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History and Fantasy
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(SBEF Contents in Brief THE POWER OF IDEAS
Introductory Unit (&/3&4803,4)01 3&"%*/(453"5&(*&4803,4)01 "$"%&.*$70$"#6-"3:803,4)01 83*5*/(130$&44803,4)01
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WHAT’S HAPPENING?
Plot, Conflict, and Setting 5&95"/"-:4*4803,4)01 Setting, Characters, Conflict, Plot 83*5*/(803,4)01 Argument: Supporting an Opinion
PERSON TO PERSON
Analyzing Character and Point of View 5&95"/"-:4*4803,4)01 Narrator, Point of View, Characterization, Motivation 83*5*/(803,4)01 Informative: Comparison-Contrast Essay
THE BIG IDEA
Understanding Theme 5&95"/"-:4*4803,4)01 Identifying Theme 83*5*/(803,4)01 Narrative: Short Story
WRITER’S CRAFT
Sensory Language, Imagery, and Style 5&95"/"-:4*4803,4)01 Sensory Language, Imagery, Style 83*5*/(803,4)01 Informative: Literary Analysis
WORD PICTURES
The Language of Poetry 5&95"/"-:4*4803,4)01 Structure, Sound Devices, Imagery, Figurative Language 83*5*/(803,4)01 Informative: Online Feature Article
TIMELESS TALES
Myths, Legends, and Tales 5&95"/"-:4*4803,4)01 Characteristics and Cultural Values of Traditional and
Classical Literature 83*5*/(803,4)01 Informative: “How-To” Explanation
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LIFE STORIES
Biography and Autobiography 5&95"/"-:4*4803,4)01 Characteristics of Autobiographies, Memoirs, and
Personal Narratives 83*5*/(803,4)01 Personal Narrative
KNOW THE FACTS
Information, Argument, and Persuasion 5&95"/"-:4*4803,4)01 Organizational Patterns, Summarizing 5&95"/"-:4*4803,4)01 Claim, Support, Persuasive Techniques, Faulty Reasoning 83*5*/(803,4)01 Argument: Persuasive Essay
INVESTIGATION AND DISCOVERY
The Power of Research 5&95"/"-:4*4803,4)01 Choosing and Evaluating Sources, Collecting Data 83*5*/(803,4)01 Informative: Research Report
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gradu gradually got weaker and weaker as the ship’s power faded out. Out on the th decks, most passengers now began to move toward the stern17 area, which was slowly lifting out of the water. w By 2:05 there were still over 1,500 people left on the sinking ship. All the lilifeboats were now away, and a strange stillness took hold. People stood quiet quietly on the upper decks, bunching together for warmth, trying to keep away from the side of the tilting ship. Ca Captain Smith now made his way to the radio room and told Harold Bride and Jack Phillips to save themselves. “Men, you have done your full duty, duty,” he told them. “You can do no more. Abandon your cabin. Now it’s every man for himself.” Phillips kept working the radio, hanging on until the very ve last moment. Suddenly Bride heard water gurgling up the deck outsid outside the radio room. Phillips heard it, too, and cried, “Come on, let’s clear out.” Ne Near the stern, Father Thomas Byles had heard confession and given absol absolution18 to over one hundred passengers. Playing to the very end, the mem members of the ship’s brave band finally had to put down their instruments and ttry to save themselves. In desperation, some of the passengers and crew began to jump overboard as the water crept up the slant of the deck. T
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(SBEF Table Ta ab of Contents
Contents in Brief THE POWER OF IDEAS
Introductory Unit (&/3&4803,4)01 3&"%*/(453"5&(*&4803,4)01 "$"%&.*$70$"#6-"3:803,4)01 83*5*/(130$&44803,4)01
L IT E R ARY E L E M EN TS
UNIT
1 2 3 4 5 6 UNIT
UNIT
L ANGUAG E A N D CULT URE
UNIT
UNIT
UNIT
xii
WEAVING A STORY
Plot, Conflict, and Setting 5&95"/"-:4*4803,4)01 Plot, Conflict, Setting, and Character 83*5*/(803,4)01 Argumentative: Supporting an Opinion
PERSONALITY TESTS
Analyzing Character and Point of View 5&95"/"-:4*4803,4)01 Character and Point of View 83*5*/(803,4)01 Informative: Comparison-Contrast Essay
LESSONS TO LEARN
Understanding Theme 5&95"/"-:4*4803,4)01 Theme 83*5*/(803,4)01 Narrative: Short Story
FINDING A VOICE
Mood, Tone, and Style 5&95"/"-:4*4803,4)01 Mood and Style 83*5*/(803,4)01 Informative: Literary Analysis
PICTURE THE MOMENT
Appreciating Poetry 5&95"/"-:4*4803,4)01 Structure, Sound Devices, Imagery, Figurative Language 83*5*/(803,4)01 Informative: Online Feature Article
TIMELESS TALES
Myths, Legends, and Tales 5&95"/"-:4*4803,4)01 Characteristics and Cultural Values of Traditional and
Classical Literature 83*5*/(803,4)01 Informative: How-To Explanation
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N ONF IC TIO N WITH PUR P OSE
UNIT
7 8 9 UNIT
UNIT
WRITING A LIFE
Biography and Autobiography 5&95"/"-:4*4803,4)01 Characteristics of Biographies and Autobiographies 83*5*/(803,4)01 Personal Narrative
FACE THE FACTS
Information, Argument, and Persuasion 5&95"/"-:4*4803,4)01 Structure, Purpose, Text Features, Graphical Aids,
Main Ideas and Supporting Details, Organizational Patterns 83*5*/(803,4)01 Argument: Persuasive Essay
INVESTIGATION AND DISCOVERY
The Power of Research 5&95"/"-:4*4803,4)01 Reference Materials and Technology, Evaluating Sources 83*5*/(803,4)01 Informative: Research Paper
xiii
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Contrasting Points of View
xv
(SBEF Table Ta ab of Contents
Contents in Brief THE POWER OF IDEAS
Introductory Unit (&/3&4803,4)01 3&"%*/(453"5&(*&4803,4)01 "$"%&.*$70$"#6-"3:803,4)01 83*5*/(130$&44803,4)01
L IT E R ARY E L E M EN TS
UNIT
1 2 3 4 5 6 UNIT
UNIT
L ANGUAG E A N D CULT URE
UNIT
UNIT
UNIT
xvi
THE MAIN EVENTS
Plot and Conflict 5&95"/"-:4*4803,4)01 Plot and Conflict 83*5*/(803,4)01 Personal Narrative
THROUGH DIFFERENT EYES
Character and Point of View 5&95"/"-:4*4803,4)01 Character and Point of View 83*5*/(803,4)01 Argument: Critical Review
THE PLACE TO BE
Setting and Mood 5&95"/"-:4*4803,4)01 Setting and Mood 83*5*/(803,4)01 Informative: Comparison-Contrast Essay
A WORLD OF MEANING
Theme and Symbol 5&95"/"-:4*4803,4)01 Theme and Symbol 83*5*/(803,4)01 Narrative: Short Story
PAINTING WITH WORDS
Poetry 5&95"/"-:4*4803,4)01 Appreciating Poetry 83*5*/(803,4)01 Informative: Online Feature Article
A UNIQUE IMPRINT
Style, Voice, and Tone 5&95"/"-:4*4803,4)01 Style, Voice, and Tone 83*5*/(803,4)01 Informative: Literary Analysis
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FACT S A N D O P INION S
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UNIT
UNIT
OUR PLACE IN THE WORLD
History, Culture, and the Author 5&95"/"-:4*4803,4)01 History, Culture, and the Author 83*5*/(803,4)01 Informative: Cause-and-Effect Essay
BELIEVE IT OR NOT
Biography and Autobiography 5&95"/"-:4*4803,4)01 Reading Informational Text 83*5*/(803,4)01 Informative: Procedural Text
STATE YOUR CASE
Argument and Persuasion 5&95"/"-:4*4803,4)01 Elements of Persuasive Text 83*5*/(803,4)01 Argument: Persuasive Essay
INVESTIGATION AND DISCOVERY
The Power of Research 3&4&"3$)453"5&(*&4803,4)01 83*5*/(803,4)01 Informative: Research Paper
STUDENT RESOURCE BANK
17
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Annemarie outdistanced her friend quickly, even though one of her shoes came untied as she sped along the street called Østerbrogade, past the small shops and cafés of her neighborhood here in northeast Copenhagen. Laughing, she skirted an elderly lady in black who carried a shopping bag made of string. A young woman pushing a baby in a carriage moved aside to make way. The corner was just ahead. Annemarie looked up, panting, just as she reached the corner. Her laughter stopped. Her heart seemed to skip a beat. “Halte!” the soldier ordered in a stern voice. The German word was as familiar as it was frightening. Annemarie had heard it often enough before, but it had never been directed at her until now.
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threads fraying, fabric wearing thin—
10
but made to keep its warmth even in bitter cold. ß ß REMNANTSßLEFTOVERSßREMAINDERS
the power of ideas
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The ittle rincess
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5
10
Becky. I just wanted to ask you, miss—you’ve been such a rich young lady and been waited on hand and foot. What’ll you do now, miss, without any maid? Please, would you let me wait on you after I’m done with my pots and kettles? Sara (with a sob). Oh, Becky! Do you remember when I told you that we were just the same? Not a rich girl and a poor girl, but just two girls. Becky. Yes, miss. You said it was an accident that I was not you and you were not me. Sara. Well, you see how true it is, Becky. There’s no difference now. I’m not a princess any more. (becky presses sara’s hand to her cheek.) Becky. Yes, miss, you are! Whatever happens to you, you’ll be a princess just the same—and nothing could make it any different.
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the power of ideas
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10
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When Steven Spielberg was ten, his father woke him up and took him out to the desert near where they lived in Phoenix, Arizona. They spread out a blanket and lay on their backs looking up at the sky. Steven’s father, Arnold Spielberg, liked astronomy and hoped to see a comet that was supposed to appear. Instead, they saw a meteor shower. “The stars were just tremendous,” recalled Arnold. “They were so intense it was frightening.” He gave Steven a scientific explanation of what was happening. “But I didn’t want to hear that,” said Steven. “I wanted to think of them as falling stars.” That memory of falling stars stayed with him and inspired his first full-length movie, Firelight.
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Meteors
3TUDENTßREFERENCEßARTICLE
Meteors are small particles of stone and iron that enter the Earth’s atmosphere at great speeds. Friction with the atmosphere causes intense heat, triggering the meteor to give off a brilliant light. This flying bright light creates the appearance of a shooting or falling star.
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Meteorites Most meteors burn up before they reach the Earth’s surface. Occasionally, though, very large meteors—called meteorites—make impact with the Earth’s surface.
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This meteorite was found at the edge of the Kalahari Desert.
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GRAPHICßORGANIZER !FTERßREADING ßCREATEßAßGRAPHICßORGANIZERßTOßDEEPENß YOURßUNDERSTANDINGßOFßEVENTSßANDßCHARACTERSß BeckyÕs Traits
Evidence
polite comforting
calls Sara ÒmissÓ presses SaraÕs hand to her cheek
loyal
tells Sara she is still a princess no matter what
introducing the essentials
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My Experiences
Inference
Martha couldnÕt play sports because of cost.
I couldnÕt go to playoffs because of expense.
MarthaÕs grandparents donÕt have extra money.
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Marta Salinas
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he small Texas school that I went to had a tradition carried out every year during the eighth-grade graduation: a beautiful gold and green jacket (the school colors) was awarded to the class valedictorian, the student who had maintained the highest grades for eight years. The scholarship jacket had a big gold S on the left front side and your name written in gold letters on the pocket. My oldest sister, Rosie, had won the jacket a few years back, and I fully expected to also. I was fourteen and in the eighth grade. I had been a straight A student since the first grade and this last year had looked forward very much to owning that jacket. My father was a farm laborer who couldn’t earn enough money to feed eight children, so when I was six I was given to my grandparents to raise. We couldn’t participate in sports at school because there were registration fees, uniform costs, and trips out of town; so, even though our family was quite agile and athletic there would never be a school sports jacket for us. This one, the scholarship jacket, was our only chance. Aß In May, close to graduation, spring fever had struck as usual with a vengeance.1 No one paid any attention in class; instead we stared out the windows and at each other, wanting to speed up the last few weeks of
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unit 2: analyzing character and point of view
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Bernadita (1922), Robert Henri. Oil on canvas, 24 1/8˝ × 20 1/8˝. Gift of the San Diego Wednesday Club. © San Diego Museum of Art (1926:138).
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school. I despaired every time I looked in the mirror. Pencil thin, not a curve anywhere. I was called “beanpole” and “string bean,” and I knew that’s what I looked like. A flat chest, no hips, and a brain; that’s what I had. That really wasn’t much for a fourteen-year-old to work with, I thought, as I absent-mindedly wandered from my history class to the gym. Another hour of sweating in basketball and displaying my toothpick legs was coming up. Then I remembered my P.E. shorts were still in a bag under my desk where I’d forgotten them. I had to walk all the way back and get them. Coach Thompson was a real bear if someone wasn’t dressed for P.E. She had said I was a good forward and even tried to talk Grandma into letting me join the team once. Of course Grandma said no.
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the scholarship jacket
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Q
What does Prometheus ask Zeus?
A
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BACKGROUNDßTOßTHEßMYTHS :EUS ß0ROMETHEUS ßANDß(ADESß 4HEß'REEKßGODSßWEREßNOTßALLßEQUALßINß POWERßORßSTATUSßß0ROMETHEUSßWASßAß PARTßOFßAßFAMILYßOFßGIANTS ßTHEß4ITANSßß :EUSßDEFEATEDßTHEMßANDßBECAMEßRULERß OFßALLßGODSßß(EßORDEREDß0ROMETHEUSßTOß CREATEßHUMANSßß(ADES ßWHOßAPPEARSß INß±/RPHEUSßANDß%URYDICE ²ßWASßTHEß RULERßOFßTHEßUNDERWORLDßß(E ßTOO ß ANSWEREDßTOß:EUS
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Retold by
Bernard Evslin
P
10
rometheus was a young Titan, no great admirer of Zeus. Although he knew the great lord of the sky hated explicit questions, he did not hesitate to beard1 him when there was something he wanted to know. One morning he came to Zeus and said, “O Thunderer, I do not understand your design. You have caused the race of man2 to appear on earth, but you keep him in ignorance and darkness.” “Perhaps you had better leave the race of man to me,” said Zeus. “What you call ignorance is innocence. What you call darkness is the shadow of my decree. Man is happy now. And he is so framed that he will remain happy unless someone persuades him that he is unhappy. Let us not speak of this again.” But Prometheus said, “Look at him. Look below. He crouches in caves. He is at the mercy of beast and weather. He eats his meat raw. If you mean something by this, enlighten me with your wisdom. Tell me why you refuse to give man the gift of fire.” Aß
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unit 6: myths, legends, and tales
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Detail from Prometheus Carrying Fire, Jan Cossiers. Prado, Madrid. © Art Resource, New York.
prometheus
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Zeus answered, “Do you not know, Prometheus, that every gift brings a penalty? This is the way the Fates3 weave destiny—by which gods also must abide. Man does not have fire, true, nor the crafts which fire teaches. On the other hand, he does not know disease, warfare, old age, or that inward pest called worry. He is happy, I say, happy without fire. And so he shall remain.” “Happy as beasts are happy,” said Prometheus. “Of what use to make a separate race called man and endow4 him with little fur, some wit, and a curious charm of unpredictability? If he must live like this, why separate him from the beasts at all?” “He has another quality,” said Zeus, “the capacity for worship. An aptitude for admiring our power, being puzzled by our riddles and amazed by our caprice.5 That is why he was made.” “Would not fire, and the graces he can put on with fire, make him more interesting?” “More interesting, perhaps, but infinitely more dangerous. For there is this in man too: a vaunting pride that needs little sustenance6 to make it swell to giant size. Improve his lot, and he will forget that which makes him pleasing—his sense of worship, his humility. He will grow big and poisoned with pride and fancy himself a god, and before we know it, we shall see him storming Olympus. Enough, Prometheus! I have been patient with you, but do not try me too far. Go now and trouble me no more with your speculations.” Prometheus was not satisfied. All that night he lay awake making plans. Then he left his couch at dawn and, standing tiptoe on Olympus, stretched his arm to the eastern horizon where the first faint flames of the sun were flickering. In his hand he held a reed filled with a dry fiber; he thrust it into the sunrise until a spark smoldered. Then he put the reed in his tunic and came down from the mountain. B At first men were frightened by the gift. It was so hot, so quick; it bit sharply when you touched it and for pure spite made the shadows dance. They thanked Prometheus and asked him to take it away. But he took the haunch of a newly killed deer and held it over the fire. And when the meat began to sear and sputter, filling the cave with its rich smells, the people felt themselves melting with hunger and flung themselves on the meat and devoured it greedily, burning their tongues. “This that I have brought you is called ‘fire,’” Prometheus said. “It is an ill-natured spirit, a little brother of the sun, but if you handle ß ß THEß&ATESßINß'REEKßMYTHOLOGY ßTHEßTHREEßGODDESSESßWHOßDECIDEßTHEßCOURSEßOFßPEOPLE´SßLIVES ß ß ENDOWß 9["Q\bE ßTOßPROVIDEßWITHßAßQUALITYßORßTALENT ß ß CAPRICEß X:"]_8`E ßTHEßQUALITYßOFßACTINGßWITHOUTßPLANNINGßORßTHINKINGßBEFOREHAND ß ß VAUNTINGßPRIDEßTHATßNEEDSßLITTLEßSUSTENANCEßBOASTFULßPRIDEßTHATßNEEDSßLITTLEßSUPPORT
unit 6: myths, legends, and tales
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my house, with pride, and invited her to come visit, and I showed her snapshots of my cycling career. She leafed through images of me racing across the backdrops of France, Italy, and Spain, and she’d point to a picture and ask, “Where are you here?” B I confided that I was worried about my sponsor, Cofidis,3 and explained the difficulty I was having with them. I told her I felt pressured. “I need to stay in shape, I need to stay in shape,” I said over and over again. “Lance, listen to your body,” she said gently. “I know your mind wants to run away. I know it’s saying to you, ‘Hey, let’s go ride.’ But listen to your body. Let it rest.” I described my bike, the elegant high performance of the ultralight tubing and aerodynamic wheels. I told her how much each piece cost, and weighed, and what its purpose was. I explained how a bike could be broken down so I could practically carry it in my pocket, and that I knew every part and bit of it so intimately that I could adjust it in a matter of moments. I explained that a bike has to fit your body, and that at times I felt melded to it. The lighter the frame, the more responsive it is, and my racing bike weighed just 18 pounds. Wheels exert centrifugal force4 on the bike itself, I told her. The more centrifugal force, the more momentum. It was the essential building block of speed. “There are 32 spokes in a wheel,” I said. Quick-release levers allow you to pop the wheel out and change it quickly, and my crew could fix a flat tire in less than 10 seconds. “Don’t you get tired of leaning over like that?” she asked. Yes, I said, until my back ached like it was broken, but that was the price of speed. The handlebars are only as wide as the rider’s shoulders, I explained, and they curve downward in half-moons so you can assume an aerodynamic stance on the bike. “Why do you ride on those little seats?” she asked. The seat is narrow, contoured to the anatomy, and the reason is that when you are on it for six hours at a time, you don’t want anything to chafe your legs. Better a hard seat than the torture of saddle sores. Even the clothes have a purpose. They are flimsy for a reason: to mold to the body because you have to wear them in weather that ranges from hot to hail. Basically, they’re a second skin. The shorts have a chamois padded5 seat, and the stitches are recessed to avoid rash. C When I had nothing left to tell LaTrice about the bike, I told her about the wind. I described how it felt in my face and in my hair. I told her about being in the open air, with the views of soaring Alps, and the ß ß #OFIDISßTHEßSPONSORßOFßTHEß&RENCHßCYCLINGßTEAMßTHATß!RMSTRONGßTHENßRODEßFOR ß ß CENTRIFUGALß `9["a_
