Pacing 35 Pacing Glencoe Literature: California Treasures offers two curriculum options: • • a 180-day course of study, which covers all the literature selections in the Student Edition • • an Essential Course of Study, which enables you to teach the standards in a time-effective manner This section shows you when to teach which selections, and which standards you will cover. It is divided into these parts: • • California Treasures Student Edition • • California Treasures Essential Course of Study • • Weekly Pacing PACING CA CA 38 California Treasures Standards Road Map California Treasures Essential Course of Study By teaching the Glencoe Literature: California Treasures Essential Course of Study in the order below, you can ensure that you cover the tested standards in the 150 days before the test. The calendar shows how to use the Essential Course of Study as the backbone of your instruction, while still having time to teach additional selections throughout the year. The calendar also includes workshops from the Student Edition that teach California standards. Pacing Calendar: 150 Days Before Test/180 Days of the Year September October November December January Week 1 The Cask of Amontillado Writing Workshop: Response to Literature Week 5 from Black Boy Writing Workshop: Autobiographical Narrative Week 9 I Wandered Lonely as a Cloud Week 13 Time Week 17 Speaking, Listening, and Viewing Workshop: Descriptive Presentation Week 2 Comparing Literature: Liberty ANDThe Struggle to Be an All-American Girl AND Legal Alien Week 6 TIME: Adventure to Antarctica Week 10 Comparing Literature: An Indian Summer Day on the Prairie ANDOn Summer AND Monument Week 14 Writing Workshop: Descriptive Essay Week 18 The Tragedy of Romeo and Juliet Act 1, Scene 5 Week 3 American History Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature Week 7 That One Man’s Profit Is Another’s Loss Week 11 Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument, continued Week 15 Theme for English B Week 19 The Tragedy of Romeo and Juliet Act 2, Scene 5 Week 4 Of Dry Goods and Black Bow Ties Week 8 Speaking, Listening, and Viewing Workshop: Narrative Presentation Week 12 Remember Week 16 Lineage Week 20 The Bear Writing Workshop: Literary Criticism Essay 6/6/08 7:33:12 AM 6/6/08 7:33:12 AM Pacing 39 The authentic text of each Essential Course of Study selection can be found along with extra reading support in the Read and Write practice books—leveled consumable worktexts for English Learners, On-Level, and Approaching students. February March April May Week 21 Speaking, Listening, and Viewing Workshop: Oral Response to Literature Week 25 He—y, Come on Ou—t! Week 29 I Was a Skinny Tomboy Kid Week 33 The Odyssey Part 1 Week 22 Perseus Writing Workshop: Research Report Week 26 Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments Week 30 The Road Not Taken Week 34 The Odyssey Part 1, continued Week 23 Speaking, Listening, and Viewing Workshop: Multimedia Presentation Week 27 Functional Documents: Agenda; Meeting Minutes; Warranty; Product Information; Installation Guide Week 31 The Road Not Taken, continued Week 35 Coyote and Crow Week 24 The Sentinel Writing Workshop: Persuasion: Editorial Week 28 TEST WEEK Week 32 My Mother Combs My Hair Week 36 Coyote and Crow, continued 6/6/08 7:33:15 AM 6/6/08 7:33:15 AM PACING CA CA 40 California Treasures Standards Road Map Week 1 The Lady, or the Tiger? The Most Dangerous Game The Leap Unit Introduction Literary Focus: Plot and Setting Vocabulary Workshop: Academic Vocabulary Reading 3.6, Reading 3.3, Reading 3.7 Writing 2.1, Writing 2.3.c Listening and Speaking 1.8 Week 2 The Cask of Amontillado Blues Ain’t No Mockin Bird The Interlopers TIME: Shattered Vocabulary Workshop: Homonyms and Homophones Reading 3.11, Reading 1.2, Reading 3.6, Reading 3.8, Reading 2.5, Reading 2.4 Writing 2.3, Writing 2.1.e, Writing 2.3.a Week 3 Rules of the Game The Gift of the Magi Comparing Literature: Liberty AND The Struggle to Be an All-American Girl ANDLegal Alien Literary Focus: Character and Theme Grammar Workshop: Sentence Combining Vocabulary Workshop: Dictionary Use Grammar Workshop: Misplaced Modifiers Reading 3.3, Reading 3.4, Reading 1.1, Reading 3.2 Writing 1.3, Writing 2.1, Writing 2.2 Language Conventions 1.2 Week 4 Sweet Potato Pie The Scarlet Ibis The Bass, the River, and Sheila Mant Vocabulary Workshop: Multiple-Meaning Words Reading 3.8, Reading 3.11, Reading 3.4, Reading 3.7, Reading 1.1, Reading 2.5 Writing 2.1.e Language Conventions: 1.2 UNIT ONE UNIT ONE Weekly Pacing Glencoe Literature: California Treasures comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Glencoe Literature: California Treasures—Course 4 Student Edition covers the standards in 180 days. California Treasures Student Edition Selections Features and Workshops Content Standards CA CA How do I cover the standards in the 180/150 days of the year? 035_048_Pacing_G09_CA.indd 40 035_048_Pacing_G09_CA.indd 40 Pacing 41 Week 7 Of Dry Goods and Black Bow Ties Only Daughter A Brother’s Crime Visual Perspective: fromThe Murder of Abraham Lincoln Unit Introduction Literary Focus: Autobiography and Biography Reading 2.5, Reading 3.11 Writing 2.2.b, Writing 2.1 Week 8 fromBlack Boy Escape from Afghanistan Grammar Workshop: Dialogue and Speaker Tags Media Workshop: Compare Media Genres Reading 2.5, Reading 3.11, Reading 3.12 Writing 2.3.d Language Conventions 1.1 Listening and Speaking 2.3.a, Listening and Speaking 1.2 Week 9 from All God’s Children Need Traveling Shoes Walking Sayonara from Into Thin Air TIME: Adventure to Antarctica Literary Focus: Personal and Expository Essay Grammar Workshop: Clauses and Phrases Vocabulary Workshop: Jargon Reading 2.5, Reading 3.11, Reading 3.6, Reading 1.1, Reading 2.5 Writing 2.1.e, Writing 2.1, Writing 1.2, 1.3 Language Conventions 1.1 Week 10 A New Generation of Americans That One Man’s Profit Is Another’s Loss Daylight Saving Literary Focus: Persuasive Essay and Speech Reading 2.8, Reading 3.7 Writing 2.4, Writing 2.2.a, Writing 1.2 Listening and Speaking 1.10 Week 11 Comparing Literature: Thoughts on Fenway Park ANDTaxpayers will get a return on investment ANDOther revenue sources should be pursued Put Down the Backpack Reading 2.5, Reading 2.8 Writing 2.5, Writing 2.3 UNIT TWO UNIT TWO Week 5 The Secret Life of Walter Mitty The Necklace American History Historical Perspective: The Drums of Washington Mrs. James The Son from America Literary Focus: Narrator and Voice Grammar Workshop: Run-on Sentences Reading 3.9, Reading 3.11, Reading 3.8, Reading 3.3, Reading 3.4, Reading 2.8 Writing 2.1.e, Writing 2.5, Writing 2.1 Literary Conventions 1.1 Listening and Speaking 1.1 Week 6 Writing Workshop: Response to Literature Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature Writing 2.2 Assessment: California Standards Practice Selections Features and Workshops Content Standards CA CA CA CA Selections Features and Workshops Content Standards CA CA 035_048_Pacing_G09_CA.indd 41 035_048_Pacing_G09_CA.indd 41 How can I pace instruction to meet all my students’ needs?
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Pacing 35
PacingGlencoe Literature: California Treasures offers two curriculum options:
• • a 180-day course of study, which covers all the literature selections in the Student Edition
• • an Essential Course of Study, which enables you to teach the standards in a time-effective manner
This section shows you when to teach which selections, and which standards you will cover. It is divided into these parts:
• • California Treasures Student Edition
• • California Treasures Essential Course of Study
• • Weekly Pacing
PACINGCACA
38 California Treasures Standards Road Map
California Treasures
Essential Course of Study
By teaching the Glencoe Literature: California Treasures Essential Course of
Study in the order below, you can ensure that you cover the tested standards
in the 150 days before the test. The calendar shows how to use the Essential
Course of Study as the backbone of your instruction, while still having time
to teach additional selections throughout the year. The calendar also includes
workshops from the Student Edition that teach California standards.
Pacing Calendar: 150 Days Before Test/180 Days of the Year
September October November December January
Week 1The Cask of
Amontillado
Writing Workshop:
Response to Literature
Week 5from Black Boy
Writing Workshop:
Autobiographical
Narrative
Week 9I Wandered Lonely as
a Cloud
Week 13Time
Week 17Speaking, Listening,
and Viewing
Workshop: Descriptive
Presentation
Week 2Comparing Literature:
Liberty AND The
Struggle to Be an
All-American Girl AND
Legal Alien
Week 6TIME: Adventure to
Antarctica
Week 10Comparing Literature:
An Indian Summer
Day on the Prairie
AND On Summer AND
Monument
Week 14Writing Workshop:
Descriptive Essay
Week 18The Tragedy of
Romeo and Juliet
Act 1, Scene 5
Week 3American History
Speaking, Listening,
and Viewing
Workshop: Discuss
Ideas About Literature
Week 7That One Man’s Profit
Is Another’s Loss
Week 11Comparing Literature:
An Indian Summer
Day on the Prairie
AND On Summer AND
Monument, continued
Week 15Theme for English B
Week 19The Tragedy of
Romeo and Juliet
Act 2, Scene 5
Week 4Of Dry Goods and
Black Bow Ties
Week 8Speaking, Listening,
and Viewing
Workshop: Narrative
Presentation
Week 12Remember
Week 16Lineage
Week 20The Bear
Writing Workshop:
Literary Criticism Essay
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Pacing 39
The authentic text of each Essential Course of Study selection can be
found along with extra reading support in the Read and Write practice
books—leveled consumable worktexts for English Learners, On-Level, and
Approaching students.
February March April May
Week 21Speaking, Listening,
and Viewing
Workshop: Oral
Response to Literature
Week 25He—y, Come on Ou—t!
Week 29I Was a Skinny
Tomboy Kid
Week 33The Odyssey Part 1
Week 22Perseus
Writing Workshop:
Research Report
Week 26Speaking, Listening,
and Viewing
Workshop: Deliver
Persuasive Arguments
Week 30The Road Not Taken
Week 34The Odyssey Part 1,
continued
Week 23Speaking, Listening,
and Viewing
Workshop: Multimedia
Presentation
Week 27Functional Documents:
Agenda; Meeting
Minutes; Warranty;
Product Information;
Installation Guide
Week 31The Road Not Taken,
continued
Week 35Coyote and Crow
Week 24The Sentinel
Writing Workshop:
Persuasion: Editorial
Week 28
TEST WEEK
Week 32My Mother Combs
My Hair
Week 36Coyote and Crow,
continued
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PACINGCACA
40 California Treasures Standards Road Map
Week 1The Lady, or the Tiger?The Most Dangerous GameThe Leap
Unit IntroductionLiterary Focus: Plot and SettingVocabulary Workshop: Academic Vocabulary
Reading 3.6, Reading 3.3, Reading 3.7Writing 2.1, Writing 2.3.cListening and Speaking 1.8Week 2 The Cask of Amontillado
Blues Ain’t No Mockin BirdThe InterlopersTIME: Shattered
Vocabulary Workshop: Homonyms and HomophonesReading 3.11, Reading 1.2, Reading 3.6, Reading 3.8, Reading 2.5, Reading 2.4Writing 2.3, Writing 2.1.e, Writing 2.3.aWeek 3 Rules of the Game
The Gift of the MagiComparing Literature: Liberty AND The Struggle to Be an All-American Girl AND Legal Alien
Literary Focus: Character and ThemeGrammar Workshop: Sentence CombiningVocabulary Workshop: Dictionary UseGrammar Workshop: Misplaced Modifiers
Weekly PacingGlencoe Literature: California Treasures comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Glencoe Literature: California Treasures—Course 4 Student Edition covers the standards in 180 days.
California Treasures Student EditionSelections Features and Workshops Content StandardsCACA
How do I cover the standards in the 180/150 days of the year?
Grammar Workshop: Dialogue and Speaker TagsMedia Workshop: Compare Media Genres
Reading 2.5, Reading 3.11, Reading 3.12Writing 2.3.dLanguage Conventions 1.1Listening and Speaking 2.3.a, Listening and Speaking 1.2Week 9 from All God’s Children Need
Traveling Shoes Walking Sayonarafrom Into Thin AirTIME: Adventure to Antarctica
Literary Focus: Personal and Expository EssayGrammar Workshop: Clauses and PhrasesVocabulary Workshop: Jargon
Reading 2.5, Reading 3.11, Reading 3.6, Reading 1.1, Reading 2.5 Writing 2.1.e, Writing 2.1, Writing 1.2, 1.3Language Conventions 1.1Week 10 A New Generation of Americans
That One Man’s Profit Is Another’s LossDaylight Saving
Literary Focus: Persuasive Essay and Speech Reading 2.8, Reading 3.7Writing 2.4, Writing 2.2.a, Writing 1.2Listening and Speaking 1.10
Week 11 Comparing Literature: Thoughts on Fenway Park AND Taxpayers will get a return on investment AND Other revenue sources should be pursued Put Down the Backpack
Reading 2.5, Reading 2.8Writing 2.5, Writing 2.3
UNIT TWOUNIT TWO
Week 5 The Secret Life of Walter MittyThe NecklaceAmerican HistoryHistorical Perspective:The Drums of Washington Mrs. James The Son from America
Literary Focus: Narrator and VoiceGrammar Workshop: Run-on Sentences
How can I pace instruction to meet all my students’ needs?
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PACINGCACA
36 California Treasures Standards Road Map
California Treasures Student EditionGlencoe Literature: California Treasures is divided into six main units, plus a shorter seventh unit that includes a variety of consumer and workplace documents. Each of the six main units is divided into parts, and includes an in-depth Writing Workshop; a Speaking, Listening, and Viewing Workshop; and an Assessment section modeled after state standardized tests. The calendar below shows how to pace your instruction in order to teach the seven units in the 180 days of the school year.
Pacing Calendar: 180 Days
September October November December January
Week 1Part 1
Week 5Part 3
Week 9Part 2 Week 13
Part 1
Week 17Part 3
Week 2 Week 6 Week 10Part 3
Week 14 Week 18
Week 3Part 2 Week 7
Part 1
Week 11 Week 15Part 2 Week 19
Part 1
Week 4 Week 8 Week 12 Week 16 Week 20
UNIT ONEUNIT ONE UNIT THREEUNIT THREE
UNIT TWOUNIT TWO UNIT FOURUNIT FOUR
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Pacing 37
As you follow the calendars on these pages, several options are available for formative and summative assessment. See the Assessment section of this guide for more information.
February March April May
Week 21Week 25Part 1
Week 29 Week 33
Week 22Part 2
Week 26 Week 30 Week 34
Week 23 Week 27Week 31
Week 35
Week 24 Week 28Part 2
Week 32Week 36
UNIT F IVEUNIT F IVE
UNIT SIXUNIT SIX
UNIT SEVENUNIT SEVEN
What do I teach for the 180/150 days of the year?
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PACINGCACA
38 California Treasures Standards Road Map
California Treasures Essential Course of StudyBy teaching the Glencoe Literature: California Treasures Essential Course of Study in the order below, you can ensure that you cover the tested standards in the 150 days before the test. The calendar shows how to use the Essential Course of Study as the backbone of your instruction, while still having time to teach additional selections throughout the year. The calendar also includes workshops from the Student Edition that teach California standards.
Pacing Calendar: 150 Days Before Test/180 Days of the Year
September October November December January
Week 1The Cask of Amontillado
Writing Workshop: Response to Literature
Week 5from Black Boy
Writing Workshop: Autobiographical Narrative
Week 9I Wandered Lonely as a Cloud
Week 13Time
Week 17Speaking, Listening, and Viewing Workshop: Descriptive Presentation
Week 2Comparing Literature: Liberty AND The Struggle to Be an All-American Girl AND Legal Alien
Week 6TIME: Adventure to Antarctica
Week 10Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument
Week 14Writing Workshop: Descriptive Essay
Week 18The Tragedy of Romeo and Juliet Act 1, Scene 5
Week 3American History
Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature
Week 7That One Man’s Profit Is Another’s Loss
Week 11Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument, continued
Week 15Theme for English B
Week 19The Tragedy of Romeo and Juliet Act 2, Scene 5
Week 4Of Dry Goods and Black Bow Ties
Week 8Speaking, Listening, and Viewing Workshop: Narrative Presentation
Week 12Remember
Week 16Lineage
Week 20The Bear
Writing Workshop: Literary Criticism Essay
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Pacing 39
The authentic text of each Essential Course of Study selection can be found along with extra reading support in the Read and Write practice books—leveled consumable worktexts for English Learners, On-Level, and Approaching students.
February March April May
Week 21Speaking, Listening, and Viewing Workshop: Oral Response to Literature
Week 25He—y, Come on Ou—t!
Week 29I Was a Skinny Tomboy Kid
Week 33from the Odyssey Part 1
Week 22Perseus
Writing Workshop: Research Report
Week 26Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments
Week 30The Road Not Taken
Week 34from the Odyssey Part 1, continued
Week 23Speaking, Listening, and Viewing Workshop: Multimedia Presentation
Comparing Literature: Liberty AND The Struggle to Be an All-American Girl AND Legal Alien
Literary Focus: Character and Theme
Grammar Workshop: Sentence Combining
Vocabulary Workshop: Dictionary Use
Reading 1.1, 2.3, 3.2, 3.3, 3.4, 3.5
Writing 1.3, Writing 2.1
Language Conventions 1.2, 1.3
Listening and Speaking 1.7
Week 4 Sweet Potato Pie
The Scarlet Ibis
The Bass, the River, and Sheila Mant
Grammar Workshop: Misplaced Modifiers
Vocabulary Workshop: Multiple-Meaning Words
Reading 1.1, 2.2, 3.4, 3.6, 3.7, 3.8, 3.11
Writing 1.3, 1.5, 1.7, 1.8, 2.1, 2.4
Language Conventions 1.1, 1.2, 1.3
Listening and Speaking 1.7
UNIT ONEUNIT ONE
Weekly PacingGlencoe Literature: California Treasures comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Glencoe Literature: California Treasures—Course 4 Student Edition covers the standards in 180 days.
California Treasures Student Edition
Selections Features and Workshops Content StandardsCACACACA
How do I cover the standards in the 180/150 days of the year?
Visual Perspective: from The Murder of Abraham Lincoln
Unit Introduction Literary Focus: Autobiography and Biography
Reading 1.1, 2.3, 2.5, 3.9, 3.11
Writing 2.1
Language Conventions 1.1
Week 8 from Black Boy
Escape from Afghanistan
Grammar Workshop: Dialogue and Speaker Tags
Media Workshop: Compare Media Genres
Reading 2.3, 2.5, 2.6, 3.12
Writing 1.6
Language Conventions 1.1,
Listening and Speaking 1.2, 1.7, 1.8, 2.3
Week 9 from All God’s Children Need Traveling Shoes
Walking
Sayonara
from Into Thin Air
TIME: Adventure to Antarctica
Literary Focus: Personal and Expository Essay
Grammar Workshop: Clauses and Phrases
Vocabulary Workshop: Jargon
Reading 1.1, 2.2, 2.3, 2.5, 3.6, 3.11, 3.12
Writing 1.1, 1.2, 1.3, 1.7, 1.8, 2.1, 2.2
Language Conventions 1.1, 1.2, 1.3
Listening and Speaking 1.7
Week 10 A New Generation of Americans
That One Man’s Profit Is Another’s Loss
Daylight Saving
Literary Focus: Persuasive Essay and Speech
Reading 1.1, 2.8, 3.7, 3.12
Writing 1.1, 1.2, 2.4
Listening and Speaking 1.10
Week 11 Comparing Literature: Thoughts on Fenway Park AND Taxpayers Will Get a Return on Investment AND Other Revenue Sources Should Be Pursued Put Down the Backpack
Reading 2.4, 2.5, 2.8
Writing 1.1, 1.2, 1.5, 2.3
Language Conventions 1.1, 1.2, 1.3
Listening and Speaking 1.12
UNIT TWOUNIT TWO
Week 5 The Secret Life of Walter Mitty
The Necklace
American History
Historical Perspective:
The Drums of Washington Mrs. James
The Son from America
Literary Focus: Narrator and Voice
Grammar Workshop: Run-on Sentences
Reading 1.1, 2.8, 3.3, 3.4, 3.7, 3.8, 3.9, 3.11
Writing 1.1, Writing 2.1
Language Conventions 1.1, 1.3
Listening and Speaking 1.1, 1.8, 1.12
Week 6 Writing Workshop: Response to Literature
Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature
Writing 1.1, 1.2, 1.9, 2.2
Language Conventions 1.2, 1.3, 1.5
Listening and Speaking 1.1, 1.8, 1.12
Assessment: California Standards Practice
Selections Features and Workshops Content StandardsCACACACA
Selections Features and Workshops Content StandardsCACACACA
Language Conventions 1.1, Language Conventions 1.5
Listening and Speaking 1.4, Listening and Speaking 1.6, Listening and Speaking 1.8, Listening and Speaking 1.9, Listening and Speaking 1.11, Listening and Speaking 2.4
Assessment: California Standards Practice
UNIT FOURUNIT FOUR
Selections Features and Workshops Content StandardsCACACACA
Selections Features and Workshops Content StandardsCACACACA
Language Conventions 1.2, Language Conventions 1.3
Listening and Speaking 1.3, Listening and Speaking 1.5, Listening and Speaking 1.8, Listening and Speaking 1.12, Listening and Speaking 1.13, Listening and Speaking 2.5
Assessment: California Standards Practice
Selections Features and Workshops Content StandardsCACACACA
Language Conventions 1.3, Language Conventions 1.5
Listening and Speaking 1.8, Listening and Speaking 2.3
Week 6 TIME: Adventure to Antarctica Reading 2.5
Week 7 That One Man’s Profit Is Another’s Loss Reading 2.8
Week 8 Speaking, Listening, and Viewing Workshop: Narrative Presentation
Listening and Speaking 2.1
Week 9 I Wandered Lonely as a Cloud Reading 1.1, Reading 3.11
Writing 1.1, Writing 1.2
Week 10 Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument
Reading 3.2, Reading 3.7
Writing 2.2.a, Writing 2.2.c
Week 11 Comparing Literature: An Indian Summer Day on the Prairie AND On Summer AND Monument, continued
Reading 3.2, Reading 3.5, Reading 3.7
Weekly PacingAll the tested California standards are addressed by teaching the selections in the Essential Course of Study. The chart below shows how the Essential Course of Study can be taught in 180 days while covering the tested standards in the 150 days before the test.
Language Conventions 1.1, Language Conventions 1.2, Language Conventions 1.3
Week 25 He—y, Come on Ou—t! Reading 3.7
Listening and Speaking 1.4, Listening and Speaking 1.5, Listening and Speaking 1.7, Listening and Speaking 1.9, Listening and Speaking 1.12
Week 26 Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments
Listening and Speaking 1.3, Listening and Speaking 1.5, Listening and Speaking 1.8, Listening and Speaking 1.12, Listening and Speaking 1.13, Listening and Speaking 2.5
These students read and comprehend at a grade-appropriate level.
Approaching-level (struggling) learners are experiencing various degrees of learning difficulties. Benchmark Group: These students are generally making good progress toward the standards but may be experiencing temporary or minor difficulties. Strategic Group: These students may be one to two standard deviations below the mean according to the results of standardized testing.
English learners are nonnative speakers of English who require additional instructional support in reading, vocabulary, and comprehension. Levels of English learners addressed: Beginning/Early Intermediate, Intermediate, and Early Advanced.
These learners read one to two grade levels above their on-level peers. These gifted students need extra enrichment to maximize their instruction.
Universal AccessGlencoe Literature: California Treasures provides leveled instruction and resources to ensure learning for all students. This section explains how and when to use the components of Glencoe Literature to teach English learners, on-level, approaching-level (struggling), and advanced learners. It is divided into the following sections:
These students read and comprehend at a grade-appropriate level.
Approaching-level (struggling) learners are experiencing various degrees of learning difficulties. Benchmark Group: These students are generally making good progress toward the standards but may be experiencing temporary or minor difficulties. Strategic Group: These students may be one to two standard deviations below the mean according to the results of standardized testing.
English learners are nonnative speakers of English who require additional instructional support in reading, vocabulary, and comprehension. Levels of English learners addressed: Beginning/Early Intermediate, Intermediate, and Early Advanced.
These learners read one to two grade levels above their on-level peers. These gifted students need extra enrichment to maximize their instruction.
Universal AccessGlencoe Literature: California Treasures provides leveled instruction and resources to ensure learning for all students. This section explains how and when to use the components of Glencoe Literature to teach English learners, on-level, approaching-level (struggling), and advanced learners. It is divided into the following sections:
• • On Level
• • Approaching
• • English Learners
• • Advanced
• • Differentation in the Teacher Edition
• • Enrichment Projects
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Grade 9
How do I differentiate my instruction?
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ON LEVEL
50 California Treasures Standards Road Map
FOCUS
TEACH
ASSESS
EXTEND
Vocabulary
Reading Skills
Writing and Grammar
Enrichment
Reteaching
Assessment
Day 1 Day 2 Day 3 Day 4 Day 5
Motivating and Building Background
Pacing Chart: The diagram below shows how to pace a single week for on-level learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson.
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Grade 9
UNIVERSAL ACCESSCACA
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ON LEVEL
Universal Access 51
Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward on-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.
Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Literature Launchers: Pre-Reading Videos DVD• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Media Workshop DVD
Vocabulary• California Treasures SE and TE• On-Level Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources
(glencoe.com)
Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources
(glencoe.com)• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies
Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)
Assessment• Unit Teaching Resources• Assessment Resources• Standardized Test Preparation and Practice• ExamView Assessment Suite CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)• Literature Online: Assessment Resources (glencoe.com)
Reteaching• California Treasures SE and TE• On-Level Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)
Enrichment• Ethnic Anthologies• The Novel Companion• inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE
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Grade 9
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FOCUS
TEACH
ASSESS
EXTEND
Day 1 Day 2 Day 3 Day 4 Day 5
APPROACHING
52 California Treasures Standards Road Map
Pacing Chart: The diagram below shows how to pace a single week for approaching-level, or struggling, learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Approaching-level learners need to spend more time on Motivating and Building Background and Reteaching.
Vocabulary
Reading Skills
Writing and Grammar
Reteaching
Assessment
Enrichment
Motivating and Building Background
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APPROACHING
Universal Access 53
Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward approaching-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.
Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD
Vocabulary• California Treasures SE and TE• Interactive Vocabulary CD-ROM• Approaching Read and Write SE and TE• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources
(glencoe.com)
Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources
(glencoe.com)• Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies
Writing and Grammar• California Treasures SE and TE• Approaching Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)
Assessment• Unit Teaching Resources• Assessment Resources• Standardized Test Preparation and Practice• ExamView Assessment Suite CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)• Literature Online: Assessment Resources (glencoe.com)
Reteaching• California Treasures TE• Approaching Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)
Enrichment• Ethnic Anthologies• inTIME• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE
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FOCUS
TEACH
ASSESS
EXTEND
Vocabulary
Reading Skills
Writing and Grammar
Enrichment
Reteaching
Assessment
Day 1 Day 2 Day 3 Day 4 Day 5
Motivating and Building Background
ENGLISH LEARNERS
54 California Treasures Standards Road Map
Pacing Chart: The diagram below shows how to pace a single week for English learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. English learners need to spend more time on Building Background and Vocabulary.
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PDF Proof
Grade 9
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ENGLISH LEARNERS
Universal Access 55
Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD
Vocabulary• California Treasures SE and TE • English Learners Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources
(glencoe.com)
Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources
(glencoe.com) • Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies• English Language Coach
Writing and Grammar• California Treasures SE and TE• English Learners Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)
Assessment• Unit Teaching Resources• Assessment Resources• Standardized Test Preparation and Practice• ExamView Assessment Suite CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)• Literature Online: Assessment Resources (glencoe.com)
Reteaching• California Treasures TE• English Learners Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• English Language Coach
Enrichment• Ethnic Anthologies• inTIME• World Literature SE and TE
Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward English learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.
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FOCUS
TEACH
ASSESS
EXTEND
Day 1 Day 2 Day 3 Day 4 Day 5
ADVANCED
56 California Treasures Standards Road Map
Pacing Chart: The diagram below shows how to pace a single week for advanced learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Since advanced learners will work at an accelerated pace, a large portion of their instruction can be devoted to Enrichment.
Motivating and Building Background
Vocabulary
Reading Skills
Writing and Grammar
Enrichment
Reteaching
Assessment
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ADVANCED
Universal Access 57
Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward advanced learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.
Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• The Novel Companion SE and TG• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD
Vocabulary• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources
(glencoe.com)
Reading Skills• California Treasures SE and TE• The Novel Companion SE and TG• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources
(glencoe.com) • Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies
Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)
Assessment• Unit Teaching Resources• Assessment Resources• Standardized Test Preparation and Practice• ExamView Assessment Suite CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)• Literature Online: Assessment Resources (glencoe.com)
Reteaching• California Treasures TE• On-Level Read and Write SE and TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM
Enrichment• Ethnic Anthologies • inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Enrichment Projects• World Literature SE and TE
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58 California Treasures Standards Road Map
Differentiation in the Teacher EditionThe Teacher Edition of Glencoe Literature: California Treasures provides a variety of features to help with differentiated instruction, all labeled and wrapped around reduced pages of the Student Edition.
These features include:
• • leveled skills instruction for English learners, on-level, approaching-level (struggling), and advanced learners
• • teaching notes for speakers of African American vernacular English
• • resource suggestions at point-of-use to help differentiate your instruction
• • vocabulary teaching activities
• • grouping suggestions
• • in-depth activities and teaching strategies for English learners, on-level, approaching-level, and advanced learners
• • Progress Checks to help assess the performance of struggling students
The following pages show where to fi nd these features in the Teacher Edition.
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Universal Access 59
TONI CADE BAMBARA 71
T he puddle had frozen over, and me and Cathy went stompin in it. The twins from next door, Tyrone and
Terry, were swingin so high out of sight we forgot we were waitin our turn on the tire. Cathy jumped up and came down hard on her heels and started tap-dancin. And the frozen patch splinterin every which way underneath kinda spooky.
“Looks like a plastic spider web,” she said. “A sort of weird spider, I guess, with many mental problems.” But really it looked like the crystal paperweight Granny kept in the parlor. She was on the back porch, Granny was, making the cakes drunk. The old ladle dripping rum into the Christmas tins, like it used to drip maple
syrup into the pails when we lived in the Judson’s woods, like it poured cider into the vats when we were on the Cooper place, like it used to scoop buttermilk and soft cheese when we lived at the dairy.
“Go tell that man we ain’t a bunch of trees.”
“Ma’am?”“I said to tell that man to get away from
here with that camera.” Me and Cathy look over toward the meadow where the men with the station wagon’d been roamin around all mornin. The tall man with a huge camera lassoed to his shoulder was buzzin our way.
“They’re makin movie pictures,” yelled Tyrone, stiffenin his legs and twistin so the tire’d come down slow so they could see.
“They’re makin movie pictures,” sang out Terry.
“That boy don’t never have anything original to say,” say Cathy grown-up.
By the time the man with the camera had cut across our neighbor’s yard, the twins were out of the trees swingin low
Blues Ain’t NoMockin Bird
Toni Cade Bambara
Description How is Cathy’s description of the cracked ice more vivid than if she had said only that it looks like a spider web?
paperweight (pa p� ər wa t ) n. a heavy, often decora-tive object traditionally used to hold down loose papers
Vocabulary
71
TeachLiterary Element
Description Answer: Her description is much more specifi c. Saying it looks like the web of a weird spider with “many mental problems” gives the impression of chaotic, jagged cracks. It also gives the reader some insight into Cathy’s personality.
Intermediate Help students understand the language in the story by explaining that dialect is a variation of language spoken by people in a particular region, certain area, or social class. Explain that the author often omits the letter g at the end of words end-ing in -ing (e.g., stompin, swingin, mornin) because she wants readers to omit this sound when they read the story.
AAVE For approaching-level students who use African American Vernacular English (AAVE), point out that the characters in this story often use double negatives: “That boy don’t never have anything original to say.” Explain that this, too, is part of the characters’ dialect. Remind students that in Standard English, two negative words should not be used together in a sentence. Ask a student to revise the sentence, using
Standard English. (He never has anything original to say.)
For an audio recording of this selection, use Listening Library Audio CD-ROM.
For additional literary element practice, see Unit 1 Teaching Resources Book, p. 80.
CA ELA WOELC 1.3 Demonstrate an understanding of proper English usage and control of grammar, paragraph and sentence structure, diction, and syntax.
UNIVERSAL ACCESS
English LearnersUNIVERSAL ACCESS
Approaching Level
JON KRAKAUER 357
In my backpack was a banner from Outside magazine, a small pennant emblazoned with a whimsical lizard
that Linda, my wife, had sewn, and some other mementos1 with which I’d intended to pose for a series of triumphant photos. Cognizant2 of my dwindling oxygen reserves, however, I left everything in my pack and stayed on top of the world just long enough to fire off four quick shots of Andy Harris and Anatoli Boukreev posing in front of the summit survey marker.
Then I turned to descend. About twenty yards below the summit I passed Neal Beidleman and a client of Fischer’s named Martin Adams3 on their way up. After exchanging a high five with Neal, I grabbed a handful of small stones from a wind-scoured patch of exposed shale, zipped the souvenirs into the pocket of my down suit, and hastened down the ridge.
1. Mementos are souvenirs.2. Here, cognizant means “aware.”
3. Throughout this essay, Krakauer mentions the names of many other climbers, including guides Andy Harris, Anatoli Boukreev, Andy Fischer, and Neal Beidleman. He also mentions climbers who were led by these guides, including Martin Adams.
Jon Krakauer
Near the top of Khumbu Icefall, Scott Fischer ascends the large overhanging serac known as the mouse trap, during the May 1996 ascent on Mount Everest.
from
Structure What is the first thing Krakauer tells his readers?
357
Teach Big Idea 1
On the Move Say: Keep these questions in mind as you read: How do our surroundings contribute to our ability to be on the move? (They aff ect how easy or diffi cult it is to move, and they can make it impossible to move.)
APPROACHING How do Krakauer’s surroundings make it life-threatening to be on the move? (They make him short of oxygen, subject to freezing tem-peratures, and at risk of falling.)
Literary Element 2
Structure Possible answer: Krakauer fi rst describes being on the top of Mount Everest. ENGLISH LEARNERS To guide
English learners, ask a student to look up the word summit in the dictionary. Have another student use the word in a sentence.
For an audio recording of this selection, use Listening Library Audio CD-ROM.
2
1
CA ELA R 3.3 Analyze interactions between main and sub-ordinate characters in a literary text (e.g., internal and external confl icts, motivations, relationships, infl uences) and explain the way those interactions aff ect the plot.
UNIVERSAL ACCESS
Approaching Level
Strategic Help students understand the diff erent people in the essay by making a chart. Include names and descriptions or words from the essay that will help stu-dents identify the various people, locations, events, etc. Students should add informa-tion to the chart as they continue their reading. Encourage students to analyze how the actions of one person aff ect others mentioned in the story.
Resource Suggestions at Point-of-Use Helpful suggestions for using Glencoe Literature ancillary material to differentiate instruction.
Skills InstructionThese notes provide additional instruction and support for the skills taught in a lesson. They are geared toward English learners, on-level, advanced, and approaching-level students.
Teaching NotesNotes provide support for students who are speakers of African American vernacular English.
Proficiency LevelsNotes provide leveled practice and activities for two levels of approaching-level students—benchmark and strategic—and for three levels of English learners—beginning/early intermediate, intermediate, and early advanced.
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60 California Treasures Standards Road Map
Literature and Reading Preview Connect to the StoryWhat kinds of wrongs or injuries would make a person want to take revenge? Do you think getting revenge makes people feel better or worse? Discuss these questions with a partner.
Build Background Much of this story is set in the catacombs of the Montresor family, which were also used as a wine cellar. Catacombs are underground cemeteries. The walls of the narrow passageways are lined with niches where bodies are placed. Carnival is an often uninhibited celebration involving costume parades, feast-ing, and other festivities. It takes place mainly in Roman Catholic regions during the weeks before Lent, a holy season of abstinence and prayer.
Set Purposes for Reading Big Idea Matters of Life and DeathAs you read “The Cask of Amontillado,” ask yourself, How do details in the story evoke the idea of death?
Literary Element MoodMood is the emotional quality of a literary work. A writer’s choice of language, subject matter, setting, and tone, as well as such sound devices as rhyme and rhythm, contribute to creat-ing mood. As you read “The Cask of Amontillado,” ask yourself, What emotions does the writing make me feel?
Reading Strategy ParaphraseParaphrasing is putting something into your own words. Unlike a summary, a paraphrase is usually about the same length as the original passage. As you read, ask yourself, How would I rephrase this passage in contemporary language?
Tip: Make a Chart Paraphrase diffi cult sentences, or parts of sentences, as you read.
Author’s Wordsp. 58“The thousand injuries of Fortunato I had borne as I best could.”
My ParaphraseI had put up with the many wrongs Fortunato did to me as well as I could.
EDGAR ALLAN POE 57
CA Content Standards
For pages 56 –66
Reading: 3.11 Evaluate the aesthetic qualities of style, including the impact of diction and figurative language on tone, mood, and theme, using the terminology of literary criticism. (Aesthetic approach)
preclude (pri kl ood�) v. toprevent; to make impossible; p. 58 Failing grades preclude the possibility of playing in Friday’s basketball game.
impunity (im pu � nə te ) n. free-dom from punishment, harm, or bad consequences; p. 58 No one here knew him, so he thought he could lie with impunity.
accost (ə kost�) v. to approach and speak to, especially in an aggressive manner; p. 59 Thebeggars accost and scare the shoppers.
explicit (eks plis� it) adj.definitely stated, clearly expressed; p. 60 Ms. DePietro gave explicit instructions for each stage of the assignment.
implore (im plor�) v. to ask earnestly; to beg; p. 63 Someparents implore their children to study.
Vocabulary
57
Before You Read
Beginning /Early Intermediate Point out that on page 56 Poe is described as a “literary giant.” Help students better under-stand this phrase. Brainstorm some literary giants and write their names on the board (William Shakespeare, Emily Dickinson, Mark Twain, Eudora Welty).
Ask: What makes a writer a literary giant? (Students may say that people have enjoyed their writing for many years and that they are famous and talented.)
FocusSummaryThe narrator, Montresor, vows to exact revenge on Fortunato for an unspecifi ed insult. He leads Fortu-nato into the catacombs beneath his palazzo. When they reach a niche in the cellar wall, Montresor chains Fortunato to the wall and fi lls in the niche with bricks and mortar. At the story’s end, he states that the crime has gone undetected for fi fty years.
Vocabulary
Use New Words in New Ways Explain that many stu-dents have diffi culty remembering the defi nitions of new words. Ask students to study the list of words on page 57. Instruct students to write a paragraph using the vocab-ulary words. Then ask students to use each word in a sentence. Vol-unteers may share their answers with the class.
For summaries in languages other than English, see Unit 1 Teaching Resources Book, pp. 61–66.
Interactive Read and Write
Other options for teaching this selection can be found in
Interactive Read and Write for EL Students, pp. 1–14
Interactive Read and Write for Approaching-Level Students, pp. 1–14
Interactive Read and Write for On-Level Students, pp. 1–14
•
•
•
For additional vocabulary practice, see Unit 1 Teaching Resources Book, p. 69.
CA ELA WOELC 1.4 Produce legible work that shows accurate spelling and correct use of the conventions of punctuation and capitalization.
UNIVERSAL ACCESS
English Learners
Universal AccessActivities for your diverse classrooms are clearly labeled. These activities build students’ proficiency by targeting content area knowledge and by providing strategies to introduce, teach, and reinforce concepts.
Vocabulary Preteaching Because vocabulary is a key component of reading success, we provide additional vocabulary preteaching activities for struggling students and English learners in your classroom.
Draw Conclusions About Author’s Beliefs What can you conclude about Harjo’s beliefs from these two lines?
Life Lessons What lesson about heritage does Harjo want you to learn from this passage?
Remember the sky that you were born under, know each of the star’s stories. Remember the moon, know who she is. Remember the sun’s birth at dawn, that is the 5 strongest point of time. Remember sundown and the giving away to night. Remember your birth, how your mother struggled to give you form and breath. You are evidence of her life, and her mother’s, and hers.10 Remember your father. He is your life, also. Remember the earth whose skin you are: red earth, black earth, yellow earth, white earth brown earth, we are earth. Remember the plants, trees, animal life who all have their15 tribes, their families, their histories, too. Talk to them, listen to them. They are alive poems. Remember the wind. Remember her voice. She knows the origin of this universe. Remember you are all people and all people20 are you. Remember you are this universe and this universe is you. Remember all is in motion, is growing, is you. Remember language comes from this.25 Remember the dance language is, that life is. Remember.
Joy Harjo
In the Wind. Tim Nicola. Utah alabaster, height: 19 in. Artistic Gallery, Santa Fe, NM.
538
TeachBig Idea 1
Life Lessons Answer: All generations are connected, and appreciating that connection is important to understanding one’s heritage. Students may also note the importance of respecting one’s mother.
Reading Strategy 2
Draw Conclusions About Author’s Beliefs Answer: She believes that all things in nature, including various peoples, are connected and are part of a whole.
SNative American artist Tim Nicola (1954−) considered becoming a painter but found that sculpture provided a better avenue for his artistic vision.
Say: A three-dimensional sculp-ture can often be appreciated through touch as well as sight. Consider how texture contributes to the mood of the work. How does this sculpture relate to the poem? (Students may mention the sculpture’s title or notice how the smooth curving shape suggests a sense of wholeness.)
Listening and Speaking Practice
PARTNERS REVIEWSPIRAL Respond to Literature
Ask: Wh y does the speaker repeat the word
“remember” throughout the poem? (Students may point out that the speaker wants to emphasize important ideas.) With a partner, have students read the poem and discuss the aff ect that repeti-tion has on Harjo’s poem. Ask students to answer the following questions:
Does repetition improve the poem? Why or why not?How does repetition affect Harjo’s poem?How is the use of repetition different in the two poems?
•
••
For additional practice using the reading skill or strategy, see Unit 3 Teaching Resources Book, p. 206.
1
2
To check students’ understanding of the selection, see Unit 3 Teach-ing Resources Book, p. 208.
CA ELA LS 1.1 Formulate judgments about the ideas under discussion and support those judgments with convincing evidence.
CA ELA R 2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.
Progress Check
After You Read
Respond and Think CriticallyAnalyze and Evaluate5. How effective is the author at capturing the
reader’s attention with the opening passage of this story? Explain.
6. (a)How does the narrator’s attitude toward her dead half-sister change? (b)What does informa-tion about this sibling add to the story?
Connect7. Big Idea Matters of Life and Death Both
the narrator and her mother reacted to matters of life and death in this story. Did you fi nd their reactions realistic? Explain.
8. Connect to the Author Louise Erdrich often writes about the personal power or strength of women. How do the narrator and her mother each show their personal strengths in this story?
Respond and Interpret1. What do you think is the most dramatic event in
this story? Give details to explain your choice.
2. (a)What caused the disaster at the circus, and what happened to the Flying Avalons? (b)In your opinion, why didn’t the mother save her costume or anything related to this period in her life?
3. (a)What happened to the narrator when she was seven? (b)What comparisons do you think the narrator would make between her life and her mother’s? Provide evidence from the story to substantiate your claims.
4. (a)What specific event or events in this story does the title refer to? (b)What else might the title refer to?
Review: SettingAs you learned on pages 8–9, setting is the time and place in which the events of a literary work occur. Setting includes not only the physical surroundings, but also the ideas, customs, values, and beliefs of a particular time and place.
Partner Activity Work with a classmate to record details of the setting. Create a chart like the one below and complete it with details from the story.
Time PlacePast June, years ago circus tent in
a small New Hampshire town
Present
52 UNIT 1 THE SHORT STORY
Literary Element Flashback
1. Which passage from the story indicates the beginning of the narrator’s flashback?
A As you fall there is time to think.
B . . . I am sewing with a needle of hot silver, a thread of fi re.
C It was in the hospital that she fi nally learned to read and write . . .
D As soon as I awakened, in the small room that I now use for sewing, I smelled the smoke.
2. The main purpose of the flashback in this story is to—
A show how education can improve a person’s life.
B indicate the hazards of working in a circus.
C suggest that memory is not always accurate.
D illustrate the devoted love of a mother for her daughter.
Standards Practice R 3.6CA
52
After You Read
Assess1. The circus event (the risky tra-
peze act and fi erce storm); the rescue (deadly fi re, amazing leap)
2. (a) Lightning hit the pole, send-ing Harry to his death. Anna saved herself. (b) She wanted to forget the death of her hus-band and baby.
3. (a) She was trapped inside her burning house. (b) Their lives seemed miraculous and dramatic; both survived deadly events.
4. (a) The mother’s fi rst leap to save herself and the one to save her daughter (b) A leap of faith, such as the mother’s courage in starting a new life and the daughter’s faith that her mother would save her
5. Its unusual details stimulate the reader’s interest.
6. (a) The sister seems unreal at fi rst but later becomes a more defi nite presence. (b) As people age, they can visualize death more clearly.
7. Their calm attitude was realistic. The mother was trained to take great risks; a child might not appreciate the danger she faced or the fi nality of death.
8. Students may mention the mother’s courage in times of danger, her ability to move on after tragedy, the daughter’s abil-ity to stay calm during the fi re, and her faith in her mother.
Can students explain fl ashback?
If No See Unit 1 Teaching Resources Book, p. 54.
Review: Setting Past: Time: Unnamed past—narrator’s childhood and before; Place: Circus tent; Hospital; Cemetery; Burning house; Present: Time: Unnamed present—nar-rator’s adulthood; Place: New Hamp-shire farmhouse—sewing room that was the narrator’s childhood bedroom
Literary Element
1. B is the correct answer. Sewing in the room where she slept as a child, the narrator recalls the fi re that nearly took her life.
2. D is the correct answer. The mother’s death-defying act of devotion is cen-tral to the fl ashback.
Progress CheckThis feature helps you to monitor your students’ progress and provides strategies to reinforce concepts. IF a student needs help (based on a quick and informal assessment), THEN we provide a suggestion for reteaching.
Grouping IconsFlexible grouping is an effective way to provide instruction to a diverse classroom. These symbols suggest grouping options.
Enrichment NotesEnrichment notes provide cultural and historical information that helps students build a more sophisticated understanding of the literature.
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62 California Treasures Standards Road Map
Enrichment ProjectsThe Needs of Advanced LearnersAll teachers know that their students bring different interests and ability levels to the classroom. They have different motivations and needs. In some classrooms, however, every student is asked to do the same tasks at the same pace. For advanced learners who are capable of undertaking more sophisticated projects and are perhaps insufficiently challenged by both the content and pacing of average classroom work, this situation can be very frustrating. Inquiry-based enrichment projects can help address the needs of advanced learners.
What Is Inquiry-Based Learning?Inquiry is the problem-oriented, research-based exploration of basic questions that drive and organize disciplines. Through inquiry, students learn essential concepts and strategies for applying those concepts in the real world. They engage the same problems and questions that real practitioners of a given discipline engage, and therefore learn to think, read, and write like experts in that area. Inquiry-based instruction is central to Glencoe Literature: California Treasures. This approach gives students significant reasons or purposes for reading. In Glencoe Literature, reading, writing, and language activities are organized around Big Ideas, designed to make learning matter to students in immediate ways. When students practice a skill or create a writing product, they are also learning to ask and think through important real-life issues. These same Big Ideas are addressed by the inquiry-based projects for advanced learners that follow.
Using the ProjectsEach of the six projects described in the following pages relates to one of the units in Glencoe Literature: California Treasures—Course 4. Each project offers the following:
What projects are available for my advanced learners?
Universal Access 63
Project Development OptionsEach project offers the student two different options for developing and presenting the results of his or her inquiry. These options include:
• • print (such as narrative, poem, or essay)
• • oral (such as speech or discussion)
• • performance (such as drama or music)
• • visual (such as drawing or collage)
• • digital (such as computer-based or multimedia presentations)
• • functional (such as a handbook or survey)
Big Ideas Project Option 1 Option 2U N I T O N E
The Short Story
Matters of Life and DeathRewards and SacrificesDreams and Reality
Reflection visual print
U N I T T W O
NonfictionLooking into LivesOn the MoveFinding Common Ground
Quotations Collection
oral digital
U N I T T H R E E
PoetryNature InspiresLife LessonsThe Strength of Family
Author Study print oral
U N I T F O U R
DramaThe Power of LoveAwkward Encounters
Advice Column performance visual
U N I T F I V E
Epic and Myth
JourneysCourage and Cleverness
Proposal for a Monument
functional performance
U N I T S I X
Genre Fiction
Our World and Beyond Reader’s Guide digital functional
Matters of Life and Death Rewards and Sacrifices Dreams and Reality
U N I T O N EU N I T O N E
ProjectDevelop a personal reflection that reveals an insight about one of the three Big Ideas. Present your reflection in visual or print form.
ScheduleConnect and Explore (Weeks 1–2)
• Read literary works in Unit One. • Focus on the Big Ideas.• Explore and develop ideas about
your reflection.• Conduct inquiry.
Develop Your Project (Weeks 3–4)
• Develop your ideas into a personal reflection.
• Choose a print or visual project to express your reflection.
• Design your project and create a draft or sketch.
Revise and Present (Weeks 5–6)
• Revise your reflection.• Refine your project.• Present your project.
CriteriaYour project should
• relate to one of the three Big Ideas• show an understanding of the literature in Unit One • present an experience that reveals an insight
• show evidence of inquiry• show a thoughtful choice of an appropriate project to
express your reflection• show creativity and attention to detail
64 California Treasures Standards Road Map
Connect and ExploreConnect to the Literature As you read the short stories in Unit One, explore your own thoughts on the three Big Ideas. Use the texts as springboards to explore questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:
• Why do dangerous experiences attract people? • Why do dangerous experiences attract people? • What is the relationship between love and sacrifice?• What is the relationship between love and sacrifice?• How do family members strengthen one another?• How do family members strengthen one another?• What would I risk to make my dreams a reality?• What would I risk to make my dreams a reality?
Conduct Inquiry There are many ways in which you can develop ideas for your personal reflection. Here are a few:
• • If you keep a journal, you might review it for entries recording your responses to experiences you saw as risks.
• • Look at videos or photograph albums of your family and friends. Think about different ways in which family life involves sacrifices and rewards.
• • Create a graphic organizer. For example, you might create a simple chart to describe a conflict you have experienced between dreams and reality. Here is one student’s chart:
since I was very young.since I was very young.• I have dreamed of • I have dreamed of
having a career as an having a career as an artist. artist.
RealityReality• I don’t know if my • I don’t know if my
work will ever make it work will ever make it into a museum. into a museum.
• I should develop my • I should develop my talents toward a talents toward a practical career such practical career such as graphic design.as graphic design.
Connect to the Big Ideas Evaluate how your ideas relate to the Big Ideas. Then choose one of the three Big Ideas to focus on. Here are examples of some possible links:
• • Matters of Life and Death A reflection using “The Most Dangerous Game” as a starting point might present a personal experience that revealed the attraction of taking risks.
• • Rewards and Sacrifices A reflection based on “The Gift of the Magi” might present a personal experience showing how giving something away can also be enriching.
• • Dreams and Reality A reflection stemming from “The Secret Life of Walter Mitty” might present a personal experience about the conflicts that arise between our dreams and reality.
Develop Your ProjectDevelop Your Ideas As you gather ideas, discuss them with your family and friends. Their perspectives can help enrich your understanding of your experiences and sharpen your focus on an appropriate project to express your personal reflection. Use your own thoughts, as well as these conversations, to choose one idea as a subject for your personal reflection. Describe in a paragraph the experience you are going to focus on. Presenting the basic details of your experience will help you develop a solid focus for your project and find your style or voice. Next, explore the insight you gained from your experience. How did you feel about your experience at the time? In looking back, how do you feel about the experience now? What have you learned from your experience?
Choose a Medium As you develop your reflection, think about whether you want to express it in print or visual form. In making this decision, ask yourself the following questions:
• • What medium do you most enjoy? What talents do you have? For example, if you enjoy writing poetry, you might want to express your reflection in the form of a narrative poem. Or you might create your own short story using the lessons that the unit has taught you about this genre.
• • What medium expresses your reflection best? For example, imagine that your reflection relates to your desire to be a comic artist. In that case, you might want to express your reflection in the form of a comic strip or comic book. Think how else you could visually reflect one of the Big Ideas. Notice that all three involve pairs of related concepts : life and death, rewards and sacrifices, dreams and reality. Perhaps your visual project could represent these concepts set alongside or opposite one another to inspire comparison.
• • What medium suits your audience best? Suppose your reflection is an examination of the rewards and sacrifices of family life. You might want your audience to be the very people you are reflecting on. In this case, a print project, such as a reflective essay that you could share with your family via e-mail, might be a good choice.
Revise and PresentRevise Your Reflection At this point, you have roughed out a project to express your reflection. In this final stage, you should refine the ideas of your reflection and polish your project.
• • Check your organization If you are presenting a narrative of an experience, make sure that you have presented the events in a clear chronological order. This will enable your audience to follow your narrative easily and get the most out of your reflection.
• • Check your conclusion You want your reflection to conclude with an insight to share with your audience about one of the Big Ideas. Review what you feel you gained from your experience. For example, what have you learned about the attraction of risk-taking? Or the rewards of sacrifice? Or the conflict between dreams and reality?
Refine Your Project Work with a partner to revise your project. If you are writing an essay, share your rough draft. If you are creating a visual piece, have your partner review your images. In each case, ask your partner to give you feedback on the following:
• • What insight about one of the Big Ideas does your project offer?
• • How does your project show an effective choice of medium to express your reflection?
• • How does your project show an effective choice of medium for its intended audience?
Polish and Present Your Project Use the feedback provided by your partner to guide you in polishing and presenting your project. Depending on the nature of your project, choose an appropriate means for presenting it. For example, if your project is a narrative poem, you might submit it to a literary magazine. If your project is a comic strip, you might reproduce it and give copies to your family and friends.
Look Back After completing your project, think about what it means. What did you learn about the experience that was the subject of your reflection? How did looking at what you read in light of your own experience enrich your understanding of the literature in Unit One? You might want to write a summary or journal entry about what you’ve learned.
Looking into Lives On the Move Finding Common Ground
U N I T T W OU N I T T W O
ProjectResearch a collection of quotations relating to one of the Big Ideas. Present your collection in an oral or a digital form.
ScheduleConnect and Explore (Weeks 1–2)
• Read literary works in Unit Two. • Explore and develop questions
about the Big Ideas.• Conduct inquiry and research.
Develop Your Project (Weeks 3–4)
• Organize your ideas. • Choose an oral or digital medium
to present your collection. • Design your project and create a
draft or plan.
Revise and Present (Weeks 5–6)
• Revise your collection.• Refine your project. • Present your project.
CriteriaYour project should
• relate to one of the three Big Ideas• show an understanding of the literature in Unit Two • present a variety of opinions and perspectives
• show evidence of inquiry and research• show a thoughtful choice of medium• show creativity and attention to detail
68 California Treasures Standards Road Map
Connect and ExploreConnect to the Literature As you read the literary works in Unit Two, explore your thoughts on the three Big Ideas. Use the texts as starting points to pursue questions that spark your interest and help you focus on the Big Ideas. Record these questions as they occur to you. For example:
• What kinds of nonfiction do I most enjoy reading? • What kinds of nonfiction do I most enjoy reading? • What are the challenges of writing nonfiction? • What are the challenges of writing nonfiction? • How do the writers of biography and autobiography decide what to • How do the writers of biography and autobiography decide what to
include and what not to include about a person’s life? include and what not to include about a person’s life? • If nonfiction is “truth in writing,” how can different pieces of nonfiction • If nonfiction is “truth in writing,” how can different pieces of nonfiction
express opposing opinions on the same topic? express opposing opinions on the same topic?
Explore and Connect to the Big Ideas The collection of quotations that you compile will focus on one of the three Big Ideas. Read through Unit Two with a quotations collection in mind. Here are a few examples of ways to begin:
• • Looking Into Lives In Part 1, the texts you read were either biographical or autobiographical. While “Of Dry Goods and Black Bow Ties” focuses on the rise and downfall of Mr. Shimada, it also tells a more general story about what it means to be a newcomer to the United States, and about how to maintain integrity at all costs. Try to find quotes within the essay that relate to these concepts (or any other themes that you identify).
• • On the Move The authors in Part 2 extract meaning from the world around them, either by relating experiences of travel or by describing a place they find significant. These authors use writing to transport readers to a certain landscape or situation. In the excerpt from All God’s Children Need Traveling Shoes, what quotes or phrases make you feel as if you can see the sights that Maya Angelou describes, or understand how she feels about Ghana?
• • Finding Common Ground Part 3 focuses on persuasive speaking and writing. Think about what qualities make the Gettysburg Address so compelling. Which lines from this address are still frequently quoted today? Do you think the messages of the Gettysburg Address apply only to people who lived during Lincoln’s time?
Narrow Your Focus Your quotation collection will be based on other people’s words and centered on one of the Big Ideas. However, you need to work within the parameters of the Big Idea you choose to find your own concept or thesis. If a line from Richard Wright’s autobiographical piece inspired you, your collection of quotations might be based upon his life or experience. Find quotes from a variety of sources about pursuing one’s passions. Or, if you are working with the Big Idea “On the Move,” the excerpt from Jon Krakauer’s Into Thin Air might inspire your quotation collection. Find quotes that explore perspectives about Mount Everest or any other adventurous locale. For “Finding Common Ground,” you may choose to research political speeches from times of crisis, starting with the Gettysburg Address.
Develop Your ProjectResearch Your Collection To research your project, you might start by browsing other quotation collections. What makes the quotations in these collections memorable or significant? Reflect upon the qualities that make a phrase or a passage “quotable.” Does the quote embody the speaker? Does it concisely express an opinion or viewpoint? Does it convey a mood or help you visualize a place or period? If none of these questions apply, why do you think the quote remains memorable? Once you have selected a focus for your collection, find quotes by researching and reading materials that apply to your topic. In books, use the index to guide your research. Identify quotations within these texts that might align with your collection. It will help your project to read a wide range of sources, or if you are using quotes from a single writer, to read broadly within his or her body of work. Be open to the idea that the focus of your project might shift as you read and learn more about your topic. It is important to keep your quotations in context, so keep track of the dates and sources of any notes you take.
Choose a Medium As you develop your quotation collection, think about whether you want to present it in an oral or a digital form. Ask yourself the following questions:
• • What medium do I most enjoy? What talents do I have? If you enjoy speaking in front of an audience, an oral presentation may be best. Think of creative ways to present your collection orally. You might use the quotes in your collection to create a dialogue between two opposing viewpoints, or to jumpstart a class discussion or debate. You could also present your quotes in a game-show format, in which your classmates help identify the quotes in your collection.
• • What medium expresses my collection best? For example, if the topic for your collection has compelling visuals (such as Mount Everest), making a slide show presentation with photos alongside quotations may be effective.
Revise and PresentRevise Your Reflection At this point, you have selected the majority of the quotes to include in your project and come up with a plan for organizing and presenting your collection. In this final stage, you should refine and polish your project.
• • Check for accuracy Go back to your sources and make sure you have transcribed quotations word for word. You should know the date and general context of each quote in your collection.
• • Check your organization Be sure that your collection is organized in a way that makes sense; the audience should not wonder why you chose a certain quote, or how the quotations fit together as a whole. If you are tracking an author’s viewpoints over time, chronological order may be best. If you are focusing on the Big Idea “Finding Common Ground,” you may group together quotes that express similar opinions. Checking your organization will also help identify quotations that do not fit in your collection.
• • Check your presentation Whether you are presenting your collection in oral or digital form, practice your presentation until it feels natural. Consider ways to add excitement or interest. If you were in the audience, how would you like to see the information presented?
Refine Your Project Work with a partner to revise your project. Practice your oral or digital presentation with your partner, and ask him or her to give you feedback on the following questions:
• • What insight about one of the Big Ideas does your project offer?
• • Is your collection organized in an effective way?
• • Are the quotations in your collection understandable and relevant to your topic? Do they come from a variety of sources?
Look Back After completing your project, think about your project as a whole. What parts of your presentation were you proud of, and what might have gone better? How did compiling a quotation collection change the way you read nonfiction? You might want to write a summary or journal entry about what you’ve learned.
Nature Inspires Life Lessons The Strength of Family
U N I T T H R E EU N I T T H R E E
ProjectComplete an author study on a writer from Unit Three, focusing on his or her response to one of the Big Ideas. Present your author study in a print or an oral form.
ScheduleConnect and Explore (Weeks 1–2)
• Read literary works in Unit Three. • Focus on the Big Ideas.• Explore and develop ideas for
your author study.• Conduct inquiry.
Develop Your Project (Weeks 3–4)
• Develop and organize your author study.
• Choose a print or oral project to present your author study.
• Design your project and create a draft.
Revise and Present (Weeks 5–6)
• Revise your author study.• Refine your project. • Present your project.
CriteriaYour project should
• relate to one of the three Big Ideas• show an understanding of the literature in Unit Three• show evidence of inquiry
• show a thoughtful choice of a project to express your study
• show creativity and attention to detail
72 California Treasures Standards Road Map
Connect and ExploreConnect to the Literature As you read the literary works in Unit Three, focus on how they illustrate the three Big Ideas. The texts may stimulate other questions that help you focus on the Big Ideas. Record these questions as they occur to you. For example:
• How does nature inspire me? • How does nature inspire me? • What are some important life lessons I have learned?• What are some important life lessons I have learned?• What role have my family or friends played in shaping who I am?• What role have my family or friends played in shaping who I am?• How do I influence my family or friends?• How do I influence my family or friends?
Conduct Inquiry Select one of the Big Ideas that especially interests you. Then choose an author from the unit whose work relates to this Big Idea. Here are several ways to gather information about your author:
• • Use library resources to locate other books or poems by your author.
• • Do an Internet search on your author. Many authors have their own Web sites with personal comments that may give you insight into their writing.
• • Research commentaries or critical analyses that others have written about your author.
Create a graphic organizer to take notes on your author. Here is one example of how to organize your research.
Author’s Name:Author’s Name:Big Idea: Big Idea:
Author’s Life/ Author’s Life/ BackgroundBackground Author’s WorkAuthor’s Work Author’s response to Author’s response to
the Big Ideathe Big IdeaWorks by the authorWorks by the author Favorite themesFavorite themes
Specific examplesSpecific examplesLiterary devices usedLiterary devices used
Connect to the Big Ideas How do your author’s works address the Big Ideas? Here are examples of some possible links:
• • Nature Inspires In Part 1, the texts reflect how the authors were influenced by nature. In “I Wandered Lonely as a Cloud” and “A Noiseless Patient Spider,” the authors use metaphor and simile to compare something in nature with their own lives. Your author study might explore how your author uses these methods in other works.
• • Life Lessons Many of the poems in Part 2 offer insight into what an author considers important in life. In “Defining the Grateful Gesture,” the mother teaches her children to be grateful for what they have. Your author study might analyze how a writer defines his or her values.
• • The Strength of Family The literary works in Part 3 focus on interactions within families. The father in “Grape Sherbet” creates a pleasant memory that his children carry for years. Your author study might focus on how memories of family life inspire the work of a writer.
Develop Your ProjectDevelop Your Ideas After researching a writer, use your graphic organizer to develop ideas for your author study. You may wish to focus on questions such as the following:
• • Where does the author get his or her ideas and inspiration?
• • How are the author’s ideas related to the author’s life experiences?
• • What literary devices does the author use that convey the Big Idea?
• • Which of the author’s works makes the strongest statement about the Big Idea?
• • What specific lines in the author’s work can I use to relate the work to the Big Idea?
Write a thesis statement for your author study. Then create an outline and rough draft for your project.
Choose a Format As you develop your author study, think about whether you want to express it in print or oral form. Ideas for a print project might include a poem, an essay, or a magazine article. For oral projects, consider a speech or a dramatic reading of several works of the author followed by discussion. In choosing a format, ask yourself the following questions:
• • Which format best expresses my interests and talents? For example, if you enjoy narrative writing, you might present your author study as a narrative sketch linking something from the author’s life to the Big Idea.
• • Which format is best suited to the project’s purpose? If your purpose is to show how the author’s works express emotion about the Big Idea, a dramatic oral reading of several works might be the best choice.
• • Which format suits your audience best? A print project might be best if you wish to share your work with a wider audience. Oral projects are generally aimed at a smaller audience in a single presentation.
Revise and PresentRefine Your Project You have a draft of your author study and have chosen a format. If you are doing a print project, write a complete draft. Share it with a partner and revise your draft based on your partner’s feedback. Decide on a layout. Work with fonts, colors, and visuals to make your print project look as appealing as possible. If you are sharing your project orally, practice until you can present it smoothly and effectively. Taping and listening to your own voice is a great way to understand what your audience will experience. If you plan to include a discussion, make a list of the questions you will ask your audience.
Review Your Project As a final step before presentation, review the overall project in an objective manner. Your purpose is to be sure you have met all your goals. Ask yourself the following questions.
• • Does my project have a clear and easily understood theme?
• • Have I demonstrated an understanding of one of the Big Ideas?
• • Have I shown evidence of inquiry into the author’s life and works?
• • Have I shown how the author’s work reflects the Big Idea?
• • Have I included enough specific examples of the author’s work to make my point?
• • Is my project presented in a creative and thoughtful way? Reflect on what you have learned with these questions. Make whatever final changes you need to make the presentation as strong as possible.
Present Your Project If you are doing a print project, distribute it to your chosen audience. You may wish to share your project with family members. You can e-mail your project to friends. If you are doing an oral presentation, use facial expressions, gestures, and voice to effectively express your ideas. Interacting with your audience through discussion is another important part of an oral presentation.
Look Back After completing your project, think about what you have learned. How does a deeper understanding of an author help you appreciate his or her work? How might you use this type of connection to deepen your understanding of other literature? You might want to write a summary or journal entry about what you’ve learned.
ProjectCreate an exchange of letters to and from an advice columnist. Present your exchange as a performance or in a visual form.
ScheduleConnect and Explore (Weeks 1–2)
• Read literary works in Unit Four. • Focus on the Big Ideas.• Explore and develop ideas for
your advice column exchange.• Conduct inquiry and research.
Develop Your Project (Weeks 3–4)
• Select a Big Idea for your letters.• Write a draft of your letters.• Choose a performance or visual
format to present your project.• Adapt your letters to your chosen
format.
Revise and Present (Weeks 5–6)
• Revise and polish your letters.• Refine your presentation.• Present your project.
CriteriaYour project should
• focus on one of the Big Ideas• show an understanding of the literature in Unit Four • show insight into one of the Big Ideas
• express your ideas in an appropriate format• present your project in a creative and thoughtful way
76 California Treasures Standards Road Map
Connect and ExploreConnect to the Literature As you read the literary works in Unit Four, keep the Big Ideas in mind. Use the texts as starting points to explore other questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:
• How might bad feelings between families affect my friendships? • How might bad feelings between families affect my friendships? • How have choices I’ve made affected my family or friends? • How have choices I’ve made affected my family or friends? • How has poor communication led to personal problems in my life?• How has poor communication led to personal problems in my life?• What kind of awkward encounters have I experienced?• What kind of awkward encounters have I experienced?• When have my first impressions of someone been proven wrong?• When have my first impressions of someone been proven wrong?
Explore Ideas You have begun to explore some ideas that you can use for your project by relating the texts in Unit Four to your own life. Continue the process by reviewing these questions as possible raw material for an exchange of letters to and from an advice columnist. Take notes recording your thinking process. Here are one student’s notes:
• One of my most awkward encounters also led to a very false first • One of my most awkward encounters also led to a very false first impression.impression.
• What advice would I offer to someone going through an experience such • What advice would I offer to someone going through an experience such as this? as this?
Connect to the Big Ideas Think about problems related to the Big Ideas in Unit Four. For which type of problem might you seek advice from someone else? Here are examples of some possible connections:
• • The Power of Love In Part 1, The Tragedy of Romeo and Juliet focuses on the conflict between young love and the demands of family. What similar issues might you ask about?
• • Awkward Encounters The literary works in Part 2 focus on encounters with others that may have unintended consequences. For example, in “The Bear,” insults and name-calling produce attraction. To connect with this theme, your letters might involve a misunderstanding or uncomfortable interaction between you and others.
Outline Your Ideas Questions and answers in an advice column involve problems and solutions. Use a graphic organizer to help you work out your ideas. Here is one student’s graphic organizer:
Problem: I made a stupid remark the first day of class and my teacher now thinks I’m rude Problem: I made a stupid remark the first day of class and my teacher now thinks I’m rude and not interested in school. and not interested in school.
Question: How can I change my teacher’s opinion of me?Question: How can I change my teacher’s opinion of me?
Solution 1: In private, tell the teacher Solution 1: In private, tell the teacher that you realize your actions were wrong. that you realize your actions were wrong.
Tell the teacher you are sorry.Tell the teacher you are sorry.
Solution 2: Show your true self through Solution 2: Show your true self through your ongoing behavior as you interact your ongoing behavior as you interact
Develop Your ProjectDevelop Your Ideas For this project, you will create an exchange of letters with an imagined advice columnist. Use the ideas in your graphic organizer to outline possibilities for what questions you will ask and how your imagined advice columnist will respond to them. Follow these steps when you write your letters:Write a letter that asks a question. In your letter, briefly and clearly state the problem and then ask a question. Be sure your problem and question relate in some way to the Big Idea.Write a letter that responds to the question. The response should include a number of options, such as various actions you might take or other people you might ask for advice. The response might also suggest that you think about the problem in a different way.When you are satisfied with your letter outlines, write a rough draft of each letter. Create a distinct character for each letter writer. In other words, the language and style of the letter asking for advice should differ clearly from the language and style of the response letter offering advice.
Choose a Format You may present your project as a performance or in visual form. Here are some possibilities:
• • Performance You might ask several friends to join you in a skit. For example, you might read each letter aloud as others act out the problem you are describing and the advice the columnist provides. Another option is a monologue in which you read each letter in a different tone of voice.
• • Visual You might place your letters in the middle of a poster. Surround the letters with a collage of related drawings, pictures, and photographs. You could draw a series of cartoon panels that describe the problem, the question, and the response from the advice columnist. Or draw a picture that could be used to illustrate the letters.
Revise and PresentRevise Your Project Begin your revision by analyzing each letter. Ask yourself the following questions:
• • How effectively have I addressed the Big Idea?
• • Do I provide enough background for the reader to understand my problem?
• • Do the letters sound as if different people wrote them?
• • Does the columnist’s letter offer several answers to the question or solutions to the problem?
• • Are the columnist’s suggestions practical and satisfying?
Polish Your Project As a final step, edit and proofread each letter. Then focus on making the presentation itself as effective and creative as possible.
• • Performance If you are doing a performance, practice the entire performance several times until everyone is familiar with his or her role. Include any props or costumes in your practice.
• • Visual If you are doing a visual presentation, invite comments on your visual from several friends or family members. Ask for feedback on clarity, interest, creativity, and execution of the project. Use the comments to improve and perfect your project.
Share Your Project Decide how to share your project with your audience. For a performance, you might present the performance to the class. Several students’ performances might be presented at a school assembly. Visual projects might be placed on a bulletin board designed around the theme of “Advice.” Or you might join with others to prepare a visual display around each of the Big Ideas. After all the class projects have been presented, you may wish to hold a class discussion comparing and contrasting the way different class members addressed the Big Ideas.
Look Back After completing your project, look back on the process. Was your audience convinced by your performance or your visuals? How did it feel to be on both sides of a question and response exchange? Think about how this project may have changed the way you will ask for advice, or give it, in the future. You might want to write a summary or a journal entry about what you learned.
ProjectDevelop a proposal for a monument dedicated to a character from one of the literary works in the unit. Use one of the two Big Ideas as a foundation for your concept. Present your proposal in a functional document or as a performance.
ScheduleConnect and Explore (Weeks 1–2)
• Read literary works in Unit Five. • Focus on the Big Ideas.• Explore and develop ideas for a
monument.• Conduct inquiry and research.
Develop Your Project (Weeks 3–4)
• Create a proposal for a monument.
• Decide whether to present your ideas in a functional document or a performance.
• Design your project and create a draft or detailed plan.
Revise and Present (Weeks 5–6)
• Revise your proposal.• Refine your project. • Present your project.
CriteriaYour project should
• relate to one of the two Big Ideas• show an understanding of the literary works in
Unit Five • honor a character from the unit in an insightful way
• show evidence of inquiry• show a thoughtful choice of an appropriate format for
expressing your ideas• show creativity and attention to detail
80 California Treasures Standards Road Map
Connect and ExploreConnect to the Literature As you read the examples of epic and myth in Unit Five, explore your own thoughts on the two Big Ideas. Use the texts as starting points to explore other questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:
• What journeys have I taken, and what have I learned from them? • What journeys have I taken, and what have I learned from them? • How is going on a journey like reading a good story? • How is going on a journey like reading a good story? • Is it better to be courageous or clever? Why? • Is it better to be courageous or clever? Why? • When have I been courageous in life? When have I been clever? • When have I been courageous in life? When have I been clever?
Explore and Develop Ideas A monument celebrates an extraordinary person or event. Conduct research to investigate famous monuments. Remember that a monument can be visual, but can also take other forms, such as a piece of music. Make a chart like the one below, listing monuments that seem effective to you and explaining why. What elements of these monuments could you use or adapt in your project?
Monument Monument In Honor OfIn Honor Of Why It WorksWhy It Works
Vietnam Veterans Vietnam Veterans Memorial, Memorial, Washington, DCWashington, DC
Soldiers killed in Soldiers killed in Vietnam or missing Vietnam or missing in actionin action
Lists each veteran by name; wall Lists each veteran by name; wall made of shiny black stone reflects made of shiny black stone reflects visitors’ facesvisitors’ faces
Lincoln PortraitLincoln Portrait by Aaron Coplandby Aaron Copland Abraham LincolnAbraham Lincoln Combines Copland’s moving music and Combines Copland’s moving music and
Lincoln’s powerful wordsLincoln’s powerful words
Connect to the Big Ideas Keep the Big Ideas in mind as you plan your project. For whichever character you choose or however you choose to honor that character, you will want to incorporate the idea of a journey, courage, or cleverness into your monument. For example:
• • Journeys In Part 1, you read about Odysseus’s long, obstacle-filled journey home after his victory in the Trojan War. A monument celebrating Odysseus (whether in digital form or as a performance) might include a map of his travels.
• • Courage and Cleverness The literary works in Part 2 focus on heroes and heroines who achieve success by being brave or clever (or both). For your project, you might choose to create a monument to Tyr, whose courage made it possible to bring the Fenris Wolf under control.
Do not feel that you must choose a “good” character as the subject of your monument. For instance, you might choose to imagine that you are a goblin who has been hired to create a monument to the Great Goblin featured in the excerpt from J. R. R. Tolkien’s The Hobbit, or you might take on the character of one of Loki’s followers and create a monument to his son, the Fenris Wolf.
Develop Your ProjectDevelop Your Ideas After choosing a character to focus on, begin considering what your monument will look like. You may wish to discuss your ideas with a partner who can give you feedback. Below are some of the questions you might ask as you begin to give form to your thoughts:
• • Will I focus on one or two specific deeds or events, or create a monument to this person’s entire career?
• • What will my monument be—a building, a statue, a multimedia artwork, or some other concept?
• • What materials will I use for my monument?
• • What symbols might I use in my monument?
• • What inscriptions will I put on my monument to explain it to the people who come to see it in the future?
Choose a Medium As you develop your monument design, think about whether you want to present your ideas in a functional document or as a performance. In making this decision, ask yourself several questions:
• • What medium do I most enjoy? What are my talents? For example, if you like the idea of drawing detailed pictures of your monument and making plans for it on paper, you might want to create a functional document that will allow you to show a number of pictures and explain the various aspects of your design.
• • What medium expresses my ideas best? You might take a modern approach to the idea of a monument and choose to make a multimedia art installation that includes a re-creation on film of your hero in action. If so, the performance format will allow you to have a small cast of characters act out this re-creation. If, as suggested above, you choose to imagine yourself as a goblin designer commissioned to create a monument to the Great Goblin, you might also choose the performance format, so that you can present your proposal in character.
• • How do I want to present the visual elements of my plan? No matter what format you choose, presenting your ideas effectively will probably require you to use at least a few pictures. You might, for example, make posters or photocopied handouts, create a slideshow, build a model, or use an overhead projector to show sketches of your ideas.
Revise and PresentRevise Your Reflection At this point, you have roughed out a proposal to express your ideas for a monument. In this final stage, you should refine your proposal and polish your project.
• • Check for accuracy Double-check the details of your monument against any relevant details you found within the text or in outside research. For example, if your monument involves a representation of your hero, it should match the physical details given in the reading (or your research).
• • Check your organization Your presentation will involve a certain amount of description. You should clearly explain who is being honored by your monument and why. Then you should tell what the monument looks like, what it is made of, and the site where it stands. You might organize some of your details spatially—that is, in the order you would use if you were describing a physical object from top to bottom or from left to right.
Refine Your Project Work with a partner to revise your project. If you are creating a functional document, share your rough draft. If you are creating a performance, have your partner watch a rehearsal. In each case, ask your partner to give you feedback on the following questions:
• • What insight about one of the Big Ideas does your project offer?
• • How does your project show links to the literature in Unit Five?
• • How does your project celebrate qualities of heroism?
Look Back After completing your project, think about what you learned during the creative process. It might be interesting to talk to other classmates who designed monuments. Compare your work to other projects that honor the same heroes. Compare it with projects that use a similar kind of monument structure. Do your classmates’ visions give you ideas about how you might refine your own plans if you were to continue working on them? What insights did your project give you about the Big Ideas? How did it enrich your understanding of the literature in Unit Five?
ProjectDevelop a reader’s guide to a type of genre fiction (such as science fiction, fantasy, or mystery) or a subgenre (such as time travel). Develop your guide as a digital presentation or as a functional document.
ScheduleConnect and Explore (Weeks 1–2)
• Read literary works in Unit Six. • Focus on the Big Idea.• Explore the elements of reader’s
guides.• Conduct inquiry for your guide,
focusing on one literary genre.
Develop Your Project (Weeks 3–4)
• Develop your ideas into a reader’s guide.
• Choose how to present your project.
• Design your project and devise a detailed plan or a draft.
Revise and Present (Weeks 5–6)
• Revise your reader’s guide.• Refine your project. • Present your project.
CriteriaYour project should
• relate to the Big Idea or introduce another unifying idea
• show an understanding of the literature in Unit Six • provide insights about a literary genre
• show evidence of inquiry• show a thoughtful choice of an appropriate format to
express your ideas• show creativity and attention to detail
84 California Treasures Standards Road Map
Connect and ExploreConnect to the Literature As you read the literature in Unit Six, explore your thoughts on the Big Idea. Use the literary works as starting points to consider other questions that spark your interest and help you focus on the Big Idea. Record these questions as they occur to you. For example:
• Why do science fiction and fantasy appeal to many readers?• Why do science fiction and fantasy appeal to many readers?• What is one of my favorite science fiction or fantasy stories? • What is one of my favorite science fiction or fantasy stories? • Why is the detective such a popular character in literature?• Why is the detective such a popular character in literature?• Who is my favorite detective character? • Who is my favorite detective character?
Explore and Develop Ideas A reader’s guide is a handbook that provides various kinds of information about an area of literature. Your reader’s guide should provide an overview of the genre (or subgenre) you choose, offer helpful pointers for readers, and suggest further reading. Choose a type of fiction that you enjoy and want to help others enjoy too. To help you get started, brainstorm answers to the following questions:
• • Why do I like this genre?
• • How did I get interested in it in the first place?
• • What are the main characteristics of this genre?
• • What are the best stories or books I’ve read so far in this genre?
Conduct Research and Inquiry Supplement your ideas with additional research using library resources (which will often be non-circulating reference books) and reliable Internet sites. Review the features available in both print and online guides and decide which ones you want to offer in your own genre guide. Provide a brief overview. How old is this genre and what is its history? Is there an author who is considered the “originator” of the genre? Find out what books are considered the classics of this genre. You might offer a “Top 10” list of classics supplemented with your own must-read favorites. Talk to friends and family members about the genre. What are their favorite stories and books? If someone dislikes the genre, what are his or her reasons? You might respond by offering a list of stories or books for those who don’t like the genre.
Connect to the Big Idea As you work on your guide, consider how the Big Idea helps you connect your thoughts. For example:
• • If you enjoyed “The Sentinel,” you might write a reader’s guide to the subcategory of science fiction that deals with travels to the moon.
• • If you enjoyed “The Red-Headed League,” you might choose to focus your guide on Sherlock Holmes.
If you have selected a type of genre fiction outside those covered in the unit—such as historical novels, Westerns, or romances—you might find that the Big Idea doesn’t fit your focus. What other unifying idea would fit the type of genre fiction you have chosen?
Develop Your ProjectDevelop Your Ideas After reviewing your ideas and research, begin bringing them together into a guide. It may be helpful to work with a partner—you might try to find someone who doesn’t have much experience with the genre. Describe your ideas to your partner and discuss his or her reactions. Are you making yourself clear when you describe the characteristics of the genre? How successful are you at inspiring your partner to read one of your recommended stories?
Choose a Medium As you develop your reader’s guide, think about whether you want to express it as a presentation using technology or in a functional document. In making this decision, ask yourself several questions:
• • What medium do you most enjoy? If you enjoy working with computers or other technology, you might prefer to create a technological presentation. This format is ideal if you have assembled clips from films, sound effects, and lots of pictures for your guide.
• • What medium best expresses your work? If you envision your reader’s guide as being similar to a tourist’s guidebook, you may prefer to create a functional document in the form of a pamphlet. This format will work well if you wish to include maps (perhaps of fictional lands) or a moderate number of illustrations (perhaps of fantastical creatures that might show up in the stories) in addition to text. If you choose to focus on science fiction, a digital presentation may be an appropriate medium for describing the technology found within the genre.
• • What medium suits your audience best? Both formats have different advantages for audiences. A reader’s guide presented as a pamphlet is portable; your readers can refer to it on their own time and carry it with them to the library or bookstore if they decide to investigate some of your reading recommendations. As a one-time performance, your technology presentation with sound and pictures can draw an audience in and hold their attention. It may make a more vivid first impression on some people.
Revise and PresentRevise Your Guide At this point, you have created a rough draft of your reader’s guide. In this final stage, you should refine your guide and polish your project.
• • Check your organization Is your guide easy to follow? Are its various features (such as a genre overview or list of classics) clearly labeled?
• • Check your conclusion Ideally, your guide will end with the strongest argument in favor of the genre. In trying to decide what this is, think about your biggest reason for liking these stories. Have they helped you look at life in a different way? Have they provided escape in times of trouble?
Refine Your Project Work with a partner to revise your project. If you are writing a functional document, share your rough draft. If you are creating a technological presentation, have your partner watch you rehearse it. In each case, ask your partner to give you feedback on the following questions:
• • What insight about the Big Idea (or a unifying idea related to another type of genre fiction) do you offer?
• • How does your project persuade the audience to give the genre a try?
Polish and Present Your Project Use the feedback provided by your partner to guide you in polishing and presenting your project. Choose an appropriate means for presenting it. For example, if your project is a technological presentation, consider inviting interested students to come hear it and then form a book group. If you create a pamphlet as your functional document, you could talk to the school librarian about making it available in the library.
Look Back After completing your project, think about how you can continue to use your new knowledge. Have you read all the classics of the genre yet? Did you find other interesting book titles to add to your reading list? What other genres might you be interested in exploring? You might also want to discuss with other students what you learned about the genre.
AssessmentAssessment in Glencoe Literature: California Treasures appears withevery selection and unit in the Student Edition and is supplemented byan array of strong resources, such as California Standards Practice and California Writing Resources. In addition, Glencoe offers an ACT/SATTest Preparation workbook.
This section reviews the assessment strand in Glencoe Literature and is organized into these parts:
•• Assessment in the Student Edition
•• California Standards Practice
•• Reteaching the Standards
•• California Writing Resources
•• Assessment Technology
•• Writing Workshop Rubrics
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Grade 9
This helpful workbook provides Six progress-monitoring tests, including semester tests
Reteaching lessons for the California Content Standards
California Standards Practice
Aligned with California Content Standards
A9C4_CA_Anc_CAStdPract_SE_CV_RD11 1 3/20/08 11:15:35 AMHow is assessment woven into the Glencoe Literature program?
Assessment in the Student EditionSelection AssessmentAssessment in Glencoe Literature: California Treasures begins with the After You Read pages following each selection. There you’ll fi nd questions and activities that assess students’ understanding not only of their reading of the literature but also of key skills and strategies. After You Read pages include these sections:
Respond and Think Critically These questions, following each literary selection, guide students’ comprehension and assess their understanding. One question specifi cally about the Big Idea probes students’ inquiry of the larger unit theme.
Vocabulary Practice and Academic Vocabulary This section assesses students’ understanding of selection vocabulary. In addition, an Academic Vocabulary feature offers practice with words found in academic speakingand writing.
Literary Element and Review These questions probe students’ understanding of the literary element taught in the selection. A Review feature assesses student understanding of a literary element covered in a previous selection.
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Grade 9
ASSESSMENTCACA
What assessments are available after I teach a selection?
Reading Strategy These questions have students show their grasp of the lesson reading strategy.
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Grade 9
After You Read
Respond and Think Critically
534 UNIT 3 POETRY
Respond and Interpret1. How does the bird’s life help you understand
the lives of the oppressed?
2. (a)What images from nature does Dunbar use in the first stanza? (b)In what ways does Dunbar create a sense of freedom with his words?
3. (a)What causes the bird in the poem to bleed? (b)What conclusion do you think Dunbar wanted the reader to draw from this image?
4. (a)According to Dunbar, why do the caged bird’s scars “pulse again with a keener sting”? (b)Why do you think Dunbar emphasizes that the bird’s singing is not a joyful or gleeful carol?
Analyze and Evaluate 5. (a)What passages most focus your attention on
the idea of sympathy? (b)Is Dunbar’s use of the bird as a symbol of this idea effective? Explain.
6. Why do you think Dunbar uses the same rhym-ing sound for the final couplets in the second and third stanzas?
Connect7. Big Idea Life Lessons What life lesson
might Dunbar have wanted the reader to learn from reading “Sympathy”?
8. Connect to Today Dunbar struggled against discrimination to become a writer and poet. What circumstances might lead a person today to write a poem like “Sympathy”?
Literary Element Symbol
1. Why might Dunbar have chosen the bird as a symbol for the oppressed?
A Birds are more frequently kept in cages as pets than other species.
B People are similar in many ways to birds.
C A caged bird is unable to use its wings and express its true self.
D Captive birds are unattractive and largely silent.
2. Without the use of symbols, how might Dunbar have answered the question Whydoes the caged bird sing?
A Oppressed people are able to express their suff ering through art.
B People in captivity are deeply religious and often pray.
C Prisoners have the time to develop their talent for music.
D Even the oppressed are capable of great joy.
Review: MetaphorAs you learned on page 449, a metaphor is a type of figurative language in which two seemingly unlike things are compared to reveal their underly-ing similarities. Unlike a simile, which states the comparison directly with the words like or as, the comparison in a metaphor is implied. Identifying and understanding the poet’s metaphors is often vital to understanding a poem’s meaning.
Partner Activity Work with a partner to identify two metaphors in “Sympathy.” Create a graphic organizer like the one shown for each metaphor. You and your partner should each explain one metaphor and its use in the poem.
Explanation of UseMetaphorinclude text from
poem and line number(s)
Standards Practice R 3.7CA
Literature Online
Write with Style
Apply SymbolismAssignment If the caged bird’s song had words, what do you imagine they would be? Use symbol-ism to express the caged bird’s feelings in your own poetic version of the bird’s song.
Get Ideas What would the bird in Dunbar’s poem sing about? Think about what is important to the bird and choose a symbol to represent it.
Give It Structure Follow Dunbar’s three-stanza structure, and use your symbol in a different way in each stanza. Create a chart like the one below to determine how you will develop the symbolism in each stanza. In the left box, write your chosen symbol. In the right boxes, briefly describe how you will use the symbol to express the bird’s perspective in each stanza.
Symbolthe window beside
the cage
First Stanzaview through window
symbolizes what the bird is missing
Second Stanzaclosed window’s glass panes
symbolizes the barrier between the bird and
freedom
Third Stanzaopen window symbolizes
the bird’s longing to escape.
As you write, focus each stanza on the idea that is being expressed by the symbol in that stanza.
Look at Language Because readers infer the meaning of symbols based on the text, it is impor-tant that your descriptions of the symbol accurately express your meaning. Review your descriptions for precision and meaning.
EXAMPLE: leaving me as they flyMy notes slip out the open window,ˆroaming free and flying into pure blue air.
PAUL LAURENCE DUNBAR 535
Reading Strategy Apply Background Knowledge
Writers often write about experiences from their own lives, and knowing something about an author’s background can give the reader insight into the theme(s) of a particular work. Review the web diagram you made, and then answer the following questions.
1. Using what you know about the poet’s life, what do you think is the theme of “Sympathy”?
2. List three details from Dunbar’s life that correspond to the theme of the poem.
Practice with Analogies Choose the word that best completes the analogy.
1. ladle : spoon :: chalice : a. fl ower c. throne b. cup d. gilded
2. inspired : bland :: keen : a. moderate c. dull b. vivid d. moved
Vocabulary Practice
Dunbar uses the title, “Sympathy,” to unify the poem and create a central theme.
The academic word unify is closely related to the more familiar word unite. Authors can use elements such as title, setting, or imagery to unify any literary work. Using context clues, try to figure out the meaning of the word unify.Check your guess in a dictionary.
For more on academic vocabulary, see pages 54–55 and R79–R81.
Academic Vocabulary
Selection Resources For Selection Quizzes, eFlash-cards, and Reading-Writing Connection activities, go to glencoe.com and enter QuickPass code GL43028u3.
Writing, Speaking, and Listening AssessmentWriting, speaking, and listening are ingrained in the assessment features of the Student Edition.
Writing These assignments assess students’ ability to express themselves in a variety of writing modes while guiding them to use correct grammar.
Speaking and Listening These activities measure students’ verbal responses to literature, as well as their listening skills.
602 UNIT 3 POETRY
Speaking, Listening, and Viewing Workshop
Literature Connection Poet E. E. Cummings also wrote essays and a novel. The novel was based on his experiences in prison in France dur-ing World War I. As a young man, he joined an ambulance corps and served in France, but he and a friend were mistakenly held in a deten-tion camp for about three months. After returning home, he described the experience in his first and only novel, The Enormous Room. In this workshop, you will learn to describe an observation or experience to an audience of listeners.
Create an oral presentation of your descrip-tive essay and deliver it to an audience.
Assignment
Plan Your Presentation
Reread the descriptive essay you wrote. Think about ways to re-create it for an audience of listeners. Be sure to consider the following:
What is your point of view? In your oral presentation, you will want to maintain your first-person point of view. You might also want to present yourself as even more personally involved in, and passionate or concerned about, the experience or observation you described. Look for places in your essay to make your point of view or personal involvement more obvious or more direct.
What are your best sensory details? Where have you used word choice or figurative language most effectively? What concrete images do you present? Underline or highlight these to make sure you include them in your descriptive presentation.
Where do you show changing perspectives? Where do you look at the same thing from different places or with different eyes? Will these shifting perspectives be as clear to an audience of listeners as they were to your readers? Think of ways to add signal words or other verbal or nonverbal cues to make these shifts clear.
Descriptive Presentation
CA Content Standards
For pages 602–603
Listening and Speaking: 2.6 Deliver descriptive presentations:
a. Establish clearly the speaker’s point of view on the subject of the presentation.
b. Establish clearly the speaker’s relationship with that subject (e.g., dispassionate observation, personal involvement).
c. Use effective, factual descriptions of appearance, concrete images, shifting perspectives and vantage points, and sensory details.
Choose Carefully
When you are presenting a reflection to others, you will want to choose a subject you are comfortable talking about and a subject that will be meaningful to others.
Speaking, Listening, and Viewing Workshop
Writing Workshop Response to Literature
Literature Connection What reader could fail to respond to this grim foreshadowing of death in Edgar Allan Poe’s “The Cask of Amontillado”?
“At the most remote end of the crypt there appeared another less spacious. Its walls had been lined with human remains, piled to the vault overhead. . . . ”
Perhaps Poe caused you to recoil a bit as you read these details about human remains piled several feet high. Perhaps he scared you as he led you deeper and deeper into the crypt, or burial vault. Those personal reactions are fodder for a response to literature: a personal reaction to some aspect of a work. Read these goals and strategies for writing an effective response to literature.
Checklist
Goals Strategies
To present your personal response to and thorough understanding of a story
Focus on your feelings and thoughts as you demonstrate awareness of and appreciation for the author’s style
To organize and focus your response with an introduction, body, and conclusion
Introduce the work
Present a thesis clearly stating your personal perspective
Maintain your focus in the body paragraphs
Summarize your response
To use examples to support your response
Provide accurate and detailed references to the text to support your thesis
Connect your examples to your response
To engage your audience Use first-person point of view and an active voice
Use precise language and sensory details
Match your tone to your response and keep it consistent
240 UNIT 1 THE SHORT STORY
Content StandardsCACA Content Standards
For pages 240 –247
Writing: 2.2 Write responses to literature:
a. Demonstrate a comprehen-sive grasp of the significant ideas of literary works.
b. Support important ideas and viewpoints through accurate and detailed references to the text or to other works.
c. Demonstrate awareness of the author’s use of stylistic devices and an apprecia-tion of the effects created.
d. Identify and assess the impact of perceived ambiguities, nuances, and complexities within the text.
At any stage of a writing process, you may think of new ideas. Feel free to return to earlier stages as you write.
Prewrite
Draft
Revise
Focus Lesson:Clear Examples
Edit and Proofread
Focus Lesson: Sentence Fragments
Present/Publish
Writing Process
Respond Through Writing
Analyze Cause and Effect The plot of “The Interlopers” is moved along by a series of cause-and-eff ect relationships. These relationships involve interactions between characters and between characters and nature. Write an essay in which you analyze a cause-and-eff ect chain in the story. Explain what the events suggest about the role of nature in the characters’ lives. Use evidence from the text to support your thesis.
Understand the Task When you analyze, you identify the parts to fi nd meaning in their relationships to the whole. A thesis is the main idea of a work of nonfi ction, such as an essay. The thesis may be stated directly or implied.
Prewrite Review the graphic organizer you created for the Reading Strategy Tip on page 80. Take a few minutes to make any adjustments, adding information as needed. You can use these notes to help you organize your essay, following the chain of causes and eff ects chrono-logically in your essay.
Draft Use your chart to determine how each cause-and-eff ect relation-ship supports your thesis. You may want to use sentence frames as you draft your essay. Your body paragraphs should contain statements that support your thesis, such as the following:
The scene in which _____ shows that _____ was the cause of _____ and _____ .
Revise Ask a classmate to underline your thesis statement and highlight two statements that support your thesis. If this proves diffi cult, you may need to make your thesis and text support more clear. Get rid of super-fl uous or unrelated details. If you have used any technical terms, explain them thoroughly and correctly, to avoid confusion. You may include all or part of your cause-and-eff ect chart in your essay as a visual aid.
Edit and Proofread Proofread your paper, correcting any errors in grammar, spelling, and punctuation. Use the Grammar Tip in the side column to help you with commas and adverb clauses.
Expository Essay
SAKI 89
Commas and Adverb Clauses
In the sentences, one has a comma and one does not.
After a tree falls on them, Ulrich and Georg find them-selves trapped and injured.
Ulrich and Georg find them-selves trapped and injured after a tree falls on them.
“After a tree falls on them” is an adverb clause, a dependent clause that mod-ifies the verbs trapped and injured in the main clause.
When an adverb clause begins a sentence, it is set off by a comma. When an adverb clause follows the main clause, the comma is not needed.
Grammar Tip
CA Content Standards
Writing: 2.3 Write expository compositions, including analytical essays and research reports:
a. Marshal evidence in support of a thesis and related claims, including information on all relevant perspectives.
c. Make distinctions between the relative value and significance of specific data, facts, and ideas.
d. Include visual aids by employing appropriate technology to organize and record information on charts, maps, and graphs.
Unit AssessmentAt the end of each unit in Glencoe Literature: California Treasures there is a comprehensive assessment, covering reading and writing skills that address the California English-Language Arts Content Standards.
Assesses standards and skills covered in the unit
Includes high-quality reading passages
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12 In the last sentence of paragraph 10, the exclamation “Oh, Devil, you have sold yourself!” means that
A the Evil One has struck a bargain with the aunt.
B the Evil One has revealed himself through his words.
C Nicholas has purchased the Evil One’s services.
D the aunt has brought home the Evil One as a gift for Nicholas.
13 In the first sentence of paragraph 11, the word “discernment” means
A cruelty.B deception.C comprehension.D sympathy.
14 From which point of view is this passage written?
A first personB second personC third-person limitedD third-person omniscient
15 The main idea of this excerpt from “The Lumber Room” is that
A adults often keep the truth from children for their own good.
B adults can usually get their way through bargaining.
C children are usually more superstitious than adults.
D the lies of adults can be used against them by clever children.
254 UNIT 1 THE SHORT STORY
Grammar and Writing: Paragraph ImprovementThe following is the rough draft of a student’s report, which may contain errors. Read through it carefully; then answer the questions on pages 255 and 256.
ASSESSMENT 255
Saki
(1) Saki was the pen name of Hector Hugh Munro, he was born in 1870 at Burma. (2)
His father was a member of the police force at the time that the country, called Myanmar now,
is still part of the British Empire. (3) He was raised in England by his grandmother and aunts.
(4) The strictness of households like his became the subject of many of his stories. (5) His short
stories made fun of Edwardian society. (6) He wrote several novels and wrote plays also.
(7) In 1893 Munro returned to Burma and joined the police force. (8) Three years later,
because of illness, quit and he returned to England. (9) Munro’s first book, The Rise of the
Russian Empire, a historical study, was published in 1900. (10) It was followed in 1902 by a
collection of short stories. (11) Many more short stories appeared in subsequent years, which
were widely read.
(12) Munro was also a correspondent for The Morning Post from 1902 to 1908,
reporting throughout Europe. (13) He had started his career of journalism even earlier he
started right after moving back to England. (14) After roving through Europe as a
correspondent, he permanently settled in London. (15) Many of the stories from this period
feature characters taking pleasure in the misfortune of their elders.
(16) After World War I began, Munro enlisted the Army as an ordinary soldier even
though his age exceeded the official limit. (17) He was killed during the war in France in 1916,
he was in a shell crater at the time. (18) Much of his work was published after he died.
1 What is the best way to rewrite sentence 1?
A Saki was the pen name of Hector Hugh Munro, born in 1870 Burma.
B Saki was the pen name for Hector Hugh Munro, born in 1870 in Burma.
C Saki was the pen name of Hector Hugh Munro, who was born in 1870 in Burma.
D Saki was the pen name for Hector Hugh Munro, who was born in 1870 Burma.
2 Which of these verb forms is the correct substitute for the underlined word in sentence 2?
A has beenB had beenC would beD was
Content Standards PracticeCA252 UNIT 1 THE SHORT STORY
Assessment
English Language Arts
Reading: FictionRead the following passage. Then, on a separate sheet of paper, answer the questions on pages 253 and 254.
Presently the angry repetitions of Nicholas’ name gave way to a shriek, and a cry for somebody to come quickly. Nicholas shut the book, restored it carefully to its place in a corner, and shook some dust from a neighboring pile of newspapers over it. Then he crept from the room, locked the door, and replaced the key exactly where he had found it. His aunt was still calling his name when he sauntered into the front garden.
“Who’s calling?” he asked.
“Me,” came the answer from the other side of the wall; “didn’t you hear me? I’ve been looking for you in the gooseberry garden and I’ve slipped into the rain-water tank. Luckily there’s no water in it, but the sides are slippery and I can’t get out. Fetch the little ladder from under the cherry tree—”
“I was told I wasn’t to go into the gooseberry garden,” said Nicholas promptly.
“I told you not to, and now I tell you that you may,” came the voice from the rain-water tank, rather impatiently.
“Your voice doesn’t sound like Aunt’s,” objected Nicholas; “you may be the Evil One tempting me to be disobedient. Aunt often tells me that the Evil One tempts me and that I always yield. This time I’m not going to yield.”
“Don’t talk nonsense” said the prisoner in the tank; “go and fetch the ladder.”
“Will there be strawberry jam for tea?” asked Nicholas innocently.
“Certainly there will be,” said the aunt, privately resolving that Nicholas should have none of it.
“Now I know that you are the Evil One and not aunt,” shouted Nicholas gleefully; “when we asked aunt for strawberry jam yesterday she said there wasn’t any. I know there are four jars of it in the store cupboard, because I looked, and of course you know it’s there, but she doesn’t, because she said there wasn’t any. Oh, Devil, you have sold yourself!”
There was an unusual sense of luxury in being able to talk to an aunt as though one was talking to the Evil One, but Nicholas knew, with childish discernment, that such luxuries were not to be overindulged in. He walked noisily away and it was a kitchenmaid, in search of parsley, who eventually rescued aunt from the rain-water tank.
1
2
3
4
5
6
7
8
9
10
11
from “The Lumber Room” by Saki (H. H. Munro)
1 What was the aunt doing in the garden?
A drinking teaB eating jamC looking for a ladderD looking for Nicholas
2 In the last sentence of paragraph 1, the word “sauntered” means
A departed.B returned.C strolled.D yelled.
3 Nicholas says he is certain that he is not really speaking with his aunt because she
A grew very angry with him.B offered him strawberry jam.C said she fell inside the tank.D told him to come to the front garden.
4 What can the reader infer that Nicholas was doing when his aunt called to him?
A cleaningB playingC readingD sleeping
5 This passage reveals Nicholas’s personality through
A irony.B direct characterization.C indirect characterization.D dialect.
6 What is the overall tone of this passage?
A angryB disapprovingC objectiveD playful
7 The reader can infer from Nicholas’s actions in the first paragraph that he is
A in a place where he does not belong.B about to displease his aunt.C responsible for his aunt’s emergency.D happy that he is not alone in the house.
8 Which literary device makes the reader question what will happen to the aunt?
A dialectB motivationC suspenseD motif
9 In paragraph 9, the word “resolving” means
A answering.B deciding.C fixing.D settling.
10 Nicholas’s tone when talking to hisaunt is
A concerned.B despairing.C ironic.D sad.
11 The author’s purpose in this passage is to
A entertain.B persuade.C describe.D explain.
ASSESSMENT 253
Content Standards PracticeCA
Literature Online
Standards Practice For more standards practice, go to glencoe.com and enter QuickPass code GL43028u1.
Format mirrors standardized tests
How do I assess the standards covered in each unit?
Unit Assessment continuedUnit tests also include practice with writing strategies and writing products that students will encounter on the ACT or SAT.
Additional standards practice and unit assessment is available at glencoe.com and in assessment technology resources. See the Assessment Technology pages in this section for more information.
Writing prompts mirror standardized test assessments
Assesses students’ ability to improve sentences and paragraphs
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Grade 9
256 UNIT 1 THE SHORT STORY
3 What is the best way to rewrite sentence 8?
A Three years later, illness forced Munro to quit, he returned to England.
B Three years later, illness forced Munro to quit, but he returned to England.
C Three years later, illness forced Munro to quit, return to England.
D Three years later, illness forced Munro to quit, and he returned to England.
4 In sentence 11, where should the modifier “which were widely read” be moved?
A between “Many” and “more”B between “more” and “short”C between “short” and “stories”D between “stories” and “appeared”
5 Which sentence in the third paragraph is out of chronological order?
A sentence 12B sentence 13C sentence 14D sentence 15
6 In sentence 13, what is the best way to rewrite “earlier he started”?
A earlier, he startedB earlier—he startedC earlier. He startedD he started earlier
7 What is the best way to rewrite the main clause in sentence 16?
A Munro enlisted the Army, as an ordinary soldier, even though his age exceeded the official limit.
B Munro enlisted the Army as an ordinary soldier, even though his age exceeded the official limit.
C Munro enlisted in the Army as an ordinary soldier, even though his age exceeded the official limit.
D Munro enlisted in the Army, as an ordinary soldier. Even though his age exceeded the official limit.
8 What is the best way to rewrite sentence 17?
A He was killed during the war in France in 1916; he was in a shell crater at the time.
B During the war in France in a shell crater in 1916, he was killed.
C He was killed in a shell crater during the war in France in 1916.
D He was in a shell crater during the war in France in 1916 at the time when he was killed.
9 What is most noticeably missing from the essay?
A supporting argumentsB historical quotationsC a concluding paragraphD a personal paragraph
10 What is the best title for this essay?
A “England’s Greatest Journalist”B “The Life and Career of Saki”C “Munro’s Family Fortunes” D “History of the Short Story”
Writing: Essay
DirectionsFollow the directions in the box below to write an essay about “The Lumber Room.” You may look back at the story at any time. Use a planning sheet to jot down ideas and organize your thoughts. Then neatly write your final essay on another sheet. You may not use a dictionary or other reference materials.
Writing Task:
In “The Lumber Room,” Nicholas is put in an unusual situation that forces him to quickly analyze both his relationship with his aunt and what he knows about the world. He pretends that his aunt is the “Evil One.”
Write a short essay in which you explain Nicholas’s behavior in the story. Provide examples from Saki’s short story to illustrate your statements.
Keep these hints in mind when you write.
• Show that you understand the story you are writing about.
• Organize your essay around one or more clear ideas.
• Give examples from the story and use evidence to support your ideas and interpretations.
• Pay attention to the correct use of grammar, spelling, capitalization, and punctuation.
Print ResourcesAncillary resources provide additional support to assess your students’ mastery of the California standards.
Quick Checks Accompanying each selection, Unit Teaching Resources includes a Quick Check test that assesses students’ comprehension.
Diagnostic, Selection, and Unit Tests Assessment Resources provides additional tests keyed to each selection and unit in the Student Edition. By administering the diagnostic assessments prior to beginning work on a unit, you can gain a clearer idea of your students’ knowledge and skills.
California Standards PracticeGlencoe Literature’s California Standards Practice book contains both progress-monitoring and summative assessments. These assessments measure the effectiveness of instruction and monitor student progress on a regular basis. Like the unit tests in the Student Edition, the tests in California Standards Practice are designed to be administered at the end of each unit and assess how well students have mastered the standards taught in the unit.
Two of the tests in California Standards Practice serve as semester tests. They provide a cumulative assessment of student progress up to that point. Each test covers all of the major skill areas:
• • Reading Comprehension
•• Vocabulary
•• Literary Response and Analysis
•• Spelling
•• Writing Strategies and Language Conventions
•• Writing Applications
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This helpful workbook provides Six progress-monitoring tests, including semester tests
Reteaching lessons for the California Content Standards
Reteaching is available for each standard if students struggle to master the content.
Each test item in California Standards Practice is correlated to a standard. With the Item Analysis Chart, teachers can easily see which standards students are having diffi culty with and where reteaching is needed, ensuring that each standard will be mastered.
Each test is also available on ExamView® Assessment Suite and Progress Reporter Online Assessment.
Reteaching the StandardsThe Glencoe Literature: California Treasures program enables teachers to introduce each standard, teach and assess it, and then, if necessary, reteachit through an array of support materials. Reteaching resources are provided atboth the selection level for an immediate response to students who are struggling and at the unit level for students who have not demonstrated mastery on longer-range assessments.
INTRODUCE
TEACH
RETEACH
ASSESS
PROCEED
INTRODUCE
TEACH
ASSESS
For daily ongoing assessment and immediate reteaching, the Teacher Edition features a Progress Check box in the After You Read section that follows each selection. This feature will help you monitor students’ progress and provide strategies to reinforce concepts.
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ASSESSMENTCACA How is reteaching handled in the program?
An Item Analysis Chart in California Standards Practice shows where each standard appears in the Student Edition, where it is tested, and where it can be retaught.
For students who do not demonstrate mastery on the unit and semester tests in California Standards Practice, the same product provides a series of standards-based reteaching lessons to support students who require additional instruction and practice. The Item Analysis Chart in the front of the Teacher Edition of California Standards Practice shows the standard tested by each test item and the reteaching lesson provided for that standard.
The tests and the reteaching lessons are also available on Progress Reporter Online Assessment and ExamView® Assessment Suite—two technology components in Glencoe’s assessment program.
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After You Read
Literature Online
After You Read
Respond and Think Critically
Respond and Interpret
1. In what ways can you relate to the speaker of
this poem?
2. (a)What does the speaker of the poem say she
liked as a girl? (b)What can you tell about her
from these details?
3. (a)Identify the point in the poem where the
verb tense changes. (b)What does this change
indicate?
Analyze and Evaluate
4. Who is the speaker of this poem? Use clues
from the text to support your answer.
5. (a)Why does the speaker of the poem want to
disguise herself as a boy? (b)In what other
ways does the speaker disguise herself?
6. One sentence in this poem runs from line 28
to line 63. What might have been the author’s
purpose in making this sentence so long?
Connect
7. Big Idea Life Lessons What lessons has the
speaker of the poem learned about being
female?
8. Connect to the Author As a girl, Villanueva
felt alienated because of her tomboy attitude.
Where in the poem does this alienation appear?
Literary Element Free Verse
Before the twentieth century, most poets used
regular meter and rhyme. Modern poets, rebelling
against tradition, began writing in free verse, creat-
ing patterns with irregular meter and form.
1. Identify two places in “I Was a Skinny Tomboy
Kid” where Villanueva uses the poem’s form to
emphasize the content of the poem.
2. How would “I Was a Skinny Tomboy Kid” differ
if Villanueva had written it using regular meter
and rhyme rather than free verse?
Reading Strategy Analyze Sensory
Details
Many authors use sensory details to help readers
imagine the characters, setting, and action in a
piece of writing. Review the chart you created,
and then answer the following questions.
1. What types of sensory details does Villanueva
use most often in her poem? Support your
answer with examples from the text.
2. Which of the sensory details in the poem do
you find most striking or effective? Explain.
514 UNIT 3 POETRY
Writing
Write a Poem in Free Verse Think about how
free verse is suited for a poem about childhood.
Write a poem in free verse about yourself as a
child. Remember that free verse can take whatever
form best supports your poem’s imagery, rhythm,
and subject matter.
At the end of the poem, the speaker assures
herself that everything is okay.
Assure is an academic word. More familiar
words that are similar in meaning are convince,
guarantee, and promise. In your life, what do
you sometimes have to assure yourself about?
For more on academic vocabulary, see pages
54–55 and R79–R81.
Academic Vocabulary
Selection Resources For Selection Quizzes, eFlash-
cards, and Reading-Writing Connection activities, go to
Test Items Reteach9RL3.11 Literary Criticism: Evaluate the aesthetic qualities of style, including the impact of diction and figurative language on tone, mood, and theme, using the terminology of literary criticism (Aesthetic approach).
The Cask of Amontillado, p. 56
Blues Ain’t No Mockin Bird, p. 69
Item 21 Lesson 20, p. 222
Escape from
Afghanistan,p. 307
Items 2, 16 Lesson 20, p. 222
Comparing Literature, p. 474
Items 3, 7, 11
Lesson 20, p. 222
9RL3.12 Literary Criticism: Analyze the way in which a work of literature is related to the themes and issues of its historical period (Historical approach).
Daily Life & Culture, p. 337
Item 4 Lesson 21, p. 228
9WS1.1 Organization and Focus: Establish a controlling impression or coherent thesis that conveys a clear and distinctive perspective on the subject and maintain a consistent tone and focus throughout the piece of writing.
Write with Style, p. 78
Items 4, 8 Lesson 22, p. 236
Write with Style,
p. 346
Items 10, 24
Lesson 22, p. 236
Write with Style,
p. 555
Item 19 Lesson 22, p. 236
9WS1.2 Organization and Focus: Use precise language, action verbs, sensory details, appropriate modifiers, and the active rather than the passive voice.
Write with Style,
p. 182
Item 15 Lesson 23, p. 240
If a student needs help (based on a quick and informal assessment), then the program provides a suggestion for reteaching.
California Writing ResourcesGlencoe Literature: California Treasures offers a strong complement of writing tools in California Writing Resources. Writing prompts within this ancillary afford comprehensive practice for all of the writing applications that appear on the California state test. The book also provides annotated anchor papers and scaffolding for all stages of the writing process.
California Writing Resources also provides rubrics for assessing students’ writing. A rubric is available for each writing application, showing the 4-point scoring that students will encounter on the California state test.
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TRANSPARENCY 1Grade 9
By this point in your life, you have experienced many things. You have probably been to a variety of places and met a variety of people. Think about an experience you have had that taught you an important lesson.
Write a composition in which you narrate a sequence of events from your life that taught you something. In your autobiographical narrative, be sure to include specific details about time and place and to explain the significance of the events to your audience.
CHECKLIST FOR YOUR WRITINGThe following checklist will help you do your best work. Make sure you:
❑ Read the explanation of the writing task carefully.❑ Support and develop your ideas with specific details and examples.
❑ Organize your writing with a strong introduction, body, and conclusion.
❑ Use precise language that is best-suited to your audience and purpose.
❑ Vary your sentences to add interest to your writing.❑ Check for errors in grammar, spelling, punctuation, and sentence structure.
The Glencoe Online Essay Grader includes multiple essay prompts from the Student Edition, but also allows you to create customized writing prompts. The Essay Graderautomatically provides students with holistic grades, narrative feedback, and numerical scores (based on 4-point rubrics).
More writing support is available at glencoewriting.com and within the Glencoe Online Essay Grader.
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Grade 9
Grade 9
• THE ESSAY—
—clearly addresses all parts of the writing task.
—provides a meaningful thesis.
—maintains a consistent tone and focus.
—purposefully illustrates a control of organization.
—thoughtfully supports the thesis and main ideas with specific
details and examples.
—utilizes a variety of sentence types.
—uses precise, descriptive language.
—demonstrates a clear sense of audience.
—contains few, if any, errors in the conventions of the English
language. (Errors are generally first-draft in nature.)*
* “Conventions of the English language” refers to grammar, punctuation,
Assessment TechnologyGlencoe Literature: California Treasures also offers several exceptional technology resources to simplify the monitoring and assessment of students’ understanding of the standards.
ExamView® Assessment Suite CD-ROM allows teachers to administer ready-made diagnostic, formative, and summative assessments in both English and Spanish.
•• Teachers can edit assessment items and create new ones as needed, allowing them to customize their tests.
•• Teachers can monitor students’ progress through a variety of reporting options available in the ExamView Test Manager.
• • Teachers can provide assessment-driven remediation options for those students who need extra help.
•• Teachers also have access to all of the tests in the California Standards Practice book.
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ASSESSMENTCACA
How can I use technology to help me manage assessment?
Progress Reporter Online Assessment also gives teachers the ability to administer ready-made diagnostic, formative, and summative assessment in both English and Spanish.
•• Teachers can edit assessment items or create new ones.
•• Assessments administered online are automatically scored.
•• Essay questions are also scored automatically.
•• Rationales for items, explaining why each answer is correct or incorrect, are provided.
•• Reteaching, remediation, and extension options are automatically assigned based on students’ responses.
•• Content in the California Standards Practice book is available in Progress Reporter Online Assessment.
Literature Online offers additional test practice at glencoe.com. On-page references in the Student Editions allow students and teachers to jump from the print books to online resources in just seconds. By using QuickPass codes, students are directed immediately to the appropriate pages at glencoe.com.
RubricsEach unit in Glencoe Literature: California Treasures includes a Writing Workshop. These workshops teach the types of writing required by the California English-Language Arts Content Standards. Each workshop walks students through the different stages of writing: prewriting, drafting, revising, editing and proofreading, and presenting.
This section of the guide contains Writing Workshop Rubrics for Glencoe
Literature: California Treasures. The rubrics are aligned with the California 4-point assessment system, four being the highest possible score. This system refl ects the scoring methods used by readers of the writing section of the California state test.
The categories of writing in the workshops are:
•• Narrative
•• Functional Document
•• Response to Literature
•• Persuasive Essay
•• Research Report
•• Expository Essay
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ASSESSMENTCACA
106 California Treasures Standards Road Map
Writing Workshop Rubric
UNIT ONE Response to Literature
4 Ideas
• The response demonstrates a complete
understanding of the assignment.
• The response makes an honest and insightful
point about the piece of literature.
• The response shows a deep understanding of
the piece of literature.
• The response demonstrates a very clear
purpose and focus.
• Perfectly tuned examples and details are
presented.• The evidence selected and presented provides
effective support for the response’s main point.
• The response demonstrates a great deal of
originality and creativity.
Organization
• The response clearly states a position about
the piece of literature.
• The opening provides a clear focus for the
response.• The focus is effective throughout the response.
• The introduction is exceptionally effective and
compelling—it grabs the reader’s attention.
• The presentation of supporting evidence is
exceptionally clear and thorough, with explicit,
vivid details.
• The sequence of ideas and supporting evidence
is exceptionally effective.
• The conclusion effectively reaffirms the focus of
the response.
Voice
• The writer’s voice is clear, consistent, and
sincere throughout the response.
• The writer’s voice is perfectly attuned to the
subject matter of the response.
• The writer’s voice is exceptionally appropriate to
the intended audience of the response.
Word Choice & Sentence Fluency
• The word choice is exceptionally precise and
accurate.• The word choice is vivid and effective, with
lively descriptive words used.
• When literary terms are necessary, they are
used appropriately and effectively.
• Sentences vary in length and structure.
• Ideas are clearly and smoothly connected using
transition words and phrases.
• The response forms a meaningful whole,
moving smoothly from beginning to end.
Conventions
• All words are spelled correctly.
• The response contains no errors in usage,
grammar, or punctuation.
• The response contains no errors in capitalization.
106-130_G9_RM_Rubric_CA.indd 106
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Assessment 107
3 Ideas
• The response demonstrates a basic
understanding of the assignment.
• The response makes a considered point about
the piece of literature.
• The response shows some understanding of
the piece of literature.
• The response includes a purpose and focus,
but it is not always clear.
• Generally appropriate examples and details are
presented to support the response.
• The evidence selected and presented somewhat
supports the response’s main point, but some
may be off the subject.
• The response shows some originality and
creativity.
Organization
• The response implies a position about the
piece of literature.
• The opening provides a focus for the response.
• The focus is generally clear.
• The introduction is effective and attempts to
catch the reader’s attention.
• The presentation of supporting evidence is
generally clear and includes details.
• The sequence of ideas and supporting evidence
is generally effective but not always logical.
• The conclusion recalls the focus of the response.
Voice
• The writer’s voice is somewhat consistent, but
sincerity is not obvious.
• The writer’s voice is generally appropriate to
the subject matter of the response.
• The writer’s voice is generally appropriate to the
intended audience of the response.
Word Choice & Sentence Fluency
• Word choices reflect thought but are not always
precise.• Descriptive phrasing is attempted but is not
As students develop their drafts, the workshop provides direct, explicit, and systematic instruction.
Each workshop includes models that point out the features of strong writing, mirroring the language and criteria listed in the rubrics.
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Writing Workshop
Response to Literature
Literature Connection What reader could fail to respond to this grim
foreshadowing of death in Edgar Allan Poe’s “The Cask of Amontillado”?
“At the most remote end of the crypt there appeared another
less spacious. Its walls had been lined with human remains,
piled to the vault overhead. . . . ”
Perhaps Poe caused you to recoil a bit as you read these details about
human remains piled several feet high. Perhaps he scared you as he led
you deeper and deeper into the crypt, or burial vault. Those personal
reactions are fodder for a response to literature: a personal reaction to
some aspect of a work. Read these goals and strategies for writing an
effective response to literature.
Checklist
GoalsStrategies
To present your personal
response to and thorough
understanding of a story
Focus on your feelings and thoughts
as you demonstrate awareness of
and appreciation for the author’s style
To organize and focus
your response with an
introduction, body, and
conclusion
Introduce the work
Present a thesis clearly stating your
personal perspective
Maintain your focus in the body
paragraphs
Summarize your response
To use examples to support
your response
Provide accurate and detailed
references to the text to support
your thesis
Connect your examples to your
response
To engage your audience Use first-person point of view and
an active voice
Use precise language and sensory
details
Match your tone to your response
and keep it consistent
240 UNIT 1 THE SHORT STORY
Content StandardsCACA Content Standards
For pages 240 –247
Writing: 2.2 Write responses
to literature:
a. Demonstrate a comprehen-
sive grasp of the significant
ideas of literary works.
b. Support important ideas
and viewpoints through
accurate and detailed
references to the text or
to other works.
c. Demonstrate awareness of
the author’s use of stylistic
devices and an apprecia-
tion of the effects created.
d. Identify and assess the
impact of perceived
ambiguities, nuances, and
complexities within the text.
At any stage of a writing
process, you may think of
new ideas. Feel free to return
to earlier stages as you write.
Prewrite
Draft
Revise
Focus Lesson:
Clear Examples
Edit and Proofread
Focus Lesson:
Sentence Fragments
Present/Publish
Writing Process
12/12/07 10:5
Exposition
WRITING WORKSHOP 241
Assignment: Respond to a Short StoryWrite a response of at least 1,000 words to a short story. Include specific details and quotations to support a viewpoint about one aspect of the work, such as characters, events, or setting.
Audience: peers, classmates, and teacherPurpose: to express a clear, focused response to a short story
Analyzing a Professional ModelIn this selection, Oscar Hijuelos describes his first reading of a short story that inspired him to become a writer. Note how Hijuelos creates a con-trolling perspective through his unified focus, word choice, and tone. The comments in the margin point out features to include in your response.
“On ‘The Aleph’” by Oscar Hijuelos
I first encountered “The Aleph” by the great Argentine writer Jorge Luis Borges one afternoon over twenty years ago, in 1973—I believe—when I was down on the Lower East Side visiting a friend, a young Armenian intellectual, such as one might meet at City College in those days. While he fiddled about in his kitchen (or walked his dog, or pleaded/conversed with his girlfriend on the telephone), I sat on his itchy, cat-haired, roach-egged couch, idly riffling through a pile of books that I had pulled from his shelves, among them a mildewed, jaundiced-looking, much-read-over pocketbook edition of The Aleph and Other Stories by Borges. Now, just a few days earlier I had been informed about the results of an aptitude test I had taken, the upshot being that I was apparently most suited for the profession of accounting. That well may have been my destiny, but I am happy (unhappy?) to report that the experience of reading “The Aleph” for the first of many times had a great effect upon me and my future; I have loved and will always love that story—and I will always be indebted to Borges for
Audience EngagementUse first-person point of view, active voice, precise language, and sensory details.
Real-World ConnectionIn the workplace, you may be asked to respond to a draft proposal, memo, or other document. This task will require many of the same skills you use in responding to literature: writing in the first person, presenting a controlling perspective, organizing your response logically and coherently, maintaining your focus, and using an appro-priate tone for your audi-ence and purpose.
Writing and Research For prewriting, drafting, and revising tools, go to glencoe.com and enter QuickPass code GL43028u1.
Writing Workshop RubricUNIT ONE Response to Literature
4 Ideas
• The response demonstrates a complete understanding of the assignment.
• The response makes an honest and insightful point about the piece of literature.
• The response shows a deep understanding of the piece of literature.
• The response demonstrates a very clear purpose and focus.
• Perfectly tuned examples and details are presented.
• The evidence selected and presented provides effective support for the response’s main point.
• The response demonstrates a great deal of originality and creativity.
Organization
• The response clearly states a position about the piece of literature.
• The opening provides a clear focus for the response.
• The focus is effective throughout the response.• The introduction is exceptionally effective and
compelling—it grabs the reader’s attention.
• The presentation of supporting evidence is exceptionally clear and thorough, with explicit, vivid details.
• The sequence of ideas and supporting evidence is exceptionally effective.
• The conclusion effectively reaffirms the focus of the response.
Voice
• The writer’s voice is clear, consistent, and sincere throughout the response.
• The writer’s voice is perfectly attuned to the subject matter of the response.
• The writer’s voice is exceptionally appropriate to the intended audience of the response.
Word Choice & Sentence Fluency
• The word choice is exceptionally precise and accurate.
• The word choice is vivid and effective, with lively descriptive words used.
• When literary terms are necessary, they are used appropriately and effectively.
• Sentences vary in length and structure.• Ideas are clearly and smoothly connected using
transition words and phrases.• The response forms a meaningful whole,
moving smoothly from beginning to end.
Conventions
• All words are spelled correctly.• The response contains no errors in usage,
grammar, or punctuation.
• The response contains no errors in capitalization.
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Assessment 107
3 Ideas
• The response demonstrates a basic understanding of the assignment.
• The response makes a considered point about the piece of literature.
• The response shows some understanding of the piece of literature.
• The response includes a purpose and focus, but it is not always clear.
• Generally appropriate examples and details are presented to support the response.
• The evidence selected and presented somewhat supports the response’s main point, but some may be off the subject.
• The response shows some originality and creativity.
Organization
• The response implies a position about the piece of literature.
• The opening provides a focus for the response.• The focus is generally clear.• The introduction is effective and attempts to
catch the reader’s attention.
• The presentation of supporting evidence is generally clear and includes details.
• The sequence of ideas and supporting evidence is generally effective but not always logical.
• The conclusion recalls the focus of the response.
Voice
• The writer’s voice is somewhat consistent, but sincerity is not obvious.
• The writer’s voice is generally appropriate to the subject matter of the response.
• The writer’s voice is generally appropriate to the intended audience of the response.
Word Choice & Sentence Fluency
• Word choices reflect thought but are not always precise.
• Descriptive phrasing is attempted but is not always effective or relevant.
• When literary terms are necessary, they are generally used appropriately.
• Sentences vary somewhat in length and structure but could use more variation.
• Ideas are not always connected using transition words and phrases.
• The response is generally complete but may not move smoothly from beginning to end.
Conventions
• Some spelling errors occur, but not enough to impede understanding.
• The response contains some errors in usage, grammar, or punctuation, but not enough to impede understanding.
• The response contains a few errors in capitalization.
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ASSESSMENTCACA
108 California Treasures Standards Road Map
2 Ideas
• The response demonstrates little understanding of the assignment.
• The point of the response is missing or unclear.• The response shows little or a somewhat
inaccurate understanding of the piece of literature.
• The response appears to have a purpose and focus, but it is rarely clear.
• Examples and details are presented but are not always appropriate.
• The evidence is mostly unrelated to the main point.
• The response occasionally shows some originality and creativity.
Organization
• The response suggests a position about the piece of literature, but it is vague.
• The opening may not provide a focus.• The focus is not always clear.• The introduction is not entirely effective or may
not include an attempt to catch the reader’s attention.
• The presentation of supporting evidence is generally clear but may lack details.
• The sequence of ideas and evidence is not always effective or logical.
• The conclusion may not echo the focus of the response.
Voice
• The writer’s voice is not always consistent, and sincerity may be lacking.
• The writer’s voice is not always appropriate to the subject matter.
• The writer’s voice is not always appropriate to the intended audience of the response.
Word Choice & Sentence Fluency
• Word choices reflect thought but are often not precise or accurate.
• Descriptive phrasing is occasionally attempted but is not effective or is irrelevant.
• When literary terms are necessary, they are often not used appropriately.
• Sentences only occasionally vary.• Ideas are only occasionally connected.
Conventions
• Some spelling errors may impede understanding.
• Errors in usage, grammar, or punctuation may impede understanding at times.
• Errors in capitalization may affect understanding.
UNIT ONE Response to Literature continued
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Assessment 109
1 Ideas
• The response demonstrates some understanding of the assignment, but it is not complete.
• The response suggests a point about the piece of literature, but it is vague.
• The response shows an incomplete or inaccurate understanding of the piece of literature.
• The response implies a purpose and focus, but it is not clear.
• Examples and details are rarely appropriate.• The evidence may be unrelated to the main
point.• The response shows little originality and
creativity.
Organization
• The position about the topic is not clear.• The opening does not provide a focus.• The focus is generally unclear.• The introduction is not clear and may not
include an attention-getter.
• The presentation of supporting evidence is somewhat unclear and lacks details.
• The sequence of ideas and evidence is not effective and may be illogical.
• The conclusion does not echo the focus of the response.
Voice
• Writer’s voice is generally inconsistent and often insincere.
• The writer’s voice is not often appropriate to the subject matter.
• The writer’s voice is sometimes inappropriate to the intended audience of the response.
Word Choice & Sentence Fluency
• Word choices are generally not precise or accurate.
• Descriptive phrasing is rarely used.• Sentences and paragraphs may not flow
together.
• Ideas are rarely connected using transition words and phrases.
• The response is incomplete and does not move smoothly from beginning to end.
Conventions
• Spelling errors impede understanding.• Numerous errors in usage, grammar, and
punctuation often impede understanding.
• The response contains numerous errors in capitalization.
First Proof
Second Proof
Third Proof
PDF Proof
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ASSESSMENTCACA
110 California Treasures Standards Road Map
4 Ideas
• The narrative demonstrates a complete understanding of the assignment.
• The narrative implies or states an insightful theme about the writer’s experience.
• The time, place, and events are presented precisely and thoroughly.
• Perfectly tuned examples and details support the theme.
• A range of well-chosen anecdotes very accurately reflect the significance of the experience.
• The narrative demonstrates a great deal of creativity and originality.
Organization
• The introduction is effective and compelling—it grabs the reader’s attention.
• The narrative has a distinct beginning, middle, and end.
• The pattern of organization is very clear and effective throughout the narrative.
• The point of view is consistent and effective throughout the narrative.
• Transitions provide a seamless progression from point to point.
• The ending effectively wraps up the narrative.
Voice
• The writer’s choice of narrative voice is exceptionally appropriate to the events recounted.
• The narrative voice is exceptionally exact, consistent, and highly effective throughout.
• The voice is exceptionally appropriate to the audience of the narrative.
Word Choice & Sentence Fluency
• The word choice is exceptionally precise and accurate throughout the narrative.
• The sensory details are explicit and vivid.• Sentences vary in length and structure.• Ideas are clearly and smoothly connected using
transition words and phrases.
• Sentences and paragraphs flow seamlessly together.
• The narrative forms a meaningful whole, moving smoothly from beginning to end.
Conventions
• All words are spelled correctly.• The narrative contains no errors in English
usage or grammar.
• The narrative contains no errors in punctuation.• The narrative contains no errors in capitalization.
Writing Workshop RubricUNIT TWO Autobiographical Narrative
First Proof
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Assessment 111
3 Ideas
• The narrative demonstrates a basic understanding of the assignment.
• The narrative has a theme about the writer’s experience.
• The narrative states the time and place of the experience.
• Some examples and details are presented.• A few anecdotes reflect the significance of the
experience.• The narrative demonstrates occasional creativity
and originality.
Organization
• The introduction includes an attention-getter, but it may not be entirely effective.
• The narrative seems to have a beginning, middle, and end, but they are not entirely clear.
• The pattern of organization is not always clear and effective.
• The point of view is mostly consistent and effective.
• Transitions are used.• A clear ending is included but may not wrap up
the narrative.
Voice
• The voice is generally appropriate to the events recounted.
• The voice is often clear and effective.
• The voice is generally appropriate to the audience of the narrative.
Word Choice & Sentence Fluency
• Word choices are thoughtful but not always precise or accurate.
• Sensory details are included but not described inventively.
• Sentences could use more variations in length and structure.
• Ideas are usually connected using transition words and phrases.
• The narrative is generally complete but may not move smoothly from beginning to end.
Conventions
• Some spelling errors exist, but not enough to impede understanding.
• The narrative contains some errors in usage or grammar, but not enough to impede understanding.
• The narrative contains some errors in punctuation, but not enough to impede understanding.
• The narrative contains a few errors in capitalization.
First Proof
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Third Proof
PDF Proof
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ASSESSMENTCACA
112 California Treasures Standards Road Map
UNIT TWO Autobiographical Narrative continued
2 Ideas
• The narrative demonstrates some understanding of the assignment, but it is not complete.
• The narrative seems to have a theme, but it is not always clear.
• The narrative implies a time and place, but it is not precise.
• Some examples and details are presented, but they may not support the theme.
• A few anecdotes partially reflect the significance of the experience but may not be good choices.
• The narrative demonstrates little creativity and originality.
Organization
• The introduction does not grab the reader’s attention.
• The narrative lacks one element: a beginning, middle, or end.
• The pattern of organization is only occasionally clear and effective.
• The point of view is only occasionally consistent and effective.
• Transitions are not always used.• The ending may not have a clear connection to
the narrative theme.
Voice
• The voice is not always appropriate to the events recounted.
• The voice is generally clear and consistent, but it may not be effective.
• The voice is not always appropriate to the audience and may be inappropriate.
Word Choice & Sentence Fluency
• Word choices reflect thought but are often not precise or accurate.
• Sensory details are sometimes included but not described well.
• Sentences only occasionally vary in length and structure.
• Ideas are only occasionally connected using transition words and phrases.
• Sentences and paragraphs only occasionally flow together.
• The narrative is somewhat incomplete and does not move smoothly from beginning to end.
Conventions
• Some spelling errors may impede understanding.
• Errors in usage or grammar may impede understanding at times.
• Errors in punctuation may impede understanding at times.
• Errors in capitalization may intrude on understanding.
First Proof
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Third Proof
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Assessment 113
1 Ideas
• The narrative demonstrates little understanding of the assignment.
• The narrative’s theme is not clear.• The time and place may be confusing to
the reader.• Few details are presented, which may not
support the theme.
• Few anecdotes are included and do not reflect the significance of the experience.
• The narrative demonstrates very little creativity and originality.
Organization
• There is no introduction or it is not effective.• The beginning, middle, and end are not easily
identified.• The pattern of organization is rarely clear and is
generally not effective.
• The point of view is hard to determine.• Transitions are rarely used.• The ending does not connect to the
narrative theme.
Voice
• The narrative voice is often inappropriate to the events recounted.
• The narrative voice is rarely clear, consistent, or effective.
• The voice is often inappropriate to the audience.
Word Choice & Sentence Fluency
• Word choices are generally not precise or accurate.
• Sensory details are rarely included or described.
• Sentences rarely vary in length and structure.• Ideas are rarely connected using transition
words and phrases.
• Sentences and paragraphs do not flow together effectively.
• The narrative feels incomplete and lacks internal progression.
Conventions
• Spelling errors impede understanding.• The narrative contains numerous errors in
usage or grammar.• Errors in punctuation often impede
understanding.
• The narrative contains numerous errors in capitalization.
First Proof
Second Proof
Third Proof
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ASSESSMENTCACA
114 California Treasures Standards Road Map
Writing Workshop RubricUNIT THREE Descriptive Essay
4 Ideas
• The essay demonstrates a complete understanding of the assignment.
• The essay’s dominant theme is precise and very well articulated.
• The essay makes a clear, insightful point about the subject.
• The essay shows a deep, well-considered understanding of the subject.
• The ideas presented in the essay are well thought out and elaborated.
• The development of the ideas is thorough and logical.
• Support for the ideas presented is highly specific and very detailed.
Organization
• The significance of the title is clear and very insightful.
• The essay clearly states a position about the topic.
• The focus is very precise and effective throughout the essay.
• The introduction is exceptionally effective and compelling—it grabs the reader’s attention.
• Presentation of supporting evidence is exceptionally thorough, with details that are explicit and vivid.
• The sequence of supporting evidence is highly logical and exceptionally effective.
• Transitions provide a seamless progression from point to point.
• The conclusion effectively reaffirms the focus of the essay.
Voice
• The writer’s voice is consistent and effective throughout the essay.
• The writer’s voice is perfectly attuned to the subject matter.
• The writer’s voice is perfectly attuned to the audience.
• The essay’s tone demonstrates exceptional sensitivity to the subject.
Word Choice & Sentence Fluency
• The essay displays great precision and accuracy in word choices.
• Descriptive phrasing is vivid and highly effective.
• Sentences and paragraphs flow smoothly together.
• Sentences vary in length and structure.• Ideas are clearly connected using transition
words and phrases.• The essay shows an excellent balance between
emotional reflection and reasoned observations.
Conventions
• All words are spelled correctly.• The essay contains no errors in English usage
or grammar.
• The essay contains no errors in punctuation.• The essay contains no errors in capitalization.
First Proof
Second Proof
Third Proof
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Assessment 115
3 Ideas
• The essay demonstrates a basic understanding of the assignment.
• The essay’s dominant theme is precise and generally well expressed.
• The essay makes a point about the subject.• The essay shows some understanding of
the subject.
• The ideas presented in the essay are thought out but not completely elaborated.
• The development of the ideas is not entirely complete but generally logical.
• Support for the ideas presented is general and somewhat detailed.
Organization
• The significance of the title is generally clear but not explicitly so.
• The essay implies a position about the topic.• The focus is generally precise.• The introduction is effective and attempts to
grab the reader’s attention.
• Presentation of supporting evidence is generally thorough and includes details.
• The sequence of supporting evidence is generally effective but not always logical.
• Transitions are used.• The conclusion recalls the focus of the essay.
Voice
• The writer’s voice is somewhat consistent throughout the essay.
• The writer’s voice is generally appropriate to the subject matter.
• The writer’s voice is generally appropriate for the audience.
• The essay’s tone demonstrates some sensitivity to the subject.
Word Choice & Sentence Fluency
• Word choices reflect thought but are not always precise or accurate.
• Descriptive phrasing is attempted but is not always effective.
• Sentences and paragraphs do not always flow well.
• Sentences vary somewhat in length and structure but could use more variation.
• Ideas are not always connected using transition words and phrases.
• The essay shows some balance between emotional reflection and reasoned observations.
Conventions
• Some spelling errors occur, but not enough to impede understanding.
• The essay contains some errors in usage or grammar, but not enough to impede understanding.
• The essay contains some errors in punctuation, but not enough to impede understanding.
• The essay contains a few errors in capitalization.
First Proof
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Third Proof
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ASSESSMENTCACA
116 California Treasures Standards Road Map
UNIT THREE Descriptive Essay continued
2 Ideas
• The essay demonstrates a basic but somewhat incomplete, understanding of the assignment.
• The essay’s dominant theme may not be entirely clear and needs to be more fully expressed.
• The essay makes a vague point about the subject.• The essay shows a partial understanding of
the subject.
• The ideas presented in the essay are thought out but not elaborated on.
• The development of the ideas is not entirely complete or logical.
• Support for the ideas presented is general and lacks detail.
Organization
• The significance of the title is not entirely clear.• The essay suggests a position about the topic,
but it may be vague.• The focus is not always obvious.• The introduction is not entirely clear or may not
include an attention-getter.• Presentation of supporting evidence is
generally effective but may lack details.
• The sequence of supporting evidence is not entirely thorough and not always logical.
• Transitions are inconsistently used.• The conclusion may not recall the focus of
the essay.
Voice
• The writer’s voice is not always consistent.• The writer’s voice is not always appropriate to
the subject matter.• The writer’s voice is not always appropriate for
the audience.
• The essay’s tone demonstrates only occasional sensitivity to the subject.
Word Choice & Sentence Fluency
• Word choices reflect thought but are often not precise or accurate.
• Descriptive phrasing is occasionally attempted but is not effective.
• Sentences and paragraphs may not flow well together.
• Sentences only occasionally vary in length and structure.
• Ideas are only occasionally connected using transition words and phrases.
• The essay includes both emotional reflection and observation but is overly reliant on one approach.
Conventions
• Some spelling errors may impede understanding.
• Errors in usage or grammar may impede understanding at times.
• Errors in punctuation may impede understanding at times.
• Errors in capitalization may intrude on understanding.
First Proof
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Third Proof
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Assessment 117
1 Ideas
• The essay demonstrates an incomplete understanding of the assignment.
• The essay’s dominant theme is not clear or fully expressed.
• The essay does not make a clear point about the subject.
• The essay shows little understanding of the subject.
• The ideas presented in the essay are not fully considered or elaborated on.
• The development of the ideas is incomplete and not logical.
• Support for the ideas presented is vague and lacks detail.
Organization
• The significance of the title is not clear.• The writer’s position about the topic is not
entirely clear.• The focus is sometimes lacking.• The introduction is not clear and may not
include an attention-getter.• Presentation of supporting evidence is
somewhat unclear and lacks details.
• The sequence of supporting evidence is not effective and may be illogical.
• Transitions are rarely used.• The conclusion does not recall the focus of
the essay.
Voice
• The writer’s voice is not consistent.• The writer’s voice is not appropriate to the
subject matter.• The writer’s voice is not appropriate for
the audience.
• The essay’s tone demonstrates no sensitivity to the subject.
Word Choice & Sentence Fluency
• Word choices are generally not precise or accurate.
• Descriptive phrasing is rarely used.• Sentences and paragraphs may not flow well
together.
• Sentences rarely vary in length and structure.• Ideas are rarely connected using transition words
and phrases.• The essay includes only emotional reflection or
observation, but not both.
Conventions
• Spelling errors impede understanding.• The essay contains numerous errors in usage
or grammar.• Errors in punctuation often impede
understanding.
• The essay contains numerous errors in capitalization.
First Proof
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Third Proof
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ASSESSMENTCACA
118 California Treasures Standards Road Map
Writing Workshop RubricUNIT FOUR Literary Criticism Essay
4 Ideas
• The essay demonstrates a complete understanding of the assignment.
• The essay makes an insightful point about the subject.
• The essay shows a deep understanding of theme, plot, characterization, and other elements of literary analysis.
• The essay demonstrates a very clear purpose and focus.
• The ideas presented in the essay are fully elaborated.
• The development of the ideas is thorough and perfectly logical.
• The supporting evidence provides well-chosen direct references from the literary work.
• The evidence selected and presented provides effective support for the essay’s main point.
• The essay demonstrates a great deal of originality and creativity.
Organization
• The essay takes a precise and persuasive position.
• The opening provides a clear focus for the essay.
• The focus is clear and effective throughout the essay.
• The introduction is exceptionally effective and compelling—it grabs the reader’s attention.
• Presentation of supporting evidence is exceptionally thorough, with explicit and vivid details.
• The sequence of ideas and supporting evidence is exceptionally effective.
• Transitions provide a seamless progression of ideas.
• The conclusion effectively reaffirms the focus.
Voice
• The writer’s voice is clear, consistent, and sincere throughout the essay.
• The writer’s voice is perfectly attuned to the subject matter of the essay.
• The writer’s voice is exceptionally appropriate to the intended audience of the essay.
• The essay’s tone demonstrates exceptional sensitivity to the piece of literature.
Word Choice & Sentence Fluency
• Word choice is exceptionally precise and accurate.
• Word choice is vivid and effective.• When literary terms are necessary, they are
used appropriately and effectively.
• Sentences vary in length and structure.• Ideas are clearly and smoothly connected using
transition words and phrases.• The essay shows an excellent balance between
emotional reflection and reasoned observations.
Conventions
• All words are spelled correctly.• The essay contains no errors in English usage,
grammar, or punctuation.
• The essay contains no errors in capitalization.
First Proof
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Third Proof
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Assessment 119
3 Ideas
• The essay demonstrates a basic understanding of the assignment.
• The essay makes a considered point about the subject.
• The essay shows some understanding of theme, plot, characterization, and other elements of literary analysis.
• The essay demonstrates a purpose and focus, but they are not always clear.
• The ideas presented in the essay are explained, but not in great detail.
• The development of the ideas is mostly complete and generally logical.
• The supporting evidence includes some references from the literary work.
• The evidence selected and presented provides some support for the essay’s main point.
• The essay demonstrates some originality and creativity.
Organization
• The essay takes a position on the topic, but it is not entirely precise and may not be persuasive.
• The opening generally provides a focus.• The focus is generally clear.• The introduction is effective and attempts to
catch the reader’s attention.
• Presentation of supporting evidence is generally thorough and includes details.
• The sequence of ideas and supporting evidence is generally effective but not always logical.
• Transitions are used.• The conclusion recalls the focus of the response.
Voice
• The writer’s voice is somewhat consistent throughout the essay, but sincerity is not obvious.
• The writer’s voice is generally appropriate to the subject matter of the essay.
• The writer’s voice is appropriate to the intended audience of the essay.
• The essay’s tone demonstrates sensitivity to the piece of literature.
Word Choice & Sentence Fluency
• Word choices reflect thought but are not always precise or accurate.
• Descriptive phrasing is attempted but is not always effective or relevant.
• When literary terms are necessary, they are generally used appropriately.
• Sentences vary somewhat in length and structure but could use more variation.
• Ideas are usually connected using transition words and phrases.
• The essay shows some balance between emotional reflection and reasoned observations.
Conventions
• Some spelling errors occur, but not enough to impede understanding.
• The essay contains some errors in English usage, grammar, or punctuation, but not enough to impede understanding.
• The essay contains a few errors in capitalization.
First Proof
Second Proof
Third Proof
PDF Proof
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ASSESSMENTCACA
120 California Treasures Standards Road Map
UNIT FOUR Literary Criticism Essay continued
2 Ideas
• The essay demonstrates some understanding of the assignment, but it is not complete.
• The essay suggests a point about the subject, but it is not clear.
• The essay shows an incomplete or sometimes inaccurate understanding of theme, plot, characterization, and other elements of literary analysis.
• The essay implies a purpose and focus, but it is rarely clear.
• The ideas presented in the essay are not completely explained.
• The development of the ideas is not entirely complete or logical.
• The supporting evidence includes few references from the literary work.
• The evidence may be inappropriate to the main point.
• The essay only occasionally shows originality or creativity.
Organization
• The essay seems to take a position on the topic, but it is vague.
• The opening may not provide a clear focus.• The introduction is not entirely effective or may not
include an attempt to catch the reader’s attention.• Presentation of supporting evidence is
generally thorough but may lack details.
• The sequence of ideas and evidence is not always effective or logical.
• Transitions are not always used.• The conclusion may not echo the focus of
the response.
Voice
• The writer’s voice is not always consistent, and sincerity may be lacking.
• The writer’s voice is not always appropriate to the subject matter.
• The writer’s voice is not always appropriate to the intended audience.
• The essay’s tone demonstrates only occasional sensitivity to the subject.
Word Choice & Sentence Fluency
• Word choices reflect thought but are often not precise or accurate.
• Descriptive phrasing is occasionally attempted but is not effective or is irrelevant.
• Some literary terms are used, but often not appropriately.
• Sentences only occasionally vary in length and structure.
• Ideas are only occasionally connected using transition words and phrases.
• The essay includes emotional reflection and reasoned observations but is overly reliant on one approach.
Conventions
• Some spelling errors may impede understanding.• Errors in English usage, grammar, or punctuation
may impede understanding at times.
• Errors in capitalization may intrude on understanding.
First Proof
Second Proof
Third Proof
PDF Proof
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Assessment 121
1 Ideas
• The essay demonstrates little understanding of the assignment.
• The essay’s point about the subject is unclear or may be missing.
• The essay shows little or an inaccurate understanding of theme, plot, characterization, and other elements of literary analysis.
• The essay may have a purpose and focus, but they are not clear.
• The ideas presented in the essay are not explained or may be inappropriate to the subject.
• The development of ideas is generally incomplete and illogical.
• The supporting evidence includes a few inappropriate references from the literary work.
• The evidence is mainly unrelated to the main point.
• The essay shows little originality or creativity.
Organization
• The position about the topic is not obvious.• The opening does not provide a focus.• The focus is generally unclear.• The introduction is not clear and may not
include an attention-getter.• Presentation of supporting evidence is
somewhat incomplete and lacks details.
• The sequence of ideas and evidence is not effective and may be illogical.
• Transitions are rarely used.• The conclusion does not echo the focus of
the response.
Voice
• The writer’s voice is generally inconsistent and often insincere.
• The writer’s voice is often inappropriate to the subject matter.
• The writer’s voice is sometimes inappropriate to the intended audience of the essay.
• The essay’s tone demonstrates little sensitivity to the subject.
Word Choice & Sentence Fluency
• Word choices are generally not precise or accurate.
• Descriptive phrasing is rarely used.• Literary terms are not used appropriately.
• Sentences rarely vary in length and structure.• Ideas are rarely connected using transition words
and phrases.• The essay includes only emotional reflection or
observation, but not both.
Conventions
• Spelling errors impede understanding.• Numerous errors in English usage, grammar, or
punctuation often impede understanding.
• The essay contains numerous errors in capitalization.
First Proof
Second Proof
Third Proof
PDF Proof
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ASSESSMENTCACA
122 California Treasures Standards Road Map
Writing Workshop RubricUNIT F IVE Research Report
4 Ideas
• The report demonstrates a complete understanding of the assignment.
• The report addresses an interesting topic.• The report provides an insightful point about
the topic.• The report shows a deep understanding of the
complexity and nuances of the topic.• The report demonstrates a very clear purpose
and focus.
• Supporting evidence is sensible and insightful.• The development of ideas is thorough and
perfectly logical.• The report demonstrates a great deal of
originality and creativity.• The report completely avoids plagiarism through
the effective use of quotations and paraphrasing.
Organization
• The introduction effectively focuses on the topic.
• The report includes a precise, direct thesis statement that conveys the writer’s attitude about the topic.
• The opening provides a clear focus for the report.
• The focus is effectively maintained throughout the report.
• The body is presented in a completely logical order.
• The supporting factual information is exceptionally explicit and thorough.
• Transitions are seamless.• The conclusion effectively reviews the most
important points presented in the report.
Voice
• The writer’s voice is clear, consistent, and sincere throughout the report.
• The writer’s voice is perfectly attuned to the subject matter of the report.
• The writer’s voice is exceptionally appropriate for the intended audience of the report.
• The report’s tone demonstrates exceptional understanding of the research topic.
Word Choice & Sentence Fluency
• Word choice is exceptionally precise and accurate.
• Word choice is relevant and effective.• When literary terms are necessary, they are
used appropriately and effectively.
• Sentences vary in length and structure.• Ideas are clearly and smoothly connected using
transition words and phrases.
Conventions
• All words are spelled correctly.• The report contains no errors in English usage
or grammar.
• The report contains no errors in punctuation.• The report contains no errors in capitalization.
First Proof
Second Proof
Third Proof
PDF Proof
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Assessment 123
3 Ideas
• The report demonstrates a basic understanding of the assignment.
• The report addresses a somewhat intriguing topic.
• The report makes a considered point about the topic.
• The report shows an understanding of the complexity of the topic but is not nuanced.
• The report includes a purpose and focus, but they are not always clear.
• The supporting evidence is generally sensible but not always insightful.
• The development of ideas is mostly complete and logical.
• The report shows some originality and creativity.• The report uses quotations and paraphrasing,
but the difference between quoted material and the writer’s own content is not always clear.
Organization
• The introduction mentions the topic, but it is not entirely clear.
• The report includes a thesis statement that generally conveys the writer’s attitude about the topic.
• The focus is generally clear.
• The order is generally logical but sometimes confusing.
• Factual information is generally clear and includes some details.
• Transitions are used.• The conclusion recalls some important points.
Voice
• The writer’s voice is somewhat consistent throughout the report, but sincerity is not obvious.
• The writer’s voice is generally attuned to the subject matter of the report.
• The writer’s voice is generally appropriate for the intended audience of the report.
• The report’s tone demonstrates some understanding of the research topic.
Word Choice & Sentence Fluency
• Word choices reflect thought but are not always precise or accurate.
• Descriptive phrasing is attempted but is not always effective or relevant.
• When literary terms are necessary, they are generally used appropriately.
• Sentences vary somewhat in length and structure but could use more variation.
• Ideas are usually connected using transition words and phrases, but not always.
Conventions
• Some spelling errors occur, but not enough to impede understanding.
• The report contains some errors in English usage or grammar, but not enough to impede understanding.
• The report contains some errors in punctuation, but not enough to impede understanding.
• The report contains a few errors in capitalization.
First Proof
Second Proof
Third Proof
PDF Proof
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ASSESSMENTCACA
124 California Treasures Standards Road Map
UNIT F IVE Research Report continued
2 Ideas
• The report demonstrates an incomplete understanding of the assignment.
• The report addresses a somewhat humdrum topic.
• The report suggests a point about the topic, but it is not clear.
• The report shows an incomplete or sometimes inaccurate understanding of the complexity of the topic.
• The report suggests a purpose and focus, but they are rarely clear.
• The supporting evidence is not always sensible or insightful.
• The development of the ideas is not entirely complete or logical.
• The report only occasionally shows originality and creativity.
• The distinction between quoted or paraphrased material and the writer’s own content is unclear.
Organization
• The introduction focuses on the topic but it is not entirely clear.
• The report includes a thesis statement but it does not convey the writer’s attitude about the topic.
• The focus is not always clear.
• The order is often illogical or confusing.• The factual information is generally clear but
lacks details.• Transitions are not always used.• The conclusion notes only a few of the report’s
main points.
Voice
• The writer’s voice is not always consistent, and sincerity may be lacking.
• The writer’s voice is not always appropriate for the subject matter.
• The writer’s voice is not always appropriate for the intended audience of the report.
• The report’s tone demonstrates an incomplete understanding of the research topic.
Word Choice & Sentence Fluency
• Word choices reflect thought but are often not precise or accurate.
• Descriptive phrasing is occasionally attempted but is not effective or is irrelevant.
• When literary terms are necessary, they are often used inappropriately.
• Sentences only occasionally vary in length and structure.
• Ideas are only occasionally connected using transition words and phrases.
Conventions
• Some spelling errors may impede understanding.
• Errors in English usage or grammar may impede understanding at times.
• Errors in punctuation may impede understanding at times.
• Errors in capitalization may intrude on understanding.
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Assessment 125
1 Ideas
• The report demonstrates little understanding of the assignment.
• The report’s topic is not compelling.• The report’s point about the topic is not clear.• The report shows little understanding of the
topic.• The report’s purpose and focus are not clear.
• The supporting evidence is often irrelevant.• The development of the ideas is generally
incomplete or illogical.• The report shows little originality and creativity.• The distinction between quoted or paraphrased
material and the writer’s own content is not clear and gives the impression of plagiarism.
Organization
• The introduction does not provide a focus.• The report does not include an easily
identifiable thesis statement.• The focus is generally unclear.• The report is presented in a confusing order.
• The factual information is unclear and lacks details.
• Transitions are rarely used.• The conclusion does not review the report’s
main points.
Voice
• The writer’s voice is generally inconsistent and often insincere.
• The writer’s voice is rarely appropriate to the subject.
• The writer’s voice is sometimes inappropriate for the intended audience of the report.
• The report’s tone demonstrates very little understanding of the research topic.
Word Choice & Sentence Fluency
• Word choices are generally not precise or accurate.
• Descriptive phrasing is rarely used.• Literary terms are used inappropriately.
• Sentences rarely vary in length and structure.• Ideas are rarely connected using transition words
and phrases.
Conventions
• Spelling errors impede understanding.• The report contains numerous errors in English
usage or grammar.• Errors in punctuation often impede
understanding.
• The report contains numerous errors in capitalization.
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ASSESSMENTCACA
126 California Treasures Standards Road Map
Writing Workshop RubricUNIT SIX Persuasion: Editorial
4 Ideas
• The editorial demonstrates a complete understanding of the assignment.
• The title accurately reflects the argument.• The topic of the editorial is timely.• The topic is clearly stated.• The editorial makes a clear and convincing
point about the topic.• Well-chosen details support the editorial
argument.
• The evidence supporting the main point is concise and relevant.
• The editorial thoroughly refutes opposing viewpoints.
• Multiple appeals are blended throughout the editorial.
• The editorial has a dynamic ending.
Organization
• The editorial’s main point is clearly and forcefully stated in the lead paragraph.
• The focus is clear and effective throughout the editorial.
• The internal order of ideas is easy to follow.• The supporting evidence presented is
exceptionally fair and accurate.
• The sequence of the supporting evidence is exceptionally logical and compelling.
• Possible counterarguments are refuted in a highly logical sequence.
• Transitions are seamless.• The closing effectively reaffirms the main point
of the editorial.
Voice
• The editorial is interesting and presents a compelling issue.
• The writer’s voice is clear, consistent, and persuasive throughout the editorial.
• Arguments and writing have a strong, clear identity.
• The editorial voice is exceptionally appropriate to the subject matter and the intended audience.
• Emotional appeals are blended with reasoned arguments.
Word Choice & Sentence Fluency
• Lively verbs are used to strongly support the editorial argument.
• Precise word choices are vivid and effective.• Emotional appeals are blended skillfully into
the editorial.
• Sentences vary in length and structure.• Sentences and paragraphs flow very smoothly
together.• Related ideas and arguments are balanced and
unified through parallelism.
Conventions
• All words are spelled correctly.• The paper contains no errors in English usage,
grammar, or punctuation.
• The paper contains no errors in capitalization.
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Assessment 127
3 Ideas
• The editorial demonstrates a basic understanding of the assignment.
• The title does not entirely reflect the argument.• The topic of the editorial may be dated.• The topic may not be entirely clear.• The editorial makes a point about the topic, but
it is not explicit.
• Some details support the editorial argument.• Some supporting evidence is presented but may
not always be relevant.• The editorial somewhat refutes opposing
viewpoints.• Multiple appeals are presented but not in a
compelling way.• The editorial ends with a clincher.
Organization
• The editorial’s main point is stated in the lead paragraphs.
• The focus is generally clear.• Internal order of ideas is mostly easy to follow.• The supporting evidence presented is fair but
may not be entirely accurate.
• The sequence of the supporting evidence makes sense but may not be compelling.
• Possible counterarguments are refuted but not in an orderly manner.
• Transitions are used.• The closing restates the main point of the
editorial.
Voice
• The editorial is acceptable but may not present a compelling issue.
• The writer’s voice is consistent but may not be persuasive throughout the editorial.
• Arguments and writing may not have a clear identity.
• The editorial voice is usually appropriate to the subject matter and the intended audience.
• Emotional appeals are used but may not be blended with reasoned arguments.
Word Choice & Sentence Fluency
• Lively verbs are used but may not support the persuasive argument.
• Word choices are not always vivid but may still be effective.
• Emotional appeals are used in the editorial, but not always effectively.
• Sentences vary a little in length and structure.• Most sentences and paragraphs flow together.• Related ideas and arguments are usually
connected.
Conventions
• Some spelling errors occur, but not enough to impede understanding.
• Errors in English usage, grammar, or punctuation may impede understanding at times.
• Errors in capitalization may intrude on understanding.
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ASSESSMENTCACA
128 California Treasures Standards Road Map
UNIT SIX Persuasion: Editorial continued
2 Ideas
• The editorial demonstrates some understanding of the assignment, but it is not complete.
• The title is only loosely connected to the argument.
• The topic of the editorial is out of date or of marginal interest.
• The topic is somewhat unclear.
• The editorial’s point about the topic is somewhat vague.
• Few details support the editorial argument.• Little supporting evidence is presented.• One or two appeals are presented without
compelling arguments.• The editorial has a vague ending.
Organization
• The editorial’s main point is stated, but not in the lead paragraph.
• The focus is somewhat unclear.• Internal order of ideas is not always easy
to follow.• The supporting evidence presented may not be
fair or entirely accurate.
• The sequence of the supporting evidence may make no sense and lack interest.
• Not all counterarguments are refuted.• Transitions are not always used.• The closing makes a point, but does not reflect
the main point of the editorial.
Voice
• The editorial is less than satisfactory but may present a compelling issue.
• The writer’s voice is not consistent and may not be persuasive.
• Arguments and writing do not have a clear identity.
• The editorial voice is often inappropriate to the subject matter and the intended audience.
• Emotional appeals are used but no reasoned arguments are presented.
Word Choice & Sentence Fluency
• Lively verbs are rarely used and may not support the persuasive argument.
• Word choices are rarely vivid or are not effective.
• Emotional appeals are only occasionally used in the editorial.
• Sentences rarely vary in length and structure.• Sentences and paragraphs only occasionally flow
together.• Related ideas and arguments are usually
connected, but not always.
Conventions
• Some spelling errors may impede understanding.
• Errors in English usage, grammar, or punctuation may impede understanding at times.
• Errors in capitalization may intrude on understanding.
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Assessment 129
1 Ideas
• The editorial demonstrates little or an inaccurate understanding of the assignment.
• The title is not connected to the argument.• The topic of the editorial is dated and of
little interest.• The editorial’s point about the topic is unclear.
• No relevant details support the editorial argument.
• No relevant supporting evidence is presented.• Appeals are vague and not compelling.• The editorial lacks an effective ending.
Organization
• The editorial’s main point is not clearly stated.• The focus is unclear.• Internal order of ideas seems random.• The supporting evidence presented is not fair
or is inaccurate.• The sequence of the supporting evidence
makes no sense and lacks interest.
• Few or no possible counterarguments are refuted.
• Transitions are rarely used.• The closing does not make a point.
Voice
• The editorial is less than satisfactory and does not present a compelling issue.
• The writer’s voice is not consistent or persuasive.
• Arguments and writing do not have a discernible identity.
• The editorial voice is rarely appropriate to the subject matter or the intended audience.
• Emotional appeals are not used, and no reasoned arguments are presented.
Word Choice & Sentence Fluency
• Lively verbs are not used.• Word choices are not vivid or effective. • Emotional appeals are lacking or only one is
used in the editorial.
• Sentences do not vary in length and structure.• Sentences and paragraphs do not flow together.• Related ideas and arguments are rarely
connected.
Conventions
• Spelling errors impede understanding.• Numerous errors in English usage, grammar,
and punctuation often impede understanding.
• The paper contains numerous errors in capitalization.
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Alignment to the Standards 131
Alignment to the StandardsGlencoe Literature: California Treasures is a standards-based program. This section provides information about the skills and standards taught across the high school program. This section also offers tools to help you communicate with the home and monitor each student’s progress in mastering the standards. It is divided into five parts:
• • Skills Scope and Sequence
• • Selections and Corresponding Standards
• • Standards and Corresponding Selections
• • Connecting School and Home
• • California English-Language Arts Content Standards Progress Report
ALIGNMENT TO THE STANDARDS
CACA
138 California Treasures Standards Road Map
Genre Focus: Short Story
pp. 2–6
R3.6
Literary Focus: Plot and Setting
pp. 8–9
R3.6, W2.1
The Lady, or the Tiger?
by Frank R. Stockton
pp. 10–19
R3.3
The Most Dangerous Game
by Richard Connell
pp. 20–42
R1.1, R3.3, R3.6, R3.7, W1.1, W1.9,
W2.3.b, W2.3.c
The Leap by Louise Erdrich
pp. 43–53
R1.1, R3.6, LS1.3, LS1.8, LS1.9, LS2.3
Vocabulary Workshop: Academic Vocabulary
pp. 54–55
R1.1
The Cask of Amontillado
by Edgar Allan Poe
pp. 56–67
R2.3, R3.11, W2.3.a–f, LC1.1, LS1.1
Vocabulary Workshop: Homonyms and Homophones
p. 68
R1.2
Blues Ain’t No Mockin Bird
by Toni Cade Bambara
pp. 69–78
R3.11, W1.1, W1.2, W2.1.c, W2.1.e, W2.2.c
The Interlopers
by Sakipp. 79–89
R3.6, R3.8, R3.11, W2.3a, W2.3.c, W2.3.d, LS1.1
TIME: Shattered
by Christopher Batin
pp. 90–94
R2.5
Literary Focus: Character and Theme
pp. 96–97
R3.3, R3.4
Selections and Corresponding Standards
This chart identifies the Grade 9 California English-Language Arts Content
Standards that are taught or reviewed in each lesson in the Glencoe Literature:
Standards and Corresponding SelectionsThis chart lists the Grade 9 California English-Language Arts Content Standards and shows which lessons in the Glencoe Literature: California Treasures—Course 4 Student Edition teach or review each standard.
Reading
1.0 Word Analysis, Fluency, and Systematic Vocabulary DevelopmentStudents apply their knowledge of word origins to determine the meaning of new words encountered in reading materials and use those words accurately.
Standards Glencoe Literature: California Treasures Selections and WorkshopsVocabulary and Concept Development1.1 Identify and use the literal and figurative meanings of words and understand word derivations.
The Most Dangerous Game, pp. 20–42The Leap, pp. 43–53Vocabulary Workshop: Academic Vocabulary, pp. 54–55Rules of the Game, pp. 98–111Vocabulary Workshop: Dictionary Use, p. 125Sweet Potato Pie, pp. 141–153The Scarlet Ibis, pp. 155–170
Vocabulary Workshop: Multiple-Meaning Words, p. 171The Necklace, pp. 196–207The Son from America, pp. 229–239A Brother’s Crime, pp. 282–291from Into Thin Air, pp. 355–368Vocabulary Workshop: Jargon, p. 374A New Generation of Americans, pp. 378–385That One Man’s Profit Is Another’s Loss, pp. 386–389I Wandered Lonely as a Cloud, pp. 450–454A Noiseless Patient Spider, pp. 465–469Sympathy, pp. 531–535
The Tragedy of Romeo and Juliet, Act 5, pp. 724–743from the Odyssey, Part 1, pp. 834–856The Golden Kite, the Silver Wind, pp. 1034–10411.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.
Vocabulary Workshop: Homonyms and Homophones, p. 68I Was a Skinny Tomboy Kid, pp. 510–514Defining the Grateful Gesture, pp. 526–530Vocabulary Workshop: Denotation and Connotation, p. 788from the Odyssey, Part 1, pp. 834–856Vocabulary Workshop: Loaded Words, p. 1042The Red-Headed League, pp. 1043–1067The Stolen Cigar Case, pp. 1071–10811.3 Identify Greek, Roman, and Norse mythology and use the knowledge to understand the origin and meaning of new words (e.g., the word narcissistic drawn from the myth of Narcissus and Echo).
from the Odyssey, Part 1, pp. 834–856Vocabulary Workshop: Word Origins: Words form Norse Mythology, p. 953
Structural Features of Informational Materials 2.1 Analyze the structure and format of functional workplace documents, including the graphics and headers, and explain how authors use the features to achieve their purposes.
Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide, pp. 1104–1110
Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–11272.2 Prepare a bibliography of reference materials for a report using a variety of consumer, workplace, and public documents.
Sweet Potato Pie, pp. 141–153Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122
Comprehension and Analysis of Grade-Level-Appropriate Text 2.3 Generate relevant questions about readings on issues that can be researched. The Cask of Amontillado, pp. 56–67Rules of the Game, pp. 98–111Sweet Potato Pie, pp. 141–153A Brother’s Crime, pp. 282–291from Into Thin Air, pp. 355–368Escape from Afghanistan, pp. 307–317Haiku, pp. 496–501
The Sentinel, pp. 994–1007Writing Workshop: Research Report, pp. 962–9712.4 Synthesize the content from several sources or works by a single author dealing with a single issue; paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.
Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140from Into Thin Air, pp. 355–368Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment / Other Revenue Sources Should Be Pursued, pp. 398–411Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument, pp. 475–485
Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The Penelopiad, pp. 900–906
Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide, pp. 1104–1110
2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.
TIME: Shattered, pp. 90–94The Gift of the Magi, pp. 114–124Of Dry Goods and Black Bow Ties, pp. 268–275Only Daughter, pp. 276–281A Brother’s Crime, pp. 282–291from The Murder of Abraham Lincoln, pp. 292–269Literary Focus: Form and Structure, pp. 448–449from Black Boy, pp. 297-305
Reading (continued)
2.0 Reading Comprehension (Focus on Informational Materials)Students read and understand grade-level-appropriate material. They analyze the organizational patterns, arguments, and positions advanced. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students. In addition, by grade twelve, students read two million words annually on their own, including a wide variety of classic and contemporary literature, magazines, newspapers, and online information. In grades nine and ten, students make substantial progress toward this goal.
Standards Glencoe Literature: California Treasures Selections and Workshops
Skills Scope and SequenceThis chart provides an overview of the skills taught in the Glencoe
Literature: California Treasures high school program. For a detailed scope and sequence of skills, see the chart at the beginning of each unit in the Teacher Edition. Refer also to the Index of Skills in the Reference section in the back of each book for a comprehensive listing of all skills and concepts taught at that level.
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Grade 09-10
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A M E R I CA N A M E R I CA N L I T E R AT U R EL I T E R AT U R E
C O U R S E 5C O U R S E 5C O U R S E 4 B R I T I S H B R I T I S H L I T E R AT U R EL I T E R AT U R E
Selections and Corresponding StandardsThis chart identifies the Grade 9 California English-Language Arts Content Standards that are taught or reviewed in each lesson in the Glencoe Literature: California Treasures—Course 4 Student Edition.
Unit 1: The Short Story
Glencoe Literature: California TreasuresSelections and Workshops StandardsCACACACA
Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment by John L. Harrington Other Revenue Sources Should Be Pursued by William M. Strauspp. 398–411
TIME: A Long-Overdue Encoreby Barry Hillenbrandpp. 744–747
R3.6
Grammar Workshop: Verb Tensep. 748
LC1.2, LC1.3
Comparing Literature: The Tragedy of Romeo and Juliet by William ShakespeareThe Taxi by Amy Lowell Counting the Beats by Robert Graves The Princess and All the Kingdom by Pär Lagerkvistpp. 749–754
R3.2, R3.5, W2.2.a, b
Literary Focus: Comedy and Modern Dramapp. 756–757
R3.1, R3.8
The Bearby Anton Chekhovpp. 758–772
R3.1, R3.4, W1.1, W1.2
The Hitchhikerby Lucille Fletcherpp. 773–787
R3.11
Glencoe Literature: California Treasures Selections and Workshops StandardsCACACACA
Comparing Literature: from the Odyssey by Homer An Ancient Gesture by Edna St. Vincent Millay Ithaca by C.P. Cavafy Waiting, from The Penelopiad by Margaret Atwoodpp. 900–906
R3.2, R3.5, R3.7
TIME: Leaving It All Behindby Susan Jakespp. 907–911
R2.5
Over Hill and Under Hill, from The Hobbitby J. R. R. Tolkienpp. 912–925
R3.3, R3.7, R3.9, W2.2.a–c
Visual Perspective: from The HobbitAdapted by Charles Dixon, Illustrated by David Wenzelpp. 926–930
Standards and Corresponding SelectionsThis chart lists the Grade 9 California English-Language Arts Content Standards and shows which lessons in the Glencoe Literature: California
Treasures—Course 4 Student Edition teach or review each standard.
Reading
1.0 Word Analysis, Fluency, and Systematic Vocabulary DevelopmentStudents apply their knowledge of word origins to determine the meaning of new words encountered in reading materials and use those words accurately.
Standards Glencoe Literature: California Treasures Selections and Workshops
Vocabulary and Concept Development
1.1 Identify and use the literal and figurative meanings of words and understand word derivations.
The Most Dangerous Game, p. 41Vocabulary Workshop: Academic Vocabulary, pp. 54–55Vocabulary Workshop: Homonyms and Homophones, p. 68Rules of the Game, p. 111Vocabulary Workshop: Dictionary Use, p. 125Sweet Potato Pie, p. 153The Scarlet Ibis, p. 169Vocabulary Workshop: Multiple-Meaning Words, p. 171The Son from America, p. 239A Brother’s Crime, p. 290Vocabulary Workshop: Jargon, p. 374A New Generation of Americans, p. 384I Wandered Lonely as a Cloud, p. 454The Tragedy of Romeo and Juliet, Act 5, p. 742from the Odyssey, Part 4, p. 897
1.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.
Vocabulary Workshop: Thesaurus Use, p. 502Defining the Grateful Gesture, p. 530Vocabulary Workshop: Denotation and Connotation, p. 788Vocabulary Workshop: Loaded Words, p. 1042The Stolen Cigar Case, p. 1081
1.3 Identify Greek, Roman, and Norse mythology and use the knowledge to understand the origin and meaning of new words (e.g., the word narcissistic drawn from the myth of Narcissus and Echo).
Vocabulary Workshop: Word Origins from Greek and Roman Mythology, p. 899Vocabulary Workshop: Word Origins: Words form Norse Mythology, p. 953
2.1 Analyze the structure and format of functional workplace documents, including the graphics and headers, and explain how authors use the features to achieve their purposes.
Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide,
pp. 1104–1110Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127
2.2 Prepare a bibliography of reference materials for a report using a variety of consumer, workplace, and public documents.
Sweet Potato Pie, p. 153from Into Thin Air, p. 368Writing Workshop: Research Paper, pp. 962–971Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122
Comprehension and Analysis of Grade-Level-Appropriate Text
2.3 Generate relevant questions about readings on issues that can be researched.
The Cask of Amontillado, p. 67Rules of the Game, p. 111A Brother’s Crime, p. 291Escape from Afghanistan, p. 317from Into Thin Air, p. 368Haiku, p. 501Writing Workshop: Research Report, pp. 962–971The Sentinel, p. 1007
2.4 Synthesize the content from several sources or works by a single author dealing with a single issue; paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.
Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /
Other Revenue Sources Should Be Pursued, pp. 398–411Writing Workshop: Research Paper, pp. 962–971
2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.
TIME: Shattered, pp. 90–94Of Dry Goods and Black Bow Ties, pp. 268–275Only Daughter, pp. 276–281A Brother’s Crime, p. 291from The Murder of Abraham Lincoln, pp. 292–269from Black Boy, pp. 297-305
Reading (continued)
2.0 Reading Comprehension (Focus on Informational Materials)Students read and understand grade-level-appropriate material. They analyze the organizational patterns, arguments, and positions advanced. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students. In addition, by grade twelve, students read two million words annually on their own, including a wide variety of classic and contemporary literature, magazines, newspapers, and online information. In grades nine and ten, students make substantial progress toward this goal.
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
from All God’s Children Need Traveling Shoes, pp. 328–339Walking, pp. 340–346TIME: Adventure to Antarctica, pp. 369–373Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return On Investment /
Other Revenue Sources Should Be Pursued, pp. 398–411TIME: The Island Within, pp. 470–474from Bone: Out from Boneville, pp. 587–589TIME: Leaving It All Behind, pp. 907–911TIME: Lost Apes of the Congo, pp. 1068–1070Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide,
pp. 1104–1110Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117
2.6 Demonstrate use of sophisticated learning tools by following technical directions (e.g., those found with graphic calculators and specialized software programs and in access guides to World Wide Web sites on the Internet).
Escape from Afghanistan, p. 317Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide,
pp. 1104–1110
Expository Critique
2.7 Critique the logic of functional documents by examining the sequence of information and procedures in anticipation of possible reader misunderstandings.
Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement, Installation Guide,
pp. 1104–1110Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127
2.8 Evaluate the credibility of an author’s argument or defense of a claim by critiquing the relationship between generalizations and evidence, the comprehensiveness of evidence, and the way in which the author’s intent affects the structure and tone of the text (e.g., in professional journals, editorials, political speeches, primary source material).
The Drums of Washington, pp. 220–224 Literary Focus: Persuasive Essay and Speech, pp. 376–377A New Generation of Americans, pp. 378–385That One Man’s Profit Is Another’s Loss, pp. 386–389Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /
Other Revenue Sources Should Be Pursued, pp. 398–411Put Down the Backpack, pp. 412–4212001: A Space Odyssey, pp. 1008–1010TIME: Lost Apes of the Congo, pp. 1068–1070Focus on Functional Documents: Why Read Functional Documents?, pp. 1102–1103
Reading (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
3.1 Articulate the relationship between the expressed purposes and the characteristics of different forms of dramatic literature (e.g., comedy, tragedy, drama, dramatic monologue).
Literary Focus: Tragedy, pp. 620–621Literary History: Shakespearean Drama, pp. 622–623The Tragedy of Romeo and Juliet, Act 5, pp. 724–743Literary Focus: Comedy and Modern Drama, pp. 756–747The Bear, pp. 758–772The Leader, pp. 789–799
3.2 Compare and contrast the presentation of a similar theme or topic across genres to explain how the selection of genre shapes the theme or topic.
Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument,
pp. 475–485Comparing Literature: The Taxi / Counting the Beats / The Princess and All the Kingdom,
pp. 749–754Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The
Penelopiad, pp. 900–906from The Hobbit, pp. 926–930Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033
Narrative Analysis of Grade-Level-Appropriate Text
3.3 Analyze interactions between main and subordinate characters in a literary text (e.g., internal and external conflicts, motivations, relationships, influences) and explain the way those interactions affect the plot.
The Lady, or the Tiger?, pp. 10–19The Most Dangerous Game, pp. 20–42Literary Focus: Character and Theme, pp. 96–97Rules of the Game, pp. 98–111Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140The Necklace, pp. 196–207from the Odyssey, Part 2, pp. 857–870Over Hill and Under Hill, from The Hobbit, pp. 912–925The Sentinel, pp. 994–1007Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033
3.4 Determine characters’ traits by what the characters say about themselves in narration, dialogue, dramatic monologue, and soliloquy.
Literary Focus: Character and Theme, pp. 96–97Rules of the Game, pp. 98–111The Gift of the Magi, pp. 114–124Sweet Potato Pie, pp. 141–153The Scarlet Ibis, pp. 155–170The Bass, the River, and Shelia Mant, pp. 172–182American History, pp. 208–219The Tragedy of Romeo and Juliet, Act 2, pp. 655–678The Bear, pp. 758–772 from the Odyssey, Part 3, pp. 871–884Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033The Red-Headed League, pp. 1043–1067
Reading (continued)
3.0 Literary Response and Analysis Students read and respond to historically or culturally significant works of literature that reflect and enhance their studies of history and social science. They conduct in-depth analyses of recurrent patterns and themes. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students.
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
3.5 Compare works that express a universal theme and provide evidence to support the ideas expressed in each work.
Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, pp. 126–140Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument,
pp. 475–485Comparing Literature: The Taxi / Counting the Beats / The Princess and All the Kingdom,
pp. 749–754Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The
Penelopiad, pp. 900–906Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033
3.6 Analyze and trace an author’s development of time and sequence, including the use of complex literary devices (e.g., foreshadowing, flashbacks).
Genre Focus: Short Story, pp. 2–6Literary Focus: Plot and Setting, pp. 8–9The Most Dangerous Game, pp. 20–42The Leap, pp. 43–53The Bass, the River, and Shelia Mant, pp. 172–182from Into Thin Air, pp. 355–368TIME: A Long Overdue Encore, pp. 744–747from the Odyssey, Part 2, pp. 857–870from the Odyssey, Part 4, pp. 885–897Perseus, pp. 934–944The Sentinel, pp. 994–1007The Red-Headed League, pp. 1043–1067
3.7 Recognize and understand the significance of various literary devices, including figurative language, imagery, allegory, and symbolism, and explain their appeal.
The Most Dangerous Game, pp. 20–42The Scarlet Ibis, pp. 155–170The Necklace, pp. 196–207Daylight Saving, pp. 390–397Genre Focus: Poetry, pp. 442–446A Noiseless Patient Spider, pp. 465–469Comparing Literature: An Indian Summer Day on the Prairie / On Summer / Monument,
pp. 475–485The Peace of Wild Things, pp. 491–494Haiku, pp. 496–501Literary Focus: The Language of Poetry, pp. 504–505How Things Work, pp. 506–509Choices, pp. 515–518“Hope” is the thing with feathers — / I’m Nobody! Who are you?, pp. 519–525Defining the Grateful Gesture, pp. 526–530Sympathy, pp. 531–535Remember, pp. 536–539The Road Not Taken, pp. 540–545Time, pp. 546–549Literary Focus: Sound Devices, pp. 562–563Grape Sherbet, pp. 564–568“Good Night, Willie Lee, I’ll See You in the Morning,” pp. 569–572Where Are Those Songs?, pp. 573–579My Mother Combs My Hair, pp. 580–586Lineage, pp. 590–593The Tragedy of Romeo and Juliet, Act 2, pp. 655–678The Tragedy of Romeo and Juliet, Act 4, pp. 707–723 Genre Focus: Epic and Myth, pp. 824–828Literary Focus: Hero, pp. 830–831from the Odyssey, Part 1, pp. 834–856Comparing Literature: from the Odyssey / Ithaca / An Ancient Gesture / Waiting, from The
Penelopiad, pp. 900–906Over Hill and Under Hill, from The Hobbit, pp. 912–925
Reading (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
Literary Focus: Archetypes, pp. 932–933Perseus, pp. 934–944The Fenris Wolf, pp. 946–952Coyote and Crow, pp. 954–957Sweet Betsy from Pike, pp. 958–961Genre Focus: Genre Fiction, pp. 986–990Literary Focus: Description and Style, pp. 992–993The Sentinel, pp. 994–1007He—y, Come on Ou—t!, pp. 1012–1019The Golden Kite, the Silver Wind, pp. 1034–1041The Red-Headed League, pp. 1043–1067
3.8 Interpret and evaluate the impact of ambiguities, subtleties, contradictions, ironies, and incongruities in a text.
The Interlopers, pp. 79–89Sweet Potato Pie, pp. 141–153The Secret Life of Walter Mitty, pp. 186–194Time, pp. 546–549The Secret, pp. 556–560The Tragedy of Romeo and Juliet, Act 4, pp. 707–723Literary Focus: Comedy and Modern Drama, pp. 756–757How I Came to the Theater, pp. 800–803
3.9 Explain how voice, persona, and the choice of a narrator affect characterization and the tone, plot, and credibility of a text.
Literary Focus: Narrator and Voice, pp. 184–185The Secret Life of Walter Mitty, pp. 186–194The Necklace, pp. 196–207American History, pp. 208–219Mrs. James, pp. 225–228The Son from America, pp. 229–239A Brother’s Crime, pp. 282–291Over Hill and Under Hill, from The Hobbit, pp. 912–925
3.10 Identify and describe the function of dialogue, scene designs, soliloquies, asides, and character foils in dramatic literature.
The Tragedy of Romeo and Juliet, Act 1, pp. 624–654The Tragedy of Romeo and Juliet, Act 3, pp. 679–706The Leader, pp. 789–799
Literary Criticism
3.11 Evaluate the aesthetic qualities of style, including the impact of diction and figurative language on tone, mood, and theme, using the terminology of literary criticism. (Aesthetic approach)
The Cask of Amontillado, pp. 56–67Blues Ain’t No Mockin Bird, pp. 69–78Sweet Potato Pie, pp. 141–153The Secret Life of Walter Mitty, pp. 186–194Mrs. James, pp. 225–228 The Son from America, pp. 229–239Literary Focus: Autobiography and Biography, pp. 266–267 Sayonara, pp. 348–354I Wandered Lonely as a Cloud, pp. 450–454who are you, little i / l(a, pp. 455–460A Red, Red Rose, pp. 461–464A Noiseless Patient Spider, pp. 465–469The Black Snake, pp. 486–490Haiku, pp. 496–501I Was a Skinny Tomboy Kid, pp. 510–514The Road Not Taken, pp. 540–545Theme for English B, pp. 550–555Grape Sherbet, pp. 564–568My Mother Combs My Hair, pp. 580–586The Tragedy of Romeo and Juliet, Act 2, pp. 655–678The Tragedy of Romeo and Juliet, Act 5, pp. 724–743
Reading (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
from the Odyssey, Part 1, pp. 834–856The Golden Kite, the Silver Wind, pp. 1034–1041The Stolen Cigar Case, pp. 1071–1081
3.12 Analyze the way in which a work of literature is related to the themes and issues of its historical period. (Historical approach)
Escape from Afghanistan, pp. 307–317from All God’s Children Need Traveling Shoes, pp. 328–339A New Generation of Americans, pp. 378–385Haiku, pp. 496–501Literary History: Shakespearean Drama, pp. 622–623The Tragedy of Romeo and Juliet, Act 5, pp. 724–743Literary History: Homer and the Epic, pp. 832–833from the Odyssey, Part 4, pp. 885–898
Reading (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
Writing
1.0 Writing Strategies Students write coherent and focused essays that convey a well-defined perspective and tightly reasoned argument. The writing demonstrates students’ awareness of the audience and purpose. Students progress through the stages of the writing process as needed.
Standards Glencoe Literature: California Treasures Selections and Workshops
Organization and Focus
1.1 Establish a controlling impression or coherent thesis that conveys a clear and distinctive perspective on the subject and maintain a consistent tone and focus throughout the piece of writing.
Blues Ain’t No Mockin Bird, p. 78The Interlopers, p. 89The Son from America, p. 239Writing Workshop: Response to Literature, pp. 240–247Walking, p. 346Sayonara, p. 354Daylight Saving, p. 397Put Down the Backpack, p. 421Writing Workshop: Autobiographical Narrative, pp. 422–429I Wandered Lonely as a Cloud, p. 454A Noiseless Patient Spider, p. 469Haiku, p. 501Sympathy, p. 535Theme for English B, p. 555Grape Sherbet, p. 568Writing Workshop: Descriptive Essay, pp. 594–601The Bear, p. 772Writing Workshop: Literary Criticism Essay, pp. 804–811Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007The Golden Kite, the Silver Wind, p. 1041The Red-Headed League, p. 1067Writing Workshop: Persuasion: Editorial, pp. 1082–1089
1.2 Use precise language, action verbs, sensory details, appropriate modifiers, and the active rather than the passive voice.
Blues Ain’t No Mockin Bird, p. 78Writing Workshop: Response to Literature, pp. 240–247Walking, p. 346Sayonara, p. 354Daylight Saving, p. 397Writing Workshop: Autobiographical Narrative, pp. 422–429I Wandered Lonely as a Cloud, p. 454A Noiseless Patient Spider, p. 469Vocabulary Workshop: Thesaurus Use, p. 502Sympathy, p. 535Theme for English B, p. 555Grape Sherbet, p. 568Writing Workshop: Descriptive Essay, pp. 594–601The Bear, p. 772Writing Workshop: Literary Criticism Essay, pp. 804–811Writing Workshop: Research Paper, pp. 962–971The Golden Kite, the Silver Wind, p. 1041Writing Workshop: Persuasion: Editorial, pp. 1082–1089
Research and Technology
1.3 Use clear research questions and suitable research methods (e.g., library, electronic media, personal interview) to elicit and present evidence from primary and secondary sources.
The Cask of Amontillado, p. 67Rules of the Game, p. 111Sweet Potato Pie, p. 153from Into Thin Air, p. 368The Black Snake, p. 490Writing Workshop: Research Paper, pp. 962–971
1.4 Develop the main ideas within the body of the composition through supporting evidence (e.g., scenarios, commonly held beliefs, hypotheses, definitions).
The Scarlet Ibis, p. 170Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /
Other Revenue Sources Should Be Pursued, pp. 398–411Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007The Red-Headed League, p. 1067
1.5 Synthesize information from multiple sources and identify complexities and discrepancies in the information and the different perspectives found in each medium (e.g., almanacs, microfiche, news sources, in-depth field studies, speeches, journals, technical documents).
Rules of the Game, p. 111Sweet Potato Pie, p. 153Comparing Literature: Thoughts on Fenway Park / Taxpayers Will Get a Return on Investment /
Other Revenue Sources Should Be Pursued, pp. 398–411Writing Workshop: Research Paper, pp. 962–971
1.6 Integrate quotations and citations into a written text while maintaining the flow of ideas.
from Black Boy, p. 305Escape from Afghanistan, pp. 307–317The Road Not Taken, p. 545My Mother Combs My Hair, p. 586Writing Workshop: Literary Criticism Essay, pp. 804–811Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007
1.7 Use appropriate conventions for documentation in the text, notes, and bibliographies by adhering to those in style manuals (e.g., Modern Language Association Handbook, The Chicago Manual of Style).
Sweet Potato Pie, p. 153from Into Thin Air, p. 368Writing Workshop: Research Paper, pp. 962–971
Writing (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
1.8 Design and publish documents by using advanced publishing software and graphic programs.
Sweet Potato Pie, pp. 141–153from Into Thin Air, p. 368
Evaluation and Revision
1.9 Revise writing to improve the logic and coherence of the organization and controlling perspective, the precision of word choice, and the tone by taking into consideration the audience, purpose, and formality of the context.
The Cask of Amontillado, p. 67The Interlopers, p. 89The Gift of the Magi, p. 124The Scarlet Ibis, p. 170The Necklace, p. 207Writing Workshop: Response to Literature, pp. 240–247A Brother’s Crime, p. 291from All God’s Children Need Traveling Shoes, p. 339A New Generation of Americans, p. 385Put Down the Backpack, pp. 412–421Writing Workshop: Autobiographical Narrative, pp. 422–429Haiku, p. 501Hope is the thing with feathers— / I’m Nobody! Who are You? p. 525The Road Not Taken, p. 545My Mother Combs My Hair, p. 586Writing Workshop: Descriptive Essay, pp. 594–601The Tragedy of Romeo and Juliet, Act 5, p. 743Writing Workshop: Literary Criticism Essay, pp. 804–811Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971The Sentinel, p. 1007The Red-Headed League, p. 1067Writing Workshop: Persuasion: Editorial, pp. 1082–1089
Writing (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
2.1 Write biographical or autobiographical narratives or short stories: a. Relate a sequence of events and
communicate the significance of the events to the audience.
b. Locate scenes and incidents in specific places.
c. Describe with concrete sensory details the sights, sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of the characters; use interior monologue to depict the characters’ feelings.
Literary Focus: Plot and Setting, pp. 8–9The Gift of the Magi, p. 124 (a, c, e)The Bass, the River, and Shelia Mant, p. 182The Necklace, p. 207The Son from America, p. 239 (a)A Brother’s Crime, p. 291 (a, c)from All God’s Children Need Traveling Shoes, p. 339 (b, c, e)Writing Workshop: Autobiographical Narrative, pp. 422–429“Hope” is the thing with feathers— / I’m Nobody! Who are you?, p. 525 (b, c, d, e)Writing Workshop: Descriptive Essay, pp. 594–601 (a, b, e) The Fenris Wolf, p. 952 (c, e)Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127
(continued)
2.0 Writing Applications (Genres and Their Characteristics) Students combine the rhetorical strategies of narration, exposition, persuasion, and description to produce texts of at least 1,500 words each. Student writing demonstrates a command of standard American English and the research, organizational, and drafting strategies outlined in Writing Standard 1.0.
Using the writing strategies of grades nine and ten outlined in Writing Standard 1.0, students:
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
d. Pace the presentation of actions to accommodate changes in time and mood.
e. Make effective use of descriptions of appearance, images, shifting perspectives, and sensory details.
2.2 Write responses to literature: a. Demonstrate a comprehensive grasp
of the significant ideas of literary works. b. Support important ideas and
viewpoints through accurate and detailed references to the text or to other works.
c. Demonstrate awareness of the author’s use of stylistic devices and an appreciation of the effects created.
d. Identify and assess the impact of perceived ambiguities, nuances, and complexities within the text.
Comparing Literature: Liberty / The Struggle to Be an All-American Girl / Legal Alien, p. 140 (a, b)Writing Workshop: Response to Literature, pp. 240–247Walking, p. 346 (c)The Black Snake, p. 489The Road Not Taken, p. 545Theme for English B, p. 555 (c)My Mother Combs My Hair, p. 586Comparing Literature: The Taxi / Counting the Beats / The Princess and All the Kingdom, p. 754 (a, b)Writing Workshop: Literary Criticism Essay, pp. 804–811Over Hill and Under Hill, from The Hobbit, p. 925 (a–c)Perseus, p. 944Comparing Literature: In Memoriam / The Gift / Purchase, pp. 1020–1033The Red-Headed League, p. 1067Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122
2.3 Write expository compositions, including analytical essays and research reports: a. Marshal evidence in support
of a thesis and related claims, including information on all relevant perspectives.
b. Convey information and ideas from primary and secondary sources accurately and coherently.
c. Make distinctions between the relative value and significance of specific data, facts, and ideas.
d. Include visual aids by employing appropriate technology to organize and record information on charts, maps, and graphs.
e. Anticipate and address readers’ potential misunderstandings, biases, and expectations.
f. Use technical terms and notations accurately.
The Most Dangerous Game, p. 42 (b, c) The Cask of Amontillado, p. 67 (a–c, f )The Interlopers, p. 89 (a, c, d)Put Down the Backpack, p. 421 (b, c) Haiku, p. 501Perseus, p. 944Writing Workshop: Research Paper, pp. 962–971 (a, b, c, e)The Sentinel, p. 1007 (a, b, d, f )The Red-Headed League, p. 1067 (a, d, e)
2.4 Write persuasive compositions: a. Structure ideas and arguments in a
sustained and logical fashion. b. Use specific rhetorical devices to
support assertions (e.g., appeal to logic through reasoning; appeal to emotion or ethical belief; relate a personal anecdote, case study, or analogy).
c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, and expressions of commonly accepted beliefs and logical reasoning.
d. Address readers’ concerns, counterclaims, biases, and expectations.
The Scarlet Ibis, p. 170A New Generation of Americans, p. 385The Tragedy of Romeo and Juliet, Act 5, p. 743 (a, b, d)from the Odyssey, Part 4, p. 898Writing Workshop: Persuasion: Editorial, pp. 1082–1089 (a, b, d)Logic and Persuasion Handbook, pp. R60–R63
2.5 Write business letters: a. Provide clear and purposeful
information and address the intended audience appropriately.
b. Use appropriate vocabulary, tone, and style to take into account the nature of the relationship with, and the knowledge and interests of, the recipients.
c. Highlight central ideas or images. d. Follow a conventional style with
page formats, fonts, and spacing that contribute to the documents’ readability and impact.
Mrs. James, p. 228Lesson 4: Inquiry E-mail, Application, Cover Letter, pp. 1123–1127Functional Documents Handbook, pp. R22, R25
2.6 Write technical documents (e.g., a manual on rules of behavior for conflict resolution, procedures for conducting a meeting, minutes of a meeting): a. Report information and convey ideas
logically and correctly. b. Offer detailed and accurate
specifications. c. Include scenarios, definitions, and
examples to aid comprehension (e.g., troubleshooting guide).
d. Anticipate readers’ problems, mistakes, and misunderstandings.
Lesson 1: Agenda, Meeting Minutes, Warranty, License Agreement and Installation Guide, pp. 1104–1110
Lesson 2: Memo, Train Schedule, Meeting Schedule, Travel Directions, Map, pp. 1111–1117 (a, d)Lesson 3: Contract, Press Release, Web Site, pp. 1118–1122 (a, b)Functional Documents Handbook, pp. R26–R27
Writing (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
Grammar and Mechanics of Writing
1.1 Identify and correctly use clauses (e.g., main and subordinate), phrases (e.g., gerund, infinitive, and participial), and mechanics of punctuation (e.g., semicolons, colons, ellipses, hyphens).
The Cask of Amontillado, p. 67The Interlopers, p. 89Grammar Workshop: Sentence Combining, pp. 112–113The Scarlet Ibis, p. 170Grammar Workshop: Run-on Sentences, p. 195A Brother’s Crime, p. 291
Written and Oral English Language Conventions
The standards for written and oral English language conventions have been placed between those for writing and for listening and speaking because these conventions are essential to both sets of skills.
1.0 Written and Oral English Language Conventions Students write and speak with a command of standard English conventions.
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
Grammar Workshop: Dialogue and Speaker Tags, p. 306Grammar Workshop: Clauses and Phrases, p. 347A New Generation of Americans, p. 385“Hope” is the thing with feathers–– / I’m Nobody! Who are you?, p. 525The Tragedy of Romeo and Juliet, Act 5, p. 743Writing Workshop: Research Paper, p. 971The Sentinel, p. 1007Grammar Workshop: Commas with Items in a Series, p. 1011
1.2 Understand sentence construction (e.g., parallel structure, subordination, proper placement of modifiers) and proper English usage (e.g., consistency of verb tenses).
The Most Dangerous Game, p. 42Grammar Workshop: Sentence Combining, pp. 112 –113Grammar Workshop: Misplaced Modifiers, p. 154The Necklace, p. 207Writing Workshop: Response to Literature, p. 247from All God’s Children Need Traveling Shoes, p. 339A New Generation of Americans, p. 385Put Down the Backpack, p. 421Writing Workshop: Descriptive Essay, p. 601Grammar Workshop: Verb Tense, p. 748from the Odyssey, Part 4, p. 898Perseus, p. 944Writing Workshop: Persuasion: Editorial, p. 1089
1.3 Demonstrate an understanding of proper English usage and control of grammar, paragraph and sentence structure, diction, and syntax.
The Gift of the Magi, p. 124Grammar Workshop: Misplaced Modifiers, p. 154Grammar Workshop: Run-on Sentences, p. 195The Necklace, p. 207Writing Workshop: Response to Literature, p. 247from All God’s Children Need Traveling Shoes, p. 339Writing Workshop: Autobiographical Narrative, p. 429Grammar Workshop: Subject-Verb Agreement, p. 495Haiku, p. 501The Road Not Taken, p. 545My Mother Combs My Hair, p. 586Grammar Workshop: Verb Tense, p. 748Grammar Workshop: Transitional Expressions, p. 945The Red-Headed League, p. 1067
Manuscript Form
1.4 Produce legible work that shows accurate spelling and correct use of the conventions of punctuation and capitalization.
Writing Workshop: Descriptive Essay, pp. 594–601Writing Workshop: Research Report, pp. 962–971Language Handbook, pp. R29, R40–R59
1.5 Reflect appropriate manuscript requirements, including title page presentation, pagination, spacing and margins, and integration of source and support material (e.g., in-text citation, use of direct quotations, paraphrasing) with appropriate citations.
Writing Workshop: Response to Literature, p. 247Writing Workshop: Autobiographical Narrative, pp. 422–429Writing Workshop: Literary Criticism Essay, pp. 804–811Writing Workshop: Research Report, pp. 962–971Lesson 4 E-mail, Application, Cover Letter, pp. 1123–1127Language Handbook, R30
Written and Oral English Language Conventions (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
1.1 Formulate judgments about the ideas under discussion and support those judgments with convincing evidence.
The Interlopers, p. 89American History, p. 219Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, pp. 248–249The Leader, p. 799
1.2 Compare and contrast the ways in which media genres (e.g., televised news, news magazines, documentaries, online information) cover the same event.
Media Workshop: Compare Media Genres, pp. 318–324
Organization and Delivery of Oral Communication
1.3 Choose logical patterns of organization (e.g., chronological, topical, cause and effect) to inform and to persuade, by soliciting agreement or action, or to unite audiences behind a common belief or cause.
from Into Thin Air, p. 368The Secret, p. 560Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091
1.4 Choose appropriate techniques for developing the introduction and conclusion (e.g., by using literary quotations, anecdotes, references to authoritative sources).
Where Are Those Songs?, p. 579He—y, Come on Ou—t!, pp. 1012–1019Speaking, Listening, and Viewing Workshop: Oral Response to Literature, p. 812Speaking, Listening, and Viewing Workshop: Multimedia Presentation, p. 974
1.5 Recognize and use elements of classical speech forms (e.g., introduction, first and second transitions, body, conclusion) in formulating rational arguments and applying the art of persuasion and debate.
Where Are Those Songs?, p. 579He—y, Come on Ou—t!, p. 1019Speaking, Listening, and Viewing Workshop: Persuasive Argument, pp. 1090–1091
1.6 Present and advance a clear thesis statement and choose appropriate types of proof (e.g., statistics, testimony, specific instances) that meet standard tests for evidence, including credibility, validity, and relevance.
The Black Snake, p. 490Speaking, Listening, and Viewing Workshop: Oral Response to Literature, p. 812Speaking, Listening, and Viewing, Workshop: Multimedia Presentation, p. 974
1.7 Use props, visual aids, graphs, and electronic media to enhance the appeal and accuracy of presentations.
Rules of the Game, p. 111Sweet Potato Pie, p. 153
Listening and Speaking
1.0 Listening and Speaking Strategies Students formulate adroit judgments about oral communication. They deliver focused and coherent presentations of their own that convey clear and distinct perspectives and solid reasoning. They use gestures, tone, and vocabulary tailored to the audience and purpose.
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
Escape from Afghanistan, p. 317from Into Thin Air, p. 368Sweet Betsy from Pike, p. 961Speaking, Listening, and Viewing Workshop: Multimedia Presentation, pp. 972–975He—y, Come on Ou—t!, p. 1019
1.8 Produce concise notes for extemporaneous delivery.
The Leap, p. 53American History, p. 219Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, p. 248from Black Boy, p. 305Where Are Those Songs?, p. 579Speaking, Listening, and Viewing, Workshop: Descriptive Presentation, p. 603Speaking, Listening, and Viewing Workshop: Oral Response to Literature, p. 812Speaking, Listening, and Viewing Workshop: Persuasive Argument, pp. 1090–1091
1.9 Analyze the occasion and the interests of the audience and choose effective verbal and nonverbal techniques (e.g., voice, gestures, eye contact) for presentations.
The Leap, p. 53Where Are Those Songs?, p. 579Speaking, Listening, and Viewing: Descriptive Presentation, p. 603The Leader, p. 799Speaking, Listening, and Viewing: Oral Response to Literature, p. 813He—y, Come on Ou—t!, p. 1019
Analysis and Evaluation of Oral and Media Communications
1.10 Analyze historically significant speeches (e.g., Abraham Lincoln’s “Gettysburg Address,” Martin Luther King, Jr. ’s “I Have a Dream”) to find the rhetorical devices and features that make them memorable.
A New Generation of Americans, p. 385
1.11 Assess how language and delivery affect the mood and tone of the oral communication and make an impact on the audience.
The Secret Life of Walter Mitty, p. 194Speaking, Listening, and Viewing Workshop: Oral Response to Literature, pp. 812–813
1.12 Evaluate the clarity, quality, effectiveness, and general coherence of a speaker’s important points, arguments, evidence, organization of ideas, delivery, diction, and syntax.
American History, p. 219Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, pp. 248–249Put Down the Backpack, p. 421Where Are Those Songs?, p. 579The Leader, p. 799Sweet Betsy from Pike, p. 961He—y, Come on Ou—t!, p. 1019Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091
1.13 Analyze the types of arguments used by the speaker, including argument by causation, analogy, authority, emotion, and logic.
Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091Writing Workshop: Persuasion: Editorial, pp. 1082–1089
1.14 Identify the aesthetic effects of a media presentation and evaluate the techniques used to create them (e.g., compare Shakespeare’s Henry V with Kenneth Branagh’s 1990 film version).
Speaking, Listening, and Viewing Workshop: Multimedia Presentation, pp. 972–975
Listening and Speaking (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
2.1 Deliver narrative presentations:a. Narrate a sequence of events and
communicate their significance to the audience.
b. Locate scenes and incidents in specific places.
c. Describe with concrete sensory details the sights, sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of characters.
d. Pace the presentation of actions to accommodate time or mood changes.
Speaking, Listening, and Viewing Workshop: Narrative Presentation, pp. 430–431
2.2 Deliver expository presentations: a. Marshal evidence in support
of a thesis and related claims, including information on all relevant perspectives.
b. Convey information and ideas from primary and secondary sources accurately and coherently.
c. Make distinctions between the relative value and significance of specific data, facts, and ideas.
d. Include visual aids by employing appropriate technology to organize and display information on charts, maps, and graphs.
e. Anticipate and address the listener’s potential misunderstandings, biases, and expectations.
f. Use technical terms and notations accurately.
Speaking, Listening, and Viewing Workshop: Multimedia Presentation, pp. 972–975 (d)
2.3 Apply appropriate interviewing techniques: a. Prepare and ask relevant questions. b. Make notes of responses. c. Use language that conveys maturity,
sensitivity, and respect. d. Respond correctly and effectively to
questions. e. Demonstrate knowledge of the subject
or organization.
The Leap, p. 53from Black Boy, p. 305
Listening and Speaking (continued)
2.0 Speaking Applications (Genres and Their Characteristics) Students deliver polished formal and extemporaneous presentations that combine the traditional rhetorical strategies of narration, exposition, persuasion, and description. Student speaking demonstrates a command of standard American English and the organizational and delivery strategies outlined in Listening and Speaking Standard 1.0.
Using the speaking strategies of grades nine and ten outlined in Listening and Speaking Standard 1.0, students:
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
f. Compile and report responses. g. Evaluate the effectiveness of the
interview.
2.4 Deliver oral responses to literature: a. Advance a judgment demonstrating a
comprehensive grasp of the significant ideas of works or passages (i.e., make and support warranted assertions about the text).
b. Support important ideas and viewpoints through accurate and detailed references to the text or to other works.
c. Demonstrate awareness of the author’s use of stylistic devices and an appreciation of the effects created.
d. Identify and assess the impact of perceived ambiguities, nuances, and complexities within the text.
Speaking, Listening, and Viewing Workshop: Discuss Ideas About Literature, pp. 248–249Speaking, Listening, and Viewing Workshop: Oral Response to Literature, pp. 812–813
2.5 Deliver persuasive arguments (including evaluation and analysis of problems and solutions and causes and effects): a. Structure ideas and arguments in a
coherent, logical fashion. b. Use rhetorical devices to support
assertions (e.g., by appeal to logic through reasoning; by appeal to emotion or ethical belief; by use of personal anecdote, case study, or analogy).
c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, expressions of commonly accepted beliefs, and logical reasoning.
d. Anticipate and address the listener’s concerns and counterarguments.
Speaking, Listening, and Viewing Workshop: Deliver Persuasive Arguments, pp. 1090–1091
2.6 Deliver descriptive presentations: a. Establish clearly the speaker’s
point of view on the subject of the presentation.
b. Establish clearly the speaker’s relationship with that subject (e.g., dispassionate observation, personal involvement).
c. Use effective, factual descriptions of appearance, concrete images, shifting perspectives and vantage points, and sensory details.
Speaking, Listening, and Writing Workshop: Descriptive Presentation, pp. 602–603
Listening and Speaking (continued)
Standards Glencoe Literature: California Treasures Selections and WorkshopsCACACACA
Connecting School and HomeLearning happens not only in the classroom but also in the home with the help of involved parents and guardians. The pages that follow provide two resources to promote communication between the school and the home. One is a model letter, and the other is a monitoring chart to track student progress.
These resources are designed to help teachers communicate with parents and guardians about how students are using Glencoe Literature: California
Treasures to master the California standards. The resources are:
Letter Home• • The letter home is a model letter for parents/guardians. The letter is
reproducible. It explains how students are using Glencoe Literature
to prepare for the California state test and provides an overview of the California English-Language Arts Content Standards. Teachers can also customize this letter at glencoe.com.
California English-Language Arts Content Standards Progress Report• • A monitoring chart allows teachers to communicate each student’s
progress individually by noting the date on which a student reaches each of three levels of progress: developing, improving, and mastery. A comment space at the bottom of each standard subcategory allows teachers to record ideas for improvement and future instruction. This chart can also be distributed to parents/guardians to communicate specific areas where the student needs improvement.
How do I keep parents and guardians informed of students’ progress?
Your child is currently using the Glencoe Literature: California Treasures program in class to ensure mastery of the California English-Language Arts Content Standards that are tested on the California state test later this year. Glencoe Literature is a comprehensive program that helps all students master the standards.
Glencoe Literature is designed to:• fully align with the California standards• offer ongoing assessment• engage students with literary selections grouped around thematic Big Ideas• provide universal access for all students—on-level students, students
approaching grade level, English learners, and advanced learners
The California standards are divided into four categories: Reading, Writing, Written and Oral English Language Conventions, and Listening and Speaking. These categories represent goals we hope students can meet at an above satisfactory level to ensure continued learning and success on the California state test.
Enclosed is a chart that helps track your child’s progress as he or she encounters standards in Glencoe Literature. The chart lists the expectations of students in each standards category. The chart marks a student’s progress by providing space to write the date on which a student reaches each of three levels of progress.
California English-Language Arts Content Standards Progress Report
Reading
1.0 Word Analysis, Fluency, and Systematic Vocabulary Development Students apply their knowledge of word origins to determine the meaning of new words encountered in reading materials and use those words accurately.
Content Standards Developing Improving Mastery
Vocabulary and Concept Development
1.1 Identify and use the literal and figurative meanings of words and understand word derivations.
1.2 Distinguish between the denotative and connotative meanings of words and interpret the connotative power of words.
1.3 Identify Greek, Roman, and Norse mythology and use the knowledge to understand the origin and meaning of new words (e.g., the word narcissistic drawn from the myth of Narcissus and Echo).
Comments
2.0 Reading Comprehension (Focus on Informational Materials)Students read and understand grade-level-appropriate material. They analyze the organizational patterns, arguments, and positions advanced. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students. In addition, by grade twelve, students read two million words annually on their own, including a wide variety of classic and contemporary literature, magazines, newspapers, and online information. In grades nine and ten, students make substantial progress toward this goal.
Content Standards Developing Improving Mastery
Structural Features of Informational Materials
2.1 Analyze the structure and format of functional workplace documents, including the graphics and headers, and explain how authors use the features to achieve their purposes.
2.2 Prepare a bibliography of reference materials for a report using a variety of consumer, workplace, and public documents.
Comprehension and Analysis of Grade-Level-Appropriate Text
2.3 Generate relevant questions about readings on issues that can be researched.
2.4 Synthesize the content from several sources or works by a single author dealing with a single issue; paraphrase the ideas and connect them to other sources and related topics to demonstrate comprehension.
2.5 Extend ideas presented in primary or secondary sources through original analysis, evaluation, and elaboration.
2.6 Demonstrate use of sophisticated learning tools by following technical directions (e.g., those found with graphic calculators and specialized software programs and in access guides to World Wide Web sites on the Internet).
Expository Critique
2.7 Critique the logic of functional documents by examining the sequence of information and procedures in anticipation of possible reader misunderstandings.
2.8 Evaluate the credibility of an author’s argument or defense of a claim by critiquing the relationship between generalizations and evidence, the comprehensiveness of evidence, and the way in which the author’s intent affects the structure and tone of the text (e.g., in professional journals, editorials, political speeches, primary source material).
Comments
3.0 Literary Response and AnalysisStudents read and respond to historically or culturally significant works of literature that reflect and enhance their studies of history and social science. They conduct in-depth analyses of recurrent patterns and themes. The selections in Recommended Literature, Kindergarten Through Grade Twelve illustrate the quality and complexity of the materials to be read by students.
Content Standards Developing Improving MasteryStructural Features of Literature
3.1 Articulate the relationship between the expressed purposes and the characteristics of different forms of dramatic literature (e.g., comedy, tragedy, drama, dramatic monologue).
3.2 Compare and contrast the presentation of a similar theme or topic across genres to explain how the selection of genre shapes the theme or topic.
Narrative Analysis of Grade-Level-Appropriate Text
3.3 Analyze interactions between main and subordinate characters in a literary text (e.g., internal and external conflicts, motivations, relationships, influences) and explain the way those interactions affect the plot.
3.4 Determine characters’ traits by what the characters say about themselves in narration, dialogue, dramatic monologue, and soliloquy.
3.5 Compare works that express a universal theme and provide evidence to support the ideas expressed in each work.
3.6 Analyze and trace an author’s development of time and sequence, including the use of complex literary devices (e.g., foreshadowing, flashbacks).
3.7 Recognize and understand the significance of various literary devices, including figurative language, imagery, allegory, and symbolism, and explain their appeal.
3.8 Interpret and evaluate the impact of ambiguities, subtleties, contradictions, ironies, and incongruities in a text.
3.9 Explain how voice, persona, and the choice of a narrator affect characterization and the tone, plot, and credibility of a text.
3.10 Identify and describe the function of dialogue, scene designs, soliloquies, asides, and character foils in dramatic literature.
Literary Criticism
3.11 Evaluate the aesthetic qualities of style, including the impact of diction and figurative language on tone, mood, and theme, using the terminology of literary criticism. (Aesthetic approach)
3.12 Analyze the way in which a work of literature is related to the themes and issues of its historical period. (Historical approach)
1.1 Establish a controlling impression or coherent thesis that conveys a clear and distinctive perspective on the subject and maintain a consistent tone and focus throughout the piece of writing.
1.2 Use precise language, action verbs, sensory details, appropriate modifiers, and the active rather than the passive voice.
Research and Technology
1.3 Use clear research questions and suitable research methods (e.g., library, electronic media, personal interview) to elicit and present evidence from primary and secondary sources.
1.4 Develop the main ideas within the body of the composition through supporting evidence (e.g., scenarios, commonly held beliefs, hypotheses, definitions).
1.5 Synthesize information from multiple sources and identify complexities and discrepancies in the information and the different perspectives found in each medium (e.g., almanacs, microfiche, news sources, in-depth field studies, speeches, journals, technical documents).
1.6 Integrate quotations and citations into a written text while maintaining the flow of ideas.
1.7 Use appropriate conventions for documentation in the text, notes, and bibliographies by adhering to those in style manuals (e.g., Modern Language Association Handbook, The Chicago Manual of Style).
1.8 Design and publish documents by using advanced publishing software and graphic programs.
Evaluation and Revision
1.9 Revise writing to improve the logic and coherence of the organization and controlling perspective, the precision of word choice, and the tone by taking into consideration the audience, purpose, and formality of the context.
Comments
Writing
1.0 Writing StrategiesStudents write coherent and focused essays that convey a well-defined perspective and tightly reasoned argument. The writing demonstrates students’ awareness of the audience and purpose. Students progress through the stages of the writing process as needed.
2.0 Writing Applications (Genres and Their Characteristics) Students combine the rhetorical strategies of narration, exposition, persuasion, and description to produce texts of at least 1,500 words each. Student writing demonstrates a command of standard American English and the research, organizational, and drafting strategies outlined in Writing Standard 1.0.
Using the writing strategies of grades nine and ten outlined in Writing Standard 1.0, students:
Content Standards Developing Improving Mastery
2.1 Write biographical or autobiographical narratives or short stories:
a. Relate a sequence of events and communicate the significance of the events to the audience.
b. Locate scenes and incidents in specific places. c. Describe with concrete sensory details the sights,
sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of the characters; use interior monologue to depict the characters’ feelings.
d. Pace the presentation of actions to accommodate changes in time and mood.
e. Make effective use of descriptions of appearance, images, shifting perspectives, and sensory details.
2.2 Write responses to literature: a. Demonstrate a comprehensive grasp of the significant
ideas of literary works. b. Support important ideas and viewpoints through
accurate and detailed references to the text or to other works.
c. Demonstrate awareness of the author’s use of stylistic devices and an appreciation of the effects created.
d. Identify and assess the impact of perceived ambiguities, nuances, and complexities within the text.
2.3 Write expository compositions, including analytical essays and research reports:
a. Marshal evidence in support of a thesis and related claims, including information on all relevant perspectives.
b. Convey information and ideas from primary and secondary sources accurately and coherently.
c. Make distinctions between the relative value and significance of specific data, facts, and ideas.
d. Include visual aids by employing appropriate technology to organize and record information on charts, maps, and graphs.
e. Anticipate and address readers’ potential misunderstandings, biases, and expectations.
2.4 Write persuasive compositions: a. Structure ideas and arguments in a sustained and
logical fashion. b. Use specific rhetorical devices to support assertions
(e.g., appeal to logic through reasoning; appeal to emotion or ethical belief; relate a personal anecdote, case study, or analogy).
c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, and expressions of commonly accepted beliefs and logical reasoning.
d. Address readers’ concerns, counterclaims, biases, and expectations.
2.5 Write business letters: a. Provide clear and purposeful information and address
the intended audience appropriately. b. Use appropriate vocabulary, tone, and style to take into
account the nature of the relationship with, and the knowledge and interests of, the recipients.
c. Highlight central ideas or images. d. Follow a conventional style with page formats, fonts,
and spacing that contribute to the documents’ readability and impact.
2.6 Write technical documents (e.g., a manual on rules of behavior for conflict resolution, procedures for conducting a meeting, minutes of a meeting): a. Report information and convey ideas logically and
correctly. b. Offer detailed and accurate specifications. c. Include scenarios, definitions, and examples to aid
comprehension (e.g., troubleshooting guide). d. Anticipate readers’ problems, mistakes, and
The standards for written and oral English language conventions have been placed between those for writing and for listening and speaking because these conventions are essential to both sets of skills.
1.0 Written and Oral English Language ConventionsStudents write and speak with a command of standard English conventions.
Written and Oral English Language Conventions (continued)
Content Standards Developing Improving Mastery
Grammar and Mechanics of Writing
1.1 Identify and correctly use clauses (e.g., main and subordinate), phrases (e.g., gerund, infinitive, and participial), and mechanics of punctuation (e.g., semicolons, colons, ellipses, hyphens).
1.2 Understand sentence construction (e.g., parallel structure, subordination, proper placement of modifiers) and proper English usage (e.g., consistency of verb tenses).
1.3 Demonstrate an understanding of proper English usage and control of grammar, paragraph and sentence structure, diction, and syntax.
Manuscript Form
1.4 Produce legible work that shows accurate spelling and correct use of the conventions of punctuation and capitalization.
1.5 Reflect appropriate manuscript requirements, including title page presentation, pagination, spacing and margins, and integration of source and support material (e.g., in-text citation, use of direct quotations, paraphrasing) with appropriate citations.
Comments
CACACACA
Listening and Speaking
1.0 Listening and Speaking StrategiesStudents formulate adroit judgments about oral communication. They deliver focused and coherent presentations of their own that convey clear and distinct perspectives and solid reasoning. They use gestures, tone, and vocabulary tailored to the audience and purpose.
Content Standards Developing Improving Mastery
Comprehension
1.1 Formulate judgments about the ideas under discussion and support those judgments with convincing evidence.
1.2 Compare and contrast the ways in which media genres (e.g., televised news, news magazines, documentaries, online information) cover the same event.
1.3 Choose logical patterns of organization (e.g., chronological, topical, cause and effect) to inform and to persuade, by soliciting agreement or action, or to unite audiences behind a common belief or cause.
1.4 Choose appropriate techniques for developing the introduction and conclusion (e.g., by using literary quotations, anecdotes, references to authoritative sources).
1.5 Recognize and use elements of classical speech forms (e.g., introduction, first and second transitions, body, conclusion) in formulating rational arguments and applying the art of persuasion and debate.
1.6 Present and advance a clear thesis statement and choose appropriate types of proof (e.g., statistics, testimony, specific instances) that meet standard tests for evidence, including credibility, validity, and relevance.
1.7 Use props, visual aids, graphs, and electronic media to enhance the appeal and accuracy of presentations.
1.8 Produce concise notes for extemporaneous delivery.
1.9 Analyze the occasion and the interests of the audience and choose effective verbal and nonverbal techniques (e.g., voice, gestures, eye contact) for presentations.
Analysis and Evaluation of Oral and Media Communications
1.10 Analyze historically significant speeches (e.g., Abraham Lincoln’s “Gettysburg Address,” Martin Luther King Jr.’s “I Have a Dream”) to find the rhetorical devices and features that make them memorable.
1.11 Assess how language and delivery affect the mood and tone of the oral communication and make an impact on the audience.
1.12 Evaluate the clarity, quality, effectiveness, and general coherence of a speaker’s important points, arguments, evidence, organization of ideas, delivery, diction, and syntax.
1.13 Analyze the types of arguments used by the speaker, including argument by causation, analogy, authority, emotion, and logic.
1.14 Identify the aesthetic effects of a media presentation and evaluate the techniques used to create them (e.g., compare Shakespeare’s Henry V with Kenneth Branagh’s 1990 film version).
Comments
2.0 Speaking Applications (Genres and Their Characteristics) Students deliver polished formal and extemporaneous presentations that combine the traditional rhetorical strategies of narration, exposition, persuasion, and description. Student speaking demonstrates a command of standard American English and the organizational and delivery strategies outlined in Listening and Speaking Standard 1.0.
Using the speaking strategies of grades nine and ten outlined in Listening and Speaking Standard 1.0, students:
Content Standards Developing Improving Mastery
2.1 Deliver narrative presentations: a. Narrate a sequence of events and communicate their
significance to the audience. b. Locate scenes and incidents in specific places. c. Describe with concrete sensory details the sights,
sounds, and smells of a scene and the specific actions, movements, gestures, and feelings of characters.
d. Pace the presentation of actions to accommodate time or mood changes.
2.2 Deliver expository presentations:a. Marshal evidence in support of a thesis and
related claims, including information on all relevant perspectives.
b. Convey information and ideas from primary and secondary sources accurately and coherently.
c. Make distinctions between the relative value and significance of specific data, facts, and ideas.
d. Include visual aids by employing appropriate technology to organize and display information on charts, maps, and graphs.
e. Anticipate and address the listener’s potential misunderstandings, biases, and expectations.
2.3 Apply appropriate interviewing techniques: a. Prepare and ask relevant questions. b. Make notes of responses. c. Use language that conveys maturity, sensitivity, and
respect. d. Respond correctly and effectively to questions. e. Demonstrate knowledge of the subject or organization. f. Compile and report responses. g. Evaluate the effectiveness of the interview.
2.4 Deliver oral responses to literature: a. Advance a judgment demonstrating a comprehensive
grasp of the significant ideas of works or passages (i.e., make and support warranted assertions about the text).
b. Support important ideas and viewpoints through accurate and detailed references to the text or to other works.
c. Demonstrate awareness of the author’s use of stylistic devices and an appreciation of the effects created.
d. Identify and assess the impact of perceived ambiguities, nuances, and complexities within the text.
2.5 Deliver persuasive arguments (including evaluation and analysis of problems and solutions and causes and effects): a. Structure ideas and arguments in a coherent, logical
fashion. b. Use rhetorical devices to support assertions (e.g.,
by appeal to logic through reasoning; by appeal to emotion or ethical belief; by use of personal anecdote, case study, or analogy).
c. Clarify and defend positions with precise and relevant evidence, including facts, expert opinions, quotations, expressions of commonly accepted beliefs, and logical reasoning.
d. Anticipate and address the listener’s concerns and counterarguments.
2.6 Deliver descriptive presentations: a. Establish clearly the speaker’s point of view on the
subject of the presentation. b. Establish clearly the speaker’s relationship with that
subject (e.g., dispassionate observation, personal involvement).
c. Use effective, factual descriptions of appearance, concrete images, shifting perspectives and vantage points, and sensory details.