· PDF fileThe Lake Isle of Innisfree / I wandered lonely as a cloud / The Cat and the Moon...

ContentsFiction

Lesson 1: Traditional Literature . . . . . . . . . . . . . . . . . . . . . . . . . 5

The Boy Who Dreamed Too Much

Draw and Support Inferences • Point of View . . . . . . . . . . . . . . . . . . . . . 8

The Blue Jackal Summarize • Figurative Language . . . . . . . . . . . . . . 16

Read on Your Own Strife . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 24

Lesson 2: Historical Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . 31

The Collector Narrative Point of View • Determine Theme . . . . . . . . . 34

The Summer Things Fell Apart / Genre Model: Letter from Neshoba County Jail

Compare and Contrast • Historical Fiction . . . . . . . . . . . . . . . . . . . . . . 42

Read on Your Own Hidden / Letter to a Granddaughter . . . . . 52

Lesson 3: Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

The Lost River, Act 1

Cause and Effect • Dramatic Structure . . . . . . . . . . . . . . . . . . . . . . . . 62

The Lost River, Act 2

Cite Textual Evidence • Character, Setting, and Plot . . . . . . . . . . . . . . . 70

Read on Your Own Circle in the Woods . . . . . . . . . . . . . . . . . . . . . 80

Lesson 4: Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

The Lake Isle of Innisfree / I wandered lonely as a cloud / The Cat and the Moon

Visualize • Rhyme, Alliteration, Assonance . . . . . . . . . . . . . . . . . . . . . 90

The Ballad of King Arthur / Annabel Lee / Shall I compare thee to a summer’s day? / The Oven Bird

Paraphrase • Poetic Structure: Narrative Poem and Sonnet . . . . . . . . . . 96

Read on Your Own The Magnificent Bull / When I Was a Lad / To me, fair friend, you never can be old . . . . . 106

RL.7.1, RL.7.2, RL.7.4, RL.7.6, RL.7.10, L.7.4.a, L.7.4.c, L.7.4.d

RL.7.2, RL.7.6, RL.7.9, RL.7.10, L.7.3.a, L.7.4.a, L.7.4.d

RL.7.1, RL.7.3, RL.7.5, RL.7.10, L.7.4.b, L.7.5.b

RL.7.4, RL.7.5, RL.7.10, L.7.4.a, L.7.4.d, L.7.5.c

Common Core State Standards

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Nonfiction

Lesson 5: Scientific Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

The Puzzling Platypus

Central Idea and Supporting Details • Analyze Interactions . . . . . . . . . 116

Discovering Deep-Sea Vents Summarize • Distinguish among

Facts, Reasoned Judgments, and Speculation . . . . . . . . . . . . . . . . . . 124

Read on Your Own The Large Hadron Collider . . . . . . . . . . . . 132

Lesson 6: Technical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139

Have a Ball!

Identify Steps in a Process • Integrate Visual Information . . . . . . . . . . 142

In the Subzero Closet Skim and Scan • Analyze Text Structure . . . 152

Read on Your Own Touch-tastic! . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Lesson 7: Persuasive Nonfiction . . . . . . . . . . . . . . . . . . . . . . 167

RFIDs in Our Future

Author’s Point of View • Fact, Opinion, and Reasoned Judgment . . . . . 170

Cashing in Our Chips

Compare and Contrast • Analyze Arguments . . . . . . . . . . . . . . . . . . . 178

Read on Your Own GMOs vs. You / Understanding GMOs . . 186

Lesson 8: Literary Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . 193

Animal Instincts Summarize • Evaluate Evidence and Claims . . . . . 196

Talking the Talk Central Idea and Supporting Details • Analyze

Development of Central Ideas in a Text . . . . . . . . . . . . . . . . . . . . . . . 204

Read on Your Own Sign, Baby, Sign! . . . . . . . . . . . . . . . . . . . . . . 212

Lesson 9: Historical Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217

Who Was King Arthur?

Integrate Visual Information • Identify Steps in a Process . . . . . . . . . . 220

Child Monarchs

Draw and Support Inferences • Analyze Word Choice and Tone . . . . . . 230

Read on Your Own The Search for Atlantis . . . . . . . . . . . . . . . . 238

RI.7.2, RI.7.3, RI.7.6, RI.7.10, L.7.4.c, L.7.6, RST.6-8.2, RST.6-8.4, RST.6-8.6, RST.6-8.8

RI.7.5, RI.7.10, L.7.4.c, L.7.4.d, L.7.6, RST.6-8.3, RST.6-8.4, RST.6-8.5, RST.6-8.7

RI.7.4, RI.7.5, RI.7.6, RI.7.8, RI.7.9, RI.7.10, L.7.5.a, L.7.5.b, RH.6-8.6

RI.7.2, RI.7.4, RI.7.8, RI.7.10, L.7.4.b, RH.6-8.2


RI.7.1, RI.7.4, RI.7.7, RI.7.10, L.7.4.c, L.7.4.d, L.7.6, RH.6-8.3, RH.6-8.4, RH.6-8.7

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Lesson 10: Primary and Secondary Sources . . . . . . . . . . . . 245

Genre Model: A Bright Future: From the Journal of Willie Oliver Cite Textual Evidence • Primary Sources . . . . . . . . . 248

Art for America Chronological Order • Secondary Sources . . . . . . . 256

Read on Your Own Two Accounts of the Apollo 11 Moon Landing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271

Tools

Graphic Organizers and Close Reading Worksheets

Lesson 1: Traditional LiteratureThe Boy Who Dreamed

Too Much . . . . . . . . . . . . . . . . . . . . . . .279

The Blue Jackal . . . . . . . . . . . . . . . . . . . . .281

Lesson 2: Historical FictionThe Collector . . . . . . . . . . . . . . . . . . . . . . .283

The Summer Things Fell Apart / Genre Model: Letter from Neshoba County Jail . . . . . . . . . . . . . .285

Lesson 3: DramaThe Lost River, Act 1 . . . . . . . . . . . . . . . . .287

The Lost River, Act 2 . . . . . . . . . . . . . . . . .289

Lesson 4: PoetryThe Lake Isle of Innisfree . . . . . . . . . . . . .291

The Ballad of King Arthur . . . . . . . . . . . .293

Lesson 5: Scientific TextsThe Puzzling Platypus . . . . . . . . . . . . . . .295

Discovering Deep-Sea Vents . . . . . . . . . .297

Lesson 6: Technical TextsHave a Ball! . . . . . . . . . . . . . . . . . . . . . . . .299

In the Subzero Closet . . . . . . . . . . . . . . . .301

Lesson 7: Persuasive NonfictionRFIDs in Our Future . . . . . . . . . . . . . . . . .303

Cashing in Our Chips . . . . . . . . . . . . . . . .305

Lesson 8: Literary NonfictionAnimal Instincts . . . . . . . . . . . . . . . . . . . .307

Talking the Talk . . . . . . . . . . . . . . . . . . . . .309

Lesson 9: Historical TextsWho Was King Arthur? . . . . . . . . . . . . . . .311

Child Monarchs . . . . . . . . . . . . . . . . . . . .313

Lesson 10: Primary and Secondary SourcesGenre Model: A Bright Future . . . . . . . . .315

Art for America . . . . . . . . . . . . . . . . . . . . .317

RI.7.1, RI.7.4, RI.7.5, RI.7.10, L.7.3.a, L.7.5.c, RH.6-8.1, RH.6-8.4, RH.6-8.5, RH.6-8.9


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Lesson 1

Traditional literature is

made up of stories that have been handed

down from one generation to the next. The

stories may contain animal characters who

talk and act like humans, foolish people or

animals who are taught important lessons,

or explanations for natural events like

earthquakes or lightning. Every civilization

has its own form of traditional literature,

and the stories can be broken down

into specific categories. Folktales are

timeless and placeless stories that can be

reworked slightly to fit a specific culture’s

needs. They involve universal human

desires, follies, and struggles, such as the

vanity of kings or tall tales about fantastic

characters. Myths tell legendary stories

of heroes and gods, while fables teach a

lesson, usually using animal characters

who speak and behave like humans. What

kind of story do you think this storyteller

is telling?

Traditional Literature

Skills FocusThe Boy Who Dreamed Too MuchDraw and Support Inferences Point of View

The Blue JackalSummarize Figurative Language

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Practice the SkillFirst Read Draw and Support Inferences

When you draw an inference, you figure out something the writer implies but does not state directly. You draw the inference by reading what the writer says, looking for clues in the text, and using your own knowledge of how things work and how people often behave. In other words, you come to understand something the author means to convey, even though he or she does not state it directly.

The clues you find while reading are the textual evidence that supports your inference. For instance, if a character frowns, you might infer that she is unhappy about something, although the text doesn’t specifically say that she is. The frown is your clue—the textual evidence that supports your inference. Also, you know from your own experience that someone who is frowning is usually unhappy or upset. If you are reading a story or drama and a character enters the room laughing, you don’t need the author to tell you that the character is happy. You can infer it for yourself.

These examples are fairly easy. Sometimes inferences can be much more subtle, and you may infer incorrectly at first. That’s OK. Just keep reading and know that new information and plot events may make you infer something new.

Try It Read the paragraph below.

The princess shivered as she hid in the small cave. She knew the huntsman and his dogs were close at hand. She could hear their baying grow louder and louder. As she waited to be discovered, she wept silently and despaired of ever seeing her family again.

Discuss What can you infer about the scene? Why is the princess shivering? How is she feeling? Underline the textual evidence that supports your inference. Then, circle details that suggest why she is feeling the way she is. What is the reason?

As you read, complete the Draw and Support Inferences Chart on page 279.

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Practice the SkillSecond Read Point of View

Narrative point of view is the way a story is told. Authors usually tell a story in the first or third person. In a story told from the first-person point of view, the narrator is a story character who tells what happens using the pronouns I, me, us, or we. When an author uses third-person point of view, the story is told by an outside narrator who uses the pronouns he, she, or they to describe events.

Point of view also refers to the attitudes, perspectives, and outlooks different characters have in a story. Each character has a unique point of view that the author has to carefully develop, and characters’ perspectives very often change over the course of a story. By paying close attention to what characters say and do and how others react to them, you identify their particular points of view.

Try It Read the beginning of a short story.

Kate threw her pom-poms angrily onto the bed. “Everybody leave me alone!” she roared, slamming her bedroom door. The first day of cheerleading tryouts had been miserable. Every bone in her body ached, and she could still hear the chattering and giggling of the older girls who knew they’d make the squad. What’s the point, Kate fumed. It’s all a big popularity contest anyway, it’s all rigged—

Her phone rang. Oh, no! It was Aunt Patty calling! She’d been a cheerleader and had encouraged Kate to try out for the squad, insisting that girls were judged solely for their talent. How could she tell Aunt Patty that she planned to quit the tryouts even if she made it to the next round?

Discuss From what point of view is the story being told? Circle words in the first paragraph that show you. What is Kate’s outlook regarding cheerleading? What is Aunt Patty’s? What do you imagine happening as this story continues that could change Kate’s point of view? Keep in mind that her attitude could change for better or worse.

As you read, record your answers to questions about point of view and perspective on the Close Reading Worksheet on page 280.

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Purpose for ReadingRead along with your teacher. Each time, read for a different purpose.

First Read Focus on drawing and supporting inferences.

Second Read Focus on analyzing point of view.

Third Read Focus on evaluating the story critically.

What can you infer about how Fritz feels about chopping firewood? Underline textual evidence that supports your inference. Write your answer on the Draw and Support Inferences Chart.

From what point of view is the story told? How can you tell? Circle point-of-view clues in the first paragraph.

Outside a small, snow-covered village, a boy called Fritz lived with his mother. The boy’s father had died years before, and now the family was destitute. Each day, Fritz looked with longing as the village children went to school while he chopped firewood and carried water for his mother, who took in sewing from the wealthy ladies in the village. She barely made enough money to buy eggs and flour for their bread, and she had to sew by firelight because candles were too expensive.

“Someday,” said Fritz, “I will make enough money so that Mother can live a life of ease, and I will never have to chop wood or carry water. It will be a good life.”

One winter’s day while Fritz was in the woods, he heard a sound like a mewling cat coming from a small cave. He peeked in and discovered a lamb that had been abandoned by its mother. Fritz wrapped the lamb in his coat and carried it home to his mother.

“Can I keep it please, Mother? I’ll take good care of it, and in the summer, I’ll take it out to graze every day.”

So, even though they barely had enough food for themselves, Fritz’s mother said he could keep the lamb.

As the months went by, the weather got warmer and spring slowly arrived. The lamb thrived under Fritz’s care and grew to be a healthy sheep. He became very fond of it. Each day it accompanied him as he searched the forest for firewood, and it slept in a shed behind the house at night.

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Too MuchDreamedBoy Who


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What can you infer from Fritz’s special care of the sheep? Underline textual evidence that supports your inference, and record your answer on the Draw and Support Inferences Chart.

What is a quality that Fritz displays that is shared the world over and makes this a folktale?

The village children would see Fritz traveling around the woods with his sheep and tease him mercilessly.

“Look at Fritz! Not enough money to go to school, but he has a pet sheep!” and “Don’t you know you should kill the sheep and let your mother make stew? Then you’d have something more to eat than dry bread!”

But Fritz ignored them and held his head high as he walked with his sheep behind him.

During the summer months, the days were long, and Fritz didn’t have to spend hours gathering wood for his mother. This gave him ample time to wander the countryside with his sheep following. Some days, Fritz would sit in a sunny spot and daydream his favorite dreams—all about what he would do when he was wealthy.

“I know,” he said to himself. “Next March, when it is shearing time, I’ll take my sheep into town and sell the wool, and with that money, I’ll buy a second sheep. Then, in a year, I’ll have even more wool to sell. Soon Mother and I will be able to move into a nice house and hire servants to take care of us.”

Through the summer, Fritz spent his days calculating how much wool his sheep had and how much money he would make when she was sheared, and then he planned how he would spend all of his money. Each day, he would inspect the sheep’s wool, removing any sticks or twigs that could damage it.

On particularly nice afternoons, he would get so caught up in his planning and dreaming that he would lose track of the time, and he often returned home after the sun had set.

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From her scolding, what can you infer about what Fritz’s mother is afraid of? Underline textual evidence that supports your inference. Record your answer on the Draw and Support Inferences Chart.

Why is the wool from other sheep so much less nice than that from Fritz’s sheep?

“Oh, Fritz! You daydream too much,” his mother scolded. “It is better to focus on what you have here and now rather than building imaginary castles in the sky. Are you taking proper care of your sheep?”

“Of course, Mother,” replied Fritz. “I love my sheep and take great care of her. Once we get through the winter, I’ll take her to town for shearing. I’ll sell her wool and get enough to buy another sheep and something nice for you.”

The winter slowly crept in, and as the days grew shorter, Fritz once again had to spend most of his time chopping wood to warm their cabin—but he kept himself warm with dreams of his coming riches.

As the months passed, the sheep’s wool grew longer and thicker. Fritz inspected it every day for briars and was proud of how fluffy and clean the wool was, and he was sure that the wool would fetch a good price at market.

Soon enough, it was time to take the sheep to town for shearing. When Fritz arrived, the other men selling wool complimented him on the quality of his sheep’s coat, saying it was the cleanest, softest wool they had ever seen. All of Fritz’s hours of hard work diligently removing briars and twigs had paid off.

As Fritz predicted, the wool fetched enough money for him to pay a shepherd in advance for a lamb, which would be born in a few weeks. He also had money left over to buy his mother a warm shawl and some cake.

He walked home, his sheep still following, his head held high with pride.

“Look, Mother. I sold the sheep’s wool and earned enough money to buy a lamb in a few weeks, and I got you a pretty shawl and cake for our dinner. Soon we will live in a big house, and I’ll be the richest man in town.”

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What is Fritz’s mother’s point of view about life? How do her behavior and dialogue reveal her point of view about life? Circle words on this page that show the mother’s point of view.

Fritz’s mother was pleased, but she shook her head knowingly. “It is all well and good to have dreams, Fritz, but you must not forget to take care of what you have right now. People like us will never be rich, you know.”

A few weeks later, when spring arrived, Fritz collected his new lamb from the shepherd. The village children laughed even harder when they saw Fritz being followed on his daily rounds by two sheep, but he kept his head held high.

During the summer months, Fritz turned the two sheep loose to graze in the fields, and he spent even more time dreaming of the riches their wool would bring him.

“Soon I will have a whole flock of sheep, and I will be able to hire someone to watch them for me.”

Day after day, Fritz returned from the fields talking endlessly as he regaled his mother with details of how he was going to spend his future wealth. She just shook her head and went about her housekeeping, yet Fritz was so caught up reciting his grand plans that he didn’t even notice that she wasn’t listening.

One beautiful summer afternoon, after inspecting the sheeps’ wool for twigs and briars as usual, Fritz fell to daydreaming about his coming wealth. The day was so nice and the sun so warm that Fritz soon fell asleep to dreams of a fine house and great piles of firewood—chopped by someone else, of course. The sheep grazed contentedly nearby. When he woke with a start, the sun had already set, so he quickly gathered the sheep and started for home.

As they walked through the forest, Fritz heard animals close by, breathing heavily and growling. He urged the sheep to walk faster, but the animals gained on them, and he finally saw that they were being followed by a pack of wolves.

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Identify

What universal lesson about life does this story teach?

Why is Fritz more successful with his chickens than he was with his sheep?

What is the effect of the wolf attack on Fritz’s point of view regarding his future?

Fritz turned and ran in terror, and the wolves dragged the sheep off into the bushes.

He staggered home, sobbing and crying in despair.

“Mother! I fell asleep, and we were overtaken by wolves in the forest, and they killed both of my sheep. My plans for riches are all gone!”

Fritz’s mother shook her head, but she smiled. “I warned you this would happen. You were so busy dreaming about what you didn’t have yet that you didn’t take care of what you had.”

Fritz learned his lesson.

The next spring, he used his few remaining cents to buy a chicken. It quickly started laying eggs, which he sold to women in the village, and soon, he earned enough money to buy more chickens. He took very good care of his flock, and they produced dozens of eggs each week for him to sell.

Fritz never again got caught up in daydreams about wealth and grand houses, but through careful work and saving, he was able to buy more food for himself and his mother and candles to light their house. They weren’t rich, but they were happy.

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Vocabulary: Context CluesIn your reading, you will often come across unfamiliar words. Context clues

are hints within the sentence or paragraph that can help you understand the definition of an unknown word. One type of context clue is synonym. An author sometimes includes words that mean about the same thing as the unfamiliar word. Look at this example: “The dancers performed with élan, grace, and elegance.” If you don’t know what élan means, the words grace and elegance offer clues.

Try It Read the excerpt from the selection.

The boy’s father had died years before, and now the family was destitute. Each day, Fritz looked with longing as the village children went to school while he chopped firewood and carried water for his mother, who took in sewing from the wealthy ladies in the village. She barely made enough money to buys eggs and flour for their bread, and she had to sew by firelight because candles were too expensive.

Discuss Look for words that could give you clues to what destitute means. What context clues provide information about the word?

Read the sentences from the selection that contain the following words. Record the words in the selection that helped you determine the meaning of each word, and then use it in a new sentence.

1. ample, p. 9

2. diligently, p. 10

3. regaled, p. 11


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Practice the SkillFirst Read Summarize

When you summarize a story, you take the main ideas and most important details of the plot, characters, and setting and put them in your own words. A summary briefly retells what is in a story without changing any of the important details of the characters, setting, and plot. Similarly, a summary of a nonfiction selection should only retell the most important ideas, facts, or opinions the author has included.

Before you summarize a text, you should read the whole selection. Then think about the main message or theme of the story and all the important details and scenes that support it. A summary is shorter than the original story but should still include all the major details and plot points. It should not include minor details, such as a character’s eye color, or any opinions, thoughts, or outside knowledge you may have about the ideas presented.


When the old king died, the residents of his kingdom mourned deeply. Some people cut their hair to express their grief. They had flourished under his rule, with everyone having enough to eat. But they knew that things would be different under the rule of the king’s son. He was spoiled and impatient and loved fine things and had little interest in governing. Instead, he traveled about collecting fine silks and exotic animals. He was known to spend days on end trying to teach his parrots to talk. They all feared that he would not be a good leader.

Discuss What is the paragraph mainly about? What are the important supporting details? How would you summarize it in your own words? What would you leave out? Put a box around any details that aren’t important enough to be included in a summary.

As you read, complete the Summarizing Chart on page 281.


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Practice the SkillSecond Read Figurative Language

Using figurative language is a way for authors to describe something by comparing it to another thing. Comparisons made using figurative language are not meant to be taken literally. Two of the most common types of comparisons are simile and metaphor. A simile makes a comparison between two unlike things using the word like or as, such as Her manicured nails glistened like wet ice cubes. A metaphor compares two unlike things without using like or as; for example, My love is a rose. Similes and metaphors can be used in an exaggerated way for humorous effect: The guy has a chin like an ironing board.

Personification is another type of figurative language, in which an author assigns human attributes and characteristics to nonhuman things, often to aspects of the natural world; for example, The mountain looked down at us, sneering at our pathetic efforts. Mountains don’t sneer, nor do they care at all about human efforts, but at times, it might feel to us as though they do. Personification can also be used for comedic effect. When I command her to sit, my dog just rolls her eyes at me.


The sun crept over the mountains like a ghost, illuminating the forest. Marilyn smiled as she watched the fawns graze next to their mothers, miniature versions of the adults. All around her the birdsong was a symphony. This was her favorite time of year, when everything seemed new and promising, like a rosebud about to open.

Discuss Look for examples of figurative language. Underline examples of personification. Box any metaphors, and circle any similes. Note that a complex figurative expression can be more than one type of comparison. Do you see an example here?

As you read, record your answers to questions about figurative language on the Close Reading Worksheet on page 282.

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· PDF fileThe Lake Isle of Innisfree / I wandered lonely as a cloud / The Cat and the Moon...

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Transcript of · PDF fileThe Lake Isle of Innisfree / I wandered lonely as a cloud / The Cat and the Moon...