MANY VOICES LITERATURE Teaching and …Many Voices: Reading the World 3 Table of Contents...

M A N Y V O I C E S L I T E R A T U R E

Teaching and Assessment Resources

Reading the World

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Many Voices: Reading the World 3

Table of ContentsIntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Features of the Teaching and Assessment Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13

Using the Teaching and Assessment Resources with the Student Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Literary Lens Content Coverage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Common Core Reading and Writing Standards 9–10 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 19

Research Skills in Reading the World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 30

Using the Introductory Essays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Active Reading Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Active Reading Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Active Reading Practice: Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Active Reading Practice: Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 40

Anticipation Guide: What Do You Think? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

UNIT ONE The AmericasDifferentiated Instruction for Unit One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 47

Introducing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

The Americas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Unit One Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52

Unit One Selections

Aztec Creation Story Oral TraditionResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Literary Lens Thinking Skill: Analyze Myths . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57

Borders Thomas KingResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59Literary Lens Thinking Skill: Analyze Flashbacks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60

At the Tourist Centre in Boston Margaret AtwoodResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

Literary Lens Thinking Skill: Identify Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

Day of the Butterfly Alice MunroResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Literary Lens Thinking Skill: Analyze Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67

No Dogs Bark� Juan RulfoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69Literary Lens Thinking Skill: Analyze and Interpret Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70

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4 Many Voices: Reading the World

Two Bodies Octavio PazResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72Literary Lens Thinking Skill: Compare Through Metaphor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73

Crossroads: A Sad Vaudeville Carlos SolórzanoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75Literary Lens Thinking Skill: Create Dramatic Irony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76

Love after Love Derek WalcottResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Literary Lens Thinking Skill: Analyze a Paradox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

When Greek� Meets Greek� Samuel SelvonResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81Literary Lens Thinking Skill: Analyze Characterization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82

Girls Can We Educate We Dads?� James BerryResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84Literary Lens Thinking Skill: Analyze Dialect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85

In Trying Times Heberto PadillaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87Literary Lens Thinking Skill: Interpret Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88

The Youngest Doll Rosario FerréResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Literary Lens Thinking Skill: Explore Genre . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91

The Handsomest Drowned Man in the World Gabriel García MárquezResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Literary Lens Thinking Skill: Examine the Effect of Plot on Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95

The Third Bank� of the River João Guimarães RosaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97Literary Lens Thinking Skill: Interpret Symbolism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98

The Book� of Sand Jorge Luis Borges Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100Literary Lens Thinking Skill: Analyze Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

The Censors Luisa Valenzuela Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103Literary Lens Thinking Skill: Compare and Contrast Appearance and Reality in Situational Irony . . . . . . 104

Tonight I Can Write Pablo Neruda Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106Literary Lens Thinking Skill: Interpret Personification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

Serenity Gabriela MistralResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 109Literary Lens Thinking Skill: Analyze Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

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And of Clay Are We Created Isabel AllendeResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113Literary Lens Thinking Skill: Analyze Characterization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Unit One Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116

Unit One Research Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Unit One Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118

Unit One Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 120

Unit One Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

UNIT TWO EuropeDifferentiated Instruction for Unit Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124

Introducing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Unit Two Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 129

Unit Two Selections

from The Divine Comedy Dante Alighieri

Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Literary Lens Thinking Skill: Use a Rhyme Scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134

First Confession Frank O’ConnorResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Literary Lens Thinking Skill: Analyze Historical Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138

from Clearances Seamus HeaneyResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140Literary Lens Thinking Skill: Interpret Double Meanings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141

Do Not Go Gentle into That Good Night Dylan ThomasResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143Literary Lens Thinking Skill: Analyze Rhyme Scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144

Not Waving but Drowning Stevie SmithResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146Literary Lens Thinking Skill: Analyze Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147

The Love Song of J. Alfred Prufrock� T. S. Eliot Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 148Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150Literary Lens Thinking Skill: Analyze and Interpret Allusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151

from Ten Songs W. H. AudenResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153Literary Lens Thinking Skill: Analyze Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154

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The Destructors Graham GreeneResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156Literary Lens Thinking Skill: Analyze Language Choices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158

The Guitar Federico García LorcaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160Literary Lens Thinking Skill: Interpret Symbolism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .161

Poor Fish Alberto MoraviaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163Literary Lens Thinking Skill: Identify Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 164

The Black� Sheep Italo CalvinoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166Literary Lens Thinking Skill: Interpret Allegory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

The Balek� Scales Heinrich BöllResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169Literary Lens Thinking Skill: Analyze Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170

The Last Judgment Karel CapekResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .171Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Literary Lens Thinking Skill: Analyze Character Development . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

A Contribution to Statistics Wislawa SzymborskaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176Literary Lens Thinking Skill: Analyze Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

And Yet the Book�s Czeslaw MiloszResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179Literary Lens Thinking Skill: Interpret Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

Rhinoceros Eugene IonescoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182Literary Lens Thinking Skill: Analyze Theater of the Absurd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

Alone Tomas TranströmerResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186Literary Lens Thinking Skill: Analyze Epiphany . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187

The Nobel Prize Boris PasternakResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189Literary Lens Thinking Skill: Analyze Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190

First Frost Andrei VoznesenskyResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192Literary Lens Thinking Skill: Analyze Lyric Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193

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Forbidden Fruit Fazil IskanderResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195Literary Lens Thinking Skill: Use Hyperbole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197

Unit Two Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

Unit Two Research Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

Unit Two Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200

Unit Two Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202

Unit Two Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204

UNIT THREE AfricaDifferentiated Instruction for Unit Three . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206


Africa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Unit Three Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210

Unit Three Selections

from Sunjata Djanka Tassey CondéResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213Literary Lens Thinking Skill: Analyze Epic Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 214Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215

Africa David DiopResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 217Literary Lens Thinking Skill: Analyze Personification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218

Black� Girl Sembene OusmaneResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220Literary Lens Thinking Skill: Compare Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .221Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222

I Will Pronounce Your Name Léopold Sédar SenghorResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224Literary Lens Thinking Skill: Identify Figurative Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225

Telephone Conversation Wole SoyinkaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227Literary Lens Thinking Skill: Analyze Word Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

Marriage Is a Private Affair Chinua AchebeResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230Literary Lens Thinking Skill: Make Inferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231

In the Shadow of War Ben OkriResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233Literary Lens Thinking Skill: Analyze Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235

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Loyalties Adewale Maja-Pearce Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237Literary Lens Thinking Skill: Analyze Humor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238

A Meeting in the Dark� Ngugi wa Thiong’oResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240Literary Lens Thinking Skill: Analyze Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242

The Pig Barbara KimenyeResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244Literary Lens Thinking Skill: Identify Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246

No Witchcraft for Sale Doris LessingResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248Literary Lens Thinking Skill: Analyze Character and Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

The Moment Before the Gun Went Off Nadine GordimerResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252Literary Lens Thinking Skill: Analyze Complex Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253

The Prisoner Who Wore Glasses Bessie HeadResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255Literary Lens Thinking Skill: Analyze Character Interactions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Unit Three Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Unit Three Research Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Unit Three Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260

Unit Three Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262

Unit Three Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264

UNIT FOUR The Middle East & South Asia

Differentiated Instruction for Unit Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266


The Middle East & South Asia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Unit Four Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .270

Unit Four Selections

from The Ramayana ValmikiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273Literary Lens Thinking Skill: Analyze Characterization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275

My Father Writes to My Mother Assia DjebarResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277Literary Lens Thinking Skill: Analyze Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

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Another Evening at the Club Alifa RifaatResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281Literary Lens Thinking Skill: Interpret Word Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282

The Happy Man Naguib MahfouzResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284Literary Lens Thinking Skill: Analyze Dark Humor in Satire . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286

An Arab Shepherd Is Searching for His Goat on Mount Zion Yehuda Amichai Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288Literary Lens Thinking Skill: Interpret Cultural Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289

The Swimming Contest Benjamin TammuzResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .291Literary Lens Thinking Skill: Analyze Foreshadowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292

Song of Becoming Fadwa TuqanResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294Literary Lens Thinking Skill: Map Your Interpretation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295

The Women’s Baths Ulfat al-IdlibiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297Literary Lens Thinking Skill: Categorize Sensory Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299

Wanted: A Town Without a Crazy Muzaffer Izgü Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301Literary Lens Thinking Skill: Analyze Exaggeration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302

The Armenian Language Is the Home of the Armenian Moushegh IshkhanResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304Literary Lens Thinking Skill: Analyze Extended Metaphor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305

From Behind the Veil Dhu’l Nun AyyoubResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307Literary Lens Thinking Skill: Compare Cultural Traditions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308

Five Hours to Simla Anita DesaiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310Literary Lens Thinking Skill: Infer Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312

The Cabuliwallah Rabindranath TagoreResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314Literary Lens Thinking Skill: Summarize the Key Ideas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316

Lik�e the Sun R. K. NarayanResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318Literary Lens Thinking Skill: Analyze Supporting Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319

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Sweet Lik�e a Crow Michael OndaatjeResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321Literary Lens Thinking Skill: Analyze Similes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Unit Four Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323

Unit Four Research Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Unit Four Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325

Unit Four Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327

Unit Four Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

UNIT FIVE East Asia & the Pacific Rim

Differentiated Instruction for Unit Five . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331


East Asia & the Pacific Rim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Unit Five Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335

Unit Five Selections

from The Three Kingdoms Luo GuanzhongResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338Literary Lens Thinking Skill: Analyze Author’s Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

from From Emperor to Citizen Aisin-Gioro P’u YiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342Literary Lens Thinking Skill: Analyze Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344

An Ancient Temple Bei DaoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346Literary Lens Thinking Skill: Analyze Sensory Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347

The Tall Woman and Her Short Husband Feng Ji-caiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349Literary Lens Thinking Skill: Analyze Character Interaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351

Saboteur Ha JinResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353Literary Lens Thinking Skill: Analyze Plot Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354

Cranes Hwang Sun-wonResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356Literary Lens Thinking Skill: Analyze Flashbacks and Foreshadowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357

Thoughts of Hanoi Nguyen Thi VinhResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359Literary Lens Thinking Skill: Analyze Setting and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360

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Tok�yo Fumiko Hayashi Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362Literary Lens Thinking Skill: Identify Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363

Swaddling Clothes Yukio MishimaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365Literary Lens Thinking Skill: Analyze Character and Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366

The Shadow Toge SankichiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368Literary Lens Thinking Skill: Analyze Language and Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369

Inem Pramoedya Ananta ToerResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371Literary Lens Thinking Skill: Analyze Point of View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372

Eve to Her Daughters Judith WrightResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374Literary Lens Thinking Skill: Analyze Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375

American Dreams Peter CareyResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377Literary Lens Thinking Skill: Analyze Connotations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378

A Consumer’s Report Peter PorterResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380Literary Lens Thinking Skill: Identify Irony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381

A Way of Talk�ing Patricia GraceResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383Literary Lens Thinking Skill: Analyze Dialect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384

Unit Five Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385

Unit Five Research Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386

Unit Five Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

Unit Five Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389

Unit Five Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .391

Writing Workshops

Writing About Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393

Six Traits of Writing Rubric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395

Informative Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397


Argumentative Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402


General Standards and Criteria for Project Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407

Related Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

Answer Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

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IntroductionEncouraging Successful ReadersReading the World helps readers learn about concepts in literature from around the world, including short stories, essays, memoirs, biographies, and poems . The selections the students read have been assembled to encourage not only an understanding and appreciation of writing from around the globe but a passion for reading in general . A love of reading transcends genre . Students who enjoy reading short stories learn to enjoy reading news items about social issues as well as essays in science . The literary and reading skills pages offered in this Teaching and Assessment Resources book call upon higher level and creative thinking from students .

Second Language LearnersEnglish Language Learners (ELL) enter the classroom at various English language levels . They are faced with challenging content in an unfamiliar language . An appropriate instructional model must be in place for ELL students by providing instruction based on their level of English proficiency . It is also important to remain sensitive to the student’s first language and cultural background while also encouraging the acquisition of English in a nonthreatening and productive learning environment . Students’ individual learning styles and preferences must also be considered .

Using the Matrix ProgramThe Perfection Learning Matrix Program as a whole, and Reading the World specifically, offers students in your classroom the opportunity to learn and grow together . The use of graphic organizers, visual mapping, charts, tables, and Venn diagrams benefits students of all levels . Cooperative learning groups can help students of all abilities—offering support and encouragement to ELL students, a chance for on-level students to learn by helping others, and a way for advanced students to discover new ways to augment the teaching process . Following are suggestions for whole-class involvement with Reading the World .

Before Students Read the SelectionAll students will benefit by discussing the “Before You Read” introduction and the “Literary Lens” that precede each selection, as well as by going over the vocabulary highlighted for any given selection in the anthology . ELL students, in particular, may have trouble reading context clues, understanding idioms, or relating to the themes or plots of many stories . Devise ways of having struggling students pair up to work together on vocabulary lists . Have them act out meanings or share their own learning techniques . Ask advanced students to think of ways to make vocabulary learning engaging and rewarding . Try some of the following techniques .

• Encouragecommunicationamongallstudentsinyourclass.ELLstudentsgainmuchbylisteningtotheir peers, and all students gain by hearing their classmates’ opinions, interpretations, and experiences .

• Useprereadingtechniqueswiththeentireclass,suchasaskingthemtomakepredictionsbasedonthetitle of and accompanying image for a selection . Some images may not be familiar to ELL students . Be sure that images and their relationship to the content are discussed .

• Usethesuggestedactivitiesinthisresourcebooktobuildbackgroundknowledge.Asyouguidestudents, be sure to restate, expand, paraphrase, repeat, and speak slowly and clearly .

• Usegraphicorganizers.• Usegestures,visuals,andconcreteexamplestoilluminatetext,andaskstudentstohelpyouwiththis.• UsetheDifferentiatedInstructionchartatthebeginningofeachunittohelpfocusunderstanding

based on your students’ various learning styles and challenges .

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As Students Read the SelectionRemind students that they must be active readers . Use the material on pages 35–45 to model and have students practice active reading . Additionally, you may help ELL students in the following ways .

• Ifanystudentsseempuzzledbyliterarytermsreferredto,goovertheappropriateones(suchas plot, theme, author’s perspective, main ideas, and so on) before they begin the selection .

• Workwithstudentstoanswerthe“ReadandThinkCritically”questionsthatfolloweachselection.Youmay wish to share these before they begin the selection to help them focus on important points .

• Advisestudentstorefertothevocabularyandfootnotesthataccompanythetext.• Encouragestudentstotakenotesandjotdownideasandresponsesintheirjournalsastheyread.• Recordselectionsforthosestudentswhoneedauditoryinput.Parentsorotherstudentsmaybewilling

to help with recording .• AllowELLstudentstheextendedtimetheymayneedtoreadthroughthetextandtoprocesstheir

thoughts and responses .

After Students Read the SelectionTo promote students’ progress, use the many pages in this resource provided for each selection . In addition, the strategies below should be of help to you .

• Encouragestudentstoexpresspersonalreactionsthroughwritten,oral,ormultimodalactivities.• Arrangestudentsincooperativegroupstocompletevariousworksheets.• OfferELLstudentstheopportunitytoanswerquestionsonthetestsorally.• UsethesuggestionsfoundintheDifferentiatedInstructionchartstoaidstudents’understanding.

Features of the Teaching and Assessment Resources

Skills Chart Charts for each unit identify the teachable literary, thinking, and reading skills as well as cultural concepts found in the student book .

Introducing the Student Book Use the suggestions on page 34 to introduce the book and the importance of studying contemporary world literature . These suggestions include ideas for teaching the introductory essays “Who Are These Strangers?” and “The Art of Translation .”

Active Reading Reproducibles are offered to help students understand and use strategic reading .Active Reading Strategies, found on page 35, describes the six strategies that good readers use and explains how to apply them .An Active Reading Model, found on page 36, models how an active reader would go about reading a portion of the selection “When Greek Meets Greek .”Active Reading Practice pages offer a fiction piece, “The Black Sheep” (pages 37–39), and a nonfiction piece, “My Father Writes to My Mother” (pages 40–45) . Students begin by answering questions, and then continue reading and writing their own questions and comments .

Anticipation Guide To help set the tone and context of your unit, administer the anticipation guide on page 46 .

Differentiated Classroom Instruction Ideas for teaching students who learn in various ways are offered for each selection in the book . The Differentiated Instruction chart appears at the beginning of each unit . Creative ideas are offered for helping visual, auditory, and kinesthetic learners as well as ELL and struggling students . In addition, each piece is rated Easy, Average, or Challenging .

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Introducing the Unit Each of the five units in this resource opens with a lesson plan and a reproducible handout/overhead designed to set the tone and focus of the unit .

Unit Vocabulary Handouts All the vocabulary words defined in the margin of the anthology are listed and sorted by selection title in this resource . Pass these lists out to students to help them prepare for the vocabulary tests .

Responding and Writing Each selection in the anthology is supported with a teaching resource page containing a selection summary; answers to the Read and Think Critically questions in the student book, with one question highlighted as a Literary Lens item and one as a research task; and a writing activity . Certain pages also include a vocabulary list and definitions, ideas for further discussion, and a special focus that provides historical, literary, cultural, or biographical background on the selection .

Quiz: Comprehension and Analysis A comprehension quiz is provided for each main selection in the student book . The quiz contains five comprehension questions and two analysis items that require short answers . These pages are intended to check students’ understanding of the selections .

For Struggling Learners or ELLs The quiz provides a quick way of checking that students have understood the basic events and themes of the selection . Students may benefit from working in small groups to answer the questions .For On-Level Learners These students should be able to answer the quiz questions without additional help .For Advanced Learners You should not have to use this quiz with advanced students . However, you may wish to challenge them to write their own tests that can then be taken by other members of their group .

Literary Lens Thinking Skill Page The skill development page is offered to help students develop their literary and critical thinking skills . Students use a graphic organizer to analyze, investigate, or evaluate a specific literary technique used in the selection and develop the critical thinking skill necessary to the understanding of the selection .

For Struggling Learners or ELLs These students may need help understanding some of the instructions that accompany the graphic organizers . You may want to go over the information and the directions with them before they begin working on the page . These pages are very helpful in imparting the literary knowledge and reading skills necessary for understanding works of literature . Also you may need to explain that the term "Literary Lens" is a header used to identify a literary device they will focus on while reading a selection and that the terms "literary lens" and "literary device" are not interchangeable .

For On-Level Learners These students should be able to answer the questions without additional help, particularly those who learn visually . If any of your average learners seem to have trouble with a particular page, team them up with students who are adept at these kinds of activities .For Advanced Learners Advanced students should benefit from the literary focus of most of these pages, but many will not need to work on the critical thinking skills covered . Literary techniques such as symbolism, sensory details, and poetic techniques will probably augment their understanding of literature as well as their own writing skills . You can pick and choose which pages your advanced students will best benefit from using .

Vocabulary Quiz Any main selection with a vocabulary list of five or more words has a one-page assessment of the students’ understanding of these words . Students match words to definitions or choose the correct vocabulary word to complete sentences .

For Struggling Learners or ELLs The vocabulary quiz is a good way to check that students have understood the important vocabulary used in the selection . Have these students work in pairs or with an advanced student to learn any words that they do not understand .For On-Level Learners These students should be able to answer the questions without additional help; however, if there is a list that seems to you particularly challenging, have them work together to use these words in sentences . For Advanced Learners You will probably want to give your advanced students only those pages with challenging word lists . Advanced learners may benefit from helping struggling or ELL students learn the vocabulary in these selections by devising vocabulary “bees,” vocabulary flash cards, or other games to play with them .

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Unit Review and Research Projects These pages provide sample answers to the questions at the end of each unit . They also provide suggestions for teaching some of the other student activities in the unit review .

Unit Assessments Two tests accompany each unit:

Vocabulary Test: a two-page test with 25 questions based on the unit vocabulary words .

Unit Test: a two-page test consisting of 20 true-false, multiple-choice, or sentence completion questions followed by a short essay question .

For Struggling Learners or ELLs Both of these tests are a good way to check that students have understood important elements in the selections . You may want to offer support by reading the tests with them, helping with any questions they have, or giving them extra time to finish . After taking the test, have students work with an advanced student to discuss the items they missed and make corrections . For On-Level Learners These students should be able to do well on these tests without additional help; however, if there seem to be problematic areas, discuss this with the students and allow them to go over their tests . For Advanced Learners Advanced students will probably have no trouble completing these tests successfully . Ask for volunteers to help struggling students go over items they missed on the tests and help them make corrections .

Writing Prompts, Research, and Projects At the end of each unit there are two pages of writing prompts and additional project ideas divided into these five categories: Writing About Literature, Writing Nonfiction, Creative Writing, Writing Research Papers, and Presentations and Projects.

Writing Workshops There are pages at the end of this resource dedicated to academic writing in-depth . One workshop is entitled Writing About Literature, and the others are Informative Writing and Argumentative Writing . After each workshop, a rubric based on the Six Traits of Writing helps students assess their work .

General Standards and Criteria for Project Evaluation Use or adapt this convenient rubric prior to assigning and while assessing student work .

Related Literature Choose from this list of fiction and nonfiction to enhance and extend your unit on contemporary world literature .

Using the Teaching and Assessment Resources with the Student Book

Student Book� Feature DescriptionSupport in Teaching

and Assessment Resources

Introductory Essays •“WhoAreTheseStrangers?”exploresthevalue of world literature

•“TheArtofTranslation”explainsthechallenges and rewards of translating literature

See page 34

Unit Introductions •Anintroductoryessayprovidesbackgroundon the region’s literature

•Aliterarymapidentifiescountriesassociatedwith selected authors

See pages 50–51, 127–128, 208–209, 268–269, 333–334

Classic Pages and Classic Selections

•Anintroductiontoaliteraryclassicthat includes background information, a connection with the United States, and a research activity

•Aninfluentialliteraryclassicfromtheregion

See pages 54–57, 131–134, 212–215, 272–275, 337–340

chart continues on next page


Student Book� Feature DescriptionSupport in Teaching

and Assessment Resources

Country Pages, Before You Read, and Selections

•Anintroductiontotheliteratureofoneor more countries, including background information, a connection with the United States, and a research activity

•Anintroductiontoeachselection•ALiteraryLensitemthatfocusesona

specificliteraryskillthatisalsohighlightedinRead and Think Critically

•Poems,shortstories,andotherliteraryworks

See the pages for each selection for•RespondingandWriting•Quiz:ComprehensionandAnalysis•LiteraryLensThinkingSkill•Quiz:Vocabulary

During Reading •Explanationsofforeigntermsandotherreferences are in footnotes

•Challengingvocabularywordsofgeneralusagearedefinedinthemargin

See the Responding and Writing page for each selection, and the unit vocabulary lists on pages 52–53, 129–130, 210–211, 270–271, 335–336

Read and Think Critically Postreading questions, including one that focusesonthespecificliteraryskillidentifiedin the Literary Lens and one that highlights a research skill

See the Responding and Writing page for each selection

Unit Review and Research Projects

Prompts to encourage varied student responses to the literature and a number of multimodal research projects

See pages 116–117, 198–199, 258–259, 323–324, 385–386

End Matter •ResearchHandbookprovidesinstructioninresearch skills

•AGlossaryofLiteraryTerms•IndexofTitlesandAuthors•Acknowledgments

Literary Lens Content CoverageLiterary Lens Selections

(Literary Lens is introduced on the first page of the selection and reinforced in the Read and Think Critically questions on the last page of the selection.)

Literary Lens Think�ing Sk�ill(Page numbers refer to the reproducible master in the Teaching and Assessment Resources.)

Allegory The Black Sheep, pp. 203–205 Interpret Allegory, p. 167

Allusions The Love Song of J. Alfred Prufrock, pp. 163–168 Analyze and Interpret Allusions, p. 151

Author’s Purpose from The Three Kingdoms, pp. 505–511 Analyze Author’s Purpose, p. 339

Character The Last Judgment, pp. 217–222 Analyze Character Development, p. 173

And of Clay Are We Created, pp. 120–131 Analyze Characterization, p. 114

Character and Plot No Witchcraft for Sale, pp. 349–357 Analyze Character and Plot, p. 249

Swaddling Clothes, pp. 578–584 Analyze Character and Plot, p. 366

Character Interaction The Prisoner Who Wore Glasses, pp. 366–373 Analyze Character Interactions, p. 256

The Tall Woman and Her Short Husband pp. 526–537

Analyze Character Interaction, p. 350

Characterization from The Ramayana, pp. 381–391 Analyze Characterization, p. 274

When Greek Meets Greek, pp. 72–75 Analyze Characterization, p. 82

Complex Character The Moment Before the Gun Went Off, pp. 359–365

Analyze Complex Characters, p. 253


Literary Lens Selections(Literary Lens is introduced on the first page of the selection and reinforced in the Read and Think Critically questions on the last page of the selection.)


Conflict Poor Fish, pp. 194–202 Identify Conflict, p. 164

Connotation American Dreams, pp. 607–619 Analyze Connotations, p. 378

Cultural Symbols An Arab Shepherd Is Searching for His Goat on Mount Zion, pp. 418–419

Interpret Cultural Symbols, p. 289

Cultural Traditions From Behind the Veil, pp. 461–467 Compare Cultural Traditions, p. 308

Details And Yet the Books, pp. 227–228 Interpret Details, p. 180

Dialect A Way of Talking, pp. 622–627 Analyze Dialect, p. 384

Diction GirlsCanWeEducateWeDads?pp.76–77 Analyze Dialect, p. 85

Double Meaning from Clearances, pp. 157–158 Interpret Double Meanings, p. 141

Dramatic Irony Crossroads: A Sad Vaudeville, pp. 53–68 Create Dramatic Irony, p. 76

Epic Poetry from Sunjata, pp. 271–279 Analyze Epic Poetry, p. 214

Epiphany Alone, pp. 248–249 Analyze Epiphany, p. 187

Exaggeration Wanted: A Town Without a Crazy, pp. 451–456 Analyze Exaggeration, p. 302

Extended Metaphor The Armenian Language Is the Home of the Armenian, pp. 458–459

Analyze Extended Metaphor, p. 305

Figurative Language I Will Pronounce Your Name, pp. 299–300 Identify Figurative Language, p. 225

Flashback� Cranes, pp. 552–558 Analyze Flashbacks and Foreshadowing, p. 357

Borders, pp. 17–29 Analyze Flashbacks, p. 60

Foreshadowing The Swimming Contest, pp. 420–434 Analyze Foreshadowing, p. 292

Genre The Youngest Doll, pp. 81–87 Explore Genre, p. 91

Historical Back�ground First Confession, pp. 147–156 Analyze Historical Background, p. 137

Humor Loyalties, pp. 317–320 Analyze Humor, p. 238

Hyperbole Forbidden Fruit, pp. 254–263 Use Hyperbole, p. 196

Imagery from Ten Songs, pp. 169–171 Analyze Imagery, p. 154

The Nobel Prize, pp. 251–252 Analyze Imagery, p. 190

No Dogs Bark, pp. 46–50 Analyze and Interpret Imagery, p. 70

Inference Marriage Is a Private Affair, pp. 304–310 Make Inferences, p. 231

Interpretation Song of Becoming, pp. 435–436 Map Your Interpretation, p. 295

Irony A Consumer’s Report, pp. 620–621 Identify Irony, p. 381

Key Ideas The Cabuliwallah, pp. 482–490 Summarize the Key Ideas, p. 315

Language and Tone The Shadow, pp. 585–587 Analyze Language and Tone, p. 369

Language Choices The Destructors, pp. 172–189 Analyze Language Choices, p. 157

Lyric Poetry First Frost, p. 253 Analyze Lyric Poetry, p. 193

Metaphor Two Bodies, pp. 51–52 Compare Through Metaphor, p. 73

Mood Five Hours to Simla, pp. 469–481 Infer Mood, p. 311

The Book of Sand, pp. 106–111 Analyze Mood, p. 101

Myth Aztec Creation Story, pp. 9–15 Analyze Myths, p. 56

Paradox Love after Love, pp. 70–71 Analyze a Paradox, p. 79

Personification Africa, pp. 281–282 Analyze Personification, p. 218

Tonight I Can Write, pp. 117–118 Interpret Personification, p. 107



Allegory The Black Sheep, pp. 203–205 Interpret Allegory, p. 167

Allusions The Love Song of J. Alfred Prufrock, pp. 163–168 Analyze and Interpret Allusions, p. 151

Author’s Purpose from The Three Kingdoms, pp. 505–511 Analyze Author’s Purpose, p. 339

Character The Last Judgment, pp. 217–222 Analyze Character Development, p. 173

And of Clay Are We Created, pp. 120–131 Analyze Characterization, p. 114

Character and Plot No Witchcraft for Sale, pp. 349–357 Analyze Character and Plot, p. 249

Swaddling Clothes, pp. 578–584 Analyze Character and Plot, p. 366

Character Interaction The Prisoner Who Wore Glasses, pp. 366–373 Analyze Character Interactions, p. 256

The Tall Woman and Her Short Husband pp. 526–537

Analyze Character Interaction, p. 350

Characterization from The Ramayana, pp. 381–391 Analyze Characterization, p. 274

When Greek Meets Greek, pp. 72–75 Analyze Characterization, p. 82

Complex Character The Moment Before the Gun Went Off, pp. 359–365

Analyze Complex Characters, p. 253




Plot In the Shadow of War, pp. 311–316 Analyze Plot, p. 234

Plot Structure Saboteur, pp. 538–550 Analyze Plot Structure, p. 354

Point of View Inem, pp. 589–602 Analyze Point of View, p. 372

Repetition In Trying Times, pp. 78–79 Interpret Repetition, p. 88

Rhyme Scheme from The Divine Comedy, pp. 139–145 Use a Rhyme Scheme, p. 133

Do Not Go Gentle into That Good Night, pp. 160–161

Analyze Rhyme Scheme, p. 144

Satire The Happy Man, pp. 407–416 Analyze Dark Humor in Satire, p. 285

Sensory Details The Women’s Baths, pp. 438–449 Categorize Sensory Details, p. 298

An Ancient Temple, pp. 524–525 Analyze Sensory Details, p. 347

Setting Black Girl, pp. 283–298 Compare Settings, p. 221

My Father Writes to My Mother, pp. 393–397 Analyze Setting, p. 278

The Handsomest Drowned Man in the World, pp. 89–96

Examine the Effect of Plot on Setting, p. 94

Setting and Tone Thoughts of Hanoi, pp. 560–562 Analyze Setting and Tone, p. 360

Simile Sweet Like a Crow, pp. 496–497 Analyze Similes, p. 322

Situational Irony The Censors, pp. 112–115 Compare and Contrast Appearance and Reality in Situational Irony, p. 104

Supporting Details Like the Sun, pp. 491–495 Analyze Supporting Details, p. 319

Symbolism The Guitar, pp. 191–192 Interpret Symbolism, p. 161

The Third Bank of the River, pp. 98–104 Interpret Symbolism, p. 98

Theater of the Absurd Rhinoceros, pp. 230–246 Analyze Theater of the Absurd, p. 183

Theme The Balek Scales, pp. 207–215 Analyze Theme, p. 170

A Contribution to Statistics, pp. 224–226 Analyze Theme, p. 177

A Meeting in the Dark, pp. 322–338 Analyze Theme, p. 241

Tokyo, pp. 564–577 Identify Theme, p. 363

Day of the Butterfly, pp. 33–44 Analyze Theme, p. 66

Tone The Pig, pp. 340–347 Identify Tone, p. 245

from From Emperor to Citizen,pp. 513–523

Analyze Tone, p. 343

At the Tourist Centre in Boston, pp. 30–32 Identify Tone, p. 63

Serenity, p. 119 Analyze Tone, p. 110

Voice Not Waving but Drowning, p. 162 Analyze Voice, p. 147

Eve to Her Daughters, pp. 604–606 Analyze Voice, p. 375

Word Choice Telephone Conversation, pp. 302–303 Analyze Word Choice, p. 228

Another Evening at the Club, pp. 399–406 Interpret Word Choice, p. 282


Common Core Reading and Writing Standards (Grades 9-10)*

Unit One: The AmericasCC Reading Literature Standards (Gr. 9–10) CC Writing Standards (Gr. 9–10)ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

Aztec Creation Story, Oral Tradition

SB, p. 15,Q1

TAR, p. 56

SB, p. 15,Q5

SB, p. 15,Q2&Q3

Standard 6: SB,p.15,Q4Standard 7: SB, Summarize Findings, pp. 8, 15Standard 3: TAR, Writing a Creation Story, p. 54

The Literature of Canada Standard 7: SB, Synthesize Multiple Sources, p. 16

Borders, Thomas King

SB, p. 29, Q2

SB, p. 29,Q1

TAR, p. 60

Standard 7:SB, GenerateQuestions,p.29

Standard 1:TAR, Writing an Editorial, p. 58

At the Tourist Centre in Boston,Margaret Atwood

SB, p. 32,Q1

TAR, p. 63

SB, p. 32, Q2

Standard 2:TAR, Writing a Letter, p. 61

Day of the Butterfly, Alice Munro

SB, p. 44, Q4

SB, p. 44, Q4

TAR, p. 66

SB, p. 44, Q2

Standards 7 and 8: SB, Use the Internet, p. 44

Standard 2: TAR, Writing an Explanation, p. 64

The Literature of Mexico Standard 9:SB, Use Literary Texts, p. 45

No Dogs Bark�, Juan Rulfo

SB, p. 50, Q1

SB, p. 50, Q3

SB, p. 50,Q2

TAR, p. 70

Standard 7:SB,GenerateaQuestion,p.50

Standard 9: TAR, Writing an Analysis, p. 68

Two Bodies, Octavio Paz

SB, p. 52, Q3

SB, p. 52,Q1&Q2

TAR, p. 73

Standard 9:SB, Use a Primary Source, p. 52

Standard 2: TAR, Writing a Definition, p. 71

Crossroads: A Sad Vaudeville, Carlos Solórzano

SB, p. 68, Q1

SB, p. 68, Q3&Q4

SB, p. 68, Q2

TAR, p. 76

Standard 9:SB, Use a Literary Reference, p. 68

Standard 2: TAR, Writing a Dramatic Scene, p. 74

The Literature of the Caribbean

Love after Love, Derek Walcott

SB, p. 71, Q1&Q2

TAR, p. 79

Standard 7:SB, Summarize Findings, p. 71

* See perfectionlearning.com for correlations for states that have not adopted the Common Core State Standards.


Unit One: The Americascontinued

CC Reading Literature Standards (Gr. 9–10) CC Writing Standards (Gr. 9–10)

ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

Girls Can We Educate We Dads?� James Berry

SB, p. 77, Q1&Q2

TAR, p. 85

Standard 7:SB, Synthesize Information, p. 77

In Trying Times, Heberto Padilla

SB, p.79,Q2&Q3

SB, p. 79, Q1TAR, p. 88

Standard 8:SB, Use Print Sources, p. 79

The Literature of Puerto Rico

The Youngest Doll, Rosario Ferré

SB, p. 87, Q2

Standards 1 and 7:SB, Consider Multiple Viewpoints, p. 87

Standard 2: TAR, Writing a Comparison, p. 89

The Literature of Colombia

The Handsomest Drowned Man in the World, Gabriel García Márquez

SB, p. 96, Q2

SB, p. 96, Q2

TAR, p. 94

Standard 8:SB, Use Secondary Sources, p. 96

Standard 3: TAR, Writing a Fantasy, p. 92

The Literature of Brazil

The Third Bank� of the River, João Guimarães Rosa

SB, p. 104, Q2

SB, p. 104, Q3

SB, p. 104, Q1

TAR, p. 98

Standard 8:SB, Use Biographical Sources, p. 104

Standards 2 and 9: TAR, Writing an Explanation, p. 96

The Literature of Argentina

The Book� of Sand, Jorge Luis Borges

SB, p. 111, Q3

SB, p. 111, Q2

SB, p. 111, Q1

TAR, p. 101

Standard 8:SB,UseQuotesSmoothly,p.111

The Censors, Luisa Valenzuela

SB, p. 115, Q3

SB, p. 115, Q3

SB, p. 115, Q3

TAR, p. 104


Standard 1: TAR, Writing a Persuasive Essay, p. 102


Unit One: The Americascontinued


ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

Tonight I Can Write, Pablo Neruda

SB, p. 118,Q1&Q2

TAR, p. 107

Standard 8:SB, Find Sources, p. 118

Serenity, Gabriela Mistral

SB, p. 119,Q3

TAR, p. 110

And of Clay Are We Created, Isabel Allende

SB, p. 131, Q1

SB, p. 131, Q1

TAR, p. 114

SB, p. 131, Q2&Q3


Standards 2 and 9: TAR, Writing an Eyewitness Report, p. 112

The Americas: Unit Review

SB, p. 132, Q4

SB, p. 132, Q3

SB, p. 132, Q5

Standard 2: SB,p.132,Q7Standard 3: SB,p.132,Q5&Q6Standard 7: SB, p. 133Standards 2 and 9:

TAR, pp. 121–122Standard 3:

TAR, p. 122Standards 2, 7, and 8:

TAR, pp. 122–123

Unit Two: EuropeCC Reading Literature Standards (Gr. 9–10) CC Writing Standards (Gr. 9–10)

ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

The Literature of Ireland

Standard 8:SB, Take Notes and Represent Graphically, p. 146

First Confession, Frank O’Connor

SB, p. 156, Q3

SB, p. 156, Q1TAR, p. 137

Standard 8:SB, Represent Graphically, p. 156

Standard 8: TAR, Writing a Personal Narrative, p. 135

from Clearances, Seamus Heaney

SB, p. 158, Q4

SB, p. 158, Q1

TAR, p. 141

Standards 1 and 7:SB, Evaluate Evidence, p. 158

The Literature of England and Wales

Standard 8:SB, Use the Internet, p. 159

Do Not Go Gentle into That Good Night, Dylan Thomas

SB, p. 161, Q2&Q3

SB, p. 161, Q1

TAR, p. 144


Unit Two: Europecontinued

CC Reading Literature Standards (Gr. 9–10) CC Writing Standards (Gr. 9–10)ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

Not Waving but Drowning, Stevie Smith

SB, p. 162, Q3

TAR, p. 147

SB, p. 162, Q1

Standard 8:SB, Use Literary Criticism, p. 162

Standards 2 and 9: TAR, Writing an Analysis, p. 145

The Love Song of J. Alfred Prufrock�, T. S. Eliot

SB, p. 168, Q3&Q4

SB, p. 168 Q2

SB, p. 168, Q1

TAR, p. 151

Standard 8:SB, Create a Bibliography, p. 168

from Ten Songs, W. H. Auden

SB, p. 171, Q1

SB, p. 171, Q2

TAR, p. 154

SB, p. 171, Q4


Standard 7: TAR, Writing a Character Profile, p. 152

The Destructors, Graham Greene

SB, p. 189, Q1

SB, p. 189, Q3

SB, p. 189, Q2

TAR, p. 157

Standard 7:SB,GenerateQuestions,p.189

Standards 2 and 9: TAR, Writing an Explanation, p. 155

The Literature of Spain

Standard 7:SB, Develop a Thesis, p. 190

The Guitar, Federico García Lorca

SB, p. 192, Q1

SB, p. 192, Q3

TAR, p. 161

SB, p. 192, Q2

Standard 7:SB, Do Informal Research, p. 192 TAR, Writing a Report, p. 159

The Literature of Italy


Poor Fish, Alberto Moravia

SB, p. 202, Q3

SB, p. 202, Q1

TAR, p. 164

SB, p. 202, Q2

Standards 2, 8, and 9:SB, Use Literary Texts, p. 202

Standards 2 and 9: TAR, Writing a Comparison and Contrast Essay, p. 162

The Black� Sheep, Italo Calvino

SB, p. 205, Q1

TAR, p. 167

SB, p. 205, Q4

SB, p. 205, Q3&Q4



The Literature of Germany

Standard 7:SB, Summarize, p. 206

The Balek� Scales, Heinrich Böll

SB, p. 215, Q1

TAR, p. 170

SB, p. 215, Q3

Standard 1:TAR, Writing an Editorial, p. 168

The Literature of the Czech Republic


The Last Judgment, Karel Capek

SB, p. 222, Q3

TAR, p. 173

SB, p. 222, Q2

Standard 7:SB, Develop a Thesis, p. 222˘


Unit Two: Europecontinued


ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

A Contribution to Statistics, Wislawa Szymborska

SB, p. 226, Q1

TAR, p. 177

SB, p. 226, Q2&Q3

Standard 8:SB, Find Book Reviews, p. 226

Standard 1: TAR, Writing an Opinion Statement, p. 175

And Yet the Book�s, Czeslaw Milosz

SB, p. 228, Q1

TAR, p. 180

Standards 7 and 9:SB, Synthesize, p. 228

Standard 2: TAR, Writing an Explanation, p. 178

The Literature of France

Standard 8: SB, Take Notes and Represent Graphically,

p. 229

Rhinoceros, Eugene Ionesco

SB, p. 246, Q1

SB, p. 246, Q4

TAR, p. 183

Standard 7:SB, Identify Primary Sources, p. 246

Standard 2:TAR, Writing a Definition, p. 181

The Literature of Sweden

Alone, Tomas Tranströmer

SB, p. 249, Q1

TAR, p. 187

Standard 7:SB, Summarize Findings, p. 249


The Literature of Russia


The Nobel Prize, Boris Pasternak

TAR, p. 190

SB, p. 252, Q1

Standard 8:SB, Use News Sources, p. 252

Standards 2, 7, 8, and 9: TAR, Writing a Report, p. 188

First Frost, Andrei Voznesensky

SB, p. 253, Q1&Q2

TAR, p. 193

Standards 6 and 8:SB, Explore Multimedia, p. 253

Forbidden Fruit, Fazil Iskander

SB, p. 263, Q3

SB, p. 263, Q3

SB, p. 263, Q2

TAR, p. 196

SB, p. 263, Q1

Standard 8:SB, Cite Sources, p. 263


Europe: Unit Review

SB, p. 264, Q1

SB, p. 264, Q5&Q6

SB, p. 264, Q3

SB, p. 264, Q7

SB, p. 264, Q8

Standards 7, 8, and 9:SB,p.264,Q8

Standards 2 and 9: SB, p. 265

Standards 2 and 9: TAR, pp. 202–203

Standards 2, 7, and 8: TAR, pp. 204–205


Unit Three: Africa


ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

The Literature of Senegal

Standard 8:SB, Use Academic Online Sources, p. 280

Africa, David Diop

SB, p. 282, Q2

SB, p. 282, Q2,Q3,&Q4

TAR, p. 218

Standard 7:SB, Do Focused Research, p. 282

Black� Girl, Sembene Ousmane

SB, p. 298, Q3

SB, p. 298, Q2

SB, p. 298, Q1

TAR, p. 221

Standard 9:SB, Use Evidence, p. 298

Standard 1: TAR, Writing an Editorial, p. 219

I Will Pronounce Your Name, Léopold Sédar Senghor

SB, p. 300, Q1&Q2

TAR, p. 225


The Literature of Nigeria

Standard 8:SB, Use Academic Online Sources, p. 301

Telephone Conversation, Wole Soyinka

SB, p. 303, Q3

SB, p. 303, Q2

SB, p. 303, Q1

TAR, p. 228



Marriage Is a Private Affair, Chinua Achebe

SB, p. 310, Q1

TAR, p. 231

SB, p. 310, Q2&Q4

SB, p. 310, Q3


In the Shadow of War, Ben Okri

SB, p. 316, Q1&Q3

TAR, p. 234

SB, p. 316, Q2


Standards 2, 7, and 8: TAR, Writing a Report, p. 232

Loyalties, Adewale Maja-Pearce

SB, p. 320, Q3

SB, p. 320, Q1

TAR, p. 238


Standard 3: TAR, Writing a Comparison, p. 236

The Literature of Kenya


Unit Three: Africa

continued


ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

The Literature of Uganda

Standard 8:SB, Explore an Online Magazine, p. 339

The Pig, Barbara Kimenye

SB, p. 347, Q1

TAR, p. 245

SB, p. 347, Q2


The Literature of Zimbabwe


No Witchcraft for Sale, Doris Lessing

SB, p. 357, Q1&Q2&Q3

TAR, p. 249



The Literature of South Africa

Standard 8:SB, Use Biographical Sources, p. 358

The Moment Before the Gun Went Off, Nadine Gordimer

SB, p. 365, Q4

SB, p. 365, Q1

TAR, p. 253

SB, p. 365, Q2&Q3

Standards 7 and 8:SB, Synthesize, p. 365


The Prisoner Who Wore Glasses, Bessie Head

SB, p. 373, Q2&Q4

SB, p. 373, Q1&Q3

TAR, p. 256

Standards 7 and 8:SB, Evaluate Sources, p. 373

Standard 3: TAR, Writing a Story Proposal, p. 254

Africa: Unit Review

SB, p. 374, Q4&Q5

SB, p. 374, Q1

SB, p. 374, Q3

SB, p. 374, Q4

Standard 3:SB,p.374,Q7

Standards 2 and 9: SB, p. 375


Standards 2, 7, and 8: TAR, pp. 264–265

Unit Four: The Middle East &

South Asia


ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

from The Ramayana, Valmiki

SB, p. 391, Q3&Q4

SB, p. 391, Q1

TAR, p. 274

SB, p. 391, Q5

SB, p. 391, Q5

Standard 6:SB, Find Images and Videos, p. 380

Standards 2, 7, and 8:SB, Use the Internet, p. 391

Standard 3: TAR, Writing a Newspaper Account, p. 272



South Asia continued


ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

My Father Writes to My Mother, Assia Djebar

SB, p. 397, Q3

SB, p. 397, Q2

SB, p. 397, Q1

TAR, p. 278



The Literature of Egypt

Standards 2, 7, and 8:SB, Summarize Findings, p. 398

Another Evening at the Club, Alifa Rifaat

SB, p. 406, Q2&Q3

SB, p. 406, Q1

TAR, p. 282

Standard 7:SB,AnsweraQuestion,p.406

The Happy Man, Naguib Mahfouz

SB, p. 416, Q2

SB, p. 416, Q3

TAR, p. 285

SB, p. 416, Q4

Standard 8:SB, Use Primary Sources, p. 416


The Literature of Israel and Palestine

Standards 7 and 8:SB, Use a Biographical Source, p. 417

An Arab Shepherd Is Searching for His Goat on Mount Zion, Yehuda Amichai

SB, p. 419, Q2

SB, p. 419, Q1

TAR, p. 289

SB, p. 419, Q3&Q4

Standard 7:SB, Find Multimedia Sources, p. 419


The Swimming Contest, Benjamin Tammuz

SB, p. 434, Q3

SB, p. 434, Q2

SB, p. 434, Q1

TAR, p. 292

Standard 7:SB,GenerateQuestions,p.434


Song of Becoming, Fadwa Tuqan

SB, p. 436, Q1

TAR, p. 295

SB, p. 436, Q3

SB, p. 436, Q4

SB, p. 436, Q2

Standard 8:SB, Use an Art Resource, p. 436

The Literature of Syria

Standard 8:SB, Create an Annotated Bibliography, p. 437

The Women’s Baths, Ulfat al-Idlibi

SB, p. 449, Q2

TAR, p. 298

SB, p. 449, Q1

SB, p. 449, Q3

SB, p. 449, Q4

Standard 7:SB,AnsweraQuestion,p.449

The Literature of Turk�eyWanted: A Town Without a Crazy, Muzaffer Izgü

SB, p. 456, Q1

TAR, p. 302

SB, p. 456, Q2

Standard 8:SB, Search a Database, p. 456

Standards 2 and 9: TAR, Writing a Comparison, p. 300



South Asia continued


ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

The Armenian Language Is the Home of the Armenian, Moushegh Ishkhan

SB, p. 459, Q1

SB, p. 459, Q2

TAR, p. 305

Standard 8:SB, Search Current Events, p. 459


The Literature of Iraq

Standard 7:SB, Explore Online Magazines, p. 460

From Behind the Veil, Dhu’l Nun Ayyoub

SB, p. 467, Q1

SB, p. 467, Q3&Q4

SB, p. 467, Q2

TAR, p. 308

Standard 9:SB, Use Literary Texts, p. 467

Standards 2, 7, and 8: TAR, Writing an Explanation, p. 306

The Literature of India and Sri Lank�a

Standard 8:SB, Take Notes and Represent Graphically, p. 468

Five Hours to Simla, Anita Desai

SB, p. 481, Q1

TAR, p. 311

SB, p. 481, Q5

Standard 8:SB, Compare Sources, p. 481

Standard 3: TAR, Writing an Eyewitness Report, p. 309

The Cabuliwallah, Rabindranath Tagore

SB, p. 490, Q1

TAR, p. 315

SB, p. 490, Q2&Q3

SB, p. 490, Q4


Lik�e the Sun, R. K. Narayan

SB, p. 495, Q1&Q2

TAR, p. 319

SB, p. 495, Q3

Standard 8:SB, Use a Search Engine, p. 495

Standards 2 and 9: TAR, Writing a Character Profile, p. 317

Sweet Lik�e a Crow, Michael Ondaatje

SB, p. 497, Q2

TAR, p. 322

SB, p. 497, Q1


The Middle East & South Asia: Unit Review

SB, p. 498, Q3

SB, p. 498, Q5&Q6

SB, p. 498, Q1&Q2&Q4

Standards 2, 7, and 8:SB, p. 499


Standards 2, 7, and 8: TAR, p. 329

Unit Five: East Asia & the Pacific Rim


ST1

ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

from The Three Kingdoms, Luo Guanzhong

SB, p. 511, Q1&Q3

TAR, p. 339

SB, p. 511, Q2

Standard 8:SB, Use the Internet, p. 504SB, Find Sources, p. 511

Standards 2 and 9: TAR, Writing a Character Analysis, p. 337



continued


ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

The Literature of China

Standards 7 and 8:SB, Synthesize Information, p. 512

from From Emperor to Citizen, Aisin-Gioro P’u Yi

SB, p. 523, Q3&Q4

SB, p. 523, Q1&Q3

TAR, p. 343

Standard 8:SB, Use a Search Engine, p. 523

Standards 2 and 9: TAR, Writing a Critical Review, p. 341

An Ancient Temple, Bei Dao

SB, p. 525, Q2

SB, p. 525, Q1

TAR, p. 347


The Tall Woman and Her Short Husband, Feng Ji-cai

SB, p. 537, Q2&Q3

SB, p. 537, Q1

TAR, p. 350

SB, p. 537, Q4



Saboteur, Ha Jin

SB, p. 550, Q2

TAR, p. 354

SB, p. 550, Q1



The Literature of Korea

Standard 8:SB, Prepare a Bibliography, p. 551

Cranes, Hwang Sun-won

SB, p. 558, Q2

SB, p. 558, Q3&Q4

SB, p. 558, Q1

TAR, p. 357

Standard 8:SB, Cite Sources Accurately, p. 558


The Literature of Vietnam

Standard 8:SB, Compare Sources, p. 559

Thoughts of Hanoi, Nguyen Thi Vinh

SB, p. 562, Q1

SB, p. 562, Q2

TAR, p. 360

SB, p. 562, Q5

Standard 8:SB, Take Notes, p. 562

The Literature of Japan

Standard 7:SB, Do Informal Research, p. 563

Tok�yo, Fumiko Hayashi

SB, p. 577, Q3

SB, p. 577, Q1

TAR, p. 363

SB, p. 577, Q2

Standard 8:SB, Use Specialized References, p. 577

Standard 2: TAR, Writing a Definition, p. 361

Swaddling Clothes, Yukio Mishima

SB, p. 584, Q1&Q2

SB, p. 584, Q3

TAR, p. 366

Standard 9:SB, Gather Evidence, p. 584

Standards 2 and 9: TAR, Writing a Comparison, p. 364



continued


ST2

ST3

ST4

ST5

ST6

ST7

ST9 Standards 1–9

The Shadow, Toge Sankichi

SB, p. 587, Q2

SB, p. 587, Q1&Q3

TAR, p. 369

Standard 8:SB, Use Primary Sources, p. 587


The Literature of Indonesia


Inem, Pramoedya Ananta Toer

SB, p. 602, Q3

SB, p. 602, Q4

SB, p. 602, Q1&Q2

TAR, p. 372



The Literature of Australia and New Zealand

Standard 7:SB, Do Informal Research, p. 603

Eve to Her Daughters, Judith Wright

SB, p. 606, Q3

SB, p. 606, Q1

TAR, p. 375

Standard 8:SB, Cite Sources Accurately, p. 606

Standards 2 and 9: TAR, Writing a Cause and Effect Essay, p. 373

American Dreams, Peter Carey

SB, p. 619, Q4

SB, p. 619, Q1&Q3

TAR, p. 378

SB, p. 619, Q2

Standard 7:SB, Consider Multiple Viewpoints, p. 619


A Consumer’s Report, Peter Porter

SB, p. 621, Q2

SB, p. 621, Q3

SB, p. 621, Q1

TAR, p. 381


A Way of Talk�ing, Patricia Grace

SB, p. 627, Q2

SB, p. 627, Q1&Q4

TAR, p. 384


East Asia & the Pacific Rim: Unit Review

SB, p. 628, Q2&Q3

Standards 2 and 9:SB, p. 629TAR, pp. 390–391

Standards 2 and 9: TAR, p. 392

Research Handbook� Standards 7, 8, and 9:SB, pp. 630–643, Finding Information

Standards 2 and 8: SB, pp. 643–644, Sharing Information

Writing Work�shops Standards 2 and 9:TAR, pp. 393–396

Standards 2, 7, and 8:TAR, pp. 397–401

Standard 1: TAR, pp. 402–406


Research Skills in Reading the WorldThe skills in this chart address the Common Core Standards in the “Research to Build and Present Knowledge” strand of the Writing Standards for Grades 9–10 . Specifically, these skills address W .9–10 .7, W .9–10 .8, and W .9–10 .9 .

In addition to the skills in this chart, there are unit-closing research activities on pages 133, 265, 375, 499, and 629 .

Planning

Research Handbook�, pp. 630–633

GenerateQuestions Borders, p. 29

No Dogs Bark, p. 50

The Censors, p. 115

The Destructors, p. 189

In the Shadow of War, p. 316

The Swimming Contest, p. 434

An Ancient Temple, p. 525

Develop a Research Plan The Literature of the Caribbean, p. 69

PrepareInterviewQuestions The Literature of Puerto Rico, p. 80

The Literature of Kenya, p. 321

The Literature of Turkey, p. 450

Develop a Thesis The Literature of Brazil, p. 97

The Literature of Spain, p. 190

The Literature of the Czech Republic, p. 216

The Last Judgment, p. 222

The Literature of Zimbabwe, p. 348

My Father Writes to My Mother, p. 397

The Literature of Indonesia, p. 588

Collaborate with a Partner The Literature of Argentina, p. 105

The Literature of Nigeria, p. 301

The Literature of Algeria, p. 392

Do Preliminary Research The Literature of Chile, p. 116

Create a Bibliography The Love Song of J. Alfred Prufrock, p. 168

The Literature of Korea, p. 551

Create an Annotated Bibliography The Literature of Syria, p. 437

Identify Primary Sources Rhinoceros, p. 246

Use Academic Online Sources The Literature of Senegal, p. 280

The Literature of Nigeria, p. 301



Gathering Information


Conduct a Survey At the Tourist Centre in Boston, p. 32

Use Literary Texts The Literature of Mexico, p. 45

Poor Fish, p. 202

From Behind the Veil, p. 467

Use the Internet Day of the Butterfly, p. 44

The Literature of England and Wales, p. 159

Sunjata, p. 279

Use Literary References Crossroads: A Sad Vaudeville, p. 68

Use Print Sources In Trying Times, p. 79

The Pig, p. 347

And of Clay Are We Created, p. 131

Use Secondary Sources The Handsomest Drowned Man in the World, p. 96

Find Sources Tonight I Can Write, p. 118

Loyalties, p. 320

I Will Pronounce Your Name, p. 300

The Three Kingdoms, p. 511

A Consumer’s Report, p. 621

Use General Reference Works A European Classic: The Divine Comedy, p. 138

Use a Dictionary Serenity, p. 119

Do Not Go Gentle into That Good Night, p. 161

A Way of Talking, p. 627

Use Specialized References The Divine Comedy, p. 145

Tokyo, p. 577

Use Literary Criticism Not Waving but Drowning, p. 162

Marriage Is a Private Affair, p. 310

The Black Sheep, p. 205

Inem, p. 602

Do Informal Research The Guitar, p. 192

The Literature of Japan, p. 563

The Literature of Australia and New Zealand, p. 603

Find Book Reviews A Contribution to Statistics, p. 226

Explore Multimedia First Frost, p. 253

An Arab Shepherd Is Searching for His Goat on Mount Zion, p. 419

Evaluate Sources The Prisoner Who Wore Glasses, p. 373

Find Images and Videos A South Asian Classic: The Ramayana, p. 380

Search a Database Wanted: A Town Without a Crazy, p. 456

Gather Evidence Swaddling Clothes, p. 584

Cite Sources Accurately Eve to Her Daughters, p. 606


Tak�ing Notes


Take Notes and Represent Graphically The Literature of Ireland, p. 146

The Literature of France, p. 229

The Literature of India and Sri Lanka, p. 468

Represent Graphically First Confession, p. 156

The Literature of Sweden, p. 247

Take Notes Thoughts of Hanoi, p. 562

Summarizing and Organizing

Research Handbook�, p. 643

Summarize Findings An American Classic: Aztec Creation Story, p. 8

Aztec Creation Story, p. 15

Alone, p. 249

The Literature of Egypt, p. 398

Love after Love, p. 71

Conduct Focused Research When Greek Meets Greek, p. 75

Africa, p. 282

Consider Multiple Viewpoints The Youngest Doll, p. 87

A Meeting in the Dark, p. 338

American Dreams, p. 619

Use a Primary Source Two Bodies, p. 52

The Happy Man, p. 416

The Shadow, p. 587

Use Biographical Sources The Third Bank of the River, p. 104

The Literature of South Africa, p. 358

The Literature of Israel and Palestine, p. 417

Use Print Sources And of Clay Are We Created, p. 131

The Cabuliwallah, p. 490

Evaluate Evidence Clearances, p. 158

Use the Internet Ten Songs, p. 171

No Witchcraft for Sale, p. 357

Sweet Like a Crow, p. 497

An East Asian Classic: The Three Kingdoms, p. 504

Summarize The Literature of Germany, p. 206

Define a Term The Balek Scales, p. 215

Use News Sources The Nobel Prize, p. 252

Use Evidence Black Girl, p. 298

AnsweraQuestion Another Evening at the Club, p. 406

The Women’s Baths, p. 449

Use an Art Resource Song of Becoming, p. 436

Search Current Events The Armenian Language Is the Home of the Armenian, p. 459

Compare Sources Five Hours to Simla, p. 481

The Literature of Vietnam, p. 559

Use a Search Engine Like the Sun, p. 495

From Emperor to Citizen, p. 523



Drafting


Synthesize Multiple Sources The Literature of Canada, p. 16

Synthesize Information GirlsCanWeEducateWeDads?p.77

The Literature of Italy, p. 193

The Literature of China, p. 512

The Tall Woman and Her Short Husband, p. 537

Use Literary Texts Poor Fish, p. 202

Use the Internet The Literature of Colombia, p. 88

The Ramayana, p. 391

The Literature of Armenia, p. 457

Synthesize The Literature of Poland, p. 223

And Yet the Books, p. 228

The Moment Before the Gun Went Off, p. 365

Analyze Literary Influences An African Classic: Sunjata, p. 270

Explore an Online Magazine The Literature of Uganda, p. 339

The Literature of Iraq, p. 460

Revising and Editing


UseQuotesSmoothly The Book of Sand, p. 111

The Literature of Russia, p. 250

Telephone Conversation, p. 303

Saboteur, p. 550

Cite Sources Forbidden Fruit, p. 263

Cranes, p. 558

Find Sources Loyalties, p. 320

A Consumer’s Report, p. 621

Create an Annotated Bibliography The Literature of Syria, p. 437

Use Print Sources The Cabuliwallah, p. 490

Publishing

Research Handbook�, pp. 645, 647–651 (Sample Research Paper)

Explore Multimedia First Frost, p. 253

Find Images and Videos A South Asian Classic: The Ramayana, p. 380

Many Voices: Reading the World © Perfection Learning ® • R e p R o d u c i b l e 35

Active Reading StrategiesActive Reading means being an interested and focused reader . It involves thinking about what you are going to read, what you are reading, and what you have just read . Use the information below to become an active reader .

PrereadingBefore you even begin reading, ask yourself, “Why am I reading this? What do I hope to learn from it?” Look at the title and think about what it might tell you about the text . Skim over the pages looking for subheadings, captions, sidebars, or illustrations that give you clues about what you are going to read .

During ReadingIf you own the book you are reading, you should highlight, underline, and annotate as you read . This emphasizes the information and helps transmit it to your brain . You can also easily review these important points later . Always be sure to monitor your reading by constantly mulling over the information, images, impressions, and so on, that you are receiving from the text . The best way to do this is to use the six Active Reading strategies outlined below . The more you employ these strategies, the more help they will offer . They should become second nature to you .• Questioning

Ask questions that come to mind as you read. Continually questioning the text will help you stay alert and interested in what you are reading. As your questions are answered, think� of new ones.

• PredictingUse what has happened to guess what will happen next.As you read, k�eep guessing as to what will happen next. Think� about what the characters are up to, where the plot is going, and what the author will do next. Keep mak�ing predictions right up to the end of the reading.

• ClarifyingClear up any confusion about the text and resolve any questions. If you have trouble understanding something you have read, clear it up right away. Go back� and reread the passage until you understand it. Think� about the main idea of the passage. Continually clarify what the author is telling you throughout your reading.

• ConnectingCompare the text with your own experience.Connect what you read to something you have read, seen, or experienced yourself. Ask� yourself, “What does this remind me of?�” Visualize the information—try to see it in your mind. When you connect with the characters and situations you read about, your reading is more meaningful.

• SummarizingReview what has happened so far.Every now and again as you read, stop to review what you have read so far. Determine what you k�now, what you think� you k�now, and what has changed about what you thought you k�new.

• EvaluatingForm opinions and arrive at conclusions about your reading.Mak�e judgments as you read. Use your common sense as well as the evidence in the text to arrive at sound opinions and valid conclusions.

After Reading When you finish reading, stop to think about what you have read . Go over the entire piece in your head . Try to remember the main points and the relevant details . Use a response journal to jot down your feelings about what

Name ___________________________________________________ Class _____________________________ Date ________________________

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124 E u ro p e Many Voices : Reading the World

Differentiated InstructionUnit Two: EuropeReview the Literary Map on pages 136 and 137 with your students . Ask volunteers to identify and talk about as many of the countries in Europe identified in the text as time allows . To set the mood for the selections, play a wide variety of distinctive music from Europe, both folk and classical .

Name of Selection

TYPE OF LEARNER

Auditory Visual Kinesthetic ELL/Struggling

from The Divine Comedy (poem)pp. 139–145

Challenging

Ask students to take turns reading stanzas from the poem aloud. Discuss the rhythm of the language and the rhymes.

Assign students to bring to class examples of illustrations created for The Divine Comedy. Discuss how they differ.

Ask students to show the body language Dante might have used at vari-ous points in this canto.

As a class, draw a map of Dante’s movements in this canto and describe the events that happen to him.

First Confession (short story) pp. 147–156

Easy

Ask Catholic students to explain the sacrament of confession, or reconcilia-tion, to those unfamiliar with this tradition. Play recordings of Irish dialect.

Ask students to illustrate a scene from the story or draw a diagram of the confession box.

Using only facial expres-sions to communicate, students should take turns portraying a char-acter from the story. The other students have to guess which character is represented.

Help students under-stand that much of the humor in the story comes from Jackie’s mis-conceptions of Catholic beliefs.

from Clearances(poem) pp. 157–158

Easy

Read the poem aloud with the students. Ask them to read a passage they particularly like and to explain why they like it.

Look at images in his-tory books related to the Irish potato famine in the 19th century. Have students discuss the rele-vance of potatoes in Irish history and culture.

Bring potatoes, peelers, bowls, and a bucket of clean water to class. Have the students peel the potatoes in small groups, noting the simi-larities and differences between the poem and their own experience.

Read the poem with the students. Ask them to discuss how they feel about the mother and the son in the poem.

Do Not Go Gentle into That Good Night(poem)pp. 160–161

Average

Assign six students, one for each stanza, and have them read aloud to the class.

Have students create a graphic organizer, such as a web, that identifies and describes the dif-ferent kinds of men in the poem, such as “wise men,” “good men,” “wild men,” etc.

Have students panto-mime what it might feel like to “Rage, rage against the dying of the light.” If possible, dim the lights in the classroom during this activity.

Help students under-stand the imagery in this poem, such as “words had forked no lightning.”

Not Waving but Drowning(poem) p. 162

Challenging

Assign three students, one for each “voice,” to read the poem aloud (the narrator, the dead man, and the dead man’s friends).

Have students find images in magazines that represent the differences between how people are perceived by others and how they are actually feeling.

Have students demon-strate the difference between waving while swimming and the move-ments of someone who is drowning.

Have students write out the poem, using a differ-ent color ink for each of the three voices in the poem.

Many Voices : Reading the World E u ro p e 125

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Name of Selection

TYPE OF LEARNER


The Love Song of J. Alfred Prufrock (poem) pp. 163–168

Challenging

Ask students to imagine what J. Alfred Prufrock’s voice might sound like. Have students prepare one stanza of their choice to read aloud to the class, presenting their own interpretations of Prufrock’s voice, accent, and diction.

Ask students to choose a stanza and draw or sculpt a representation of this stanza.

Have each student eat a peach. As they eat, have them discuss what might be “daring” about eating a peach.

Help students under-stand the literary and cultural allusions in this poem.

from Ten Songs (poem) pp. 169–171

Easy

Divide students into pairs. Have the pairs read the poem aloud to each other, with one student reading the first two lines of each stanza and the other student read-ing the third line of each stanza.

Have students look at images of Hitler and pre-World War II Germany on the Internet or in books.

Ask groups of three or four students to act out a scene from one of the stanzas of the poem.

Discuss with students the feelings and prob-lems someone might experience when moving from one country to another, trying to find a home.

The Destructors (short story) pp. 172–189

Challenging

Assign to students the roles of the characters in the story. Read the nar-ration of the story aloud to the class, allowing the students to speak the lines of dialogue.

Have students create an illustration depicting a scene from the story.

Have students construct a model of a house out of cardboard. Allow them to destroy the house, using the same methods used by the characters in the story.

Help students under-stand the slang used in the story.

The Guitar (poem) pp. 191–192

Average

Have students read the poem aloud to one another as you listen to recordings of Spanish guitar music.

Have students create a watercolor painting that is inspired by the poem.

Bring in an old acoustic guitar for students to try to play.

Help students under-stand the meaning of the symbols used in the poem.

Poor Fish (short story) pp. 194–202

Challenging

Have students describe what happens in the story and read their favorite passages aloud.

Ask students to draw or work with clay to create an image representing the circus scene from the story.

Have students act out the scene in which the narrator confronts the man at the circus.

Ask students to talk about how the narrator feels about himself and about Ida.

The Black Sheep (fable) pp. 203–205 Easy

Ask the students to imagine the dialogue that might have been exchanged between the thieves and the hon-est man. Have students improvise and perform a scene from the story with dialogue.

Have students draw a map of the setting for the story that includes landmarks such as the honest man’s house and the bridge.

Have students act out a scene from the story.

Help students under-stand the difference between a realistic fic-tion story and a fable. Ask students to compare and contrast this story with a story like “First Confession.”

The Balek Scales (short story) pp. 207–215

Average

Ask students to read aloud a passage from the story they especially like and explain why they like it.

Have students draw or paint a landscape repre-senting the setting of the story.

Bring in a balance scale with weights and have students weigh various objects in the classroom.

Ask students to talk about the role of the Balek family in the com-munity. Why weren’t the Baleks punished for deceivingtheworkers?

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Name of Selection

TYPE OF LEARNER


The Last Judgment (short story) pp. 217–222

Average

Divide the students into pairs. In each pair, one student plays the role of God and the other plays the role of Kugler. Have students read aloud the dialogue from the story. Then they switch roles.

Ask students to illustrate a scene from the story or draw a portrait of one of the characters.

Have students rearrange the classroom furniture so that the classroom represents a courtroom. Then read the story aloud as the students act out the roles in the story.

Read the story with the students and discuss how they feel about Kugler and his punishment.

A Contribution to Statistics (poem) pp. 224–226

Average

Have students take turns reading the poem aloud in contrasting voices. One voice, for example, could be that of a cold statistician. Another voice could be of some-one who is worried and afraid.

As you read the poem aloud, have students write the numerals rep-resented in the percent-ages. Then ask students to find ways other than numerals, such as pie charts, to represent quantities in the poem, such as “half at least.”

Have the students stand in an empty classroom or gym as you read the poem. Have students divide themselves into groups representing each “statistic.”

Help students under-stand that the poem uses statistics as figurative lan-guage, not as mathemati-cal concepts.

And Yet the Books (poem) pp. 227–228

Challenging

Read the poem aloud with the students. Ask them to read a line that they particularly like and explain why they like it.

Have students design the cover of a book that incorporates an image from the poem.

Have students hold and carry a book as if it were a living thing.

Help students under-stand the similes and metaphors in the poem.

Rhinoceros (short story) pp. 230–246

Challenging

Assign to students the roles of the characters in the story. Read the nar-ration of the story aloud to the class, allowing the students to speak the lines of dialogue.

Have students look at photos of rhinoceroses. As they study the pho-tos, ask them why they think the author chose this animal for the story.

Have students panto-mime what it would feel and look like to turn into a rhinoceros.

Discuss with students what becoming a rhinoc-eros symbolizes in the story.

Alone (poem) pp. 248–249

Average

Have students divide into pairs and read the poem aloud to each other. One partner reads the first part and the other reads the second part.

Ask students to illustrate either part I or part II of the poem.

Have students crowd together in one part of the room for a moment. Then ask students to compare the feeling of being in a crowd with the feeling of being alone.

Discuss with students how a near-death experi-ence might change a per-son’s attitude or outlook.

The Nobel Prize (poem) pp. 251–252

Challenging

Read the poem aloud with the students. Ask them to read a passage they particularly like and to explain why they like it.


Have students panto-mime an animal caught in a snare.

Read the poem with stu-dents and discuss how it feels to have no escape from a difficult situation.

First Frost (poem) p. 253

Easy

Assign five students, one for each stanza, to read aloud to the class.

Have students draw or paint a portrait of the girl described in the poem.

Have students touch cold water or ice and think about the line in the poem that begins “Fingers like ice.”

Ask students to talk about the girl and what might have happened to her.

Forbidden Fruit (short story) pp. 254–263

Average

Have students describe what happened in the story and read a passage aloud that seems to best demonstrate the unique voice of the narrator.

Have students draw or write on a piece of paper what they imagine the narrator would have drawn or written in his new notebook.

Bring in a small snack for students, such as crack-ers, and ask them to eat the snack in the same manner as the sister ate the pork in the story.

Ask the students to talk about the narrator and the way he treated his sister. Do they think the matter was resolved fairly?


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I n t r o d u c I n g t h e u n I t

EuropeIn this unit, students will read selections from European writers .

I . Help students develop a sense of how world conflicts have influenced the literature of Europe .

A . Invite students to react to the quotation from Aleksandr Solzhenitsyn on the following page . Ask what “pains and fears” writers might portray in American society . Then remind them that many European writers lived through world wars, the Holocaust, and the collapse of the Soviet Union . Ask them to predict whether the “pains and fears” in European works will differ from those in works from other parts of the globe .

B . Use the reproducible map on the next page as an overhead transparency or blackline master . Review the directions for the activities on the following page with students, perhaps putting one label on the map to illustrate what you want them to do .

C . Remind them of the location of any resources you want them to use, such as the headnotes, world maps, and history texts .

D . If you have students work in groups, you can assign each group to cover different authors and pool their results .

E . If you want to emphasize a particular historical event, such as the spread of communism or the extent of the Holocaust, you might have students color-code their maps to reflect the countries involved in that event .

II . You might extend this activity by having students create a giant timeline . Some students could create labels for the most important historical events of a given time period, while others could add labels showing how the authors they read relate to these events .

Name __________________________________________ Class _______________________ Date __________________________

128 © Per fec t ion Learning ® • R e p R o d u c i b l e Many Voices : Reading the World

EuropeWriters are among the first targets of totalitarian regimes . Aleksandr Solzhenitsyn, who was twice sent to Siberia, is one of many European authors who were exiled, imprisoned, or silenced . However, he refused to stop criticizing Russia’s Communist regime, believing that “Literature that is not the breath of contemporary society, that dares not transmit the pains and fears of that society, that does not warn in time against threatening moral and social dangers—such literature does not deserve the name of literature; it is only a façade . Such literature loses the confidence of its own people, and its published works are used as wastepaper instead of being read .”

Directions: The essay on “The Literature of Europe” (pages 134–135) suggests several ways that changes in the map of Europe influenced writers: the rise of fascism, the spread of communism, the Holocaust, and the end of the Cold War. Using the headnotes for the stories in this unit, add this information to the map below.

1 . Write each author’s name in the country of his or her origin .

2 . If the headnote mentions any historical event, put a short phrase or symbol describing that event by the author’s name .

3 . Add any relevant information from your own knowledge of an author or other sources your teacher asks you to use .

UNITEDKINGDOM

BOSNIAAND

HERZEGOVINA

MONTENEGRO KOSOVO

SERBIA

ROMANIA

GERMANYBELGIUM

NETH.

IRELAND

LUX.

FRANCE

ANDORRA

MO

LDOVA

UKRAINE

BELARUS

POLAND

LITHUANIA

LATVIA

ESTONIA

SWEDEN

FINLAND

NORWAY

DENMARKR U S S I A

SLOVAKIA

HUNGARY

SLOVENIA

ITALY

SWITZERLAND

AUSTRIA

CZECH

ALBA

NIA

GREECE

MACEDONIA

BULGARIA

CROATIA

EUROPE

Many Voices : Reading the World © Per fec t ion Learning ® • R e p R o d u c i b l e 129

Name __________________________________________ Class _______________________ Date __________________________

Unit Two VocabularyWatch for the following words as you read the selections in Unit Two . Record your own vocabulary words and definitions on the blank lines .

from The Divine Comedy pages 139–145

array an imposing arrangement of elementslithe able to move with effortless gracemantled covered ravenous extremely hungrysated satisfied; appeasedshade a ghostwan faint; suggestive of unhappiness

First Confession pages 147–156

covet want; desire what belongs to anothercryptically obscurely; mysteriouslyfastidious dainty; squeamishincredulously skeptically; unbelievinglymortif ied ashamed; embarrassedvixen a bad-tempered female

from Clearances pages 157–158

Do Not Go Gentle into That Good Night pages 160–161

Not Waving but Drowning page 162

The Love Song of J. Alfred

Prufrock pages 163–168

Ten Songs pages 169–171

The Destructors pages 172–189

altruistic unselfish; without thought of personal gainambiguously obscurely; unclearlydaunted unnerved; intimidateddeviation nonconformity; departure from the normexploit adventure; featf ick�leness changeability; inconstancyignoble dishonorable; degradingimplacable inflexible; unrelentingimpromptu improvised; extemporaneousincendiaries bombs designed to cause firespillaged destroyed; lootedrebuk�ed scolded; reproachedrendezvous meeting; appointmentstealthy secret; furtiveswathes folds; wraps

The Guitar pages 191–192

Poor Fish pages 194–202

cowering shrinking from; showing fearnil zero; absolutely nothingpiqued irritated; bothered

Name __________________________________________ Class _______________________ Date __________________________


The Black Sheep pages 203–205

The Balek Scales pages 207–215

flouted disregarded; defiedpoachers trespassers; people who hunt illegallyseminary school that trains priests, ministers,

or rabbistheology study of religious belief and practice

The Last Judgment pages 217–222

desolate deserted; joylessinveterate habitual; confirmedpensively thoughtfully; musinglystately dignified; majesticusury lending money at a high rate of interest

A Contribution to Statistics pages 224–226

___________________________________________

___________________________________________

And Yet the Books pages 227–228

Rhinoceros pages 230–246

archivist person who maintains a collection of documents

banal trite; overusedhumanism philosophy that stresses the power of

human reason; way of life centered on human interests or values

it inerant traveling; circuit-ridingmorbid unhealthy; gloomymutations changes; alterationsparadoxes seeming contradictions; anomaliespedant person who shows off learning; stickler

for detailspsychosis mental derangement; loss of contact

with reality

Alone pages 248–249

The Nobel Prize pages 251–252

First Frost page 253

Forbidden Fruit pages 254–263

abstinence avoidance; voluntarily giving updif f ident hesitant; unassumingegalitarian equal; fair-mindedenigma puzzle; mysterygamut range; spectrumideological based on beliefslatitude freedom; leewaynotoriety disrepute; poor reputationprodigiously enormously; excessivelyself-ef facing modest; not seeking attentiontenets principles; teachingstransf ixed held motionless; spellbound

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The Balek Scales by Heinrich Böll, pages 207–215 Short Story

Responding and WritingThe narrator’s grandfather lived in a feudal village, where the accuracy of the scale the Baleks—the overlords—used to weigh their purchases from the villagers went unquestioned for generations . When young Franz Brücher proves the scale weighs short, the village revolts . Armed men put down their attempt to get justice, and the Brüchers have to leave the village .

Vocabularyf louted disregarded; defiedpoachers trespassers; people who hunt illegallyseminary school that trains priests, ministers,

or rabbistheology study of religious belief and practice

Read and Think Critically 1 . LITERARY LENS: THEME What do you think

is the theme of “The Balek Scales”? Analyze the elements in the story which point to this idea . Answers will vary. Ask students to look for references to “justice” throughout the story. Then ask them if they can find a statement at the end of the story that sums up the theme. Possibilities include “everywhere the finger of justice swung falsely” and “but there were few who listened.”

2 . In what line(s) does the author first reveal his sympathies? Answers may vary. Evidence of the author’s sympathy for the poor villagers appears in the first paragraph, when he refers to how their work for the Baleks “killed [them] off by slow degrees” and describes them as “long-suffering, cheerful people.” Later he provides further evidence of how the Baleks exploit the villagers.

3 . Why do you suppose the author chooses to use a first-person narrator to relate this story? Explain what he gains by doing so . Answers will vary. The first-person voice personalizes a story about economic injustice, providing it with more emotional intensity. The “I” voice also draws the reader to sympathize with a widespread problem since it has been given a human face.

4 . What other institutions are bound to the power of the Baleks, according to Böll? Think about whether such relationships continue in any modern societies, especially your own . Answers will vary. The King ennobles the Baleks, the gendarmes help them put down the rebellion, and the priest is forced to demonstrate the accuracy of the

scales. Students’ opinions about the sources of power and legitimacy and the efficacy of protest will vary with their politics.

5 . Define a Term Böll was part of a literary movement called trümmerliteratur. Use a literary dictionary to define this term . The term means “rubble literature,” and it names a literary movement that existed in Germany for a few years immediately after World War II ended in 1945. German writers tried to confront the ruins, both physically and intellectually, of their society.

For Further DiscussionWhat is it that the villagers—and the Baleks—want? Answers will vary. It’s unlikely that the conflict can be lessened by adding “a tenth part of justice” to the villagers’ pay. At this point in history, the peasants of Europe are beginning to protest the absolute power and wealth of the landed aristocracy. Questioning the standards used to weigh the crops is just the first step in a process that will eventually lead to representative democracies in Europe.

Critic’s CommentRichard Plant notes, “Throughout Böll’s fiction, we also meet The Others: those who rule, possess, dictate . They show up in many guises—Böll is endowed with enough imagination to give variety to his fictional creatures . They appear as the exact counterpoint to our victimized heroes .”

Writing an EditorialHave students write a newspaper editorial pointing out something they consider an economic injustice . They might think about differences in compensation among people at a company, the differences in taxation paid by various individuals, the treatment of a particular ethnic or social group, or other situations . Tell the students to use concrete details to support their opinions .


Name __________________________________________ Class _______________________ Date __________________________

The Balek Scales by Heinrich Böll, pages 207–215

Quiz: Comprehension and AnalysisChoose the best answer and write the letter on the blank .

1 . is left to the children .

A . Drying the flax

B . Making the cheese

C . Grinding the coffee

D . Cleaning the house

2 . The pale coffee is the color of—

A . hay flowers .

B . pigtails .

C . flax .

D . pancakes .

3 . In Blaugau and Bernau it is against the law to—

A . smoke a cigar .

B . sing in church .

C . own a scale .

D . ride a horse .

4 . weigh exactly fifty-five grams .

A . Five pebbles

B . Ten mushrooms

C . Two cups of coffee

D . Fifty lemon drops

5 . displays the scales publicly .

A . Frau Balek

B . The priest

C . The gendarmes

D . Wilhelm Vohla

6 . ANALYSIS: What do you learn about the grandfather when he does not take coffee for his mother?

_____________________________________________________________________________________________________________________

_____________________________________________________________________________________________________________________

_____________________________________________________________________________________________________________________

7 . ANALYSIS: Describe how leaving the village impacted the grandfather’s family .

________________________________________________________________________________________________

________________________________________________________________________________________________

________________________________________________________________________________________________

________________________________________________________________________________________________

________________________________________________________________________________________________

Name __________________________________________ Class _______________________ Date __________________________


The Balek Scales by Heinrich Böll, pages 207–215

Literary Lens Think�ing Sk�ill: Analyze ThemeThe theme of a literary work is the underlying meaning or message . The theme may be stated explicitly or it may be developed through some other element . In analyzing any literary work, it is important to identify the theme .

Directions: In the center of the web below, write a sentence or phrase that you think best describes the theme of “The Balek Scales.” Fill in the outer circles surrounding the web by answering each question.

What isthetheme?

How does the plot

supportthetheme?

Find a passage

from the story that supports the theme.

How does the

characterization supportthetheme?

How does the

setting support thetheme?

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Europe: UNIT REVIEW

Key Ideas and Details 1 . Review “Forbidden Fruit” and then write an objective summary of the plot . Are all parts of the story

represented in your summary? If not, do the parts missing in your summary serve another purpose besides plot? If so, what is that purpose? See the plot summary on page 194. The text about Aunt Sonya’s first husband, Uncle Shura’s interest in tinkering, and the brother’s desire to be a car driver do not advance the plot, but they provide details about each character’s personality.

2 . Compare the poems by Thomas, Smith, Auden, Szymborska, and Milosz . All are important 20th-century writers addressing a similar theme: death . Which poets address it in terms of the times they live in (and its threat of fascism), and which address it in a more personal way? Characterize each poet’s treatment of this theme, citing evidence from the poems . Answers will vary. Students might find references to Nazi persecution in Auden’s poem and mention of “tribes” moving across Europe and book-burning in Milosz’s work. In Smith’s poem, a swimmer dies because his friends don’t realize he needs help. Szymborska points out that all humans are mortal. Thomas transmutes his feelings about his father’s approaching death into an appeal to live fiercely and resist death.

Craft and Structure 3 . World War II and Nazism influenced many of these European writers . Look at the selections by Auden,

Greene, Milosz, and Ionesco for evidence of such influences . Why is war such a rich theme for writers? Compare the very different tones and perspectives these writers bring to bear on this subject . Answers will vary. Auden, Milosz, and Ionesco all protested against Nazi barbarism. Auden dramatized the plight of the Jewish refugees, Milosz expressed his faith that books would endure, and Ionesco compared people’s conversion to Nazism to characters turning into rhinoceroses. Greene’s story reflects the social upheaval after the war but suggests that destruction has its own creative energy.

4 . Reread “First Frost” and pay special attention to the specific word choices . Identify any repeated sounds, and explain their cumulative effect on the poem’s meaning and tone . Several phrases use alliterative pairs or groups of words: freezing, flimsy, face; stained, smeared; beat, back; first frost; phone, phrases; having, hurt. Some use assonance: thin little fingers; Fingers like ice; winter glittering; alone, down; frost, telephone. The final phrase has three words ending with the same sound: first, frost, and hurt. Together, these repeated sounds create close links between words, which contributes to the introspective tone of the poem.

5 . Compare the word choice in “Clearances” and “Do Not Go Gentle into That Good Night” and the resulting tones . Which poem has a more formal tone? What word choices contribute to this tone? “Do Not Go Gentle into That Good Night” has a more formal tone. Phrases such as “burn and rave,” “rage, rage,” and “dying of the light” are serious and metaphorical, and the poem is directed to abstract groups of men. “Clearances” uses more casual and concrete phrases such as “peeled potatoes,” “things to share,” and “pleasant splashes,” and it is focused on two specific individuals, the writer and his mother.

6 . Irony and black humor are often seen in Western European writing . Which selections in this unit display this sort of humor? Discuss why European writers, in particular, might favor this form of expression . Answers will vary. Students might consider irony and black humor a response to the wars and totalitarian repression suffered by Europe during the 20th century. Greene’s “The Destructors” can be interpreted as a comment on the disruption of the social order. Capek’s “The Last Judgment” and Calvino’s “The Black Sheep” both invert the social norm. Ionesco’s “Rhinoceros” takes an illustration of the pressures to conform to absurd lengths. “Not Waving but Drowning” can be read as a macabre joke in which good intentions are not enough to overcome a tragic miscommunication.

Integration of Knowledge and Ideas 7 . Find paintings or photographs of London after the German bombardments in 1940 . Compare these to the

description of the rubble in “The Destructors .” Analyze how each medium expresses the images and what is emphasized or absent in each treatment . Answers will vary. Students might focus on how images create strong immediate impact, while the written description builds the impact more slowly.


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8 . “The Love Song of J . Alfred Prufrock” contains many allusions . The line “There will be time” is an allusion to a poem by Andrew Marvell called “To His Coy Mistress .” The phrase “dying fall” following the famous lines about measuring life with coffee spoons is a reference to Shakespeare’s Twelfth Night . Choose one of these to research and write a paragraph explaining how Eliot drew on and transformed the original work . Answers will vary. Marvell’s poem is an encouragement to enjoy life boldly. Shakespeare’s phrase refers to music as the food of love, and that the music is slowing down or becoming quieter.

Europe: RESEARCH PROJECTS

Speaking and Listening 1 . Conduct a mock trial of Kugler from “The Last Judgment .” Have class members serve as judge, lawyers,

jury members, and witnesses . Add details to the crimes mentioned in the story .

2 . Give an oral report on one aspect of World War II . Use the Research Handbook to help you narrow the focus of your presentation .

Hands-on ProjectChoose a European cuisine that you would like to learn more about . Demonstrate for your class how to make a dish from this cuisine .

Research Follow-UpIn the 20th century, some intellectuals adopted views known as existentialism or absurdism . Research one of these views, and prepare a short oral presentation describing how it is reflected in this unit .

Synthesizing Through Research and WritingChoose one writer from this unit who wrote without fear of censorship and one who had to worry about censorship . In a two-page essay, explain how political conditions shaped their works .

Cultural ReflectionAfter reading the selections in this unit, write about any new understandings you might have aboutAmerican culture, your family, or yourself .

Title Reactions/Insights

Name __________________________________________ Class _______________________ Date __________________________


Unit Two Vocabulary Test pages 138–263

I. Multiple ChoiceChoose the meaning of the bold word in each passage .

1 . Now, girls are supposed to be fastidious, but I was the one who suffered most from this . (“First Confession,” p. 147)

A fashionable C talkative

B squeamish D delightful

2 . “Someone will go for her with a bread-knife oneday,andhewon’tmissher,”[thepriest]said rather cryptically . (“First Confession,” p. 155)

A jokingly C proudly

B mysteriously D angrily

3 . The gang met every morning in an impromptu car-park, the site of the last bomb of the first blitz . (“The Destructors,” p. 173)

A glorified C improvised

B shabby D communal

4. [T]waslateattherendezvous, and the voting for that day’s exploit took place without him . (“The Destructors,” p. 175)

A meeting C veto

B decision D nomination

5 . Physical strength, then—nil: I am small, crooked, rickety, my arms and legs are like sticks, I’m like a spider . (“Poor Fish,” p. 194)

A obvious C average

B unusual D zero

6 . The lions, cowering, poor beasts, on top of these cat-sized seats, roared and showed their teeth . . . . (“Poor Fish,” pp. 198–199)

A showing fear C showing ferocity

B showing hunger D showing affection

7 . True, there were some among these quiet people who flouted the law, poachers bent on making more money in one night than they could earn in a whole month in the flax sheds . . . . (“The Balek Scales,” p. 209)

A enforced C defied

B obeyed D enacted

8 . “Kugler, Ferdinand was a thief before his tenth year and an inveterate liar .” (“The Last Judgment,” p. 219)

A habitual C undetectable

B believable D entertaining

9 . “But really, why don’t You . . . why don’t You Yourself do the judging?” Kugler asked pensively . (“The Last Judgment,” p. 221)

A regretfully C happily

B eagerly D thoughtfully

10 . “The council has forbidden itinerant entertainers to stop on municipal territory .” (“Rhinoceros,” p. 231)

A acrobatic C country

B acting D traveling

11. [We]...begantotalkabouttheweather again, . . . and other banal and insoluble questions . (“Rhinoceros,” p. 231)

A trite C controversial

B critical D unexpected


Name __________________________________________ Class _______________________ Date __________________________

12 . “Collective psychosis,” retorted Botard, who was a freethinker, “just like religion, the opium of the people!” (“Rhinoceros,” p. 236)

A awakening C derangement

B discovery D bargain

13 . Though another of Mohammed’s commandments—the one on alcoholic drinks—was broken (and without constraint, as I know now), no latitude was allowed with respect to pork . (“Forbidden Fruit,” p. 254)

A argument C leeway

B sharing D expense

14 . It seemed to me that a person with such a record ought to be more diffident, more self-effacing, ought to wait for worthier people to tell the story . (“Forbidden Fruit,” p. 261)

A assertive C indirect

B modest D agreeable

15 . Perhaps I hadn’t expressed myself properly, or maybe Mohammed’s great tenets and a little urge to capture someone else’s notebooks didn’t go together . (“Forbidden Fruit,” p. 262)

A teachings C accomplishments

B questions D efforts

II. MatchingMatch each vocabulary word with its definition .

16 . altruistic A . changes

17 . deviation B . range

18 . egalitarian C . equal

19 . gamut D . looted

20 . ideological E . irritated

21 . mutations F . unselfish

22 . notoriety G . nonconformity

23 . paradoxes H . poor reputation

24 . pillaged I . based on ideas

25 . piqued J . seeming contradictions

Name __________________________________________ Class _______________________ Date __________________________


u n I t t W o t e s t

EuropeI. Sentence CompletionChoose the word that best completes the meaning of each sentence . Fill in the circle next to that word .

1 . In “Do Not Go Gentle into That Good Night,” Dylan Thomas urged his father to resist .

A aging C quitting

B despair D death

2 . The speaker in the poem from Auden’s “Ten Songs” is trying to flee from .

A police C memories

B Hitler D floods

3 . The people in Eugene Ionesco’s story start turning into .

A cockroaches C rhinoceroses

B monkeys D giraffes

4 . The “black sheep” in Italo Calvino’s fable causes problems because he is .

A honest C dishonest

B gullible D cruel

5 . Andrei Voznesensky compares a young girl’s first disappointment to “First .”

A Spring C Frost

B Raindrops D Skylark

6 . The Muslim narrator in “Forbidden Fruit” prides himself on his .

A appetite C handwriting

B driving D abstinence

7 . The “Forbidden Fruit” in Fazil Iskander’s story is .

A milk C oranges

B pork D chocolate

II. True-FalseIf the statement is true, mark it T; if false, mark it F .

8 . The priest in “First Confession” tells Jackie he should follow his sister Nora’s good example .

9 . Seamus Heaney wrote “Clearances” in memory of his mother .

10 . Federico García Lorca compares the guitar to a wounded heart .

11 . In “The Last Judgment,” a murderer learns that he will receive not divine but human justice .

12 . In “The Love Song of J . Alfred Prufrock,” T . S . Eliot deliberately uses old-fashioned poetic language .

13 . Boris Pasternak was allowed to accept the Nobel Prize for Doctor Zhivago when it was awarded .


Name __________________________________________ Class _______________________ Date __________________________

III. Multiple ChoiceSelect the best answer to complete each statement .

14 . In Stevie Smith’s poem, a swimmer tries to tell his friends that he is—

A . afraid of the water . B . dying of cancer . C . only pretending to be in trouble . D . not waving but drowning .

15 . At the end of “The Destructors,” the lorry driver tells Old Misery that—

A . “Those boys really hated you .” B . “I’ll call the police .” C . “You’ve got to admit it’s funny .” D . “You haven’t lost anything more

than anyone else .”

16 . The narrator of “Poor Fish” wonders— A . “Will anyone ever love me?” B . “Why do people call me a ‘poor

fish’?” C . “Will Ida stay true to me?” D . “Who can tell what women see

when they’re in love?”

17 . In “The Balek Scales,” the villagers’ protest—

A . forces the Baleks to return the money they stole .

B . is put down by force . C . ends peacefully after the priest

negotiates a settlement . D . results in the destruction of the

village .

18 . In Szymborska’s “A Contribution to Statistics,” the only category that applies to everyone is—

A . “those who always know better .” B . “glad to lend a hand .” C . “savage in crowds .” D . “mortal .”

19 . In “And Yet the Books,” Czeslaw Milosz expresses his—

A . belief that the ideas in books cannot be destroyed .

B . fear that the Nazis will burn his poetry .

C . despair that books are being burned throughout Germany .

D . hope for an end to book-burnings .

20 . Tomas Tranströmer’s “Alone” describes a walk in the fields and a—

A . childhood memory . B . waking dream . C . near-fatal accident . D . mountain rescue .

IV. Short EssayWrite a paragraph that answers the question below . Include at least two supporting details or examples .

In “The Literature of Europe,” Petra Fiero writes: “In the twentieth century, Europe was ravaged by two World Wars, saw the rise and fall of fascism and communism, and began to live with the threat of the atomic bomb . The impact of these events on all areas of human life, including literary activity, was enormous .” Explain how this statement applies to one of the selections you read . Be sure to include the title of the selection and explain which event(s) you believe affected the author you choose to write about .

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u n I t t W o W r I t I n g P r o m P t s , r e s e a r c h , a n d P r o j e c t s

EuropeThe activities that follow are intended to extend your students’ understanding and appreciation of the literature they have read in Unit Two—Europe . These activities also provide a wide range of writing and thinking experiences . All of these activities may not be suitable for all students .

Writing About Literature 1 . Ask students to pick a story in Unit Two in

which setting plays a major role and write about it .

2 . Ask students to write about the selection in this unit that they enjoyed the most, giving their reasons .

3 . If students could become any character in one of these selections, which one would it be? What particularly appealed to them about the character?

4 . There are a number of poems in this unit . Ask students to choose two and compare them .

5 . Ask students to compare and contrast the plots and writers’ styles of “The Black Sheep” by Italo Calvino and “The Balek Scales” by Heinrich Böll .

6 . Do European writers seem to have different concerns than writers from the Americas? Ask students to answer this question based on the two units they have read thus far .

7 . Ask students to examine one element that the selections in this unit have in common, not including the fact that they are all written by Europeans . Have students write a short essay detailing their findings .

Writing Nonfiction 1 . Ask students to think about one of the stories in

this unit and then write about the sights, sounds, smells, and tastes they would encounter if they visited there .

2 . Have students choose one of the authors in this unit and write a biography of that person .

3 . Ask students to collect their favorite passages from the readings in this unit . Then ask them to choose two of these and rephrase them in their own words .

4 . Have students write a description of a place they have visited . Remind them to include information on the location, flora, fauna, people, and other sights .

5 . Have students listen to CDs or tapes of the poets represented in this unit reading their own work . Ask them to write a short piece describing their impressions of the readings .

6 . Encourage students to write a letter to their favorite author . They should tell the author why they admire his or her writing as well as something about themselves .

7 . Ask students to write a descriptive paragraph that begins, “My best friend is . . .”

Creative Writing 1 . Have students write a descriptive essay of

themselves from the viewpoint of their parents or teacher .

2 . Ask students to rewrite “Rhinoceros” as an essay for a popular news magazine .

3 . Have students choose one scene from “The Destructors” and rewrite it from the perspective of Blackie .

4 . Ask students to write a paragraph describing how they felt when they first did something that delighted them . Encourage them to use vivid images and creative language .

5 . Using either “Not Waving but Drowning” or “A Contribution to Statistics” as a model, students should write a poem that incorporates as many of the poetic elements found in the chosen poem as possible .

6 . Ask students to choose a character from one of the selections in Unit Two and write a letter to a living political, literary, or cultural figure as that character .


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7 . Ask students to write a poem or song lyrics about one of the countries represented in this unit .

8 . Have students rewrite the ending to the story “The Last Judgment .”

Writing Research Papers 1 . Ask students to research the European Union,

or EU, and write a research paper about it, including when it was established, who the members are, its purpose, and its institutions .

2 . Ask students if they know anyone living in one of the countries represented in Unit Two . If they are able to, have them interview the person, asking pertinent questions about the people, economy, major cities, and other vital information . Have students augment this interview with facts and figures gained through research . They should then write a research report detailing their findings .

3 . Have students research the form of government in two of the countries represented in this unit . Ask them to write a paper comparing and contrasting each country’s governmental systems .

4 . Have students choose a poet represented in Unit Two and write a research paper on that author’s life, work, major influences, and common themes .

5 . Ask students to research the arts or music of one of the countries in Unit Two . Have them write an informative report as to what they discover .

Presentations and Projects 1 . Ask students who have listened to taped readings

and have read the work of a particular poet to stage a presentation in which they assume the character of the poet reading his or her poems .

2 . Encourage groups of students to prepare a Readers Theatre piece based on one of the longer selections in this unit . Have students perform their piece for the entire class .

3 . Ask students to draw a portrait of two characters from Unit Two . Have them name the characters and write a descriptive passage about the characters . Display their work in the classroom .

4 . Ask students to create a four-page travel brochure that invites travelers to visit one of the countries represented in this unit . The brochure must include interesting and noteworthy images as well as some descriptive text about the country .

5 . Have students memorize one of the poems in this unit and recite it for the class .

6 . Ask groups of students to represent various countries in the European Union and to plan and present a conference in which these representatives voice their feelings about the EU and about the other countries that belong to it .

7 . Have students work together to study the educational systems in particular countries in Europe . Have students share their findings .

8 . Have groups of students of each learning style work together to study the history of one of the countries represented in this unit . Students should write a report that includes maps, images, and aspects of the cultural, religious, and political issues in the country .

9 . Get the entire class brainstorming to create a “European Collage .” Have them compile photographs, text, and other items to put together in their collage . Each student must contribute at least three items .

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206 A f r i c a Many Voices: Reading the World

Differentiated InstructionUnit Three: AfricaReview with students the Literary Map of Africa on pages 268–269 . Ask volunteers to identify and talk about as many of the countries in Africa identified in the text as time allows . To set the mood for the selections, play a wide variety of distinctive music from Africa .

Name of Selection

TYPE OF LEARNER


from Sunjata(oral tradition) pp. 271–279

Average

Have students read aloud their favorite passages from the story. Discuss what they liked about their passage.

Ask students to illustrate one scene from the story, adding appropriate details not mentioned in the story.

Have one group of students pantomime a scene while other stu-dents identify which one they are performing.

As a class, make a chart showing the causes of each main event in the story.

Africa(poem)pp. 281–282

Average

Have students take turns reading the poem aloud. Suggest that students change the tone of their voice when they get to the line, “But a grave voice answers me.”

Give each student a copy of a map of Africa. Have students decorate the map with a variety of colors, patterns, and images inspired by the poem.

Bring in a textured relief map of Africa and have students look at it and touch it. Talk about the various countries in Africa.

Help students under-stand the imagery in the poem.

Black Girl (short story)pp. 283–298

Challenging

Have students describe what happens in the story and choose a sig-nificant passage to read aloud.

Ask students to draw two portraits of Diouana: one before she left for France and one after she arrived in France.

Have students act out the scene in which Diouana and Madame Pouchet prepare to leave for France.

Have students create a timeline showing the chronology of the events in the story.

I Will PronounceYour Name(poem)pp. 299–300

Challenging

Have students practice saying their own names in the different ways described in the poem, such as “mild like cin-namon” or like a “dry tornado.”

Ask students to choose a line in the poem and draw or sculpt a repre-sentation of that line.

Bring in cinnamon and lemons for students to smell.

Help students under-stand the similes and metaphors in the poem.

Telephone Conversation(poem)pp. 302–303

Average

Divide the students into pairs and have them read the dialogue in the poem in two parts: the narra-tor and the landlady.

Help students mix tempura paints to cre-ate a color that might be called “West African sepia.”

As you read the poem aloud, have two students pantomime the facial expressions and body language of the charac-ters in the poem.

Help students under-stand the meaning of the sentence fragments in the poem.

Marriage Is a Private Affair(short story)pp. 304–310

Average

Assign to students the roles of the characters in the story. Read the narration aloud to the class, allowing students to speak the lines of dialogue.

Draw a picture of the two grandsons as Okeke imagines them.

Have students act out the scene when Nnaemeka tells his father he is going to marry Nene.

Discuss with students the reasons why Okeke objected to the marriage.

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Many Voices: Reading the World A f r i c a 207

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Name of Selection

TYPE OF LEARNER


In the Shadow of War(short story)

pp. 311–316Average

Ask students to read aloud a passage from the story that they found especially detailed and vivid.

Show students photo-graphs of the people and the landscape of Nigeria.

Have students move like the woman in the story, “as if an invisible force were trying to blow her away.”

Help students under-stand the impact of civil war in Nigeria.

Loyalties(short story)pp. 317–320

Easy

Assign to students the roles of the characters in the story. Read the narration aloud, allowing students to speak the dialogue.

Ask students to illus-trate a scene from the story.

Have students act out the scene in which the father is trying to con-vince the mother to flee into the forest.

Discuss with students the differences between the beliefs of the mother and those of the father.

A Meeting in the Dark(short story)pp. 322–338

Average

Have students describe what happens in the story and choose a sig-nificant passage to read aloud.

Have students draw or work with clay to create an image from the story.

Have students act out “the story within the story” about the girl who has no home. Allow students to come up with their own endings.

Discuss with students the relationship between John and his father. Why did John feel so afraid of displeasinghisfather?

The Pig(short story)pp. 340–347

Easy

Have students read the story aloud to one another. Encourage dis-cussion as they read. Play a recording of traditional East African music.

Ask students to draw a portrait of Kibuka with his pig.

Have students panto-mime the movements of Kibuka as he took the pig for a walk.

Discuss with students the character of Kibuka. Why did he become so attachedtothepig?

No Witchcraft for Sale(short story)pp. 349–357Average

Have students retell the story of how Gideon saved Teddy as if they had been witnesses to the events.


Have students demon-strate what Gideon’s body language might have been when he was ques-tioned by the scientist.

Help students under-stand the deep chasm between the two social classes described in the story.

The Moment Before the Gun Went Off(short story)pp. 359–365Challenging

Have students retell the story from the point of view of the dead man’s mother.

Show students photo-graphs, from books or from the Internet, of South African life during apartheid.

Have students act out the scene when the gun goes off.

Help students under-stand the system of apartheid and its oppres-sions.

The Prisoner Who Wore Glasses(short story)pp. 366–373Average

Ask students to illustrate a scene from the story.

Ask students to imagine and act out the way the prisoners stole bites of cabbage while they were working in the fields.

Help students under-stand the slang and terminology used in the story, such as the word “Baas.”

MANY VOICES LITERATURE Teaching and …Many Voices: Reading the World 3 Table of Contents...

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