Srijata Das, E O (Maths)Ms. Sindhu Saxena, R O (Tech)

Material Production Groups: Classes IX - XMathematics :Dr. K.P. Chinda Mr. J.C. NijhawanMs. Rashmi KathuriaMs. Reemu Verma

Geography: Ms. Deepa Kapoor Ms. Bharti Dave Ms. Bhagirathi Ms. Archana SagarMs. Manjari Rattan

Science :Ms. Charu MainiMs. S. AnjumMs. Meenambika MenonMs. Novita ChopraMs. Neeta RastogiMs. Pooja Sareen

Political Science:Ms Sharmila BakshiMs. Archana SoniMs. Srilekha

History :Ms. Jayshree SrivastavaMs. M. BoseMs. A. VenkatachalamMs. Smita Bhattacharya

Economics:Ms. Mridula PantMr. Pankaj BhanwaniMs. Ambica Gulati

English :Ms. Renu AnandMs. Gayatri KhannaMs. P. RajeshwaryMs. Neha SharmaMs. Sarabjit KaurMs. Ruchika Sachdev

Dr. Rashmi Sethi, E O (Science)Shri Al Hilal Ahmed, AEO

Material Production Group: Classes I-VDr. Indu Khetarpal Ms. Rupa Chakravarty Ms. Anita Makkar Ms. Nandita MathurMs. Vandana Kumar Ms. Anuradha Mathur Ms. Kalpana Mattoo Ms. Seema ChowdharyMs. Anju Chauhan Ms. Savinder Kaur Rooprai Ms. Monika Thakur Ms. Ruba ChakarvartyMs. Deepti Verma Ms. Seema Choudhary Mr. Bijo Thomas Ms. Mahua BhattacharyaMs. Ritu Batra Ms. Kalyani Voleti

Material Production Groups: Classes VI-VIIIEnglish :Ms. Rachna PanditMs. Neha SharmaMs. Sonia JainMs. Dipinder KaurMs. Sarita Ahuja

Science :Dr. Meena DhamiMr. Saroj KumarMs. Rashmi RamsinghaneyMs. Seema kapoorMs. Priyanka SenDr. Kavita KhannaMs. Keya Gupta

Mathematics :Ms. Seema RawatMs. N. VidyaMs. Mamta GoyalMs. Chhavi Raheja

Political Science:Ms. Kanu ChopraMs. Shilpi Anand

Geography: Ms. Suparna SharmaMs. Leela Grewal

History :Ms. Leeza DuttaMs. Kalpana Pant

The Bu erfl y Eff ectCauses and Consequences

Why should we do this unit?

i. The Butterfl y Effect is a metaphor for life in a chaotic universe. Earlier it seemed reasonable to believe that big infl uences had big effects and little infl uences had little effects. But the Chaos Theory, however, changed that premise and has built a theory that little things can also have big effects. Thus, students are urged to think how they are affecting the world and others’ lives.

ii. The activities are designed to help them learn how much they matter and the decisions they make today, big and small, can truly change the world.

iii. A number of activities have been provided to help those teachers who wish to widen the students’ horizons beyond the learning outcomes outlined here.

iv. Research and life skills are built into the methodology of every unit.

v. Understanding or thinking about the cause and effect relationship helps a student to learn how the world works. The students’ curiosities about the world often involve cause and effect without their realizing it. English literature is full of cause and effect scenarios. In Shakespeare’s Romeo and Juliet, Romeo killed himself because he thought his love Juliet was dead.

vi. Every subject that a student studies at high school level requires an understanding of cause and effect e.g. Why did the Bengal Mutiny happen? What happens when water is boiled to a hundred degrees? Why is the discovery of DNA the most important in the 20th century?

The term “Bu erfl y Eff ect” is a ributed to Edward Norton Lorenz, a mathema cian and meteorologist, who was one of the fi rst proponents of Chaos Theory. Though he had been working on the theory for approximately ten years, with the principal ques on whether a seagulls’ wing movements changes the weather, but he changed his research to the more poe c bu erfl y in the year 1973.

The concept of small varia ons producing the bu erfl y eff ect actually pre-dates science and fi nds its home in science fi c on. Writers like Ray Bradbury were par cularly interested in problems that might occur if one travelled back in me; he has explored this possibility in his short story, ‘A Sound of Thunder’.

General Learning Outcomes of the unit

At the end of this unit, the students will be able to:

Û understand the concept of cause and eff ect

Û iden fy cause and eff ect rela onships in the short stories “A Sound of Thunder”, “The Gi ” and in the weblog on environmental conserva on

Û appreciate and understand the examples of cause and eff ect in their real life situa ons

Û iden fy and use words that depict cause and eff ect rela onship.

Specifi c Learning Outcomes of the unit:

At the end of this unit, the students will be able to:

Û understand that the decisions they make today, big and small, can truly change the world

Û familiarize themselves with the elements of a short story and a poem

Û write a short poem, a story, a report and a descrip on

Û prepare powerpoint presenta ons on themes related to ‘The Bu erfl y Eff ect’

Û ar culate their views on causes and consequences, both in speech and in wri ng.

The Bu erfl y Eff ect-Causes andConsequences

Section Listening Speaking Reading Writing Vocabulary and Skills Skills Skills Skills language conventions

Sec on-A

A Sound of Thunder (Story)

Sec on-B

The Bu erfl y Eff ect (Poem)

Sec on-D

Tiny acts cause big changes (weblog)

Sec on-C

The Gi (Story)

• A/V: Time Travel

• A/V The Sound of Thunder- Part 1, 2 and 3

• A/V: Theory of Chaos

• Listening for comprehension

• A/V: The Secret Life of Chaos

• Oral presenta on

• Sharing views on me travel

• Sharing views on the theory of ‘The Bu erfl y Eff ect’.

• Giving a Powerpoint Presenta on

• Enact a role play

• Iden fying main points of a passage

• Drawing inferences

• Understand the theory of ‘The Bu erfl y Eff ect’

• Comple ng a summary

• Iden fying the main points of a passage

• Compare and contrast the story and the two poems

• Reference work - library and internet resources

• Comprehend the visual cues

• MCQ

• Film review

• Descrip on of a friendly dinosaur

• Descrip on of an imaginary creature

• Making a Powerpoint Presenta on

• Wri ng a diary entry

• Rewrite almanac using ‘if’ condi onal.

• Wri ng a newspaper report

• Wri ng a summary

• Wri ng dialogues

• Wri ng a diary entry

• Wri ng an ar cle

• Puzzle out the meanings

• Condi onal sentences

• Synonyms

• Poe c devices

• Words expressing cause - eff ect rela onship

Content

I. Sec on A 1

A Sound of Thunder by Ray Bradbury (Story)

II. Sec on B 20

The Bu erfl y Eff ect by David Hernandez (Poem)

III. Sec on C 24

The Gi by Philip Van Doren Stern (Story)

IV. Sec on D 37

Tiny Acts Cause Big Changes (Weblog)

V. Suggested Reading 47

VI. Suggested Websites 47

1

Sec on A

Warm up

1. In pairs, study the verbal and visual cues given below and plan a tour to this loca on.

i) Where do you think this city is located?

ii) What is the me period?

iii) Is it possible to travel by a disc shaped aircra ?

iv) What are your expecta ons regarding the social and poli cal life of this locale ?

Travelling into diff erent me periods has always fascinated humanity. People have always tried to visualise life a hundred years ago and a hundred years ahead.

Read more on: h p://scienceray.com/physics/riddles-of- me-travel/#ixzz1KGemxAdv

2

2. a. Working in pairs, use the encarta/encyclopedia to fi nd out more about ‘ me travel’. Then, answer the following ques ons:

i. Which me period in history would you like to visit?

_____________________________________________________________

ii. Which year would you like to travel back to?

_____________________________________________________________

iii. Whom would you want to meet ? Would you like to witness a specifi c event?

_____________________________________________________________

iv. What is that one event which you feel has changed history?

_____________________________________________________________

v. It you had the power, which event of the history would you have changed? Why?

_____________________________________________________________

Share your answers with the class.

b. Watch this animated video talk presented by the Na onal Geographic Society about how it is theore cally possible to travel into diff erent me periods. This would help you appreciate the story more.

h p://youtube/V7vpw4AH8QQ

c. With the help of the presenta on, science journals, encyclopedia and your own understanding, make a two-minute presenta on to demonstrate how me travel is possible. Write a short descrip on in about 150 words.

3. a. Here is a picture of a scien st who is keen to protect pre-historic creatures. As the scien st, write a diary entry expressing your desire to save pre-historic creatures.

3

TIME SAFARI, INC.

SAFARIS TO ANY YEAR IN THE PAST

YOU NAME THE ANIMAL.

WE TAKE YOU THERE.

YOU SHOOT IT.

b. Give your views on whether me travel will have a posi ve or a nega ve impact on our environment and on human history.

4. Read this short story, “A Sound of Thunder” which involves a Time Travel Safari where rich businessmen pay to travel back to pre-historic mes and hunt real life dinosaurs.

A Sound of ThunderRay Bradbury

1. The sign on the wall seemed to quaver under a fi lm of sliding warm water. Eckels felt his eyelids blink over his stare.

The muscles around his mouth formed a smile and his hand waved a check for ten thousand dollars to the man behind the desk.

2. “Does this safari guarantee I come back alive?”

3. “We guarantee nothing,” said the offi cial, “except the dinosaurs.” He turned. “This is Mr. Travis, your Safari Guide in the Past. If he says no shoo ng, no shoo ng. If you disobey instruc ons, there’s a s ff penalty of another ten thousand dollars, plus possible government ac on, on your return.”

4. A touch of the hand and this burning machine would, on the instant, beau fully reverse itself. Eckels remembered the wording in the adver sements to the le er. Out of chars and ashes, out of dust and coals, the old years, the green years, might leap; roses sweeten the air, white hair turn Irish-black, wrinkles vanish; all, everything fl y back to seed, fl ee death, rush down to their beginnings, suns rise in western skies and set in glorious easts, moons eat themselves opposite to the custom. “Unbelievable”. Eckels breathed the light of the Machine on his thin face. “A real Time Machine.” He shook his head. “Makes you think, if the elec on had gone badly yesterday, I might be here now running away from the results. Thank God, Keith won. He’ll make a fi ne President of the United States.”

5. “Yes,” said the man behind the desk. “We’re lucky. If Deutscher had go en in, we’d have the worst kind of dictatorship. There’s an an everything

4

man for you, a militarist, an -human, an -intellectual. Said if Deutscher became

President they wanted to go live in 1492. Of course it’s not our business to

conduct Escapes but to form Safaris. Anyway, Keith’s President now. All you got

to worry about is-”

6. “Shoo ng my dinosaur,” Eckels fi nished it for him.

7. “A Tyrannosaurus Rex. The Tyrant Lizard, the most incredible monster in

history. Sign this release. Anything happens to you, we’re not responsible.

Those dinosaurs are hungry.”

8. Eckels fl ushed angrily. “Trying to scare me!”

9. “Frankly, yes. We don’t want anyone going who’ll panic at the fi rst shot.

Six Safari leaders were killed last year and a dozen hunters. We’re here to

give you the severest thrill a real hunter ever asked for. Traveling you back

sixty million years to bag the biggest game in all of Time. Your personal

check’s s ll there. Tear it up.” Mr. Eckels looked at the check. His fi ngers

twitched.

10. “Good luck,” said the man behind the desk. “Mr. Travis, he’s all yours.” They

moved, taking their guns with them, toward the Machine, the roaring light.

First a day and then a night and then a day and then a night, then it was

day-night-day-night. A week, a month, a year, a decade! A.D. 2055. A.D. 2019.

1999! 1957! Gone! The Machine roared. They put on their oxygen helmets

and tested the intercoms.

11. Eckels felt the trembling in his arms and he looked down and found his hands ght

on the new rifl e. There were four other men in the Machine. Travis, the Safari

Leader, his assistant, Lesperance, and two other hunters, Billings and Kramer. They

sat looking at each other, and the years blazed around them.

12. “Can these guns get a dinosaur cold?” Eckels felt his mouth saying.

13. “If you hit them right,” said Travis on the helmet radio. “Some dinosaurs

have two brains, one in the head, another far down the spinal column. We

stay away from those. That’s stretching luck. Put your fi rst two shots into

the eyes, if you can, blind them and go back into the brain.” The Machine

howled. Time was a fi lm run backward. The Machine stopped. The sun stopped

in the sky. The fog that had enveloped the Machine blew away and they were

5

in an old me. “The Pyramids are s ll in the earth, wai ng to be cut out and

put up. Remember that. Alexander, Caesar, Napoleon, and Hitler – none of

them exist.” The man nodded. “That” – Mr. Travis pointed – “is the jungle of

sixty million two thousand and fi y-fi ve years before President Keith.”

14. He indicated a metal path. “And that,” he said,” is the Path, laid by the TIME

SAFARI for your use. It fl oats six inches above the Earth. Doesn’t touch so

much as a grass blade, fl ower or tree. An an -gravity metal. Its purpose is to

keep you from touching the world of the past in any way. Stay on the Path. Don’t

go off it. For any reason! If you fall off , there is a penalty. And don’t shoot

any animal, we don’t, okay.”

15. “Why?” asked Eckels.

16. “We don’t want to change the Future. We don’t belong here in the Past.

The government doesn’t like us here. We have to pay big gra to keep our

franchise. A Time Machine is fi nicky business. Not knowing it, we might kill

an important animal, a small bird, a roach and a fl ower even, thus destroying

an important link in a growing species.”

17. “That’s not clear,” said Eckels.

18. “All right,” Travis con nued, “say we accidentally kill one mouse here. That

means all the future families of this one par cular mouse are destroyed,

right?”

19. “Right.”

20. “So they’re dead,” said Eckels. “So

what?”

21. “So what?” Travis snorted quietly. “Well,

what about the foxes that’ll need those

mice to survive? For want of ten mice, a

fox dies. For want of ten foxes a lion

starves. For want of a lion, all manner of

insects, vultures, infi nite billions of life

forms are thrown into chaos and

destruc on. Eventually it all boils down

to this: fi y-nine million years later, a

6

caveman, one of a dozen on the en re world, goes hun ng wild boar or saber-toothed ger for food. But you, friend, have stepped on all the gers in that region by stepping on one single mouse. So the caveman starves. And the caveman, please note, is not just any expendable man, no! He is an en re future na on.

Perhaps Rome never rises on its seven hills. Perhaps Europe is forever a dark forest and only Asia waxes healthy and teeming. Step on a mouse and you crush the Pyramids. Step on a mouse and you leave your print across Eternity. Queen Elizabeth might never be born, Washington might not cross the Delaware and there might never be a United States at all. So be careful. Stay on the Path. Never step off !”

22. “I see,” said Eckels. “Then it wouldn’t pay for us even to touch the grass?”

23. “Correct. Crushing certain plants could add up infi nitesimally. Of course maybe our theory is wrong. Maybe Time can’t be changed by us. Or maybe it can be changed only in li le subtle ways. A dead mouse here makes an insect imbalance there, a popula on dispropor on later, a bad harvest further on, a depression, mass starva on, and fi nally, a change in social temperament in far-fl ung countries. Who knows? Who really can say he knows? We don’t know. We’re guessing. But un l we do know for certain whether our messing around in Time can make a big roar or a li le rustle in history, we’re being careful. This Machine, this Path, your clothing and bodies were sterilized, as you know, before the journey. We wear these oxygen helmets so we can’t introduce our bacteria into an ancient atmosphere.”

24. “How do we know which animals to shoot?”

25. “They’re marked with red paint,” said Travis. “Today, before our journey, we sent Lesperance here back with the Machine. He came to this par cular era and followed certain animals.”

26. “Studying them?”

27. “Right,” said Lesperance. “I track them through their en re existence, no ng which of them lives longest. Very few. Life’s short, when I fi nd one that’s going to die when a tree falls on him or one that drowns in a tar pit, I note the exact hour, minute and second. I shoot a paint bomb. It leaves a red patch on his side. We can’t miss it. This way, we kill only animals with no future, that are never

going to mate again. You see how careful we are?”

7

28. “But if you came back this morning in Time,” said Eckels eagerly, you

must’ve bumped into us, our Safari! How did it turn out? Was it successful?

Did all of us get through – alive?”

29. Travis and Lesperance gave each other a look.

30. “That’d be a paradox,” said the la er. “Time doesn’t permit that sort of

mess-a man mee ng himself. When such occasions threaten, Time steps

aside. Like an airplane hi ng an air pocket. You felt the Machine jump just

before we stopped? That was us passing ourselves on the way back to the

Future. We saw nothing. There’s no way of telling if this expedi on was a

success, if we got our monster or whether all of us – meaning you, Mr. Eckels –

got out alive. ”Eckels smiled palely.

31. “Cut that,” said Travis sharply. “Everyone on his feet!” They were ready to

leave the Machine. Eckels balanced on the narrow Path and aimed his rifl e playfully.

“Stop that!” said Travis. “Don’t even aim for fun, blast you! If your guns should

go off –”

32. Eckels fl ushed. “Where’s our Tyrannosaurus?”

33. Lesperance checked his wristwatch. “Up ahead. Look for the red paint!

Don’t shoot ll we give the word. Stay on the Path!”

34. “Safety catches off , everyone!” ordered Travis. “You, fi rst shot, Eckels. Second,

Billings, Third, Kramer.”

35. “I’ve hunted ger, wild boar, buff alo, elephant but now, this is it,” said Eckels.

“I’m shaking like a kid.”

36. “Ah,” said Travis.

Everyone stopped.

37. Travis raised his hand. “Ahead,” he whispered. “In the mist. There he is. There’s His

Royal Majesty now.”

38. Silence.

39. A sound of thunder.

8

40. Out of the mist, one hundred yards away, came Tyrannosaurus Rex.

5. Discuss in pairs and answer the following ques ons:

a. How should a hunter prepare to shoot his prey, according to Travis? Why?

b. How did Travis prepare for the hun ng safari?

c. Why wouldn’t we meet ourselves if we travel into our past or future?

It came on great oiled, resilient, striding legs. It towered thirty feet above half of

the trees, folding its delicate watchmaker’s claws close to its oily rep lian chest.

Each lower leg was a piston, a thousand pounds of white bone, sunk in thick ropes

of muscle, sheathed over in a gleam of pebbled skin. Each thigh was a ton of meat,

ivory and steel mesh. And from the great breathing cage of the upper body those

two delicate arms dangled out in front, arms with hands which might pick up

and examine men like toys. And the head itself, a ton of sculptured stone, li ed

easily upon the sky. Its mouth gaped, exposing a fence of teeth like daggers. Its

eyes rolled, ostrich eggs, empty of all expression save hunger. It ran, its pelvic

bones crushing aside trees and bushes, its taloned feet clawing damp earth,

leaving prints six inches deep wherever it se led its weight. It ran with a

gliding ballet step.

9

41. “It can’t be killed,” Eckels pronounced this verdict quietly. The rifl e in his hands

seemed a cap gun. “We were fools to come. This is impossible.”

42. “Shut up!” hissed Travis.

43. “Nightmare.”

44. “Turn around,” commanded Travis. “Walk quietly to the Machine. We’ll remit half

your fee.”

45. “I didn’t realize it would be this big,” said Eckels. “I miscalculated, that’s all.

And now I want out.”

46. “It sees us!”

47. “There’s the red paint on its chest!” The Tyrant Lizard raised itself.

48. “Get me out of here,” said Eckels. “It was never like this before. I was always

sure I’d come through alive. I had good guides, good safaris and safety. This

me, I fi gured wrong. This is too much for me to get hold of.”

49. “Don’t run,” said Lesperance. “Turn around. Hide in the Machine.”

50. “Yes.” Eckels seemed to be numb. He looked at his feet as if trying to make them

move. He gave a grunt of helplessness.

51. “Eckels!”He took a few steps, blinking, shuffl ing.

52. “Not that way!”

53. The Monster lunged forward with a terrible scream. It covered one hundred

yards in six seconds. The rifl es jerked up and blazed fi re. A windstorm from the

beast’s mouth engulfed them in the stench of slime and old blood. The Monster

roared, teeth gli ering with sun. The jungle was high and the jungle was broad and

the jungle was the en re world forever and forever. Sounds like music and sounds

like fl ying tents fi lled the sky, and those were pterodactyls roaring with cavernous

grey wings, gigan c bats of delirium and night fever. The rifl es cracked again, Their

sound was lost in shriek and lizard and lizard thunder. Its boulder stone eyes leveled

with the men. They fi red at the metallic eyelids and the blazing black iris.

54. Like a stone idol, like a mountain avalanche, Tyrannosaurus fell.

10

55. Thundering, it clutched trees, pulled them with it. It wrenched and tore the

metal Path. A fount of blood spurted from its throat. They stood, red and

glistening. The thunder faded. Billings and Kramer sat on the pathway and threw

up. Travis and Lesperance stood with smoking rifl es, cursing steadily. In the Time

Machine, on his face, Eckels lay shivering. He had found his way back to the Path,

climbed into the Machine. Travis came walking, glanced at Eckels, took co on

gauze from a metal box and returned to the others, who were si ng on the Path.

56. “Clean up.”They wiped the blood from their helmets. Another cracking sound.

Overhead, a gigan c tree branch broke from its heavy mooring, fell. It crashed

upon the dead beast with fi nality.

57. “There.” Lesperance checked his watch. “Right on me. That’s the giant tree that was scheduled to fall and kill this animal originally.” He glanced at the two hunters. “You want the trophy picture?”

58. “What?”

59. “We can’t take a trophy back to the Future. The body has to stay right here where it would have died originally, so the insects, birds, and bacteria can get at it, as they were intended to. Everything in balance. The body stays. But we can take a picture of you standing near it”. The two men tried to think, but gave up, shaking their heads. They let themselves be led along the metal Path. They sank wearily into the Machine cushions. A sound on the fl oor of the Time Machine s ff ened them. Eckels sat there, shivering.

60. “I’m sorry,” he said at last.

61. “Get up!” cried Travis. Eckels got up.

62. “Go out on that Path alone,” said Travis. He had his rifl e pointed, “You’re not coming back in the Machine. We’re leaving you here!”

63. Lesperance seized Travis’s arm. “Wait – ”

64. “Stay out of this!” Travis shook his hand away. “This fool nearly killed us. But it isn’t that so much, no. It’s his shoes! Look at them! He ran off the Path. That ruins us! We’ll forfeit! Thousands of dollars of insurance! We guarantee no one leaves the Path. He le it. Oh, the fool! I’ll have to report to the government. They might revoke our license to travel. Who knows what he’s done to Time, to History!”

65. “Take it easy, all he did was kick up some dirt.”

11

66. “How do we know?” cried Travis. “We don’t know anything! It’s all a mystery! Get out of here, Eckels!”

67. Eckels fumbled his shirt. “I’ll pay anything. A hundred thousand dollars!”

68. Travis glared at Eckels’ checkbook and spat. “Go out there. The Monster’s next to the Path. S ck your arms up to your elbows in his mouth. Then you can come back with us.”

69. “That’s unreasonable!”

70. “The Monster’s dead, you idiot. The bullets! The bullets can’t be le behind. They don’t belong in the Past; they might change anything. Here’s my knife. Dig them out!” A er a long me, like a sleepwalker he shuffl ed out along the Path. He returned, shuddering, fi ve minutes later, his arms soaked and red to the elbows. He held out his hands. Each held a number of steel bullets.

71. “Next me he won’t go hun ng game like this. Okay.” He jerked his thumb wearily at Lesperance. “Switch on. Let’s go home.”1492. 1776. 1812. Travis glared at Eckels for a full ten minutes.

72. “Don’t look at me,” cried Eckels. “I haven’t done anything.”

73. “Who can tell?”

74. “Just ran off the Path, that’s all, a li le mud on my shoes-what do you want me to do-get down and pray?”

75. “We might need it. I’m warning you, Eckels, I might kill you. I’ve got my gun ready.”

76. “I’m innocent. I’ve done nothing!”1999.2000.2055. The Machine stopped.

77. “Get out,” said Travis.

78. The room was there as they had le it. But not the same as they had le it. The same man sat behind the same desk. But the same man did not quite sit behind the same desk. Travis looked around swi ly. “Everything okay here?” he snapped.

79. “Fine. Welcome home!”Travis did not relax. He seemed to be looking through one high window.

80. “Okay, Eckels, get out. Don’t ever come back.” Eckels could not move.

81. “You heard me,” said Travis. “What’re you staring at?”

12

82. Eckels stood smelling the air and there was a thing to the air, a chemical taint so subtle, so slight, that only a faint cry of his subliminal senses warned him it was there. The colors, white, gray, blue, orange, in the wall, in the furniture, in the sky beyond the window, were . . . were . . . . And there was a feel. His fl esh twitched. His hands twitched. He stood drinking the oddness with the pores of his body. ….

83. But the immediate thing was the sign painted on the office wall, the same sign he had read earlier today on first entering. Somehow, the sign had changed:

Eckels felt himself fall into a chair. He fumbled crazily at the thick slime on his boots. He held up a clod of dirt, trembling, “No, it can’t be. Not a li le thing like that. No!” Embedded in the mud, glistening green and gold and black, was a bu erfl y, very beau ful and very dead.

84. “Not a bu erfl y!” cried Eckels.

TYME SEFARI INC.

SEFARIS TU ANY YEER EN THE PAST.

YU NAIM THE ANIMALL.

WEE TAEK YU THAIR.

YU SHOOT ITT.

It fell to the fl oor, a small thing that could upset balances and knock down a line of small dominoes and then big dominoes and then gigan c dominoes, all down the years across Time. Eckels’ mind whirled. Killing one bu erfl y couldn’t be that important! Could it?

13

His face was cold. His mouth trembled, asking: “Who – who won the presiden al elec on yesterday?”

85. The man behind the desk laughed. “You joking? You know very well. Deutscher, of course! Who else? Not that fool weakling Keith. We got an iron man now, a man with guts!” The offi cial stopped. “What’s wrong?”

86. Eckels moaned. He dropped to his knees. He scrabbled at the golden bu erfl y with shaking fi ngers. “Can’t we,” he pleaded to the world, to himself, to the offi cials, to the Machine, “can’t we take it back, can’t we make it alive again? Can’t we start over? Can’t we –”He did not move. Eyes shut, he waited, shivering. He heard Travis breathe loud in the room; he heard Travis shi his rifl e, click the safety catch and raise the weapon.

87. There was a sound of thunder.

[Abridged]

6 a. In pairs, fi nd and read the sentences where these words are given in the story. Puzzle out their meanings and write them in the space given in the table. Using a dic onary or a thesaurus, write the meanings that you fi nd and compare the two meanings.

Words Meanings you puzzled out Meanings in the

dic onary /thesaurus

1 quaver

2 sheathed

3 stench

4 infi nitesimally

5 depression

6 sterilized

7 boulder stone

8 taint

9 oddness

14

b. Match the meanings given below with the phrases given in the box and write the answers in the corresponding boxes.

lump of earth; ar s c feelings; rough surface; complicated work; dead with mouth

open; kill the animal; reverse occurrence; foul smelling s cky substance; heavy

fi nes; bright light.

Phrases Meaning

1 S ff penalty

2 Opposite to custom

3 Roaring light

4 Get a dinosaur cold

5 Finicky business

6 Death grin

7 Stench of slime

8 Heavy mooring

9 Subliminal senses

10 Clod of dirt

7 a. Now, watch a slideshow about Ray Bradbury and his short story to help you understand the writer’s message for his readers.

www.worldofteaching.com/powerpoints/english/A%20Sound%20of%20Thunder.ppt

b. In pairs, discuss the answers for the following ques ons: i. This safari is unusual in its purpose. Why?

ii. Eckels was fascinated by the machine that would take them back in me.

Why?

iii. Briefl y describe each traveller based on the details that you have gathered

from the story.

iv. How were the prey iden fi ed for the hunt? Do you think Travis is right?

Give two reasons for your answer.

15

v. Although a seasoned hunter, Eckels backed away at the last moment. Why?

vi. What purpose does the metallic ‘Path’ serve? How does it work?

vii. Do you observe any changes a er the Time Travellers’ return to 2055?

What do you think could have happened?

viii. The story ends with Travis’s fi ring his gun. What do you think happens

a er this moment?

c. Watch the unabridged fi lm clips of the TV serial, based on the story ‘A Sound of Thunder’.

Sound of Thunder 1 of 3: h p://youtu.be/wkLT57mVnGE

Sound of thunder 2 of 3: h p://youtu.be/Kqd4Ol8FlGc

Sound of Thunder 3 of 3: h p://youtu.be/-xuq3kOwGGw

8. In groups of four, respond to the following ques ons. Each member prepares a two-minute oral presenta on of the group’s fi ndings and share it with the class.

i. What is the Dominoes Eff ect ? Use an encyclopedia or internet to fi nd

more about the Dominoes Eff ect and apply it to the situa on being

discussed in the story.

ii. The elec on scene undergoes a dras c change? Make a connec on

between what happened during the safari and the outcome of the

elec ons.

iii. Do you agree that Travis possesses the quali es of a modern leader?

Why/Why not?

iv. Travis lays down the following protocols for their trip, namely:

i. Don’t change anything in the Past

ii. Don’t leave anything behind

iii. Don’t bring anything back.

How closely did the hunters observe these protocols ?

v. Recall the comment about Ray Bradbury’s style of wri ng given in the

powerpoint presenta on. Support it with suitable examples from the story.

16

9. The science fi c on presented in the fi lm version used the supernatural and cinema c eff ects to interpret Bradbury’s story. Write a fi lm review, in about 200 words, illustra ng your observa ons. Use these guidelines to write the review:

i. Understand the story in the fi lm.

ii. Give your opinion about ac ng, photography, cast, dura on, dress etc.

iii. Find out who are the actors. Are they known for a certain style?

iv. Is it a remake or a sequel?

v. Tell the readers how it lived up to the original unabridged story.

10. Grammar

Read the following statements from the story. In pairs, iden fy and underline

the part of the statement which expresses a condi on. Share your observa ons

with the class.

i. If he says no shoo ng, no shoo ng.

ii. If you disobey instruc ons, there’s a s ff penalty of another ten thousand

dollars, plus possible government ac on, on your return.

iii. But un l we do know for certain whether our messing around in Time can

make a big roar or a li le rustle in history, we’re being careful.

iv. “Stop that!” said Travis. “Don’t even aim for fun, blast you! If your guns

should go off – ”

v. If Deutscher had go en in, we’d have the worst kind of dictatorship.

vi. If you fall off , there is a penalty.

vii. “All right,” Travis con nued, “say we accidentally kill one mouse here. That

means all the future families of this par cular mouse are destroyed, right?”

viii. If Deutscher became President, they wanted to go live in 1492.

ix. Can these guns get a dinosaur cold?” Eckels felt his mouth saying.

“If you hit them right,” said Travis on the helmet radio...

x. Put your fi rst two shots into the eyes, if you can blind them and go back

into the brain.”

17

Read these guidelines to complete the given tasks:

Condi onal sentences show how a result depends on a condi on/s.

In English, there are four formulas to structure the condi onal sentences:

1. The fi rst formula indicates the possible outcome of an event

[e.g.] If I am late, I will call you.

2. The second formula indicates the possible outcome of an event that is

less likely to occur.

[e.g.] If it gets ho er, we may have a thunder storm.

3. The third formula indicates the possible outcome of an event that did

not occur and is, therefore, a missed opportunity.

[e.g.] If I had revised, I would have passed all my exams.

4. The fourth formula indicates that the statement is true. This is

some mes called ‘zero condi onal’ where ‘if’ can be replaced with

‘when’.

[e.g.] If you heat ice, it melts.

It is possible to reverse the order of the clauses.

Condi onals can also be introduced using ‘as long as‘, ‘un l’, ‘ ll’, ‘on condi on

that’, ‘provided that’ etc.

Now, complete the following tasks:

Task 1 : Re-read the statements given in ques on no. 10 and state the condi ons

expressed in them. Share your answers with the class.

Task 2: Complete the following sentences based on the guidelines given in the

box:

i. It_____________________________, if we tried to cross the muddy river.

ii. I’d watch the fi lm only______________________________________good.

iii. She’d have taken me to the sta on ________________________________.

18

iv. ________________________________, he won’t help you with the project.

v. ________________________________ yesterday, we could have gone to

the beach for a picnic.

vi. Can I read this book un l _______________________________________?

vii. I wouldn’t have opened the e-mail, if ______________________________.

viii. We won’t get lost as ____________________________________________.

ix. You can leave earlier provided ____________________________________.

x. On condi on _____________________, I will lend you $ 10,000.

xi. When___________________________, the stars shine brightly.

xii. We could take a trip to planet Mars, _______________________________.

11 a. Read the writer’s descrip on of the dinosaur again.

The Roar of ThunderIt came on great oiled, resilient,

striding legs. It towered thirty feet

above half of the trees, folding its

delicate watchmaker’s claws close

to its oily rep lian chest. Each

lower leg was a piston, a thousand

pounds of white bone, sunk in

thick ropes of muscle, sheathed

over in a gleam of pebbled skin. Each thigh was a ton of meat, ivory and steel mesh.

And from the great breathing cage of the upper body those two delicate arms dangled

out in front, arms with hands which might pick up and examine men like toys. And the

head itself, a ton of sculptured stone, li ed easily upon the sky. Its mouth gaped,

exposing a fence of teeth like daggers. Its eyes rolled, ostrich eggs, empty of all

expression save hunger. It ran, its pelvic bones crushing aside trees and bushes,

its taloned feet clawing damp earth, leaving prints six inches deep wherever it

se led its weight…

19

b. Iden fy and underline the words that are used to describe the animal.

c. Now, write a similar descrip on of a friendly dinosaur. Your readers should fi nd your wri ng realis c and interes ng. Make it easy for your readers to imagine the appearance, movements and other quali es of the animal.

d. Create an imaginary creature with different parts from different animals. Draw a picture and describe the creature in 150-200 words.

A me machine

20

The Bu erfl y Eff ectby David Hernandez

If a butterfl y fl apping its wings in Beijingcould cause a hurricane off the coast of Florida,

so could a deck of cards shuffl ed at a picnic.So could the clapping hands of a fatherwatching his son rounding the bases, thee wind sculpting his baggy pants.

So could a woman reading a book of poems, a tiny current from a turned page

slipping out the open window, nudginga passing breeze: an insignifi cant event

that could snowball months later into a monsoonat a coastal village halfway around the world.

Palm trees bowing on the shore.Grass huts disintegrating like blown dandelions.

Hard to believe, but when I rewind my life,starting from a point when my heart

was destroyed by a hurricane of grief,I see the dominoes rising, how that storm

was just a gale weeks earlier, a gustdays before that. Finally I see where it all began.

I say hello to a woman sitting aloneat the park, a tattoo butterfl y perched

on her ankle, ready to reek havoc.

(Slightly edited)

[You can also read David Hernandez’s poetry, “The Bu erfl y Eff ect” in its en rety in Quarterly West issue #52]

Sec on B

Warm up

1. Read the informa on given below.

‘The Bu erfl y Eff ect ‘ is a term that has become quite popular, thanks to me-travel stories like “The Sound of Thunder”. It means that ny changes within a complex system lead to results that are impossible to predict. Can the fl u ering wings of a bu erfl y in one place really aff ect the weather condi ons in another far away place? Unbelievable it seems, but that is what “The Bu erfl y Eff ect” theory says.

Have you observed similar situa ons in your day to day life where ny changes led to results that were impossible to predict. Share your experiences with the class.

2. Now, read the illustra ve modern poem aloud:

21

3 a. Iden fy ten keywords or phrases. Replace them with words ofsimilar meanings and fi nd words which express the poet’s ideas as good as the words used in the poem. For example, ‘rounding’ can be replaced by ‘touching’.

Words/phrases from the poem Your words/phrases

b. Read the poem aloud to the class with words you have used. The class votes for the best ‘poem’.

4. Complete the summary of the poem with appropriate words.

The writer, ________________, in his poem uses a tle that is derived from the

scien fi c theory called __________________. He expresses the idea that small

__________________ might cause great changes in _________________ of

a distant loca on. He proposes that even small vibra ons in the atmosphere

caused by ___________________________, __________________________,

______________________, ________________________or ________________

can accelerate a devasta ng storm elsewhere.

In stanza II, the poet applies this understanding to life itself.

Who knows? There are mes in our lives when we feel as small

as a bu erfl y and make almost no diff erence in the lives of

those around us. We believe the same for others. However, the poet believes that

it was possible that the poet’s mee ng with ________________________ who

had a ___________________________ ankle, had caused___________________

________________________.

22

5. Read the following poem by Benjamin Franklin found in ‘Poor Richard’s Almanac ’, which also illustrates the same theme of ‘The Bu erfl y Eff ect’.

For want of a nail, the shoe was lost;

For want of the shoe, the horse was lost;

For want of the horse, the rider was lost;

For want of the rider, the ba le was lost;

For want of the ba le, the kingdom was lost,

And all for the want of a horseshoe nail.

[This poem is derived from a verse by George Herbert’s Jacula Pruden um, wri en in 1651.]

6. How is the cause and eff ect of human ac ons illustrated in these two poems? Share your views with the class.

7. In pairs, discuss the following ques ons and share your answers with the class.

i. Explain the use of personifi ca on in the phrase ‘sculp ng his baggy pants’.

ii. What do you understand by the phrase ‘nudging a passing breeze’?

iii. When and how does one ‘rewind his or her life’?

iv. How does the poet use metaphors and similes to illustrate his feelings?

v. How could a chance mee ng with a stranger be the cause of so much of emo onal distress, according to the poet?

vi. What symbolism does he recognize in the ta oo bu erfl y?

vii. Rewrite Benjamin Franklin’s verse using the condi onal ‘if’ or ‘unless’ without changing the meaning of the verse. Share it with your class.

23

8. a. In pairs, study and think over this cartoon-Snoopy.

b. What is the similarity in the message conveyed by the cartoonist and the poet?

c. Bring out the symbolism in the cartoon and share it with the class.

David Hernandez is an American poet and

novelist. Most recently, he was awarded a 2011

NEA Literature Fellowship in Poetry. His recent

collec on, Hoodwinked, won the Kathryn A.

Morton Prize and is forthcoming from Sarabande

Books this August. His other collec ons include

Always Danger (SIU Press, 2006), winner of the

Crab Orchard Series in Poetry, and A House

Wai ng for Music (Tupelo Press, 2003). His

poems have appeared in FIELD, Ploughshares,

The Threepenny Review, The Missouri Review, Tri-Quarterly, The Southern

Review, and Poetry Daily. He is also the author of two novels, No

More Us for You and Suckerpunch, both published by HarperCollins. David

teaches at the University of California, Irvine. He lives in Long Beach and is

married to writer Lisa Gla .

About the Poet

AButterfl y!

May be it’s a beautiful princess who has been turned into a butterfl y by a wicked snowe.

May be she wants me to follow her and when we reach the enchanted castle, we both will be turned into human beings.

Forget it!

24

Sec on - C

Warm up : Do I make a diff erence?

1. Look at the pictures given below:

a. b.

i. Who are the subjects in these pictures?

ii. What do you think these people are doing?

iii. Do you think their ac ons can have any signifi cant impact? Give reasons for your answer.

c. d.

i. Have you ever par cipated in any of the ac vi es as illustrated in these pictures? Why or why not?

ii. Are these children doing something important? Give reasons for your answer.

iii. How can every li le act make a big diff erence to our planet?

iv. Give some more examples where small things can make a big diff erence. Explain how it can happen.

Share your ideas with the class.

25

2. Some stories can change the way we think and some can give a new perspec ve to our life. Have you read any story that has le an indelible imprint in your mind? Discuss it with your class.

3. Now, read the story given below:

The Gi

Philip Van Doren Stern

1. The li le town straggling up the hill was bright with colored Christmas lights. But

George Pra did not see them. He was leaning over the railing of the iron bridge,

staring down moodily at the black water gliding downstream under the bridge.

He leaned s ll farther over the railing...A li le man he had never seen before

said, “I wouldn’t do that if I were you.”

2. “Wouldn’t do what?” George asked sullenly.

3. “What you were thinking of doing.”

4. “How do you know what I was thinking?”

5. “Oh, we make it our business to know a lot of things,” the stranger said easily. He

was an unremarkable li le person. He was carrying a small black satchel-a

salesman’s sample kit, George decided distastefully, probably some sort of

peddler, the kind who would go around poking his sharp li le nose into other

people’s aff airs. The li le man shook his head. “You know you shouldn’t think

of such things— You’ve got to consider Mary—and your mother too. George

opened his mouth to ask how this stranger could know his wife’s name but the

fellow an cipated him. “Don’t ask me how I know such things. It’s my business

to know ’em. That’s why I came along this way tonight. Lucky I did too.” He

glanced down at the dark water and shuddered. “Well, if you know so much

about me,” George said, “give me just one good reason why I should be alive.

The li le man made a queer chuckling sound. “Come, come, it can’t be that

bad. You’ve got your job at the bank. And Mary and the kids. You’re healthy,

young, and—”

26

6. “I’m stuck here in this mud hole for life, doing the same dull work day a er day.

Other men are leading exci ng lives, but I—well, I’m just a small-town bank clerk

that even the army didn’t want. I never did anything really useful or interes ng

and it looks as if I never will. I might just as well be dead. I might be er be

dead. Some mes I wish I were. In fact, I wish I’d never been born!”

The li le man stood looking at him in the growing darkness. “What was that you

said?” he asked so ly. “I said I wish I’d never been born,” George repeated fi rmly.

“And I mean it too.”

7. The stranger’s pink cheeks glowed with excitement. “Why that’s wonderful!

You’ve solved everything. I was afraid you were going to give me some trouble.

But now you’ve got the solu on yourself. You wish you’d never been born. All

right! OK! You haven’t!”

8. “What do you mean?” George growled.

9. “You haven’t been born. Just that. You haven’t been born. No one here knows

you. You have no responsibili es—no job—no wife—no children. Why, you

haven’t even a mother. You couldn’t have, of course. All your troubles are over.

Your wish, I am happy to say, has been granted—offi cially.”

10. “Nuts!” George snorted and turned away. The stranger ran a er him and caught

him by the arm. “You’d be er take this with you,” he said, holding out his

satchel. “It’ll open a lot of doors that might otherwise be slammed in your face.”

11. He opened the satchel and displayed a number of brushes. “You’d be surprised

how useful these brushes can be as introduc on—especially the free ones. When

the lady of the house comes to the door you give her this and then talk fast.

You say: ‘Good evening, Madam. I’m from the World Cleaning Company and I

want to present you with this handsome and useful brush absolutely free—

no obliga on to purchase anything at all.’ A er that, of course, it’s a cinch.

Now you try it.” He forced the brush into George’s hand. George promptly

dropped the brush into the satchel and closed it with an angry snap. “Here,”

he said, and then stopped abruptly, for there was no one in sight. The li le

stranger must have slipped away into the bushes growing along the river bank,

George thought.

27

It’s a Good Life [1946]

12. The street lights had been turned on and candles in the windows glowed so ly.

The li le town looked remarkably cheerful. He remembered the quarrel he had had

when his car had scraped a piece of bark out of Hank Biddle’s big maple tree. He was

ordinarily afraid to have Hank catch him even looking at the tree. Now he stepped

out boldly into the roadway to examine the huge trunk. Hank must have repaired

the scar or painted it over for there was no sign of it. George struck a match and

bent down to look more closely. He remembered what the li le man at the bridge

had said. It was all nonsense, of course, but the nonexistent scar bothered him.

13. When he reached the bank, he saw that something was wrong. The building

was dark and he knew he had turned the vault light on. He no ced, too, that

someone had le the window shades up. He ran around to the front. There was a

ba ered old sign fastened on the door. George could just make out the words:

FOR RENT OR SALE

Apply

JAMES SILVA

Real Estate Agent

Perhaps it was some boys’ trick, he thought wildly. Then he saw a pile of ancient leaves and ta ered newspapers in the bank’s ordinarily immaculate doorway. And the windows looked as though they hadn’t been washed for years. A light was s ll burning across the street in Jim Silva’s offi ce. George dashed over and tore the door open. Jim looked up from his ledger book in

28

surprise. “What can I do for you, young man?” he said in the polite voice which he reserved for poten al customers. “The bank,” George said breathlessly. “What’s the ma er with it? “The old bank building?” Jim Silva turned around and looked out of the window. “Nothing that I can see. Wouldn’t like to rent or buy it, would you?”

14. “You mean—it’s out of business?”

15. “For a good ten years. Went bust. Stranger round these parts, aren’t you?” George sagged against the wall. “I was here some me ago,” he said weakly. “The bank was all right then. I even knew some of the people who worked there.”

16. “Didn’t you know a feller named Marty Jenkins, did you?”

17. “Marty Jenkins! Why, he—” George was about to say that Marty had never worked at the bank—couldn’t have, in fact, for when they had both le school they had applied for a job there and George had go en it. But now, of course, things were diff erent. He would have to be careful. “No, I didn’t know him,” he said slowly. “Not really, that is. I’d heard of him.”

18. “Then maybe you heard how he skipped out with fi y thousand dollars. That’s why the bank went broke. Pre y near ruined everybody around here.” Silva was looking at him sharply. “I was hoping for a minute maybe you’d know where he is. I lost plenty in that crash myself. We’d like to get our hands on Marty Jenkins.”

19. “Didn’t he have a brother? Seems to me he had a brother named Arthur.”

20. “Art? Oh, sure. But he’s all right. He doesn’t know where his brother went. It’s had a terrible eff ect on him, too. Took to drink, he did. It’s too bad—and hard on his wife. He married a nice girl.”

21. “Who did he marry?” he demanded hoarsely. Both he and Art had courted Mary.

22. “Girl named Mary Thatcher,” Silva said cheerfully. “She lives up on the hill— Hey!

Where are you going?” But George had bolted out of the offi ce. He ran past the

empty bank building and turned up the hill. For a moment he thought of going

straight to Mary. But then he knew he couldn’t face Mary—not yet anyway. He

decided to visit his parents and fi nd out more about her. It was a li le weather-

beaten house on the side street. George raised the gate latch with a loud click. A

dark shape hurled itself down the steps, barking ferociously. “Brownie!” George

29

shouted. “Brownie, you old fool, stop that! Don’t you know me?” But the dog

advanced menacingly and drove him back behind the gate. The porch light

snapped on and George’s father stepped outside to call the dog off . His father

held the dog by the collar while George cau ously walked past. He could see that

his father did not know him.

23. “Is the lady of the house in?” he asked. His father waved toward the door.

“Go on in,” he said cordially. “I’ll chain this dog up. She can be mean with

strangers.”

24. His mother, who was wai ng in the hallway, obviously did not recognize him.

George opened his sample kit and grabbed the fi rst brush that came to hand.

“Good evening, ma’am,” he said politely. “I’m from the World Cleaning Company.

We’re giving out a free sample brush. I thought you might like to have one. No

obliga on. No obliga on at all...” His voice faltered. His mother smiled at his

awkwardness. “I suppose you’ll want to sell me something. I’m not really sure

I need any brushes.” “No’m . I’m not selling anything,” he assured her. “The

regular salesman will be around in a few days. This is just—well, just a present

from the company.”

25. “How nice, you people never gave away such good brushes before,” she said.

“This is a special off er,” he said. His father entered the hall and closed the door.

“Won’t you come in for a while and sit down?” his mother said. “You must be

red walking so much.”

26. “I used to know this town pre y well,” he said to make conversa on. “Knew

some of the townspeople. I remember a girl named Mary Thatcher. She

married Art Jenkins, I heard. You must know them.”

27. “Of course,” his mother said. “We know Mary well.”

28. “Any children?” he asked casually.

29. “Two—a boy and a girl”. George sighed audibly.

30. “My, you must be red, perhaps I can get you a cup of tea,” his mother said.

“No’m, don’t bother,” he said. “I’ll be having supper soon.” He looked around the

li le parlor, trying to fi nd out why it looked diff erent. Over the mantelpiece hung a

framed photograph which had been taken on his kid brother Harry’s sixteenth

30

birthday. He remembered how they had gone to Po er’s studio to be photographed

together. There was something queer about the picture. It showed only one

fi gure—Harry. “That your son?” he asked. She nodded. “I think I met him, too.

His name’s Harry, isn’t it?” George said hesitantly. His mother turned away, her

husband put his arm clumsily around her shoulder. His voice, which was always

mild and gentle, suddenly became harsh. “You couldn’t have met him,” he said.

“He’s been dead a long while. He was drowned the day that picture was taken.”

George remembered that on their way home they had gone swimming. Harry had

been seized with a cramp, he remembered. He had pulled him out of the water

and had thought nothing of it. But suppose he hadn’t been there! “I’m sorry,” he

said miserably. “I guess I’d be er go. I hope you like the brush. ”

31. George wanted desperately now to see

Mary. He wasn’t sure he could stand

not being recognized by her but he had

to see her. He stumbled blindly up the

path to his own house. The lawn

was un dy, and the fl ower bushes

he had kept carefully trimmed were

neglected and badly sprouted.

Art Jenkins could hardly be

expected to care for such things. When he knocked at the door there was a

long silence, followed by the shout of a child. Then Mary came to the door.

At the sight of her, George’s voice almost failed him.

32. “Good evening, ma’am,” he managed to say at last. George entered the living

room unhappily. George got his satchel open. One of the brushes had a bright

blue handle and varicolored bristles. It was obviously a brush not intended

to be given away but George didn’t care. He handed it to Mary. “My, that’s a

pre y brush,” she exclaimed. “You’re giving it away free?” He nodded solemnly.

“Special introductory off er. It’s one way for the company to keep excess profi ts

down—share them with its friends.” There was a sudden scream from the kitchen

It’s a Good Life [1946]

31

and two small children rushed in. A li le, homely-faced girl fl ung herself into her

mother’s arms, sobbing loudly as a boy of seven came running a er her, snapping

a toy pistol at her head. “Mommy, she won’t die,” he yelled. “I shot her a hunert

mes, but she won’t die.” He looks just like Art Jenkins, George thought. Acts like him

too. The boy suddenly turned his a en on to him. “Who’re you?” he

demanded belligerently. He pointed his pistol at George and pulled the trigger.

“You’re dead!” he cried. “You’re dead. Why don’t you fall down and die?”

33. There was a heavy step on the porch. The boy looked frightened and backed

away. George saw Mary glance apprehensively at the door. Art Jenkins came in.

He stood for a moment in the doorway, clinging to the knob for support. His eyes

were glazed and his face was very red. “Who’s this?” he demanded thickly. “He’s

a brush salesman,” Mary tried to explain. “He gave us this.” “Brush salesman!” Art

sneered. “Well, tell him to get outa here. We don’t want no brushes and no brush

salesmen neither.” George looked despairingly at Mary. Her eyes were begging

him to go. George went to the door, followed by Art’s son, who kept snapping the

pistol at him and saying: “You’re dead—dead—dead!” Perhaps the boy was right;

George thought when he reached the porch. Maybe he was dead or maybe this

was all a bad dream from which he might eventually awake. He hurried down the

hill and was relieved to see the li le stranger standing on the bridge. He would

try to persuade him to cancel the whole deal. “I’ve had enough,” he gasped. “Get

me out of this—you got me into it.” The stranger raised his eyebrows. “I got you

into it! I like that! You were granted your wish. You got everything you asked for.

You’re the freest man on earth now. You have no es. You can go anywhere—

do anything. What more can you possibly want?” George pleaded, “Change me

back—please. Not just for my sake but for others too. You don’t know what a mess

this town is in. You don’t understand. I’ve got to get back. They need me here.”

34. “I understand right enough,” the stranger said slowly. “I just wanted to make sure

you did. You had the greatest gi of all conferred upon you—the gi of life, of being

a part of this world and taking a part in it. Yet you denied that gi .”

“You can’t cut me off like this. Why, it’s murder!”

32

“I’ve got to get back; you can’t cut me off

like this. Why, it’s murder!” George said

desperately! “Suicide rather, wouldn’t

you say?” the stranger murmured. “You

brought it on yourself. However, close

your eyes.” George did as he was told.

He felt a cold, wet snowdrop touch his

cheek—and then another and another.

Neither the li le stranger nor anything

else could be seen. George groped for the

bridge railing.

35. When he reached Hank Biddle’s house he peered down anxiously at the base of the

big maple tree. The scar was there! He’d have to do something about the wound—

get a tree surgeon or something. Anyway, he’d evidently been changed back. Maybe

he had been hypno zed by the smooth-fl owing black water. He had heard of such

things.

36. At the corner of Main and Bridge Streets, he almost collided with Jim Silva. “Hello,

George,” Jim said cheerfully. “Late tonight, aren’t you? I should think you’d want to

be home early.” George drew a long breath. “I just wanted to see if the bank is all

right. I’ve got to make sure the vault light is on.”

37. “Sure it’s on. I saw it as I went past.”

38. Pulling at Silva’s sleeve, George said, “Let’s look, huh?” He wanted the assurance

of a witness. “I told you it was on,” Silva said with some irrita on.

39. “Thanks—!”

40. Then he was off like a streak, running up the hill. He was in a hurry to get home,

but not in such a hurry that he couldn’t stop for a moment at his parents’ house,

where he wrestled with Brownie un l the friendly old bulldog waggled all over

with delight. He grasped his startled brother’s hand and wrung it fran cally,

wishing him. Then he dashed across the parlor to examine a certain photograph.

He kissed his mother, joked with his father and was out of the house a few

seconds later, stumbling and slipping, up the hill. George fl ung the door to his

home open and called out at the top of his voice: “Mary! Where are you?

33

Mary! Kids!” His wife came toward him and making gestures to silence him. “I’ve just put the children to bed,” she protested. But not another word could she get out of her, for he dragged her up to the children’s room, where he madly embraced his son and his daughter and waking them up thoroughly.

41. It was not un l Mary got him downstairs that he began to be coherent. “I thought I’d lost you and my kids!”

42. “What’s the ma er, dear?” she asked in bewilderment. He pulled her down on the sofa and just as he was about to tell her about his queer dream, his fi ngers came in contact with something lying on the seat of the sofa. His voice froze. He did not even have to pick the thing up for he knew what it was. And he knew that it would have a blue handle and varicolored bristles. [adapted]

About the AuthorPhilip Van Doren Stern was born in Wyalusing, Pennsylvania, to I.U. and Anne (Van Doren) Stern. He was raised in New Jersey and a ended Rutgers University, a er which he moved to and lived the be er part of his life in New York City. Stern’s involvement in the literary community saw him serve in many roles: editor, novelist, biographer and lecturer. He was most deeply involved, however, in historical research and wri ng. Stern was one of the foremost historical authori es on Civil War era

people, poli cs, sociology and military tac cs.

His single most famous work, however, grew out of a message he wrote to some of his close friends in 1943. The following year, the message evolved into a fantasy short story about a mysterious stranger who appears to a suicidal man as he prepares to throw himself from a bridge. The man, explaining that he wishes he had never been born, is shown by the stranger exactly what his town would be like if he had never existed. ‘Greatest Gi ” was also adapted for the made-for-TV fi lm. The fi lm swells the heart with it’s vision of friendship, integrity, generosity, and of our capacity to make a diff erence in other people’s lives. The story was adapted by director Frank Capra and screenwriters Frances Goodrich and Albert Hacke and became the fi lm ‘It’s a Wonderful Life’.

Philip Van Doren Stern’s literary career spanned over half a century, un l he re red to Sarasota, Florida. He passed away there from cardiac arrest on July 31, 1984.

It’s a Good Life [1946]

34

4. Based on your reading, choose the meaning which is closest to each of the following phrases:

a. Here ‘straggling up ’ means

i. loitering around

ii. extending across a specifi c area

iii. spreading horizontally

b. ‘Poking one’s nose into’ means

i. A rude gesture

ii. Being inquisi ve

iii. Over friendly behaviour

c. ‘Queer chuckling’ means

i. Uncontrollable laughter

ii. Laughing to oneself strangely

iii. Rare childish laughter

d. ‘Ordinarily afraid’ means

i. normal to be frightened

ii. afraid of a specifi c event

iii. frightened most of the me

e. ‘Mudhole for life’ means

i. he hates the rainy, muddy surroundings

ii. being dissa sfi ed with life and the world

iii. a mud hole has become his home

f. ‘Immaculate doorway’ implies

i. Well swept entrance

ii. Freshly painted door

iii. No one stands at the doorway

35

g. ‘No obliga on at all’ here means

i. No charges for anything

ii. No favours owed to anyone

iii. Need not thank anyone

5. Complete the table by wri ng the corresponding causes or consequences, as desired in the space given below.

Causes Consequences

Mary is married to Arthur.

There was no scar on Hank’s tree

The bank was bankrupt.

Brownie, George’s pet, a acks him.

His garden was kept shabbily.

Mary’s son is rude and very destruc ve.

Our hero gets to be ‘born’ again.

George fi nds a varicoloured brush

on his sofa

6. Discuss in pairs and fi nd out the answers for the following ques ons. Add your own views, if required.

a. ‘We make it our business to know a lot of things’. Bring out the inten on

of the speaker in this sentence.

b. Do you fi nd George’s reasons to commit suicide acceptable? Give three

reasons for your answer.

c. ‘All your troubles are over. Your wish, I am happy to say, has been

granted—offi cially.’ What does the word ‘offi cially’ imply here ?

d. The stranger suggests the name ‘World Cleaning Company’. What,

according to you, does he mean by it?

36

e. The speaker uses an idioma c expression when he says ‘“It’ll open a lot

of doors that might otherwise be slammed in your face.” Explain and

jus fy this statement.

f. Give at least three occasions when George had to be careful not to

reveal his iden fy. Why did he have to be cau ous?

g. The dog’s ins nct is the most trustworthy but the dog did not recognise

George. Why? What is the writer’s message here?

h. George said ‘I’m just a small-town bank clerk that even the army didn’t

want. …’. How was he proved wrong? How has ‘The Bu erfl y Eff ect’ been

illustrated in the story?

7. Suppose George Pra now decides to meet Hank Biddle with renewed self confi dence. Predict the outcome of their mee ng. In pairs, write imaginary dialogues between George and Hank. Share your dialogues with the class by enac ng their roles.

8. As George, write a diary entry about your experience of mee ng with the ‘stranger’.

9. The stranger said ‘You had the greatest gi of all conferred upon you - the gi of life, of being a part of this world and taking a part in it’. Write an ar cle in about 150 words expressing your views on the topic ‘The Gi of Life’.

37

Sec on - D

Warm up: Tiny acts cause big changes

1 a. Read the following passage and fi ll in the box given below.

”That’s not clear,” said Eckels.

“All right,” Travis con nued, “say we accidentally kill one mouse here. That means

all the future families of this one par cular mouse are destroyed, right?”

“Right.”

“So they’re dead,” said Eckels. “So what?”

“So what?” Travis snorted quietly. “Well, what about the foxes that’ll need those

mice to survive? For want of ten mice, a fox dies. For want of ten foxes a lion starves.

For want of a lion, all manner of insects, vultures, infi nite billions of life forms are

thrown into chaos and destruc on. Eventually it all boils down to this: fi y-nine

million years later, a caveman, one of a dozen on the en re world, goes hun ng

wild boar or saber-toothed ger for food. But you, friend, have stepped on all the

gers in that region. By stepping on one single mouse. So the caveman starves.

And the caveman, please note, is not just any expendable man, no! He is an en re

future na on.

Cause Eff ect

1

2

3

4

5

6

38

b. Share your fi ndings with the class. State whether you agree or disagree. Give reasons for your answer.

2. The Audio-Video link given below makes a reference to the Theory of Chaos. Watch this video called ‘The Secret Life of Chaos’, to help you understand the theory.

h p://youtu.be/R6NnCOs20GQ

3. Now, fi ll in the blanks with suitable words to complete this paragraph based on the presenta on.

Notes:

Title: _____________________________________________________________

i. Big changes:___________________________________________________

_____________________________________________________________.

ii. What is Chaos eff ect? ___________________________________________

_____________________________________________________________.

iii. Order in Nature: _______________________________________________

_____________________________________________________________.

iv. Chaos in nature: _______________________________________________

_____________________________________________________________.

v. What is a feedback loop? ________________________________________

_____________________________________________________________.

vi. How does chaos occur as illustrated in the lecture?

_____________________________________________________________

_____________________________________________________________

_____________________________________________________________.

39

4. Read the web log post from ‘Blog Ac on’...

1. The acre of land my family and I live on rests on a heavily-wooded eleva on which provides a panoramic view of a sparkling lake to the south. It’s quite a departure from the suburban tract home I grew up in and hope my kids end up with fond childhood memories of frolicking in a beau ful natural se ng.

2. One remarkable thing about the property is the amount of bu erfl ies it a racts, no doubt it is due to the variety of plant species that are permi ed to grow undisturbed. My 5-year-old daughter and her li le brother spend large chunks of me hopelessly chasing scores of Monarchs and other brightly-colored and fl i ng bu erfl ies.

3. And all I can think about is the havoc these li le cri ers are having on the weather in China. Not the kids… the bu erfl ies.

What if Bu erfl ies Disappeared?

4. While there’s li le agreement as to what’s going to happen ecologically due to human ac vity, there’s no doubt that we’ve made dras c changes to just about every natural habitat on the planet. Our oceans and natural water sources are polluted, the composi on of our soil has been chemically altered, the atmosphere has been heavily infl uenced by emissions, our forests have been drama cally reduced, and on and on.

5. One area of par cular importance is biodiversity. Beyond the fact that biodiversity itself protects humans from the eff ects of agricultural catastrophes like the Irish Potato Famine, the loss of a species results in signifi cant changes in natural habitats that can hurt us badly down the road. Maybe you don’t personally care about the Mexican long-nosed bat, but if they disappear completely, there will most assuredly be consequences that ripple well beyond Texas and New Mexico over me. We just can’t predict what they’ll be. If bu erfl ies disappeared, the world would most certainly be worse off for children of all ages. But it’s much worse than that.

BIODIVERSITY

40

Many fl owering plants are so closely linked to bu erfl ies and vice versa that one cannot survive without the other. When you think about the natural interdependence network that could collapse due to the ex nc on of one important specie, it starts to get a li le scary. Each one wiping out between 50 to 95 percent of exis ng life including the dominant life forms of the me. Many scien sts believe that:

i. we’re in the midst of the sixth ex nc on event

ii. we’re the cause, and

iii. we’re in danger of being wiped out ourselves

The Posi ve Side of the Bu erfl y Eff ect

6. Let’s face it—things will probably change for the worse regarding the environment no ma er what. Some of those changes will be pre y bad and there’s nothing we can do to stop it.

7. That doesn’t mean we should give up. The more posi ve change we introduce into the system star ng right now, the more bad things we avoid. Plus, we buy me for technology to help in protec ng us from adverse condi ons and even reverse some of the damage.

8. The corollary of the Bu erfl y Eff ect is that ny changes you make do in fact make a diff erence. And when those ny changes are aggregated among millions of people, we can truly make a real diff erence in how much nature we save for our children, grandchildren and beyond.

9. We might even be saving them.

It doesn’t need to be a sacrifi ce. Why not make changes that simply save you money?

10. Check out these planet-saving ac ons that keep more coins in your

pocket:

i. Cut out bo led water:

Producing plas c water bo les

consumes massive amounts

of fossil fuels only to crowd

landfi lls. American demand

alone requires 1.5 million

barrels of oil annually, enough

to fuel approximately 100,000

U.S. cars for a year.

41

And if you think gas prices are bad, you’re paying $10 a gallon for water

when you buy individual bo les. Get a simple home fi ltra on solu on

and a reusable stainless steel bo le.

ii. Switch to compact fl uorescent light bulbs: CFL

bulbs are more expensive but they last 5 mes

longer than conven onal bulbs. They save $30

in energy costs per bulb and help in saving the

planet.

iii. Buy a new monitor: If you want a new

LCD monitor, go ahead and do it. They

use 1/3 the energy and they look cool.

Just hold on to your computer as long

as you can stand it or learn to recycle it

when you trade up.

42

5 a. Complete the notes based on your reading of this blog. Use recognizable abbrevia ons and symbols wherever possible.

Tiny acts make a big diff erence

I. Causes of environmental problems

a. ____________________________________

b. ____________________________________

c. ____________________________________

d. ____________________________________

e. ____________________________________

II. Eff ects/Consequences

a. ____________________________________

b. ____________________________________

c. ____________________________________

d. ____________________________________

e. ____________________________________

III. Solu ons to the problems

a. ____________________________________

b. ____________________________________

c. ____________________________________

d. ____________________________________

e. ____________________________________

b. Now, a empt a summary in your own words in about 150 words. The following guidelines would help you in wri ng the summary.

A summary

i. is a part of the note-taking process

ii. should be rela vely brief

43

iii. establishes the main ideas in an ar cle/essay

iv. uses suitable linking devices to ensure a logical progression of ideas.

v. has a relevant tle

vi. exhibits quali es of comprehensiveness, conciseness, coherence and

independence in style.

6 a. Build your vocabulary:

Although it is possible for one cause to lead to one eff ect, the concept is not so

simple. One cause can lead to more than one eff ect, for example heavy rain can

cause landslides and fl ooding.

Also, more than one cause can lead to one or more eff ects, for example, ea ng

too much pizza and drinking too much coke for lunch can result in ge ng fat and being late for class!

Cause-eff ect Examples

...because of... There was a celebra on at home because of good

result.

...reason for The very good result was the reason for the celebra on.

...a ributed to The celebra on was a ributed to the very good result.

...on account of There were celebra ons on account of the team’s

success.

...owing to Owing to the team’s success, there was a celebra on.

(These cause-eff ect phrases are all followed by noun

phrases; i.e. ‘the heavy traffi c’/”the very good result”’.)

...caused by The accident was caused by the heavy traffi c.

...cause of The heavy traffi c was the cause of the accident.

44

... because There was an accident because there was heavy traffi c

on the road all night.

(‘Because’ is followed by a verb phrase, ‘heavy traffi c on

the road all night’. Don’t use ‘Because’ as the fi rst word

in a sentence: it’s bad style.)

may The heavy traffi c may have caused the accident.

could The heavy traffi c could have caused the accident.

might The heavy traffi c might have caused the rain.

can Accidents can be caused by heavy traffi c.

possibly The rain may possibly cause fl ooding.

certainly The rain will certainly cause fl ooding.

perhaps Perhaps the rain will cause fl ooding.

defi nitely The rain will defi nitely cause fl ooding.

probably The rain will probably cause fl ooding.

undoubtedly The rain will undoubtedly cause fl ooding.

b. Other Cause and Eff ect Phrases

Causes

1. There are several reasons for this. Firstly, ...

2. Other causes played a part. Firstly,

3. A key factor was... (‘key’ means ‘important’)

4. This is due to ...

5. This is a refl ec on of...

Eff ects

6. As a result, ...

7. Consequently, ...

8. This meant that...

9. One consequence of this is that ...

Note: Don’t write ‘are lacking of ...’ as a cause or eff ect. Use ‘there is a lack of ...’ or ‘they are lacking in ......

45

c. Here is a geographical phenomenon. Rewrite the sentences using at least 3-4 diff erent cause-eff ect phrases. Then, write a short paragraph exploring the phenomenon. You can also add more stages.

1. Waves beat against the shore.

2. Waves hurl pebbles and boulders against cliff s.

3. Rocks wear away to form sandy beach.

4. So rock wears away forming caves and inlets.

5. Hard rock forms steep, rugged headlands.

6. Wind and water currents form waves.

d. Now, fi nd out at least fi ve stages of each of the following and write a short paragraph explaining each phenomenon. Share your answers with the class.

i. Soil erosion forms landslide

ii. Hot desert storms on our landscape

7 a. Work in groups of four and review the message conveyed in ‘A Sound of Thunder’ and the two poems. Now, take the ecological challenge tled ‘Looking Forward Time’ to fi nd out how futuris c you are! Use the language of cause and eff ect to make your presenta on eff ec ve and logical.

Looking Forward Time

Humankind is responsible for some of the devasta ng eff ects on our eco-systems.

Choose one of the topics and write fi ve sentences about how the ‘future’ will be

aff ected by our ‘present’ ac ons.

An example has been done for you:

Present : Deser fi ca on is spreading in many regions.

Future : 1. Livestock and crop will die

2. People will buy expensive milk and vegetables from other

states.

3. People will not be able to aff ord meat or vegetables.

46

4. Malnourishment diseases will spread.

5. Many people will die in that region

Choose one topic from the present:

a. Road rage

b. Each one teach one

c. Craze for internet games

Future :

1. _________________________________________________________

2. _________________________________________________________

3. _________________________________________________________

4. _________________________________________________________

5. _________________________________________________________

b. Now, make a ten-minute powerpoint presenta on on any of the topics given above. Invite your seniors and juniors to watch and learn.

Before you make a powerpoint presenta on, decide:

1. The tle of your presenta on.

2. What pictures and text will be placed on each slide.

3. How many slides you will make.

4. If you want a digital photograph of your group, objects, places, events etc. Take the photos and add to the slides. (your teacher will provide a camera).

5. Make a storyboard. A storyboard is a visual layout of the pictures and text you want in each slide.

6. Take the help of your other subject teachers so that the informa on you give is accurate.

7. Use internet, magazines, encyclopedias etc. to fi nd relevant informa on on the topic.

8. Remember to use words/expressions that bring out cause and eff ect rela onship.

c. Now, watch your powerpoint presenta on and take necessary notes. Write a newspaper report in about 250-300 words.

47

Suggested Reading

1. Ma lda by Roald Dahl

2. Gi of the Magi-O’ Henry

3. Face in the Dark by Ruskin Bond

4. The Foghorn by Ray Bradbury

5. A Christmas Carol by Charles Dickens

6. The Time Machine by H G Wells

Watch, learn and enjoy :

1. James and the Giant Peach[1996]

2. Jurassic Park [1993]

3. Apollo 13[1995]

Suggested websites

1. mystoriesandpoems.com

2. lrs.ed.uiuc.edu/students/fwalters/cause

3. www.englishprac ce.com/improve/expressing-condi on contrast/