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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
Pacing Calendar: 150 Days Before Test/180 Days o
f the Year
September October November
December January
Week 1An Astrologer’s Day
Tuesday Siesta
Week 5The Tucson Zoo
Week 9Speaking, Listening,
and Viewing
Workshop: Narrative
Presentation
Week 13Comparing Literature:
Dream Boogie
AND Motto AND
from Giants of Jazz
AND Playing Jazz,
continued
Week 17Writing Workshop:
Persuasive Essay
Week 2Tuesday Siesta,
continued
When Mr. Pirzada
Came to Dine
Week 6Straw into Gold, The
Metamorphosis of the
Everyday
Week 10The Print of the Paw
AND To An Aged Bear
Week 14Writing Workshop:
Descriptive Essay
Week 18Speaking, Listening,
and Viewing
Workshop: Persuasive
Argument
The Stealing of Thor’s
Hammer
Week 3Catch the Moon
Week 7TIME: What I See in
Lincoln’s Eyes
Week 11Three Haiku
Week 15Speaking, Listening,
and Viewing
Workshop: Presenting
a Description
The Tragedy of Julius
Caesar, Act 2, Scene 1
Week 19The Stealing of Thor’s
Hammer, continued
Week 4Writing Workshop:
Literary Criticism
Speaking, Listening,
and Viewing
Workshop: Literary
Criticism
Week 8Cinderella’s Stepsisters
Writing Workshop:
Biographical Narrative
Week 12Comparing Literature:
Dream Boogie AND
Motto AND from
Giants of Jazz AND
Playing Jazz
Week 16The Tragedy of Julius
Caesar, Act 4, Scene 1
Annabel Lee
Week 20Comparing Literature:
Where the Girl
Rescued Her Brother
AND John Henry AND
A Song of Greatness
California Treasures
Essential Course of Study
By teaching Glencoe Literature: California Treasures—Co
urse 5 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
c
alendar also
includes workshops from the Student Edition that teach Calif
ornia standards.
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Pacing 39
February MarchApril May
Week 21Comparing Literature:
Where the Girl Rescued
Her Brother AND John
Henry AND A Song of
Greatness, continued
Writing Workshop:
Research Paper
Week 25Writing Workshop:
Short Story
Speaking, Listening,
and Viewing
Workshop: Narrative
Presentation
Week 29Living Well. Living
Good.
Week 33I Am Offering This
Poem
Week 22Speaking, Listening,
and Viewing
Workshop: Multimedia
Presentation
Week 26Functional Documents:
E-Mail; Application;
Cover Letter
Week 30Living Well. Living
Good., continued
Week 34Horses Graze
Week 23Comparing Literature:
What I Have Been
Doing Lately AND
People At Night AND
A Dream
Week 27Functional Documents:
Tips List; Warranty;
Product Information;
Installation Guide
Week 31Ode to My Socks
Week 35miss rosie
Week 24Comparing Literature:
What I Have Been
Doing Lately AND
People At Night AND
A Dream, continued
Week 28
TEST WEEK
Week 32After great pain, a
formal feeling comes
AND Heart! We will
forget him!
Week 36TIME: We Are Family
The authentic text of each Essential Course of Study select
ion can be
found along with extra reading support in the Read and Wri
te practice
books—leveled consumable worktexts for English Learners,
On-Level, and
Approaching students.
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PACINGCACA
40 California Treasures Standards Road Map
Week 1The Open WindowThe Californian’s TaleLiterary Perspective:
Storytelling is As Old As MankindContents of a Dead Man’s
Pockets
Unit IntroductionLiterary Focus: Plot and SettingVocabulary
Workshop: Denotation and ConnotationVocabulary Workshop: Academic
Vocabulary
Reading 1.1, Reading 1.2, Reading 3.3, Reading 3.6, Reading
3.12Writing 1.4, Writing 2.3.cListening and Speaking 1.7, Listening
and Speaking 1.8 Week 2 An Astrologer’s Day
Civil PeaceThe Masque of the Red DeathTwo Kinds
Grammar Workshop: Apostrophes in PossessivesVocabulary Workshop:
Dictionary UseLiterary Focus:Theme and Character
Reading 1.1, Reading 2.5, Reading 3.3, Reading 3.7, Reading 3.9,
Reading 3.12Writing 1.4, Writing 2.1.c, Writing 2.2.bLanguage
Conventions 1.3Week 3 The Car We Had to Push
Tuesday SiestaWhen Mr. Pirzada Came to DineTo Da-duh, in
Memoriam
Vocabulary Workshop: Multiple-Meaning WordsGrammar Workshop:
Sentence Combining
Reading 1.1, Reading 2.5, Reading 3.3, Reading 3.4, Reading 3.8,
Reading 3.9Writing 2.1, Writing 2.1.c, Writing 2.6Language
Conventions 1.3Week 4 The Book of the Dead
The CensorsTIME: Cry of the Ancient Mariner
Reading 2.5, Reading 3.6, Reading 3.8Writing 1.4, Writing
2.1
UNIT ONEUNIT ONE
California Treasures Student EditionSelections Features and
Workshops Content StandardsCACA
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 5 Student Edition
covers the standards in 180 days.
How do I cover the standards in the 180/150 days of the
year?
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Pacing 41
Week 5 Everyday UseComparing Literature: Through the Tunnel AND
The Vision Quest AND Dear Pie, from Rules to Live ByCatch the
Moon
Literary Focus:Narrator and VoiceGrammar Workshop: Sentence
Fragments
Reading 3.7, Reading 3.9Writing 1.9, Writing 2.1.c, Writing
2.3.a, Writing 2.5Listening and Speaking 1.1Language Conventions
1.2Week 6 And of Clay Are We Created
LullabyWriting Workshop: Literary CriticismSpeaking,
Listening,and Viewing Workshop: Literary Criticism
Reading 2.5, Reading 3.0, Reading 3.9, Reading 3.11Writing 1.6,
Writing 2.1.c, Writing 2.2, Writing 2.2.b, Writing 2.2.cListening
and Speaking 2.4Assessment: California Standards Practice
Week 7from Farewell to Manzanarfrom Kaffir Boy
Unit IntroductionLiterary Focus: Autobiography and
BiographyGrammar Workshop: Subject-Verb Agreement
Reading 3.2, Reading 3.2, Reading 3.6, Reading 3.8, Reading 3.9,
Reading 3.12Writing 1.3, Writing 2.2.b, Writing 2.3Language
Conventions 1.3Week 8 Living Well. Living Good.
First Impressions, from De Kooning, An American MasterTyphoid
Fever, from Angela’s Ashes
Vocabulary Workshop: Jargon Reading 1.2, Reading 2.5, Reading
3.9Writing 2.4.dListening and Speaking 2.3.aWeek 9 Literary
Perspective: Looking
Forward to the PastTerwilliger Bunts One, from An American
ChildhoodA Swimming LessonThe Tucson Zoo
Literary Focus: Expository and Personal Essays
Reading 2.5, Reading 3.9Writing 2.1.a, Writing 2.1.c, Writing
2.4.dListening and Speaking 1.1, Listening and Speaking 1.12,
Listening and Speaking 1.6Week 10 Straw into Gold, The
Metamorphosis of the Everyday
On Women’s Right to VoteI’ve Been to the Mountaintop
Literary Focus: Persuasive Essay and Speech Reading 3.6, Reading
3.7Writing 2.3, Writing 2.3.b, Writing 2.4.b, Writing
2.4.dListening and Speaking 1.10Week 11 Comparing Literature: Not
Just
Comic Books AND “Hamlet” Too Hard? Try a Comic Book AND The
Graphic Novel Silver Anniversary
Reading 2.8Writing 2.2.d, Writing 2.5Listening and Speaking
1.1
Week 12 Address on the Anniversary of Lincoln’s BirthTIME: What
I See in Lincoln’s EyesCinderella’s Stepsisters
Writing Workshop: Biographical NarrativeSpeaking, Listening, and
Viewing Workshop: Narrative Presentation
Reading 2.8, Reading 3.5Writing 1.3, Writing 1.7, Writing 2.1,
Writing 2.4, Writing 2.4.cListening and Speaking 2.1Assessment:
California Standards Practice
UNIT TWOUNIT TWO
Selections Features and Workshops Content StandardsCACA
Selections Features and Workshops Content StandardsCACACACA
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How can I pace instruction to meet all my students’ needs?
First Proof Second Proof Third Proof PDF Proof
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PACINGCACA
36 California Treasures Standards Road Map
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
California Treasures Student EditionGlencoe Literature:
California Treasures—Course 5 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.
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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?
First Proof Second Proof Third Proof PDF Proof
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PACINGCACA
38 California Treasures Standards Road Map
Pacing Calendar: 150 Days Before Test/180 Days of the Year
September October November December January
Week 1An Astrologer’s Day
Tuesday Siesta
Week 5The Tucson Zoo
Week 9Speaking, Listening, and Viewing Workshop: Narrative
Presentation
Week 13Comparing Literature: Dream Boogie AND Motto AND from
Giants of Jazz AND Playing Jazz, continued
Week 17Writing Workshop: Persuasive Essay
Week 2Tuesday Siesta, continued
When Mr. Pirzada Came to Dine
Week 6Straw into Gold: The Metamorphosis of the Everyday
Week 10The Print of the Paw AND To An Aged Bear
Week 14Writing Workshop: Descriptive Essay
Week 18Speaking, Listening, and Viewing Workshop: Persuasive
Argument
The Stealing of Thor’s Hammer
Week 3Catch the Moon
Week 7TIME: What I See in Lincoln’s Eyes
Week 11Three Haiku
Week 15Speaking, Listening, and Viewing Workshop: Presenting a
Description
The Tragedy of Julius Caesar, Act 2, Scene 1
Week 19The Stealing of Thor’s Hammer, continued
Week 4Writing Workshop: Literary Criticism
Speaking, Listening, and Viewing Workshop: Literary
Criticism
Week 8Cinderella’s Stepsisters
Writing Workshop: Biographical Narrative
Week 12Comparing Literature: Dream Boogie AND Motto AND from
Giants of Jazz AND Playing Jazz
Week 16The Tragedy of Julius Caesar, Act 4, Scene 1
Week 20Comparing Literature: Where the Girl Rescued Her Brother
AND John Henry AND A Song of Greatness
California Treasures Essential Course of StudyBy teaching
Glencoe Literature: California Treasures—Course 5 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.
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Pacing 39
February March April May
Week 21Comparing Literature: Where the Girl Rescued Her Brother
AND John Henry AND A Song of Greatness, continued
Writing Workshop: Research Paper
Week 25Writing Workshop: Short Story
Speaking, Listening, and Viewing Workshop: Narrative
Presentation
Week 29Living Well. Living Good.
Week 33I Am Offering This Poem
Week 22Speaking, Listening, and Viewing Workshop: Multimedia
Presentation
Week 26Functional Documents: E-Mail; Application; Cover
Letter
Week 30Living Well. Living Good., continued
Week 34Horses Graze
Week 23Comparing Literature: What I Have Been Doing Lately
ANDPeople At Night ANDA Dream
Week 27Functional Documents: Professional Article; Warranty;
Software Product Information; Installation Guide
Week 31Ode to My Socks
Week 35miss rosie
Week 24Comparing Literature: What I Have Been Doing Lately
ANDPeople At Night ANDA Dream, continued
Week 28
TEST WEEK
Week 32After Great Pain, a Formal Feeling Comes AND Heart! We
Will Forget Him!
Week 36TIME: We Are Family
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.
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PACINGCACA
40 California Treasures Standards Road Map
Week 1The Open Window
The Californian’s Tale
Literary Perspective: Storytelling is As Old As Mankind
Contents of the Dead Man’s Pocket
Unit Introduction
Literary Focus: Plot and Setting
Vocabulary Workshop: Denotation and Connotation
Vocabulary Workshop: Academic Vocabulary
Reading 1.1, 1.2, 2.2, 2.3, 2.5, 3.3, 3.5, 3.6, 3.7, 3.9,
3.12
Writing 1.3, Writing 1.4, Writing 2.3.b, c
Language Conventions 1.2
Listening and Speaking 1.1, 1.6, 1.7, 2.2.a–f, 2.6.a–c
Week 2 An Astrologer’s DayCivil Peace
The Masque of the Red Death
Grammar Workshop: Apostrophes in Possessives
Vocabulary Workshop: Dictionary Use
Reading 1.1, 1.2, 1.3, 3.3, 3.4, 3.6, 3.7, 3.9, 3.12
Writing 1.1, 1.2, 1.4, 2.1.c, e, 2.2
Language Conventions 1.1, 1.3
Week 3 Two KindsThe Car We Had to Push
Tuesday Siesta
When Mr. Pirzada Came to Dine
To Da-duh, in Memoriam
Literary Focus:Theme and Character
Vocabulary Workshop: Multiple-Meaning Words
Grammar Workshop: Sentence Combining
Reading 1.1, 1.3, 2.2, 2.3, 2.4, 2.5, 3.3, 3.4, 3.7, 3.8, 3.9,
3.12
Writing 1.1, 1.2, 1.3, 1.5, 1.9, 2.1.a, b, c, e
Language Conventions 1.1, 1.2, 1.3
Listening and Speaking 1.1, 1.3, 1.6, 1.7, 1.8, 1.11, 1.12, 2.4,
2.5
Week 4 The Book of the DeadThe Censors
TIME: Cry of the Ancient Mariner
Reading 1.1, 2.5, 3.3, 3.6, 3.8, 3.11
Writing 2.1.a–e
Language Conventions 1.3
Listening and Speaking 1.1
UNIT ONEUNIT ONE
California Treasures Student Edition
Selections Features and Workshops Content StandardsCACACACA
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 5 Student Edition
covers the standards in 180 days.
How do I cover the standards in the 180/150 days of the
year?
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Pacing 41
Week 5 Everyday UseComparing Literature: Through the Tunnel AND
The Vision Quest AND Dear Pie, from Rules to Live By
Catch the Moon
Literary Focus:
Narrator and Voice
Grammar Workshop: Sentence Fragments
Reading 1.1, 1.2, 3.2, 3.3, 3.4, 3.5, 3.7, 3.9, 3.12
Writing 1.1, 1.2, 2.1.c, e, 2.2.c
Language Conventions 1.2, 1.3
Listening and Speaking 1.1
Week 6 And of Clay Are We CreatedLullaby
Writing Workshop: Literary Criticism
Speaking, Listening, and Viewing Workshop: Literary
Criticism
Reading 1.1, 3.3, 3.4, 3.6, 3.7, 3.8, 3.9, 3.11, 3.12
Writing 1.1, 1.2, 1.6, 1.8, 1.9, 2.2.a–d
Language Conventions 1.2, 1.3, 1.4, 1.5
Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.7, 1.9, 1.11,
2.1, 2.4.a–d
Assessment: California Standards Practice
Week 7
from Farewell to Manzanar
from Kaffir Boy
Living Well. Living Good.
Unit Introduction
Literary Focus: Autobiography and Biography
Grammar Workshop: Subject-Verb Agreement
Reading 1.1, 2.3, 2.4, 2.5, 3.2, 3.6, 3.9, 3.12
Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 1.9, 2.1.c, e, 2.2.c,
2.3.a–d
Language Conventions 1.1, 1.3
Week 8 First Impressions, from De Kooning, An American
Master
Typhoid Fever, from Angela’s Ashes
Historical Perspective: Looking Forward to the Past
Terwilliger Bunts One, from An American Childhood
Vocabulary Workshop: Jargon Reading 1.1, 1.2, 1.3, 2.2, 2.3,
2.5, 3.4, 3.9, 3.11, 3.12
Writing 1.3, 1.4, 1.8, 1.9, 2.4.a, d
Language Conventions 1.3
Listening and Speaking 1.7, 2.2.b, 2.6
Week 9 A Swimming LessonThe Tucson Zoo
Straw into Gold: The Metamorphosis of the Everyday
Literary Focus: Expository and Personal Essays
Reading 1.1, 2.5, 3.6, 3.7, 3.9, 3.11, 3.12
Writing 1.4, 2.1.a, 2.3.b, c
Language Conventions 1.1
Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.9, 1.12, 1.13,
2.4, 2.5
Week 10 On Women’s Right to VoteI’ve Been to the Mountaintop
Literary Focus: Persuasive Essay and Speech
Reading 1.1, 2.5, 2.8, 3.6, 3.7, 3.12
Writing 2.3.a, b, c, e, Writing 2.4.b, c
Listening and Speaking 1.10, 1.12, 1.13
Week 11 Comparing Literature: Not Just Comic Books AND “Hamlet”
Too Hard? Try a Comic Book AND The Graphic Novel Silver
Anniversary
Reading 2.8, Reading 3.8
Writing 2.5
Listening and Speaking 1.1, 1.13
Week 12 Address on the Anniversary of Lincoln’s Birth
TIME: What I See in Lincoln’s Eyes
Cinderella’s Stepsisters
Writing Workshop: Biographical Narrative
Speaking, Listening, and Viewing Workshop: Narrative
Presentation
Reading 1.1, 1.2, 2.8, 3.5, 3.7
Writing 1.1, 1.2, 1.8, 1.9, 2.1.a–e
Language Conventions 1.2, 1.4, 1.5
Listening and Speaking 1.1, 1.7, 1.9, 1.11, 1.12, 2.1.a–d
Assessment: California Standards Practice
UNIT TWOUNIT TWO
Selections Features and Workshops Content StandardsCACACACA
Selections Features and Workshops Content StandardsCACACACA
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PACINGCACA
42 California Treasures Standards Road Map
Week 13Those Winter Sundays
Creatures
Shall I Compare Thee to a Summer’s Day?
Reapers
Unit Introduction
Literary Focus: Form and Structure
Vocabulary Workshop: Homonyms and Homophones
Reading 1.1, 1.3, 2.5, 3.5, 3.6, 3.7, 3.11, 3.12
Writing 1.9, Writing 2.3.b, c
Week 14 Ode to My Socks A Storm in the Mountains
The Print of the Paw AND To An Aged Bear
Three Haiku
Two Tanka
Woman with Kite
Grammar Workshop: Pronoun-Antecedent Agreement
Reading 1.1, 1.3, 2.2, 3.7, 3.9, 3.11, 3.12
Writing 1.1, 1.2, 1.4, 2.1.c, e, Writing 2.3.a –d
Language Conventions 1.1, 1.2, 1.3, 1.5
Listening and Speaking 1.4, 1.5, 1.6, 1.8, 1.9, 1.12, 2.2,
2.4
Week 15 After Great Pain, a Formal Feeling Comes AND Heart! We
Will Forget Him!
The Meadow Mouse
Down by the Salley Gardens AND He Wishes for the Cloths of
Heaven
Literary Focus: The Language of Poetry
Reading 1.1, 1.2, 2.5, 3.7, 3.11, 3.12
Writing 1.4, 1.9, 2.2.a–c, 2.3.a–d
Language Conventions 1.1
Listening and Speaking 1.7, 1.9, 1.11, 2.4
Week 16 I Am Offering This Poemsince feeling is first
Horses Graze
Parlor
Secondhand Grief
Ballad of Birmingham
Historical Perspective: 4 Little Girls
Media Workshop: Compare Media Genres
Reading 1.1, 1.2, 1.3, 2.8, 3.2, 3.6, 3.7, 3.8, 3.11, 3.12
Writing 1.2, Writing 2.2.c
Listening and Speaking 1.1, 1.2, 1.3, 1.9, 1.12, 1.13, 1.14,
2.4
Week 17 miss rosieAfter Apple Picking AND Fire and Ice
Arabic Coffee
TIME: We Are Family
Literary Focus: Sound Devices Reading 1.2, 2.5, 3.7, 3.11
Writing 1.1, 1.2, 1.4, 1.9, 2.1.e, 2.3.a
Listening and Speaking 1.1, 1.4, 1.5, 1.6, 1.9, 1.11, 1.12,
2.4
Week 18 Comparing Literature: Dream Boogie AND Motto AND from
Giants of Jazz AND Playing Jazz
Writing Workshop: Descriptive Essay
Speaking, Listening, and Viewing Workshop: Presenting a
Description
Reading 1.1, 3.2, 3.5, 3.12
Writing 1.1, 1.2, 1.8, 1.9, 2.3.a–c, 2.6
Language Conventions 1.3, 1.4
Listening and Speaking 1.7, 1.8, 1.11, 2.6.a–c
Assessment: California Standards Practice
UNIT THREEUNIT THREE
Selections Features and Workshops Content StandardsCACACACA
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Pacing 43
Week 19Antigone
TIME: Ever Alluring
Unit Introduction
Literary Focus: Tragedy
Literary History: Classical Greek Drama
Vocabulary Workshop: Denotation and Connotation
Reading 1.1, Reading 1.2, 2.8, 3.1, 3.3, 3.4, 3.7, 3.10,
3.12
Writing 1.4, 1.9, 2.4.a–d
Language Conventions 1.1, 1.2, 1.3
Week 20 The Tragedy of Julius Caesar, Act 1The Tragedy of Julius
Caesar, Act 2
Literary History: Shakespearean Drama
Reading 1.1, 2.5, 3.1, 3.3, 3.4, 3.6, 3.7, 3.10, 3.12
Week 21 The Tragedy of Julius Caesar, Act 3The Tragedy of Julius
Caesar, Act 4
The Tragedy of Julius Caesar, Act 5
Reading 1.1, 1.2, 3.1, 3.3, 3.4, 3.6, 3.7, 3.10, 3.11
Writing 2.1.a–e, Writing 2.5
Listening and Speaking 1.1
Week 22 A Marriage Proposal Literary Focus: Comedy and Modern
Drama
Grammar Workshop: Commas with Interjections and Parenthetical
Expressions
Reading 1.1, 1.3, 3.1, 3.3, 3.4, 3.8, 3.10
Writing 1.1, 1.2, 2.1.c, e, 2.2.c
Language Conventions 1.1
Week 23 That’s Your TroubleLiterary Perspective: Writing for the
Theater
Reading 1.2, 2.8, 3.1, 3.3, 3.8, 3.11
Week 24 Comparing Literature: The Ring of General Macías AND
Marked AND The Ring
Writing Workshop: Persuasive Essay
Speaking, Listening, and Viewing Workshop: Persuasive
Argument
Reading 3.1, 3.2, 3.4, 3.6
Writing 1.1, 1.2, 1.8, 1.9, 2.4.a–d
Language Conventions 1.2, 1.3, 1.4, 1.5
Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.8, 1.12, 1.13,
2.5.a –d
Assessment: California Standards Practice
UNIT FOURUNIT FOUR
Selections Features and Workshops Content StandardsCACACACA
Week 25
from Le Morte d’Arthur Unit Introduction
Literary Focus: The Legendary Hero
Grammar Workshop: Phrases and Clauses
Reading 1.1, 1.3, 2.5, 3.2, 3.4, 3.6, 3.12
Writing 1.1, Writing 1.2, Writing 2.1
Language Conventions 1.1, 1.2, 1.3
Week 26 from Don QuixoteTIME: What Makes a Hero
Reading 2.5, 3.3, 3.4, 3.7, 3.8
Listening and Speaking 1.3, 1.8, 1.9, 1.12, 2.3.a–g
UNIT F IVEUNIT F IVE
Selections Features and Workshops Content StandardsCACACACA
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44 California Treasures Standards Road Map
Week 27 from SundiataVisual Perspective: The Lion of Mali from
Sundiata, A Legend of Africa
Reading 1.2, 3.2, 3.3, 3.4
Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.8, 1.12,
2.5
Week 28 The Stealing of Thor’s Hammerfrom Theseus
Literary Focus: Myth and the Oral Tradition
Vocabulary Workshop: Word Origins: Norse Mythology
Vocabulary Workshop: Word Origins: Greek and Roman Mythology
Reading 1.1, 1.3, 2.5, 3.3, 3.4, 3.6, 3.7, 3.12
Writing 1.4, 1.9, 2.3.a, b
Language Conventions 1.3
Listening and Speaking 1.7, 1.9, 1.11, 1.12, 2.1
Week 29 Comparing Literature: Where the Girl Rescued Her Brother
AND John Henry AND A Song of Greatness
Reading 2.4, 3.2, 3.5, 3.7, 3.12
Week 30 Writing Workshop: Research PaperSpeaking, Listening, and
Viewing Workshop: Multimedia Presentation
Reading 2.3
Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9, 2.3.a–f
Language Conventions 1.1, 1.3, 1.4, 1.5
Listening and Speaking 1.7, 1.11, 2.2.a, d
Assessment: California Standards Practice
Selections Features and Workshops Content StandardsCACACACA
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Week 36
Unit Introduction
Functional Documents: Lessons 1–4
Reading 2.1, Reading 2.2, Reading 2.5, Reading 2.6, Reading 2.7,
Reading 2.8
Writing 2.5.a–d, Writing 2.6.a–d
Assessment: California Standards Practice
UNIT SEVENUNIT SEVEN
Selections Features and Workshops Content StandardsCACACACA
Week 31A Sound of Thunder Unit Introduction
Literary Focus: Description and Style
Reading 1.1, Reading 2.5, Reading 3.2, Reading 3.5, Reading 3.6,
Reading 3.7, Reading 3.9, Reading 3.11
Writing 2.4.a, b
Listening and Speaking 1.1
Week 32 By the Waters of BabylonComparing Literature: What I
Have Been Doing Lately AND People at Night AND A Dream
Grammar Workshop: Dangling Participles
Reading 1.1, Reading 3.2, Reading 3.4, Reading 3.5, Reading 3.6,
Reading 3.7, Reading 3.12
Language Conventions 1.1, Language Conventions 1.2, Language
Conventions 1.3
Listening and Speaking 1.3, Listening and Speaking 1.4,
Listening and Speaking 1.5, Listening and Speaking 1.9, Listening
and Speaking 1.12, Listening and Speaking 2.5.a–d
Week 33 Scientific Perspective: One Legend Found, Many Still to
Go
Robot Dreams
TIME: The Machine
Nurturer
Reading 1.1, Reading 2.5, Reading 3.2, Reading 3.7
Listening and Speaking 1.1, Listening and Speaking 1.7,
Listening and Speaking 1.9, Listening and Speaking 1.12, Listening
and Speaking 2.4, Listening and Speaking 2.5
Week 34 BreadThe Witness for the Prosecution
Grammar Workshop: Semicolons as Connectors
Vocabulary Workshop: Thesaurus Use
Reading 1.1, Reading 1.2, Reading 1.3, Reading 2.5, Reading 3.3,
Reading 3.6, Reading 3.9, Reading 3.11
Writing 1.4, Writing 2.3.a–e
Language Conventions 1.1
Week 35 Writing Workshop: Short StorySpeaking, Listening, and
Viewing Workshop: Narrative Presentation
Writing 1.2, Writing 1.8, Writing 1.9, Writing 2.1.a–e
Language Conventions 1.4, Language Conventions 1.5
Listening and Speaking 1.7, Listening and Speaking 1.11,
Listening and Speaking 2.1.a–d
Assessment: California Standards Practice
UNIT SIXUNIT SIX
Selections Features and Workshops Content StandardsCACACACA
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PACINGCACA
46 California Treasures Standards Road Map
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.
Week 1 An Astrologer’s DayTuesday Siesta
Reading 1.1, Reading 1.3, Reading 2.2, Reading 2.3, Reading 2.4,
3.4, 3.6, 3.8, 3.9
Writing 1.1, 1.2, 1.3, 1.5, 2.1.c, e
Listening and Speaking 1.7
Week 2 Tuesday Siesta, continuedWhen Mr. Pirzada Came to
Dine
Reading 1.1, Reading 2.2, Reading 2.3, Reading 2.4, Reading 2.5,
3.3, 3.4, 3.8, 3.12
Writing 1.3, Writing 1.5, Writing 1.9, Writing 2.1.a, b
Language Conventions 1.1
Listening and Speaking 1.1, Listening and Speaking 1.7
Week 3 Catch the Moon Reading 1.2, Reading 3.3, Reading 3.7,
Reading 3.9Writing 1.1, Writing 1.2, Writing 2.1.c, e, Writing
2.2.c
Week 4 Writing Workshop: Literary CriticismSpeaking, Listening,
and Viewing Workshop: Literary Criticism
Reading 3.12
Writing 1.1, 1.2, 1.6, 1.8, 1.9, 2.2.a–d
Language Conventions 1.2, 1.3, 1.4, 1.5
Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.7, 1.11,
2.4.a–d
Week 5 The Tucson Zoo Reading 2.5, Reading 3.6, Reading 3.9
Writing 1.4
Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.12, 1.13,
2.5
Week 6 Straw into Gold: The Metamorphosis of the Everyday
Reading 1.1, Reading 3.6, Reading 3.7, Reading 3.11Writing 2.3.b,
c
Language Conventions 1.1
Week 7 TIME: What I See in Lincoln’s Eyes Reading 3.7
Week 8 Cinderella’s StepsistersWriting Workshop: Biographical
Narrative
Reading 1.1, Reading 2.8, Reading 3.5
Writing 1.1, 1.2, 1.8, 1.9, 2.1.a–e
Language Conventions 1.2, 1.4, 1.5
California Treasures Essential Course of Study
Selections Content StandardsCACACACA
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Pacing 47
Week 9 Speaking, Listening, and Viewing Workshop: Narrative
Presentation
Listening and Speaking 1.7, Listening and Speaking 1.11,
Listening and Speaking 2.1.a–d
Week 10 The Print of the Paw AND To An Aged Bear Reading 1.1,
1.3, 3.7, 3.9, 3.11Listening and Speaking 1.8, 1.9, 1.12, 2.4
Week 11 Three Haiku Reading 3.7Writing 1.1, Writing 1.2, Writing
2.1.c, e
Week 12 Comparing Literature: Dream Boogie AND Motto AND from
Giants of Jazz AND Playing Jazz
Reading 1.1, Reading 3.2, Reading 3.5, Reading 3.12
Writing 2.6
Week 13 Comparing Literature: Dream Boogie AND Motto AND from
Giants of Jazz AND Playing Jazz, continued
Reading 1.1, Reading 3.2, Reading 3.5, Reading 3.12
Writing 2.6
Week 14 Writing Workshop: Descriptive Essay Writing 1.1, 1.2,
1.8, 1.9, 2.3.a–cLanguage Conventions 1.3, Language Conventions
1.4
Week 15 Speaking, Listening, and Viewing Workshop: Presenting a
Description
The Tragedy of Julius Caesar, Act 2, Scene 1
Reading 1.1, Reading 3.1, Reading 3.4, Reading 3.6, Reading
3.10
Listening and Speaking 1.7, 1.8, 1.11, 2.6.a–c
Week 16 The Tragedy of Julius Caesar, Act 4, Scene 1 Reading
1.2, 3.1, 3.3, 3.4, 3.10
Week 17 Writing Workshop: Persuasive Speech Writing 1.1, 1.2,
1.8, 1.9, 2.4.a–dLanguage Conventions 1.2, 1.3, 1.4, 1.5
Week 18 Speaking, Listening, and Viewing Workshop:Persuasive
Argument
The Stealing of Thor’s Hammer
Reading 1.1, 2.5, 3.3, 3.4, 3.7, 3.12
Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9,
1.11, 1.12, 1.13, 2.1, 2.5.a–d
Week 19 The Stealing of Thor’s Hammer, continued Reading 1.1,
3.3, 3.4, 3.7, 3.12Listening and Speaking 1.7, 1.9, 1.11, 1.12,
2.1
Week 20 Comparing Literature: Where the Girl Rescued Her Brother
AND John Henry AND A Song of Greatness
Reading 2.4, Reading 3.2, Reading 3.5, Reading 3.7, Reading
3.12
Week 21 Comparing Literature: Where the Girl Rescued Her Brother
AND John Henry AND A Song of Greatness, continued
Writing Workshop: Research Paper
Reading 2.3, Reading 2.4, Reading 3.2, Reading 3.5, Reading 3.7,
Reading 3.12
Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9, 2.3.a–f
Language Conventions 1.1, 1.3, 1.4, 1.5
Week 22 Speaking, Listening, and Viewing Workshop:Multimedia
Presentation
Listening and Speaking 1.7, Listening and Speaking 1.11,
Listening and Speaking 2.2.a, d
Week 23 Comparing Literature: What I Have Been Doing Lately AND
People At Night AND A Dream
Reading 3.2, Reading 3.4, Reading 3.5, Reading 3.6, Reading
3.7
Week 24 Comparing Literature: What I Have Been Doing Lately AND
People At Night AND A Dream, continued
Reading 3.2, Reading 3.4, Reading 3.5, Reading 3.6, Reading
3.7
Selections Content StandardsCACACACA
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48 California Treasures Standards Road Map
Week 25 Writing Workshop: Short StorySpeaking, Listening, and
Viewing Workshop: Narrative Presentation
Writing 1.2, Writing 1.8, Writing 1.9, Writing 2.1.a–e
Language Conventions 1.4, Language Conventions 1.5
Listening and Speaking 1.7, 1.11, 2.1.a–d
Week 26 Functional Documents: E-Mail; Application; Cover Letter
Reading 2.1, Reading 2.5, Reading 2.6, Reading 2.8Writing
2.5.a–d
Week 27 Functional Documents: Professional Article;
Warranty;Software Product Information; Installation Guide
Reading 2.1, Reading 2.5, Reading 2.6, Reading 2.7, Writing
2.6.a–d
Week 28 Test Week
Week 29 Living Well. Living Good. Reading 1.1, Reading
2.5Writing 1.1, Writing 1.2, Writing 2.1.c, e, Writing 2.2.c
Week 30 Living Well. Living Good., continued Reading 1.1,
Reading 2.5Writing 1.1, Writing 1.2, Writing 2.1.c, e, Writing
2.2.c
Week 31 Ode to My Socks Reading 3.7, Reading 3.11Writing 1.4,
Writing 2.3.a–d
Language Conventions 1.1
Week 32 After Great Pain, a Formal Feeling ComesAND Heart! We
Will Forget Him!
Reading 3.7, Reading 3.11, Reading 3.12
Writing 1.4, Writing 2.3.a–d
Week 33 I Am Offering This Poem Reading 1.2, Reading 3.7Writing
1.2, Writing 2.2.c
Week 34 Horses Graze Reading 1.1, Reading 3.7, Reading 3.11
Week 35 miss rosie Reading 3.7, Reading 3.11Listening and
Speaking 1.1, 1.4, 1.5, 1.6, 1.9, 1.11, 1.12, 2.4
Week 36 TIME: We Are Family Reading 2.5
Selections Content StandardsCACACACA
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ON LEVEL
ADVANCED
APPROACHING
ENGLISH LEARNERS
Universal Access 49
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
First Proof Second Proof Third Proof PDF ProofGrade 10
How do I differentiate my instruction?
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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.
First Proof Second Proof Third Proof PDF ProofGrade 10
UNIVERSAL ACCESSCACA
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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
First Proof Second Proof Third Proof PDF Proof Grade 10
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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
First Proof Second Proof Third Proof PDF ProofGrade 10
UNIVERSAL ACCESSCACA
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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
First Proof Second Proof Third Proof PDF Proof Grade 10
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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.
First Proof Second Proof Third Proof PDF ProofGrade 10
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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.
First Proof Second Proof Third Proof PDF Proof Grade 10
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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
First Proof Second Proof Third Proof PDF ProofGrade 10
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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
First Proof Second Proof Third Proof PDF Proof Grade 10
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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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EDGAR ALLAN POE 75
the pest ban3 which shut him out from the aid and from the
sympathy of his fellow-men. And the whole seizure, progress, and
termination of the disease, were the inci-dents of half an
hour.
But the Prince Prospero was happy and dauntless4 and sagacious.5
When his dominions6 were half depopulated, he summoned to his
presence a thousand hale and light-hearted friends from
Edgar Allan PoeBodiam Castle, 1906. Wilfred Ball.
1. In Hinduism, an Avatar is a god that takes on human form.
Here, the word means a visible form, or embodiment, of the
disease.
2. Here, dissolution is death.3. A pest ban is an official
declaration that a person has
been stricken with plague. Here, the blood stains on the
victim’s body became his or her own pest ban.
4. Dauntless means “fearless” or “courageous.”5. Sagacious means
“wise.”6. The prince’s dominions are the territories he rules.
Encountering the Unexpected From the grim descrip-tion of the
Red Death, why do you suppose Prince Prospero and his friends seem
so light-hearted?profuse (prə fŪ s�) adj. great in amount,
plentiful
Vocabulary
he “Red Death” had long devastated the country. No pestilence
had ever been so fatal, or so hideous. Blood was its Avatar1 and
its seal—the redness and the horror of blood. There were sharp
pains, and sudden dizziness, and then pro-fuse bleeding at the
pores, with dissolu-tion.2 The scarlet stains upon the body and
especially upon the face of the victim, were
75
Readability ScoresDale-Chall: 9.5DRP: 66Lexile: 1240
Teach Big Idea 1
Encountering the Unexpected Say: As you read, keep the following
ques-tions in mind: What does Prince Prospero expect will happen as
a result of his plan? (He and his friends will be safe from the Red
Death.) What do you think will happen to frustrate his
expecta-tions? (The prince’s safety might be threatened by an enemy
locked inside the abbey.)
Big Idea 2
Encountering the Unexpected Answer: The prince and his friends
may think they are healthy enough to avoid the disease.
Writer’s Technique S Repetition Poe repeats variations on the
words blood and red sev-eral times. Have students discuss the eff
ects of such repetition.
For an audio recording of this selection, use Listening Library
Audio CD-ROM.
UNIVERSAL ACCESS
Approaching Level
AAVE Approaching-level students who use African American
Vernacular English (AAVE) may be accustomed to using singular verbs
with plural subjects. On the board, write the following excerpts
from the text: Blood was its Avatar and its seal . . .; The scarlet
stains upon the body and especially upon the face of the victim,
were the pest ban. . . .
Underline the verbs was and were in the quoted sentences.
Explain that was is a singular verb and that were is a plural verb.
Tell students that singular verbs have singular subjects and that
plural verbs have plural subjects. Work with students to identify
the subject of each sentence. Have students write original
sentences contain-ing was and were.
CACA ELA WOELC 1.2 Understand sentence construction (e.g.,
parallel structure, subordination, proper placement of modifi ers)
and proper English usage (e.g., consistency of verb tenses).
1
2
Living Well. Living Good.
Maya Angelou
Interior at Ciboure, 1912. Henri Matisse. Canvas. Musee
Toulouse-Lautrec, Albi, France © ARS, NY.
MAYA ANGELOU 323
unt Tee was a Los Angeles mem-ber of our extended family.1 She
was seventy-nine when I met
her, sinewy,2 strong, and the color of old lemons. She wore her
coarse, straight hair, which was slightly streaked with gray, in a
long braided rope across the top of her head. With her high
cheekbones, old gold skin, and almond eyes, she looked more like an
Indian chief than an old black woman. (Aunt Tee described herself
and any favored member of her race as Negroes. Black was saved for
those who had incurred her disapproval.)
She had retired and lived alone in a dead, neat ground-floor
apartment. Wax flowers and china figurines sat on elabo-
rately embroidered and heavily starched doilies. Sofas and
chairs were tautly upholstered. The only thing at ease in Aunt
Tee’s apartment was Aunt Tee.
I used to visit her often and perch on her uncomfortable sofa
just to hear her stories. She was proud that after working thirty
years as a maid, she spent the next thirty years as a live-in
housekeeper, carrying the keys to rich houses and keeping
meticulous accounts.
“Living in lets the white folks know Negroes are as neat and
clean as they are, sometimes more so. And it gives the Negro maid a
chance to see white folks ain’t no
1. Parents and their children make up what is called the nuclear
family. One’s extended family includes other relatives who are
related by blood or marriage.
2. Here, sinewy (sin�Ū ē ) could mean “physically powerful” or
“vigorously healthy.”
Memoir How does this passage suggest that the essay is an
example of a memoir and not an autobiography?
meticulous (mi tik�yə ləs) adj. characterized by great or
excessive concern about details
Vocabulary
323
Intermediate English learners may fi nd it diffi cult to
visualize Aunt Tee’s apartment as Angelou describes it in the
second paragraph. For example, students may not know what a doily
is, so point out that a doily is a small lace covering that is used
to protect furniture. Tell students that wax fl owers are artifi
cial. Use the painting as an example of a formal room like the one
Angelou describes. Explain that the painting
is similar to Aunt Tee’s apartment but that it is not an exact
representation because it does not depict the sofa that the
narrator sits on or the china fi gurines mentioned in the memoir.
Encourage students to draw pictures showing their images of the
apartment.
TeachBig Idea 1
The Power of Memory Ask: How might this memory have aff ected
Angelou’s life? How might it have aff ected Aunt Tee’s life?
(Angelou learned to enjoy life. Aunt Tee could appreciate the
things she had.)
Literary Element 2
Memoir Answer: In a memoir, the author usually looks back on a
specifi c incident. An autobiography covers a longer period. Ask:
Why might an author write a mem-oir instead of or in addition to an
autobiography? (The author has a particular lesson or story to
share.) APPROACHING Explain to
approaching-level students that authors use the framework of a
memoir when they relate their own interesting, meaningful, or
humorous experiences to family or friends.
For additional literary element practice, see Unit 2 Teaching
Resources Book, p. 54.
For an audio recording of this selection, use Listening Library
Audio CD-ROM.
Readability ScoresDale-Chall: 7.7DRP: 59Lexile: 1110
UNIVERSAL ACCESS
English Learners
CACA ELA R 3.2 Compare and contrast the presen-tation of a
similar theme or topic across genres to explain how the selection
of genre shapes the theme or topic.
1
2
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.
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.
Teaching NotesNotes provide support for students who are
speakers of African American vernacular English.
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60 California Treasures Standards Road Map
Before You ReadLiterature and Reading PreviewConnect to the
Short StoryHas your first impression of someone ever turned out to
be wrong? Freewrite for a few minutes about a time when you were
mistaken about a first impression.
Build Background“The Open Window” takes place in the early 1900s
at an English country house set on an estate with hunting grounds.
At the time of this story, it was not unusual for upper-class
families to welcome into their homes strangers who brought with
them a letter of introduction from a mutual acquaintance.
Set Purposes for Reading Big Idea Encountering the UnexpectedAs
you read “The Open Window,” ask yourself, how does Saki use the
twists and turns in the story to manipulate not only the story
characters, but his readers as well?
Literary Element FlashbackA flashback is an interruption of the
chronological order of the story to show an event that happened
earlier. As you read, ask yourself, How does Saki use flashback to
give information that helps explain the main events of the
story?
Reading Strategy Identify SequenceTo identify sequence is to
recognize the order of events in a literary work. As you read, ask
yourself, What clues or signal words point to the chronological, or
time, order of events?
Tip: Organize Events Use a sequence chart to put important
events in the story in chronological order.
Sequence of EventsSequence of Events
After that: Vera asks Nuttel if he knows anything about her
aunt, and he says, “Only her name and address.”
➧➧
Next: Vera tells Nuttel about her aunt’s “great tragedy.”
The first thing that happens is: Framton Nuttel waits for Mrs.
Sappleton with her niece Vera.
SAKI 11
Content StandardsCACAFor pages 10–16
Reading: 3.6 Analyze and trace an author’s development of time
and sequence, including the use of complex literary devices (e.g.,
foreshadowing, flashbacks).
self-possessed (self́ pə zest�) adj. in control of oneself;
com-posed; p. 12 Many people were nervous, but she was completely
self-possessed.
duly (dōṓ̄̄ le) adv. rightfully; suitably; p. 12 He was duly
impressed with the grand house.
infirmity (in fur� mə tē ) n. a weakness or ailment; p. 13 He
once was a vibrant, energetic man, but age and infirmity had slowed
him down.
imminent (im� ə nənt) adj. likely to happen soon; p. 14 Dark,
thick clouds are gathering, and rain seems imminent.
Vocabulary
11
FocusSummaryFramton Nuttel calls on Mrs. Sap-pleton. As he
awaits Mrs. Sapple-ton, her niece tells him that it is the third
anniversary of the disappear-ance of a hunting party led by Mrs.
Sappleton’s husband and that the distraught Mrs. Sappleton refuses
to accept the loss and keeps the French window open for the party’s
return. Nuttel fl ees in fear when he sees the supposedly
long-missing hunting party approach the house.
VocabularyContext Clues Remind students that context clues may
defi ne an unfamiliar word, provide examples of the word, or off er
contrasts to the word. Point out in the Vocabu-lary box the example
sentence for the word infi rmity. Ask: What words in this sentence
contrast with the word infi rmity? (vibrant, energetic).
Beginning Review with English learners that traditional short
stories have a begin-ning, a middle, and an end. In the beginning
of a story, the author provides background information about
characters and setting and hints at the action to come. Most of the
action of a story takes place in the middle of a story. The end of
the story reveals the results of the action. Explain that in the
beginning of this story, Framton Nuttel arrives at Mrs. Sappleton’s
home and meets
her niece. In the middle of the story, the niece reveals
information about her aunt. At the end of the story, this
information causes Nuttel to run away. Have students create charts
with the headings Beginning, Middle, and End, and note details of
the story under each heading. After reading, discuss with students
the details they recorded.
For summaries in languages other than English, see Unit 1
Resources Book, pp. 21–24.
For additional context, see Glencoe Visual Vocabulary
CD-ROM.
For additional vocabulary practice, see Unit 1 Teaching
Resources Book, p. 27.
CACA ELA R 1.1 Identify and use the literal and fi gurative
meanings of words and understand word derivations
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.
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80 UNIT 1 THE SHORT STORY
When the eyes of Prince Prospero fell upon this spectral image
(which, with a slow and solemn movement, as if more fully to
sustain its rôle, stalked to and fro among the waltzers) he was
seen to be convulsed, in the first moment with a strong
spectral (spek� trəl) adj. ghostlike
Vocabulary
Eyes in Darkness. Artist Unknown.
In Eyes in Darkness, the artist creates a shadowy figure who
gazes directly at the viewer in an almost confrontational manner.
How does the directness that this figure exhibits compare with the
demeanor of the intruder who brings the Red Death?
shudder either of terror or distaste; but, in the next, his brow
reddened with rage.
“Who dares”—he demanded hoarsely of the courtiers who stood near
him—“who dares insult us with this blasphemous
blasphemous (blas� fə məs) adj. showing disrespect or scorn for
God or anything sacred
Vocabulary
80
Teach Big Idea 1
Encountering the Unexpected Ask: Who might this guest be?
(Answers might include a disgruntled guest who wants to punish the
prince for his immoral behavior.)
Cultural History S Black Death As is true in this story, the
plague in Europe during the mid-1300s did not discrimi-nate between
the upper and lower classes. For example, both Queen Eleanor of
Aragon and King Alfonso XI of Castile both died of plague.
Religious fi gures such as priests and bishops also fell victim to
the plague.
Create Dialogue Poe’s story has little dialogue. Help students
brainstorm guide-
lines for adding and presenting dialogue. Guidelines might
include the following:
Use language appropriate to the charac-ter, time, and
setting.Provide information about events, as well as reactions to
them or questions about them.
•
•
Use voice infl ections appropriate to the mood and tone.
Have small groups of students write a dialogue to go with the
appearance of the mysterious guest. Suggest that each group write
the dialogue, practice it, and present it to the class. Remind
students to practice the type of voice and any hand gestures they
wish to use in their performances.
•SMALL GROUP
S Answer: Students may point out that both the shadowy fi gure
in the painting and the intruder who brings the Red Death are
“creepy.” Students should also mention that the fi gure in the
painting and the intruder exhibit a similar directness and
confrontational manner.
REVIEWSPIRAL
Speaking Practice
CACA ELA LS 1.9 Analyze the occasion and the interests of the
audience and choose eff ective verbal and nonverbal techniques
(e.g., voice, gestures, eye contact) for presentations.
1
1
Progress Check
26 UNIT 1 THE SHORT STORY
After You Read
Respond and Think CriticallyRespond and Interpret1. Did the
ending of the story surprise you? Why
or why not?
2. (a)Describe how the narrator comes upon Henry’s cottage. How
is his cottage different from the other dwellings that the narrator
has seen in the area? (b)Why is this difference surprising?
3. (a)Explain what the narrator learns at the end of the story
about the woman. (b)Why do Henry’s friends wait so long to reveal
the truth to the narrator?
Analyze and Evaluate4. What is the narrator’s attitude toward
the men
who live in the log cabins? Support your answer with evidence
from the story.
5. (a)Identify three or more ways that Twain builds suspense.
(b)Which do you think was most effective?
6. (a)Why do you think Twain decides not to reveal Henry’s
wife’s name? (b)Do you think this makes the story more effective?
Explain.
Connect7. Big Idea Encountering the Unexpected
(a)In what ways does the fi nal twist in the plot change the way
you think about the characters? (b)Do you think Twain intended you
to change your ideas about the character? Why or why not?
8. Connect to Today If “The Californian’s Tale” were set in
today’s society, how would you expect Henry’s friends to react on
the anniver-sary of his wife’s death?
Review: PlotAs you learned on page 8– 9, writers use exposi-tion
to introduce the setting, the characters, and the plot of a story.
In “The Californian’s Tale,” the exposition helps readers picture
the land along the Stanislaus River, the cottage, and Henry. The
expo-sition also helps readers enter into the events wit-nessed by
the narrator once he enters the cottage. Turn to the beginning of
“The Californian’s Tale” and reread Twain’s exposition.
Partner Activity Work with another classmate to fill in a
graphic organizer like the one shown. In the graphic organizer,
record details of the story that help readers gain their first
impressions of the set-ting, characters, and plot. Share your
organizer with the class.
Setting CharactersThe narrator, a prospector
for gold
Plot
Exposition
➞ ➞
Literary Element Foreshadowing
1. Which detail foreshadows the ending of the story?
A Henry’s wife was nineteen when she married.
B The house is perfectly in order and spotlessly clean.
C Tom, Joe, and Charley all speak very highly of Henry’s
wife.
D Henry’s wife wrote a letter remembering all of her friends at
home.
2. Which plot event helps foreshadow the story’s conclusion?
A Henry’s increasing anxiety as the hour of his wife’s return
approaches
B Henry’s hospitality to a complete stranger
C the young wife’s capture by Indians
D the narrator’s delight in Henry’s beautiful house
Standards Practice R 3.6CACA
26
After You Read
Assess1. Answers will vary.2. (a) He is prospecting when he
fi nds Henry’s cozy, well-kept cottage. Miners’ cottages are
dirty and uncomfortable. (b) Other cottages are deserted and
overgrown.
3. (a) Henry’s wife is dead. (b) They may be afraid that the
narrator will tell Henry and upset him.
4. The narrator pities them, calling them “living dead men” and
“poor fellows.”
5. (a) Descriptions of the cottage, the woman, and Henry; the
nar-rator’s desire to see her; Henry’s waiting; and Tom’s
statement, “One more drink and she’ll be here.” (b) Students should
give one example of suspense.
6. (a)To increase the suspense, or to make her a symbol for
women (b) Students may respond to her universality, or say that a
named character would make Henry’s grief more poignant.
7. (a) The miners are kind and sensitive. (b) Answers will
vary.
8. Answers will vary. Some stu-dents may say that friends in
today’s society would be less likely to lie to Henry every year,
and would probably help him to fi nd psychological help.
Can students understand the signifi cance of foreshadowing in
this selection?
If No ➔ See Unit 1 Teaching Resources Book, p 40.
Literary Element
1. B is the correct answer. The immacu-late condition of the
home seems too perfect and creates an uneasy feeling in the
reader.
2. A is the correct answer. Henry seems apprehensive without
reason.
Review: PlotEncourage students to identify the mood that Twain
conveys through the details of plot and setting.
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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UNIVERSAL ACCESSCACA
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,
researched-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 5. Each project offers the
following:
• • a focus on the unit’s Big Ideas
• • connections to the unit’s literature
• • a schedule to guide a student’s work
• • criteria for self-assessment
• • two options for developing the project
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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)
• • technological (such as computer-based presentations)
• • functional (such as a handbook or survey)
Big Ideas Project Option 1 Option 2U N I T O N E
The Short Story
Encountering the UnexpectedMaking ChoicesLife Transitions
Author Study print performance
U N I T T W O
NonfictionThe Power of MemoryQuests and EncountersKeeping
Freedom Alive
Graphic Story visual print
U N I T T H R E E
PoetryThe Energy of the EverydayLoves and LossesIssues of
Identity
Survey oral functional
U N I T F O U R
DramaLoyalty and BetrayalPortraits of Real Life
Set Design technological visual
U N I T F I V E
Epic and Myth
Acts of CourageRescuing and Conquering
Informative Presentation
performance technological
U N I T S I X
Genre Fiction
The Extraordinary and Fantastic Travel Guide functional oral
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UNIVERSAL ACCESSCACA Author Study
The Short StoryBig Idea 1 Big Idea 2 Big Idea 3
Encountering the Unexpected Making Choices Life Transitions
U N I T O N EU N I T O N E
ProjectConduct an author study on a writer in the unit, focusing
on his or her response to one of the Big Ideas. Develop your author
study in a print form or as a performance.
ScheduleConnect and Explore (Weeks 1–2)
• Read literary works in Unit One. • Focus on the Big Ideas.•
Explore ideas for your author
study.
Develop Your Project (Weeks 3–4)
• Identify the author you will study. • Research your author’s
life and
written works. • Choose a medium and create a
draft of your project.
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 literary works in
Unit One• present a thoughtful analysis of an author’s life
and
writing
• show evidence of research• show creativity and attention to
detail
64 California Treasures Standards Road Map
Connect and ExploreConnect to the Literature As you read the
literary works in Unit One, explore your own thoughts on the three
Big Ideas. Use the texts as springboards to exploring other
questions that interest you and help you focus on the Big Ideas.
Record these questions as they occur to you. For example:
• What part of my life this week could be written as a short
story?• What part of my life this week could be written as a short
story?• When have I encountered the unexpected?• When have I
encountered the unexpected?• What sorts of choices do authors make
when they write short stories?• What sorts of choices do authors
make when they write short stories?• What periods of transition
have I already experienced in my life? • What periods of transition
have I already experienced in my life? • What transitions do I
expect to experience in the future?• What transitions do I expect
to experience in the future?
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Universal Access 65
Explore and Develop Ideas To understand how an author’s life
experiences affect his or her writing, first consider your own
thoughts on the Big Ideas. Take time to respond to the questions
you developed while reading Unit One. When you encounter these Big
Ideas in your life, do the experiences affect your overall attitude
or outlook? For example, if you have gone through a period of
transition in your life, how has this given you a better
understanding of others who experience the same sort of change?
Connect to the Big Ideas As you read, focus on the Big Ideas as
well as the texts themselves. Reread the author biographies that
precede the selections, noticing how these writers encountered the
unexpected, made choices, or experienced periods of transition in
their lives. Begin to reflect on how the lives of these authors
affected the development of their writing. Here are some examples
of links between the authors, their biographies, and the Big
Ideas.
• • Encountering the Unexpected Throughout his life, Mark Twain
sought new experiences that later served as raw material for his
stories and sketches. You could present “The Californian’s Tale” as
one result of Twain’s adventures in the West in the early
1860s.
• • Making Choices When Amy Tan went to college, she and her
mother disagreed over what course of study she should follow. Using
“Two Kinds” as a point of departure, you could explore the crucial
role of choice in Tan’s career as a writer.
• • Life Transitions One of the important experiences of Alice
Walker’s life was her involvement with the civil rights movement in
the South during the 1960s. Using her story “Everyday Use” as
background, you could explore how this period helped shaped
Walker’s writing.
Also remember that any author in the unit can be paired with any
Big Idea; for example, you might explore the role of encountering
the unexpected or making choices in the life and work of Alice
Walker.
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UNIVERSAL ACCESSCACA
66 California Treasures Standards Road Map
Develop Your ProjectSelect an Author After reflecting upon the
Big Ideas, select one writer for your author study. Be sure to
choose the author of a story you enjoyed, because your project will
involve reading more of his or her work. You will also be
researching the life of the author, so pick an author who has a
background that you would like to learn more about.
• • Research your author Find out as much as you can about your
author. Remember that your aim in this project is to give your
audience a fuller understanding of the writer’s life. Use the
library and reliable Internet resources for biographical and
autobiographical material, interviews, and critical articles
dealing with your author. If your author is living, look online to
see if he or she has a Web site. Throughout your research, pay
special attention to any life transitions, unexpected encounters,
or important choices that you discover in your author’s past.
During this process of research you can decide which Big Idea to
focus on in your author study.
• • Research your author’s work Now that you know more about
your author, find out where you see traces of autobiography within
his or her body of work. Online sources may help you decide where
to begin your reading by providing lists and summaries of your
author’s writing. You may decide to reference several works by your
author, or to do a more thorough reading of a single story.
Remember that the events of the story you choose and of your
author’s history do not have to perfectly align; you should just be
able to connect the author’s life to the story in some significant
way.
Choose a Medium Think of what medium you would like to use for
your project. Consider your talents, what you are trying to say in
your author study, and the needs of your audience. If you want to
include a lot of your own voice to do a close reading of a story,
an essay may be the best choice. If the story you choose (or an
episode of your author’s life) has potential for being acted out,
think about working with a group to do a performance. Once you have
chosen a medium, begin creating a draft of your report or a script
and plan for your performance.
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Universal Access 67
Revise and PresentRevise Your Author Study At this point, you
have created a rough draft of your print project, or are well into
development of your performance. Now take some time to think about
what is working in your project so far, and what still needs to be
done.
• • Check your organization Make sure your project has an
organization that will help your reader or audience understand and
enjoy your author study. In a report, you may decide to first
present background information on your author’s life, and then move
on to talking about the story you choose. For a performance, you
might choose to overlap a story from your author’s life with a
story he or she wrote. Or you might have someone act the part of
your author, and do a “behind the scenes” narration of a scene from
a story.
• • Check your schedule Look ahead and make sure to schedule
your time appropriately to complete your project. If you will need
to rehearse your performance, have you made sure that everyone
involved is available? If you are creating a print project, have
you left time for an outside reader to check your work?
Refine and Polish Your Project Have a partner read your current
draft or see a rehearsal of your performance. Ask your partner to
give you feedback on the following questions:
• • How does my author study provide insight into my chosen
writer’s life?
• • How does my author study provide insight into this writer’s
work?
• • How does my project relate to one of the Big Ideas?
Share Your Project After using your partner’s feedback to make
any final changes, share your author study. If you are doing a
performance piece for your project, think about inviting other
classes to view your work. Be prepared to talk about your author
study and answer questions.
Look Back After completing your author study, think back on the
entire process. What insight into the Big Ideas did this project
reveal? After learning more about an author, are you inspired to
read more of his or her work? Or is there another author you would
like to learn more about? Consider writing a summary or journal
entry to capture your thoughts and reactions.
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UNIVERSAL ACCESSCACA Graphic Story
NonfictionBig Idea 1 Big Idea 2 Big Idea 3
The Power of Memory Ques