2014 Literature & Language Arts Catalog

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What an exciting time to be teaching Literature and Language Arts. The ability to truly immerse your students in their studies is unprecedented. And here at EMC Publishing, we are proud to be at the forefront of today’s evolving language arts learning environment with you, providing

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“I LOVE the Mirrors and Windows books! Great layout. Great pre-reading activities and info. Excellent post-reading questions and ideas for writing. I especially love how Romeo and Juliet is done. Terrific front-loading info for reading Shakespeare, the time period. etc.”

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Southridge High School, Oregon

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LITERATURE Mirrors & Windows .............................................................4–15

GRAMMAR/WRITING Expository Composition .................................................16–17

READING AP* Literature Guides ...................................................18–19 Access Editions .................................................................20–21

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table of Contents

1

Publishing

Literature Catalog 2014.indd 1 8/30/13 1:03 PM

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Mirrors & WindoWs

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Student Edition A range of selections engages students while teaching genres, literary elements, and critical thinking skills.• Relevant, interesting, and diverse literature

selections • Three levels of reading support, from guided to

directed to independent (see chart below) • Mix of easy, moderate, and challenging selections • Cross-curricular and text-to-text connections • In-depth workshops for skills mastery• 100% compliant with the Common Core State

Standards

Level I (Grade 6)

Mirrors & Windows Addresses All of the Key Points in the English Language Arts Common Core State Standards

to

to

Each unit in the Mirrors & Windows program provides for a gradual release of responsibility, moving from

Guided reading—extensive support before, during, and after reading

Directed reading—extensive support before and after reading; less support during reading

Independent reading—self-monitoring during reading; minimal support before and after reading


Approach to LearningPricing

ReadingG

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ritingLiterature

Digital

Resources


Mirrors & WindoWs

Email: [email protected] • Visit: www.emcschool.com

351

Gary Paulsen was born in 1939 in Minnesota. Paulsen learned to be self-sufficient at an early age, working as a trapper, farmer, soldier,

truck driver, sailor, construction worker, field engineer, and magazine editor. When he decided to devote himself to writing, he

moved to the remote woods of northern Minnesota and lived off the land, supporting himself by hunting and trapping. Paulsen draws on his own experiences to create novels and personal nonfiction that is noted for vivid descriptions of setting, themes of conflict with nature, and the struggle for survival.

F ear comes in many forms but perhaps the worst scare is the one that isn’t

anticipated; the one that isn’t really known about until it’s here. A sudden fear. The unexpected.

And again, fire played a role in it. We have bear trouble. Because we feed

processed meat to the dogs there is always the smell of meat over the kennel. In the summer it can be a bit high1 because the dogs like to “save” their food sometimes for a day or two or four—burying it to dig up later. We live on the edge of wilderness and consequently the meat smell brings any number of visitors from the woods.

Skunks abound, and foxes and coyotes and wolves and weasels—all predators.2 We once had an eagle live over the kennel for more than a week, scavenging3 from the dogs, and a crazy group of ravens has pretty much taken over the puppy pen. Ravens are protected by the state and they seem to know it. When I walk toward the puppy pen with the buckets of meat it’s a toss-up to see who gets it—the pups or the birds. They have actually pecked the puppies away from the food pans until they have gone through and taken what they want.

Spring, when the bears come, is the worst. They have been in hibernation4

INDEPENDENT READING

WoodsongA Memoir by Gary Paulsen

from

1. a bit high. Fairly strong 2. predators. Animals that live by preying on others 3. scavenging. Searching for usable material 4. hibernation. State of mental or physical inactivity

Whether I lived or died depended on him.

0332-0361_Lit3eG06_U03.indd 351 11/30/07 11:42:56 AM

• Provides the framework for the teacher to guide students through the reading process.

• Reading Models walk students through the selections and demonstrate how to analyze literature and apply reading skills and strategies to each genre.

Meet the AuthorZitkala-S̈a (1876–1938), whose name means “Red Bird,” was born on the Yankton Sioux reservation. In 1884, she attended a boarding school for Native Americans, where she was forced to give up her language, traditional clothing, and customs. She later decided to devote

her life to writing and speaking about the unfair treatment of Native Americans in white society.

Build BackgroundCultural Context Until the mid-nineteenth century, the Yankton Sioux hunted buffalo herds across the Great Plains. After the U.S. government forced the Yankton Sioux onto a reservation, they stopped hunting buffalo, but some traditions remained. Zitkala-S̈a’s mother showed her how to find wild turnips, cherries, and plums that grew on the prairie, and how to preserve meat and fruit. Zitkala-S̈a also learned to create beadwork for moccasins, belts, and dresses.

Reader’s Context Have you ever imagined what a new place would be like, only to discover it was not what you expected?

Set PurposePreview the History Connection (page 317) and predict what Zitkala-S̈a’s experiences are likely to be at boarding school.

Analyze LiteraturePoint of View The vantage point from which a story is told is the point of view. In first-person point of view, the narrator uses pronouns such as I and we and is a part of or witness to the action. As you read this memoir, think about how using the first-person point of view helps the reader to understand the experiences presented.

MZmYaAua

Use Reading SkillsDraw Conclusions When you draw conclusions, you gather information from a text to decide what it means. As you read, look for key ideas and supporting points. What conclusions can you draw from this information? Use a chart to track your conclusions.

BEFORE READING

A Memoir re-created from the writings of Zitkala-S̈a and the research of Doreen Rappaport

Preview Vocabularyen•vi•ous (en> v7 @s) adj., feeling unhappiness or resentment caused by wanting something that someone else has

com•plex (k5m> pleks<) adj., having many parts that are connected or related in a complicated way

suf•fi•cient•ly (s@ fi> sh@nt l7) adv., adequately; with enough to meet all needs

re•buke (ri by2k>) n., severe criticism

sat•ed (s6> tid) adj., feeling full or satisfied

dis•course (dis> k0rs<) n., long talk on a subject

yield (y7ld) v., give way to something or someone

BEFORE READINGBEFORE READING

A Memoir re-creattedd from the wwritings of Zitkala-S̈a aand the research of Doreen Rappapoort

The Flight of Red Bird: The Life of Zitkala-S̈a

from

Key Idea

Supporting Points

Overall Conclusion

Zitkala-S̈a and friends admire each other’s necklaces, moccasins, and belts.

Zitkala-S̈a imagines her friends to be envious of her moccasins.

These items are valued in Zitkala-S̈a’s culture.

THE FLIGHT OF RED BIRD 311

DIREC

TED REA

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0310-0331_Lit3eG06_U03.indd 311 3/19/08 9:40:35 AM

Directed Reading

• Begins the gradual release of responsibility from teacher to students.

• Students continue to be supported with before-and after-reading activities, but the during-reading margin prompts are omitted.

• Students begin to apply the during-reading comprehension skills on their own.

Independent Reading• Completes the release of responsibility to the students,

who can apply the skills and strategies required to read increasingly more difficult selections on their own.

• Independent Readings appear more frequently as students advance through the program.

Mirrors & Windows Addresses All of the Key Points in the English Language Arts Common Core State Standards Guided Reading



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6 Call: 800-328-1452 • Fax: 800-328-4564

Mirrors & WindoWs

Help Your Students Meet Common Core State Standards with Correlated Support Materials

Program Planning Guide and E-Lesson Planner• Lesson Plans for all the selections in the unit

correlated to the Common Core State Standards.• Alternative Teaching Options.• Evaluation Guidelines.• All Common Core State Standards reading text types

covered in every grade level.

Annotated Teacher’s Edition• Full correlations to the Common Core State Standards

are included in the front of each Teacher’s Edition.

214 UNIT 2 NONFICTION

The person who set the course of my life in the new land I entered as a young war

refugee—who, in fact, nearly dragged me onto the path that would bring all the blessings I’ve received in America—was a salty-tongued, no-nonsense schoolteacher named Marjorie Hurd. When I entered her classroom in 1953, I had been to six schools in five years, start ing in the Greek village where I was born in 1939.

When I stepped off a ship in New York Harbor on a gray March day in 1949, I was an undersized 9-year-old in short pants who had lost his mother and was coming to live

215

The Teacher Who Changed My Life

THE TEACHER WHO CHANGED MY LIFE

A Memoir by Nicholas Gage

USE READING STRATEGIES

Ask Questions Why was it difficult for Nicholas and his family to leave Greece?

with the father he didn’t know. My mother, Eleni Gatzoyiannis, had been imprisoned, tortured and shot by Communist guerrillas for sending me and three of my four sisters to freedom. She died so that her children could go to their father in the United States.

The portly, bald, well-dressed man who met me and my sisters seemed a foreign, authoritarian figure. I secretly resented him for not getting the whole family out of Greece early enough to save my mother. Ultimately, I would grow to love him and appreciate how he dealt with becoming a single parent at the age of 56, but at first our relationship was prickly, full of hostility.

As Father drove us to our new home—a tenement1 in Worcester, Massachusetts—and pointed out the huge brick building that would be our first school in America, I clutched my Greek notebooks from the refugee camp, hoping that my few years of schooling would impress my teachers in this cold, crowded country. They didn’t.

“What are all you goof-offs doing here?” she bellowed…

1. tenement. A house or an apartment, often one in poor condition

au • thor • i • tar • i • an (@ th5r< @ ter> 7 @n) adj., expecting or demanding strict obedience

Nicholas Gage and his teacher, Marjorie Hurd.

0212-0243_Lit3eG09_U02_2a_RegSel215 215 11/28/07 9:09:32 AM


The Teacher Who Changed My Life A Memoir by Nicholas Gage A A A Memoir by Nicholas Gage A Memoir by Nicholas Gage A

USE READING SKILLSSummarize The ability to summarize a piece of writing, or recap its main ideas or events in your own words, is impor-tant to a successful reading experience. As you read the excerpt from “The Teacher Who Changed My Life,” use a graphic organizer like the one below to summarize each part of the selection.

Topic: Finding your talents

Introduction: Nicholas Gage, a young Greek refugee, arrives in America with his sisters.Body:

Conclusion:

PREVIEW VOCABULARYTry to unlock the meanings of the underlined vocabulary words using the context clues in the sentences.1. An authoritarian person gives

orders and is unwilling to hear criticism.

2. Showing their disapproval, the unfriendly students looked askance at the newcomer.

3. By providing guidance and protection, a mentor takes you under his wing.

4. I’d expected my new boss to be formidable, but she was easygoing and supportive.

5. Although the attention morti-fied him at first, Jamel soon got over his embarrassment.

BUILD BACKGROUNDLiterary Context “The Teacher Who Changed My Life” is a memoir, or brief autobiography. In the memoir, Gage doesn’t discuss everything that has happened to him so far. Instead, he focuses on a significant event in his life. The word memoir gives a clue to its meaning: Gage examines memorable expe-riences in his childhood and early adulthood and explains how these events helped shape his life. The title of the memoir indicates that Gage is describing a teacher who influenced him. What do the words “changed my life” suggest about the selection?

Reader’s Context The author makes the statement, “For the first time I began to understand the power of the written word.” What does the “power of the written word” mean to you? What do you think gives the written word its power?

ANALYZE LITERATURE: MemoirA memoir is a type of autobiography that focuses on one incident or period in the writer’s life. Memoirs are often based on writers’ reactions to historical events. Read Meet the Author to begin to understand the historical events that influenced this memoir.

SET PURPOSEAs you read, think about the historical events that are the backdrop of Gage’s memoir. As you read, think about the historical events that are the backdrop of Gage’s memoir. Distinguish the most important from the less important details and events that the author included in his memoir. Consider these questions: How did these events change his life? How did Miss Hurd’s instructions to write about what happened to his family in Greece change his life? Consider these questions: How did these events change his life? How did Miss Hurd’s instruc-tions to “write about what happened to your family in Greece” change his life?

MEET THE AUTHORNicholas Gage (b. 1939), born Nikos Gatzoyiannis, lived in a small village in

Greece. His mother, Eleni, was killed for sending him and his sisters to join their father in America. With the encourage-ment of his junior-high teacher, Miss Hurd, he received a scholarship to Boston University and later graduated from the Columbia University Graduate School of Journalism. Gage moved to Athens, Greece, to become a foreign corre-spondent for the New York Times but later quit and began searching for information about his mother. His experiences became the basis for his book Eleni (1983). Gage, the author of a number of other books, has received several awards for his works.

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0212-0243_Lit3eG09_U02.indd 214 11/30/09 2:06:45 PM

At a GlanceGuided Reading• Reading Level: Moderate• Difficulty Considerations:

Unfamiliar Greek cultural/political references

• Ease Factors: Point of view; dia-logue; humor; familiar setting

ObjectivesStudying this lesson will enable stu-dents to• recognize the importance of mentors.• read, interpret, analyze, and evalu-

ate a memoir about a teacher’s effect on her student.

• define memoir and recognize the type of writing.

• summarize a piece of writing.• write a one-page outline and a

brief narrative essay.• create an advertising campaign

and research propaganda.• practice reading assessment by

answering multiple-choice and short-answer questions about the selection.

Launch the LessonBriefly discuss movies students may have seen about teachers who made a difference—for example, Stand and Deliver, Dangerous Minds, or Freedom Writers. Ask students to answer these questions: Who is someone who has taught you something important? How did that person make a differ-ence in your life?

Preview the Selection

Refer to the Language Arts Handbook 1.3, Using Reading Skills, for additional instruction on sum-marizing.

KEY TERMSMEMOIR, 214SUMMARIZE, 214COMPARE, 218CONTRAST, 218NARRATIVE ESSAY, 219MULTIMEDIA, 219PROPAGANDA, 219

Preview Vocabularyauthoritarian, 215askance, 216mentor, 216formidable, 216mortify, 217

Selection Wordsrefugee, 215steely, 216honed, 216ravine, 217tact, 217

Teaching Wordssignificant, 214backdrop, 214guerrillas, 217oppression, 219campaign, 219

Words in Use

Reading Literature RL.2Reading InformationalRI.1, RI.10WritingW.3, W.7

Common Core State Standards

0212-0243_Lit3eG09_U02_ATE.indd 214 1/17/11 12:53:51 PM

T3

EMC Mirrors & Windows, Correlation to Common Core State Standards, Grade 9

English Language Arts Standards, Grades 9–10 EMC Pages That Cover the Standards

Reading Standards for LiteratureKey Ideas and Details

RL.1. Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

11, 21, 22, 42, 54, 66, 80, 98, 104, 118, 128, 130, 143, 150, 192–197, 359, 365, 369, 389, 396, 403, 407, 409, 417, 422, 429, 433, 437, 497, 531, 553, 581, 597, 614, 618, 667, 674, 684, 704, 733, 737, 759, 761, 763, 784, 786, 788

RL.2. Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refi ned by specifi c details; provide an objective summary of the text.

3, 136–137, 138, 150, 152–153, 214, 502, 820–821, 943

RL.3. Analyze how complex characters (e.g., those with multiple or confl icting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

3, 68–69, 136–137, 153

Craft and Structure

RL.4. Determine the meaning of words and phrases as they are used in the text, including fi gurative and connotative meanings; analyze the cumulative impact of specifi c word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

44–45, 132–133, 207, 208, 210, 211, 282–283, 355, 361, 418–419, 742, 944, 951

RL.5. Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, fl ashbacks) create such effects as mystery, tension, or surprise.

13, 14, 16, 21, 268, 412–413, 420, 712, 939–940

RL.6. Analyze a particular point of view or cultural experience refl ected in a work of literature from outside the United States, drawing on a wide reading of world literature.

82–98, 88, 276–281, 434–437, 490–497, 498–619, 663–667, 670–675, 678–685, 690–695, 708–709, 710–711, 712–733, 734–737, 742–759, 762–763, 764–786, 787–788, 792–797

Integration of Knowledge and Ideas

RL.7. Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden’s “Musée des Beaux Arts” and Breughel’s Landscape with the Fall of Icarus).

33, 65, 145, 163, 177, 317, 393, 417, 427, 450, 464, 518, 528, 573, 667, 673, 681, 729

RL.8. Delineate and evaluate the argument and specifi c claims in a text, including the validity of the reasoning as well as the relevance and suffi ciency of the evidence.

Not Applicable to Literature per CCSS guidelines

RL.9. Analyze how an author draws on and transforms source material in a specifi c work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare).

143, 268, 275, 504, 615, 616, 617–618, 663, 734–737, 760–761, 762–763, 785–786, 787–788

• Point-of-use standards correlations appear on the bottoms of feature and selection pages


The person who set the course of my life in the new land I entered as a young war

refugee—who, in fact, nearly dragged me onto the path that would bring all the blessings I’ve received in America—was a salty-tongued, no-nonsense schoolteacher named Marjorie Hurd. When I entered her classroom in 1953, I had been to six schools in five years, start ing in the Greek village where I was born in 1939.

When I stepped off a ship in New York Harbor on a gray March day in 1949, I was an undersized 9-year-old in short pants who had lost his mother and was coming to live

215

The Teacher Who Changed My Life

THE TEACHER WHO CHANGED MY LIFE

A Memoir by Nicholas Gage

USE READING STRATEGIES

Ask Questions Why was it difficult for Nicholas and his family to leave Greece?

with the father he didn’t know. My mother, Eleni Gatzoyiannis, had been imprisoned, tortured and shot by Communist guerrillas for sending me and three of my four sisters to freedom. She died so that her children could go to their father in the United States.

The portly, bald, well-dressed man who met me and my sisters seemed a foreign, authoritarian figure. I secretly resented him for not getting the whole family out of Greece early enough to save my mother. Ultimately, I would grow to love him and appreciate how he dealt with becoming a single parent at the age of 56, but at first our relationship was prickly, full of hostility.

As Father drove us to our new home—a tenement1 in Worcester, Massachusetts—and pointed out the huge brick building that would be our first school in America, I clutched my Greek notebooks from the refugee camp, hoping that my few years of schooling would impress my teachers in this cold, crowded country. They didn’t.

“What are all you goof-offs doing here?” she bellowed…

1. tenement. A house or an apartment, often one in poor condition

au • thor • i • tar • i • an (@ th5r< @ ter> 7 @n) adj., expecting or demanding strict obedience

Nicholas Gage and his teacher, Marjorie Hurd.

0212-0243_Lit3eG09_U02_2a_RegSel215 215 11/28/07 9:09:32 AM


The Teacher Who Changed My Life A Memoir by Nicholas Gage A A A Memoir by Nicholas Gage A Memoir by Nicholas Gage A

USE READING SKILLSSummarize The ability to summarize a piece of writing, or recap its main ideas or events in your own words, is impor-tant to a successful reading experience. As you read the excerpt from “The Teacher Who Changed My Life,” use a graphic organizer like the one below to summarize each part of the selection.

Topic: Finding your talents

Introduction: Nicholas Gage, a young Greek refugee, arrives in America with his sisters.Body:

Conclusion:

PREVIEW VOCABULARYTry to unlock the meanings of the underlined vocabulary words using the context clues in the sentences.1. An authoritarian person gives

orders and is unwilling to hear criticism.

2. Showing their disapproval, the unfriendly students looked askance at the newcomer.

3. By providing guidance and protection, a mentor takes you under his wing.

4. I’d expected my new boss to be formidable, but she was easygoing and supportive.

5. Although the attention morti-fied him at first, Jamel soon got over his embarrassment.

BUILD BACKGROUNDLiterary Context “The Teacher Who Changed My Life” is a memoir, or brief autobiography. In the memoir, Gage doesn’t discuss everything that has happened to him so far. Instead, he focuses on a significant event in his life. The word memoir gives a clue to its meaning: Gage examines memorable expe-riences in his childhood and early adulthood and explains how these events helped shape his life. The title of the memoir indicates that Gage is describing a teacher who influenced him. What do the words “changed my life” suggest about the selection?

Reader’s Context The author makes the statement, “For the first time I began to understand the power of the written word.” What does the “power of the written word” mean to you? What do you think gives the written word its power?

ANALYZE LITERATURE: MemoirA memoir is a type of autobiography that focuses on one incident or period in the writer’s life. Memoirs are often based on writers’ reactions to historical events. Read Meet the Author to begin to understand the historical events that influenced this memoir.

SET PURPOSEAs you read, think about the historical events that are the backdrop of Gage’s memoir. As you read, think about the historical events that are the backdrop of Gage’s memoir. Distinguish the most important from the less important details and events that the author included in his memoir. Consider these questions: How did these events change his life? How did Miss Hurd’s instructions to write about what happened to his family in Greece change his life? Consider these questions: How did these events change his life? How did Miss Hurd’s instruc-tions to “write about what happened to your family in Greece” change his life?

MEET THE AUTHORNicholas Gage (b. 1939), born Nikos Gatzoyiannis, lived in a small village in

Greece. His mother, Eleni, was killed for sending him and his sisters to join their father in America. With the encourage-ment of his junior-high teacher, Miss Hurd, he received a scholarship to Boston University and later graduated from the Columbia University Graduate School of Journalism. Gage moved to Athens, Greece, to become a foreign corre-spondent for the New York Times but later quit and began searching for information about his mother. His experiences became the basis for his book Eleni (1983). Gage, the author of a number of other books, has received several awards for his works.

GUID

ED R

EADI

NG

0212-0243_Lit3eG09_U02.indd 214 11/30/09 2:06:45 PM

At a GlanceGuided Reading• Reading Level: Moderate• Difficulty Considerations:

Unfamiliar Greek cultural/political references

• Ease Factors: Point of view; dia-logue; humor; familiar setting

ObjectivesStudying this lesson will enable stu-dents to• recognize the importance of mentors.• read, interpret, analyze, and evalu-

ate a memoir about a teacher’s effect on her student.

• define memoir and recognize the type of writing.

• summarize a piece of writing.• write a one-page outline and a

brief narrative essay.• create an advertising campaign

and research propaganda.• practice reading assessment by

answering multiple-choice and short-answer questions about the selection.

Launch the LessonBriefly discuss movies students may have seen about teachers who made a difference—for example, Stand and Deliver, Dangerous Minds, or Freedom Writers. Ask students to answer these questions: Who is someone who has taught you something important? How did that person make a differ-ence in your life?

Preview the Selection

Refer to the Language Arts Handbook 1.3, Using Reading Skills, for additional instruction on sum-marizing.

KEY TERMSMEMOIR, 214SUMMARIZE, 214COMPARE, 218CONTRAST, 218NARRATIVE ESSAY, 219MULTIMEDIA, 219PROPAGANDA, 219

Preview Vocabularyauthoritarian, 215askance, 216mentor, 216formidable, 216mortify, 217

Selection Wordsrefugee, 215steely, 216honed, 216ravine, 217tact, 217

Teaching Wordssignificant, 214backdrop, 214guerrillas, 217oppression, 219campaign, 219

Words in Use

Reading Literature RL.2Reading InformationalRI.1, RI.10WritingW.3, W.7

Common Core State Standards

0212-0243_Lit3eG09_U02_ATE.indd 214 1/17/11 12:53:51 PM



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The Mirrors & Windows program contains extensive opportunities and support materials to help prepare your students for taking standardized assessments.

• Each unit in the textbook offers a fully developed Test Practice Workshop correlated to the English Language Arts Common Core State Standards in reading, writing, and revising and editing. Writing practice includes narrative, expository, and argumentative writing prompts.

• The Language Arts Handbook in the back of each textbook provides an in-depth section on Test-Taking Skills.

Mirrors & Windows Prepares Your Students for Success on Assessment Tests

Assessment Guide and EXAMVIEW® Assessment Suite• Selection Test questions in EXAMVIEW®

are correlated to the English Language Arts Common Core State Standards and labeled by level of difficulty as Easy, Medium, or Difficult.

• Assessment tools include lesson tests and unit exams, oral reading fluency tests, and formative reading surveys correlated to the Common Core State Standards and accompanied by rubrics that prescribe remediation activities provided in the program.

• Meeting the Standards unit resource books include a Unit Study Guide with a Practice Test for each unit correlated to the Common Core State Standards.

Test Practice Workshop


Writing Skills

Expository Essay

Carefully read the following writing prompt. Before you begin writing, think carefully about what task the assignment is asking you to perform. Then create an outline to help guide your writing.

In “Abd al-Rahman Ibrahima,” Walter Dean Myers describes a young man’s journey into slavery. What caused the young son of an African tribal king to become a slave? Why did he decide to return to his “owner” after his escape? What events enabled him to return to Africa?

Plan and write several paragraphs for an expository essay in which you state and support a thesis about events that shaped the life of Abd al-Rahman Ibrahima. Use cause-effect organization for your essay. Include evidence from the story, including direct quotations, to support your thesis. As you write, be sure to:

• Organize your essay in a logical and consistent way • Include introductory and concluding paragraphs • Introduce your position in the first paragraph • Support your main idea in each body paragraph

0442-0453_Lit3eG06_U04.indd 450 11/30/07 12:13:29 PM

TEST PRACTICE WORKSHOP 451

Revising and Editing SkillsIn this excerpt from the first draft of a student’s paper, words and phrases are underlined and numbered. Alternatives to the underlined words and phrases appear in the right-hand column. Choose the one that best corrects any grammatical or style errors in the original. If you think that the original is error-free, choose “NO CHANGE.”

Some questions might also be asked about a section of the passage or the entire passage. These do not refer to a specific underlined phrase or word and are identified by a number in a box. Record your answers on a separate sheet of paper.

Many people today worries more about their own

future than about the future of the human race.

Where are the explorers like Marco Polo, and

Lewis and Clark, who broadened our ideas about

our world and other cultures? Where are the

scientists like Galileo and Newton who changed

the way we think about ourself and the universe?

Whole new fields of technology were opened by

inventors such as the Wright Brothers and

Thomas Edison, but where are their modern

counterparts?

In childhood, children test the limits of their

physical ability and the limits imposed on them

by others. Without current examples of explorers

and inventors to look up to, many childhood

ambitions fade away. By the time they get old

enough to work, many of these same people seem

content to live inside a tiny world just so they

can make a few bucks and “secure their future.”

1. A. NO CHANGE B. worried more about their own future then C. worry more about their own future than D. worries about their own future more then

2. A. NO CHANGE B. Marco Polo and Lewis and Clark C. Marco Polo, Lewis, and Clark, D. Marco Polo, and Lewis and Clark

3. A. NO CHANGE B. changed the way we think about ourself, C. changes the way we think about ourself D. changed the way we think about ourselves

4. A. NO CHANGE B. The Wright Brothers and Thomas Edison

opened whole new fields of technology, C. Whole new fields of technology were

opened by inventors, such as the Wright Brothers, and Thomas Edison,

D. The Wright Brothers and Thomas Edison, who opened whole new fields of technology,

5. The first sentence in this paragraph is: A. a problem-solution statement. B. a cause-effect statement. C. a thesis statement. D. a persuasive statement.

6. In this sentence, content is used as which part of speech?

A. noun B. adverb C. verb D. adjective

6

1

2

3

4

5

0442-0453_Lit3eG06_U04.indd 451 11/30/07 12:13:30 PM

Meeting the Standards

• Point-of-use standards correlations appear on the bottoms of feature and selection pages



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Mirrors & WindoWs

Mirrors & Windows Helps All Students Reach Their Potential

Differentiated Instruction forEnglish Language Learners • Selections are from the Student Edition. • Authentic content. • Blackline masters of selections are provided

for students to mark up and write in. • Vocabulary development lessons are

included.

Differentiated Instruction for Developing Readers • Guided Reading questions help students

check their understanding of Student Edition selections.

• Reading Strategies and Skills Practice lessons offer application opportunities for the selections.

• Student worksheets include graphic organizers. • Teaching notes offer additional instructional

suggestions. • Assessment opportunities provide options for

evaluation.

Differentiated Instruction for Advanced Students • Challenging activities based on selections

from the Student Edition. • Higher level activities engage critical

thinking skills and lead to deeper comprehension.

• The thematic focus leads to critical analysis.

Name: ____________________________________________________ Date: __________________

3Differentiated Instruction for Developing Readers© EMC Publishing, LLC

Thank You, M’am, page 5Set Purpose Mini-Lesson

When you set a purpose for reading, you read with a specific goal in mind. This mini-lesson will show you how to use different purposes for reading.

In the chart below, take notes as you use different purposes for reading the short story “Thank You, M’am” on pages 5–10.

Reader’s Purpose Chart

Purpose 1: Describe the characters of Mrs. Luella Jones and Roger.

Purpose 2: Record the actions of the characters.

Purpose 3: Find out information about the setting (place and time period).

Name: ____________________________________________________ Date: __________________

3© EMC Publishing, LLC

Name: ____________________________________________________ Date: __________________

3Differentiated Instruction for Advanced Students© EMC Publishing, LLC

Unit 4 Drama

the tragedy of romeo and Juliet, page 504by William Shakespeare

activity: theme StudyBefore you begin reading Romeo and Juliet, use this prereading activity to explore some of the themes in the play. As you read the following statements, check whether you agree or disagree with each one. You must choose one side, even though you may want to choose the middle ground.

1. The ends justify the means. Agree Disagree

2. Young people are in love with the idea of being in love. Agree Disagree

3. A man in love makes a poor fighter. Agree Disagree

4. Moderate love is more lasting than love that is sudden and passionate.

Agree Disagree

5. The best intentions often result in tragedy. Agree Disagree

6. In an attempt to be compassionate, an authority figure actually hurts those he leads.

Agree Disagree

7. We are responsible for our own actions. Agree Disagree

8. People are victims of fate and have little control over outcomes in their lives.

Agree Disagree

9. One act of deception always leads to another. Agree Disagree

10. Most grief is self-pity. Agree Disagree

11. Love will eventually triumph over hate. Agree Disagree

12. Young people often must suffer for their parents’ mistakes. Agree Disagree

13. Haste and lack of forethought bring about disaster. Agree Disagree

14. A real man uses brains instead of brawn to solve his problems.

Agree Disagree

15. Every negative situation can be used to create good. Agree Disagree

16. Arranged marriages are a good way to find your lifelong partner.

Agree Disagree

When you are certain of your final decisions, fold a piece of paper in half (this will serve as a bookmark). On one side of the paper, write the statement with which you most agree; on the other side, write the one with which you most disagree. As you read Romeo and Juliet, record details and examples (direct quotations or actions) that either support or refute the two statements you have identified.

Write a theme analysis essay for Romeo and Juliet, using the information on your paper as support for your chosen theme



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Mirrors & Windows Helps All Students Reach Their Potential

Mirrors & Windows Enriches Students Beyond the Standards

QuizMirrors

&Windows

TECHNOLOGY TOOLS

Exceeding the Standards: Literature & Reading • Extended, unit-based lessons that integrate outside

resources, varieties of media, and student creativity to help students analyze, compare, and fully appreciate literature.

Exceeding the Standards: Test Practice • Timed, unit-based practice tests in formats most

commonly found in standard achievement, state-specific, and high-stakes tests and exams.

• ACT and SAT format practice tests are included at each level.

Exceeding the Standards: Writing • Developmental, in-depth writing lessons for each

of the major writing modes: narrative, descriptive, expository, and persuasive.

• Lessons that include models, examples, guidelines, writing checklists, and writing rubrics

• Writing lessons that integrate instruction in grammar and style.

Exceeding the Standards: Speaking & Listening • Detailed lessons with explicit instructions that

expand on the Speaking & Listening Workshops found at the end of each unit in the Student Edition.

Exceeding the Standards: Vocabulary & Spelling • Comprehensive developmental vocabulary and

spelling lessons.• In-depth instruction that is modeled using words

from the selections in each unit.

Exceeding the Standards: Special Topics • Extended lessons in media literacy, personal

development, and career awareness.• Instructions and activities that provide students

with real-life, practical experience in applied communication skills.

Exceeding the Standards: Grammar & Style • Comprehensive, developmental grammar and

style curriculum.• Taught within the context of selections in each unit.

Exceeding the Standards: Extension Activities • Extended lessons for each

of the following categories: Collaborative Learning, Lifelong Learning, Media Literacy, and Critical Literacy.



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Technology Tools Enhance InstructionTeacher Resources DVD

Provides access to all print and technology products:

• Annotated Teacher’s Edition eBook • Meeting the Standards • Differentiated Instruction • Exceeding the Standards • Assessment Guide • EXAMVIEW® Assessment Suite • E-Lesson Planner • Visual Teaching Package • Common Core State Standards Correlations • Link to www.mirrorsandwindows.com

iOS eBookThe iOS eBook connects students to literature and language arts in and out of the classroom. With a touch of the finder, students access every pages as well as the audio that coincides with the reading selections. All eBooks are downloadable to Apple® mobile devices including the iPad, iPhone®, and iPod Touch® and are available on the go without an internet connection.

Interactive Student Text on CD• Complete student text available.• Includes highlighting, note-taking,

and bookmarking.

EXAMVIEW® Assessment Suite (Included on Teacher Resources DVD)

• Leveled multiple-choice, matching, and essay questions are provided.

• Teachers may select, create, and edit questions to develop customized tests.

• Formative Survey Test items are keyed to state standards.

Visual Teaching Package (Included on Teacher Resources DVD)

• Unit-based literary analysis lectures, word games, critical viewing art activities, writing workshops, and graphic organizers.

• Microsoft® PowerPoint® format.• Includes interactive slides and printable

worksheets.



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Technology Tools Enhance Instruction

Online Writing Evaluation (Grades 6–12)

• Evaluates grammar, usage, mechanics, style, and organization & development.

• Students may access the Writer’s Handbook for specific explanations and examples.

• Students receive feedback within 20 seconds.

EMC E-Library Online(Included at mirrorsandwindows.com)

More than 20,000 pages of literary classics including epic poems, novels, plays, nonfiction, poetry, and excerpts from fiction and nonfiction.

Audio Library(Included at mirrorsandwindows.com)

Authentic, dramatic recordings with listening activities.

QuizMirrors

&Windows

TECHNOLOGY TOOLS

www.mirrorsandwindows.comFor Students• Access to all resources• Interactive activities• Links• Graphic organizers• Study guides• Downloadable Audio Library• EMC E-Library Online

For Teachers• Assessments• Answer keys• Lesson plans• State standards



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Mirrors & WindoWs

EMC Mirrors & Windows Common Core State Standards EditionRange of Text Types for Grades 6-12

Common Core State Standards Range of Text Types

Grade 6

Grade 7

Grade 8

Grade 9

Grade 10

Grade 11

Grade 12

Literature

Stories: Includes the subgenres of adventure stories, historical fiction, mysteries, myths, science fiction, realistic fiction, allegories, parodies, satire, and graphic novels

adventure stories • • • • • • •historical fiction • • • • • • •mysteries • • • • • • •myths • • • • • • •science fiction • • • • • • •realistic fiction • • • • • • •allegories • • • • • • •parodies • • • • • • •satire • • • • • • •graphic novels • • • • • • •

Drama: Includes one-act and multi-act plays, both in written form and on film

one-act plays (written/film) • • • • • • •multi-act plays (written/film) • • • • • • •

Poetry: Includes the subgenres of narrative poems, lyrical poems, free verse poems, sonnets, odes, ballads, and epics

narrative poems • • • • • • •lyrical poems • • • • • • •free verse poems • • • • • • •sonnets • • • • • • •epics • • • • • • •

Nonfiction: Includes the subgenres of exposition, argument, and functional text in the form of personal essays, speeches, opinion pieces, essays about art or literature, biographies, memoirs, journalism, and historical, scientific, technical, or economic accounts (including digital sources) written for a broad audience

personal essays • • • • • • •speeches • • • • • • •opinion pieces • • • • • • •essays about art or literature • • • • • • •biographies • • • • • • •memoirs • • • • • • •journalism • • • • • • •historical, scientific, technical, or economic accounts (including digital sources) written for a broad audience

• • • • • • •

MW_CCSS_Table Flyer.indd 1 7/12/13 4:34 PM



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All resources available on CD, on DVD, or online.Go to www.emcschool.com for previous editions.

© 2012

Level I Level II Level III Grade 6 Grade 7 Grade 8

Student Edition Package includes: 978-0-82196-088-2 $83.95 978-0-82196-089-9 $83.95 978-0-82196-090-5 $83.95 Student Edition 978-0-82196-029-5 978-0-82196-031-8 978-0-82196-033-2 Interactive Student Edition on CD 978-0-82196-074-5 978-0-82196-076-9 978-0-82196-078-3 IOS EBOOK

eBook (6-year license) 978-0-82195-747-9 73.95 978-0-82195-748-6 73.95 978-0-82195-749-3 73.95

iOS eBook 978-0-82196-643-3 19.99 978-0-82196-644-0 19.99 978-0-82196-645-7 19.99

Annotated Teacher's Edition* 978-0-82196-030-1 129.95 978-0-82196-032-5 129.95 978-0-82196-034-9 129.95

Teacher Resources DVD 978-0-82196-075-2 399.95 978-0-82196-077-6 399.95 978-0-82196-079-0 399.95

Program Planning Guide 978-0-82196-108-7 29.95 978-0-82196-118-6 29.95 978-0-82196-128-5 29.95

Assessment Program Guide 978-0-82196-107-0 49.95 978-0-82196-117-9 49.95 978-0-82196-127-8 49.95

ETS' Criterion š Bookstore Model Online Writing Evaluation 978-0-82194-723-4 10.95 978-0-82194-724-1 10.95 978-0-82194-725-8 10.95

Meeting the Standards Unit Resource Package 978-0-82196-168-1 155.95 978-0-82196-170-4 155.95 978-0-82196-173-5 155.95 Unit 1 978-0-82196-099-8 25.95 978-0-82196-109-4 25.95 978-0-82196-119-3 25.95 Unit 2 978-0-82196-100-1 25.95 978-0-82196-110-0 25.95 978-0-82196-120-9 25.95 Unit 3 978-0-82196-101-8 25.95 978-0-82196-111-7 25.95 978-0-82196-121-6 25.95 Unit 4 978-0-82196-102-5 25.95 978-0-82196-112-4 25.95 978-0-82196-122-3 25.95 Unit 5 978-0-82196-103-2 25.95 978-0-82196-113-1 25.95 978-0-82196-123-0 25.95 Unit 6 978-0-82196-104-9 25.95 978-0-82196-114-8 25.95 978-0-82196-124-7 25.95 Unit 7 978-0-82196-105-6 25.95 978-0-82196-115-5 25.95 978-0-82196-125-4 25.95 Unit 8 978-0-82196-106-3 25.95 978-0-82196-116-2 25.95 978-0-82196-126-1 25.95

Differentiated Instruction Package 978-0-82194-452-3 49.95 978-0-82194-456-1 49.95 978-0-82194-461-5 49.95 Differentiated Instruction for English Language Learners 978-0-82193-062-5 21.95 978-0-82193-094-6 21.95 978-0-82193-122-6 21.95 Differentiated Instruction for Developing Readers 978-0-82193-061-8 21.95 978-0-82193-093-9 21.95 978-0-82193-121-9 21.95

Differentiated Instruction for Advanced Students 978-0-82193-063-2 21.95 978-0-82193-095-3 21.95 978-0-82193-123-3 21.95

Exceeding the Standards Package 978-0-82194-453-0 299.95 978-0-82194-457-8 299.95 978-0-82194-462-2 299.95 Literature & Reading 978-0-82194-405-9 49.95 978-0-82194-417-2 49.95 978-0-82194-430-1 49.95 Vocabulary & Spelling 978-0-82194-406-6 49.95 978-0-82194-418-9 49.95 978-0-82194-431-8 49.95 Grammar & Style 978-0-82194-407-3 49.95 978-0-82194-419-6 49.95 978-0-82194-432-5 49.95 Speaking & Listening 978-0-82194-408-0 49.95 978-0-82194-420-2 49.95 978-0-82194-433-2 49.95 Writing 978-0-82194-409-7 49.95 978-0-82194-421-9 49.95 978-0-82194-434-9 49.95 Extension Activities 978-0-82194-410-3 49.95 978-0-82194-422-6 49.95 978-0-82194-435-6 49.95 Test Practice 978-0-82194-411-0 49.95 978-0-82194-423-3 49.95 978-0-82194-436-3 49.95 Special Topics 978-0-82194-413-4 49.95 978-0-82194-424-0 49.95 978-0-82194-437-0 49.95

Print Supplements Package 978-0-82196-169-8 250.00 978-0-82196-172-8 250.00 978-0-82196-174-2 250.00 Program Planning Guide, Assessment Guide, Differentiated

Instruction Package, Meeting the Standards Package, Exceeding the Standards Package

*Free with purchase of 25+ Student Editions

Grades 6–12



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Level IVGrade 9

Level V Grade 10

Student Edition Package includes: 978-0-82196-091-2 $85.95 978-0-82196-092-9 $85.95

Student EditionInteractive Student Edition on CDiOS eBook

978-0-82196-035-6978-0-82196-080-6

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eBook (6-year license) 978-0-82195-750-9 75.95 978-0-82195-751-6 75.95

iOS eBook 978-0-82196-646-4 19.99 978-0-82196-647-4 19.99

Annotated Teacher's Edition* 978-0-82196-036-3 129.95 978-0-82196-038-7 129.95

Teacher Resources DVD 978-0-82196-081-3 399.95 978-0-82196-083-7 399.95

Program Planning Guide 978-0-82196-136-0 29.95 978-0-82196-144-5 29.95

Assessment Program Guide 978-0-82196-135-3 49.95 978-0-82196-143-8- 49.95

ETS' Criterionš Publisher's Version Online Writing Evaluation 978-0-82194-726-5 10.95 978-0-82194-727-2 10.95

Meeting the Standards Unit Resource Package 978-0-82196-175-9 117.95 978-0-82196-177-3 117.95

Unit 1 Unit 2Unit 3Unit 4Unit 5Unit 6

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Differentiated Instruction Package 978-0-82193-153-0 49.95 978-0-82193-181-3 49.95

Differentiated Instruction for English Language LearnersDifferentiated Instruction for Developing ReadersDifferentiated Instruction for Advanced Students

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Literature & ReadingVocabulary & SpellingGrammar & StyleSpeaking & ListeningWritingExtension ActivitiesTest Practice Special Topics

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Print Supplements Package 978-0-82196-176-6 250.00 978-0-82196-178-0 250.00

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*Free with purchase of 25+ Student Editions All resources available on CD, on DVD, or online.Go to www.emcschool.com for previous editions.

© 2012

Grades 9 & 10



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© 2012

All resources available on CD, on DVD, or online.Go to www.emcschool.com for previous editions.

American TraditionGrade 11

British Tradition Grade 12

Student Edition Package includes: 978-0-82196-093-6 $87.95 978-0-82196-094-3 $87.95

Student EditionInteractive Student Edition on CDiOS eBook

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Program Planning Guide 978-0-82196-155-1 29.95 978-0-82196-167-4 29.95

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ETS' Criterionš Publisher's Version Online Writing Evaluation 978-0-82194-728-9 10.95 978-0-82194-729-6 10.95

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Print Supplements Package 978-0-82196-180-3 250.00 978-0-82196-182-7 250.00Program Planning Guide, Assessment Guide, Differentiated Instruction Package, Meeting the Standards Package, Exceeding the Standards Package

*Free with purchase of 25+ Student Editions

Grades 11 & 12


Expository Composition

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by Tony Romano and Gary Anderson © 2013

EMC’s newly updated Expository Composition: Discovering Your Voice includes a complete chapter devoted to online writing, with descriptions and student and professional writing models of digital writing types such as blogs, micro-blogs, social networks, texting, e-mail, and e-mags.

The new Expository Composition Internet Resource Center at www.emcschool.net/expcomp provides additional support materials and links to the interactive Discovering Your Voice online companion with additional writing models, journal topics, writing activities and tips, videos, and community forums.

With over fifty years of combined high school teaching experience between them, authors Tony Romano and Gary Anderson offer students an expository composition textbook that prepares them for rich, deep, and insightful college writing while encouraging them to develop and celebrate their own unique voice.

Argument 295

Before beginning the Chapter Assignment, try the following

exercises to practice formulating and critiquing an argument.

1. Identify the fallacies in the following statements. More than one

answer might apply, so be ready to defend your answer.

a. Everyone agrees that females are better suited for household

duties. b. Children must obey their parents when they’re young or suffer

consequences later in life. c. Toppling the dictatorship will bring democracy to that country.

d. Anyone can tell you that diets don’t work.

e. Higher taxes are a bad idea because people will have to pay more.

f. A patriotic citizen would support this idea.

2. Flip through a newspaper or magazine, or watch a few commercials

on television, and identify four fallacies.

3. Create a syllogism on a familiar issue. Here’s an example:

Major Premise: Busywork often creates resentment and

defiance from students.Minor Premise: Worksheets are busywork.Conclusion: Worksheets create resentment and defiance.

4. John is given the task of supporting or refuting this assertion:

Females are better listeners than males. He makes a list of points

he can use to develop his argument. As he scans the list of points he

has jotted down, he realizes he has used inductive reasoning. What

might his list look like? 5. Convert each of the following vague statements into assertions. The

first one includes an example. a. The environment needs to be cleaned up.

Revised: If we’re serious about cleaning the environment,

we need to park our cars and find alternative ways to get

around.

Practice

12

Writing Online 411

Writing Online

Most writers like to believe their writing will last a while,

even if it’s merely a matter of weeks. For instance, you may

have saved copies of the essays you wrote this semester,

maybe sharing a few with friends and family, relishing the praise your

teacher lavished upon you. Maybe you’ve considered entering one

of your essays in a contest or used one as a college admissions essay.

Perhaps you have a place where you collect such essays and skim

through them once in a while, which is a stark and sometimes painful

reminder of how far you’ve come in your writing.

All of this suggests a deliberate, often slow process: gathering

ideas, pounding out sentences, printing a hard copy, waiting for the

paper to be graded, perhaps revising and waiting again. Writing for an

online audience, however, streamlines and often changes this process.

You compose, you post, and the message is transmitted to one person

or blasted to potentially millions of people, who may respond within

seconds. Speed is expected and prized. In fact, one of the original online

messaging tools was called IM, short for instant messaging. How much

of this speedy communication constitutes good writing is questionable.

How much of it will last is unclear.

On the other hand, we’re inspired and encouraged by the way

writers have adapted to this new medium. If you’ve ever posted or

commented on a blog, updated your status on an online social network,

or written on a microblogging site that limits your posts to a certain

number of characters, you’re already aware that your online writing

can be shaped by the technology you’re using. Here’s a little secret:

some adults are concerned that today’s students are forgetting how to

write “correctly” because of an over-reliance on text message abbrevia-

tions, emoticons, and acronyms. Are those concerns valid? Sure. But

222 Chapter 6

When You Camp Out, Do it Rightby Ernest Hemingwayby Ernest Hemingway

In the following essay, Hemingway uses the pattern of pro-cess analysis to order his materials on the art of camping. He wrote the following piece for the Toronto Star in the early 1920s, before he gained worldwide recognition as a writer. The piece reveals Hemingway’s lifelong interest in the outdoors as well as his perfectionism—his desire to do all things well.

Meet the Writer

Journal Topic As you prepare to read this essay, take a minute or two to think about your own experiences in nature or any unknown place you once visited. If you have ever camped out or attended summer camp, how did you prepare for, enter into, and survive the experience? Which problems did you encounter, and how did you cope with them?

Thousands of people will go into the bush this summer to cut the high cost of living. A man who gets his two weeks’ salary while he is on vacation should be able to put those two weeks in fishing and camping and be able to save one week’s salary clear. He ought to be able to sleep comfortably every night, to eat well every day, and to return to the city rested and in good condition.

But if he goes into the woods with a frying pan, an ignorance of black flies and mosquitoes, and a great and abiding lack of knowl-edge about cookery, the chances are that his return will be very dif-ferent. He will come back with enough mosquito bites to make the

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Professional and Student Models• Published authors such as Eudora Welty,

Anna Quindlen, Ernest Hemingway, and Dave Chappelle, as well as real high school students writing across the country, exemplify the categories of writing taught in each chapter.

• Each professional and student model includes discussion questions about content, style, and writing techniques.

Journal Topics• Ideas for free-writing or journaling relate to the

content of each chapter.

• Thought-provoking topics may lead to essay topics or serve as prewriting for other essays.

Writers on Writing• Published writers inspire student writers with

honest, practical quotes about language and writing techniques.

Writing Tips• The textbook gives students abundant suggestions

for keeping track of ideas, coming up with topics, finding time to write, and making meaningful revisions.

Practice Opportunities• Exercises allow students to practice the writing

techniques learned in each chapter.

• Practice opportunities can be done individually, in small groups, or as a class.

Chapter Assignment• Chapters include guidance on prewriting, possible

writing topics, and questions for revision and peer review.

Appendices End-of-text reference material includes:• Grammar handbook• Graphic organizers• Writing for the SAT and ACT• Documentation of sources

46 Chapter 2

the listener can see that particular underhanded motion and perhaps feel the supple toss in his or her own arms. If a batter sprays hits, the listener can envision the varied directions the ball will fly, maybe hearthe sound of spraying, though this latter may be a stretch since it is not a literal sound. If baseballs fly out like popcorn, the listener can clearly see the lively action of the ball and hear the crack of the bat. (Do listen-ers also smell popcorn when they hear this line? Maybe not.) In other words, imagery allows the listener, or reader, to fully participate in the description, to become immersed in the world created through the writ-ing. Imagery invites the reader in.

Not only does imagery evoke rich sensations for the reader, but it also accomplishes this in an economical fashion. Imagine trying to literally describe shoveling a ball: “the shortstop cupped his hands and with palms up he…” Too many words, too much detail, and the writer loses the beauty of the simple action.

See if you can identify the imagery in the following passage from Michael Ondaatje’s memoir Running in the Family:

2:15 in the afternoon. I sit in the huge living room of the old governor’s home in Jaffna. The walls, painted in recent years a warm rose-red, stretch awesome distances away to my left to my right and towards the white ceiling. When the Dutch first built this house egg white was used to paint the walls. The doors are twenty feet high, as if awaiting the day when a family of acrobats will walk from room to room, sideways, without dismantling themselves from each other’s shoulders.

As you probably found, identifying imagery in someone else’s writ-ing is a fairly simple task. In fact, the imagery seems effortless, which is

usually far from the truth and explains why many students don’t even begin to try.

If your purpose is to describe something unusual, a subject not known intimately by the vast majority of people, your sensory task can be pretty easy. As you write about the subject, simply describe how it looks, sounds, feels, smells, and tastes (and add a healthy dose of the emotions or feelings associated with it). If you do that thor-oughly and with an awareness of the connotations of your chosen words, you should be successful

in transmitting to a reader your assessment of whatever it is you’re discussing.

For example, if your writing purpose is to describe an orangutan, you might surmise that, although most people have a working knowl-

School schedules can be hectic, but writing thrives on habit. Try to set aside a particular time of day just for yourself and your writing. Those ten or thirty minutes are yours and not negotiable.

96 Chapter 3

high school, returning to the halls at the end can frame the essay, highlighting the changes that took place in between.

3. Endings require a degree of restraint, as we’ve suggested, but they also require a dose of risk. You have to risk baring your emotions, coming clean with stark honesty, undressing your flaws: this is who I am, this is what happened, and this is how I felt about it. All of this runs the different risk of telling rather than showing, which means that endings are nothing less than great balancing acts. For instance, if you’re writing about your role in the painful breakup of a friend-ship, you can end the essay by explaining your feelings of regret, but it might be more effective to simply describe how you turned away from your friend when she most needed you. Study the sample essays at the end of the chapter. Notice how each writer creeps toward disclosure, risking sentimentality while avoiding the pitfall of sappiness. Note also how each writer’s thesis is implied or subtly interwoven rather than stated bluntly, as in “The moral of the story is….”

Journal Topic Write about a time when your expectations or perceptions clouded your judgment. Maybe you sent away for something big in the mail but received only a tiny package. Maybe you spent months avoiding someone who turned out to be one of your best friends. Maybe you were the only one to dress in a costume at the seventh grade Halloween party.

Selecting Verb Tense and Point of ViewAt some point in the process of writing a narrative essay, you’ll have

to make two decisions.

1. Should you use present or past tense?

Present Tense: My father hands the instructions to me. (The action is happening now.)

Past Tense: My father handed the instructions to me. (The action happened in the past.)

Present tense creates immediacy, which can be quite effective, but it also creates potential problems. Whenever we read a student essay that begins in the present tense, red flags fly. Almost invariably, the student will drift into the past tense after several paragraphs, which cre-

Argument 291

swiftly? You simply want to defuse major objec-tions at this point, but you don’t want to delay the presentation of your evidence for too long. Besides, as you present your case, you will address objections along the way.

Presenting Your EvidencePresent your evidence: facts, statistics,

examples, stories, and any other data relevant to your thesis. Review the tips for presenting evi-dence outlined earlier in the section “Building a Valid Argument.” Gradually devise some sort of organizational plan when filling out the body of your paper. Do you first present minor examples that lead to more significant ones? Do you follow a chronological pattern? Do you begin with the personal and then broaden to the community, then the city, then the entire society? Do you begin with amusing anecdotes and build to more serious examples? There are no wrong answers to these questions, but if you don’t pose them, your essay will likely be disorganized, and readers may struggle to follow your argument.

Crafting Your ConclusionConclusions are difficult. You want to return to your thesis, but you

certainly don’t want to use the same phrasing. The reader has followed your argument for several pages and is now quite informed on the topic; therefore, you can now be more sophisticated with your wording. If in your introduction you were the expert carpenter addressing someone who didn’t know the best way to use a hand saw, in the conclusion you are now speaking to a not-so-naïve apprentice. Moreover, you want to leave your audience with some vision of what the world will be like if your ideas are adopted. In essence, you want to inspire.

Choosing a TopicThere’s no reason to be walking around for days muttering, “I

can’t think of a topic.” If you spend ten minutes perusing a newspaper or magazine, you’ll probably find a dozen ideas. Of the dozen, one or two might be intriguing enough to write about, or they might inspire other ideas. To test this strategy, we turned to our local paper, the Daily Herald, and found a story on the front page about how schools are moni-

Your day’s work might turn out to have been a mess. So what? Vonnegut said, ‘When I write, I feel like an armless leg-less man with a crayon in his mouth.’ So go ahead and make big scrawls and mis-takes. Use up lots of paper. Perfectionism is a mean, frozen form of idealism, while messes are the artist’s true friend. What people somehow (inadvertently, I’m sure) forgot to mention when we were children was that we need to make messes in order to find out who we are and why we are here—and, by extension, what we’re supposed to be writing.

—Anne Lamott

46 Chapter 2

the listener can see that particular underhanded motion and perhaps feel the supple toss in his or her own arms. If a batter sprays hits, the listener can envision the varied directions the ball will fly, maybe hearthe sound of spraying, though this latter may be a stretch since it is not a literal sound. If baseballs fly out like popcorn, the listener can clearly see the lively action of the ball and hear the crack of the bat. (Do listen-ers also smell popcorn when they hear this line? Maybe not.) In other words, imagery allows the listener, or reader, to fully participate in the description, to become immersed in the world created through the writ-ing. Imagery invites the reader in.

Not only does imagery evoke rich sensations for the reader, but it also accomplishes this in an economical fashion. Imagine trying to literally describe shoveling a ball: “the shortstop cupped his hands and with palms up he…” Too many words, too much detail, and the writer loses the beauty of the simple action.

See if you can identify the imagery in the following passage from Michael Ondaatje’s memoir Running in the Family:

2:15 in the afternoon. I sit in the huge living room of the old governor’s home in Jaffna. The walls, painted in recent years a warm rose-red, stretch awesome distances away to my left to my right and towards the white ceiling. When the Dutch first built this house egg white was used to paint the walls. The doors are twenty feet high, as if awaiting the day when a family of acrobats will walk from room to room, sideways, without dismantling themselves from each other’s shoulders.

As you probably found, identifying imagery in someone else’s writ-ing is a fairly simple task. In fact, the imagery seems effortless, which is

usually far from the truth and explains why many students don’t even begin to try.

If your purpose is to describe something unusual, a subject not known intimately by the vast majority of people, your sensory task can be pretty easy. As you write about the subject, simply describe how it looks, sounds, feels, smells, and tastes (and add a healthy dose of the emotions or feelings associated with it). If you do that thor-oughly and with an awareness of the connotations of your chosen words, you should be successful

in transmitting to a reader your assessment of whatever it is you’re discussing.

For example, if your writing purpose is to describe an orangutan, you might surmise that, although most people have a working knowl-

School schedules can be hectic, but writing thrives on habit. Try to set aside a particular time of day just for yourself and your writing. Those ten or thirty minutes are yours and not negotiable.

Argument 291

swiftly? You simply want to defuse major objec-tions at this point, but you don’t want to delay the presentation of your evidence for too long. Besides, as you present your case, you will address objections along the way.

Presenting Your EvidencePresent your evidence: facts, statistics,

examples, stories, and any other data relevant to your thesis. Review the tips for presenting evi-dence outlined earlier in the section “Building a Valid Argument.” Gradually devise some sort of organizational plan when filling out the body of your paper. Do you first present minor examples that lead to more significant ones? Do you follow a chronological pattern? Do you begin with the personal and then broaden to the community, then the city, then the entire society? Do you begin with amusing anecdotes and build to more serious examples? There are no wrong answers to these questions, but if you don’t pose them, your essay will likely be disorganized, and readers may struggle to follow your argument.

Crafting Your ConclusionConclusions are difficult. You want to return to your thesis, but you

certainly don’t want to use the same phrasing. The reader has followed your argument for several pages and is now quite informed on the topic; therefore, you can now be more sophisticated with your wording. If in your introduction you were the expert carpenter addressing someone who didn’t know the best way to use a hand saw, in the conclusion you are now speaking to a not-so-naïve apprentice. Moreover, you want to leave your audience with some vision of what the world will be like if your ideas are adopted. In essence, you want to inspire.

Choosing a TopicThere’s no reason to be walking around for days muttering, “I

can’t think of a topic.” If you spend ten minutes perusing a newspaper or magazine, you’ll probably find a dozen ideas. Of the dozen, one or two might be intriguing enough to write about, or they might inspire other ideas. To test this strategy, we turned to our local paper, the Daily Herald, and found a story on the front page about how schools are moni-

Your day’s work might turn out to have been a mess. So what? Vonnegut said, ‘When I write, I feel like an armless leg-less man with a crayon in his mouth.’ So go ahead and make big scrawls and mis-takes. Use up lots of paper. Perfectionism is a mean, frozen form of idealism, while messes are the artist’s true friend. What people somehow (inadvertently, I’m sure) forgot to mention when we were children was that we need to make messes in order to find out who we are and why we are here—and, by extension, what we’re supposed to be writing.

—Anne Lamott

96 Chapter 3

high school, returning to the halls at the end can frame the essay, highlighting the changes that took place in between.

3. Endings require a degree of restraint, as we’ve suggested, but they also require a dose of risk. You have to risk baring your emotions, coming clean with stark honesty, undressing your flaws: this is who I am, this is what happened, and this is how I felt about it. All of this runs the different risk of telling rather than showing, which means that endings are nothing less than great balancing acts. For instance, if you’re writing about your role in the painful breakup of a friend-ship, you can end the essay by explaining your feelings of regret, but it might be more effective to simply describe how you turned away from your friend when she most needed you. Study the sample essays at the end of the chapter. Notice how each writer creeps toward disclosure, risking sentimentality while avoiding the pitfall of sappiness. Note also how each writer’s thesis is implied or subtly interwoven rather than stated bluntly, as in “The moral of the story is….”

Journal Topic Write about a time when your expectations or perceptions clouded your judgment. Maybe you sent away for something big in the mail but received only a tiny package. Maybe you spent months avoiding someone who turned out to be one of your best friends. Maybe you were the only one to dress in a costume at the seventh grade Halloween party.

Selecting Verb Tense and Point of ViewAt some point in the process of writing a narrative essay, you’ll have

to make two decisions.

1. Should you use present or past tense?

Present Tense: My father hands the instructions to me. (The action is happening now.)

Past Tense: My father handed the instructions to me. (The action happened in the past.)

Present tense creates immediacy, which can be quite effective, but it also creates potential problems. Whenever we read a student essay that begins in the present tense, red flags fly. Almost invariably, the student will drift into the past tense after several paragraphs, which cre-

Other special features include:

Expository Composition: Discovering Your Voice Revised EditionStudent Edition 978-0-82196-193-3 $48.95

Student Edition eBook 978-0-82196-194-0 $38.95

iOS eBook (one-year license) 978-0-82196-656-3 $19.99

Teacher's Guide 978-0-82196-195-7 $27.95


Approach to Learning

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AP LiterAture GuidesLi

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In line with its commitment to academic rigor, EMC Publishing offers a series of guides for teaching Advanced Placement® (AP®) English literature. EMC’s Guide to AP Literature series provides teachers multiple opportunities to teach students the skills necessary to succeed not only on the AP English Literature and Composition Exam but also in college-level reading, thinking, discussing, and writing about literature. The initial ten titles in the series include those often cited on the exam and studied in high school programs.

EMC’s Guide to AP Literature series provides teacher and student editions for each literary work. The Teacher Edition, designed for both novice and experienced instructors, is organized into these sections:

• An introduction that addresses how to teach the literary selection within the context of a high school English program (vertical alignment) and offers classroom reading and activity schedules

• Background information about the author and the work, including coverage of relevant social, political, and historical issues

• Strategies for teaching the literary work, complete with prereading, classroom reading, and postreading activities

• Comprehensive explanations and activities for conducting a literary analysis of the work, along with an introduction to theories of literary criticism

• An overview of the AP English Literature and Composition Exam and guidelines for how best to prepare students for taking it

Each accompanying Student Edition is a workbook that provides sample multiple-choice questions and both types of free-response questions (analysis essay questions and open-response prompts), simulating the actual questions students will encounter on the AP examination. The practice questions are designed to give students exposure, practice, and confidence prior to taking the exam.

Adventures of Huckleberry Finn

The Awakening

Beloved

Crime and Punishment

Great Expectations

Invisible Man

Macbeth

Romeo and Juliet

The Sound and the Fury

Wuthering Heights

* AP is a registered trademark of the College Board, which was not involved in the production of, and does not endorse, this product.

Price reduced to just

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Sample Open Free-Response Question (Question 3)(Suggested time—40 minutes. This question counts as one-third of the total essay question score.)

The following prompts model the third type of free-response question you will be asked to answer on the exam(often referred to as Question 3). On the actual exam, you will have one question with multiple suggested titles oftexts from which to choose. On the exam, you will write about one text only. As you prepare for the AP EnglishLiterature and Composition Exam, spend 40 minutes answering each of these prompts. Although these promptsspecifically ask you to use Beloved, another way to prepare for the exam is to substitute the title of another textyou have studied and determine whether you recall sufficient details and examples from that text to write yourcritical essay.

1. Select a character from Beloved who demonstrates irrational behavior. In a well-organized essay, analyzehow this behavior can be considered reasonable and relate the behavior to the text as a whole.

2. Choose a character from Beloved who is pulled in conflicting directions. Identify the forces of conflict andexplain how this illustrates the meaning of the novel as a whole. Do not merely summarize the plot.

3. The setting of a literary text often has special significance for the development of characters, plot, and/ortheme. Write an essay in which you analyze the significance of the setting of Beloved and its effect on thenovel as a whole. Avoid mere plot summary.

4. Choose a specific death scene from Beloved, and write an essay in which you analyze the significance thisscene has on the novel as a whole. Do not just summarize the plot.

5. No act of violence exists without a specific purpose or intention. Choose one such scene from Beloved, andwrite a well-organized essay in which you identify the violence and analyze its significance to the text as awhole. Avoid plot summary.

6. The quest for power is a strong human drive. Choose a character from Beloved who either seeks to gainpower over another or seeks to free himself or herself from the power of another. Write an essay in whichyou illustrate how this power struggle is essential to the meaning of the text. Avoid mere plot summary.

7. Select a character from Beloved who is in opposition to his or her society. Identify the conflict and itsimplications as well as addressing how it affects the text as a whole. Avoid plot summary.

8. Select a memorable scene from Beloved. Then write an essay in which you identify the scene and analyze itseffectiveness and its relationship to the text as a whole.

9. Select a character from Beloved who serves as the instrument for the suffering of others and analyze how thisaction contributes to the meaning of the text as a whole. Do not merely summarize the plot.

10. Choose a character from Beloved who has to deal with guilt. Identify the situation and analyze howeffectively the character deals with his or her struggle. Relate this situation to the meaning of the text as awhole, avoiding mere plot summary.

14

EMC’s Guide to AP Literature Beloved Student Edition

2

The Student Edition offers examples of both types of free-response questions, along with guidelines for writing in a timed testing situation.

Ap Lit BrochureINT.indd 2 8/10/07 2:43:54 PM

Getting Started on the Open Free-Response QuestionPlanning an open-response essay is just as important as writing it. Students should be sure to choose the most ap-propriate characters, events, and themes to answer completely the prompt.

The following three steps represent the planning some students did on the sample open-response questions foundin the Student Edition. The following are suggested initial responses for Prompt 2, followed by the completedevelopment and sample essay for Prompt 3.

Step 1: Making Initial Choices to Address the Prompt

Prompt 2: Choose a character who is pulled in conflicting directions

Denver —the nature of the ghost, her role in relation to the ghost—her relationship with her mother, love her or fear her, protect Beloved from her or herfrom Beloved—her relationship with Paul D, he rids 124 of the ghost, her only friend; he has arelationship and history with her mother

Paul D —he’s conflicted about Sethe; does he need her to help deal with the demons of hisown past?—he has conflicted feelings about Beloved

Sethe —has conflicted feelings about her husband, about her children, about her actions

Obviously, the writer of this essay will need to choose which of these three characters he or she would like to useto answer the prompt; all three are strong choices. But, if the writer could not make a connection between beingpulled in conflicting directions and a larger thematic significance, then clearly this would not be an ideal text tochoose for this question.

Prompt 3: The significance of setting to the development of character, plot, and/or theme

Specific Setting Significance

Middle passage and unnamed Character, plot, and thematic development; greater significance and symbolism of

plantations the text; is this where Beloved is from? What does she represent?

Sweet Home Character, plot, and thematic development; before and after Mr. Gardner’s death;

Schoolteacher and his abusive nephews; the deaths of the Sweet Home men

124 Character, plot, and thematic development; Beloved arrives, Denver’s growth; boys

leaving; Sethe atoning for action

Specific places in Cincinnati Character, plot, and thematic development; Stamp Paid, Baby Suggs, the Bodwins

EMC’s Guide to AP Literature Beloved Teacher Edition

Using this step-by-step guide, teachers can walk students through planning an effective response.

4


Step 2: Choosing Specific Details and Examples from the NovelFor prompt 3, selecting one or two settings in the text isn’t enough. Students need to remember to relate the settingto the development of character, plot, and/or theme.

Average responses (and students who did not fully prepare Beloved) will undoubtedly remember the followingsettings:

■ 124■ Sweet Home

However, those who are more prepared will also recall the following settings:

■ Georgia prison camp■ Cherokee village■ the banks of the Ohio River■ the unnamed plantation of Sethe’s birth■ the middle passage of many slaves■ the various stops on Paul D’s journey to Sethe■ the Clearing■ the carnival■ the cold house■ the Church of the Holy Redeemer■ Sawyer’s Restaurant■ the Bodwins’ house

Clearly, the more specific details and examples students have from the text, the more they will be able to incorpo-rate apt and specific references from the text into their essay. Although students should not just rehash the plot,they do want to use details and examples from the text to illustrate and support their assertions.

Step 3: Completing a Planning ChartOrganizing the details, examples, and direct quotations and their relation to theme is the last planning activity be-fore students begin to draft their essay.

Specific Incidents at Direct Quotation Thematic TopicsSpecific Setting from Text

Sethe’s birth Separation from parents; effects of slavery;

lack of individuality; oral stories; origins;

naming; memory

Sethe’s marriage to Halle Love; relationships; privacy; normalcy;

at Sweet Home absence; ownership; intimacy

Schoolteacher at Sweet Home Man’s inhumanity to man; greed; ignorance,

fear; ownership

116

EMC’s Guide to AP Literature Beloved Teacher Edition

Details about planning a response are accompanied by models of organizational tools.

5


The Student Edition offers examples of both types of free-response questions, along with guidelines for writing in a timed testing situation.

Details about planning a response are accompanied by models of organizational tools.

Using this step-by-step guide, teachers can walk students through planning an effective response.

EMC Guides to AP Literature Student Edition 10-pack Teacher Edition*

Adventures of Huckleberry Finn, by Mark Twain 978-0-82193-924-6 $9.95 978-0-47010-928-1 $19.95

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*Receive one free Teacher Edition with purchase of Student Edition 10-pack.


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• Related readings, as well as historical and background information, build cross-curricular connections.

• Friendly reading support ensures understanding and enjoyment.

• Thought-provoking questions and activities invite students to connect their lives to those of the characters.

•GuidedReadingQuestionsguide students through the work by raising important issues in key passages.

• Footnotes explain obscure references, unusual usages, and terms meant to enter students’ passive vocabularies.

•WordsforEverydayUseentries define and give pronunciations for difficult terms meant to enter students’ active vocabularies.

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Adventures of Huckleberry Finn by Mark Twain

The Adventures of Tom Sawyer by Mark Twain

All Quiet on the Western Front

by Erich Remarque

The Call of the Wild by Jack London

Ethan Frome by Edith Wharton

Frankenstein by Mary Shelley

The Giver by Lois Lowry

Great Expectations by Charles Dickens

Hamlet by William Shakespeare

High Elk’s Treasure by Virginia Driving

Hawk Sneve

Jane Eyre by Charlotte Brontë

Johnny Tremain by Esther Forbes

A Midsummer Night’s Dream

by William Shakespeare

My Ántonia by Willa Cather

Nectar in a Sieve by Kamala Markandaya

Hatchet by Gary Paulsen


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A Tale of Two Cities by Charles Dickens

Sister Carrie by Theodore Dreiser

Stargirl by Jerry Spinelli

Stealing Freedom by Elisa Carbone

A Wrinkle in Time by Madeleine L’Engle

Things Fall Apart by Chinua Achebe

Their Eyes Were Watching God

by Zora Neale Hurston

The True Confessions of Charlotte Doyle

by Avi

Where the Red Fern Grows by Wilson Rawls

Night by Elie Wiesel

Pride and Prejudiceby Jane Austen

The Red Badge of Courage

by Stephen Crane

Roll of Thunder, Hear My Cry

by Mildred Taylor

The Scarlet Letter by Nathaniel Hawthorne

Othello, The Moor of Venice

by William Shakespeare

The Tempest by William Shakespeare

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Middle School Adventures of Tom Sawyer, by Mark Twain 978-0-82191-637-7 $15.95 978-0-82191-638-4 $22.95

The Call of the Wild, by Jack London 978-0-82191-615-5 14.95 978-0-82191-616-2 22.95

The Giver, by Lois Lowry 978-0-82192-406-8 13.95 978-0-82192-407-5 22.95

Hatchet, by Gary Paulsen 978-0-82192-960-5 13.95 978-0-82192-961-2 22.95

High Elk's Treasure, by Virginia Driving Hawk Sneve 978-0-82192-414-3 15.95 978-0-82192-415-0 22.95

Johnny Tremain, by Esther Forbes 978-0-82192-408-2 15.95 978-0-82192-409-9 22.95

The Red Badge of Courage, by Stephen Crane 978-0-82191-981-1 13.95 978-0-82191-982-8 22.95

Roll of Thunder, Hear My Cry, by Mildred Taylor 978-0-82191-985-9 14.95 978-0-82191-986-6 22.95

Stargirl, by Jerry Spinelli 978-0-82192-504-1 14.95 978-0-82192-505-8 22.95

Stealing Freedom, by Elisa Carbone 978-0-82192-507-2 14.95 978-0-82192-508-9 22.95

The True Confessions of Charlotte Doyle, by Avi 978-0-82191-983-5 13.95 978-0-82191-984-2 22.95

Where the Red Fern Grows, by Wilson Rawls 978-0-82191-987-3 13.95 978-0-82191-988-0 22.95

A Wrinkle in Time, by Madeleine L'Engle 978-0-82192-532-4 15.95 978-0-82192-533-1 22.95

High School Adventures of Huckleberry Finn, by Mark Twain 978-0-82191-639-1 $15.95 978-0-82191-640-7 $22.95

All Quiet on the Western Front, by Erich Remarque 978-0-82192-420-4 15.95 978-0-82192-421-1 22.95

Ethan Frome, by Edith Wharton 978-0-82191-649-0 12.95 978-0-82191-650-6 22.95

Frankenstein, by Mary Shelley 978-0-82191-643-8 15.95 978-0-82191-644-5 22.95

Great Expectations, by Charles Dickens 978-0-82191-641-4 19.95 978-0-82191-642-1 22.95

Hamlet, by William Shakespeare 978-0-82191-633-9 15.95 978-0-82191-634-6 22.95

Jane Eyre, by Charlotte Brontë 978-0-82191-645-2 19.95 978-0-82191-646-9 22.95

A Midsummer Night's Dream, by William Shakespeare 978-0-82191-635-3 14.95 978-0-82191-636-0 22.95

My Ántonia, by Willa Cather 978-0-82192-509-6 14.95 978-0-82192-510-2 22.95

Nectar in a Sieve, by Kamal Markandaya 978-0-82192-410-5 13.95 978-0-82192-411-2 22.95

Night, by Elie Wiesel 978-0-82192-418-1 14.95 978-0-82192-419-8 22.95

Othello, The Moor of Venice, by William Shakespeare 978-0-82192-956-8 13.95 978-0-82192-957-5 22.95

Pride and Prejudice, by Jane Austen 978-0-82191-621-6 17.95 978-0-82191-622-3 22.95

The Scarlet Letter, by Nathaniel Hawthorne 978-0-82191-617-9 15.95 978-0-82191-618-6 22.95

Sister Carrie, by Theodore Dreiser 978-0-82191-647-6 15.95 978-0-82191-648-3 22.95

A Tale of Two Cities, by Charles Dickens 978-0-82191-651-3 19.95 978-0-82191-726-8 22.95

The Tempest, by William Shakespeare 978-0-82191-619-3 12.95 978-0-82191-620-9 22.95

Their Eyes Were Watching God, by Zora Neale Hurston 978-0-82192-736-6 15.95 978-0-82192-737-3 22.95Things Fall Apart, by Chinua Achebe 978-0-82192-412-9 13.95 978-0-82192-413-6 22.95


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2014 Literature & Language Arts Catalog

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Transcript of 2014 Literature & Language Arts Catalog