Grade 7 SE Unit 1 SamplerFINAL

GRADE 7

Perspectives

|

UNIT 1 SAMPLER

TM

GR A D E 7

ENGLISH LANGUAGE ARTS

UNIT 1 Generations UNIT 2 A Starry Home

Perspectives ENGLISH LANGUAGE ARTS

UNIT 3 Turning Points UNIT 4 People and the Planet UNIT 5 Facing Adversity

GRADE 7 ISBN-13: 978-0-328-87398-2 ISBN-10: 0-328-87398-5

9

780328 873982

9 0 0 0 0

TM

COVER: © Evikka/Shutterstock

Acknowledgments of third-party content appear on page R9, which constitutes an extension of this copyright page. __________________________________________________________________________________________ Copyright © 2017 by Pearson Education, Inc., or its affiliates. All Rights Reserved. Printed in the United States of America. This publication is protected by copyright, and permission should be obtained from the publisher prior to any prohibited reproduction, storage in a retrieval system, or transmission in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise. For information regarding permissions, request forms, and the appropriate contacts within the Pearson Education Global Rights & Permissions department, please visit www.pearsoned.com/permissions. PEARSON, ALWAYS LEARNING, and myPerspectives are exclusive trademarks owned by Pearson Education, Inc. or its affiliates, in the U.S. and/or other countries. Unless otherwise indicated herein, any third-party trademarks that may appear in this work are the property of their respective owners and any references to third-party trademarks, logos, or other trade dress are for demonstrative or descriptive purposes only. Such references are not intended to imply any sponsorship, endorsement, authorization, or promotion of Pearson’s products by the owners of such marks, or any relationship between the owner and Pearson Education, Inc. or its affiliates, authors, licensees, or distributors. Common Core State Standards: © Copyright 2010. National Governors Association Center for Best Practices and Council of Chief State School Officers. All rights reserved.

ISBN-13: 978-0-328-87398-2 ISBN-10: 0-328-87398-5

1 2 3 4 5 6 7 8 9 10 V003 19 18 17 16 15

GRADE 7

|

UNIT 1 SAMPLER


NE W Y O RK , NE W YO RK • BO STO N, MASSACH USE TTS CH AN D LE R , ARI ZO NA • GLE NVI E W, I LLI NO I S

TM

1

Generations

unit INTRODUCTION Unit ACTIVITY.

T F A R D

. . . . . . . . . . . . . . . . . . 00

Launch Text: NONFICTION NARRATIVE MODEL

Grounded

Small-Group learning NEWS ARTICLE

Tutors Teach Seniors New High-Tech Tricks Jennifer Ludden. . . . . . . . . . . . . . . . . . . . . 00

Marcy Domingo. . . . . . . . . . . . . . . . . . . . . 00

ANCHOR TEXT: NOVEL EXCERPT

Compare Tex t

Two Kinds from The Joy Luck Club Amy Tan. . . . . . . . . . . . . . . . . . . . . . . . . . . 00 ANCHOR TEXT: NEWS BLOG

A Simple Act Tyler Jackson . . . . . . . . . . . . . . . . . . . . 00 ANCHOR TEXT: MEMOIR

from An Invisible Thread Laura Schroff and Alex Tresniowski. . . . 00

Compare

whole-class learning

MEMOIR

from Mom & Me & Mom Maya Angelou . . . . . . . . . . . . . . . . . . . 00 MEDIA: VIDEO

Maya Angelou: Learning to Love My Mother Michael Maher . . . . . . . . . . . . . . . . . . . 00

MEDIA: IMAGE GALLERY

Mother-Daughter Drawings Mica and Myla Hendricks. . . . . . . . . . . . . . 00 POETRY

Mother to Son Langston Hughes. . . . . . . . . . . . . . . . . . . . 00

To James Frank Horne. . . . . . . . . . . . . . . . . . . . . . . . 00 SHORT STORY

An Hour With Abuelo Judith Ortiz Cofer. . . . . . . . . . . . . . . . . . . . 00 Performance Task WRITING FOCUS

Write a Nonfiction Narrative. . . . . . . . . 00

iv Grade 7

Performance Task SPEAKING AND LISTENING FOCUS

Present a Nonfiction Narrative . . . . . . . 00

© Pearson Education, Inc., or its affiliates. All rights reserved.

UNIT

essential question : What can one generation learn from another?

performance-based assessment

Independent Learning

Nonfiction Narrative: Text and Oral Presentation . . . . . . . . . 00

T F A

POETRY

Lineage

Margaret Walker. . . . . . . . . . . . . . . . . . . . . 00

Family

R D

Grace Paley . . . . . . . . . . . . . . . . . . . . . . . . 00 OPINION PIECE

Unit Reflection

Reflect on the Unit . . . . . . . . . . . . . . . . 00

“Gotcha Day” Isn’t a Cause for Celebration Sophie Johnson. . . . . . . . . . . . . . . . . . . . . 00 SHORT STORY


The Old Grandfather and the Little Grandson Leo Tolstoy. . . . . . . . . . . . . . . . . . . . . . . . . 00 BLOG POST

Bridging the Generational Divide Between a Football Father and a Soccer Son John McCormick . . . . . . . . . . . . . . . . . . . . 00 SHORT STORY

Water Names Lan Samantha Chang. . . . . . . . . . . . . . . . . 00

Performance-based assessment prep

Review Evidence for a Nonfiction Narrative. . . . . . . . . . . . . . 00

SCAN FOR MULTIMEDIA

Use the Bounce Page app whenever you see “Scan for Multimedia” to access:

• Unit Introduction Videos • Media Selections • Modeling Videos • Selection Audio Recordings

Additional digital resources can be found in: • Interactive Student Edition • myPerspectives+

Contents v

UNIT

2

A Starry Home


Small-Group learning

T F A R D

. . . . . . . . . . . . . . . . . . 00

Launch Text: ARGUMENT MODEL

Leaving Main Street John Hidalgo. . . . . . . . . . . . . . . . . . . . . . . 00

NEWS ARTICLE

Future of Space Exploration Could See Humans on Mars, Alien Planets Nola Taylor Redd . . . . . . . . . . . . . . . . . . . . 00 SHORT STORY

Compare

ANCHOR TEXT: SHORT STORY

Dark They Were and Golden-Eyed Ray Bradbury . . . . . . . . . . . . . . . . . . . . 00 MEDIA: RADIO PLAY

Dark They Were and Golden-Eyed Ray Bradbury . . . . . . . . . . . . . . . . . . . . 00

ANCHOR TEXT: NEWS ARTICLE

Danger! This Mission to Mars Could Bore You to Death Maggie Koerth-Baker. . . . . . . . . . . . . . . . . 00

Performance Task WRITING FOCUS

Write an Argument. . . . . . . . . . . . . . . . 00

vi Grade 7

The Last Dog from Tomorrowland Katherine Paterson. . . . . . . . . . . . . . . . . . . 00 MEDIA: VIDEO

Ellen Ochoa

Makers Profile. . . . . . . . . . . . . . . . . . . . . . 00 INTERVIEW

Neil deGrasse Tyson on the Future of U.S. Space Exploration After Curiosity Keith Wagstaff . . . . . . . . . . . . . . . . . . . . . . 00


Present an Argument . . . . . . . . . . . . . . 00


whole-class learning

essential question : Should we make a home in space?


Independent Learning Science Fiction Cradlesong C.S. Lewis. . . . . . . . . . . . . . . . . . . . . . . . . . 00 SCIENCE ARTICLES

R D

5 Good Reasons to Believe in UFOs Patrick J. Kiger. . . . . . . . . . . . . . . . . . . . . . 00 UFO Sightings and News Benjamin Radford. . . . . . . . . . . . . . . . . . . . 00 ARGUMENT

Argument: Essay and Oral Presentation. . . . . . . . 00

T F A

POETRY

Unit Reflection


A Pale Blue Dot Carl Sagan. . . . . . . . . . . . . . . . . . . . . . . . . 00


ESSAY

Packing for Mars Mary Roach . . . . . . . . . . . . . . . . . . . . . . . . 00 SCIENCE ARTICLE

Trip to Mars Could Damage Astronauts’ Brains Laura Sanders. . . . . . . . . . . . . . . . . . . . . . . 00 INTERVIEW

Interview With NASA Shuttle Astronaut Franklin Chang Diaz Stacey Severn. . . . . . . . . . . . . . . . . . . . . . . 00 Performance-based assessment prep

Review Evidence for an Argument . . . . 00

SCAN FOR MULTIMEDIA




Contents vii

UNIT

3

Turning Points


T F A R D

. . . . . . . . . . . . . . . . . . 00

Launch Text: INFORMATIONAL MODEL

At the Crossroads Hajir Khouri . . . . . . . . . . . . . . . . . . . . . . . . 00 whole-class learning ANCHOR TEXT: DRAMA Compare


A Christmas Carol: Scrooge and Marley, Acts 1 & 2 Israel Horovitz. . . . . . . . . . . . . . . . . . . . 00 MEDIA: VIDEO

Thank You, M’am Langston Hughes. . . . . . . . . . . . . . . . . . . . 00 MEMOIR

from An American Childhood Annie Dillard . . . . . . . . . . . . . . . . . . . . . . . 00 MEDIA: SLIDE SHOW

Urban Farming Is Growing a Green Future Brian Clark Howard . . . . . . . . . . . . . . . . . . 00 NEWS ARTICLE

Profile: Malala Yousafzai BBC News . . . . . . . . . . . . . . . . . . . . . . . . . 00 © Pearson Education, Inc., or its affiliates. All rights reserved.

A Christmas Carol Chuck Jones. . . . . . . . . . . . . . . . . . . . . 00

SHORT STORY


Write an Informational Text. . . . . . . . . . 00

viii Grade 7


Present an Informational Text. . . . . . . . 00

essential question : What can cause a sudden change in someone’s life?


Independent Learning Little Things Are Big Jesús Colón. . . . . . . . . . . . . . . . . . . . . . . . 00 MEMOIR

R D

Tomorrowland Rebecca Woolf. . . . . . . . . . . . . . . . . . . . . . 00 BIOGRAPHY

Informational: Text and Oral Presentation . . . . . . . . . 00

T F A

ESSAY

Unit Reflection


Barbara Rose Johns Powell Robert Russa Moton Museum . . . . . . . . . . 00 NARRATIVE NONFICTION


Noor Inayat Khan from Women Heroes of WWII Kathryn J. Atwood . . . . . . . . . . . . . . . . . . . 00 SHORT STORY

A Retrieved Reformation O. Henry . . . . . . . . . . . . . . . . . . . . . . . . . . 00 SHORT STORY

Between Practice and Perfection Azizat Danmole . . . . . . . . . . . . . . . . . . . . . 00

SCAN FOR MULTIMEDIA




Review Evidence for an Informational Text . . . . . . . . . . . . . . 00


Contents ix

UNIT

4

People and the Planet



T F A R D

. . . . . . . . . . . . . . . . . . 00

Launch Text: ARGUMENT MODEL

It’s Never Too Late John Yee . . . . . . . . . . . . . . . . . . . . . . . . . . 00 whole-class learning

POETRY

Turtle Watchers Linda Hogan. . . . . . . . . . . . . . . . . . . . . . . . 00 Nature Is What We See Emily Dickinson . . . . . . . . . . . . . . . . . . . . . 00 The Sparrow Paul Laurence Dunbar . . . . . . . . . . . . . . . . 00 MEDIA: SLIDE SHOW

from Silent Spring Rachel Carson . . . . . . . . . . . . . . . . . . . . . . 00

Eagle Tracking at Follensby Pond Nature Conservancy. . . . . . . . . . . . . . . . . . 00

ANCHOR TEXT: SPEECH

SHORT STORY

Nobel Lecture: Intergovernmental Panel on Climate Change Al Gore. . . . . . . . . . . . . . . . . . . . . . . . . 00

He-y, Come On Ou-t! Shinichi Hoshi. . . . . . . . . . . . . . . . . . . . . . . 00 © Pearson Education, Inc., or its affiliates. All rights reserved.

Compare

ANCHOR TEXT: ESSAY

MEDIA: VIDEO

Nobel Acceptance Speech Al Gore. . . . . . . . . . . . . . . . . . . . . . . . . 00


Write an Argument. . . . . . . . . . . . . . . . 00

x Grade 7


Present an Argument . . . . . . . . . . . . . . 00

essential question : What effects do people have on the environment?


Independent Learning from My Side of the Mountain Jean Craighead George. . . . . . . . . . . . . . . 00 POETRY

R D

The Last Wolf

Mary TallMountain . . . . . . . . . . . . . . . . . . . 00 MYTH

Argument: Essay and Oral Presentation. . . . . . . . 00

T F A

NOVEL EXCERPT

Unit Reflection


from Keepers of the Earth Joseph Bruchac . . . . . . . . . . . . . . . . . . . . . 00 EXPOSITORY NONFICTION

A Sea of Plastic: Understanding the Great Pacific Garbage Patch. . . . . . . . 00


EXPOSITORY NONFICTION

The Story of Victor d’Aveyron, the Wild Child. . . . . . . . . . . . . . . . . . . . 00 SCIENCE ESSAY

from Of Wolves and Men Barry Lopez . . . . . . . . . . . . . . . . . . . . . . . . 00

SCAN FOR MULTIMEDIA




Review Evidence for an Argumentative Essay . . . . . . . . . . . . . . 00


Contents xi

UNIT

5

Facing Adversity

unit INTRODUCTION

T F A R D

. . . . . . . . . . . . . . . . . . 00

Launch Text: INFORMATIONAL MODEL

Against the Odds Julia Paz. . . . . . . . . . . . . . . . . . . . . . . . . . . 00 whole-class learning

Compare

MEDIA: VIDEO

The Dust Bowl and the Depression NBC Learn . . . . . . . . . . . . . . . . . . . . . . 00 ANCHOR TEXT: POETRY

Out of the Dust Karen Hesse. . . . . . . . . . . . . . . . . . . . . 00

AUTOBIOGRAPHICAL NARRATIVE

A Work in Progress Aimee Mullins . . . . . . . . . . . . . . . . . . . . . . 00 AUTOBIOGRAPHY

Compare

Unit ACTIVITY.


from The Story of My Life Helen Keller . . . . . . . . . . . . . . . . . . . . . 00 MEDIA: VIDEO

The Miracle Worker William Gibson. . . . . . . . . . . . . . . . . . . 00

NEWS ARTICLE

A Young Tinkerer Builds a Windmill, Electrifying a Nation Sarah Childress. . . . . . . . . . . . . . . . . . . . . . 00 © Pearson Education, Inc., or its affiliates. All rights reserved.

ANCHOR TEXT: SHORT STORY

The Circuit Francisco Jimenez . . . . . . . . . . . . . . . . . . . 00


Write an Informational Text. . . . . . . . . . 00

xii Grade 7


Present an Informational Text. . . . . . . . 00

essential question : How do we overcome obstacles?


Independent Learning from My Beloved World Sonia Sotomayor . . . . . . . . . . . . . . . . . . . . 00 MEMOIR

R D

The Girl Who Fell From the Sky Juliane Koepcke. . . . . . . . . . . . . . . . . . . . . 00 NOVEL EXCERPT

Informational: Text and Oral Presentation . . . . . . . . . 00

T F A

AUTOBIOGRAPHY

Unit Reflection


Four Skinny Trees from The House on Mango Street Sandra Cisneros. . . . . . . . . . . . . . . . . . . . . 00 MEMOIR


from Red Scarf Girl Ji-Li Jang . . . . . . . . . . . . . . . . . . . . . . . . . . 00 SHORT STORY

Rikki-tikki-tavi Rudyard Kipling . . . . . . . . . . . . . . . . . . . . . 00 MEMOIR

from Facing the Lion: Growing Up

Maasai on the African Savanna Joseph Lemasolai Lekuton. . . . . . . . . . . . . 00

SCAN FOR MULTIMEDIA




Review Evidence for an Informational Text . . . . . . . . . . . . . . 00


Contents xiii

UNIT

1 OVERVIEW

Generations

Discuss It What do the grizzly bear cubs learn from their mother? Write your response before sharing your ideas.

Grizzly Bear Teaches Her Cubs 2

SCAN FOR MULTIMEDIA


Young people often learn from older people, but sometimes it works the other way around.

UNIT 1 UNIT INTRODUCTION ESSENTIAL QUESTION:

What can one generation learn from another? WHOLE-CLASS LEARNING

LAUNCH TEXT NONFICTION Narrative MODEL

Grounded Marcy Domingo

SMALL-GROUP LEARNING

INDEPENDENT LEARNING

NOVEL EXCERPT

NEWS ARTICLE

POETRY

Two Kinds

Tutors Teach Seniors New High-Tech Tricks

Lineage

from The Joy Luck Club Amy Tan

Jennifer Ludden

Margaret Walker

Family Grace Paley

NEWS BLOG

Memoir

OPINION PIECE

A Simple Act

from

Mom & Me & Mom

“Gotcha Day” Isn’t a Cause for Celebration

Maya Angelou

Sophie Johnson

MEDIA: VIDEO

SHORT STORY

Maya Angelou: Learning to Love My Mother

The Old Grandfather and the Little Grandson

Michael Maher

Leo Tolstoy

MEMOIR from An Invisible Thread Laura Schroff and Alex Tresniowski

COMPARE

COMPARE TEXTS

Tyler Jackson


BLOG POST

Mother-Daughter Drawings

Bridging the Generational Divide Between a Football Father and a Soccer Son

Mica and Myla Hendricks


John McCormick Poetry

SHORT STORY

Mother to Son

Water Names

Langston Hughes

Lan Samantha Chang

To James Frank Horne SHORT STORY

An Hour With Abuelo Judith Ortiz Cofer

PERFORMANCE TASK

PERFORMANCE TASK

PERFORMANCE-Based Assessment PRep

Writing Focus:

Speaking and Listening focus:

Write a Nonfiction Narrative

Present a Nonfiction Narrative

Review Evidence for a Nonfiction Narrative

PERFORMANCE-BASED ASSESSMENT Nonfiction Narrative: Text and Oral Presentation PROMPT:

What is an example of an insight passed between members of different generations?

UNIT

1 INTRODUCTION Unit Goals Throughout this unit you will deepen your perspective about different generations by reading, writing, speaking, listening, and presenting. These goals will help you succeed on the Unit Performance-Based Assessment. Rate how well you meet these goals right now. You will revisit your rankings later when you reflect on your growth during this unit.

SCALE

1 2 3 4 5 NOT AT ALL NOT VERY SOMEWHAT VERY EXTREMELY WELL WELL WELL WELL WELL

READING GOALS

1

2

3

4

5

1

2

3

4

5

1

2

3

4

5

1

2

3

4

5

• Read and analyze how authors express point of view in nonfiction narrative. • Expand your knowledge and use of academic and thematic vocabulary.

WRITING AND RESEARCH GOALS • Write a nonfiction narrative in which you develop experiences or events using effective technique.

LANGUAGE GOAL • Use phrases, clauses, and conjunctions to combine ideas, build sentences, and add interest to your writing and presentations.

SPEAKING AND LISTENING GOALS  STANDARDS Language Acquire and use accurately gradeappropriate general academic and domain-specific words and phrases; gather vocabulary knowledge when considering a word or phrase important to comprehension or expression.

4 UNIT 1 • GENERATIONS

• Collaborate with your team to build on the ideas of others, develop consensus, and communicate. • Integrate audio, visuals, and text in presentations.


• Conduct research projects of various lengths to explore a topic and clarify meaning.

essential question: What can one generation learn from another?

Academic Vocabulary: Nonfiction Narrative Academic terms appear in all subjects and can help you read, write, and discuss with more precision. Nonfiction narratives are based on true events and written in a story form to engage and keep readers’ interest. Here are five academic words that will be useful to you in this unit as you write personal narratives. Complete the chart. 1. Review the word, its base, and mentor sentences. 2. Use the information and your own knowledge to predict the meaning of each word. 3. For each word, list at least two related words. 4. Refer to the dictionary or other resources if needed. WORD

SENTENCES

transition

1. The child made a smooth transition to the next grade.

BASE trans across context BASE texere to weave

2. We cannot solve this argument unless we have an honest dialogue.


dilemma

1. Jaime could not figure out a solution to his dilemma.

BASE

2. The new school rules put the teachers in a dilemma.

two sequence

1. The movie didn’t follow a logical sequence.

BASE

2. Timelines are useful when following a historical sequence of events.

sequi to follow

translation

2. Context is the best strategy to figure out a word’s meaning.

BASE

di

transfer,

1. The lawyer objected when the victim’s words were taken out of context.

1. The dialogue on the television show was very witty.

to speak

RELATED WORDS

2. The conjunctions in that sentence help to make a good transition between ideas.

dialogue

legein

PREDICT MEANING

Unit Introduction 5

UNIT

1 INTRODUCTION

LAUNCH TEXT | NONFICTION NARRATIVE

This text presents a nonfiction narrative, a type of writing in which an author explores an experience using descriptive details and events. This is the type of writing you will develop in the Performance-Based Assessment at the end of the unit. As you read, look at the way the writer conveys an experience she had with her grandmother.

Grounded

Marcy Domingo

2 3

4

5

6 7 8

9


G

rowing up I really didn’t know my grandmother. She was a private person, and didn’t talk about her past much, but I know she had one. She once told me that before she got married she was a backup singer in a band that I had actually heard of. But that’s all she would say about it, no matter how often I prodded. “El pasado es el pasado,” she told me. The past is the past. To me, she talked in Spanish. I talked back in English. We understood each other. The thing I remember most about Grandma Sofia was how much she loved driving, especially since she came to live with us. She had a 1960s red Chevy Impala convertible that was all her own, a remnant of her band days. She loved driving with the top down, the radio blasting, singing at the top of her lungs when a good song came on. Driving was her independence, her freedom. My parents, however, were concerned that she was getting too old to drive around by herself. One night, I overheard them: “She’s okay for now, but how long before she can’t manage?” “I’ll speak to her tomorrow.” I felt sick at the thought of Grandma giving up her car. I knew what driving meant to her. I knew that without her wheels she’d feel ordinary—just another grandma, hovering and wise. Sometimes it felt like Grandma and I were on the sidelines and my parents were in the middle, dragging us toward the center, where we did not want to be. I was often grounded for the smallest things. I didn’t really mind, under normal circumstances. SCAN FOR MULTIMEDIA


1


10

11

12

13

14

15

16 17 18

One time—the time I’m writing about—circumstances were not normal. My parents had grounded me for the weekend of Luisa’s party, easily the social event of the season. No way was I going to miss it. But my parents weren’t even going to be home! They were going to my Aunt Leticia’s. It would just be me and Grandma. Me and Grandma and a 1966 red Chevy Impala convertible . . . Saturday night arrived and I was itching to go to the party, so I did the unthinkable: I asked Grandma to drive me to Luisa’s. I figured she didn’t know about me being grounded. She looked at me quizzically and said she would. I got dressed and ran out to the car. She was waiting for me. I got in. The sky was just beginning to darken, blue clouds against a darker blue sky. Soon it would be nighttime. Grandma looked a little uncomfortable. At first I thought it was because she knew about me being grounded. But then I wondered if maybe she didn’t want to drive at night and didn’t want to tell me. At that moment I wouldn’t have minded getting out and going back home. I felt bad about Grandma. I felt bad about disobeying my parents. But how could I say any of this? We took off. She drove slowly, maybe too slowly. But we didn’t get very far. Suddenly she pulled over and stopped the car. We must have been sitting in that car for five minutes, which is a long time if you’re sitting in a car not talking. I couldn’t ask her if she stopped because she was nervous about driving. And I couldn’t ask if she stopped because she knew I was grounded. Finally she turned to me. “Regresamos?” Shall we turn back? “Sure,” I replied. I was so relieved I could have cried. “Bueno,” she said, with a nod. She started the car and turned on the radio. It was a song we both knew by heart. But it was clear that Grandma and I could still learn a lot from each other. ❧

NOTES


 WORD NETWORK for GENERATIONS Vocabulary A Word Network is a collection of words related to a topic. As you read the selections in this unit, identify interesting words related to the idea of generations and add them to your Word Network. For example, you might begin by adding words from the Launch Text, such as hovering, remnant, and independence. Continue to add words as you complete this unit.

hovering

remnant

GENERATIONS

independence

Tool Kit Word Network model

Grounded 7

UNIT

1 INTRODUCTION Summary Write a summary of “Grounded.” A summary is a concise, complete, and accurate overview of a text. It should not include a statement of your opinion or an analysis.

Conduct a Discussion Consider this statement: Senior citizens can learn a lot from younger people. Prepare for the discussion by thinking about the topic. • Give examples from stories you have heard or read. • Explain how the shared ideas clarify the statement. • Exchange ideas and comments about the examples that were discussed.



Launch Activity


QuickWrite Consider class discussions, presentations, the video, and the launch text as you think about the prompt. Record your first thoughts here. PROMPT: What

is an example of an insight passed between members of different generations?


 EVIDENCE LOG FOR GENERATIONS Review your QuickWrite and summarize your point of view in one sentence to record in your Evidence Log. Then, record evidence from “Grounded” that supports your point of view. After each selection, you will continue to use your Evidence Log to record the evidence you gather and the connections you make. This graphic shows what your Evidence Log looks like.

Title of Text: CONNECTION TO PROMPT

Date: TEXT EVIDENCE

How does this text change or add to my thinking?

ADDITIONAL NOTES/IDEAS

Date:

My position:

Tool Kit Evidence Log model

Grounded 9

OVERVIEW: WHOLE-CLASS LEARNING ESSENTIAL QUESTION:

What can one generation learn from another? The famous Indian leader Mahatma Gandhi said, “Learn as if you were to live forever.” You are always learning, from peers as well as from teachers, parents, and relatives. As you read, you will work with your whole class to explore the ways that people of different generations can learn from each other.

Whole-Class Learning Strategies Throughout your life, you’ll continue to develop strategies that make you a better learner. In school, in your community, in college, and in your career, you will continue to develop strategies for learning in large-group environments. Review these strategies and the actions you can take to practice them. Add ideas of your own for each category. STRATEGY

ACTION PLAN

Listen actively

• Eliminate distractions. For example, put your cell phone away. • Keep your eyes on the speaker. •

Clarify by asking questions

• If you’re confused, other people probably are, too. Ask a question to help your whole class. • If you see that you are guessing, ask a question instead.

Monitor understanding

• Notice what information you already know and be ready to build on it. • Ask for help if you are struggling. •

Interact and share ideas

• Share your ideas and answer questions, even if you are unsure. • Build on the ideas of others by adding details or making a connection. •



•

CONTENTS ANCHOR TEXT: NOVEL EXCERPT

Two Kinds from The Joy Luck Club Amy Tan A daughter feels stifled by her mother’s high expectations.

ANCHOR TEXT: NEWS BLOG

A Simple Act Tyler Jackson

COMPARE TEXTS

A chance encounter changes two people’s lives forever.

ANCHOR TEXT: MEMOIR

from An Invisible Thread Laura Schroff and Alex Tresniowski


Two friends celebrate an unlikely bond.

PERFORMANCE TASK WRITING FOCUS

Write a Nonfiction Narrative The Whole-Class readings illustrate the influence of one generation on another. After reading, you will write a nonfiction narrative in which you relate an experience in which you or someone you know was influenced by a person of a different generation.

Overview: Whole-Class Learning 11

MAKING MEANING About the Author

Two Kinds Concept Vocabulary You will encounter the following words as you read “Two Kinds.” Before reading, note how familiar you are with each word. Then, rank the words in order from most familiar (1) to least familiar (6).

Tool Kit First-Read Guide and Model Annotation

 STANDARDS Reading Literature Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of rhymes and other repetitions of sounds (e.g., alliteration) on a specific verse or stanza of a poem or section of a story or drama.


WORD

YOUR RANKING

lamented indignity reproach discordant squabbling devastated

First Read Apply these strategies as you conduct your first read. You will have an opportunity to complete the close-read notes after your first read.

NOTICE who the story is about, what happens, where and when it happens, and why those involved react as they do.

ANNOTATE by marking vocabulary and key passages you want to revisit.

CONNECT ideas within the selection to what you already know and what you have already read.

RESPOND by completing the Comprehension Check and by writing a brief summary of the selection.


If her mother had gotten her way, Amy Tan (b. 1952) would have two professions—doctor and concert pianist. Although Tan showed early promise in music, at 37 she became a successful fiction writer instead. Tan has written many books—most for adults, and some for children. Writing is sometimes tough, Tan admits, but she keeps this in mind: “A story should be a gift.” That thought propels Tan to keep creating memorable characters and events.

ANCHOR TEXT | NOVEL EXCERPT

Two from

Kinds

The Joy Luck Club

Amy Tan

BACKGROUND In 1949, following years of civil war, the Communist party seized control of China. A number of Chinese who feared Communists—like the mother in “Two Kinds”—fled to the United States. Many lost everything except their hopes for a better future. They placed these hopes on the shoulders of their children born in the new land.


1

2

3

M

y mother believed you could be anything you wanted to be in America. You could open a restaurant. You could work for the government and get good retirement. You could buy a house with almost no money down. You could become rich. You could become instantly famous. “Of course, you can be prodigy,1 too,” my mother told me when I was nine. “You can be best anything. What does Auntie Lindo know? Her daughter, she is only best tricky.” America was where all my mother’s hopes lay. She had come here in 1949 after losing everything in China: her mother and father, her family home, her first husband, and two daughters, twin baby girls. But she never looked back with regret. There were so many ways for things to get better.

SCAN FOR MULTIMEDIA

NOTES

* * *

Two Kinds 13

CLOSE READ ANNOTATE: Mark words

in paragraphs 4–7 that indicate the mother’s exact words. QUESTION: What is

the mother telling her daughter?

5

6

CONCLUDE: What can you infer about how the narrator feels in response to her mother?

lamented (luh MEHNT ihd) v. expressed regret

7

8

9

indignity (ihn DIHG nuh tee) n. feeling that one has been disrespected reproach (rih PROHCH) n. criticism or disapproval

10

11

We didn’t immediately pick the right kind of prodigy. At first my mother thought I could be a Chinese Shirley Temple.2 We’d watch Shirley’s old movies on TV as though they were training films. My mother would poke my arm and say, “Ni kan”—You watch. And I would see Shirley tapping her feet, or singing a sailor song, or pursing her lips into a very round O while saying, “Oh my goodness.” “Ni kan,” said my mother as Shirley’s eyes flooded with tears. “You already know how. Don’t need talent for crying!” Soon after my mother got this idea about Shirley Temple, she took me to a beauty training school in the Mission district and put me in the hands of a student who could barely hold the scissors without shaking. Instead of getting big fat curls, I emerged with an uneven mass of crinkly black fuzz. My mother dragged me off to the bathroom and tried to wet down my hair. “You look like Negro Chinese,” she lamented, as if I had done this on purpose. The instructor of the beauty training school had to lop off these soggy clumps to make my hair even again. “Peter Pan is very popular these days,” the instructor assured my mother. I now had hair the length of a boy’s, with straight-across bangs that hung at a slant two inches above my eyebrows. I liked the haircut and it made me actually look forward to my future fame. In fact, in the beginning, I was just as excited as my mother, maybe even more so. I pictured this prodigy part of me as many different images, trying each one on for size. I was a dainty ballerina girl standing by the curtains, waiting to hear the right music that would send me floating on my tiptoes. I was like the Christ child lifted out of the straw manger, crying with holy indignity. I was Cinderella stepping from her pumpkin carriage with sparkly cartoon music filling the air. In all of my imaginings, I was filled with a sense that I would soon become perfect. My mother and father would adore me. I would be beyond reproach. I would never feel the need to sulk for anything. But sometimes the prodigy in me became impatient. “If you don’t hurry up and get me out of here, I’m disappearing for good,” it warned. “And then you’ll always be nothing.” * * *

12


Every night after dinner, my mother and I would sit at the Formica kitchen table. She would present new tests, taking her examples from stories of amazing children that she read in Ripley’s Believe It or Not, or Good Housekeeping, Reader’s Digest, and a dozen other magazines she kept in a pile in our bathroom. My mother got these magazines from people whose houses she cleaned.


4

NOTES

13

14

15

16

17

18


19

20

And since she cleaned many houses each week, we had a great assortment. She would look through them all, searching for stories about remarkable children. The first night she brought out a story about a three-year-old boy who knew the capitals of all the states and even most of the European countries. A teacher was quoted as saying the little boy could also pronounce the names of the foreign cities correctly. “What’s the capital of Finland?” My mother asked me, looking at the magazine story. All I knew was the capital of California, because Sacramento was the name of the street we lived on in Chinatown. “Nairobi!” I guessed, saying the most foreign word I could think of. She checked to see if that was possibly one way to pronounce “Helsinki” before showing me the answer. The tests got harder—multiplying numbers in my head, finding the queen of hearts in a deck of cards, trying to stand on my head without using my hands, predicting the daily temperatures in Los Angeles, New York, and London. One night I had to look at a page from the Bible for three minutes and then report everything I could remember. “Now Jehoshaphat had riches and honor in abundance and . . . that’s all I remember, Ma,” I said. And after seeing my mother’s disappointed face once again, something inside of me began to die. I hated the tests, the raised hopes and failed expectations. Before going to bed that night, I looked in the mirror above the bathroom sink and when I saw only my face staring back—and that it would always be this ordinary face—I began to cry. Such a sad, ugly girl! I made highpitched noises like a crazed animal, trying to scratch out the face in the mirror. And then I saw what seemed to be the prodigy side of me—because I had never seen that face before. I looked at my reflection, blinking so I could see more clearly. The girl staring back at me was angry, powerful. This girl and I were the same. I had new thoughts, willful thoughts, or rather thoughts filled with lots of won’ts. I won’t let her change me, I promised myself. I won’t be what I’m not. So now on nights when my mother presented her tests, I performed listlessly, my head propped on one arm. I pretended to be bored. And I was. I got so bored I started counting the bellows of the foghorns out on the bay while my mother drilled me in other areas. The sound was comforting and reminded me of the cow jumping over the moon. And the next day, I played a game with myself, seeing if my mother would give up on me before eight bellows. After a while I usually counted only one, maybe two bellows at most. At last she was beginning to give up hope.

NOTES


in paragraphs 18 and 19 that show the narrator’s contrasting, or differing, feelings about herself. QUESTION: What do

these contrasting feelings reveal about the narrator’s personality? CONCLUDE: What conflict, or struggle, might arise between the narrator and her mother as a result of the narrator’s feelings?

Two Kinds 15

22

23

24


Two or three months had gone by without any mention of my being a prodigy again. And then one day my mother was watching The Ed Sullivan Show3 on TV. The TV was old and the sound kept shorting out. Every time my mother got halfway up from the sofa to adjust the set, the sound would go back on and Ed would be talking. As soon as she sat down, Ed would go silent again. She got up, the TV broke into loud piano music. She sat down. Silence. Up and down, back and forth, quiet and loud. It was like a stiff embraceless dance between her and the TV set. Finally, she stood by the set with her hand on the sound dial. She seemed entranced by the music, a little frenzied piano piece with this mesmerizing quality, sort of quick passages and then teasing lilting ones before it returned to the quick playful parts. “Ni kan,” my mother said, calling me over with hurried hand gestures. “Look here.” I could see why my mother was fascinated by the music. It was being pounded out by a little Chinese girl, about nine years old, with a Peter Pan haircut. The girl had the sauciness of a Shirley Temple. She was proudly modest like a proper Chinese child. And she also did this fancy sweep of a curtsy, so that the fluffy skirt of her white dress cascaded slowly to the floor like the petals of a large carnation.


21

NOTES

25

26

27

28

29

30

31

32

33


34

35

36

In spite of these warning signs, I wasn’t worried. Our family had no piano and we couldn’t afford to buy one, let alone reams of sheet music and piano lessons. So I could be generous in my comments when my mother bad-mouthed the little girl on TV. “Play note right, but doesn’t sound good! No singing sound,” complained my mother. “What are you picking on her for?” I said carelessly. “She’s pretty good. Maybe she’s not the best, but she’s trying hard.” I knew almost immediately that I would be sorry I said that. “Just like you,” she said. “Not the best. Because you not trying.” She gave a little huff as she let go of the sound dial and sat down on the sofa. The little Chinese girl sat down also to play an encore of “Anitra’s Dance” by Grieg.4 I remember the song, because later on I had to learn how to play it. Three days after watching The Ed Sullivan Show, my mother told me what my schedule would be for piano lessons and piano practice. She had talked to Mr. Chong, who lived on the first floor of our apartment building. Mr. Chong was a retired piano teacher and my mother had traded housecleaning services for weekly lessons and a piano for me to practice on every day, two hours a day, from four until six. When my mother told me this, I felt as though I had been sent to hell. I whined and then kicked my foot a little when I couldn’t stand it anymore. “Why don’t you like me the way I am? I’m not a genius! I can’t play the piano. And even if I could, I wouldn’t go on TV if you paid me a million dollars!” I cried. My mother slapped me. “Who ask you be genius?” she shouted. “Only ask you be your best. For you sake. You think I want you be genius? Hnnh! What for! Who ask you!” “So ungrateful,” I heard her mutter in Chinese, “If she had as much talent as she has temper, she would be famous now.” Mr. Chong, whom I secretly nicknamed Old Chong, was very strange, always tapping his fingers to the silent music of an invisible orchestra. He looked ancient in my eyes. He had lost most of the hair on top of his head and he wore thick glasses and had eyes that always looked tired and sleepy. But he must have been younger than I thought, since he lived with his mother and was not yet married. I met Old Lady Chong once and that was enough. She had this peculiar smell like a baby that had done something in its pants. And her fingers felt like a dead person’s, like an old peach I once found in the back of the refrigerator; the skin just slid off the meat when I picked it up.

NOTES

CLOSE READ ANNOTATE: Annotate the

punctuation in paragraphs 32 and 33 that reveals how the mother and daughter communicate. QUESTION: What does

the punctuation reveal about these characters? CONCLUDE: How does this dialogue help you understand the conflict between the mother and her daughter?

Two Kinds 17

38

39

40

41

CLOSE READ ANNOTATE: In paragraph

43, annotate insights the narrator has as an adult. QUESTION: What

motivates the daughter to play so badly?

42

CONCLUDE: Does the

narrator think she always behaved correctly as a child? 43

discordant (dihs KAWRD uhnt) adj.lacking harmony

squabbling (SKWAHB blihng) v. fighting noisily over small matters


44

I soon found out why Old Chong had retired from teaching piano. He was deaf. “Like Beethoven!”5 he shouted to me. “We’re both listening only in our head!” And he would start to conduct his frantic silent sonatas. Our lessons went like this. He would open the book and point to different things, explaining their purpose: “Key! Treble! Bass! No sharps or flats! So this is C major! Listen now and play after me!” And then he would play the C scale a few times, a simple chord, and then, as if inspired by an old, unreachable itch, he gradually added more notes and running trills and a pounding bass until the music was really something quite grand. I would play after him, the simple scale, the simple chord, and then I just played some nonsense that sounded like a cat running up and down on top of garbage cans. Old Chong smiled and applauded and then said, “Very good! But now you must learn to keep time!” So that’s how I discovered that Old Chong’s eyes were too slow to keep up with the wrong notes I was playing. He went through the motions in half-time. To help me keep rhythm, he stood behind me, pushing down on my right shoulder for every beat. He balanced pennies on top of my wrists so I would keep them still as I slowly played scales and arpeggios.6 He had me curve my hand around an apple and keep that shape when playing chords. He marched stiffly to show me how to make each finger dance up and down, staccato7 like an obedient little soldier. He taught me all these things, and that was how I also learned I could be lazy and get away with mistakes, lots of mistakes. If I hit the wrong notes because I hadn’t practiced enough, I never corrected myself. I just kept playing in rhythm. And Old Chong kept conducting his own private reverie. So maybe I never really gave myself a fair chance. I did pick up the basics pretty quickly, and I might have become a good pianist at that young age. But I was so determined not to try, not to be anybody different that I learned to play only the most ear-splitting preludes, the most discordant hymns. Over the next year, I practiced like this, dutifully in my own way. And then one day I heard my mother and her friend Lindo Jong both talking in a loud bragging tone of voice so others could hear. It was after church, and I was leaning against the brick wall wearing a dress with stiff white petticoats. Auntie Lindo’s daughter, Waverly, who was about my age, was standing farther down the wall about five feet away. We had grown up together and shared all the closeness of two sisters squabbling over crayons and dolls. In other words, for the most part, we hated each other. I thought she was snotty. Waverly Jong had


37

NOTES

45

46

47

48

gained a certain amount of fame as “Chinatown’s Littlest Chinese Chess Champion.” “She bring home too many trophy,” lamented Auntie Lindo that Sunday. “All day she play chess. All day I have no time do nothing but dust off her winnings.” She threw a scolding look at Waverly, who pretended not to see her. “You lucky you don’t have this problem,” said Auntie Lindo with a sigh to my mother. And my mother squared her shoulders and bragged: “Our problem worser than yours. If we ask Jing-mei wash dish, she hear nothing but music. It’s like you can’t stop this natural talent.” And right then, I was determined to put a stop to her foolish pride.

NOTES

* * * 49

50


51

52

53

A few weeks later, Old Chong and my mother conspired to have me play in a talent show which would be held in the church hall. By then, my parents had saved up enough to buy me a secondhand piano, a black Wurlitzer spinet with a scarred bench. It was the showpiece of our living room. For the talent show, I was to play a piece called “Pleading Child” from Schumann’s8 Scenes from Childhood. It was a simple, moody piece that sounded more difficult than it was. I was supposed to memorize the whole thing, playing the repeat parts twice to make the piece sound longer. But I dawdled over it, playing a few bars and then cheating, looking up to see what notes followed. I never really listened to what I was playing. I daydreamed about being somewhere else, about being someone else. The part I liked to practice best was the fancy curtsy: right foot out, touch the rose on the carpet with a pointed foot, sweep to the side, left leg bends, look up and smile. My parents invited all the couples from the Joy Luck Club to witness my debut. Auntie Lindo and Uncle Tin were there. Waverly and her two older brothers had also come. The first two rows were filled with children both younger and older than I was. The littlest ones got to go first. They recited simple nursery rhymes, squawked out tunes on miniature violins, twirled Hula Hoops, pranced in pink ballet tutus, and when they bowed or curtsied, the audience would sigh in unison, “Awww,” and then clap enthusiastically. When my turn came, I was very confident. I remember my childish excitement. It was as if I knew, without a doubt, that the prodigy side of me really did exist. I had no fear whatsoever, no nervousness. I remember thinking to myself, This is it! This is it!


in paragraph 50 that describe the piece the narrator will play in the talent show. QUESTION: Why does the

narrator include specific details about the piece? CONCLUDE: How does the

music reflect the narrator’s situation?

Two Kinds 19

CLOSE READ

54

ANNOTATE: In paragraph

54, mark adjectives that describe the daughter’s experience at the talent show. QUESTION: How do these

words describe both the music and the daughter? CONCLUDE: What does the daughter learn about herself while playing?

55

56

57

58

59

60


I looked out over the audience, at my mother’s blank face, my father’s yawn, Auntie Lindo’s stiff-lipped smile, Waverly’s sulky expression. I had on a white dress, layered with sheets of lace, and a pink bow in my Peter Pan haircut. As I sat down, I envisioned people jumping to their feet and Ed Sullivan rushing up to introduce me to everyone on TV. And I started to play. It was so beautiful. I was so caught up in how lovely I looked that at first I didn’t worry how I would sound. So it was a surprise to me when I hit the first wrong note and I realized something didn’t sound quite right. And then I hit another and another followed that. A chill started at the top of my head and began to trickle down. Yet I couldn’t stop playing, as though my hands were bewitched. I kept thinking my fingers would adjust themselves back, like a train switching to the right track. I played this strange jumble through two repeats, the sour notes staying with me all the way to the end. When I stood up, I discovered my legs were shaking. Maybe I had just been nervous and the audience, like Old Chong, had seen me go through the right motions and had not heard anything wrong at all. I swept my right foot out, went down on my knee, looked up and smiled. The room was quiet, except for Old Chong, who was beaming and shouting “Bravo! Bravo! Well done!” But then I saw my mother’s face, her stricken face. The audience clapped weakly, and as I walked back to my chair, with my whole face quivering as I tried not to cry, I heard a little boy whisper loudly to his mother, “That was awful,” and the mother whispered back, “Well, she certainly tried.” And now I realized how many people were in the audience, the whole world it seemed. I was aware of eyes burning into my back. I felt the shame of my mother and father as they sat stiffly throughout the rest of the show. We could have escaped during intermission. Pride and some strange sense of honor must have anchored my parents to their chairs. And so we watched it all: the eighteen-year-old boy with a fake moustache who did a magic show and juggled flaming hoops while riding a unicycle. The breasted girl with white makeup who sang from Madama Butterfly and got honorable mention. And the eleven-year-old boy who won first prize playing a tricky violin song that sounded like a busy bee. After the show, the Hsus, the Jongs, and the St. Clairs from the Joy Luck Club came up to my mother and father. “Lots of talented kids,” Auntie Lindo said vaguely, smiling broadly. “That was somethin’ else,” said my father, and I wondered if he was referring to me in a humorous way, or whether he even remembered what I had done.


NOTES

61

62

Waverly looked at me and shrugged her shoulders. “You aren’t a genius like me,” she said matter-of-factly. And if I hadn’t felt so bad, I would have pulled her braids and punched her stomach. But my mother’s expression was what devastated me: a quiet, blank look that said she had lost everything. I felt the same way, and it seemed as if everybody were now coming up, like gawkers at the scene of an accident, to see what parts were actually missing. When we got on the bus to go home, my father was humming the busy-bee tune and my mother was silent. I kept thinking she wanted to wait until we got home before shouting at me. But when my father unlocked the door to our apartment, my mother walked in and then went to the back, into the bedroom. No accusations. No blame. And in a way, I felt disappointed. I had been waiting for her to start shouting, so I could shout back and cry and blame her for all my misery.

NOTES

devastated (DEH vuh destroyed; completely upset

stayt ihd) v.

* * * 63

64

65 66


67

68

69

70

71 72

I assumed my talent-show fiasco meant I never had to play the piano again. But two days later, after school, my mother came out of the kitchen and saw me watching TV. “Four clock,” she reminded me as if it were any other day. I was stunned, as though she were asking me to go through the talent-show torture again. I wedged myself more tightly in front of the TV. “Turn off TV,” she called from the kitchen five minutes later. I didn’t budge. And then I decided. I didn’t have to do what my mother said anymore. I wasn’t her slave. This wasn’t China. I had listened to her before and look what happened. She was the stupid one. She came out from the kitchen and stood in the arched entryway of the living room. “Four clock,” she said once again, louder. “I’m not going to play anymore,” I said nonchalantly. “Why should I? I’m not a genius.” She walked over and stood in front of the TV. I saw her chest was heaving up and down in an angry way. “No!” I said, and I now felt stronger, as if my true self had finally emerged. So this was what had been inside me all along. “No! I won’t!” I screamed. She yanked me by the arm, pulled me off the floor, snapped off the TV. She was frighteningly strong, half pulling, half carrying me toward the piano as I kicked the throw rugs under my feet. She lifted me up and onto the hard bench. I was sobbing by now, looking at her bitterly. Her chest was heaving even more and her

Two Kinds 21

73

74

75

76 77

CLOSE READ

78

ANNOTATE: Mark words

in paragraph 78 that describe the mother’s reaction.

79

QUESTION: How do these

words contrast with the mother’s usual character? CONCLUDE: How does the mother’s reaction compare with her response after the talent show?

80

81

82

CLOSE READ

83

ANNOTATE: In paragraphs

83 and 84, mark words that describe the piano.

84

QUESTION: Does the

piano mean the same thing to the mother and daughter?

85

CONCLUDE: What

idea does the piano symbolize, or represent?


86

mouth was open, smiling crazily as if she were pleased I was crying. “You want me to be someone that I’m not!” I sobbed. “I’ll never be the kind of daughter you want me to be!” “Only two kinds of daughters,” she shouted in Chinese. “Those who are obedient and those who follow their own mind! Only one kind of daughter can live in this house. Obedient daughter!” “Then I wish I wasn’t your daughter. I wish you weren’t my mother,” I shouted. As I said these things I got scared. It felt like worms and toads and slimy things crawling out of my chest, but it also felt good, as if this awful side of me had surfaced, at last. “Too late change this,” said my mother shrilly. And I could sense her anger rising to its breaking point. I wanted to see it spill over. And that’s when I remembered the babies she had lost in China, the ones we never talked about. “Then I wish I’d never been born!” I shouted. “I wish I were dead! Like them.” It was as if I had said the magic words. Alakazam!—and her face went blank, her mouth closed, her arms went slack, and she backed out of the room, stunned, as if she were blowing away like a small brown leaf, thin, brittle, lifeless. It was not the only disappointment my mother felt in me. In the years that followed, I failed her so many times, each time asserting my own will, my right to fall short of expectations. I didn’t get straight A’s. I didn’t become class president. I didn’t get into Stanford. I dropped out of college. For unlike my mother, I did not believe I could be anything I wanted to be. I could only be me. And for all those years, we never talked about the disaster at the recital or my terrible accusations afterward at the piano bench. All that remained unchecked, like a betrayal that was now unspeakable. So I never found a way to ask her why she had hoped for something so large that failure was inevitable. And even worse, I never asked her what frightened me the most: Why had she given up hope? For after our struggle at the piano, she never mentioned my playing again. The lessons stopped. The lid to the piano was closed, shutting out the dust, my misery, and her dreams. So she surprised me. A few years ago, she offered to give me the piano, for my thirtieth birthday. I had not played in all those years. I saw the offer as a sign of forgiveness, a tremendous burden removed. “Are you sure?” I asked shyly. “I mean, won’t you and Dad miss it?” “No, this your piano,” she said firmly. “Always your piano. You only one can play.”


NOTES

87 88

89 90

91

“Well, I probably can’t play anymore,” I said. “It’s been years.” “You pick up fast,” said my mother, as if she knew this was certain. “You have natural talent. You could been genius if you want to.” “No I couldn’t.” “You just not trying,” said my mother. And she was neither angry nor sad. She said it as if to announce a fact that could never be disproved. “Take it,” she said. But I didn’t at first. It was enough that she had offered it to me. And after that, every time I saw it in my parents’ living room, standing in front of the bay windows, it made me feel proud, as if it were a shiny trophy I had won back.

NOTES

* * *

Last week I sent a tuner over to my parents’ apartment and had the piano reconditioned, for purely sentimental reasons. My mother had died a few months before and I had been getting things in order for my father, a little bit at a time. I put the jewelry in special silk pouches. The sweaters she had knitted in yellow, pink, bright orange— all the colors I hated—I put those in moth-proof boxes. I found some old Chinese silk dresses, the kind with little slits up the sides. I rubbed the old silk against my


92

Two Kinds 23

NOTES 93

94

95

skin, then wrapped them in tissue and decided to take them home with me. After I had the piano tuned, I opened the lid and touched the keys. It sounded even richer than I remembered. Really, it was a very good piano. Inside the bench were the same exercise notes with handwritten scales, the same secondhand music books with their covers held together with yellow tape. I opened up the Schumann book to the dark little piece I had played at the recital. It was on the left-hand side of the page, “Pleading Child.” It looked more difficult than I remembered. I played a few bars, surprised at how easily the notes came back to me. And for the first time, or so it seemed, I noticed the piece on the right-hand side. It was called “Perfectly Contented.” I tried to play this one as well. It had a lighter melody but the same flowing rhythm and turned out to be quite easy. “Pleading Child” was shorter but slower; “Perfectly Contented” was longer, but faster. And after I played them both a few times, I realized they were two halves of the same song. ❧


1. prodigy (PROD uh jee) n. child of unusually high talent. 2. Shirley Temple American child star of the 1930s. She starred in her first movie at age three and won an Academy Award at age six. 3. The Ed Sullivan Show popular television variety show that ran from 1948 to 1971. 4. Grieg (greeg) Edvard Grieg (1843–1907), Norwegian composer. 5. Beethoven (BAY toh vuhn) Ludwig van Beethoven (1770–1827), German composer. Some of his greatest pieces were written when he was completely deaf. 6. arpeggios (ahr PEHJ ohz) n. notes in a chord played separately in quick succession. 7. staccato (stuh KAHT oh) adv. played crisply, with clear breaks between notes. 8. Schumann (SHOO mahn) Robert Alexander Schumann (1810–1856), German composer.


Comprehension Check Complete the following items after you finish your first read. 1. In what ways does the mother pressure her daughter to change?

2. How does the mother arrange for the daughter to take piano lessons?

3. How does the daughter prepare for the talent show?

4. What happens when the narrator performs at the talent show?


5. What happens to the piano at the end of the story?

Notebook Draw a storyboard of key events in “Two Kinds” to confirm your understanding of the story.

RESEARCH Research to Clarify Choose at least one unfamiliar detail from the text. Briefly research that detail. In what way does the information you learned shed light on an aspect of the story?

Research to Explore Research an aspect of traditional Chinese parent-child relationships. For example, you might focus on parental expectations regarding marriage or education. Before you begin your research, write a specific research question to focus your search. Two Kinds 25

making meaning

Close Read the Text 1. Look at this model and the steps of a close read. This model provides two annotations to show that each reader may find different points to study. TWO KINDS

ANNOTATE: The author uses italics to emphasize a specific word. QUESTION: Why is the word perfect emphasized? (It shows that the narrator thinks “being perfect” is important and within her reach.) CONCLUDE: “Being perfect” is a goal that is impossible to achieve, so the narrator is setting herself up for failure.

In all of my imaginings, I was filled with a sense that I would soon become perfect. My mother and father would adore me. I would be beyond reproach. I would never feel the need to sulk for anything.

Close-Read Guide and Model Annotation

QUESTION: What idea is stressed by the repetition of the word would? (The idea of future possibilities.) CONCLUDE: The repetition of the word would is used to show the narrator’s hopes for the future. It also shows that she does not feel that her parents adore her, she often feels criticized, and she likely sulks a lot.

2. For more practice, go back into the text and complete the close-read sections in the side columns. 3. Revisit a section of the text you found important. Read this section and annotate what you notice. Ask yourself questions such as, “Why did the author make this choice?” What can you conclude?

Analyze the Text

Cite textual evidence to support your answers.

Notebook Respond to these questions.

 Standards Reading Literature • Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. • Analyze how an author develops and contrasts the points of view of different characters or narrators in a text.

26 UNIT 1 • Generations

1. (a) Compare and Contrast How are the mother and her daughter similar and different? (b) Analyze Cause and Effect How does the difference in their attitudes cause problems? 2. Make a Judgment Should the narrator’s mother have pushed the daughter as she did? 3. Draw Conclusions In this story, conflict, or a struggle between the characters, results when a mother pushes her daughter to succeed. Is there a winner in this conflict? Explain. 4. Essential Question What can one generation learn from another? What have you learned about how people of different generations interact by reading this story?


Tool Kit

ANNOTATE: The word would is repeated several times.


Analyze Craft and Structure Character and Point of View A character is a person or an animal in a literary work. • Character traits are the individual qualities that make each character unique.You can identify character traits by making inferences, or educated guesses, about a character based on how he or she thinks, acts, and speaks. • A character’s motives are the emotions or goals that drive him or her to act in a certain way. A character’s point of view is his or her unique perspective. • When a story is told from the first-person point of view, the narrator is a character who participates in the action and uses the first-person pronoun I. • When a story is told from the third-person point of view, the narrator is not a character in the story. He or she uses third-person pronouns such as he or she to refer to the characters.

CITE TEXTUAL EVIDENCE to support your answers.

Practice Notebook Respond to these questions.

1. Classify Using a diagram like the one shown, list the daughter’s character traits, supporting your answers with story details.


The Daughter

2. (a) Analyze What motives does the daughter have to rebel against her mother? (b) Draw Conclusions What are the mother’s character traits and motives that cause her to keep pushing her daughter? 3. (a) From what point of view is the story told? (b) Deduce What details in the text enabled you to identify the point of view? 4. Describe the point of view from which the story is told. 5. Speculate How might the story be different if it were told from the mother’s point of view?

Two Kinds 27

LANGUAGE DEVELOPMENT

Concept Vocabulary

TWO KINDS

lamented

reproach

squabbling

indignity

discordant

devastated

Why These Words? These concept words help us describe conflict between people. For example, the narrator fantasizes that she might one day be beyond reproach. The word reproach describes the heavy criticism that she feels motivates many of her mother’s actions. 1. How does the concept vocabulary sharpen the reader’s understanding of the conflict between the mother and her daughter?

2. What other words in the selection connect to the concept of people responding to conflict and stress?

Practice Notebook The words listed above appear in “Two Kinds.” Answer the questions, using the vocabulary words to show your understanding. 1. What is one indignity that the narrator’s mother suffered? 2. What kind of reproach might you give to a friend who forgot your birthday? 3. Why might neighbors complain about loud, discordant music? 4. What advice can you give people to help them avoid squabbling? 5. If a student lamented after taking a test, how did it probably go?

Word Study Latin prefix in- The prefix in- means “not.” By adding this prefix, the original word takes on the opposite meaning. 1. Write a definition of the word indignity based on your knowledge of the prefix in.  STANDARDS Language • Use common, grade-appropriate Greek or Latin affixes and roots as clues to the meaning of a word (e.g., belligerent, bellicose, rebel). • Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.


2. Define these words that include the same prefix: incapable, inefficient, insensitive.


6. When might you be devastated if your phone didn’t work?


Conventions Nouns and Pronouns A common noun names a person, place, or thing. A proper noun names a specific person, place, or thing. A possessive noun shows ownership. Common Nouns

Proper Nouns

Possessive Nouns

mother, daughter, country, street

Mr. Chong, China, Main Street

the audience’s reaction Lucas’s piano the musicians’ bows the children’s concert

A personal pronoun takes the place of a noun or another pronoun named elsewhere in the text. A possessive pronoun shows possession or ownership. Personal Pronouns

I, me, we, us, you, he, him, she, her, it, they, them

Possessive Pronouns

my, mine, our, ours, your, yours, his, hers, its, their, theirs

Read It Reread paragraph 29 of “Two Kinds.” Mark the nouns. Then, classify each noun as common or proper. Finally, identify the possessive noun in the paragraph.

Write It Notebook Revise the sentences. Replace nouns with appropriate pronouns. © Pearson Education, Inc., or its affiliates. All rights reserved.

1. When the daughter performed, the daughter’s playing was sloppy. 2. My father listened patiently, although my father did not want to be there. 3. The youngest children played first. Most of the youngest children were prepared. Write three sentences about an important scene between the mother and daughter. Include at least one common, proper, or possessive noun in each sentence.

Two Kinds 29

EFFECTIVE EXPRESSION

Writing to Sources

TWO KINDS

A nonfiction narrative is written in first-person or third-person point of view. Rewriting a scene from another character’s point of view can help you imagine how that character’s experience differs from the original point of view.

Assignment Choose a scene from the story and retell it from the mother’s point of view. • Review the story and note important details that can help you identify the mother’s character traits and motives. Use these details to ensure that you accurately portray the mother’s character in your retelling. • Present a clear sequence of events for the scene that you chose. • Use narrative techniques, such as dialogue and description, to convey the mother’s thoughts and feelings.

Vocabulary and Conventions Connection Include several of the concept vocabulary words in your scene. Be sure to establish a clear point of view and clarify the relationship between characters. lamented

reproach

squabbling

indignity

discordant

devastated

Reflect on Your Writing

 STANDARDS Writing • Engage and orient the reader by establishing a context and point of view and introducing a narrator and/ or characters; organize an event sequence that unfolds naturally and logically. • Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters. Speaking and Listening Present claims and findings (e.g., argument, narrative, summary presentations), emphasizing salient points in a focused, coherent manner with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate volume, and clear pronunciation.


1. How did writing from the mother’s point of view help you understand her perspective?

2. What narrative techniques did you use in your writing? Which narrative technique do you think is most effective in portraying the mother’s character?

3. Why These Words? The words you choose make a difference in your writing. Which words did you specifically choose to bring the mother’s point of view to life?


After you have written your scene, answer the following questions.


Speaking and Listening A monologue is a dramatic speech presented by a single character. The character speaks from the first person point of view and relates his or her thoughts and feelings about an event.

Assignment Review paragraphs 18 through 20 and develop a dramatic monologue in which the daughter expresses aloud her thoughts as she looks in the mirror after disappointing her mother again. 1. Organize Your Monologue Use an outline to gather ideas. What happened earlier in the story?

Think about how these events influence the daughter’s feelings when she starts talking.

How will your monologue begin?

Choose a strong statement to grab your audience’s interest and pull them into the situation.

What happens during the monologue?

Show how the daughter’s thoughts and feelings change during the monologue.

How will your monologue end?

Conclude your monologue with a statement that ends the scene and leaves your audience with something to think about.

2. Prepare Your Delivery Using the notes in your outline, practice your monologue. • Maintain eye contact with your audience. • Change your volume to reflect emotion.


3. Evaluate Monologues Use a presentation evaluation guide like the one shown to analyze your classmates’ monologues. Presentation Evaluation Guide

 evidence log

Rate each statement on a scale of 1 (not demonstrated) to 5 (demonstrated).

Before moving on to a new selection, go to your Evidence Log and record what you learned from “Two Kinds.”

The speaker communicated events from the daughter’s point of view. The speaker provided details from the story to demonstrate shifts in feeling. The speaker maintained eye contact with the audience. The speaker used volume effectively. The speech was clear and easy to follow.

Two Kinds 31

MAKING MEANING

Comparing Texts

A SIMPLE ACT

About the Author Tyler Jackson (b. 1981) was raised in England but has traveled extensively, writing about many of the places he has lived. Jackson has survived a hurricane in North Carolina and a flood in Texas, and says “People pull together in a disaster, but it’s remarkable to see the small acts of kindness that usually go unreported.”

In this lesson, you will read and compare “A Simple Act” and an excerpt from An Invisible Thread. First you will complete the first-read and close-read activities for “A Simple Act.”

An Invisible Thread

A Simple Act Concept Vocabulary You will encounter the following words as you read “A Simple Act.” Before reading, rate how familiar you are with each word. Indicate how well you know it on a scale of 1 (do not know it) to 5 (know it very well). WORD

YOUR RANKING

connects influence together encouraged bond

After completing the First Read, come back to the selection vocabulary and review your ratings. Mark any changes to the order you wrote.

First Read

NOTICE details in the text that present and support a claim.


CONNECT ideas within the selection to what you already know and what you have already said.


 STANDARDS Reading Informational Texts • Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. • Analyze the structure an author uses to organize a text, including how the major sections contribute to the whole and to the development of the ideas.



Apply these strategies as you conduct your first read. You will have an opportunity to complete the close-read notes after your first read.

ANCHOR TEXT | NEWS BLOG

A

Simple Act © Pearson Education, Inc., or its affiliates. All rights reserved.

Tyler Jackson

BACKGROUND In a big city like New York, thousands of strangers from many different backgrounds cross paths every day. But they rarely stop on the street to get to know each other. When people from very different places make the effort to connect, unexpected friendships can form.

1

I

t was the first day of September in 1986, and the morning rain had given way to bright sunshine. A successful advertising executive1 made her way across 56th street toward Broadway, on the west side of Manhattan. A young boy—all of eleven years

SCAN FOR MULTIMEDIA

NOTES

1. executive n. person who manages or directs other people in a company or organization.

A Simple Act 33

2

connects (kuh NEHKTS) v. joins together influence (IHN floo uhns) n. affect someone in an important way

together (tuh GETH uhr) adv. with each other

3

4

encouraged (ehn KUR ihjd) v. to offer advice to someone to do something; to inspire someone


in paragraphs 5, 6, and 7 that describe emotions. QUESTION: Are all of

these emotions positive? Explain. CONCLUDE: Why does

the writer describe several different emotions? bond (bawnd) n. an experience of feeling shared between people that forms a connection between them

5

old and dressed in scruffy clothes—asked for some change for something to eat. Laura Schroff lowered her head and walked on; Manhattan was full of panhandlers,2 and she hardly even noticed them any more. But something drew Laura back to the boy. She still doesn’t know what it was, but she calls it an “invisible thread.” There’s an old Chinese proverb that says that an invisible thread connects two people who are destined to meet and influence each other. Laura believes she felt that thread. She turned back from the middle of the street and took the boy to lunch. The boy lived in a single room in a welfare hotel with his mother and numerous other relatives. It was only two blocks away from Laura’s home, but it might as well have been a different planet. As they talked over their lunch, Laura learned about the boy’s life. She herself had not had an easy childhood, but what she heard shocked her, and before she left, she told him to phone her if he was ever hungry. When she didn’t hear from him after several days, she returned to the spot they had met— and there he was, in the same clothes and too-tight sneakers. They arranged to meet again the next Monday. Every Monday, Laura Schroff and Maurice Mazyck had dinner together. Some Mondays they ate at Laura’s home, and Maurice discovered a life he had only seen on television. Gradually, Laura became the young boy’s first role model. She encouraged him to have dreams about his future, and got involved in his education. Maurice’s teacher was perhaps the only other person who believed in him, and she made Laura take a long hard look at what she was doing. Was she helping Maurice just as a way of helping herself? Could she commit to being there for Maurice even when she didn’t feel like it? What kind of damage might it cause Maurice if she were to abandon him after becoming so important to him? Laura thought it through, and came to a decision. The two continued sharing dinner every Monday, and a close bond formed between them. Laura introduced Maurice to new places, new ideas, and new possibilities. And Maurice became almost like the child Laura had always wanted. One day, she offered to make lunch for Maurice and leave it with her doorman for him to pick up on his way to school. He asked her if she could put the lunch in a brown paper bag, because then the other kids would know that someone cared about him. 2. panhandlers n. people who ask strangers for money or food in a public space.



NOTES

6

7

8

NOTES

trust (truhst) n. belief in the character, ability, strength, or truth of someone


9

Maurice had never left the city until Laura took him to visit her sister’s family on Long Island. Her memory of their trip is a favorite one. She had expected Maurice to be amazed by the huge front lawn and even larger backyard. But what amazed him the most was the large dining room table where they all sat down and talked and ate together. He declared that he wanted a table like that when he had a family of his own. Only months earlier, Maurice had seriously doubted that he would live to be an adult. Laura and Maurice’s relationship lasted, and in 1997 a magazine published an article, less than one page long, about it. Laura’s friends suggested that she write a book telling the whole story. It was 10 years before she began writing—and another three years before she found a co-writer and started seriously getting down to business. The result of their work, An Invisible Thread, reached number one on the New York Times best sellers list. Today, Maurice works in construction. He is the first person in his family to earn a paycheck. He has a family of his own, and his children are all very fond of their “Aunt Laurie.” If you were to visit the family’s apartment, you might notice that there is no couch in the living room. But there is a huge dining room table. The writer Ernest Hemingway said, “The best way to find out if you can trust somebody is to trust them.” Over the years, Laura discovered the truth of that statement. She feels that Maurice has given her one of the greatest gifts she has ever had. He repaid her trust by giving her life more meaning than her success at work ever did. He taught her to be grateful for what she has, and for the chance to share it. ❧

A Simple Act 35

Comprehension Check Answer these questions independently, and then discuss with your group. 1. How do Laura Schroff and Maurice Mazyck meet?

2. What does the old Chinese proverb say connects two people who are destined to meet and influence each other?

3. What weekly ritual do they begin after their first meeting?

5. Describe Maurice’s work and family today.



4. What was Maurice’s favorite part of the visit to Laura’s sister?

Comprehension Check 6. How did Laura share the story of her relationship with Maurice with an audience?

Notebook Write a timeline of key events in “A Simple Act.”



Research to Explore Choose something that interested you from the text and formulate a research question.

A Simple Act 37

making meaning

Close Read the Text 1. Look at this model and the steps of a close read. This model provides two annotations to show that each reader may find different points to study. A SIMPLE ACT

ANNOTATE: These sentences describe something Maurice is lacking but wants in his future. QUESTION: Why does the writer include these details in this passage? CONCLUDE: The writer shows that Maurice yearns for a close family, which he doesn’t currently have.

She had expected Maurice to be amazed by the huge front lawn and even larger backyard. But what amazed him the most was the large dining room table where they all sat down and talked and ate together. He declared that he wanted a table like that when he had a family of his own.

ANNOTATE: This word is repeated. QUESTION: Why does the author repeat this word? CONCLUDE: The author wants to emphasize that Maurice has a stronger interest how the family spends time together than in the size of the property.

2. For more practice, go back into the text and complete the close read sections in the side column.

Analyze the Text


Notebook Respond to these questions.

 Standards Reading Informational Texts • Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. • Determine an author’s point of view or purpose in a text and analyze how the author distinguishes his or her position from that of others.


1. (a) Analyze How does Maurice surprise Laura when he explains what he liked most about visiting Laura’s sister? (b) Evaluate What do readers learn about Maurice’s values from this anecdote? 2. Draw Conclusions How do both Laura and Maurice benefit from their relationship? 3. Interpret Explain what causes Laura to say “Her memory of their trip is a favorite one” in paragraph 6. 4. Essential Question What can one generation learn from another? What have you learned about how generations can connect by reading this article?


3. Revisit a section of the text you found important during your first read. Read this section closely and annotate what you notice. Ask yourself questions such as “Why did the author make this choice?” What can you conclude?


Analyze Craft and Structure Narrative Point of View In nonfiction or fiction, point of view is the perspective, or vantage point, from which a narrative is told. “A Simple Act” is an article written from the third-person point of view. A third-person point of view has these elements: • The writer or narrator uses he or she to refer to people or characters. There is no “I” in the narration. • Individual points of view—and the pronoun I—can be reflected in direct quotations. A third-person point of view can be limited or omniscient. A limited third-person point of view focuses on the thoughts and feelings of one person or character. An omniscient third-person point of view presents the thoughts and feelings of each person or character. Reporters commonly use a third-person point of view in order to give readers an objective, unbiased view of an event.


Practice Go back and reread paragraphs 1–3 of “A Simple Act.”

Notebook Respond to these questions. 1. Classify Record in the chart examples of each element of third-person point of view. Examples

Effect

Pronouns


Quotations

2. Analyze Does the writer use a limited or omniscient third-person point of view? Support your answer with examples from the article. 3. Compare and Contrast How does the writer’s point of view help readers compare and contrast Laura and Maurice? 4. (a) Interpret Review the last two paragraphs of the article. What words signal that the writer is using a third-person point of view in these paragraphs? (b) Draw Conclusions How does this point of view help the writer make and support a theme? 5. Speculate How would the article be different if the writer had used “I” to present personal opinions of the events described?

A Simple Act 39


Concept Vocabulary connects

together

bond

influence

encouraged

trust

A SIMPLE ACT

Why These Words? The concept words help to show the relationship that formed between Laura and Maurice. For example, the old Chinese proverb says that an invisible thread connects, or joins, two people who are destined to meet. In turn, these two people will influence each other, or affect each other in an important way. Notice that both words relate to the relationship between Laura and Maurice. 1. How does the concept vocabulary sharpen the reader’s understanding of the relationship between Laura and Maurice?

 WORD NETWORK

2. What other words in the selection connect to this concept?

Add interesting words that deal with different generations from your text to your Word Network.

Practice Notebook The concept words appear in “A Simple Act.” 1. Use each concept word in a paragraph that shows the correct understanding of each word’s meaning.

Word Study

 STANDARDS Reading Informational Texts • Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. • Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 7 reading and content, choosing flexibly from a range of strategies.


Multiple Meaning Words Many words in English have multiple meanings, or one word which has several definitions that are each different from each other. For example, the word bond, which appears in “A Simple Act,” has several different meanings. Write the meaning of bond as it is used in the fifth paragraph. Then, write two more definitions of the word. Finally, find two other multiple-meaning words. Write down the words and two of their definitions.


2. Have students pair up and take turns trying to list as many related words for each concept vocabulary word as they can.


Conventions Adverbs An adverb is a word that modifies or describes a verb, adjective, or another adverb. These words provide information by answering the question How? When? Where? How often? or To what extent? Many adverbs end in the suffix -ly. This chart shows examples: How?

Maurice asked politely for change.

When?

Laura said no, but soon changed her mind.

Where?

They went inside for a meal.

How often

They usually met for dinner on Monday night.

To what extent?

Today, Maurice and Laura are extremely good friends.

Read It 1. Identify the adverb or adverbs in each sentence. Then, identify the word each adverb modifies or describes. a. Maurice and Laura shared meals regularly and enthusiastically. b. They often exchanged opinions and frequently agreed. c. Later, Laura befriended Maurice’s children, too. d. Laura’s book was very popular and deeply affected many readers. 2. Reread paragraphs 4–7 of the article. Mark the adverbs, identify the verbs they modify, and tell how these word help to clarify information.


Write It Notebook The sample sentence here was revised by adding an adverb. Add adverbs to the sentences below based on the question in parentheses. SAMPLE Laura was glad she went back to meet Maurice. (To what extent was she glad?) Laura was extremely glad she went back to meet Maurice. 1. Maurice and Laura became good friends. (When did they become friends?) 2. Maurice confided in his new friend. (How did he confide?) 3. They pushed each other to try new things. (How often did they push each other?)

A Simple Act 41

MAKING MEANING

Comparing Texts

A SIMPLE ACT

About the Authors

You will now read an excerpt from An Invisible Thread. First complete the first read and close read activities. Then compare the narrative point of view of “A Simple Act” and the excerpt from An Invisible Thread.

AN INVISIBLE THREAD

An Invisible Thread Concept Vocabulary You will encounter the following words as you read an excerpt from An Invisible Thread.

Alex Tresniowski is a New York City based writer. He has been a senior writer for People magazine, writing human interest, crime, and sports articles, and is the co-author of several books, including An Invisible Thread and The Vendetta.

 STANDARDS Reading Informational Texts • Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. • Analyze the structure an author uses to organize a text, including how the major sections contribute to the whole and to the development of the ideas.


Before reading, note how familiar you are with each word. Then rank the words in order from most familiar (1) to least familiar (3). WORD

YOUR RANKING

resilience perseverance generosity

After completing the first read, come back to the concept vocabulary and review your rankings. Mark any changes to the order you wrote.

First Read Apply these strategies as you conduct your first read. You will have an opportunity to complete the close-read notes after your first read.

NOTICE who the memoir is about, what happens, where and when it happens, and why those involved react as they do.



RESPOND by competing the Comprehension Check and by writing a brief summary of the selection.


Laura Schroff had a career in advertising sales for more than 30 years, and helped launch USA Today and several other highly successful magazines. She is now a motivational speaker and encourages people to make a difference in the lives of others.

ANCHOR TEXT | MEMOIR

from An

Invisible Thread Laura Schroff and Alex Tresniowski

BACKGROUND Laura Schroff and Maurice Mazyck had been friends for 15 years when he gave the final toast at the celebration of her 50th birthday. Maurice’s words, and Laura’s reaction to them, reveal what each had gained from their long friendship. 1


2

3

4

5

T

hen came the final toast. The speaker was in a sharp black tuxedo with spectacular black-and-white shoes, and his wife was in a stunning navy blue gown, her hair swept up. Nearly everyone in the room had met him or at least knew his story, and so everyone was excited to see him and hear him speak. He kissed his wife, walked up and took the microphone, and began his toast. “Laurie, where can I start,” Maurice began. “We met . . . the way we met was so special to me. I was a young boy on the street with barely nothing, and I was very hungry that day and I asked this lady, ‘Miss, can you spare some change?’ And she walked away. And then she stopped. She was in the middle of the street— she almost got hit—and she looked and came back and took me to McDonald’s. We ate and then walked around Central Park; she took me to Haagen-Dazs and then we played some games. “You know, at that moment she saved my life. ‘Cause I was going down the wrong road, the wrong hill, and, you know, my mother—bless her soul, my mother died—and the Lord sent me an angel. And my angel was Laurie. “Without you,” Maurice said, raising his glass, “I could not be the man I am today.” I was so incredibly moved when I heard Maurice say I saved his life. Heck, I nearly lost it throughout his whole darn toast. Whenever I hear someone tell me how lucky Maurice is to have

SCAN FOR MULTIMEDIA

NOTES

CLOSE READ ANNOTATE: In

paragraph 2, annotate the punctuation marks that indicate pauses. QUESTION: What does

the punctuation indicate about the rhythm of Maurice’s speech? CONCLUDE: How does

Maurice feel as he is giving his toast?

An Invisible Thread 43

NOTES 6

resilience (rih ZIHL yuhns) n. the ability to recover quickly perseverance (pur suh VIHR uhns) n. continued, patient effort 7


generosity (jehn uhr AHS uh tee) n. willingness to give or share

met me, I have to stop them and correct them. The truth is that the lucky one is me. Maurice taught me so many things; I can’t possibly list them all. He taught me how to live. He taught me one of the most important lessons a person can hope to learn—he taught me to be grateful for what I have. He taught me about resilience, courage, perseverance, and about the special strength that comes from overcoming adversity. He taught me the true value of money, the real meaning of lunch in a brown paper bag, the importance of a silly ritual like baking cookies. He taught me, more than I ever taught him, what it means to be a friend. Everything I ever gave to Maurice, he gave back to me tenfold. Every meal, every shirt, every bike or toothbrush, was matched by Maurice with a more genuine appreciation than I have ever known. Every hand I ever lent him was returned with a hug; every kindness was paid back with an impossibly optimistic smile. If love is the greatest gift of all—and I believe it is—then the greatest privilege of all is to be able to love someone. Maurice appeared out of nowhere and allowed me to love him, and for that, I simply can never thank him enough. His generosity of spirit continues to astound me, and to this day my relationship with him is the relationship I am most proud of in my life. ❧


Comprehension Check Answer these questions independently, and then discuss with your group. 1. At what stage of his life does Maurice give a toast explaining how he and Laura met?

2. What statement does Maurice make that makes Laura “nearly lose it”?

3. How does Laura respond when people say that Maurice was lucky to meet her?

4. What does Laura say she learned from knowing Maurice?


5. According to Laura, what are the greatest gift and greatest privilege of all?

6. Notebook Write a summary of the excerpt from An Invisible Thread to confirm your understanding of the selection.


Research to Explore Choose something that interested you from the text and formulate a research question. An Invisible Thread 45

making meaning

Close Read the Text 1. Look at this model and the steps to a close read. This model provides two annotations to show that each reader may find different points to study. AN INVISIBLE THREAD

ANNOTATE: This phrase shows the setting. QUESTION: Where is the action taking place? CONCLUDE: This sentence shows that the action is taking place at a formal event where someone is being honored.

Then came the final toast. The speaker was in a sharp black tuxedo with spectacular black-and-white shoes, and his wife was in a stunning navy blue gown, her hair swept up.

ANNOTATE: The author uses vivid language here. QUESTION: Why does the author use vivid language in this sentence? CONCLUDE: The author wants to paint a picture of the event and to show the readers how the characters look.

2. For more practice, go back into the text and complete the close read sections in the side columns. 3. Revisit a section of the text you found important during your first read. Read this selection closely and annotate what you notice. Ask yourself questions such as “Why did the author make this choice?” What can you conclude? Cite textual evidence to support your answers.

Notebook Respond to these questions. 1. (a) Make Inferences What kind of person is Maurice? (b) Support Which details in Laura’s memoir support your understanding of Maurice’s personality?

 STANDARDS Reading Informational Texts • Determine an author’s point of view or purpose in a text and analyze how the author distinguishes his or her position from that of others. • Analyze how two or more authors writing about the same topic shape their presentations of key information by emphasizing different evidence or advancing different interpretations of facts.


2. (a) Compare and Contrast How does Maurice’s recounting of his first words to Laura differ from the version in “A Simple Act”? (b) Assess How do you account for the differences, and which version do you consider more reliable? Why? 3. Interpret In paragraph 7, Laura says “Everything I ever gave to Maurice, he gave back to me tenfold.” Does her statement suggest that their friendship is unequal? Explain. 4. Speculate Why do you think Maurice gave the final toast of the evening? 5. Essential Question What can one generation learn from another? What have you learned about how people of different generations can teach each other by reading this selection?


Analyze the Text


Analyze Craft and Structure Narrative Point of View “An Invisible Thread” is a memoir written from the first-person point of view. A first-person point of view has these elements: • The writer or narrator uses the pronoun I to refer to himself or herself. • The narrator is involved in the events being described. • Other points of view can be reflected in direct quotations. Memoirs and autobiographies are usually written from the first-person point of view. The writer describes events in his or her life, explaining both what happened as well as personal reactions and emotions.


Practice Notebook Respond to these questions.

1. Classify Record in the chart examples of each element of first-person point of view. EXAMPLES

EFFECT

Pronouns Quotations


2. (a) Analyze What strategy do the writers of “An Invisible Thread” use to present Maurice’s point of view? (b) Assess How successful is this strategy? Support your assessment with details from the selection. 3. Synthesize How do the ideas expressed by the first-person narrator in An Invisible Thread deepen your understanding of the third-person description in the last two paragraphs of the article “A Simple Act”? 4. Compare and Contrast What advantage does a first-person narrator have? What advantages does a third-person narrator have? Use examples from “A Simple Act” and “An Invisible Thread” to support your comparison. 5. Make a Judgment Which selection would you recommend to a reader who only has time to read one text about Laura and Maurice’s relationship? Why?



Concept Vocabulary resilience perseverance generosity

AN INVISIBLE THREAD

 WORD NETWORK Add interesting words about generations from the text to your Word Network.

Why These Words? These concept words help show the positive qualities that the relationship between Laura and Maurice learn and bring out in each other. For example, the way Maurice overcomes adversity teaches Laura about resilience and perseverance. Notice that both of these words are included in the list of positive attributes that Laura has learned from her friendship with Maurice. 1. How does the concept vocabulary sharpen the reader’s understanding of how both Laura and Maurice benefited from their relationship?

2. What other words in the selection connect to this concept?

Practice Notebook The concept words appear in the excerpt from An Invisible Thread. 1. Use each concept word in a sentence that demonstrates your understanding of the word’s meaning. 2. Pair up and take turns trying to come up with as many synonyms and antonyms for each concept vocabulary word as you can.

Word Study

1. Write a definition of scarcity based on your understanding of its root word and the meaning of the suffix -ity.

2. Look at paragraph 6 and find another word that uses the suffix -ity. Identify the root word that was combined with the suffix. Write a definition for each word.  STANDARDS Language • Use a comma to separate coordinate adjectives. • Use common, grade-appropriate Greek or Latin affixes and roots as clues to the meaning of a word.



Latin suffix: -ity The Latin suffix -ity is used to form a noun from an adjective. Most commonly -ity is used to refer to the state, property, or quality of the adjective’s description. In the excerpt from An Invisible Thread, the word “generosity” means “the quality of being generous.”


Conventions Adjectives An adjective is a word that modifies or describes a noun or pronoun. Adjectives may answer the questions What kind? How many? Which one? or Whose? Possessive nouns and pronouns are used as adjectives to answer the question: Whose? What kind?

The young boy had a genuine smile.

Which one?

Have you read that book?

How many?

They talked for fifty minutes.

Whose?

I greatly admired Maurice’s speech.

Two or More Adjectives Coordinate adjectives are two or more adjectives that modify the same noun and are separated by a comma. You can tell if adjectives are coordinate if the word and could be used in place of the comma and you can reverse them. Cumulative adjectives also modify the same noun, but they are not separated by a comma. Cumulative adjectives cannot be reversed. COORDINATE ADJECTIVES

CUMULATIVE ADJECTIVES

They became lifelong, devoted friends.

She wore a light blue sweater.

You could say: They became devoted and lifelong friends.

(She wore a blue light sweater does not mean the same thing.)

Read It 1. Identify the adjectives in each sentence and name the noun they modify. Then tell whether they are coordinate or cumulative and explain why. a. Maurice gave an emotional, heartfelt speech. b. His warm good nature inspired many listeners. c. The book teaches many valuable life lessons. © Pearson Education, Inc., or its affiliates. All rights reserved.

Write It Notebook The original sentence in the example below was revised by adding two adjectives. Add two adjectives to each practice sentence. Separate the adjectives with commas if needed. EXAMPLE Original: Laura wrote a memoir. Revision: Laura wrote an unforgettable personal memoir. Revision: Laura wrote an unforgettable, touching memoir. 1. Maurice shared a story with the audience. 2. Laura wore a dress.

Notebook Write a paragraph describing Laura and Maurice. Include at least one pair of coordinate and one pair of cumulative adjectives. An Invisible Thread 49


Prepare to Compare

A SIMPLE ACT

Comparing Points of View In this lesson, you analyzed the points of view from which “A Simple Act” and “An Invisible Thread” are told. Now you will compare the writers’ use of these elements in a group discussion. Your work will be used to write an explanatory essay. Prepare for Discussion Come to the discussion prepared with your notes on first-person and third-person point of view. Define and assign roles for group members in the discussion. Compare Notes Review your definitions of first-person and third-person point of view.

AN INVISIBLE THREAD

 evidence log Before moving on to a new selection, go to your Evidence Log and record what you learned from “A Simple Act.”

• As a group, decide on strong paragraphs from each selection that reflect the writer’s point of view clearly. • Think about the techniques that each writer uses and their effect on the reader. Why did each writer choose a specific point of view? Discuss the advantages and disadvantages of each point of view. Don’t be afraid to make mistakes. The discussion can help you think through your responses. Use the chart to collect your notes.

WRITER’S POINT OF VIEW ADVANTAGES

DISADVANTAGES

“A Simple Act”

 STANDARDS Reading Informational Texts Analyze how two or more authors writing about the same topic shape their presentations of key information by emphasizing different evidence or advancing different interpretations of facts.



“An Invisible Thread”


Writing to Compare Assignment Based on your group work, write an explanatory essay in which you compare the point of view of “A Simple Act” and the excerpt from An Invisible Thread. Analyze the effect of each point of view on the reader.

Draft • Decide on a thesis based on the discussion. Discuss your thesis with the group. In a sentence, tell the group what you want to say in your essay. • Decide how you want to structure your explanatory essay. Point-bypoint organization and block organization are two commonly used ways to write comparisons. Point-by-Point Organization I. Main Topic: Point of View A. Author’s use of third-person point of view in “A Simple Act” B. Authors’ use of first-person point of view in “An Invisible Thread” II. Main Topic: Direct Quotations A. Author’s use of quotations in “A Simple Act” B. Authors’ use of quotations in “An Invisible Thread”

Block Organization I. Main Topic: “A Simple Act” A. Author’s use of third-person point of view in “A Simple Act”


B. Author’s use of quotations in “A Simple Act” II. Main Topic: “An Invisible Thread” A. Authors’ use of first-person point of view in “An Invisible Thread”

 evidence log Before moving on to a new selection, go to your Evidence Log and record what you learned from “An Invisible Thread.”

B. Authors’ use of quotations in “An Invisible Thread”

Review and Revise Once you are done writing, review and revise your essay. Refer back to the thesis. Ask yourself if your paragraphs strengthen the argument made in your thesis. Quotes can also strengthen your argument.

 STANDARDS Writing Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content. • Develop the topic with relevant facts, definitions, concrete details, quotations, or other information and examples.


Performance Task: Writing focus WRITING TO SOURCES • TWO KINDS • A SIMPLE ACT • AN INVISIBLE THREAD

Write a Nonfiction Narrative You have just read texts in which people of different generations have an influence on each other’s lives. In “Two Kinds,” an ambitious mother ends up teaching her child unexpected but valuable lessons. “A Simple Act” and “An Invisible Thread” present the story of two friends whose chance meeting enriched both their lives. Now you will use your knowledge of these texts to create a nonfiction narrative about ways in which people of different generations can influence each other.

Assignment Use your own experience to write about the influence someone from a different generation has had on you or someone you know. In your narrative, explain how the experience is similar to and different from the generational relationships in the texts you just read.

Elements of a Personal Narrative A personal narrative is a work of nonfiction. The writer uses the firstperson point of view (employing pronouns I and me) to tell the true story of something that he or she has experienced. An engaging personal narrative contains these elements: • well-developed major and minor characters as well as a narrator, who is you, the writer

• Engage and orient the reader by establishing a context and point of view and introducing a narrator and/ or characters; organize an event sequence that unfolds naturally and logically. • Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters. • Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another. • Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events. • Provide a conclusion that follows from and reflects on the narrated experiences or events.

• a clear sequence of events that unfolds naturally and logically • narrative techniques such as dialogue, description, and pacing that effectively build the action • a variety of transitional words, phrases, and clauses to convey sequence and signal shifts from one setting or time frame to another • precise words, well-chosen quotations, vivid descriptive details, and powerful sensory language to capture the action and illustrate experiences and events • a conclusion that follows from and reflects on the experiences in the narrative Model Personal Narrative For a model of a wellcrafted personal narrative, see the Launch Text, “Grounded.”

LAUNCH TEXT UNIT

1

INTRODUCTION

LAUNCH TEXT | NONFICTION NARRATIVE

This text presents a nonfiction narrative, a type of writing in which an author explores an experience using descriptive details and events. This is the type of writing you will develop in the Performance-Based Assessment at the end of the unit. As you read, look at the way the writer conveys an experience she had with her grandmother.

Grounded

Challenge yourself to find all of the elements of an effective nonfiction narrative in the text. You will have an opportunity to review these elements as you prepare to write your own nonfiction narrative.

Marcy Domingo

1

2 3

4

5

6 7 8

9


LIT17_SE07_U01_LT.indd 6



Writing Write narratives to develop real or imagined experiences or events using effective technique, relevant descriptive details, and well structured event sequences.

G

rowing up I really didn’t know my grandmother. She was a private person, and didn’t talk about her past much, but I know she had one. She once told me that before she got married she was a backup singer in a band that I had actually heard of. But that’s all she would say about it, no matter how often I prodded. “El pasado es el pasado,” she told me. The past is the past. To me, she talked in Spanish. I talked back in English. We understood each other. The thing I remember most about Grandma Sofia was how much she loved driving, especially since she came to live with us. She had a 1960s red Chevy Impala convertible that was all her own, a remnant of her band days. She loved driving with the top down, the radio blasting, singing at the top of her lungs when a good song came on. Driving was her independence, her freedom. My parents, however, were concerned that she was getting too old to drive around by herself. One night, I overheard them: “She’s okay for now, but how long before she can’t manage?” “I’ll speak to her tomorrow.” I felt sick at the thought of Grandma giving up her car. I knew what driving meant to her. I knew that without her wheels she’d feel ordinary—just another grandma, hovering and wise. Sometimes it felt like Grandma and I were on the sidelines and my parents were in the middle, dragging us toward the center, where we did not want to be. I was often grounded for the smallest things. I didn’t really mind, under normal circumstances.


 STANDARDS

• a problem or conflict, or a clear contrast between your past and present viewpoints

SCAN FOR MULTIMEDIA

8/4/15 9:00 PM


Prewriting / Planning Focus Your Topic Reread the assignment. Consider the person and event you would like to highlight in your narrative. State your main idea in a sentence: helped to influence

(person from generation 1)

(person from generation 2) .

by

(action that influenced person from generation 2)

Develop Characters Realistic, engaging characters make a narrative come alive. Think about each character you want to introduce. List traits that make him or her unique and interesting. Don’t forget to include yourself as the narrator! CHARACTERS

TRAITS

Gather Evidence Evidence for a nonfiction narrative comes mainly from your own memories and experiences. A photo album or a conversation with a relative may stimulate your memory and help you find a topic. There are many different types of evidence you can use to craft your nonfiction narrative:

 evidence log Review your Evidence Log and identify key details you may want to cite in your personal narrative.

• anecdotes: brief stories that illustrate a point or key idea • quotations: statements from personal interviews or conversations with the subjects of your narrative © Pearson Education, Inc., or its affiliates. All rights reserved.

• examples: facts, ideas, and events that support an idea or insight Study the Launch Text to identify ways in which the writer uses different types of evidence to develop characters and ideas. Connect Across Texts To effectively compare and contrast your experiences with the Anchor Texts, review the texts and note key ideas. To do so, paraphrase, or restate in your own words, key ideas, events, and insights from the Anchor Texts. As you review the Anchor Texts, note any quotations that might help clarify the ideas you are presenting. Note how the author uses narrative techniques. Ask questions such as: • How does dialogue develop a character’s personality? • How does pacing add interest and convey the sequence of events? • How does the author use description to illustrate experiences? Seeing how an author effectively uses narrative techniques will enable you to better apply these techniques to your own writing.

 STANDARDS Writing • Engage and orient the reader by establishing a context and point of view and introducing a narrator and/ or characters; organize an event sequence that unfolds naturally and logically. • With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed. • Draw evidence from literary or informational texts to support analysis, reflection, and research.

Performance Task: Write a Personal Narrative 53

Performance Task: Writing focus

Drafting Organize a Sequence of Events In a nonfiction narrative, the writer often sequences events in chronological order, so that one event proceeds to the next in the order in which they actually happened. Use a timeline to organize your narrative so that it flows in chronological order. Start with the introduction of characters, the setting, and the context of the story. Then, add details in the order in which they occur. The timeline here shows key events in the Launch Text. Think about how each event supports the message of the narrative. LAUNCH TEXT

MODEL: “Grounded” Timeline Introduction Narrator, Grandma, and their relationship are described.

1. Parents talk about Grandma’s driving.

Personal Narrative Timeline Introduction

1.

2.

2. Narrator is grounded.

3.

3. Narrator asks Grandma for a ride to a party.

4.

4. Narrator and Grandma feel bad on the ride. 5.

5. Grandma asks to turn back; narrator agrees.

CONCLUSION Grandma and narrator have learned from each other and share an understanding.

 STANDARDS Writing • Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters. • Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another.


Use Transitions To make the sequence of events in your narrative clear to readers, use transition words such as first, then, next, later, and finally to establish a clear chronological order in your narrative. Use the numbered events in your timeline to help you determine which transition words to use and where in your writing to use them. Write a First Draft Use your timeline to write your first draft. Review the elements of nonfiction narrative writing, as well as the information you gathered in the Prewriting/Planning section of this Performance Task, as you draft your narrative.


Conclusion


LANGUAGE DEVELOPMENT: AUTHOR’S STYLE

Develop Technique: Finding Your Voice Voice describes a writer’s distinctive style and can be influenced by word choice, sentence structure (the way the author constructs a sentence), and tone—the writer’s attitude toward the subject. Developing a unique voice can take time. These tips and activities will help get you started as you craft your nonfiction narrative.

PUNCTUATION

Use commas to separate coordinate adjectives that modify the same noun. • Identify coordinate adjectives by determining whether both adjectives describe the same noun.

Read It This chart shows examples and analyzes the way in which the author of the Launch Text develops her voice. Use a chart like this one to evaluate your voice in the in first draft of your nonfiction narrative.

Word Choice

singing at the top of her lungs; just beginning to darken with blue clouds against a darker blue sky.

Sentence Structure

Varied sentence beginnings to enhance interest and dialogue that develops the characters.

Tone

Casual, reflective, and genuine.

• Be careful not to add a comma that separates an adjective from the noun that follows it.  STANDARDS

Write It


As you draft your nonfiction narrative, try to think of ways in which you can develop your voice. To do so, ask yourself questions such as What should the tone of my narrative be?, Will this tone appeal to my audience?, Does my word choice make my descriptions vivid and clear?, and Will my audience be able to picture the setting and characters?. When drafting pay close attention to how you construct your sentences so that your sentence structure effectively contributes to the development of your voice. When writing from the first-person point of view, you might be inclined to begin many of your sentences with the pronoun I, which will create a repetitive, dull pattern in your narrative. This chart provides ways in which you can avoid repetitive sentence beginnings and create variety.

Writing • Introduce a topic clearly, previewing what is to follow; organize ideas, concepts, and information, using strategies such as definition, classification, comparison/ contrast, and cause/effect; include formatting (e.g., headings), graphics (e.g., charts, tables), and multimedia when useful to aiding comprehension. • Engage and orient the reader by establishing a context and point of view and introducing a narrator and/ or characters; organize an event sequence that unfolds naturally and logically • Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters. • Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.

ORIGINAL

ADD VARIETY STRATEGY

REVISION

I was surprised to see my sister on the stage.

Start your sentence with a word that describes your emotion or mood.

Startled, I noticed the familiar figure of my sister on the stage.

I rushed to congratulate her after the play ended.

Move another part of the sentence to the beginning.

After the play ended, I rushed to congratulate her.

I said her portrayal of the character was so realistic I forgot she was my sister.

Start with a real quotation instead of writing that someone said something.

“Great job!” I exclaimed, “You really made be believe you were Alice.”


Performance Task: Writing focus

Revising Evaluating Your Draft Use the following checklist to evaluate the effectiveness of your first draft. Then, use your evaluation and the instruction on this page to guide your revision. PURPOSE AND ORGANIZATION

EVIDENCE AND ELABORATION

Provides an introduction that establishes a clear context and point of view. Presents a clear chronological sequence of events that are linked by clarifying transitions. Provides a conclusion that follows from and reflects on the events and experiences in the narrative.

CONVENTIONS

Effectively uses narrative techniques, such as dialogue, pacing, and description.

Attends to the norms and conventions of the discipline.

Uses descriptive details, sensory language, and precise words and phrases. Establishes voice through word choice, sentence structure, and tone.

 WORD NETWORK Include interesting words from your Word Network in your personal narrative.

 STANDARDS Writing • Engage and orient the reader by establishing a context and point of view and introducing a narrator and/ or characters; organize an event sequence that unfolds naturally and logically. • Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events. • Provide a conclusion that follows from and reflects on the narrated experiences or events. • Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.


Provide a Clear Conclusion The conclusion of a nonfiction narrative clarifies the essay’s overall message, and provides readers with a sense of resolution, or completion. It resolves any conflicts or questions presented in the narrative. Reread the conclusion in the Launch Text. Then, review your conclusion and identify areas in which the connections between your ideas may be unclear. To increase the clarity of your conclusion, begin with a sentence or two that summarizes the relationship between the events and experiences that you present in your narrative and the overall message that you would like to communicate. Finish your conclusion by reflecting on this relationship and sharing any insights you have gained from making these connections.

Revising for Evidence and Elaboration Use Precise Language In order to craft a lively narrative that engages readers, avoid words and langauge that leave the reader with questions such as What kind?, How?, In what way?, How often?, and To what extent?. As you review your draft, identify vague words that do not provide specific answers to questions such as those in the previous sentence. As you revise, replace these vague words with specific, precise words that convey your ideas more vividly and accurately. Here are some examples: noun: stuff

use

souvenirs, gifts, photos

verb: said

use

exclaimed, whispered, declared

adjective: pretty

use

attractive, exquisite, adorable

adverb: greatly

use

enormously, incredibly, remarkably


Revising for Purpose and Organization


PEER REVIEW

Exchange papers with a classmate. Use the checklist to evaluate your classmate’s nonfiction narrative and provide supportive feedback. 1. Is the point of view clear and are the characters well developed?

yes

no

If no, suggest how the writer might improve them.

2. Is there a clear sequence of events that unfolds chronologically and is clarified

by transitions? yes

no

If no, explain what confused you.

3. Does the narrative end with a conclusion that connects to and reflects on the events

and experiences presented? yes

no

If no, tell what you think might be missing.

4. What is the strongest part of your classmate’s paper? Why?

Editing and Proofreading Edit for Conventions Reread your draft for accuracy and consistency. Correct errors in grammar and word usage. Be sure you have included a variety of sentence structures that reflect your unique voice.


Proofread for Accuracy Read your draft carefully, looking for errors in spelling and punctuation. As you proofread, make sure that any dialogue—the actual words spoken by a character—is enclosed in quotation marks. A split dialogue is when a quotation is split up by additional information, such as the identification of the speaker. Refer to the Launch Text for examples of each type of dialogue.

Publishing and Presenting Create a final version of your essay. Share it with a small group so that your classmates can read it and make comments. In turn, review and comment on your classmates’ work. As a group, discuss what your narratives have in common and the ways in which they are different. Always maintain a polite and respectful tone when commenting.

Reflecting

 STANDARDS

Reflect on what you learned as you wrote your narrative. In what ways did writing about past experiences and events help to heighten your understanding of them? What was the most challenging aspect of composing your narrative? Did you learn something from reviewing the work of others and discussing your narrative with your classmates that might inform your narrative writing process in the future?

Writing With some guidance and support from peers and adults, develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on how well purpose and audience have been addressed.


OVERVIEW: SMALL-GROUP LEARNING ESSENTIAL QUESTION:

What can one generation learn from another? Sometimes generations don’t understand each other very well. But if they stop to listen, they might be pleasantly surprised. You will work in a group to continue your exploration of the relationship between generations.

Small-Group Learning Strategies Throughout your life, you’ll continue to develop strategies that make you a better learner. In school, in your community, in college, and in your career, you will continue to learn and work in teams. Look at these strategies and the actions you can take to practice them. Add ideas of your own for each step. Get ready to use these strategies during Small-Group Learning. STRATEGY

ACTION PLAN

Prepare

• Complete your assignments so that you are prepared for group work. • Organize your thinking so you can contribute to your group’s discussions. •

Participate fully

• Make eye contact to signal that you are listening and taking in what is being said. • Use text evidence when making a point.

Support others

• Build off ideas from others in your group. • Invite others who have not yet spoken to do so. •

Clarify

• Paraphrase the ideas of others to ensure that your understanding is correct. • Ask follow-up questions. •



•

CONTENTS NEWS ARTICLE

Tutors Teach Seniors New High-Tech Tricks Jennifer Ludden It’s never too late to learn something new. MEMOIR from

Mom & Me & Mom

COMPARE

Maya Angelou A young girl is reunited with the mother who once abandoned her. MEDIA: VIDEO

Learning to Love My Mother Maya Angelou: Michael Maher Maya Angelou talks about her complicated relationship with her mother.


Mother-Daughter Drawings Mica and Myla Hendricks An artist collaborates with her four-year-old child. POETRY

Mother to Son Langston Hughes

To James © Pearson Education, Inc., or its affiliates. All rights reserved.

Frank Horne Two parents pass on some hard-earned wisdom. SHORT STORY

An Hour With Abuelo Judith Ortiz Cofer An old man can still surprise his grandson.

PERFORMANCE TASK SPEAKING AND LISTENING FOCUS

Present a Nonfiction Narrative After reading, your group will plan and deliver a multimedia presentation about a lesson one generation can learn from another. Overview: Small-Group Learning 59

OVERVIEW: SMALL-GROUP LEARNING

Working as a Team 1. Discuss the Topic In your group, discuss the following question:

What kinds of ideas and experiences can young people and adults share? As you take turns sharing your thoughts, be sure to provide examples for your choice. After all group members have shared, discuss the ideas and what they mean to you. 2. List Your Rules As a group, decide on the rules that you will follow as you work together. Two samples are provided. Add two more of your own. You may add or revise rules based on your experience together. • Everyone should participate in group discussions. • People should not interrupt. •

•

4. Name Your Group Choose a name that reflects the unit topic. Our group’s name: 5. Create a Communication Plan Decide how you want to communicate with one another. For example, you might use online collaboration tools, email, or instant messaging. Our group’s decision:



3. Apply the Rules Share what you have learned about generations. Make sure each person in the group contributes. Take notes and be prepared to share with the class one thing that you heard from another member of your group.

ESSENTIAL QUESTION: What can one generation learn from another?

Making a Schedule First, find out the due date for the Small-Group activities. Then, preview the texts and activities with your group and make a schedule for completing the tasks. SELECTION

ACTIVITIES

DUE DATE


Mom & Me & Mom and Learning to Love My Mother


Mother to Son To James

An Hour With Abuelo

Working on Group Projects


Different projects require different roles. As your group works together, you’ll find it more effective if each person has a specific role. Before beginning a project, decide among yourselves on each group member’s role. Here are some possible roles; add your own ideas. Project Manager: monitors the schedule and keeps everyone on task Researcher: organizes research activities Recorder: takes notes during group meetings

SCAN FOR MULTIMEDIA

Overview: Small-Group Learning 61


Tutors Teach Seniors New High-Tech Tricks Concept Vocabulary You will encounter the following words as you read “Tutors Teach Seniors New High-Tech Tricks.”

Jennifer Ludden (b.1967) is a correspondent for National Public Radio (NPR). Ludden has won and shared in several awards for her work as a foreign reporter covering the Middle East, Europe, and West and Central Africa. She graduated from Syracuse University in 1988.

manual icon cookies Context Clues To find the meaning of unfamiliar words, look for clues in the context, which is made up of the words, punctuation, and images that surround the unknown word. Example: To edit the photo, Sigrid had to download a new program. Context clue: To get a new program, you need to download it. Possible meaning: To download means “to transfer data to your computer.”

Example: My computer is infected with a nasty worm. Context clue: The word nasty means “unpleasant,” and it describes the worm. Possible meaning: A worm means “a computer bug” or “problem.”

Apply your knowledge of context clues to determine the meaning of other unfamiliar words you encounter during your first read of “Tutors Teach Seniors New High-Tech Tricks.”

Apply these strategies as you conduct your first read. You will have an opportunity to complete the close-read notes after your first read.

NOTICE who the text is about, what happened, where and when it happened, why it happened, and how it happened.




 STANDARDS Language Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.



First Read

NEWS ARTICLE

Tutors Teach Seniors

New High-Tech Tricks by Jennifer Ludden

BACKGROUND Modern technology allows us to easily connect with one another. People can now instantaneously share photographs and have face-toface conversations with friends and family both down the street and on the other side of the world. However, technology changes so quickly that the senior citizens are often left behind.


1

2

3 4

5

6

A

week after Christmas, many Americans are no doubt trying to figure out how to use the high-tech gadgets they got as gifts. This can be especially challenging for seniors. But a number of programs across the country are finding just the right experts to help usher older adults into the digital age. For Pamela Norr, of Bend, Ore., the light bulb went off as she, yet again, was trying to help her own elder parents with a tech problem. To whom did she turn? “My teenage kids,” she says. Norr happens to head the Central Oregon Council on Aging, and thus was born TECH—Teenager Elder Computer Help. “I thought if my parents need it, probably other seniors need it, too,” she says. High school students studying computer tech or involved with the National Honor Society sign up to teach local senior citizens about Facebook, Skype, smartphones, even something as seemingly simple as a camera. Norr discovered that many seniors had been given digital cameras by their children.

SCAN FOR MULTIMEDIA

NOTES

Tutors Teach Seniors New High-Tech Tricks 63

7

NOTES

8

9

Mark context clues that help you determine the meanings of manual, icon, and cookies.

10

manual (MAN yoo uhl) n. MEANING:

icon (Y kahn) n. MEANING:

11

cookies (KOOK ees) n. MEANING:

“They were going around town taking all these great pictures that they wanted to send to their family members,” she says. But they “couldn’t figure out how to connect to the USB port1 or take out the SIM card.2” Many elders have moved to central Oregon to retire. Sigrid Scully, 84, signed up for a TECH class because she was struggling to stay connected with far-flung family. “My kids were not returning calls,” she says. “They don’t write letters. They are so knowledgeable about texting and email, and so I needed to get to know how to do that.” Scully worried she’d never catch on. She’d read a computer manual once, but didn’t understand words like “icon” or “cookies.” She says her teen tutor was personable and used plain language. “So many teenagers think that seniors are just old people that don’t know anything,” she says. “And actually, the camaraderie and knowledge that we can transmit to one another is so wonderful and so helpful. I had that feeling with this class.”

12

13

14

15

16

“It has made me think about what life was like without Facebook and the Internet,” says 15-year-old Tucker Rampton, who’s helped train about a dozen Oregon seniors. He’s been surprised to have to explain email, something he thought everyone had mastered. Then again, a lot of seniors ask him about Twitter, which Rampton admits he knows nothing about. He says teaching tech to seniors has changed his perspective. “I think it’s a very good idea to work on your patience,” he says, “and be more understanding when it comes to what’s going on in their minds.” At Pace University in New York, college students who tutor seniors in local retirement homes are prepped with sensitivity training. “They get to feel what it’s like to be 70, 80, 90 years old,” says associate professor Jean Coppola, who directs the program. “They wear specially prepared glasses that give them different visual impairments.” Coppola also has students do things like tape two fingers together—to simulate the effects of arthritis or a stroke—then try to navigate a mouse. By the time they’re at the computer with an elder, she says, they’re not frustrated at all. 1. USB port n. computer hardware for connecting other devices to computers. 2. SIM card n. smart card used in cell phones to store identification information.



Sensitivity Training

17

18

19

20

“They’ll say something a hundred times because they’ve worn cotton balls or earplugs in their ear,” she says. “They understand that they have to speak up, articulate their words.” Coppola says the whole thing is a bonding experience for both generations. Applause often breaks out the first time a senior receives an email. Some have been able to see new grandchildren for the first time through emailed photos. Pamela Norr, in Oregon, says young trainers also gain new confidence. They see that the seniors are “not criticizing me for the way I dress,” she says, “or clucking their tongue. They’re actually respecting me for the knowledge base that I have.” Perhaps most unexpected, some teen trainers and seniors have even become friends. They keep in touch long after class ends— through Facebook, of course. ❧

NOTES

Comprehension Check Complete the following items after you finish your first read. Review and clarify details with your group. 1. What situation led Pamela Norr to recruit teenagers to help seniors with their technology problems?

2. What kinds of things do seniors want to do with computers and other tech devices?


3. What kind of troubles were seniors having with cameras that teens helped them with?

4. In the Pace University program, how did teenagers experience what it is like to be an older person?

Notebook Write a summary of the selection that answers the five “Ws” and one “H” questions Who, What, Where, When, Why, and How?

RESEARCH Research to Clarify Choose at least one unfamiliar detail from the selection. Briefly research that detail. How does the information you found clarify any confusion in the selection? Research to Explore This selection may spark your curiosity to learn more. Briefly research a tech topic that interests you, such as a new app or device. You may want to share what you discover with your group. Tutors Teach Seniors New High-Tech Tricks 65

MAKING MEANING

Close Read the Text With your group, revisit sections of the text you marked during your first read. Annotate details that you notice. What questions do you have? What can you conclude? TUTORS TEACH SENIORS NEW HIGH-TECH TRICKS

Analyze the Text


Complete the activities.

FOR GROUP DISCUSSION

If you do not fully understand a classmate’s comment, don’t hesitate to ask your classmate for clarification. Use a friendly and respectful tone when you ask.

1. Review and Clarify With your group, reread paragraphs 12–13 of the selection. Discuss how helping seniors with tech problems has changed the perspective of Tucker Rampton. In what way has reading this selection changed your own perspective on seniors and what they can do? 2. Present and Discuss Share with your group the passages from the selection that you found especially important. Take turns presenting your passages. Discuss what you noticed in the selection, the questions you asked, and the conclusions you reached. 3. Post Work with your group to write a test question about the selection. Keep your questions to 140 characters or less.

Add interesting words about generations from the text to your word network.

Concept Vocabulary manual icon cookies Why These Words? Like other fields, the computer industry has its own specialized vocabulary. The three concept words are part of this specialized computer vocabulary. These words have “ordinary” definitions, but they have all taken on meanings that are specific to the computer industry.

Practice Notebook Confirm your understanding of the concept vocabulary words from the text by using them in sentences. Be sure to use context clues that hint at each word’s meaning.  STANDARDS Reading Informational Texts Determine two or more central ideas in a text and analyze their development over the course of the text; provide an objective summary of the text. Language Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.


Word Study Multiple Meaning Words All three concept vocabulary words here have more than one meaning. A manual can be a book of operating instructions, but it can also refer to performing a task “by hand.” An icon can be a computer symbol or graphic, but it can also be a religious painting. Cookies are baked goods, but they can also be a data packet that is sent from a computer server that is used to track a computer user.


 WORD NETWORK


Analyze Craft and Structure Development of Central Ideas The central idea of a text is the main point that the author is trying to communicate to the reader. • As you read, ask yourself, “What is the author trying to say?” This will help you to focus on identifying the central idea. • A single main idea may grow out of two or more important ideas that the author develops throughout the text. • The central idea is the text’s “take-away.” It is what you “take away” when you finish reading the text.


Practice Reread paragraphs 9–20 of “Tutors Teach Seniors New High-Tech Tricks.”

Notebook Respond to these questions. 1. What primary need do the seniors reveal as the text progresses? How are the teens well-suited to help the seniors? 2. (a) Complete the chart below. Identify the needs of each group, what they provided for each other, and how they benefited from each other. Needs

What They Can Provide

How They Benefit

Seniors

Teens


(b) Draw Conclusions. Review your chart entries. How well do the needs of each group match what the other group is able to provide? Explain. 3. Infer Based on what you read, how would you respond to a teen who says, “There is plenty a senior can learn from me, but there is nothing I can learn from a senior”? 4. Connect How does the use of quotations from actual participants help you understand the central ideas in this selection? 5. Speculate At the end of the article, the author described how seniors and teens continued to maintain their friendships through Facebook. Why do you think the author chose to end the article with this information?


Language development

Conventions

TUTORS TEACH SENIORS NEW HIGH-TECH TRICKS

Conjunctions connect parts of a sentence. Coordinating and subordinating conjunctions both clarify relationships between ideas. Coordinating conjunctions connect words, phrases, and clauses of equal importance. Subordinating conjunctions connect a less important clause to a more important clause. TYPE OF CONJUCTION

CONJUNCTIONS

EXAMPLES

coordinating

and, but, for, nor, or, so, yet

Original: Tommy was tired. He took a short nap. Revised: Tommy was tired so he took a short nap.

subordinating

after, as, because, even though, how, if, in order that, since, so that, than, that, though, till, unless, until, what, when, although, whenever, where, before, whether, which, while, who, why

Original: Gabby caught the fish. It was too small. Revised: Gabby caught the fish, but it was too small.

Read It Identify the conjunction in each sentence. Label each conjunction as coordinating or subordinating. 1. Sigrid joined the program because she had no idea how to send email. 2. We can go to the movies on Friday, or we can got to the beach.

Sometimes, too many short sentences in a row can seem choppy and unclear. Using conjunctions will create a smoother writing style. To fix short and choppy sentences, rewrite them by following these steps. First, identify whether the ideas in the sentences are of equal importance or unequal importance. Then, combine the sentences using either coordinating or subordinating conjunctions. Revise the sentences below. SAMPLE Original: Pamela couldn’t download an app. She asked her teenaged son for help.  STANDARDS Language Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.


Revised: Pamela couldn’t download an app, so she asked her teenaged son for help. 1. Edward’s tech class ended. He enrolled in additional computer classes. 2. Marsha mumbled. Steve understood every word she said.


Write It

eFFECTIVE EXPreSSION

Speaking and Listening Assignment Create a multimedia presentation in which you incorporate text, charts, images, video, music, or any other media that help convey your ideas effectively to explain a subject. Choose from the following topics: Explain how to use a technology application that your group thinks would be meaningful and/or useful to seniors. Describe another device that might be used by teens to help them understand the impairments of old age. Explain how to use a social media site that your group thinks would be meaningful and/or useful to seniors. Project Plan Make a list of tasks that your group will need to carry out. Assign individual group members to carry out each task. Determine how you will obtain or create multimedia items for your presentation, which may include text, charts, images, video, music, and other media. Use this chart to organize your plans. TASK

WHO

 EVIDENCE LOG

QUESTIONS TO ASK


Before moving on to a new selection, go to your log and record what you learned from “Tutors Teach Seniors New High-Tech Tricks.”

Practice Practice your presentation before you present it to your class. Include the following performance techniques to help you achieve the desired effect. • Speak clearly and comfortably without rushing. • Vary the tone and pitch of your voice in order to convey meaning and add interest. Avoid speaking in a flat, monotone style. • Use appropriate and effective body language. Maintain eye contact to keep your audience’s attention.

 STANDARDS Speaking and Listening Include multimedia components and visual displays in presentations to clarify claims and findings and emphasize salient points.


MAKING MEANING

Comparing Texts

MOM & ME & MOM

About the Author

In this lesson, you will read a memoir, “Mom & Me & Mom” and then watch a video of the author. The work you do with your group on this selection will prepare you to compare it with the video.

LEARNING TO LOVE MY MOTHER

Mom & Me & Mom Concept Vocabulary As you perform your first read of the excerpt from Mom & Me & Mom you will encounter these words. charitable philanthropist supervision

Born Marguerite Johnson, Maya Angelou (1928– 2014) struggled with racism, poverty, and ill treatment early in her life. Across her long career she was a dancer, actress, singer, teacher, and writer. Angelou became one of the bestknown African American authors in the world, and was an activist for women and for the African American community.

Base Words If these words are unfamiliar to you, see whether they contain a base word you know. Use your knowledge of the “inside” word, along with context, to determine the meaning. Here is an example of how to apply the strategy. Unfamiliar Word sympathetic Familiar Word “inside” sympathy, with meanings including “caring.” Context Her friends’ sympathetic faces helped Kayla ease the pain of losing her pet bird. Conclusion Kayla was comforted because her friends showed that they cared about her. Sympathetic might mean “caring.”

Apply these strategies as you conduct your first read. You will have an opportunity to complete a close read after your first read.

Notice details in the text that analyze the connections between individuals, ideas, or events.

Annotate by marking vocabulary and key passages you want to revisit.

Connect ideas within the selection to other knowledge and other selections you have read.

Respond by completing the Comprehension Check and by writing a brief summary of the selection.

 STANDARDS Language Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grade 7 reading and content, choosing flexibly from a range of strategies.



First Read

MEMOIR

Mom & Me

from

& Mom

by Maya Angelou

BACKGROUND When Maya Angelou was 3 years old and her brother Bailey was 5, her parents divorced and sent the children off to live with their grandmother in Stamps, Arkansas. At the age of 13, Maya and Bailey were sent back to San Francisco to live with their mother, Vivian Baxter.

Chapter 3 © Pearson Education, Inc., or its affiliates. All rights reserved.

1

2

3

SCAN FOR MULTIMEDIA

NOTES

M

y grandmother made arrangements with two Pullman car1 porters and a dining car waiter for tickets for herself, my brother, and me. She said she and I would go to California first and Bailey would follow a month later. She said she didn’t want to leave me without adult supervision, because I was a thirteenyear-old girl. Bailey would be safe with Uncle Willie. Bailey thought he was looking after Uncle Willie, but the truth was, Uncle Willie was looking after him. By the time the train reached California, I had become too frightened to accept the idea that I was going to meet my mother at last. My grandmother took my hands. “Sister, there is nothing to be scared for. She is your mother, that’s all. We are not surprising her.

Mark context clues that help you determine meaning.

supervision

(soo-pehr-VIH-zhun) n. MEANING:

1. Pullman car n. type of railroad sleeping car built by the Pullman Company.

Mom & Me & Mom 71

4

5 6

7

8

9

10

11

12

When she received my letter explaining how Junior was growing up, she invited us to come to California.” Grandmother rocked me in her arms and hummed. I calmed down. When we descended the train steps, I looked for someone who could be my mother. When I heard my grandmother’s voice call out, I followed the voice and I knew she had made a mistake, but the pretty little woman with red lips and high heels came running to my grandmother. “Mother Annie! Mother Annie!” Grandmother opened her arms and embraced the woman. When Momma’s arms fell, the woman asked, “Where is my baby?” She looked around and saw me. I wanted to sink into the ground. I wasn’t pretty or even cute. That woman who looked like a movie star deserved a better-looking daughter than me. I knew it and was sure she would know it as soon as she saw me. “Maya, Marguerite, my baby.” Suddenly I was wrapped in her arms and in her perfume. She pushed away and looked at me. “Oh baby, you’re beautiful and so tall. You look like your daddy and me. I’m so glad to see you.” She kissed me. I had not received one kiss in all the years in Arkansas. Often my grandmother would call me and show me off to her visitors. “This is my grandbaby.” She would stroke me and smile. That was the closest I had come to being kissed. Now Vivian Baxter was kissing my cheeks and my lips and my hands. Since I didn’t know what to do, I did nothing. Her home, which was a boardinghouse,2 was filled with heavy and very uncomfortable furniture. She showed me a room and said it was mine. I told her I wanted to sleep with Momma. Vivian said, “I suppose you slept with your grandmother in Stamps, but she will be going home soon and you need to get used to sleeping in your own room.” My grandmother stayed in California, watching me and everything that happened around me. And when she decided that everything was all right, she was happy. I was not. She began to talk about going home, and wondering aloud how her crippled son was getting along. I was afraid to let her leave me, but she said, “You are with your mother now and your brother will be coming soon. Trust me, but more than that trust the Lord. He will look after you.” Grandmother smiled when my mother played jazz and blues very loudly on her record player. Sometimes she would dance just because she felt like it, alone, by herself, in the middle of the floor. While Grandmother accepted behavior so different, I just couldn’t get used to it. 2. boardinghouse n. house where people rent one or more rooms for either short or long periods of time.



NOTES

13

14

15

16

17 18

19

My mother watched me without saying much for about two weeks. Then we had what was to become familiar as “a sit-down talk-to.” She said, “Maya, you disapprove of me because I am not like your grandmother. That’s true. I am not. But I am your mother and I am working some part of my anatomy3 off to pay for this roof over your head. When you go to school, the teacher will smile at you and you will smile back. Students you don’t even know will smile and you will smile. But on the other hand, I am your mother. If you can force one smile on your face for strangers, do it for me. I promise you I will appreciate it.” She put her hand on my cheek and smiled. “Come on, baby, smile for Mother. Come on. Be charitable.” She made a funny face and against my will, I smiled. She kissed me on my lips and started to cry. “That’s the first time I have seen you smile. It is a beautiful smile. Mother’s beautiful daughter can smile.” I was not used to being called beautiful. That day, I learned that I could be a giver simply by bringing a smile to another person. The ensuing4 years have taught me that a kind word or a vote of support can be a charitable gift. I can move over and make another place for another to sit. I can turn my music up if it pleases, or down if it is annoying. I may never be known as a philanthropist, but I certainly want to be known as charitable.

NOTES


charitable (CHAR- ih-tuh-

buhl) adj. MEANING:


philanthropist

(fih-LAN-thruh-pist) n. MEANING:

* * *


20

2!

22

23

24

25 26 27

I was beginning to appreciate her. I liked to hear her laugh because I noticed that she never laughed at anyone. After a few weeks it became clear that I was not using any title when I spoke to her. In fact, I rarely started conversations. Most often, I simply responded when I was spoken to. She asked me into her room. She sat on her bed and didn’t invite me to join her. “Maya, I am your mother. Despite the fact that I left you for years, I am your mother. You know that, don’t you?” I said, “Yes, ma’am.” I had been answering her briefly with a few words since my arrival in California. “You don’t have to say ‘ma’am’ to me. You’re not in Arkansas.” “No, ma’am. I mean no.” “You don’t want to call me ‘Mother,’ do you?” I remained silent. 3. anatomy (uh NAT uh mee) n. the structure of the body. 4. ensuing adj. following.

Mom & Me & Mom 73

28

NOTES 29 30 31 32 33 34 35 36 37 38 39 40 41 42

43


44

“You have to call me something. We can’t go through life without you addressing me. What would you like to call me?” I had been thinking of that since I first saw her. I said, “Lady.” “What?” “Lady.” “Why?” “Because you are beautiful, and you don’t look like a mother.” “Is Lady a person you like?” I didn’t answer. “Is Lady a person you might learn to like?” She waited as I thought about it. I said, “Yes.” “Well, that’s it. I am Lady, and still your mother.” “Yes, ma’am. I mean yes.” “At the right time I will introduce my new name.” She left me, turned up the player, and sang loudly with the music. The next day I realized she must have spoken to my grandmother. Grandmother came into my bedroom. “Sister, she is your mother and she does care for you.” I said, “I’ll wait until Bailey gets here. He will know what to do, and whether we should call her Lady.”


Chapter 4 45

46

47

48

49

50 51

52


53

54

55 56

57

NOTES

M

other, Grandmother, and I waited at the railway station. Bailey descended from the train and saw me first. The smile that took over his face made me forget all the discomfort I had felt since coming to California. His eyes found Grandmother and his smile changed to a grin, and he waved to her. Then he saw Mother and his response broke my heart. Suddenly he was a lost little boy who had been found at last. He saw his mother, his home, and then all his lonely birthdays were gone. His nights when scary things made noise under the bed were forgotten. He went to her as if hypnotized. She opened her arms and she clasped him into her embrace. I felt as if I had stopped breathing. My brother was gone, and he would never come back. He had forgotten everything, but I remembered how we felt on the few occasions when she sent us toys. I poked the eyes out of each doll, and Bailey took huge rocks and smashed to bits the trucks or trains that came wrapped up in fancy paper. Grandmother put her arm around me and we walked ahead of the others back to the car. She opened the door and sat in the backseat. She looked at me and patted the seat beside her. We left the front seat for the new lovers. The plan was that Grandmother would return to Arkansas two days after Bailey arrived. Before Lady and Bailey Jr. reached the car I said to Grandmother, “I want to go back home with you, Momma.” She asked, “Why?” I said, “I don’t want to think of you on that train all alone. You will need me.” “When did you make that decision?” I didn’t want to answer. She said, “When you saw the reunion of your brother and his mother?” That she should have such understanding, being an old woman and country, too: I thought it was amazing. It was just as well that I had no answer, because Bailey and his mother had already reached the car. Vivian said to Grandmother, “Mother Annie, I didn’t look for you two. I knew you would go to the car.” Bailey didn’t turn to look at me. His eyes were glued to his mother’s face. “One thing about you that cannot be denied, you are a true sensible woman.” Grandmother said, “Thank you, Vivian. Junior?” She had to call twice to get his attention, “Junior, how was the train? Did somebody make food for your trip? How did you leave Willie?” Suddenly he remembered there was someone else in the world. He grinned for Grandmother. “Yes, ma’am, but none of them can cook like you.” Mom & Me & Mom 75

58

NOTES

59

60 61

62

63

64 65

66

He turned to me and asked, “What’s happening, My? Has California got your tongue? You haven’t said a word since I got in the car.” I made my voice as cold as possible. I said, “You haven’t given me a chance.” In a second he said, “What’s the matter, My?” I had hurt him and I was glad. I said, “I may go back to Stamps with Momma.” I wanted to break his heart. “No, ma’am, you will not.” My grandmother’s voice was unusually hard. My mother asked, “Why would you leave now? You said all you were waiting on was your brother. Well, here he is.” She started the car and pulled out into traffic. Bailey turned back to her. He added, “Yep, I’m in California.” Grandmother held my hand and patted it. I bit the inside of my mouth to keep from crying. No one spoke until we reached our house. Bailey dropped his hand over the back of the front seat. When he wiggled his fingers, I grabbed them. He squeezed my fingers and let them go and drew his hand back to the front seat. The exchange did not escape Grandmother’s notice, but she said nothing. ❧ * * *

Comprehension Check Complete the following items after you finish your first read.

2. Why did Maya think her grandmother had been mistaken in identifying the women on the train platform as her mother? 3. What lesson does Maya learn from her mother when she finally smiles for her? 4. How did Maya respond when she realizes how happy her brother Bailey is at seeing his mother? Why does she respond this way? 5. What does Maya tell her Grandmother and brother that she plans to do? Why does she say this? 6. Notebook Write a summary of the excerpt from Mom & Me & Mom to confirm your understanding of the memoir. Include only important ideas and events from the text in your summary, but not your own opinions. 76 UNIT 1 • GENERATIONS


1. What was Maya frightened of at the beginning of the story?

MAKING MEANING

Close Read the Text With your group, revisit sections of the text you marked during your first read. Annotate details that you notice. What questions do you have? What can you conclude? MOM & ME & MOM

Analyze the Text


Complete the activities. 1. Review and Clarify With your group, reread paragraphs 48–53 of the selection. Discuss Maya and Grandmother’s conversation about returning to Arkansas. What insight does Grandmother have about Maya’s decision to return to Arkansas? 2. Present and Discuss Work with your group to identify places in this passage where Maya is making up excuses about why she wants to go home to Arkansas. Discuss the event that had such an effect on Maya, and why it had that effect.

FOR GROUP DISCUSSION

Be sure to identify specific events or passages so your classmates can follow your thinking. Use precise words and specific details to express your thoughts.

3. Essential Question: Based on the text, think about the essential question: What can one generation learn from another? Discuss your thoughts with your group.

Concept Vocabulary charitable philanthropist supervision Why These Words? The three concept words from the text are related. With your group, determine what the words have in common. Write your ideas and add another word that fits the category.

 WORD NETWORK Add interesting words about generations from the text to your word network.


Practice Notebook Confirm your understanding of the concept vocabulary words from the text by using them in sentences. Be sure to use context clues that signal the meaning of the words. Share your sentences with members of your group. Decide which sentences best express the meanings of these words as they are used in the selection.

Word Study Greek Roots: phil- and anthropo- In Mom & Me & Mom, Maya Angelou says, “I may never be known as a philanthropist, but I certainly want to be known as charitable.” The English word philanthropist is made from two Greek roots: phil- meaning “love of” and anthropomeaning “human.” Find other words that have one of these roots.

 STANDARDS Reading Informational Texts • Determine two or more central ideas in a text and analyze their development over the course of the text; provide an objective summary of the text. • Analyze the interactions between individuals, events, and ideas in a text (e.g., how ideas influence individuals or events, or how individuals influence ideas or events). Language Use common, grade-appropriate Greek or Latin affixes and roots as clues to the meaning of a word (e.g., belligerent, bellicose, rebel).

Mom & Me & Mom 77

MAKING MEANING

Analyze Craft and Structure

MOM & ME & MOM

Analyze Interactions All stories are based on interactions among individuals, events, and ideas—how they influence each other. The influence may be directly stated by the author, but sometimes it is up to the reader to determine just how an interaction has caused something to happen. Use this chart to analyze and record how Maya, her brother, events, and ideas interact when Bailey arrives in California. List specific details from the selection about the characters’ actions and comments. Share your responses with your group. TRAIN STATION

CLOSE READING

When analyzing interactions, pay attention to the words the author uses to describe how the characters speak.

WHAT INFLUENCED WHAT?

What does Bailey do when he first sees Maya at the train station? How did this make Maya feel? How did Bailey respond when he saw Grandmother? How did Bailey react when he saw his mother? How did Maya respond to Bailey’s behavior?

Reading Informational Texts • Determine two or more central ideas in a text and analyze their development over the course of the text; provide an objective summary of the text. • Analyze the interactions between individuals, events, and ideas in a text (e.g., how ideas influence individuals or events, or how individuals influence ideas or events). Language Demonstrate command of the conventions of standard English grammar and usage when writing or speaking. Writing Write informative/explanatory texts to examine a topic and convey ideas, concepts, and information through the selection, organization, and analysis of relevant content.


CAR

What does Bailey notice first about Maya when they are in the car? How does Maya respond to Bailey’s comment about her behavior? What does Bailey do to show that he cares about Maya’s feelings?

WHAT INFLUENCED WHAT?


 Standards

eFFECTIVE EXPreSSION

Conventions Independent and Dependent Clauses A clause is a group of words that has both a subject and a verb. An independent clause has a subject and a verb, and can stand by itself as a sentence. A dependent, or subordinate, clause has a subject and a verb, but it cannot stand alone as a complete sentence. Type of Clause

Examples

Independent Clause

• My grandmother took my hands. • Grandmother rocked me in her arms and hummed. • She asked me into her room. • Mother, Grandmother, and I waited at the railway station.

Dependent Clause

• Because I was a thirteen-year-old girl • Since I didn’t know what to do • While Grandmother accepted behavior so different • When he wiggled his fingers

Read It 1. Identify each group of words as an independent clause or a dependent clause. a. I had not received one kiss in all the years in Arkansas b. That woman who looked like a movie star


c. I was beginning to appreciate her d. Before Lady and Bailey Jr. reached the car 2. Reread paragraph 20 of Mom & Me & Mom. Mark and then label one example of an independent clause and one example of a dependent clause.

Write It Notebook Write a brief paragraph that describes how Maya’s interactions with her mother changed before Bailey’s arrival. When you finish the assignment, carefully reread your paragraph. Identify two examples of independent clauses and two examples of dependent clauses in your writing.

Mom & Me & Mom 79

Making Meaning

Comparing Text to Media

Mom & Me & Mom

About the Interviewer

The video interview you will watch features the author of Mom & Me & Mom describing some of the experiences she wrote about in the book. While watching this selection, compare the differences between how written text and spoken words can tell a story.

Learning to Love My Mother

Learning to Love My Mother Media Vocabulary The following words or concepts will be useful to you as you analyze, discuss, and write about video interviews.

Michael Maher has produced and filmed numerous videos, including many for BBC News Magazine. In most of his work—even when he is the interviewer—he is not very visible, and the focus of the video doesn’t leave the subject.

Setting: where the interview takes place

• The setting may be secluded and not distract from the discussion. • It may be in a location that provides relevant and suitable atmosphere.

Questioning: what the interviewer chooses to ask

• The questions may ask for factual responses or encourage the subject to expand on a topic. • “Leading” questions suggest the particular answer an interviewer wants to hear.

Tone: the speaker’s attitude toward a subject or audience

• The same words said with different tones may have different meanings. • Word choice, vocal qualities, and facial expressions set the mood of the interview.

First Review Listening Strategy: Take Notes

WA

Notebook As you watch, write down your observations and questions, making sure to note time codes so you can more easily revisit sections later. H TC

WATCH who speaks, what they say, and how they say it.

NOTE elements that you find interesting and want to revisit.

CONNECT details in the interview to other texts you’ve read or images you’ve seen.

RESPOND by completing the Comprehension Check at the end.

 Standards Speaking and Listening Analyze the main ideas and supporting details presented in diverse media and formats (e.g., visually, quantitatively, orally) and explain how the ideas clarify a topic, text, or issue under study.



Apply these strategies as you watch the video interview.


MEDIA: VIDEO

Learning to Love My Mother Maya Angelou interviewed by Michael Maher

Background


When Maya Angelou was three years old, she and her brother were sent to live with their grandmother. Their mother, Vivian Baxter, wasn’t ready to be tied down with a family. Ten years later, the two children returned to live with their mother. Angelou wrote about the transition in her book Mom & Me & Mom more than 70 years later. In this interview, she tells Michael Maher some of the lessons she learned from this and other experiences in her life.

SCAN FOR MULTIMEDIA

NOTES

Learning to Love My Mother 81

Comprehension Check Compete the following items after you finish your first review. 1. What are some of the ways in which Vivian Baxter was unlike Maya Angelou’s grandmother?

2. How did Vivian Baxter react to her daughter calling her Lady?

3. According to Angelou, what would Vivian Baxter have thought about there being an African American president?

4. What are two lessons Angelou thinks people should learn?

6.

Notebook Explain how Maya Angelou overcame her problems with her mother, and describe how she based her advice to others on her own experience.



5. What is one reason Angelou gives for forgiving her mother for abandoning her?

MAKING MEANING

Close Review Watch the interview again. Write down any new observations that seem important. What questions do you have? What can you conclude? LEARNING TO LOVE MY MOTHER

Media Vocabulary Use these words as you discuss and write about the video interview. setting questioning tone

Analyze the Media Notebook Complete the activities. 1. (a) What questions does the interviewer ask Maya Angelou about her forgiving her mother? (b) Interpret Why do you think the interviewer asks those questions? 2. (a) Distinguish Cite two things that Angelou says were described as she or her as she was growing up. (b) Interpret Why do you think Angelou says that those were the only things favorably described using the female pronoun? 3. (a) Describe Choose an adjective that describes Angelou’s tone in the video. Explain your choice. (b) Analyze Explain how Angelou’s speech and word choices, as well as her facial expressions, contribute to the tone of the interview.


4. Essential Question What can one generation learn from another? What have you learned about the lessons that generations can share by watching this interview?

 Standards Reading Informational Texts • Cite several pieces of textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text. • Compare and contrast a text to an audio, video, or multimedia version of the text, analyzing each medium’s portrayal of the subject (e.g., how the delivery of a speech affects the impact of the words). Speaking and Listening • Present claims and findings, emphasizing salient points in a focused, coherent manner with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate volume, and clear pronunciation. Writing • Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience.



Prepare to Compare

Mom & Me & Mom

Comparing Media With Text When readers make a comparison between a video and a text, they look for similarities and differences in how the two media present the subject. Both the excerpt from Mom & Me & Mom and the video interview “Learning to Love My Mother” provide primary-source information about Angelou’s experiences and her relationship with her mother. • Analyze the details each presentation emphasizes. • Use information you already know or have just learned to determine relevant similarities and to notice key differences each medium presents.

Learning to love my mother

 evidence log Before moving on to a new selection, go to your Evidence Log and record what you learned from the video interview “Learning to Love My Mother.”

ANGELOU’S EXPERIENCES

Discuss with your group how each selection presents information, and talk about the strengths and weaknesses of each medium. Explain how using both sources helps you understand more about Maya Angelou’s experiences and feelings. Use this chart to analyze how the text and the interview develop certain details. With your group, compare the details each medium provides and emphasizes. As a group, discuss how using both sources helped you understand more about the experiences Angelou describes.

WHAT I LEARNED FROM “MOM & ME & MOM”

WHAT I LEARNED FROM “LEARNING TO LOVE MY MOTHER”

HOW THE TEXT COMPARES TO THE VIDEO INTERVIEW

Why she calls her mother Lady

How her feelings about her mother change



First impressions of her mother


Writing to Compare  evidence log

Assignment Using the notes and work you did with your group, pick one of the options and write a paragraph or two as a nonfiction narrative. Be sure to use events that you read or heard in the text or the video interview. Include appropriate terms, phrases, or sentences from the source and try to achieve Angelou’s voice. Choose from the following: • a journal entry that Maya Angelou might have made a few days after she returned to her mother in California.

Before moving on to a new selection, go to your Evidence Log and record what you learned from the Mom & Me & Mom excerpt and the video interview “Learning to Love My Mother.”

• a letter from Maya Angelou to her grandmother a few months after her grandmother had returned to Arkansas. • a video script in which a person presents advice on how to behave toward others—and why—based on Angelou’s experiences with her mother. Project Plan Before you begin, make a list of the tasks you will need to accomplish in order to complete your writing assignment. Then, assign individual group members to each task. Finally, meet to determine the quotes and text you will include in your writing. Finding Quotes Make sure the terms, phrases, or sentences you choose accurately reflect Angelou’s ideas and feelings. Use a chart like this one to keep track of them. Remember to include appropriate citations. WHAT THE QUOTE DESCRIBES

SOURCE FOR QUOTE


QUOTE


Making Meaning About the Artist

Mother-Daughter Drawings Media Vocabulary These words will be useful to you as you analyze, discuss, and write about drawings.

Mica Angela Hendricks was born into a military family, and traveled to many countries. As a child, she would carry a sketchbook everywhere she went. People who didn’t know her well would simply call her “that girl that draws.” Hendricks is now an illustrator, and has collaborated with her four-year old daughter, Myla, on the sketchbook, “Share With Me.”

Composition: arrangement of the parts of a drawing; the foreground is closest to the viewer, while the background is farther away.

• The composition may stress one part of a drawing more than another.

Light and Shadow: effects that add depth to an image and make it more realistic.

• Light and shadow are used to show which parts of the image are in front or behind.

Proportion and Perspective: the size of one element of a drawing in relationship to the size of another element; the illusion that one part of the drawing is closer than another part.

• Correct proportion helps a drawing look realistic, taking into account how close or far objects in it are meant to be.

• Overlapping parts of a drawing separate it into foreground, middle ground, and background.

• Light and shadow help create perspective.

• Smaller objects in a drawing appear to be farther way, and larger ones closer.

First Review

 STANDARDS Reading Informational Texts Compare and contrast a text to an audio, video, or multimedia version of the text, analyzing each medium’s portrayal of the subject (e.g., how the delivery of a speech affects the impact of the words).

86 UNIT 1 • generations

Look at each drawing and determine who or what it portrays.

NOTE elements in each drawing that you find interesting and want to revisit.

CONNECT details in the drawings to other texts you’ve read or images you’ve seen.

RESPOND by completing the Comprehension Check at the end.


Apply these strategies as you study each drawing.

Mother-Daughter

Drawings


Mica and Myla Hendricks

Background


Artist Mica Angela Hendricks had always tried to teach her four-year-old daughter Myla the importance of sharing. But it’s easier to talk about sharing than to do it. Mica found that out when Myla noticed her mother drawing in a sketchbook and asked if she could draw in it too. Mica was afraid Myla would ruin her drawings, but decided she had to set a good example by practicing what she preached, especially after Myla quoted her words back to her: “If you can’t share, we might have to take it away.”

SCAN FOR MULTIMEDIA

Mother-Daughter Drawings 87

NOTES



Image 1: Mica had just drawn a woman’s face from an old photograph. She let Myla draw the woman’s body and then used acrylic paint to add color, highlights, and texture to the entire piece.

Image 2: Mica was impressed that her collaboration with her daughter turned out so well and wanted to try it again.


NOTES

IMAGE 3: She began filling her sketchbook with drawings of heads and letting Myla draw the bodies.

NOTES


Image 4: At first, Mica tried telling Myla what kind of bodies to draw. She soon realized the drawings turned out better when Myla did what she wanted. “In most instances, kids’ imaginations way outweigh a grown-up’s,” Mica says. NOTES

Image 5: Working with her daughter taught Mica that giving up control is not just fun, but necessary. “Those things you hold so dear cannot change and grow and expand unless you loosen your grip on them a little,” she says.


NOTES


Comprehension Check The image gallery uses both words and images to tell a story. Use the chart below to note specific details about each image, then describe how each image relates to the text that accompanies it.

WHAT THE IMAGE SHOWS

HOW THE IMAGE RELATES TO THE TEXT

image 55 Photo

NOTES Photo 6


image 44 Photo

IMAGE 33 Photo

image 22 Photo

image 11 Photo

IMAGE


MAKING MEANING

Close Review


With your group, revisit the images and your first-review notes. Share your observations and brainstorm any new ones that might seem important. Encourage one another to call out as many specific details as possible.

Analyze the Media Complete the activities. 1. Present and Discuss Choose the image you find most interesting or powerful. Share your choice with the group and discuss why you chose it. Explain what you notice in the image, the questions it raises for you, and the conclusions you reached about it. 2. Review and Synthesize With your group, review all the images. How do they illustrate the words they accompany? Do they add meaning beyond what the words are saying, and, if so, how? Explain.

Media Vocabulary composition light shadow proportion perspective

Add interesting words about generations from the image gallery to your Word Network.

Use these vocabulary words in your responses to the following questions. 1. Why might Image 1 be made up four separate photographs?

2. What does Image 4 suggest about how Mica and Myla interact with one another?

 STANDARDS Reading Informational Texts Compare and contrast a text to an audio, video, or multimedia version of the text, analyzing each medium’s portrayal of the subject (e.g., how the delivery of a speech affects the impact of the words). Speaking and Listening Include multimedia components and visual displays in presentations to clarify claims and findings and emphasize salient points.


3. How might Image 5 illustrate the concept of personal growth?  

4.

Notebook Essential Question: What can one generation learn from another? What do you think the mother and daughter might have learned from each other by drawing together? Support your response with evidence from the images.


 WORD NETWORK

Effective Expression

Speaking and Listening Assignment Sharing her sketchbook with her four-year-old daughter taught Mica Angela Hendricks that giving up control can help people grow. Write a brief description of an event that taught you a lesson about life and share it with your group. Then, work together to create a multimedia slideshow by picking one description and combining it with at least four photos and/or illustrations that tell the story visually. As you plan your images, take into account aspects of composition, light, shadow, proportion, and perspective. Plan the Project To prepare your images, consider these questions. • What mood or feeling do you want your images to convey?   • Which images should be photographs, which should be illustrations, and which should be a combination of both?   • What materials, props, and locations do you need access to create your images? Once you have considered these questions, make a storyboard. Decide which part of the story each image will tell.  

 evidence log Before moving on to a new selection, go to your Evidence Log and record what you learned from “Mother-Daughter Drawings.”


STORYBOARD TEMPLATE

Present and Discuss Read the narrative for the class and then present the slideshow. Discuss which aspects of the story are best told in words and which are best told in pictures.

for GROUP DISCUSSION

Think about the relationship between your images with your group. Should they have a similar look, or should they contrast each other? Why?


MAKING MEANING

Meet the Poets Mother to Son Langston Hughes (1902–1967) was an African American writer known for jazz-inspired poems that portrayed black life in America. His work was controversial. Some critics worried that it played into racial stereotypes. Others praised Hughes for reaching everyday people by using language and themes “familiar to anyone who had the ability simply to read.”

To James


Frank Horne (1899–1974) was an African American writer and activist. As a director at the U.S. Housing Authority, he fought to end segregated housing. As a poet, he fought discrimination with poems that conveyed dignity and pride.



POETRY COLLECTION

Mother to Son To James Concept Vocabulary As you perform your first read of these two poems, you will encounter the following words.

flung catapulted lurched Context Clues If these words are unfamiliar to you, try using context clues—other words and phrases that appear in a text—to help you determine their meanings. There are various types of context clues that you might encounter as you read. Familiar situations: Mike always won at dodge ball because he hurled the ball so fast no one could dodge it. Familiar base words: Amy’s passionate speech electrified the crowd.

Apply your knowledge of context clues to determine the meaning of other unfamiliar words you encounter during your first read of the two poems.

First Read


Refer to these strategies as you conduct your first read. You will have an opportunity to complete a close read after your first read.

NOTICE the speaker in the poem and whether the poem tells a story or describes something.


Connect ideas within the selection to what you already know and you have already read.

Respond by completing the Comprehension Check and by writing a brief summary of each poem.  STANDARDS Language Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.

Mother to Son • To James 95

POETRY

Mother to Son Langston Hughes

BACKGROUND

SCAN FOR MULTIMEDIA

NOTES

5

10

15

20

Well, son, I’ll tell you: Life for me ain’t been no crystal stair. It’s had tacks in it, And splinters, And boards torn up, And places with no carpet on the floor— Bare. But all the time I’se1 been a-climbin’ on, And reachin’ landin’s, And turnin’ corners, And sometimes goin’ in the dark Where there ain’t been no light. So boy, don’t you turn back. Don’t you set down on the steps ‘Cause you finds it’s kinder hard. Don’t you fall now— For I’se still goin’, honey, I’se still climbin’, And life for me ain’t been no crystal stair. 1. I’se contraction. “I’m” or “I’ve.”



From 1914 through 1937, Harlem, a neighborhood in New York City, was the setting for an awakening of African American culture that came to be known as the Harlem Renaissance. During this period, African American writers like Langston Hughes and Frank Horne searched for the truest way to express their experiences. Each developed a unique style that ultimately helped shape not just African American culture but also world culture.

POETRY

To James Frank Horne

5


10

15

20

25

Do you remember How you won That last race . . . ? How you flung your body At the start . . . How your spikes Ripped the cinders1 In the stretch . . . How you catapulted Through the tape . . . Do you remember . . . ? Don’t you think I lurched with you Out of those starting holes . . . ? Don’t you think My sinews2 tightened At those first Few strides . . . And when you flew into the stretch Was not all my thrill Of a thousand races In your blood . . . ? At your final drive Through the finish line Did not my shout Tell of the

SCAN FOR MULTIMEDIA

NOTES


flung (FLUHNG) v. MEANING:

catapulted

(KA tuh puhl tihd) v. MEANING:

lurched (LURCHT) v. MEANING:

1. cinders n. very small pieces of burned material. 2. sinews n. strong tissue that connects muscle to bone.


NOTES

30

35

40

45

50

Triumphant3 ecstasy4 Of victory . . . ? Live As I have taught you To run, Boy— It’s a short dash Dig your starting holes Deep and firm Lurch out of them Into the straightaway With all the power That is in you Look straight ahead To the finish line Think only of the goal Run straight Run high Run hard Save nothing And finish With an ecstatic burst That carries you Hurtling Through the tape To victory. . . .


3. triumphant adj. victorious or successful. 4. ecstasy n. extreme happiness.


Comprehension Check Complete the following items after you finish your first read. Review and clarify details with your group.

MOTHER TO SON

1. What qualities does the mother demonstrate through her words and actions?

2. What is a symbol of hardship in the poem? What is a symbol of ease and luxury? How are these things alike and different?

3. What are some examples of physical objects that the speaker uses to describe what life is really like? What kind of settings do these objects make you imagine?

TO JAMES

1. What is the relationship between the speaker and the person being addressed?


2. What are some examples of words that help you visualize, or picture in your mind, the action in the poem?

3. Which actions repeat throughout the poem? Why might the poet have wanted to describe the same actions more than once?

RESEARCH Research to Explore These poems may spark your curiosity to learn more. Choose something that interested you from the poems, such as the Harlem Renaissance, and prepare a research question about it.


MAKING MEANING SOURCES • Mother to Son • To James

Close Read the Text With your group, revisit sections of the text that you marked during your first read. Annotate details that you notice. What questions do you have? What can you conclude?

Analyze the Text


Complete the activities. For Denotations

Look up the word in a dictionary and choose the definition that best fits the way the word is used in “To James.” For Connotations

Think of what you associate with the word to get a feel for its connotation. Other group members might have different associations. Comparing your associations can lead to greater understanding.

1. Review and Clarify With your group, reread “Mother to Son.” What does the group think the stairway symbolizes? 2. Present and Discuss Now work with your group to share key lines of the poem “To James.” Why did you choose these lines? Take turns presenting your lines of poetry. Discuss what you notice in the poem, the questions you asked, and the conclusions you reached. 3. Post Work with your group to write a test question about the selection. Keep your question to 140 characters or less.

Concept Vocabulary flung catapulted lurched

For Writing Sentences

 WORD NETWORK Add interesting words about generations from the text to your Word Network.

Why these words? The concept vocabulary words from the poems are related. With your group, determine what the words have in common. Write your ideas and add another word that fits the category.

Word Study Connotations and Denotations A connotation is an association or feeling that a word suggests in addition to its literal dictionary definition, or denotation. Two words can have similar denotations but completely different connotations. For example, the words mother and matriarch have the same basic definition. However, the first has positive connotations of warmth and security, while the second feels distant and overly formal.

Practice

 Standards Language Distinguish among the connotations (associations) of words with similar denotations (definitions) (e.g., refined, respectful, polite, diplomatic, condescending).


Notebook The concept vocabulary words appear in “To James.” Gain a better understanding of them by working in a group to write down the denotation and connotation for each. Then use each word in a sentence that expresses its connotation.


Keep in mind that words can change form without changing meaning. For example: the verb swim can change tense (into swimming or swam) but still describe the same action.


Analyze Craft and Structure Figurative Language A symbol is anything—an object, person, animal, place, or situation—that represents something else. A symbol has its own meaning, but it also stands for something larger than itself, usually an abstract idea. For example, a dove is a type of bird that symbolizes peace. P oets create complex symbols that suggest layers of meaning. Both of the poems you just read contain a central symbol that represents the journey of life—but these symbols feel very different and have very different meanings. Use this chart to analyze how the poets use symbols in their poems.


Keep in mind that members of your group might have different impressions than you do. There’s no correct impression or conclusion, but talking out differing opinions and the reasons for them will help you clarify your thoughts and learn from one another.

Gather your notes in this chart and share with your group. Mother to Son

To James

What is life symbolized by?

What impression of life does this symbol create? List some words or phrases that support this impression.


What does this symbol suggest about how people should live their lives?

 Standards Language Determine the meaning of words and phrases as they are used in a text, including figurative and connotative meanings; analyze the impact of rhymes and other repetitions of sounds (e.g., alliteration) on a specific verse or stanza of a poem or section of a story or drama.


LANGUAGE DEVELOPMENT SOURCES • Mother to Son • To James

Author’s Style Rhythm and Repetition Rhythm is the pattern of strong and weak beats in spoken or written language. In free verse poems such as “To James” by Frank Horne and “Mother to Son” by Langston Hughes, the structure pattern can be irregular and closer to the natural rising and falling of spoken language.

CLOSE READING

When thinking about how poets use repetition, consider where they are using it to make connections and where they are using it to create contrast.

Repetition is the repeated use of any element of language. Poets can repeat a sound, a word, a phrase, a sentence, a rhyme, a rhythm, or all of these elements to emphasize ideas and create musical effects.

Read It Test your understanding of repetition with a game. Working individually, make a list of the repeated elements in “To James” and “Mother to Son.” Identify as many examples as you can, then rejoin your group and compare lists. Cross off your list any element identified by another group member. The person with the most elements left on his or her list at the end of this process wins!

Write It

 Standards Language Choose language that expresses ideas precisely and concisely, recognizing and eliminating wordiness and redundancy. Writing Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events.



Notebook Pick one poem and write a paragraph describing how the poet used rhythm and repetition to draw attention to certain ideas.


Writing Assignment Write a narrative poem in which the speaker shares a lesson learned through personal experience with another person. Project Plan Each group member should write a brief description of a lesson learned through personal experience. Then, as a group, pick one description on which to base your poem. Make sure to pick the description that has the most potential for storytelling. Consider the following questions: • What experience will the poem describe?   • What might this experience symbolize?

Writing

For writers, the phrase “kill your darlings” means that it’s sometimes necessary to cut your favorite lines and phrases to improve your work as a whole.

• Who is telling the story, and who is being addressed? • What is the setting of this poem, and what might one find there? • What sensory details (sight, sounds, textures, and smells) might make this poem feel more vivid? • What lesson is this experience meant to convey? nce you have answered these questions to everyone’s satisfaction, each O group member should write a rough draft of the entire poem.   Combine and Revise Work together to combine parts from each of your poems into a single poem. (Make sure to include an equal amount of writing from each group member.) Revise the poem with the following in mind: • Should the lines have a certain rhythm? • Which images work well together and which ones don’t seem to fit?

 EVIDENCE LOG Before moving on to a new selection, go to your log and record what you learned from “Mother to Son” and “To James.”


• Are there any important symbols or ideas you can connect or contrast through repetition? • Which elements add to the effect of the poem, and which take away? Present and Discuss Read your group’s finished poem to the class and answer any questions they may have about your work.



An Hour With Abuelo Concept Vocabulary As you perform your first read of “An Hour With Abuelo” you will encounter the following words. slate parchment issues

Born in Puerto Rico in 1952, Judith Ortiz Cofer grew up in both Puerto Rico and New Jersey, where her father was stationed in the United States Navy. She was introduced to the storytelling tradition at her grandmother’s house in Puerto Rico.

Context Clues If these words are unfamiliar to you, try using context clues. Context clues are other words and phrases that appear in a text that can help you determine meanings of unfamiliar words. There are various types of context clues that you may encounter as you read. Synonyms: Sergei’s grandfather was happy and elated when Sergei was elected president of his class. Restatement of an idea: Some people have difficulty conveying, or expressing their opinions.

First Read

 STANDARDS Language Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.


NOTICE who the narrative is about, what happens, where and when it happens, and why those involved react as they do.





Apply these strategies as you conduct your first read. You will have an opportunity to complete a close read after your first read.

SHORT STORY

An

Hour With

Abuelo

by Judith Ortiz Cofer

BACKGROUND Nursing homes are places where senior citizens can live together in a community, with a staff of nurses to help take care of them. Meals and other services are provided by the staff, and seniors can spend their time relaxing and socializing with each other.


1

2

“J

ust one hour, una hora, is all I’m asking of you, son.” My grandfather is in a nursing home in Brooklyn, and my mother wants me to spend some time with him, since the doctors say that he doesn’t have too long to go now. I don’t have much time left of my summer vacation, and there’s a stack of books next to my bed I’ve got to read if I’m going to get into the AP English class I want. I’m going stupid in some of my classes, and Mr. Williams, the principal at Central, said that if I passed some reading tests, he’d let me move up. Besides, I hate the place, the old people’s home, especially the way it smells like industrial-strength ammonia1 and other stuff I won’t mention, since it turns my stomach. And really the abuelo always has a lot of relatives visiting him, so I’ve gotten out of going out there except at Christmas, when a whole vanload of grandchildren are herded over there to give him gifts and a hug. We all make it quick and spend the rest of the time in the

SCAN FOR MULTIMEDIA

NOTES

1. ammonia n. liquid used for cleaning that has a very strong smell.

An Hour With Abuelo 105


3

issues (IH shooz) n. MEANING:

4

5

6

7

8

9

recreation area, where they play checkers and stuff with some of the old people’s games, and I catch up on back issues of Modern Maturity. I’m not picky, I’ll read almost anything. Anyway, after my mother nags me for about a week, I let her drive me to Golden Years. She drops me off in front. She wants me to go in alone and have a “good time” talking to Abuelo. I tell her to be back in one hour or I’ll take the bus back to Paterson. She squeezes my hand and says, “Gracias, hijo,” in a choked-up voice like I’m doing her a big favor. I get depressed the minute I walk into the place. They line up the old people in wheelchairs in the hallway as if they were about to be raced to the finish line by orderlies2 who don’t even look at them when they push them here and there. I walk fast to room 10, Abuelo’s “suite.” He is sitting up in his bed writing with a pencil in one of those old-fashioned black hardback notebooks. It has the outline of the island of Puerto Rico on it. I slide into the hard vinyl chair by his bed. He sort of smiles and the lines on his face get deeper, but he doesn’t say anything. Since I’m supposed to talk to him, I say, “What are you doing, Abuelo, writing the story of your life?” It’s supposed to be a joke, but he answers, “Sí, how did you know, Arturo?” His name is Arturo too. I was named after him. I don’t really know my grandfather. His children, including my mother, came to New York and New Jersey (where I was born) and he stayed on the Island until my grandmother died. Then he got sick, and since nobody could leave their jobs to go take care of him, they brought him to this nursing home in Brooklyn. I see him a couple of times a year, but he’s always surrounded by his sons and daughters. My mother tells me that Don Arturo had once been a teacher back in Puerto Rico, but had lost his job after the war. Then he became a farmer. She’s always saying in a sad voice, “Ay, bendito! What a waste of a fine mind.” Then she usually shrugs her shoulders and says, “Asi es la vida.” That’s the way life is. It sometimes makes me mad that the adults I know just accept whatever is thrown at them because “that’s the way things are.” Not for me. I go after what I want. Anyway, Abuelo is looking at me like he was trying to see into my head, but he doesn’t say anything. Since I like stories, I decide I may as well ask him if he’ll read me what he wrote. I look at my watch; I’ve already used up twenty minutes of the hour I promised my mother. Abuelo starts talking in his slow way. He speaks what my mother calls book English. He taught himself from a dictionary, and his words sound stiff, like he’s sounding them out in his head 2. orderlies n. hospital workers who do nonmedical tasks such as moving patients around or cleaning.



NOTES

10

11

12

13


14

15

16

before he says them. With his children he speaks Spanish, and that funny book English with us grandchildren. I’m surprised that he’s still so sharp, because his body is shrinking like a crumpled-up brown paper sack with some bones in it. But I can see from looking into his eyes that the light is still on in there. “It is a short story, Arturo. The story of my life. It will not take very much time to read it.” “I have time, Abuelo.” I’m a little embarrassed that he saw me looking at my watch. “Yes, hijo. You have spoken the truth. La verdad. You have much time.” Abuelo reads: “’I loved words from the beginning of my life. In the campo where I was born one of seven sons, there were few books. My mother read them to us over and over: the Bible, the stories of Spanish conquistadors and of pirates that she had read as a child and brought with her from the city of Mayagüez; that was before she married my father, a coffee bean farmer; and she taught us words from the newspaper that a boy on a horse brought every week to her. She taught each of us how to write on a slate with chalks that she ordered by mail every year. We used those chalks until they were so small that you lost them between your fingers. “’I always wanted to be a writer and a teacher. With my heart and my soul I knew that I wanted to be around books all of my life. And so against the wishes of my father, who wanted all his sons to help him on the land, she sent me to high school in Mayagüez. For four years I boarded with a couple she knew. I paid my rent in labor, and I ate vegetables I grew myself. I wore my clothes until they were thin as parchment. But I graduated at the top of my class! My whole family came to see me that day. My mother brought me a beautiful guayabera, a white shirt made of the finest cotton and embroidered3 by her own hands. I was a happy young man. “’In those days you could teach in a country school with a high school diploma. So I went back to my mountain village and got a job teaching all grades in a little classroom built by the parents of my students. “I had books sent to me by the government. I felt like a rich man although the pay was very small. I had books. All the books I wanted! I taught my students how to read poetry and plays, and how to write them. We made up songs and put on shows for the parents. It was a beautiful time for me.

NOTES


slate (SLAYT) n. MEANING:


parchment (PAHRCH muhnt) n. MEANING:

3. embroidered (ihm BROY duhrd) v. sewn with a design.


18

19

20

21

22

23

24

“’Then the war came, and the American President said that all Puerto Rican men would be drafted. I wrote to our governor and explained that I was the only teacher in the mountain village. I told him that the children would go back to the fields and grow up ignorant if I could not teach them their letters. I said that I thought I was a better teacher than a soldier. The governor did not answer my letter. I went into the U.S. Army. “I told my sergeant that I could be a teacher in the army. I could teach all the farm boys their letters so that they could read the instructions on the ammunition boxes and not blow themselves up. The sergeant said I was too smart for my own good, and gave me a job cleaning latrines.4 He said to me there is reading material for you there, scholar. Read the writing on the walls. I spent the war mopping floors and cleaning toilets. “’When I came back to the Island, things had changed. You had to have a college degree to teach school, even the lower grades. My parents were sick, two of my brothers had been killed in the war, the others had stayed in Nueva York. I was the only one left to help the old people. I became a farmer. I married a good woman who gave me many good children. I taught them all how to read and write before they started school.’” Abuelo then puts the notebook down on his lap and closes his eyes. “Así es la vida is the title of my book,” he says in a whisper, almost to himself. Maybe he’s forgotten that I’m there. For a long time he doesn’t say anything else. I think that he’s sleeping, but then I see that he’s watching me through half-closed lids, maybe waiting for my opinion of his writing. I’m trying to think of something nice to say. I liked it and all, but not the title. And I think that he could’ve been a teacher if he had wanted to bad enough. Nobody is going to stop me from doing what I want with my life. I’m not going to let la vida get in my way. I want to discuss this with him, but the words are not coming into my head in Spanish just yet. I’m about to ask him why he didn’t keep fighting to make his dream come true, when an old lady in hotpink running shoes sort of appears at the door. She is wearing a pink jogging outfit too. The world’s oldest marathoner, I say to myself. She calls out to my grandfather in a flirty voice, “Yoo-hoo, Arturo, remember what day this is? It’s poetry-reading day in the rec room! You promised us you’d read your new one today.” I see my abuelo perking up almost immediately. He points to his wheelchair, which is hanging like a huge metal bat in the open closet. He makes it obvious that he wants me to get it. I put it together, and with Mrs. Pink Running Shoes’s help, we get him in 4. latrines (luh TREENZ) n. toilets



17

NOTES

25

26

27

28

it. Then he says in a strong deep voice I hardly recognize, “Arturo, get that notebook from the table, please.” I hand him another map-of-the-Island notebook—this one is red. On it in big letters it says, POEMAS DE ARTURO. I start to push him toward the rec room, but he shakes his finger at me. “Arturo, look at your watch now. I believe your time is over.” He gives me a wicked smile. Then with her pushing the wheelchair—maybe a little too fast— they roll down the hall. He is already reading from his notebook, and she’s making bird noises. I look at my watch and the hour is up, to the minute. I can’t help but think that my abuelo has been timing me. It cracks me up. I walk slowly down the hall toward the exit sign. I want my mother to have to wait a little. I don’t want her to think that I’m in a hurry or anything. ❧

NOTES

Comprehension Check Complete the following items after you finish your first read. Review and clarify details with your group. 1. Why does Arturo get depressed when he visits his abuelo?

2. When Arturo’s abuelo starts to read the story of his life, what does Arturo do?


3. How does Abuelo’s love for words shape his career choice?

4. What happened to change Abuelo’s teaching career?

5. Why doesn’t Arturo like the title of Abuelo’s book?

6.

Notebook Summarize in one sentence a bit of wisdom Arturo gained from visiting Abuelo that day.

RESEARCH Research to Explore Choose a person in your extended family, or a neighbor, or friend and think up two questions to ask about his or her life’s story. An Hour With Abuelo 109

MAKING MEANING

Close Read the Text With your group, revisit sections of the text you marked during your first read. Annotate details that you notice. What questions do you have? What can you conclude? AN HOUR WITH ABUELO

Analyze the Text


Complete the activities. for GROUP DISCUSSION

As you read, notice how Abuelo’s and Arturo’s points of view differ. Discuss how each character is keeping track of the time. What is funny about the way the author shows each character’s point of view on that “hour”?

1. Review and Clarify With your group, reread paragraphs 3 and 4 of the selection. Discuss how the author sets up Arturo’s point of view on having to visit with Abuelo for an hour. Why do you think that he walks fast to get to Abuelo’s suite? 2. Present and Discuss Now, work with your group to share the passages from the selection that you found especially important. Take turns presenting your passages. Discuss what you notice in the selection, the questions you asked, and the conclusions you reached. 3. Post Work with your group to write a test question about the selection. Keep your question to 140 characters or less.

Concept Vocabulary slate parchment issues

 WORD NETWORK What associations come to your mind when you hear the word generation?

Why These Words? The concept vocabulary words from the text are related. With your group, discuss the words and determine a concept the words have in common. Write your ideas and add another word that fits the category.

Notebook Confirm your understanding of these words by using each one in a sentence.  STANDARDS Reading Literature Analyze how an author develops and contrasts the points of view of different characters or narrators in a text. Language Determine or clarify the meaning of unknown or multiple-meaning words based on grade 7 reading and content, choosing flexibly from a range of strategies. a. Use context (e.g., the overall meaning of a sentence or paragraph; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.


Word Study Multiple-Meaning Words In “An Hour With Abuelo,” the author uses many words with multiple meanings. The word issues is used to describe publications that appear perodically, such as magazines. Find other multiple-meaning words from the text, such as rich, sharp, nags, turns, and define them.


Practice


Analyze Craft and Structure Author’s Choices: Order of Events A frame story is a story that brackets—or frames—another story or group of stories. This framing device creates a story-within-a-story narrative structure. • Within this frame, the author shifts the narrative to a second, or interior, story. • The frame story is sometimes told by a different narrator and uses a different point of view. In “An Hour With Abuelo” the frame story is told by a first-person narrator. The story-within-a-story is told by a different first-person narrator. Look through the text again to find the places where the frame story begins and ends. Where does the author change points of view? Gather your notes in this chart and share with your group.


Be sure to share your ideas with the other students in your group.

AN HOUR WITH ABUELO: FRAME STORY DETAILS

Arturo’s first narration

Abuelo’s narration


Arturo’s second narration



Conventions Sentence Structure Review the four types of sentences. Then discuss the examples with your group. An Hour with Abuelo

Simple Sentence: Use a subject and a verb to form a complete thought. An independent clause is also a complete thought or sentence. Example: His name is Arturo. A dependent clause is a sentence fragment or an incomplete thought. Example: until Arturo arrives

Remember that sentence variety is the key to writing stimulating paragraphs.

 STANDARDS Language Choose among simple, compound, complex, and compound-complex sentences to signal differing relationships among ideas. Speaking and Listening • Follow rules for collegial discussions, track progress toward specific goals and deadlines, and define individual roles as needed. • Pose questions that elicit elaboration and respond to others’ questions and comments with relevant observations and ideas that bring the discussion back on topic as needed.

Complex Sentences: These sentences contain an independent clause and a dependent clause. Example: He speaks Spanish with Arturo, and English with us grandchildren. Compound-Complex: These sentences combine two independent clauses and one dependent clause. Example: I think Arturo is sleeping, but really he’s faking, maybe planning another joke.

Read It Work individually. Use this chart to identify the sentence structure in each passage from “An Hour With Abuelo.”

Write It Notebook Write a paragraph describing what Arturo tells his mother about the visit. Use at least one simple sentence, one compound sentence, and one complex sentence.

SELECTION PASSAGE

I get depressed the minute I walk into the place. (paragraph 4) . . . Anyway, after my mother nags me for about a week, I let her drive . . . (paragraph 3) . . . I don’t have much time left of my summer vacation, and there’s a stack of books . . . (paragraph 1) My grandfather is in a nursing home in Brooklyn, and my mother wants me to spend some time with him, since the doctors say that he doesn’t have too long to go now. (paragraph 3)


TYPE OF SENTENCE



Compound Sentences: Join two complete sentences with a coordinating conjunction. Coordinating conjunctions include and, for, nor, but, or, yet, so. Example: I’ve met Arturo but I don’t know him well.


Speaking and Listening: Interview Assignment Conduct an interview. Write interview questions based on evidence from the story. Choose from the following topics: Press conference interview. Volunteers will play the roles of Arturo and Abuelo. The rest of the group will be the reporters. The reporters will ask Arturo and Abuelo questions based on details from the text. One-on-one interview. Break into groups of two. One person will play either Arturo or Abuelo. The other person will conduct the interview.

Project Plan Before you begin, make a list of tasks you will need to accomplish in order to complete your interview. Then, assign a role to each student in the group. Writing Interview Questions Write questions based on evidence found in the story. Use the chart to help you get organized.

Before moving on to a new selection, go to your Evidence Log and record what you learned from “An Hour With Abuelo.”

EVIDENCE


INTERVIEW QUESTIONS

 EVIDENCE LOG


Performance Task: Speaking and Listening FOCUS SOURCES • TUTORS TEACH SENIORS NEW HIGH-TECH TRICKS • MOM & ME & MOM • Learning to Love My Mother

Present a Nonfiction Narrative Assignment Choose one of the lessons presented in the texts that you just read. From your own experience or observation, present a nonfiction narrative that teaches the same lesson. Use images to illustrate your presentation.

• MOTHER TO SON • TO JAMES • AN HOUR WITH ABUELO

Plan With Your Group Analyze the Text With your group, discuss the lessons taught in each text listed. Summarize your ideas on this chart. Then, circle the lesson that you think best matches your own experience or observation. Discuss your experience with the group. Come to a consensus on the experience that your group thinks is the most intriguing and most closely tied to a lesson from one of the texts. Refer to the Collaboration Checklist for tips on working effectively as a group. TITLE

LESSON


Mom & Me & Mom

Learning to Love My Mother

To James

 Standards Speaking and Listening • Follow rules for collegial discussions, track progress toward specific goals and deadlines, and define individual roles as needed. • Pose questions that elicit elaboration and respond to others’ questions and comments with relevant observations and ideas that bring the discussion back on topic as needed.


An Hour With Abuelo

Gather Evidence and Media Examples The person whose experience or observation your group chose will serve as the narrator. Ask him or her questions about that experience. Have a recorder write the answers on a chart. Number answers to give your narrative a sequence. Then, as a group, brainstorm the kinds of images that might fit the narrative. List those ideas on the chart next to each answer.


Mother to Son


Organize Your Ideas As a group, work together to plan the sequence of events in your nonfiction narrative. Assign one or two members of the group to find images that complement your narrative. Display these images as part of a slideshow or in any way the group decides. Finally, assign these roles: • Someone to introduce the narrative and explain which text it matches • Someone to tell the story • Someone to handle the illustrations • Someone to follow up with the audience and take questions If the story contains dialogue, you may wish to divide the narrative among members of the group and present it as a modified play.

Rehearse With Your Group Practice With Your Group As you deliver your portion of the presentation, use this checklist to evaluate the effectiveness of your group’s first run-through. Then use your evaluation and these instructions to guide your revision. CONTENT


The narrative is in logical order. The message from the text is a clear match for the narrative.

USE OF MEDIA

The images connect to all parts of the narrative.

The images enhance and add interest to the narrative.

PRESENTATION TECHNIQUES

peakers make eye S contact and speak clearly. peakers adjust volume S and pacing. If dialogue exists, speakers use vocal tone to depict the characters.

Fine-Tune the Content If the connection between your presentation and the text you chose is not yet clear, work as a group to make the lesson in your narrative’s message stronger. Look especially at ways you might improve the conclusion of the narrative. Improve Your Use of Media Make sure that the timing of your images matches the timing of the narrative. Cut or add images so that they work well with the oral presentation. Brush-Up on Your Presentation Techniques Practice any dialogue and give each other feedback on how to use vocal techniques to make the characters come alive for the audience.

Present and Evaluate Remember that you must use teamwork to make this presentation effective. As you listen to other groups, consider their content, use of media, and presentation techniques. Be ready to ask questions.

 Standards Speaking and Listening • Present claims and findings, emphasizing salient points in a focused, coherent manner with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate volume, and clear pronunciation. • Include multimedia components and visual displays in presentations to clarify claims and findings and emphasize salient points. • Adapt speech to a variety of contexts and tasks, demonstrating a command of formal English when indicated or appropriate.

Performance Task: Present a Nonfiction Narrative 115

OVERVIEW: INDEPENDENT LEARNING ESSENTIAL QUESTION:

What can one generation learn from another? People from different generations sometimes have different points of view. In this section, you will choose one additional selection about generations for your final reading experience in this unit. Follow these steps to help you choose. Look Back Think about the selections you have already read. What more do you want to know about the topic of generations? Look Ahead Preview the selections by reading the descriptions. Which one seems most interesting and appealing to you? Look Inside Take a few minutes to scan through the text you chose. Make another selection if this text doesn’t meet your needs.

Independent Learning Strategies Throughout your life, in school, in your community, and in your career, you will need to rely on yourself to learn and work on your own. Review these strategies and the actions you can take to practice them during Independent Learning. Add ideas of your own for each category. STRATEGY

ACTION PLAN

Apply strategies

• Use first-read and close-read strategies to deepen your understanding. • Evaluate the usefulness of the evidence to help you understand the topic. • Consider the quality and reliability of the source.

Take notes

• Record important ideas and information. • Review notes before taking your next step. •

Create a schedule

• Make a plan for what to do each day. •



•

Choose one selection. Selections are available online only.

CONTENTS

POETRY

Lineage Family

Margaret Walker

Grace Paley

What do you inherit from your ancestors?

OPINION PIECE

“Gotcha Day” Isn’t a Cause for Celebration Sophie Johnson Can you yearn for a past that you barely remember?

SHORT STORY

The Old Grandfather and the Little Grandson Leo Tolstoy Time will catch up to all of us.

BLOG POST

Bridging the Generational Divide Between a Football Father and a Soccer Son John McCormick


How do a father and son find common ground in a disagreement? SHORT STORY

Water Names Lan Samantha Chang An eerie tale has been passed down for generations.

PERFORMANCE-BASED ASSESSMENT PREP

Review Evidence for a Nonfiction Narrative Complete your Evidence Log for the unit by evaluating what you’ve learned and synthesizing the information you’ve recorded.

SCAN FOR MULTIMEDIA

Overview: Independent Learning 117

INDEPENDENT LEARNING

First-Read Guide Use this page to record your first-read ideas.

Tool Kit First-Read Guide and Model Annotation

Selection Title:


CONNECT ideas within the selection to other knowledge and the selections you have read.

RESPOND by writing a brief summary of the selection.


NOTICE new information or ideas you learn about the unit topic as you first read this text.



Close-Read Guide Use this page to record your close-read ideas.

Tool Kit Close-Read Guide and Model Annotation

Selection Title:

Close Read the Text Revisit sections of the text you marked during your first read. Read these sections closely and annotate what you notice. Ask yourself questions about the text. What can you conclude? Write down your ideas.

Analyze the Text Think about the author’s choices of patterns, structure, techniques, and ideas included in the text. Select one and record your thoughts about what this choice conveys.


QuickWrite Pick a paragraph from the text that grabbed your interest. Explain the power of this passage.

Independent Learning 119

INDEPENDENT learning  evidence log

Share Your Independent Learning

Go to your Evidence Log and record what you learned from the text you read.

Prepare to Share Even if you read something independently, your understanding continues to grow when you share what you have learned with others. What did you learn about the relationship between generations from the independent reading you chose? Write a few notes to get ready to share your ideas with classmates.

Learn From Your Classmates

Reflect Place a checkmark next to the most important insight you gained from the discussion activity above. Explain how this idea links to the relationship between generations.



Discuss It As you talk with others in your class, list a few ideas that you learned from them.

PERFORMANCE-BASED ASSESSMENT prep

Review Evidence for a Nonfiction Narrative At the beginning of the unit, you expressed a point of view about the following question:

What is an example of a lesson that can be learned from a different generation?

 evidence log Review your Evidence Log and your QuickWrite from the beginning of the unit. Did you learn anything new?

Identify at least three pieces of evidence that interested you about the relationships between generations.

1.

2.

3.


Identify a real-life experience that illustrates one of your revised ideas about generations and how they interact:

Develop your thoughts into a topic sentence for a nonfiction narrative. Complete this sentence starter: I learned a great deal about the way people from different generations can affect each other when

 Standards

Evaluate Your Evidence Consider your point of view. How did the texts you read impact your point of view?

Writing Engage and orient the reader by establishing a context and point of view and introducing a narrator and/ or characters; organize an event sequence that unfolds naturally and logically.

Performance-Based Assessment Prep 121

PERFORMANCE-BASED ASSESSMENT sources • Whole-class selections • small-group selections • independent choice selection

Part 1

Writing to Sources: Nonfiction Narrative In this unit, you read about a variety of characters who influenced one another across generations. Often, the insight went both ways, as older people learned from younger people just as children learned from adults.

Assignment Write a nonfiction narrative in which you use dialogue, description, and precise words to develop and convey experiences and events. Use the following prompt:

Write about an insight, or a bit of wisdom, passed between two people from two different generations.

 WORD NETWORK As you write and revise your nonfiction narrative, use your Word Network to help vary your word choices.

Conclude with a reflection that shares your point of view on what you have learned about generations so far in your life. Connect your experiences to what you have learned in this unit by citing three examples from the selections. Reread the Assignment Review the assignment to be sure you fully understand it. The task may reference some of the academic words presented at the beginning of the unit. Be sure you understand each of the words here in order to complete the assignment correctly. Academic Vocabulary context dilemma sequence

Writing Write narratives to develop real or imagined experiences or events using effective technique,relevant descriptive details, and wellstructured event sequences. • Engage and orient the reader by establishing a context and point of view and introducing a narrator and/ or characters; organize an event sequence that unfolds naturally and logically. • Use narrative techniques, such as dialogue, pacing, and description, to develop experiences, events, and/or characters. • Use a variety of transition words, phrases, and clauses to convey sequence and signal shifts from one time frame or setting to another. • Use precise words and phrases, relevant descriptive details, and sensory language to capture the action and convey experiences and events. • Provide a conclusion that follows from and reflects on the narrated experiences or events.


dialogue transition

Review the Elements of a Nonfiction Narrative Before you begin writing, read the Nonfiction Narrative Rubric. Once you have completed your first draft, check it against the rubric. If one or more of the elements is missing or not as strong as it could be, revise your essay to add or strengthen that component.


 STANDARDS


Nonfiction Narrative Rubric

4

Focus and Organization

Evidence and Elaboration

Language Conventions

My introduction is engaging and introduces the characters and situation in a way that appeals to a reader.

I use narrative techniques such as dialogue and description to add interest to my narrative and to develop the characters and events.

My narrative intentionally uses standard English conventions of usage and mechanics.

Events in my narrative progress in logical order and are linked by clear transitions. My conclusion follows from the events in my narrative and provides insightful reflection on the experiences related in my narrative.

My introduction is engaging and clearly introduces my characters and situation. Events in my narrative progress logically, and I use transition words frequently. 3

My conclusion follows from the rest of my narrative and provides some reflection on the experiences related in my narrative.

My introduction introduces my characters. Events in my narrative progress somewhat logically, and I use some transition words.


2

My conclusion adds very little to my narrative and does not provide reflection on the experiences in my narrative.

My introduction does not introduce my characters and situation, or I have failed to provide an introduction.

1

Events in my narrative do not progress logically. My ideas seem disconnected and my sentences do not use transitional words and phrases. My conclusion does not connect to my narrative, or I have failed to provide a conclusion.

I use vivid adjectives, verbs, and sensory language, or vivid word pictures, to convey the experiences in my narrative and to help the reader imagine the characters and scenes. My narrative demonstrates accuracy in standard English conventions of usage and mechanics.

I use some dialogue and description to add interest to my narrative and develop experiences and events. I use precise words and some sensory language to convey the experiences in my narrative and to describe my characters and scenes.

I use some dialogue and some description in my narrative. My words vary between vague and precise. I sometimes use some sensory language.

I do not use narrative techniques to add interest to my narrative and to develop the characters and events.

My narrative demonstrates some accuracy in standard English conventions of usage and mechanics.

My narrative contains mistakes in standard English conventions of usage and mechanics.

My narrative fails to incorporate sensory language and precise words to convey experiences and to develop characters.

Performance-Based Assessment 123

performance-based assessment PART 2

Speaking and Listening: Oral Presentation Assignment After completing the final draft of your nonfiction narrative, plan and present a brief oral presentation. Do not simply read your narrative aloud. Take the following steps to make your presentation lively and engaging. • Go back to your narrative and annotate the ideas that provide reflection on your experiences and events. • Refer to your annotations to guide your presentation. • Use appropriate eye contact, adequate volume, and clear pronunciation.

3

Content

Use of Media

Presentation Techniques

Your narrative effectively establishes a point of view and follows a logical sequence.

The images you choose connect to all parts of your narrative.

Speakers make eye contact and speak clearly.

The images enhance and add interest to your narrative.

Speakers adjust volume and pacing effectively.

The timing of your images matches the timing of your narrative.

If dialogue exists, speakers use vocal tone to depict the characters.

The images you choose connect to some parts of your narrative.

Speakers somewhat make eye contact and speak clearly.

The images somewhat enhance and add interest to your narrative.

Speakers somewhat adjust volume and pacing.

The timing of your images somewhat matches the timing of your narrative.

If dialogue exists, speakers somewhat use vocal tone to depict the characters.

The images you choose do not connect to your narrative.

Speakers do not make eye contact and do not speak clearly.

You effectively use narrative techniques and a variety of transitions for cohesion and clarity. You use relevant descriptive details. Your narrative somewhat establishes a point of view and follows a logical sequence.

2

You use some narrative techniques and some transitions. You use some relevant descriptive details. Your narrative does not establish a point of view and does not follow a logical sequence.

1

You do not use narrative techniques and transitions. You did not use relevant descriptive details.


The images do not add interest to your narrative. The timing of your images does not match the timing of your narrative.

Speakers do not adjust volume and pacing. If dialogue exists, speakers do not use vocal tone to depict the characters.


Review the Oral Presentation Rubric The criteria by which your narrative will be evaluated appear in the rubric below. Review these criteria before presenting to ensure that you are prepared.

unit

1

reflection

Reflect on the Unit Now that you’ve completed the unit, take a few moments to reflect on your learning.

Reflect on the Unit Goals Look back at the goals at the beginning of the unit. Use a different colored pen to rate yourself again. Think about readings and activities that contributed the most to the growth of your understanding. Record your thoughts.

Reflect on the Learning Strategies Discuss It Write a reflection on whether you were able to improve your learning based on your Action Plans. Think about what worked, what didn’t, and what you might do to keep working on these strategies. Record your ideas before a class discussion.


Reflect on the Text Choose a selection that you found challenging and explain what made it difficult.

Explain something that surprised you about a text in the unit.  STANDARDS

Which activity taught you the most about generations? What did you learn?

Speaking and Listening • Present claims and findings emphasizing salient points in a focused, coherent manner with pertinent descriptions, facts, details, and examples; use appropriate eye contact, adequate volume, and clear pronunciation. • Include multimedia components and visual displays in presentations to clarify claims and findings and emphasize salient points.

Performance-Based Assessment 125

Tool kit

We’ve created a Tool Kit just for students! The Tool Kit resources help students with myPerspectives lessons and provide additional reference materials to support close reading, writing, research, and using program materials. The

icon indicates that there is a corresponding

resource located in the Tool Kit at the back of the print Consumable Student Edition or available at point of use in the digital Interactive Student Edition. Here are representative samples of some of the Tool Kit content.

Table of Contents Close Reading Annotating Texts First-Read Process Close-Read Process

Writing

Conducting Research Reviewing Research Findings Incorporating Research Into Writing

Program Resources Using an Evidence Log Building a Word Network


The Writing Process Argument Exposition/Informational Narration Writing a Summary

Research

R1 Tool Kit

Tool kit: Close Reading

Close Reading Marking the Text: Strategies and Tips for Annotation When you close read a text, you read for comprehension and then reread to unlock layers of meaning and to analyze a writer’s style and techniques. Marking a text as you read it enables you to participate more fully in the close-reading process. Following are some strategies for text mark-ups, along with samples of how the strategies can be applied. These mark-ups are suggestions; you and your teacher may want to to use other strategies.

* Key Idea ! ?

I love it!

I have questions

Unfamiliar or important word

Context Clues

Suggested Mark-Up Notations What I notice

How to mark up

Questions to ask

Key Ideas and Details

• Highlight key ideas or claims.

• What does the text say? What does it leave unsaid?

• Underline supporting details or evidence.

• What inferences can you make? • What details lead you to make your inferences?

Word Choice

• Circle unfamiliar words. • Add a dotted line under context clues. • Put an exclamation point beside especially rich or poetic passages.

Text Structure

• Highlight passages that show key details supporting the main idea. • Use arrows to indicate how sentences and paragraphs work together to build ideas.

• What inferences about word meaning can you make? • What tone and mood are created by word choice? • What alternative word choices might the author have made? • Is the text logically structured? • What emotional impact do the structural choices create?


• Use a right-facing arrow to indicate foreshadowing. • Use a left-facing arrow to indicate flashback.

Author’s Craft

• Circle or highlight instances of repetition, either of words, phrases, consonants, or vowel sounds. • Mark rhythmic beats in poetry using checkmarks and slashes.

• Does the author’s style enrich or detract from the reading experience? • What levels of meaning are created by the author’s techniques?

• Underline instances of symbolism or figurative language.

Close Reading R2

In your first read, work to get a sense of the main idea of a text. Look for key details and ideas that help you understand what the author wants to convey to you. Mark passages you have a strong response to.

* Key Idea ! ?

I love it!

I have questions

Here is how one reader marked up this text.


Context Clues MODEL informational Text

from

Classifying the Stars

Cecilia H. Payne 1

? !

R3 Tool Kit

*

Sunlight and starlight are composed of waves of various lengths, which the eye, even aided by a telescope, is unable to separate. We must use more than a telescope. In order to sort out the component colors, the light must be dispersed by a prism, or split up by some other means. For instance, sunbeams passing through rain drops, are transformed into the myriad-tinted rainbow. The familiar rainbow spanning the sky is Nature’s most glorious demonstration that light is composed of many colors.

?

*

2

The very beginning of our knowledge of the nature of a star dates back to 1672, when Isaac Newton gave to the world the results of his experiments on passing sunlight through a prism. To describe the beautiful band of rainbow tints, produced when sunlight was dispersed by his three-cornered piece of glass, he took from the Latin the word spectrum, meaning an appearance. The rainbow is the spectrum of the Sun. . . .

3

In 1814, more than a century after Newton, the spectrum of the Sun was obtained in such purity that an amazing detail was seen and studied by the German optician, Fraunhofer. He saw that the multiple spectral tints, ranging from delicate violet to deep red, were crossed by hundreds of fine dark lines. In other words, there were narrow gaps in the spectrum where certain shades were wholly blotted out. We must remember that the word spectrum is applied not only to sunlight, but also to the light of any glowing substance when its rays are sorted out by a prism or a grating.

*


NOTES


MODEL

First-Read Guide Use this page to record your first-read ideas. Selection Title:


NOTICE new information or ideas you learned about the unit topic as you first read this text.

Light = different waves of colors. (Spectrum) Newton–the first person to observe these waves using a prism. Faunhofer saw gaps in the spectrum.

You may want to use a guide like this to organize your thoughts after you read. Here is how a reader completed a First-Read Guide.


Vocabulary myriad grating component colors Different light types = different lengths Isaac Newton also worked theories of gravity. Multiple spectral tints? “colors of various appearance” Key Passage: Lines 12–13 show that Fraunhofer discovered more about the nature of light spectrums: he saw the spaces in between the tints.


Connect ideas within the selection to other knowledge and the selections you have read.

I remember learning about prisms in Science class. Double rainbows! My favorite. How are they made?

Respond by writing a brief summary of the selection.

Science allows us to see things not visible to the naked eye. What we see as sunlight is really a spectrum of colors. By using tools such as prisms, we can see the components of sunlight and other light. They appear as single colors or as multiple colors separated by gaps of no color. White light contains a rainbow of colors.

First-Read Guide R4

I have questions

In a close read, go back into the text to study it in greater detail. Take the time to analyze not only the author’s ideas but the way that those ideas are conveyed. Consider the genre of the text, the author’s word choice, the writer’s unique style, and the message of the text.


Here is how one reader close read this text.

* Key Idea ! ?

I love it!

Context Clues MODEL informational Text

from


Cecilia H. Payne explanation of sunlight and starlight What is light and where do the colors come from?

1

? !

This paragraph is about Newton and the prism.

R5 Tool Kit

*

2

The very beginning of our knowledge of the nature of a star dates back to 1672, when Isaac Newton gave to the world the results of his experiments on passing sunlight through a prism. To describe the beautiful band of rainbow tints, produced when sunlight was dispersed by his three-cornered piece of glass, he took from the Latin the word spectrum, meaning an appearance. The rainbow is the spectrum of the Sun. . . .

3

In 1814, more than a century after Newton, the spectrum of the Sun was obtained in such purity that an amazing detail was seen and studied by the German optician, Fraunhofer. He saw that the multiple spectral tints, ranging from delicate violet to deep red, were crossed by hundreds of fine dark lines. In other words, there were narrow gaps in the spectrum where certain shades were wholly blotted out. We must remember that the word spectrum is applied not only to sunlight, but also to the light of any glowing substance when its rays are sorted out by a prism or a grating.

What discoveries helped us understand light?

Fraunhofer and gaps in spectrum

*

Sunlight and starlight are composed of waves of various lengths, which the eye, even aided by a telescope, is unable to separate. We must use more than a telescope. In order to sort out the component colors, the light must be dispersed by a prism, or split up by some other means. For instance, sunbeams passing through rain drops, are transformed into the myriad-tinted rainbow. The familiar rainbow spanning the sky is Nature’s most glorious demonstration that light is composed of many colors.

*


NOTES


MODEL

Close-Read Guide Use this page to record your close-read ideas. Selection Title:


Close Read the Text Revisit sections of the text you marked during your first read. Read these sections closely and annotate what you notice. Ask yourself questions about the text. What can you conclude? Write down your ideas.

Paragraph 3: Light is composed of waves of various lengths. Prisms let us see different colors in light. This is called the spectrum. Fraunhofer proved that there are gaps in the spectrum, where certain shades are blotted out.

You can use the Close-Read Guide to help you dig deeper into the text. Here is how a reader completed a Close-Read Guide.

Analyze the Text Think about the author’s choices of patterns, structure, techniques, and ideas included in the text. Select one, and record your thoughts about what this choice conveys.

The author showed the development of human knowledge of the spectrum chronologically. Helped me see how ideas were built upon earlier understandings. Used dates and “more than a century after Newton” to show time.

More than one researcher studied this and each built off the ideas that were already discovered.


QuickWrite Pick a paragraph from the text that grabbed your interest. Explain the power of this passage.

The first paragraph grabbed my attention, specifically the sentence “The familiar rainbow spanning the sky is Nature’s most glorious demonstration that light is composed of many colors.” The paragraph began as a straightforward scientific explanation. When I read the word “glorious,” I had to stop and deeply consider what was being said. It is a word loaded with personal feelings. With that one word, the author let the reader know what was important to her.

Close-Read Guide R6

MODEL

Unit Title:

Discovery

Perfomance-Based Assessment Prompt:

Do all discoveries benefit humanity? My initial position:

Yes–all knowledge moves us forward.

As you read multiple texts about a topic, your thinking may change. Use an Evidence Log like this one to record your thoughts, to track details you might use in later writing or discussion, and to make further connections. Date: Sept. 15 Here is a sample to show how one reader’s ideas changed as she read two texts.

TItle of Text: Classifying the Stars

Date:

CONNECTION TO THE PROMPT

EVIDENCE FROM THE TEXT

Newton shared his discoveries and then other scientists built on his discoveries.

Paragraph 2: “Isaac Newton gave to the world the results of his experiments on passing sunlight through a prism.” Paragraph 3: “In 1814 . . . the German optician, Fraunhofer . . . saw that the multiple spectral tints . . . were crossed by hundreds of fine dark lines.”

How does this text change or add to my thinking? This confirms what

Sept. 17


It’s not always clear how a discovery might benefit humanity in the future.

Date:

Sept. 20

I think.

My position: No change

TItle of Text: Cell Phone Mania

Date:

CONNECTION TO THE PROMPT

EVIDENCE FROM THE TEXT

Cell phones have made some forms of communication easier, but people don’t talk to each other as much as they did in the past.

Paragraph 7: “Over 80% of young adults state that texting is their primary method of communicating with friends. This contrasts with older adults who state that they prefer a phone call.”

How does this text change or add to my thinking?

Sept. 21


Is it good that we don’t talk to each other as much? Look for article about social media to learn more about this question.

Date:

Sept. 25

Maybe there are some downsides to discoveries. My position:

I still think that all discoveries have a positive effect on humanity, but not all effects are positive.

R7 Tool Kit


Evidence Log

Tool kit: Program Resources

MODEL

Word Network

A word network is a collection of words related to a topic. As you read the selections in a unit, identify interesting theme-related words and build your vocabulary by adding them to your Word Network. Use your Word Network as a resource for your discussions and writings. Here is one reader’s word network.

challenge

uncovered

perseverence

achieve/achievement

novel

research/search

explore/exploration

DISCOVERY

results


reveal/revelation

experiment

observe/observation scrutinize/scrutiny ground-breaking

expeditions

scientific innovate investigation

inquiry

Word Network R8

CREDITS AND ACKNOWLEDGMENTS

Images Photo locators denoted as follows: Top (T), Center (C), Bottom (B), Left (L), Right (R), Background (Bkgd) iv, 2 Sergey Novikov/Shutterstock; vi MEHAU KULYK/Science Photo Library/Getty Images; viii Ollyy/Shutterstock; x Romolo Tavani/Shutterstock; xii Stephan Kaps/EyeEm/Getty Images; 6 © Keith Bell/123RF; 11 (T) © Weimin Liu/Flickr RF/Getty Images, (C) Courtesy Laura Schroff; 12 © J.J. GUILLEN/EPA/ Newscom; 13 © Weimin Liu/Flickr RF/Getty Images; 16 © Curt Teich Postcard Archives/Lake County Museum/Getty Images; 23 © dmitrimaruta/123RF; 042 © Ralph Baleno Studio; 43 Courtesy Laura Schroff; 062 John Poole/NPR; 63 Courtesy Pace University; 70 (CL) © Ken Charnock/Getty Images; 74 © Sam Shere/The

LIFE Picture Collection/Getty Images; 87-91 © Mica Hendricks; 94 (TL) © Everett Collection Inc/Alamy, (TR) © Aditya Gujaran/ EyeEm/Getty Images, (BL) Schomburg Center for Research in Black Culture, (BR) © Corbis; 096 © Aditya Gujaran/EyeEm/ Getty Images; 97 © Corbis; 104 © Tanya Cofer; 105 © Ronnie Kaufman/Larry/Blend Images/age fotostock; 107 © Courtesy Everett Collection/age fotostock; 117 (B) © Dean Conger/ Corbis, (BC) © Dan Dalton/Caiaimage/Getty Images, (C) © Dave Lawrence/Flickr Flash/Getty Images, (T) © Everett Collection Inc/ Alamy; R1 (Bkgd) © Artishok/Shutterstock, (C) © Ant Clausen/ Shutterstock.

ACKNOWLEDGMENTS Abner Stein “Two Kinds” from Joy Luck Club by Amy Tan. Used with permission of Abner Stern. Alfred A. Knopf “Mother to Son” from The Collected Poems of Langston Hughes by Langston Hughes, edited by Arnold Rampersad with David Roessel, Associate Editor. Copyright © 1994 by the Estate of Langston Hughes. Used by permission of Alfred A. Knopf, an imprint of the Knopf Doubleday Publishing Group, a division of Penguin Random House LLC. All rights reserved. Any third party use of this material, outside of this publication, is prohibited. Interested parties must apply directly to Penguin Random House LLC for permission. Harold Ober Associates, Inc. “Mother to Son” by Langston Hughes. Copyright © 1994 by The Estate Of Langston Hughes. Reprinted by permission of Harold Ober Associates Incorporated. Howard Books From An Invisible Thread by Laura Schroff and Alex Tresniowski. Copyright © 2011 Laura Schroff and Alex Tresniowski. Reprinted with the permission of Howard Books, a Division of Simon & Schuster, Inc. National Public Radio, Inc. “Tutors Teach Seniors New HighTech Tricks,” © 2011 National Public Radio, Inc. News report titled “Tutors Teach Seniors New High-Tech Tricks” by Jennifer Ludden was originally published on NPR.org on December 27, 2011, and is used with the permission of NPR. Any unauthorized duplication is strictly prohibited.

R9 Credits and Acknowledgments

New York Public Library “To James” by Frank Horne. Courtesy of the Literary Representative for the Works of Gwendolyn B. Bennett, Schomburg Center for Research in Black Culture, New York Public Library, Astor, Lenox and Tilden Foundations. Orchard Books From An Island Like You by Judith Ortiz Cofer. Copyright © 1995 by Judith Ortiz Cofer. Reprinted by permission of Orchard Books, an imprint of Scholastic Inc. Pearson Education, Inc. “Grounded” by Marcy Domingo. Copyright © 2015 Pearson Education, Inc. Used with permission of Pearson Education, Inc. Pearson Education, Inc. “A Simple Act” by Tyler Jackson. Copyright © 2015 Pearson Education, Inc. Used with permission of Pearson Education, Inc. Random House “Chapter 3” and “Chapter 4” from Mom & Me & Mom by Maya Angelou. Copyright © 2013 by Maya Angelou. Used by permission of Random House, an imprint and division of Penguin Random House LLC. All rights reserved. Any third party use of this material, outside of this publication, is prohibited. Interested parties must apply directly to Penguin Random House LLC for permission. Virago Press “Chapter 3” and “Chapter 4” from Mom & Me & Mom by Maya Angelou. Copyright © 2013 by Maya Angelou. Used by permission of Virago Press.

GRADE 7

Perspectives

|

UNIT 1 SAMPLER

TM

GR A D E 7

ENGLISH LANGUAGE ARTS

UNIT 1 Generations UNIT 2 A Starry Home


UNIT 3 Turning Points UNIT 4 People and the Planet UNIT 5 Facing Adversity

GRADE 7 ISBN-13: 978-0-328-87398-2 ISBN-10: 0-328-87398-5

9

780328 873982

9 0 0 0 0

TM

Grade 7 SE Unit 1 SamplerFINAL

Recommend Documents