Reading Short Stories . . . . . . . . . . . . . . . . . . . . . . . . . . 2 Alice Walker Everyday Use Juanita Platero and Siyowin Miller Chee’s Daughter Amy Tan Two Kinds Judith Ortiz Cofer Catch the Moon Ray Bradbury A Sound of Thunder

Reading Poetry. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Gwendolyn Brooks Horses Graze Robert Frost The Road Not Taken Naomi Shihab Nye Making a Fist Jean Toomer Reapers

Reading Drama . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 Sophocles from Antigone William Shakespeare from The Tragedy of Julius Caesar

Reading Legends. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 Sir Thomas Malory from Le Morte d’Arthur D. T. Niane from Sundiata Joseph Bruchac and Where the Girl Rescued Her Gayle Ross Brother

Reading Novels . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 The Glencoe Reader

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Reading “Tell me a story.” Babies start asking to hear stories almost as soon as they can speak. Children want tales of talking animals and princesses and nonsense and magic. Even though people change their minds about the kinds of stories they like, their appetite for stories doesn’t fade as they grow older.

A short story is a short piece of fiction—writing about imaginary people and events. Even when a short story includes true events or real characters, it is never a factual account. How short are short stories? Some are just a few paragraphs in length, but others may stretch to many pages.

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There are many kinds of short stories. Read this list. Make a check beside each kind of story that you have read. On the lines, write a kind of story you enjoy reading and explain why.

ghost story

thriller

tall tale

science fiction

mystery

adventure

tragedy

romance

legend

People read short stories for all sorts of reasons. Sometimes they read just to fill the time or to help themselves get to sleep. Often, though, there’s a deeper reason. Stories take readers places they may never be

able to go—or want to go—in their own lives. What is it like to fight in a war, live under a dictator, come near drowning, or travel to Mars? Short stories can give you new and thought-provoking experiences.

Short stories are organized by plot or story line. Plots often include a conflict, which is a struggle between people, ideas, or forces. Most plots develop in five stages: exposition, rising action, climax, falling action, and resolution. • Exposition provides background information about the characters, the setting, and the conflict. Climax • Rising action adds complications to the conflict. • The climax is the point of greatest interest or suspense. • Falling action tells what happens to the characters as a result of the climax. • The resolution shows how the conflict is resolved.

Exposition

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Falling action

Rising action

Resolution

D Most short stories have some literary elements in common. Check out the beginning of “As It Is with Strangers” by Susan Beth Pfeffer. Point of view identifies who is telling the story. A narrator who is outside the story refers to characters in the third person as he or she. In this story, however, the narrator is a character within the story. She uses the first person, referring to herself as I.

Plot is the sequence of events that captures your interest.

Dialogue is what people say to each other. In real life and in short stories, you can learn a lot about a person from what he or she says.

Characterization is the way an author reveals a character’s personality. Here you learn that the narrator has a sense of humor.

Setting is the story’s time and place.

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IT WASN’T UNTI L right before I went to bed on Th ursday that Mom bothered to tell me the son she’d given up for adoptio n twenty years earlier was coming over for supper th e next day. “What son?” I ask ed. “I’m sure I’ve told you about him,” Mom said. “You mu st have forgotten.” I figured I probably had. I’m always forgetting lit tle things like my homework assignme nts and being elected President of the United State s. Having an older bro ther must have just slipped my mi nd. “How’d you tw o find each other?” I asked. Presumably Mom had never tol d me that. “I registered with an agency,” she said. “Put my name and address in a book, so if he ever wanted to find me ,

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Susan Beth P feffer he could. I guess he did. Don’t be late for supper tomorrow .” “I won’t be,” I pro mised. This was one reunion I had no intention of missing. School the next da y really dragged on. School never go es fast on Fridays, but when your mind is on some newly acquired half brothe r, it’s real hard to car e about Julius Caesar. I didn’t tell anybod y, though. It seemed to me it was Mom’s story, not mine, and besides, my friends all think she’s crazy anyway. Probably from things I’ve sai d over the years. I went straight ho me from school, and was surprised, first to find the pla ce spotless, and then to see Mom in the kitchen cooking aw ay. “I took a sick day,” she informed me. “So I could pre pare better.”

Try it out! Circle some lines of dialogue in the story.

These reading strategies will be especially useful when you read short stories. Predict: Stop every so often to guess what is going to happen next. Then read to see if the story fits your prediction.

Respond: It’s fun and helpful to put yourself in a story as you read. Would I do that? What would I like to say to her right now?

Question: Ask yourself basic questions and try to answer them: Why did he do that? Where is this scene taking place? Who is she?

Summarize: Make sure you understand the narrative. Stop every so often to recap what has happened. For more on reading strategies, see pages 366–372 in the Reading Handbook.

Read the short stories that follow. Be sure to • analyze the literary elements that contribute to the short story • use reading strategies to help you get the most from your reading

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SHORT STORY

List and Discuss What objects do you now own that you would like future family members to treasure? On the lines below, list your three most prized possessions and explain why you value them. Share your list with a small group of students.

In this short story, you’ll meet Mama and her two daughters, Maggie and Dee, who disagree about the worth of certain family possessions.

Building Background The story takes place on a Southern farm in the 1970s. During this time, old ways of thinking were clashing with new ideas. In “Everyday Use,” even homemade objects—such as family quilts—stir up disagreements about how to view the past.

Vocabulary Preview Read the definitions of these words from “Everyday Use.” Use the pronunciation guides to help you say each word aloud. As you read the story, use context clues to help unlock the meaning of these words and any others you don’t know. sidle (s
¯dəl) v. to move sideways, especially in a way that does not attract attention or cause disturbance; p. 6 furtive (furtiv) adj. secret; shifty; sly; p. 8 oppress (ə pres) v. to control or govern by the cruel and unjust use of force or authority; p. 10 doctrine (doktrin) n. a particular rule or belief that is taught; p. 11 priceless (pr
¯slis) adj. of greater value than can be measured; p. 13

• Quilts are bed covers made from scraps of fabric sewn together. • People made quilts as a way of making sure that nothing went to waste—not even scraps of fabric from worn-out clothes. • Women created complex quilt patterns by arranging the scraps. • Many quilts are works of art.

Setting a Purpose for Reading Read to find out what things and ideas Mama, Maggie, and Dee value. Graphic Organizer Organizer Graphic

As you read, use the following Foldable to help you track what each character values.

1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from side to side, leaving a 1/2-inch tab along one side. 2. Turn the paper, fold it into thirds. Then unfold it. 3. Through the top layer of the paper, cut along each of the fold lines to form three flaps as shown. 4. Write Ideas and Things They Value along the bottom tab. Label the three flaps Mama, Maggie, and Dee. 5. Under each flap, record what each character thinks is important. 4

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As you read, circle words that you find interesting or that you don’t understand. Later you’ll add them to your Hot Words Journal at the back of this book.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Connect Think It Over: Draw Conclusions Literary Element: Characterization Reading Coach: Understanding Long Sentences

Understanding Long Sentences The long sentences in the story seem to imitate the way that Mama, the narrator, speaks. Make these long sentences easier to read by breaking them up into smaller parts.

Alice Walker

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Circle the punctuation marks in the boxed sentence. Then reread the sentence. When you see a colon (:) or a period, come to a full stop. When you see a comma, pause. A

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will wait for her in the yard that Maggie and I made so clean and wavy yesterday afternoon. A yard like this is more comfortable than most people know. It is not just a yard. It is like an extended living room. When the hard clay is swept clean as a floor and the fine sand around the edges lined with tiny, irregular grooves, anyone can come and sit and look up into the elm tree and wait for the breezes that never come inside the house. Maggie will be nervous until after her sister goes: she will stand hopelessly in corners, homely and ashamed of the burn scars down her arms and legs, eying her sister with a mixture of envy and awe. A She thinks her sister has held life always in the palm of one hand, that “no” is a word the world never learned to say to her. You’ve no doubt seen those TV shows where the child who has “made it” is confronted, as a surprise, by her own mother and father, tottering in weakly from backstage. (A pleasant surprise, of course: What would they do if parent and child came on the show only to curse out and insult each other?) On TV mother and child embrace and smile into each other’s faces. Sometimes the mother and father weep, the child wraps them in her arms and leans across the table to tell how she would not have made it without their help. I have seen these programs. Sometimes I dream a dream in which Dee and I are suddenly brought together on a TV program of this sort. Out of a dark and soft-seated limousine I am ushered into a bright room filled with many people. There I meet a smiling, gray, sporty man like Johnny Carson who shakes my hand and tells me what a fine girl I have. Then we are on the stage and Dee is embracing me with tears in her eyes. She pins on my dress a large orchid, even though she has told me once that she thinks orchids are tacky flowers. B

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Connect You’ll enjoy a story more if you link what you read to your own life. Here Mama dreams that she and her daughter Dee are reunited on a TV talk show. How do you think Mama feels? How would you feel if you and a loved one were brought together on a TV talk show you have watched? B Model: Mama feels really glamorous and important, just like a movie star. I can picture myself feeling the same way.

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Choose your own words As you continue reading the story, circle words you find interesting or difficult. You’ll come back to these words later.

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Draw Conclusions When you draw a conclusion, you put details together to make a general statement about something. Mark th e text

Underline words and phrases in this paragraph that tell you what Mama can do in real life. What conclusion can you draw from these details about the kind of person she is? Check the best answer. C

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❏ Mama is a strong, hardworking woman.

❏ Mama is concerned about how she looks.

❏ Mama cares more about animals than people.

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Keep This in Mind Use these symbols to record your reactions as you read.

? I have a question about something here.

! This really caught my attention. ★ This information is important.

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Read Aloud When you come to an underlined vocabulary word, try this strategy. First read aloud the sentence in which the word appears. Then reread the sentence, substituting the definition at the bottom of the page for the underlined word.

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In real life I am a large, big-boned woman with rough, man-working hands. In the winter I wear flannel nightgowns to bed and overalls during the day. I can kill and clean a hog as mercilessly as a man. My fat keeps me hot in zero weather. I can work outside all day, breaking ice to get water for washing; I can eat pork liver cooked over the open Did You Know? Johnny Carson hosted The fire minutes after it comes steaming from Tonight Show, the popular the hog. One winter I knocked a bull calf late-night TV talk show, from 1962 to 1992. straight in the brain between the eyes with a sledge hammer and had the meat hung up to chill before nightfall. But of course all this does not show on television. I am the way my daughter would want me to be: a hundred pounds lighter, my skin like an uncooked barley pancake. My hair glistens in the hot bright lights. Johnny Carson has much to do to keep up with my quick and witty tongue. C But that is a mistake. I know even before I wake up. Who ever knew a Johnson with a quick tongue? Who can even imagine me looking a strange white man in the eye? It seems to me I have talked to them always with one foot raised in flight, with my head turned in whichever way is farthest from them. Dee, though. She would always look anyone in the eye. Hesitation was no part of her nature. “How do I look, Mama?” Maggie says, showing just enough of her thin body enveloped in pink skirt and red blouse for me to know she’s there, almost hidden by the door. “Come out into the yard,” I say. Have you ever seen a lame animal, perhaps a dog run over by some careless person rich enough to own a car, sidle up to someone who is ignorant enough to be kind to him? That is the way my Maggie walks. She has been like this, chin on chest, eyes on ground, feet in shuffle, ever since the fire that burned the other house to the ground. Dee is lighter than Maggie, with nicer hair and a fuller figure. She’s a woman now, though sometimes I forget. How long ago was it Vocabulary sidle (s¯
d əl) v. to move sideways, especially in a way that does not attract attention or cause disturbance

that the other house burned? Ten, twelve years? Sometimes I can still hear the flames and feel Maggie’s arms sticking to me, her hair smoking and her dress falling off her in little black papery flakes. Her eyes seemed stretched open, blazed open by the flames reflected in them. And Dee. I see her standing off under the sweet gum tree she used to dig gum out of; a look of concentration on her face as she watched the last dingy gray board of the house fall in toward the red-hot brick chimney. Why don’t you do a dance around the ashes? I’d wanted to ask her. She had hated the house that much. I used to think she hated Maggie, too. But that was before we raised the money, the church and me, to send her to Augusta1 to school. She used to read to us without pity; forcing words, lies, other folks’ habits, whole lives upon us two, sitting trapped and ignorant underneath her voice. She washed us in a river of makebelieve, burned us with a lot of knowledge we didn’t necessarily need to know. Pressed us to her with the serious way she read, to shove us away at just the moment, like dimwits, we seemed about to understand. Dee wanted nice things. A yellow organdy 2 dress to wear to her graduation from high school; black pumps to match a green suit she’d made from an old suit somebody gave me. She was determined to stare down any disaster in her efforts. Her eyelids would not flicker for minutes at a time. Often I fought off the temptation to shake her. At sixteen she had a style of her own: and knew what style was. D

Don’t forget about your Foldable! As you read, remember to jot down important experiences from Mama’s, Maggie’s, and Dee’s lives.

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Connect Do you know anyone like Dee? Explain. D

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iterary I never had an education myself. After second grade the school was closed down. Don’t ask me why: in 1927 colored asked fewer questions than they do now. Sometimes Maggie reads to me. She stumbles along good-naturedly but can’t see well. She knows she is not bright. Like good looks and money, quickness passed her by. She will marry John Thomas (who has mossy teeth in an earnest face) and then I’ll be free to sit here and I guess just sing church songs to myself. Although I never was a good singer. Never could carry a tune. I was always better at a man’s job. I used to love to milk till I was hooked in the side in ‘49. Cows are soothing and slow and don’t bother you, unless you try to milk them the wrong way. E

lement

Characterization Characterization refers to the ways that a writer develops characters. Some of these ways include how the characters look, act, and think. Mark th e text

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Underline the words in the paragraph that describe Maggie’s personality. What can you tell about Maggie from these details? Write your answer on the lines below. E

1. Augusta is a city in Georgia. 2. Organdy is a lightweight fabric, usually made of cotton. The Glencoe Reader

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Respond What is your reaction to Maggie’s comment about Dee? F

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Step 1 Ask yourself how well you understand what you have read so far. If you put question marks next to anything, these strategies can help you answer your questions.

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I have deliberately turned my back on the house. It is three rooms, just like the one that burned, except the roof is tin; they don’t make shingle roofs any more. There are no real windows, just some holes cut in the sides, like the portholes in a ship, but not round and not square, with rawhide holding the shutters up on the outside. This house is in a pasture, too, like the other one. No doubt when Dee sees it she will want to tear it down. She wrote me once that no matter where we “choose” to live, she will manage to come see us. But she will never bring her friends. Maggie and I thought about this and Maggie asked me, “Mama, when did Dee ever have any friends?” F She had a few. Furtive boys in pink shirts hanging about on washday after school. Nervous girls who never laughed. Impressed with her they worshiped the well-turned phrase, the cute shape, the scalding humor that erupted like bubbles in lye. She read to them. When she was courting Jimmy T she didn’t have much time to pay to us, but turned all her faultfinding power on him. He flew to marry a cheap city girl from a family of ignorant flashy people. She hardly had time to recompose herself.

• Reread confusing passages slowly or read them aloud. • Think about connections between the story and your own life. • Ask a classmate or a teacher, parent, or other adult for help.

Step 2 When you understand what you have read, write a onesentence summary of the story so far. Be sure your summary tells who, what, where, when, and why. 130

When she comes I will meet—but there they are! Maggie attempts to make a dash for the house, in her shuffling way, but I stay her with my hand. “Come back here,” I say. And she stops and tries to dig a well in the sand with her toe. It is hard to see them clearly through the strong sun. But even the first glimpse of leg out of the car tells me it is Dee. Her feet were always neat-looking, as if God himself had shaped them with a certain style. From the other side of the car comes a short, stocky man. Hair is all over his head a foot long and hanging from his chin like a kinky mule tail. I hear Maggie suck in her breath. “Uhnnnh,” is what it sounds like. Like when you see the wriggling end of a snake just in front of your foot on the road. “Uhnnnh.”

Vocabulary furtive (fur tiv) adj. secret; shifty; sly 8

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Dee next. A dress down to the ground, in this hot weather. A dress so loud it hurts my eyes. There are yellows and oranges enough to throw back the light of the sun. I feel my whole face warming from the heat waves it throws out. Earrings gold, too, and hanging down to her shoulders. Bracelets dangling and making noises when she moves her arm up to shake the folds of the dress out of her armpits. The dress is loose and flows, and as she walks closer, I like it. I hear Maggie go “Uhnnnh” again. It is her sister’s hair. It stands straight up like the wool on a sheep. It is black as night and around the edges are two long pigtails that rope about like small lizards disappearing behind her ears. G “Wa-su-zo-Tean-o!” she says, coming on in that gliding way the dress makes her move. The short stocky fellow with the hair to his navel is all grinning and follows up with “Asalamalakim,3 my mother and sister!” He moves to hug Maggie but she falls back, right up against the back of my chair. I feel her trembling there and when I look up I see the perspiration falling off her chin. “Don’t get up,” says Dee. Since I am stout it takes something of a push. You can see me trying to move a second or two before I make it. She turns, showing white heels through her sandals, and goes back to the car. Out she peeks next with a Polaroid. She stoops down quickly and lines up picture after picture of me sitting there in front of the house with Maggie cowering behind me. She never takes a shot without making sure the house is included. When a cow comes nibbling around the edge of the yard she snaps it and me and Maggie and the house. Then she puts the Polaroid in the back seat of the car, and comes up and kisses me on the forehead. H Meanwhile Asalamalakim is going through motions with Maggie’s hand. Maggie’s hand is as limp as a fish, and probably as cold, despite the sweat, and she keeps trying to pull it back. It looks like Asalamalakim wants to shake hands but wants to do it fancy. Or maybe he don’t know how people shake hands. Anyhow, he soon gives up on Maggie. “Well,” I say. “Dee.” “No, Mama,” she says. “Not ‘Dee,’ Wangero Leewanika Kemanjo!”4

Visualize Try to picture how Mama describes Dee. Sketch what you see in your mind’s eye in the frame below. G

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Your Sketch

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Draw Conclusions Underline details in this paragraph that tell what Dee wants to include in her photos. What can you conclude about why she takes these snapshots? H

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3. Wa-su-zo-Tean-o! (wa soo z¯o t¯en o ¯ ) and Asalamalakim (a sal a ma la k¯em) are greetings. 4. Wangero Leewanika Kemanjo (wan ¯ar o¯ l¯e wa n¯e kə ke manjo¯) The Glencoe Reader

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Monitor Comprehension Do you understand what’s happening? Mama is reacting to Dee’s new name, Wangero. Skim back over the dialogue in the boxed text and put a check mark next to the statement that best summarizes why Dee changed her name. I

❏ She doesn’t want to have the same name as her aunt.

❏ She thinks her name is old-

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fashioned because it dates back before the Civil War.

❏ She says the name Dee came from white people, not from her real ancestors.

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Understanding Long Sentences Make this long sentence easier to read by breaking it into three smaller parts. Mark th e text

Circle the commas and the connecting words but and so. Then reread the sentence as three short sentences, stopping at each comma and at the period. J

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“What happened to ‘Dee’?” I wanted to know. “She’s dead,” Wangero said. “I couldn’t bear it any longer, being named after the people who oppress me.” “You know as well as me you was named after your aunt Dicie,” I said. Dicie is my sister. She named Dee. We called her “Big Dee” after Dee was born. “But who was she named after?” asked Wangero. “I guess after Grandma Dee,” I said. “And who was she named after?” asked Wangero. “Her mother,” I said, and saw Wangero was getting tired. “That’s about as far back as I can trace it,” I said. Though, in fact, I probably could have carried it back beyond the Civil War through the branches. I “Well,” said Asalamalakim, “there you are.” “Uhnnnh,” I heard Maggie say. “There I was not,” I said, “before ‘Dicie’ cropped up in our family, so why should I try to trace it that far back?” He just stood there grinning, looking Did You Know? down on me like somebody inspecting a The Model A was Model A car. Every once in a while he manufactured by the Ford Motor Company from 1927 and Wangero sent eye signals over my to 1931. head. “How do you pronounce this name?” I asked. “You don’t have to call me by it if you don’t want to,” said Wangero. “Why shouldn’t I?” I asked. “If that’s what you want us to call you, we’ll call you.” “I know it might sound awkward at first,” said Wangero. “I’ll get used to it,” I said. “Ream it out again.” Well, soon we got the name out of the way. Asalamalakim had a name twice as long and three times as hard. After I tripped over it two or three times he told me to just call him Hakim-a-barber.5 I wanted to ask him was he a barber, but I didn’t really think he was, so I didn’t ask. J 5. Hakim-a-barber (ha k¯em´ a bar bər)

Vocabulary oppress (ə pres) v. to control or govern by the cruel and unjust use of force or authority 10

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READ ALOUD

“You must belong to those beef cattle peoples down the road,” I said. They said “Asalamalakim” when they met you, too, but they didn’t shake hands. Always too busy: feeding the cattle, fixing the fences, putting up salt-lick shelters, throwing down hay. When the white folks poisoned some of the herd the men stayed up all night with rifles in their hands. I walked a mile and a half just to see the sight. Hakim-a-barber said, “I accept some of their doctrines, but farming and raising cattle is not my style.” (They didn’t tell me, and I didn’t ask, whether Wangero (Dee) had really gone and married him.) We sat down to eat and right away he said he didn’t eat collards and pork was unclean. Wangero, though, went on through the chitlins and corn bread, the greens and everything else. She talked a blue streak over the sweet potatoes. Everything delighted her. Even the fact that we still used the benches her daddy made for the table when we couldn’t afford to buy chairs. K “Oh, Mama!” she cried. Then turned to Hakim-a-barber. “I never knew how lovely these benches are. You can feel the rump prints,” she said, Dasher/Plunger running her hands underneath her and along the bench. Then she gave a sigh and her hand closed over Grandma Dee’s butter dish. “That’s it!” she said. “I knew Churn there was something I wanted to ask you if I could have.” She jumped up from the table and went over in the corner where Did You Know? the churn stood, the milk in it clabber6 A dasher is the plunger of a churn, a device used to stir by now. She looked at the churn and cream to make butter. looked at it. “This churn top is what I need,” she said. “Didn’t Uncle Buddy whittle it out of a tree you all used to have?” “Yes,” I said. “Uh huh,” she said happily. “And I want the dasher, too.” L “Uncle Buddy whittle that, too?” asked the barber.

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Build Fluency Find a quiet place and practice reading the boxed passage aloud. You may need to read it several times before you can read all the sentences smoothly and with expression. K

otes Your N

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Evaluate What’s your opinion of Dee’s requests to Mama? Write your answer below. L 240

6. Clabber is the thick, clotted part of sour milk.

Vocabulary doctrine (dok trin) n. a rule or belief that is taught The Glencoe Reader

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Connect Pretend you’re sitting at the table next to Mama. Ask yourself, How would I feel right now if Dee asked me for these household things? Write your response here. M

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Predict Will Mama give Dee the quilts? Why or why not? N

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Dee (Wangero) looked up at me. “Aunt Dee’s first husband whittled the dash,” said Maggie so low you almost couldn’t hear her. “His name was Henry, but they called him Stash.” “Maggie’s brain is like an elephant’s,” Wangero said, laughing. “I can use the churn top as a centerpiece for the alcove7 table,” she said, sliding a plate over the churn, “and I’ll think of something artistic to do with the dasher.” M When she finished wrapping the dasher the handle stuck out. I took it for a moment in my hands. You didn’t even have to look close to see where hands pushing the dasher up and down to make butter had left a kind of sink in the wood. In fact, there were a lot of small sinks; you could see where thumbs and fingers had sunk into the wood. It was beautiful light yellow wood, from a tree that grew in the yard where Big Dee and Stash had lived. After dinner Dee (Wangero) went to the trunk at the foot of my bed and started rifling through it. Maggie hung back in the kitchen over the dishpan. Out came Wangero with two quilts. They had been pieced by Grandma Dee and then Big Dee and me had hung them on the quilt frames on the front porch and quilted them. One was in the Lone Star pattern. The other was Walk Around the Mountain. In both of them were scraps of dresses Grandma Dee had worn fifty and more years ago. Bits and pieces of Grandpa Jarrell’s Paisley shirts. And one teeny faded blue piece, about the size of a penny matchbox, that was from Great Grandpa Ezra’s uniform that he wore in the Civil War. “Mama,” Wangero said sweet as a bird. “Can I have these old quilts?” N I heard something fall in the kitchen, and a minute later the kitchen door slammed. “Why don’t you take one or two of the others?” I asked. “These old things was just done by me and Big Dee from some tops your grandma pieced before she died.” “No,” said Wangero. “I don’t want those. They are stitched around the borders by machine.” “That’ll make them last better,” I said. 7. An alcove (al k¯ov) is a small room or recessed opening off of a larger room.

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“That’s not the point,” said Wangero. “These are all pieces of dresses Grandma used to wear. She did all this stitching by hand. Imagine!” She held the quilts securely in her arms, stroking them. “Some of the pieces, like those lavender ones, come from old clothes her mother handed down to her,” I said, moving up to touch the quilts. Dee (Wangero) moved back just enough so that I couldn’t reach the quilts. They already belonged to her. “Imagine!” she breathed again, clutching them closely to her bosom. “The truth is,” I said, “I promised to give them quilts to Maggie, for when she marries John Thomas.” She gasped like a bee had stung her. “Maggie can’t appreciate these quilts!” she said. “She’d probably be backward enough to put them to everyday use.” O “I reckon she would,” I said. “God knows I been saving ’em for long enough with nobody using ’em. I hope she will!” I didn’t want to bring up how I had offered Dee (Wangero) a quilt when she went away to college. Then she had told me they were oldfashioned, out of style. “But they’re priceless!” she was saying now, furiously; for she has a temper. “Maggie would put them on the bed and in five years they’d be in rags. Less than that!” “She can always make some more,” I said. “Maggie knows how to quilt.” Dee (Wangero) looked at me with hatred. “You just will not understand. The point is these quilts, these quilts!” “Well,” I said, stumped. “What would you do with them?” “Hang them,” she said. As if that was the only thing you could do with quilts. Maggie by now was standing in the door. I could almost hear the sound her feet made as they scraped over each other. “She can have them, Mama,” she said, like somebody used to never winning anything, or having anything reserved for her. “I can ’member Grandma Dee without the quilts.” P I looked at her hard. She had filled her bottom lip with checkerberry snuff and it gave her face a kind of dopey, hangdog

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Interpret Dee accuses Maggie of putting the quilts to “everyday use.” Place a check mark next to the example below that shows what Dee means by that phrase. O

❏ using the quilts as wedding gifts

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❏ using the quilts as works of art

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Characterization Another way you learn more about characters in a story is by what they say. P Mark th e text

Read the boxed text and underline what Maggie says to Mama about the quilts. What do Maggie’s spoken words tell you about her? Write your answer below.

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Vocabulary priceless (pr¯
s lis) adj. of greater value than can be measured The Glencoe Reader

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Step 1 Take a few moments to think about the story. Look back at the notes you wrote and the passages you marked. Also review your Foldable and think about what the three main characters value. How do Mama, Maggie, and Dee each view the objects belonging to their family history?

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Step 2 Now think about your own life. What things do you do to keep your family history alive?

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Mark th e text

Choose three words, either from the underlined vocabulary in the story or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book, and complete one of the activities listed there.

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look. It was Grandma Dee and Big Dee who taught her how to quilt herself. She stood there with her scarred hands hidden in the folds of her skirt. She looked at her sister with something like fear but she wasn’t mad at her. This was Maggie’s portion. This was the way she knew God to work. When I looked at her like that something hit me in the top of my head and ran down to the soles of my feet. Just like when I’m in church and the spirit of God touches me and I get happy and shout. I did something I never had done before: hugged Maggie to me, then dragged her on into the room, snatched the quilts out of Miss Wangero’s hands and dumped them into Maggie’s lap. Maggie just sat there on my bed with her mouth open. “Take one or two of the others,” I said to Dee. But she turned without a word and went out to Hakim-abarber. “You just don’t understand,” she said, as Maggie and I came out to the car. “What don’t I understand?” I wanted to know. “Your heritage,” she said. And then she turned to Maggie, kissed her, and said, “You ought to try to make something of yourself, too, Maggie. It’s really a new day for us. But from the way you and Mama still live you’d never know it.” She put on some sunglasses that hid everything above the tip of her nose and her chin. Maggie smiled; maybe at the sunglasses. But a real smile, not scared. After we watched the car dust settle I asked Maggie to bring me a dip of snuff. And then the two of us sat there just enjoying, until it was time to go in the house and go to bed.

Understanding Long Sentences rt story, you practiced Break It Up While reading this sho ller parts. Try this breaking up long sentences into sma sentence from the story. strategy again. Choose another long of short sentences. On the lines below, rewrite it as a set

Connect 1. Great Ideas With a group, brainstorm to list the four best ways to celebrate a family’s heritage. Feel free to borrow ideas from the story.

Draw Conclusions

y, you might draw the 1. Clue Hunt By the end of the stor tionships in Mama’s conclusion that there are tense rela s early in the story that family. With a partner, search for clue ut how the Mama, would support your conclusion abo ther. Maggie, and Dee feel about one ano

2. Lessons Learned In a small group, take turns telling something you learned from the story that you can apply to your own family life. You might want to go back to the story and skim certain parts again. Then work together to write your lessons down as part of a self-help guide.

or is she an open, 2. Fake or Real? Is Dee a phony, you add up the how on s honest person? It all depend find details from the ner, part r clues from the story. With you of person Dee is. kind the ut story to draw a conclusion abo

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Characterization Characterization refers to the ways that a writer develops characters. Choose one of the main characters—Mama, Maggie, or Dee—and think about how you got to know her as you read the story. Then fill in diagram below with details for each method of characterization.

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What she looks like

How she acts

What she says

What other characters say about her

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

How does Mama, the narrator, describe Maggie? A. homely and good-natured B. bold and determined C. stout and tough D. educated and flashy According to the story, why does Dee want the quilts? A. They will match her new apartment. B. They will keep her warm. C. They are priceless. D. They remind her of Mama and Maggie.

What is the meaning of the story’s title “Everyday Use”? Use details from the story to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check In the blank, write the word from the list that best completes each sentence. sidle v. to move sideways, especially in a way that does not attract attention or cause disturbance furtive adj. secret; shifty; sly oppress v. to control or govern by the cruel and unjust use of force or authority

1. He opened the door just a bit and began to 2. Dictators often use military power to 3. In a locked case, the museum keeps a huge, 4. One spy may signal another spy with a 5. The famous coach explained her

into the room. people. diamond. gesture. of fair play in sports.

doctrine n. a particular rule or belief that is taught priceless adj. of greater value than can be measured

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SHORT STORY

Anticipation Guide What kind of person do you want to be? What kind of life do you think is worth living? Your answers to those questions probably depend on your values—the beliefs you try to live by and the ideas you think are most meaningful. Put a check next to any of the statements in the following list that reflect your values. 1. It’s important to have a deep connection to the earth. 2. It’s wise to keep up with technology and to change with the times. 3. It’s good to work hard for the food you eat and the clothes you wear. 4. It’s smart to earn as much money as you can for as little work as possible. In this short story, you’ll meet a man named Chee who loses someone he loves. The experience causes him to question his values.

Building Background This story is set in the mid-1900s in Navajo (sometimes spelled Navaho) country—the rugged, dry area where the states of Arizona, New Mexico, Colorado, and Utah meet. There, native people preserve some traditional ways of life. • The Navajo culture is matrilineal. A family traces its ancestry back through the mother's line, and children belong to the mother’s clan. • The traditional occupations for Navajo people are raising sheep and growing small crops.

Vocabulary Preview Read the definitions of these words from “Chee’s Daughter.” Use the pronunciation guides to help you say each word aloud. gaudy (
od¯e) adj. bright and showy to the point of being in bad taste; p. 24 indolence (indəl əns) n. laziness; idleness; p. 25 acrid (akrid) adj. irritating or upsetting; p. 27 banter (bantər) n. good-natured joking or teasing; p. 28 zealously (zeləs l¯e) adv. eagerly; enthusiastically; p. 29 flaunt (fl o  nt) v. to display in a showy manner; p. 30 deference (defər əns) n. courteous respect or regard for the judgment, opinions, or desires of another; p. 31 surmise (sər m¯ z) v. to guess or conclude from little or no evidence; p. 31

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

• Navajo artisans are known for their high-quality rugs and blankets and their fine silver and turquoise jewelry. • The traditional Navajo dwelling is a hogan, a dome-shaped structure typically made of wood and earthen bricks. Its door faces east to greet the rising sun.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Predict

Setting a Purpose for Reading Read to learn what happens to Chee’s Navajo values when he faces a time of crisis.

Think It Over: Infer Literary Element: Theme Reading Coach: Understanding Dialogue

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Chee’s Daughter

Chee’s Daughter

Infer Writers don’t always say what a character is feeling. Sometimes you have to use clues from the selection to guess at, or infer, a character’s emotions. Look at the clues highlighted in the text. From these clues, what can you infer about the character’s mood? Write your answer on the lines below. A

Juanita Platero and Siyowin Miller

he hat told the story, the big, black, drooping Stetson.1 It was not at the proper angle, the proper rakish angle for so young a Navaho. There was no song, and that was not in keeping either. There should have been at least a humming, a faint, all-to-himself “he he he heya,” for it was a good horse he was riding, a slenderlegged, high-stepping buckskin2 that would race the wind with light knee-urging. This was a day for singing, a warm winter day, when the touch of the sun upon the back belied the snow high on distant mountains. Wind warmed by the sun touched his high-boned cheeks like flicker feathers, and still he rode on silently, deeper into Little Canyon, until the red rock walls rose straight upward from the stream bed and only a narrow piece of blue sky hung above. Abruptly the sky widened where the canyon walls were pushed back to make a wide place, as though in ancient times an angry stream had tried to go all ways at once. A This was home—this wide place in the canyon—levels of jagged rock and levels of rich red earth. This was home to Chee, the rider of the buckskin, as it had been to many generations before him. He stopped his horse at the stream and sat looking across the narrow ribbon of water to the bare-branched peach trees. He was seeing them each springtime with their age-gnarled limbs transfigured beneath veils of blossom pink; he was seeing them in autumn laden with their yellow fruit, small and sweet. Then his eyes searched out the indistinct furrows of the fields beside the stream, where each year the corn and beans and squash

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Keep This in Mind Use the following symbols to record your reactions as you read.

? I have a question about something here. 20

! This really caught my attention. ★ This information is important.

1. Here, the brand name Stetson refers to a wide-brimmed cowboy hat made of felt. 2. A buckskin is a light brown horse with a black mane and tail. The Glencoe Reader

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Theme The theme of a selection is the main message about life or human nature. Sometimes that message pops out at you in the form of a sentence or two that makes you think “How true!” Other times you may have to figure out the theme by thinking about the details of a selection and considering what a character learns about life. Reread the boxed text. If any sentences strike you as stating an important message about life, underline them. Then write in your own words the message that comes to you from the story so far. B

Mark th e text

Predict When you predict, you make an educated guess about what will happen in a selection. Your prediction doesn’t have to be right—part of the fun of predicting is checking and modifying your guesses as you read—but it should be logical. You can base your predictions on your own experiences and the clues provided by a selection and its title. C Model: The title of the story makes me think Chee’s daughter is going to be important. Chee feels upset and cheated about something. The thought of his daughter makes him smile, so I don’t think she’s the one who cheated him. Maybe the story is going to be about how someone else cheated him and his daughter. 20

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drank thirstily of the overflow from summer rains. Chee was trying to outweigh today’s bitter betrayal of hope by gathering to himself these reminders of the integrity of the land. Land did not cheat! His mind lingered deliberately on all the days spent here in the sun caring for the young plants, his songs to the earth and to the life springing from it—“. . . In the middle of the wide field . . . Yellow Corn Boy . . . He has started both ways . . .” then the harvest and repayment in full measure. Here was the old feeling of wholeness and of oneness with the sun and earth and growing things. B Chee urged the buckskin toward the family compound where, secure in a recess of overhanging rock, was his mother’s domeshaped hogan, red rock and red adobe3 like the ground on which it nestled. Not far from the hogan was the half-circle of brush like a dark shadow against the canyon wall—corral for sheep and goats. Farther from the hogan, in full circle, stood the horse corral made of heavy cedar branches sternly interlocked. Chee’s long thin lips curved into a smile as he passed his daughter’s tiny hogan squatted like a round Pueblo4 oven beside the corral. He remembered the summer day when together they sat back on their heels and plastered wet adobe all about the circling wall of rock and the woven dome of Did You Know? piñon twigs. How his family laughed Piñon (piny¯on), is any of when the Little One herded the several small pine trees found in Mexico and the bewildered chickens into her tiny hogan southwestern United States. as the first snow fell. C Then the smile faded from Chee’s lips and his eyes darkened as he tied his horse to a corral post and turned to the strangely empty compound. “Someone has told them,” he thought, “and they are inside weeping.” He passed his mother’s deserted loom on the south side of the hogan and pulled the rude wooden door toward him, bowing his head, hunching his shoulders to get inside. 3. Adobe (ə d o ¯  b¯e) is sun-dried brick made of earth and straw. 4. The Pueblo (pweb l¯o) group of Native Americans live in roughly the same area of the Southwest as the Navajo. Here Chee compares his daughter’s play hogan with the freestanding adobe ovens found outside many pueblo dwellings.

Chee’s Daughter

His mother sat sideways by the center fire, her feet drawn up under her full skirts. Her hands were busy kneading dough in the chipped white basin. With her head down, her voice was muffled when she said, “The meal will soon be ready, Son.” Chee passed his father sitting against the wall, hat over his eyes as though asleep. He passed his older sister, who sat turning mutton5 ribs on a crude wire grill over the coals, noticed tears dropping on her hands: “She cared more for my wife than I realized,” he thought. Then because something must be said sometime, he tossed the black Stetson upon a bulging sack of wool and said, “You have heard, then.” He could not shut from his mind how confidently he had set the handsome new hat on his head that very morning, slanting the wide brim over one eye: he was going to see his wife, and today he would ask the doctors about bringing her home; last week she had looked so much better. His sister nodded but did not speak. His mother sniffled and passed her velveteen sleeve beneath her nose. Chee sat down, leaning against the wall. “I suppose I was a fool for hoping all the time. I should have expected this. Few of our people get well from the coughing sickness.6 But she seemed to be getting better.” His mother was crying aloud now and blowing her nose noisily on her skirt. His father sat up, speaking gently to her. D Chee shifted his position and started a cigarette. His mind turned back to the Little One. At least she was too small to understand what had happened, the Little One who had been born three years before in the sanitarium7 where his wife was being treated for the coughing sickness, the Little One he had brought home to his mother’s hogan to be nursed by his sister, whose baby was a few months older. As she grew fat-cheeked and sturdy-legged, she followed him about like a shadow; somehow her baby mind had grasped that of all those at the hogan who cared for her and played with her, he—Chee—belonged most to her. She sat cross-legged at his elbow when he worked silver at

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Understanding Dialogue Usually dialogue—words spoken between two or more characters —appears in quotation marks. But not all text in quotation marks is dialogue. Song lyrics or a character’s thoughts might be in quotation marks too. To figure out who’s thinking and who’s talking, notice whether another character responds to the words in quotation marks or whether the writer uses tag phrases like he said or she thought. he text

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Underline all the text on this page that appears in quotation marks. Then circle the clues that tell you whether or not the text is dialogue. Which characters have spoken? Check your answers below. D

❏ Chee ❏ the Little One ❏ Chee’s mother ❏ Chee’s sister ❏ Chee’s father

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5. Mutton is meat from mature sheep. 6. Coughing sickness is a common name for tuberculosis, an infectious disease that affects the lungs and other body tissues and is characterized by a persistent cough. 7. A sanitarium is a place where patients with chronic illnesses are treated. The Glencoe Reader

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Chee’s Chee’s Daughter Daughter

Respond Chee has just heard some very bad news. How do you feel about what’s happened to him? Write your thoughts on the lines below. E

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Predict Reread the boxed text and underline or highlight phrases that suggest what Chee might say to his he text wife’s parents if he sees them. On the lines below, predict when and how Chee will try to get his daughter back. F

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the forge; she rode before him in the saddle when he drove the horses to water; often she lay wakeful on her sheep pelts until he stretched out for the night in the darkened hogan and she could snuggle warm against him. Chee blew smoke slowly, and some of the sadness left his dark eyes as he said, “It is not as bad as it might be. It is not as though we are left with nothing.” Chee’s sister arose, sobs catching in her throat, and rushed past him out the doorway. Chee sat upright, a terrible fear possessing him. For a moment his mouth could make no sound. Then: “The Little One! Mother, where is she?” His mother turned her stricken face to him. “Your wife’s people came after her this morning. They heard yesterday of their daughter’s death through the trader at Red Sands.” Chee started to protest, but his mother shook her head slowly. “I didn’t expect they would want the Little One either. But there is nothing you can do. She is a girl child and belongs to her mother’s people; it is custom.” E Frowning, Chee got to his feet, grinding his cigarette into the dirt floor. “Custom! When did my wife’s parents begin thinking about custom? Why, the hogan where they live doesn’t even face the east!” He started toward the door. “Perhaps I can overtake them. Perhaps they don’t realize how much we want her here with us. I’ll ask them to give my daughter back to me. Surely, they won’t refuse.” His mother stopped him gently with her outstretched hand. “You couldn’t overtake them now. They were in the trader’s car. Eat and rest, and think more about this.” F “Have you forgotten how things have always been between you and your wife’s people?” his father said. That night, Chee’s thoughts were troubled—half-forgotten incidents became disturbingly vivid—but early the next morning he saddled the buckskin and set out for the settlement of Red Sands. Even though his father-in-law, Old Man Fat, might laugh, Chee knew that he must talk to him. There were some things to which Old Man Fat might listen.

Chee’s Daughter

Chee rode the first part of the fifteen miles to Red Sands expectantly. The sight of sandstone buttes near Cottonwood Spring reddening in the morning sun brought a song almost to his lips. He twirled his reins in salute to the small boy herding sheep toward many-colored Butterfly Mountain, watched with Did You Know? pleasure the feathers of smoke rising A butte (by¯ut) is an isolated hill or mountain with steep against tree-darkened western mesas8 sides and a flat top. from the hogans sheltered there. G But as he approached the familiar settlement sprawled in mushroom growth along the highway, he began to feel as though a scene from a bad dream was becoming real. Several cars were parked around the trading store, which was built like two log hogans side by side, with red gas pumps in front and a sign across the tar-paper roofs: Red Sands Trading Post— Groceries Gasoline Cold Drinks Sandwiches Indian Curios.9 Back of the trading post an unpainted frame house and outbuildings squatted on the drab, treeless land. Chee and the Little One’s mother had lived there when they stayed with his wife’s people. That was according to custom—living with one’s wife’s people—but Chee had never been convinced that it was custom alone which prompted Old Man Fat and his wife to insist that their daughter bring her husband to live at the trading post. Beside the post was a large hogan of logs, with brightly painted pseudo-Navaho10 designs on the roof—a hogan with smoke-smudged windows and a garish blue door which faced north to the highway. Old Man Fat had offered Chee a hogan like this one. The trader would build it if he and his wife would live there and Chee would work at his forge, making silver jewelry where tourists could watch him. But Chee had asked instead for a piece of land for a cornfield and help in building a hogan far back from the highway and a corral for the sheep he had brought to this marriage.

Visualize Reread the boxed passage, underlining or highlighting any words that help you picture the scene. he text Then in the picture frame below, make a quick sketch of Chee riding to Red Sands. G 140

Your Sketch

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he text

Choose your own words As you read, remember to circle words you find interesting or difficult. You’ll come back to these words later.

8. A mesa (m¯asə) is a flat-topped hill or mountain with steep, rocky sides. 9. Curios (kyoor¯e o ¯ z) are typically quaint decorative objects. 10. The prefix pseudo- (soo ¯¯¯do ¯ ) means “false” or “imitation.” The Glencoe Reader

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Chee’s Chee’s Daughter Daughter

Step 1 Ask yourself how well you understand the story so far. If there’s anything that doesn’t seem clear to you, write a question about it below.

Try to find an answer by looking back through the text and rereading any parts related to your question. If that doesn’t work, discuss your question with a classmate, your teacher, or another adult.

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Step 2 Now answer this question on the lines below: Why is Chee at a hard point in his life?

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Connotations Many words suggest positive or negative feelings—or connotations— that go beyond their dictionary definitions. For example, the words dazzling and gaudy both mean “showy.” But gaudy has a negative connotation, suggesting that something looks trashy or cheap. Authors choose their words carefully, so pay attention to connotations as you read!

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A cold wind blowing down from the mountains began to whistle about Chee’s ears. It flapped the gaudy Navaho rugs which were hung in one long bright line to attract tourists. It swayed the sign Navaho Weaver at Work beside the loom where Old Man Fat’s wife sat hunched in her striped blanket, patting the colored thread of a design into place with a wooden comb. Tourists stood watching the weaver. More tourists stood in a knot before the hogan where the sign said: See Inside a Real Navaho Home 25¢. Then the knot seemed to unravel as a few people returned to their cars; some had cameras; and there against the blue door Chee saw the Little One standing uncertainly. The wind was plucking at her new purple blouse and wide green skirt; it freed truant strands of soft dark hair from the meager queue into which it had been tied with white yarn. “Isn’t she cunning!” one of the women tourists was saying as she turned away. Chee’s lips tightened as he began to Did You Know? look around for Old Man Fat. Finally he Here, queue (ky¯u) refers to a braid of hair at the back of saw him passing among the tourists the head. collecting coins. Then the Little One saw Chee. The uncertainty left her face, and she darted through the crowd as her father swung down from his horse. Chee lifted her in his arms, hugging her tight. While he listened to her breathless chatter, he watched Old Man Fat bearing down on them, scowling. As his father-in-law walked heavily across the graveled lot, Chee was reminded of a statement his mother sometimes made: “When you see a fat Navaho, you see one who hasn’t worked for what he has.” Vocabulary gaudy (
od¯e) adj. bright and showy to the point of being in bad taste

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Chee’s Daughter

Old Man Fat was fattest in the middle. There was indolence in his walk even though he seemed to hurry, indolence in his cheeks so plump they made his eyes squint, eyes now smoldering with anger. Some of the tourists were getting into their cars and driving away. The old man said belligerently to Chee, “Why do you come here? To spoil our business? To drive people away?” “I came to talk with you,” Chee answered, trying to keep his voice steady as he faced the old man. “We have nothing to talk about,” Old Man Fat blustered and did not offer to touch Chee’s extended hand. “It’s about the Little One.” Chee settled his daughter more comfortably against his hip as he weighed carefully all the words he had planned to say. “We are going to miss her very much. It wouldn’t be so bad if we knew that part of each year she could be with us. That might help you too. You and your wife are no longer young people and you have no young ones here to depend upon.” Chee chose his next words remembering the thriftlessness of his wife’s parents, and their greed. “Perhaps we could share the care of this little one. Things are good with us. So much snow this year will make lots of grass for the sheep. We have good land for corn and melons.” H Chee’s words did not have the expected effect. Old Man Fat was enraged. “Farmers, all of you! Long-haired farmers! Do you think everyone must bend his back over the short-handled hoe in order to have food to eat?” His tone changed as he began to brag a little. “We not only have all the things from cans at the trader’s, but when the Pueblos come past here on their way to town, we buy their salty jerked11 mutton, young corn for roasting, dried sweet peaches.” I J Chee’s dark eyes surveyed the land along the highway as the old man continued to brag about being “progressive.” He no longer was tied to the land. He and his wife made money easily and could buy all the things they wanted. Chee realized too late that he had stumbled into the old argument between himself and his wife’s parents. They had never understood his feeling about the land—that a man took care of his land and it in turn took

Predict Does the prediction you made on page 22 about what Chee would say to his wife’s parents match what happens in the story? Check the box beside your answer. H

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❏ no

Don’t worry if your prediction doesn’t match. Being surprised by a story is part of what makes reading interesting.

READ ALOUD

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Understanding Dialogue Dialogue can reveal a lot about characters. It can tell you what they’re like, what they value, and what they believe in. After hearing Old Man Fat talk, which of the following statements do you think he’d agree with? Put a check by your answer. J

❏ You should share what you have.

❏ Young people should help older people.

❏ It’s smart to avoid hard work. 11. Jerked means “dried.”

Vocabulary indolence (ind əl əns) n. laziness; idleness The Glencoe Reader

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Theme Does the idea in the highlighted passage sound like something you’ve read earlier in the story? In your own words, write the message about life that’s expressed here. K

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Draw Conclusions Think about what Chee’s parents said earlier when they told Chee the news that the Little One had been taken. Do you think Chee is right in thinking that his family would side with Old Man Fat over who should keep the Little One? Mark your answer below.

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❏ Yes, the family reminded Chee that it was the custom for children to be raised in the mother’s family.

❏ No, everyone would be so glad to see her that they’d forget about the custom.

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care of him. Old Man Fat and his wife scoffed at him, called him a Pueblo farmer, all during that summer when he planted and weeded and harvested. Yet they ate the green corn in their mutton stews, and the chili paste from the fresh ripe chilis,12 and the tortillas from the cornmeal his wife ground. None of this working and sweating in the sun for Old Man Fat, who talked proudly of his easy way of living—collecting money from the trader who rented this strip of land beside the highway, collecting money from the tourists. Yet Chee had once won that argument. His wife had shared his belief in the integrity of the earth, that jobs and people might fail one, but the earth never would. K After that first year she had turned from her own people and gone with Chee to Little Canyon. Old Man Fat was reaching for the Little One. “Don’t be coming here with plans for my daughter’s daughter,” he warned. “If you try to make trouble, I’ll take the case to the government man in town.” The impulse was strong in Chee to turn and ride off while he still had the Little One in his arms. But he knew his time of victory would be short. His own family would uphold the old custom of children, especially girl children, belonging to the mother’s people. He would have to give his daughter up if the case were brought before the headman of Little Canyon, and certainly he would have no better chance before a strange white man in town. L He handed the bewildered Little One to her grandfather who stood watching every movement suspiciously. Chee asked, “If I brought you a few things for the Little One, would that be making trouble? Some velvet for a blouse, or some of the jerky she likes so well . . . this summer’s melon?” Old Man Fat backed away from him. “Well,” he hesitated, as some of the anger disappeared from his face and beads of greed shone in his eyes. “Well,” he repeated. Then as the Little One began to squirm in his arms and cry, he said, “No! No! Stay away from here, you and all your family.”

12. People string together chilis, or hot peppers, and preserve them by hanging them up to dry. The chilis are then used in cooking. 26

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The sense of his failure deepened as Chee rode back to Little Canyon. But it was not until he sat with his family that evening in the hogan, while the familiar bustle of meal preparing went on about him, that he began to doubt the wisdom of the things he’d always believed. M He smelled the coffee boiling and the oily fragrance of chili powder dusted into the bubbling pot of stew; he watched his mother turning round crusty fried bread in the small black skillet. All around him was plenty—a half of mutton hanging near the door, bright strings of chili drying, corn hanging by the braided husks, cloth bags of dried peaches. Yet in his heart was nothing. He heard the familiar sounds of the sheep outside the hogan, the splash of water as his father filled the long drinking trough from the water barrel. When his father came in, Chee could not bring himself to tell a second time of the day’s happenings. He watched his wiry, soft-spoken father while his mother told the story, saw his father’s queue of graying hair quiver as he nodded his head with sympathetic exclamations. Chee’s doubting, acrid thoughts kept forming: Was it wisdom his father had passed on to him, or was his inheritance only the stubbornness of a long-haired Navaho resisting change? Take care of the land and it will take care of you. True, the land had always given him food, but now food was not enough. Perhaps if he had gone to school, he would have learned a different kind of wisdom, something to help him now. A schoolboy might even be able to speak convincingly to this government man whom Old Man Fat threatened to call, instead of sitting here like a clod of earth itself—Pueblo farmer indeed. What had the land to give that would restore his daughter? In the days that followed, Chee herded sheep. He got up in the half-light, drank the hot coffee his mother had ready, then started the flock moving. It was necessary to drive the sheep a long way from the hogan to find good winter forage.13 Sometimes Chee met friends or relatives who were on their way to town or to the road camp where they hoped to get work; then

280

Monitor Comprehension Chee is beginning to “doubt the wisdom of the things he’d always believed in.” If you’re not sure what those things are, take a minute to think over what you know about Chee. Look back through the story if you want to— or read ahead. Then on the lines below, jot down one thing Chee had always believed in. M

290

otes Your N

300

13. Forage (forij) is food that animals can eat by grazing.

Vocabulary acrid (akrid) adj. irritating or upsetting The Glencoe Reader

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Chee’s Chee’s Daughter Daughter

310

Step 1 Stop here and think back over the whole story so far. Look at the notes you made. Then re-examine anything you questioned or anything that confused you. Choose one or more of these strategies to help answer your questions. • Reread confusing passages slowly or read them aloud.

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• Read on to see if new story information makes a passage clear. • Ask a classmate or a teacher, parent, or other adult for help.

Step 2 How has Chee changed since he lost the Little One? On the lines below, tell what he was like before losing his daughter. Then tell what he is like now that he has lost her. 330

there was friendly banter and an exchange of news. But most of the days seemed endless; he could not walk far enough or fast enough from his memories of the Little One or from his bitter thoughts. Sometimes it seemed his daughter trudged beside him, so real he could almost hear her footsteps—the muffled pad-pad of little feet in deerhide. In the glare of a snowbank he would see her vivid face, brown eyes sparkling. Mingling with the tinkle of sheep bells he heard her laughter. When, weary of following the small sharp hoof marks that crossed and recrossed in the snow, he sat down in the shelter of a rock, it was only to be reminded that in his thoughts he had forsaken his brotherhood with the earth and sun and growing things. If he remembered times when he had flung himself against the earth to rest, to lie there in the sun until he could no longer feel where he left off and the earth began, it was to remember also that now he sat like an alien against the same earth; the belonging together was gone. The earth was one thing and he was another. It was during the days when he herded sheep that Chee decided he must leave Little Canyon. Perhaps he would take a job silversmithing for one of the traders in town. Perhaps, even though he spoke little English, he could get a job at the road camp with his cousins; he would ask them about it.

Before:

Springtime transformed the mesas. The peach trees in the canyon were shedding fragrance and pink blossoms on the gentled wind. The sheep no longer foraged for the yellow seeds of chamiso14 but ranged near the hogan with the long-legged new lambs, eating tender young grass. Chee was near the hogan on the day his cousins rode up with the message for which he waited. He had been watching with

After:

14. Chamiso (cha m e¯ s¯o), from the Spanish, is an evergreen shrub found in the western United States.

Vocabulary banter (bantər) n. good-natured, witty joking or teasing 28

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mixed emotions while his father and his sister’s husband cleared the fields beside the stream. “The boss at the camp says he needs an extra hand, but he wants to know if you’ll be willing to go with the camp when they move it to the other side of the town?” The tall cousin shifted his weight in the saddle. The other cousin took up the explanation. “The work near here will last only until the new cutoff beyond Red Sands is finished. After that, the work will be too far away for you to get back here often.” That was what Chee had wanted—to get away from Little Canyon—yet he found himself not so interested in the job beyond town as in this new cutoff which was almost finished. He pulled a blade of grass, split it thoughtfully down the center, as he asked questions of his cousins. Finally he said: “I need to think more about this. If I decide on this job, I’ll ride over.” N Before his cousins were out of sight down the canyon, Chee was walking toward the fields, a bold plan shaping in his mind. As the plan began to flourish, wild and hardy as young tumbleweed, Chee added his own voice softly to the song his father was singing: “. . . In the middle of the wide field . . . Yellow Corn Boy . . . I wish to put in.” Chee walked slowly around the field, the rich red earth yielding to Did You Know? his footsteps. His plan depended Tumbleweed is any of several kinds of bushy upon this land and upon the things prairie plants that break off from their roots and get he remembered most about his blown around by the wind. wife’s people. O Through planting time Chee worked zealously and tirelessly. He spoke little of the large new field he was planting, because he felt so strongly that just now this was something between himself and the land. The first days he was ever stooping, piercing the ground with the pointed stick, placing the corn kernels there, walking around the field and through it, singing, “. . . His track

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350

Infer If you don’t know what a cutoff is, look up cutoff in a dictionary or ask someone he text what it is. Then mark the part of the boxed test that tells where the cutoff is being built. Ask yourself where else in the story this location is mentioned. Now guess why Chee might be so interested in this cutoff. Write your inference below. N

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Predict What do you predict Chee is going to do now? O

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Vocabulary zealously (zeləs l¯e) adv. eagerly; enthusiastically The Glencoe Reader

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Chee’s Chee’s Daughter Daughter

Visualize Reread the boxed passage. Circle adjectives that describe the corn. Then, in the frame he text below, quickly sketch one of these corn plants. P 380

Your Sketch

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Theme What message about life do you get from Chee’s actions and feelings during this part of the story?

400

Q

leads into the ground . . . Yellow Corn Boy . . . his track leads into the ground.” After that, each day Chee walked through his field watching for the tips of green to break through; first a few spikes in the center and then more and more, until the corn in all parts of the field was above ground. Surely, Chee thought, if he sang the proper songs, if he cared for this land faithfully, it would not forsake him now, even though through the lonely days of winter he had betrayed the goodness of the earth in his thoughts. Through the summer Chee worked long days, the sun hot upon his back, pulling weeds from around young corn plants; he planted squash and pumpkin; he terraced a small piece of land near his mother’s hogan and planted carrots and onions and the moisture-loving chili. He was increasingly restless. Finally he told his family what he hoped the harvest from this land would bring him. Then the whole family waited with him, watching the corn: the slender graceful plants that waved green arms and bent to embrace each other as young winds wandered through the field, the maturing plants flaunting their pollen-laden tassels in the sun, the tall and sturdy parent corn with new-formed ears and a froth of purple, red, and yellow corn beards against the dusty emerald of broad leaves. P Summer was almost over when Chee slung the bulging packs across two pack ponies. His mother helped him tie the heavy rolled pack behind the saddle of the buckskin. Chee knotted the new yellow kerchief about his neck a little tighter, gave the broad black hat brim an extra tug, but these were only gestures of assurance and he knew it. The land had not failed him. That part was done. But this he was riding into? Who could tell? Q When Chee arrived at Red Sands, it was as he had expected to find it—no cars on the highway. His cousins had told him that even the Pueblo farmers were using the new cutoff to town. The barren gravel around the Red Sands Trading Post was deserted. A sign banged against the dismantled gas pumps: Closed until further notice.

Vocabulary flaunt (flont) v. to display in a showy manner 30

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Old Man Fat came from the crude summer shelter built beside the log hogan from a few branches of scrub cedar and the sides of wooden crates. He seemed almost friendly when he saw Chee. “Get down, my son,” he said, eyeing the bulging packs. There was no bluster in his voice today, and his face sagged, looking somewhat saddened, perhaps because his cheeks were no longer quite full enough to push his eyes upward at the corners. “You are going on a journey?” Chee shook his head. “Our fields gave us so much this year, I thought to sell or trade this to the trader. I didn’t know he was no longer here.” Old Man Fat sighed, his voice dropping to an injured tone. “He says he and his wife are going to rest this winter; then after that he’ll build a place up on the new highway.” Chee moved as though to be traveling on, then jerked his head toward the pack ponies. “Anything you need?” “I’ll ask my wife,” Old Man Fat said as he led the way to the shelter. “Maybe she has a little money. Things have not been too good with us since the trader closed. Only a few tourists come this way.” He shrugged his shoulders. “And with the trader gone—no credit.” R Chee was not deceived by his father-in-law’s unexpected confidences. He recognized them as a hopeful bid for sympathy and, if possible, something for nothing. Chee made no answer. He was thinking that so far he had been right about his wife’s parents: their thriftlessness had left them with no resources to last until Old Man Fat found another easy way of making a living. S Old Man Fat’s wife was in the shelter working at her loom. She turned rather wearily when her husband asked with noticeable deference if she would give him money to buy supplies. Chee surmised that the only income here was from his mother-in-law’s weaving.

410

Understanding Dialogue What do you learn about Old Man Fat’s situation from the conversation between Chee and Old Man Fat? R

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430

Connect All of a sudden Old Man Fat is changing his tune. Before he was rude to Chee. Now he’s nice to Chee. Has anyone ever treated you differently once you had something he or she wanted? Check the box beside your answer. S

❏ yes

❏ no

Have you ever treated anyone differently because you wanted something from him or her?

❏ yes

❏ no

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Vocabulary deference (def ər əns) n. courteous respect or regard for the judgment, opinions, or desires of another surmise (sər m¯ z) v. to guess or conclude from little or no evidence The Glencoe Reader

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Chee’s Chee’s Daughter Daughter

Build Fluency Find a quiet place and practice reading the boxed passage aloud until you can read the words without stumbling. T

450

Respond How do you feel about seeing Old Man Fat and his wife struggling through hard times? U

460

Infer Underline or highlight the words in this boxed passage that give clues about how well Little One is being taken care of by Old Man Fat and his wife. Then make an inference about what life has been like for the Little One since she’s been away from her father. V

he text

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480

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She peered around the corner of the shelter at the laden ponies, and then she looked at Chee. “What do you have there, my son?” Chee smiled to himself as he turned to pull the pack from one of the ponies, dragged it to the shelter where he untied the ropes. Pumpkins and hard-shelled squash tumbled out, and the ears of corn—pale yellow husks fitting firmly over plump ripe kernels, blue corn, red corn, yellow corn, many-colored corn, ears and ears of it—tumbled into every corner of the shelter. T “Yooooh,” Old Man Fat’s wife exclaimed as she took some of the ears in her hands. Then she glanced up at her son-in-law. “But we have no money for all this. We have sold almost everything we own—even the brass bed that stood in the hogan.” Old Man Fat’s brass bed. Chee concealed his amusement as he started back for another pack. That must have been a hard parting. U Then he stopped, for, coming from the cool darkness of the hogan was the Little One, rubbing her eyes as though she had been asleep. She stood for a moment in the doorway, and Chee saw that she was dirty, barefoot, her hair uncombed, her little blouse shorn of all its silver buttons. Then she ran toward Chee, her arms outstretched. Heedless of Old Man Fat and his wife, her father caught her in his arms, her hair falling in a dark cloud across his face, the sweetness of her laughter warm against his shoulder. V It was the haste within him to get this slow waiting game played through to the finish that made Chee speak unwisely. It was the desire to swing her before him in the saddle and ride fast to Little Canyon that prompted his words. “The money doesn’t matter. You still have something. . . .” Chee knew immediately that he had overspoken. The old woman looked from him to the corn spread before her. Unfriendliness began to harden in his father-in-law’s face. All the old arguments between himself and his wife’s people came pushing and crowding in between them now. Old Man Fat began kicking the ears of corn back onto the canvas as he eyed Chee angrily. “And you rode all the way over here thinking that for a little food we would give up our daughter’s daughter?”

Chee’s Daughter

Chee did not wait for the old man to reach for the Little One. He walked dazedly to the shelter, rubbing his cheek against her soft dark hair, and put her gently into her grandmother’s lap. Then he turned back to the horses. He had failed. By his own haste he had failed. He swung into the saddle, his hand touching the roll behind it. Should he ride on into town? Then he dismounted, scarcely glancing at Old Man Fat, who stood uncertainly at the corner of the shelter, listening to his wife. “Give me a hand with this other pack of corn, Grandfather,” Chee said, carefully keeping the small bit of hope from his voice. W Puzzled, but willing, Old Man Fat helped carry the other pack to the shelter, opening it to find more corn as well as carrots and round, pale yellow onions. Chee went back for the roll behind the buckskin’s saddle and carried it to the entrance of the shelter, where he cut the ropes and gave the canvas a nudge with his toe. Tins of coffee rolled out, small plump cloth bags; jerked meat from several butcherings spilled from a flour sack; and bright red chilis splashed like flames against the dust. “I will leave all this anyhow,” Chee told them. “I would not want my daughter nor even you old people to go hungry.” X Old Man Fat picked up a shiny tin of coffee, then put it down. With trembling hands he began to untie one of the cloth bags— dried sweet peaches. The Little One had wriggled from her grandmother’s lap, unheeded, and was on her knees, digging her hands into the jerked meat. “There is almost enough food here to last all winter.” Old Man Fat’s wife sought the eyes of her husband. Chee said, “I meant it to be enough. But that was when I thought you might send the Little One back with me.” He looked down at his daughter noisily sucking jerky. Her mouth, both fists, were full of it. “I am sorry that you feel you cannot bear to part with her.” Old Man Fat’s wife brushed a straggly wisp of gray hair from her forehead as she turned to look at the Little One. Old Man Fat was looking too. And it was not a thing to see. For in that

Predict. Chee has a “small bit of hope. ” What do you predict might happen? W

490

Evaluate Do you think Chee is doing the right thing by leaving food for the family? Check the box that shows your answer. X 500

❏ yes

❏ no

Explain your answer.

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Chee’s Chee’s Daughter Daughter

Step 1 Look back over the story and the notes you made while you read it. Think about the challenges Chee faced and the way that these challenges tested his values. Did his values help him or hurt him in the end? Explain your answer on the lines below.

Step 2 Which of Chee’s values, if any, could you use in your own life?

Choose three words, either from the underlined vocabulary in the story or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book and complete one of the activities listed there.

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520

moment the Little One ceased to be their daughter’s daughter and became just another mouth to feed. “And why not?” the old woman asked wearily. Chee was settled in the saddle, the barefooted Little One before him. He urged the buckskin faster, and his daughter clutched his shirtfront. The purpling mesas flung back the echo: “. . . My corn embrace each other. In the middle of the wide field . . . Yellow Corn Boy embrace each other.”

Chee’s Daughter

Understanding Dialogue

last conversation And the Answer Is . . . Reread the e, beginning where between Old Man Fat’s wife and Che ost enough food here Old Man Fat’s wife says “There’s alm What does this dialogue to last all winter” (lines 508–520). wife has decided to do tell you about what Old Man Fat’s er below. with the Little One? Write your answ

Infer 1. Anticipating Chee’s Answers With two classmates, turn to the Anticipation Guide on pag e 18. Take turns reading each statement aloud and discussing whether you think Chee would or would not agre e with it. Then write your answers below, giving one imp ortant detail to support each statement. The first one has bee n filled in for you. 1.

2.

Predict

ner, discuss the clues 1. What Happens Next? With a part come next for the in the story that hint at what might r predictions. you e writ n characters listed below. The In a few years, Chee will be

3.

4.

In a few years, Old Man Fat will be

your partner where 2. Future Relations Discuss with and what Chee Chee might next see Old Man Fat that shows what might tell him. Then improvise a skit your skit below. ize happens at the meeting. Summar

2. Break from Tradition With you r group, discuss why Chee is willing to break with Navajo tradition to have his daughter live with his family. Below, list as many inferences as you can support with details from the story.

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Theme The theme is the central message of a selection. It tells about life or human nature. An author might state the theme directly, but more often the theme is implied, or hinted at. To discover an implied theme, think about the selection’s plot, characters, and setting and ask yourself, What does this story mean? With a small group, come up with four ways to finish the statement in the center of this idea web. Jot your ideas in the outer circles. Discuss the details from the story that support each completed statement. Then work together to figure out how your four statements are related. What larger message about life do they reveal? Write that message at the bottom of the page.

An important message in “Chee’s Daughter” is

THEME:

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Chee’s Daughter

Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Why does Chee lose the Little One to Old Man Fat? A. He is busy caring for his sick wife and cannot take care of her. B. He is busy taking care of his land and cannot take care of her. C. By Navajo custom, Old Man Fat and his wife are the rightful family of the Little One. D. By Navajo custom, Old Man Fat has a right to the child because he has more money.

Write your answer to open-ended question A in the space provided below. A.

How does the land help Chee solve his problem? Use details from the story to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

How does the story end? A. Chee gets the Little One back. B. Chee gets a job working construction. C. Chee brings Old Man Fat and his wife to live with him. D. Chee finds satisfaction in the land rather than in family.

Vocabulary Check Write the word from the list that belongs in the blank in each sentence. gaudy adj. bright and showy to the point of being in bad taste indolence n. laziness; idleness acrid adj. irritating or upsetting banter n. good-natured joking or teasing zealously adv. eagerly; enthusiastically

1. I was really upset by my friend’s 2. The detective needed a clue to

remarks. the thief’s identity.

3. The audience laughed at the two comedians’ hilarious 4. To find a cure, the scientist worked

in the lab.

flaunt v. to display in a showy manner

5. The green and gold shirt was too

deference n. courteous respect or regard for the judgment, opinions, or desires of another

6. My brother always avoids work. He is known for his

surmise v. to guess or conclude from little or no evidence

8. The young actors listened to the older actor with

7. Alan bought six cars to

.

for the funeral. .

his wealth. .

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XXX XXX SHORT STORY

A131

Questionnaire Some people are driven to succeed. Other people are more relaxed and easygoing about success. The questionnaire that follows will help you think about the kind of person you are. Read each statement below. If you agree with the statement, write “yes” on the line. If you disagree with the statement, write “no.” 1. When I play a sport or a game, I almost always play to win. 2. When I play a sport or a game, I usually care as much about having fun as about winning. 3. I am almost always trying to improve myself. 4. I am usually fairly happy with myself just the way I am. 5. I usually care a lot about what other people think of me. 6. I usually live my life to please myself, not other people. In this short story, you will read about a mother and a daughter who are two very different kinds of people.

Vocabulary Preview Read the definitions of these words from “Two Kinds.n. ” Use xxx (xxx) xxx the pronunciation guides for help in saying each word aloud. As you read the story, try to use context clues to unlock the meaning of these and other words you don’t know. prodigy (prod
ə je¯ ) n. an extraordinarily talented or gifted person, especially a child; p. 39 lament (lə ment
) v. to express sorrow or regret; p. 40 reproach (ri pro ¯ ch
) n. blame; disgrace; discredit; p. 40 mesmerizing (mez
mə r¯z´in) adj. fascinating; p. 42 reverie (rev
ər e¯ ) n. fanciful thinking; daydream; p. 45

Building Background “Two Kinds” takes place during the 1960s in a section of San Francisco, California, known as Chinatown. This Chinese community is home to immigrants from China as well as to their American-born children. • The mother in the story is a Chinese immigrant. When she was a young woman, she experienced very hard times in China, and so she moved to the United States to find a better life. She still believes in the values that she learned in China, but she also believes deeply in the American Dream. Part of that dream is seeing her daughter, Jing-mei, become a big success. • Jing-mei, who tells the story, was born in the United States. She has never been to China, and so it is sometimes hard for her to understand and share her mother’s values and beliefs.

Setting a Purpose for Reading Read to understand the differences between the mother and the daughter in the story.

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discordant (dis kord
ənt) adj. not in agreement or harmony; p. 45 devastate (dev
əs ta¯t) v. to destroy; overwhelm; p. 48 fiasco (fe¯ as
ko ¯ ) n. a complete or humiliating failure; p. 48

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: xxx Reading Focus: Question Think It Over: xxx Think It Over: Draw Conclusions Literary Element: xxx Literary Element: Conflict Reading Coach: xxx Reading Coach: Reading Dialect

Using Definitions If you can’t figure out the meaning of an underlined vocabulary word, read the definition at the bottom of the page. Then reread the sentence, putting the definition in place of the vocabulary word.

Amy Tan

M

y mother believed you could be anything you wanted to be in America. You could open a restaurant. You could work for the government and get good retirement. You could buy a house with almost no money down. You could become rich. You could become instantly famous. “Of course, you can be prodigy, too,” my mother told me when I was nine. “You can be best anything. What does Auntie Lindo know? Her daughter, she is only best tricky.” A America was where all my mother’s hopes lay. She had come to San Francisco in 1949 after losing everything in China: her mother and father, her family home, her first husband, and two daughters, twin baby girls. But she never looked back with regret. Things could get better in so many ways. We didn’t immediately pick the right kind of prodigy. At first my mother thought I could be a Chinese Shirley Temple.1 We’d watch Shirley’s old movies on TV as though they were training films. My mother would poke my arm and say, “Ni kan.2 You watch.” And I would see Shirley tapping her feet, or singing a sailor song, or pursing her lips into a very round O while saying “Oh, my goodness.” B “Ni kan,” my mother said, as Shirley’s eyes flooded with tears. “You already know how. Don’t need talent for crying!” Soon after my mother got this idea about Shirley Temple, she took me to the beauty training school in the Mission District3 and put me in the hands of a student who could barely hold the scissors without shaking. Instead of getting big fat curls, I emerged with an uneven mass of crinkly black fuzz. 1. Shirley Temple was a popular child movie star of the 1930s who wore her hair in long curls. 2. Ni kan (n¯e kan
). The mother roughly translates this Chinese phrase when she says “you watch.” 3. The Mission District is a residential neighborhood in San Francisco.

10

Reading Dialect The mother speaks in a dialect— a kind of nonstandard language spoken in a particular community. If you have trouble understanding what she is saying, try reading her words aloud. Then put her message in your own words. A Model: I think the mother is saying, “Of course, you can be an extraordinarily talented person too. You can be the best at anything. What does Auntie Lindo know? Her daughter is only the best at being tricky.”

20

Question Ask yourself who, what, where, when, why, and how questions to make sure you understand what you read. Here you might ask yourself, Who does the mother want her daughter to be like and why? Jot down your answers on the lines below. B

Vocabulary prodigy (prod
ə j¯e) n. an extraordinarily gifted or talented person, especially a child The Glencoe Reader

39

30

Mark th e text

Choose your own words As you continue reading this story, circle any words that you find interesting or that you don’t understand. You’ll come back to these words later.

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Conflict A conflict, or struggle between opposing forces, is brewing here. The daughter is experiencing an internal conflict—a mental struggle between opposing thoughts or feelings. Look back over the boxed text. he text Circle details that describe the opposite views that the daughter has of herself. Then put a check next to the pair of phrases below that sums up her “two selves.” C

❏ a perfect child / a nobody ❏ a good child / an evil child

40

50

My mother dragged me off to the bathroom and tried to wet down my hair. “You look like Negro Chinese,” she lamented, as if I had done this on purpose. The instructor of the beauty training school had to lop off these soggy clumps to make my hair even again. “Peter Pan is very popular these days,” the instructor assured my mother. I now had hair the length of a boy’s, with curly bangs that hung at a slant two inches above my eyebrows. I liked the haircut, and it made me actually look forward to my future fame. In fact, in the beginning I was just as excited as my mother, maybe even more so. I pictured this prodigy part of me as many different images, and I tried each one on for size. I was a dainty ballerina girl standing by the curtain, waiting to hear the music that would send me floating on my tiptoes. I was like the Christ child lifted out of the straw manger, crying with holy indignity. I was Cinderella stepping from her pumpkin carriage with sparkly cartoon music filling the air. In all of my imaginings I was filled with a sense that I would soon become perfect. My mother and father would adore me. I would be beyond reproach. I would never feel the need to sulk, or to clamor for anything. But sometimes the prodigy in me became impatient. “If you don’t hurry up and get me out of here, I’m disappearing for good,” it warned. “And then you’ll always be nothing.” C Every night after dinner my mother and I would sit at the Formica-topped4 kitchen table. She would present new tests, taking her examples from stories of amazing children that she had read in Ripley’s Believe It or Not or Good Housekeeping, Reader’s Digest, or any of a dozen other magazines she kept in a pile in our bathroom. My mother got these magazines from people whose houses she cleaned. And since she cleaned many houses each

4. Formica (for m¯
kə) is a plastic substance used to cover kitchen and bathroom surfaces because it is resistant to heat and water.

Vocabulary lament (lə ment
) v. to express sorrow or regret reproach (ri pr¯och
) n. blame; disgrace; discredit 40

The Glencoe Reader

week, we had a great assortment. She would look through them all, searching for stories about remarkable children. The first night she brought out a story about a three-year-old boy who knew the capitals of all the states and even of most of the European countries. A teacher was quoted as saying that the little boy could also pronounce the names of the foreign cities correctly. “What’s the capital of Finland?” my mother asked me, looking at the story. All I knew was the capital of California, because Sacramento was the name of the street we lived on in Chinatown. “Nairobi!”5 I guessed, saying the most foreign word I could think of. She checked to see if that might be one way to pronounce Helsinki before showing me the answer. The tests got harder—multiplying numbers in my head, finding the queen of hearts in a deck of cards, trying to stand on my head without using my hands, predicting the daily temperatures in Los Angeles, New York, and London. One night I had to look at a page from the Bible for three minutes and then report everything I could remember. “Now Jehoshaphat6 had riches and honor in abundance and . . . that’s all I remember, Ma,” I said. D And after seeing, once again, my mother’s disappointed face, something inside me began to die. I hated the tests, the raised hopes and failed expectations. Before going to bed that night I looked in the mirror above the bathroom sink, and when I saw only my face staring back—and understood that it would always be this ordinary face—I began to cry. Such a sad, ugly girl! I made high-pitched noises like a crazed animal, trying to scratch out the face in the mirror. And then I saw what seemed to be the prodigy side of me—a face I had never seen before. I looked at my reflection, blinking so that I could see more clearly. The girl staring back at me was angry, powerful. She and I were the same. I had new thoughts, willful thoughts—or, rather, thoughts filled with lots of won’ts. I won’t let her change me, I promised myself. I won’t be what I’m not.

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Keep This in Mind Use these marks to show your thoughts as you read.

? I have a question about something here.

! This really caught my attention. ★ This information is important.

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Draw Conclusions Once again the mother is putting her daughter through some sort of training. Draw a conclusion about the mother. Think about how her behavior here is like her behavior earlier in the story. Then sum up the similarity in a general statement, or conclusion. 80

Model: Earlier the mother made her daughter watch movies so that the daughter could learn how to be like Shirley Temple. Now the mother is making her daughter memorize facts so that the daughter can learn how to be like the little boy. From the mother’s behavior, what conclusion can you draw about her? Check one. D

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❏ She is amazed by how smart her daughter is.

❏ She is determined to make her daughter into somebody famous.

5. Nairobi (n¯ r¯o
b¯e) is the capital of Kenya in east central Africa. 6. Jehoshaphat ( ji hosh
ə fat´) was a king of Judah in the ninth century B.C. The Glencoe Reader

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100

Predict Get involved in the story. Predict, or make an educated guess about, what the mother will do next. On the lines below, tell what you think she will do and why you think so. E 110

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So now when my mother presented her tests, I performed listlessly,7 my head propped on one arm. I pretended to be bored. And I was. I got so bored that I started counting the bellows of the foghorns out on the bay while my mother drilled me in other areas. The sound was comforting and reminded me of the cow jumping over the moon. And the next day I played a game with myself, seeing if my mother would give up on me before eight bellows. After a while I usually counted only one bellow, maybe two at most. At last she was beginning to give up hope. Two or three months went by without any mention of my being a prodigy. And then one day my mother was watching the Ed Sullivan Show 8 on TV. The TV was old and the sound kept shorting out. Every time my mother got halfway up from the sofa to adjust the set, the sound would come back on and Sullivan would be talking. As soon as she sat down, Sullivan would go silent again. She got up—the TV broke into loud piano music. She sat down—silence. Up and down, back and forth, quiet and loud. It was like a stiff, embraceless dance between her and the TV set. Finally, she stood by the set with her hand on the sound dial. She seemed entranced by the music, a frenzied little piano piece with a mesmerizing quality, which alternated between quick, playful passages and teasing, lilting9 ones. “Ni kan,” my mother said, calling me over with hurried hand gestures. “Look here.” E I could see why my mother was fascinated by the music. It was being pounded out by a little Chinese girl, about nine years old, with a Peter Pan haircut. The girl had the sauciness10 of a Shirley Temple. She was proudly modest, like a proper Chinese child. And she also did a fancy sweep of a curtsy, so that the fluffy skirt of her white dress cascaded11 to the floor like the petals of a large carnation. 7. Listlessly means “without energy.” 8. The Ed Sullivan Show was a popular weekly variety show on TV in the 1950s and 1960s. 9. Lilting means “light and lively.” 10. Sauciness means “boldness that is playful and lighthearted.” 11. Cascaded means “fell like a waterfall.”

Vocabulary mesmerizing (mez
mə r¯z in) adj. fascinating 42

The Glencoe Reader

In spite of these warning signs, I wasn’t worried. Our family had no piano and we couldn’t afford to buy one, let alone reams of sheet music and piano lessons. So I could be generous in my comments when my mother bad-mouthed the little girl on TV. “Play note right, but doesn’t sound good!” my mother complained. “No singing sound.” “What are you picking on her for?” I said carelessly. “She’s pretty good. Maybe she’s not the best, but she’s trying hard.” I knew almost immediately that I would be sorry I had said that. “Just like you,” she said. “Not the best. Because you not trying.” She gave a little huff as she let go of the sound dial and sat down on the sofa. F The little Chinese girl sat down also, to play an encore of “Anitra’s Tanz,” by Grieg. I remember the song, because later on I had to learn how to play it. Did You Know?

130

Reading Dialect Reread the conversation on lines 132–140. Circle what the he text mother says to her daughter. Say the mother’s words aloud. Then, on the lines below, put her message in your own words. F

140

Edvard Grieg (re¯ ),

1843–1907, was a Three days after watching the Ed Norwegian composer. Sullivan Show my mother told me what my schedule would be for piano lessons and piano practice. She had talked to Mr. Chong, who lived on the first floor of our apartment building. Mr. Chong was a retired piano teacher, and my mother had traded housecleaning services for weekly lessons and a piano for me to practice on every day, two hours a day, from four until six. When my mother told me this, I felt as though I had been sent to hell. I whined, and then kicked my foot a little when I couldn’t stand it anymore. “Why don’t you like me the way I am?” I cried, “I’m not a genius! I can’t play the piano. And even if I could, I wouldn’t go on TV if you paid me a million dollars!” My mother slapped me. “Who ask you to be genius?” she shouted. “Only ask you be your best. For you sake. You think I want you to be genius! Hnnh! What for! Who ask you!” “So ungrateful,” I heard her mutter in Chinese. “If she had as much talent as she has temper, she’d be famous now.” G

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lement

Conflict Once again, there is a conflict in the story. This time, the struggle is an external conflict—one between a character and an outside force. Listed below are short descriptions of four kinds of external conflicts. Put a check next to the description that applies here. G

❏ person against person ❏ person against nature ❏ person against society ❏ person against fate 160

The Glencoe Reader

43

Question This paragraph has some hard words. Make sure that you understand what you’re reading. Ask yourself, What is Old Chong talking about here? Circle details he text that help you understand what he is referring to. Then put a check next to the statement that best sums up what he is talking about. H

170

❏ things in his apartment ❏ parts of a piece of music ❏ students in his class 180

Draw Conclusions As you read the next two paragraphs, think about the daughter’s piano lessons. What can you conclude about her playing? Is she becoming a good piano player? On the lines below, write your conclusion and give reasons for your answer. I

190

200

Mr. Chong, whom I secretly nicknamed Old Chong, was very strange, always tapping his fingers to the silent music of an invisible orchestra. He looked ancient in my eyes. He had lost most of the hair on the top of his head, and he wore thick glasses and had eyes that always looked tired. But he must have been younger than I thought, since he lived with his mother and was not yet married. I met Old Lady Chong once, and that was enough. She had a peculiar smell, like a baby that had done something in its pants, and her fingers felt like a dead person’s, like an old peach I once found in the back of the refrigerator; its skin just slid off the flesh when I picked it up. I soon found out why Old Chong had retired from teaching piano. He was deaf. “Like Beethoven!” he shouted to me. “We’re both listening only in our Did You Know? head!” And he would start to conduct Ludwig van Beethoven (ba¯
to¯ vən), 1770-1827, 12 his frantic silent sonatas. was a German composer. Our lessons went like this. He would open the book and point to different things, explaining their purpose: “Key! Treble! Bass! No sharps or flats! So this is C major! Listen now and play after me!” H And then he would play the C scale a few times, a simple chord, and then, as if inspired by an old unreachable itch, he would gradually add more notes and running trills and a pounding bass until the music was really something quite grand. I I would play after him, the simple scale, the simple chord, and then just play some nonsense that sounded like a cat running up and down on top of garbage cans. Old Chong would smile and applaud and say, “Very good! But now you must learn to keep time!” So that’s how I discovered that Old Chong’s eyes were too slow to keep up with the wrong notes I was playing. He went through the motions in half time. To help me keep rhythm, he stood behind me and pushed down on my right shoulder for every beat. He balanced pennies on top of my wrists so that I would

12. Sonatas are instrumental compositions, commonly written for piano. 44

The Glencoe Reader

keep them still as I slowly played scales and arpeggios.13 He had me curve my hand around an apple and keep that shape when playing chords. He marched stiffly to show me how to make each finger dance up and down, staccato,14 like an obedient little soldier. He taught me all these things, and that was how I also learned I could be lazy and get away with mistakes, lots of mistakes. If I hit the wrong notes because I hadn’t practiced enough, I never corrected myself. I just kept playing in rhythm. And Old Chong kept conducting his own private reverie. So maybe I never really gave myself a fair chance. I did pick up the basics pretty quickly, and I might have become a good pianist at that young age. But I was so determined not to try, not to be anybody different, that I learned to play only the most ear-splitting preludes, the most discordant hymns. Over the next year I practiced like this, dutifully in my own way. And then one day I heard my mother and her friend Lindo Jong both talking in a loud, bragging tone of voice so that others could hear. It was after church, and I was leaning against a brick wall, wearing a dress with stiff white petticoats. Auntie Lindo’s daughter, Waverly, who was my age, was standing farther down the wall, about five feet away. We had grown up together and shared all the closeness of two sisters, squabbling over crayons and dolls. In other words, for the most part, we hated each other. I thought she was snotty. Waverly Jong had gained a certain amount of fame as “Chinatown’s Littlest Chinese Chess Champion.” J “She bring home too many trophy,” Auntie Lindo lamented that Sunday. “All day she play chess. All day I have no time do nothing but dust off her winnings.” She threw a scolding look at Waverly, who pretended not to see her. K

210

Question Two new characters are introduced here. This would be a good time to ask a who question. Who are Auntie Lindo Jong and Waverley Jong? Circle details he text in the boxed paragraph that answer the question for you. On the lines below, write a short description of each of these characters. J

220

Infer Auntie Lindo says one thing, but she is thinking quite another. Carefully reread this paragraph. Try to “read between the lines,” or infer, what Auntie Lindo is thinking. Then put a check next to the statement below that best describes her thoughts. K 230

❏ “I wish Waverly would stop playing chess and help me with the chores.”

❏ “Waverly has so much talent 13. Arpeggios (ar pej
e¯ o ¯ z) are chords in which the notes are played in succession instead of all at the same time. 14. To play music staccato (stə ka
t¯o) is to produce sharp, distinct breaks between successive tones.

and drive. I’m proud of all the chess trophies she’s won.”

Vocabulary reverie (rev
ər e¯ ) n. fanciful thinking; daydream discordant (dis kord
ənt) adj. not in agreement or harmony The Glencoe Reader

45

“You lucky you don’t have this problem,” Auntie Lindo said with a sigh to my mother. And my mother squared her shoulders and bragged: “Our problem worser than yours. If we ask Jing-mei15 wash dish, she hear nothing but music. It’s like you can’t stop this natural talent.” And right then I was determined to put a stop to her foolish pride.

Step 1 Make sure that you understand everything you’ve read so far. You should have put a question mark next to parts that you thought were hard or confusing. Use one or more of the following strategies to understand those parts better. • Reread them slowly. • Read them aloud. • Read on to see if new information makes them clearer.

240

• Ask a classmate or a teacher, parent, or other adult for help.

Step 2 When you understand what you’ve read, write a one- or two-sentence summary of the story so far. Be sure your summary tells who, what, where, why, when, and how. Write on the lines below. 250

260

A few weeks later Old Chong and my mother conspired to have me play in a talent show that was to be held in the church hall. By then my parents had saved up enough to buy me a secondhand piano, a black Wurlitzer spinet with a scarred bench. It was the showpiece of our living room. For the talent show I was to play a piece called “Pleading Child,” from Did You Know? 16 A spinet (spin
it) is a small, Schumann’s Scenes From Childhood. It upright piano. was a simple, moody piece that sounded more difficult than it was. I was supposed to memorize the whole thing. But I dawdled17 over it, playing a few bars and then cheating, looking up to see what notes followed. I never really listened to what I was playing. I daydreamed about being somewhere else, about being someone else. The part I liked to practice best was the fancy curtsy: right foot out, touch the rose on the carpet with a pointed foot, sweep to the side, bend left leg, look up, and smile. My parents invited all the couples from their social club to witness my debut. Auntie Lindo and Uncle Tin were there. Waverly and her two older brothers had also come. The first two rows were filled with children either younger or older than I was. The littlest ones got to go first. They recited simple nursery rhymes, squawked out tunes on miniature violins, and twirled hula hoops in pink ballet tutus, and when they bowed or curtsied, 15. Jing-mei ( jin
m¯a) 16. Robert Schumann (sh oo
¯¯¯ man), 1810–1856, was a German composer. 17. Dawdled means “wasted time; lingered.”

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The Glencoe Reader

READ ALOUD

the audience would sigh in unison, “Awww,” and then clap enthusiastically. When my turn came, I was very confident. I remember my childish excitement. It was as if I knew, without a doubt, that the prodigy side of me really did exist. I had no fear whatsoever, no nervousness. I remember thinking, This is it! This is it! I looked out over the audience, at my mother’s blank face, my father’s yawn, Auntie Lindo’s stiff-lipped smile, Waverly’s sulky expression. I had on a white dress, layered with sheets of lace, and a pink bow in my Peter Pan haircut. As I sat down, I envisioned people jumping to their feet and Ed Sullivan rushing up to introduce me to everyone on TV. L And I started to play. Everything was so beautiful. I was so caught up in how lovely I looked that I wasn’t worried about how I would sound. So I was surprised when I hit the first wrong note. And then I hit another, and another. A chill started at the top of my head and began to trickle down. Yet I couldn’t stop playing, as though my hands were bewitched. I kept thinking my fingers would adjust themselves back, like a train switching to the right track. I played this strange jumble through to the end, the sour notes staying with me all the way. M When I stood up, I discovered my legs were shaking. Maybe I had just been nervous, and the audience, like Old Chong, had seen me go through the right motions and had not heard anything wrong at all. I swept my right foot out, went down on my knee, looked up, and smiled. The room was quiet, except for Old Chong, who was beaming and shouting, “Bravo! Bravo! Well done!” But then I saw my mother’s face, her stricken face. The audience clapped weakly, and as I walked back to my chair, with my whole face quivering as I tried not to cry, I heard a little boy whisper loudly to his mother, “That was awful,” and the mother whispered back, “Well, she certainly tried.” N And now I realized how many people were in the audience— the whole world, it seemed. I was aware of eyes burning into my back. I felt the shame of my mother and father as they sat stiffly through the rest of the show. We could have escaped during intermission. Pride and some strange sense of honor must have anchored my parents to their chairs. And so we watched it all: The eighteen-year-old boy with a

Build Fluency Find a quiet place and practice reading the boxed paragraph aloud. Reread the paragraph until you can read it comfortably and smoothly. L 270

280

Respond Are you surprised that the daughter does not do well at the talent show? On the lines below, jot down what you think and why. M

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Draw Conclusions Why is Old Chong the only one who thinks that the daughter played the musical piece well? Recall what you know about him. Then underline the reason below that you think is right. N Old Chong thinks the daughter did a good job because (he is her teacher / he cannot hear). The Glencoe Reader

47

Question This is a very dramatic moment in the story. It would be a good time to ask yourself questions about what’s happening to make sure that you understand. Ask yourself, How is the daughter feeling and he text why? Circle details that answer these questions for you. Then jot down your answers on the lines below. O

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Predict Do you think that the mother will finally stop trying to make her daughter into a prodigy? Check the answer below that tells what you think the mother will do and why. P

❏ no, because the mother’s hopes and dreams mean too much to her

❏ yes, because the talent show should have made her see that her daughter will never be a prodigy

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fake moustache who did a magic show and juggled flaming hoops while riding a unicycle. The breasted girl with white makeup who sang an aria18 from Madame Butterfly and got an honorable mention. And the eleven-year-old boy who won first prize playing a tricky violin song that sounded like a busy bee. After the show the Hsus, the Jongs, and the St. Clairs, from the Joy Luck Club, Did You Know? came up to my mother and father. Madame Butterfly is a famous opera by Italian “Lots of talented kids,” Auntie Lindo composer Giacomo Puccini. said vaguely, smiling broadly. “That was somethin’ else,” my father said, and I wondered if he was referring to me in a humorous way, or whether he even remembered what I had done. Waverly looked at me and shrugged her shoulders. “You aren’t a genius like me,” she said matter-of-factly. And if I hadn’t felt so bad, I would have pulled her braids and punched her stomach. But my mother’s expression was what devastated me: a quiet, blank look that said she had lost everything. I felt the same way, and everybody seemed now to be coming up, like gawkers at the scene of an accident, to see what parts were actually missing. O When we got on the bus to go home, my father was humming the busy-bee tune and my mother was silent. I kept thinking she wanted to wait until we got home before shouting at me. But when my father unlocked the door to our apartment, my mother walked in and went straight to the back, into the bedroom. No accusations. No blame. And in a way, I felt disappointed. I had been waiting for her to start shouting, so that I could shout back and cry and blame her for all my misery. P I had assumed that my talent-show fiasco meant that I would never have to play the piano again. But two days later, after school, my mother came out of the kitchen and saw me watching TV. 18. An aria (ar
e ə) is an elaborate composition for solo voice.

Vocabulary devastate (dev
əs t¯at) v. to destroy; overwhelm fiasco (f¯e as
k¯o) n. a complete or humiliating failure 48

The Glencoe Reader

“Four clock,” she reminded me, as if it were any other day. I was stunned, as though she were asking me to go through the talent-show torture again. I planted myself more squarely in front of the TV. “Turn off TV,” she called from the kitchen five minutes later. I didn’t budge. And then I decided. I didn’t have to do what my mother said anymore. I wasn’t her slave. This wasn’t China. I had listened to her before, and look what happened. She was the stupid one. She came out from the kitchen and stood in the arched entryway of the living room. “Four clock,” she said once again, louder. “I’m not going to play anymore,” I said nonchalantly.19 “Why should I? I’m not a genius.” She stood in front of the TV. I saw that her chest was heaving up and down in an angry way. “No!” I said, and I now felt stronger, as if my true self had finally emerged. So this was what had been inside me all along. “No! I won’t!” I screamed. She snapped off the TV, yanked me by the arm and pulled me off the floor. She was frighteningly strong, half pulling, half carrying me toward the piano as I kicked the throw rugs under my feet. She lifted me up and onto the hard bench. I was sobbing by now, looking at her bitterly. Her chest was heaving even more and her mouth was open, smiling crazily as if she were pleased that I was crying. “You want me to be someone that I’m not!” I sobbed. “I’ll never be the kind of daughter you want me to be!” Q “Only two kinds of daughters,” she shouted in Chinese. “Those who are obedient and those who follow their own mind! Only one kind of daughter can live in this house. Obedient daughter!” “Then I wish I weren’t your daughter. I wish you weren’t my mother,” I shouted. As I said these things I got scared. It felt like worms and toads and slimy things crawling out of my chest, but it also felt good, that this awful side of me had surfaced, at last. “Too late change this,” my mother said shrilly. And I could sense her anger rising to its breaking point. I wanted to see it spill over. And that’s when I remembered the

340

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lement

Conflict The mother and the daughter are having quite a he text battle. Circle details that help you understand how the daughter is feeling inside and why. On the lines below, jot down your thoughts about what is causing her to be so upset. Q

350

otes Your N 360

370

19. Nonchalantly (non´shə lant
le¯) means “as if not caring; indifferently.” The Glencoe Reader

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Draw Conclusions Think about what the daughter has just said to her mother. Then think about what the mother’s life has been like. What do you think the mother is feeling here and why?

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R

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Question A lot of time has passed very quickly in the story. This would be a good time to ask yourself a question to make sure that you are on track. At the beginning of the story, the daughter is about nine years old. About how old is she now? Write her age on the line below. S

400

Draw Conclusions Circle details that show the mother’s attitude toward the daughter. Do you think the mother’s attitude toward her daughter has changed now that the daughter is older? Why or why not? Jot down your answers here. T

he text

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410

babies she had lost in China, the ones we never talked about. “Then I wish I’d never been born!” I shouted. “I wish I were dead! Like them.” It was as if I had said magic words. Alakazam!—her face went blank, her mouth closed, her arms went slack, and she backed out of the room, stunned, as if she were blowing away like a small brown leaf, thin, brittle, lifeless. R It was not the only disappointment my mother felt in me. In the years that followed, I failed her many times, each time asserting my will, my right to fall short of expectations. I didn’t get straight As. I didn’t become class president. I didn’t get into Stanford. I dropped out of college. Unlike my mother, I did not believe I could be anything I wanted to be. I could only be me. And for all those years we never talked about the disaster at the recital or my terrible declarations afterward at the piano bench. Neither of us talked about it again, as if it were a betrayal that was now unspeakable. So I never found a way to ask her why she had hoped for something so large that failure was inevitable. And even worse, I never asked her about what frightened me the most: Why had she given up hope? For after our struggle at the piano, she never mentioned my playing again. The lessons stopped. The lid to the piano was closed, shutting out the dust, my misery, and her dreams. So she surprised me. A few years ago she offered to give me the piano, for my thirtieth birthday. I had not played in all those years. I saw the offer as a sign of forgiveness, a tremendous burden removed. S “Are you sure?” I asked shyly. “I mean, won’t you and Dad miss it?” “No, this your piano,” she said firmly. “Always your piano. You only one can play.” “Well, I probably can’t play anymore,” I said. “It’s been years.” “You pick up fast,” my mother said, as if she knew this was certain. “You have natural talent. You could be genius if you want to.” “No, I couldn’t.” “You just not trying,” my mother said. And she was neither angry nor sad. She said it as if announcing a fact that could never be disproved. “Take it,” she said. T

But I didn’t, at first. It was enough that she had offered it to me. And after that, every time I saw it in my parents’ living room, standing in front of the bay window, it made me feel proud, as if it were a shiny trophy that I had won back. Last week I sent a tuner over to my parents’ apartment and had the piano reconditioned, for purely sentimental reasons. My mother had died a few months before, and I had been getting things in order for my father, a little bit at a time. I put the jewelry in special silk pouches. The sweaters she had knitted in yellow, pink, bright orange—all the colors I hated—I put in mothproof boxes. I found some old Chinese silk dresses, the kind with little slits up the sides. I rubbed the old silk against my skin, and then wrapped them in tissue and decided to take them home with me. After I had the piano tuned, I opened the lid and touched the keys. It sounded even richer than I remembered. Really, it was a very good piano. Inside the bench were the same exercise notes with handwritten scales, the same secondhand music books with their covers held together with yellow tape. I opened up the Schumann book to the dark little piece I had played at the recital. It was on the left-hand page, “Pleading Child.” It looked more difficult than I remembered. I played a few bars, surprised at how easily the notes came back to me. And for the first time, or so it seemed, I noticed the piece on the right-hand side. It was called “Perfectly Contented.” I tried to play this one as well. It had a lighter melody but with the same flowing rhythm and turned out to be quite easy. “Pleading Child” was shorter but slower; “Perfectly Contented” was longer but faster. And after I had played them both a few times, I realized they were two halves of the same song.

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Step 1 Now that you’ve finished reading the story, take a moment to think about it. Look back over the passages you marked and the questions you answered. Then, on the lines below, describe at least two differences between the mother and the daughter.

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Step 2 Now think about your own life. Below, describe an important difference between you and someone in your family.

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he text

Choose three words, either from the underlined vocabulary in the story or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book, and complete one of the activities listed there.

The Glencoe Reader

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Reading Dialect

conversation between What Did She Say? Look back at the 45–46 (lines es pag on Auntie Lindo and the mother t Auntie Lindo says. wha te resta 228–237). In your own words,

Draw Conclusions 1. Questionnaire Follow-Up Rev iew the questionnaire on page 38. With your group, draw conclusions about which questions the daughter, as an adult, would probably answer with a “yes” and tell why. Then do the same thing for the mother. Record the group’s respons es on the lines below.

Question

e a who, what, where, 1. Q and A On the lines below, writ the story. Ask your when, why, or how question about n answer your partner to answer your question. The story if you need help partner’s question. Look back at the figuring out a correct answer.

you still have about 2. Unanswered What questions do ? On the lines the story that haven’t been answered wish knew the you stion que below, write at least one answer to.

r partner. Together, Now discuss your question with you the story. Write answer the question using details in your answer on the lines below.

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Conflict 2. Why Can’t They Get Along? Liste d below are some common causes of conflict. As a grou p, discuss which of the causes apply to the conflict between the mother and the daughter. (You may choose more than one cause.) Then, together, decide which of the causes is the most important and why. On the lines below, record the group’s responses. • difference in age • difference in life experiences • difference in cultures

• difference in personality

• difference in goals

• difference in values or beliefs

Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

What does Waverly say to the daughter after the talent show? A. “What happened?” B. “You were so great!” C. “You aren’t a genius like me.” D. “You’ll do better next time; just wait and see.” What does the daughter do with the piano after her mother dies? A. She has it tuned and then plays it. B. She figures out what it is worth and then sells it. C. She tries to play it and then decides to give it away. D. She polishes it and then gives it to her own daughter.

How would the story change if Auntie Lindo and Waverly were not in it? Use details from the story to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check From the word list, write the word that belongs in the blank in each sentence. prodigy n. an extraordinarily talented or gifted person, especially a child

1. I found the graceful movements of the dolphins to be absolutely

.

2. The teacher proudly said that the brilliant eleven-year-old was a

.

lament v. to express sorrow or regret

3. If Frank doesn’t get the job, the loss will

reproach n. blame; disgrace; discredit

4. Everyone left so early and had such a bad time that I felt my party was a

mesmerizing adj. fascinating reverie n. fanciful thinking; daydream discordant adj. not in agreement or harmony devastate v. to destroy; overwhelm fiasco n. a complete or humiliating failure

him.

5. The jury members argued so loudly that their hallway.

cries could be heard in the

6. Juan behaved well; he deserves your thanks, not your 7. When I got an F on my test, I began to

.

.

the fact that I hadn’t studied.

8. Watching the clouds drift by, I let my mind wander into a

.

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SHORT STORY

Small Group Discussion It’s human nature to be generous sometimes and selfish at other times. Think of a time when you were generous and a time when you were selfish. How did you feel in each situation? Share your experiences in a small group discussion. In this short story, you’ll read about a teenage boy named Luis who discovers which part of his nature makes him happiest.

Building Background Luis, the main character of this story, lives with his father in the barrio. Most of the action takes place in a car junkyard. • A barrio is a city neighborhood where most of the people are of Hispanic heritage. • A car junkyard is a place that stores cars that nobody wants. Car parts that still work are often salvaged, or saved, so they can be used to fix other cars. • This junkyard contains a huge pile of hubcaps, or wheel covers that are usually made of metal. Hubcaps come in various styles designed to match particular models of cars.

Vocabulary Preview Read the definitions of these words from “Catch the Moon.” Use the pronunciation guides to help you say each word aloud. You may already know the meaning of some of these words, but others might still be unclear. As you read, use context clues to help unlock the meanings and make those words clearer. harass (har
əs, hə ras
) v. to bother or annoy repeatedly; p. 55 makeshift (ma¯ k
shift´) adj. used as a temporary substitute for something; p. 57 vintage (vin
tij) adj. having a lasting appeal; classic; p. 57 decapitate (di kap
ə ta¯ t) v. to cut off the head of; p. 59

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

Setting a Purpose for Reading Read to see how Luis acts both selfishly and generously—and learn which kind of actions make him feel good about himself. Graphic Organizer Organizer Graphic

As you read, use the following Foldable to keep track of Luis’s actions.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts.

1. Place a sheet of paper in front of you so the long side is at the top. Fold the paper in half from left to right and then unfold.

Reading Focus: Visualize

2. Fold each side in to the centerfold line, to form two tabs.

Think It Over: Interpret

3. Label the left tab Luis’s Generous Actions and the right tab Luis’s Selfish Actions.

Literary Element: Sensory Details

4. Take notes on your Foldable as you read. Under the left flap, record actions of Luis’s that you think are generous. Under the right flap, record actions of his that you think are selfish.

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Reading Coach: Using Time Clues

Visualize The story opens with a strong visual image—a clear picture of the main characters and the setting of the story. Reread the boxed sentence. What do you visualize, or see in your mind’s eye? A Model: When I read this sentence, I try to picture how tall six feet is and how many hubcaps it must take to make a pile big enough to support a person. The words “steel jungle” and “car junkyard” make me see heaps of twisted, broken metal.

Judith Ortiz Cofer

L

uis Cintrón sits on top of a six-foot pile of hubcaps and watches his father walk away into the steel jungle of his car junkyard. A Released into his old man’s custody after six months in juvenile hall—for breaking and entering—and he didn’t even take anything. He did it on a dare. But the old lady with the million cats was a light sleeper, and good with her aluminum cane. He has a scar on his head to prove it. Now Luis is wondering whether he should have stayed in and done his full time. Jorge Cintrón of Jorge Cintrón & Son, Auto Parts and Salvage, has decided that Luis should wash and polish every hubcap in the yard. The hill he is sitting on is only the latest couple of hundred wheel covers that have come in. Luis grunts and stands up on top of his silver mountain. He yells at no one, “Someday, son, all this will be yours,” and sweeps his arms like the Pope blessing a crowd over the piles of car sandwiches and mounds of metal parts that cover this acre of land outside the city. He is the “Son” of Jorge Cintrón & Son, and so far his father has had more than one reason to wish it was plain Jorge Cintrón on the sign. B Luis has been getting in trouble since he started high school two years ago, mainly because of the “social group” he organized—a bunch of guys who were into harassing the local authorities. Their

Vocabulary

10

20

Using Time Clues Some parts of this story take place in the present, some take place in the recent past, and some take place in the more distant past. Here, the story is about to shift from the present to the recent past. The author helps you recognize the time shift by mentioning time in the story. Read the highlighted sentence. Mark th e text Circle the words that tell you when Luis started high school. When did Luis start getting in trouble? B

Using Definitions When you come to a vocabulary word in a sentence, read the whole sentence. Then read the word’s definition at the bottom of the page. When you reread the sentence, the word’s meaning should be clearer.

harass (har
əs, hə ras
) v. to bother or annoy repeatedly The Glencoe Reader

55

Interpret When you interpret, you use your own understanding of the world to decide what events or ideas in a selection mean. As you read the Mark th e text boxed text, underline or highlight the things the Tiburones did. What general statement can you make about how the Tiburones have a good time? Write your answer on the lines below. C

30

40

Mark th e text

Choose your own words As you continue reading this story, circle any words that you find interesting or that you don’t understand. You’ll come back to these words later. 50

Keep This in Mind Use these symbols to record your reactions as you read.

? I have a question about something here.

! This really caught my attention. ★ This information is important. 56

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thing was taking something to the limit on a dare or, better still, doing something dangerous, like breaking into a house, not to steal, just to prove that they could do it. That was Luis’s specialty, coming up with very complicated plans, like military strategies, and assigning the “jobs” to guys who wanted to join the Tiburones.1 Tiburón means “shark,” and Luis had gotten the name from watching an old movie2 about a Puerto Rican gang called the Sharks with his father. Luis thought it was one of the dumbest films he had ever seen. Everybody sang their lines, and the guys all pointed their toes and leaped in the air when they were supposed to be slaughtering each other. But he liked their name, the Sharks, so he made it Spanish and had it air-painted on his black T-shirt with a killer shark under it, jaws opened wide and dripping with blood. It didn’t take long for other guys in the barrio to ask about it. C Man, had they had a good time. The girls were interested too. Luis outsmarted everybody by calling his organization a social club and registering it at Central High. That meant they were legal, even let out of last-period class on Fridays for their “club” meetings. It was just this year, after a couple of botched3 jobs, that the teachers had started getting suspicious. The first one to go wrong was when he sent Kenny Matoa to borrow some “souvenirs” out of Anita Robles’s locker. He got caught. It seems that Matoa had been reading Anita’s diary and didn’t hear her coming down the hall. Anita was supposed to be in the gym at that time but had copped out with the usual female excuse of cramps. You could hear her screams all the way to Market Street. She told the principal all she knew about the Tiburones, and Luis had to talk fast to convince old Mr. Williams that the club did put on cultural activities such as the Save the Animals talent show. What Mr. Williams didn’t know was that the animal that was being “saved” with the ticket sales was Luis’s pet boa, which needed quite a few live mice to stay healthy and happy. 1. Tiburones (t¯e´ boo r¯o
n¯as) 2. [old movie . . .] The narrator is describing the feature film West Side Story, a 1961 musical based on Shakespeare’s play Romeo and Juliet and set in the youth gang atmosphere of New York City in the late 1950s. 3. Botched means “badly or clumsily done.”

They kept E.S. (which stood for “Endangered Species”) in Luis’s room, but she belonged to the club and it was the members’ responsibility to raise the money to feed their mascot. So last year they had sponsored their first annual Save the Animals talent show, and it had been a great success. The Tiburones had come dressed as Latino Elvises and did a grand finale to “All Shook Up” that made the audience go wild. Mr. Williams had smiled while Luis talked, maybe remembering how the math teacher, Mrs. Laguna, had dragged him out in the aisle to rock-and-roll with her. Luis had gotten out of that one, but barely. His father was a problem too. He objected to the T-shirt logo, calling it disgusting and vulgar. Mr. Cintrón prided himself on his own neat, elegant style of dressing after work, and on his manners and large vocabulary, which he picked up by taking correspondence courses in just about everything. Luis thought that it was just his way of staying busy since Luis’s mother had died, almost three years ago, of cancer. He had never gotten over it. D All this was going through Luis’s head as he slid down the hill of hubcaps. E The tub full of soapy water, the can of polish, and the bag of rags had been neatly placed in front of a makeshift table made from two car seats and a piece of plywood. Luis heard a car drive up and someone honk their horn. His father emerged from inside a new red Mustang that had been totaled. He usually dismantled Did You Know? every small feature by hand before Many people consider the Volkswagen Beetle, also 4 sending the vehicle into the cementerio, nicknamed “VW” or “Bug,” to be a classic car. Compact, as he called the lot. Luis watched as durable, and affordable, the the most beautiful girl he had ever Bug was extremely popular in the 1960s and early seen climbed out of a vintage white 1970s. Volkswagen Bug. She stood in the sunlight

Don’t forget about your Foldable! As you read, remember to jot down notes about Luis’s actions.

Graphic Organizer Organizer Graphic

60

70

80

Infer Writers don’t always tell you everything directly. Sometimes they give you clues so you can infer, or guess, additional information. Reread the highlighted sentence. On the lines below, tell how you think Mr. Cintrón felt about his wife. D

Using Time Clues Luis has a lot of thoughts going through his head! He is thinking about the recent past (when he used to hang out with the Tiburones) and about the distant past (when his mother died). E Mark th e text

Underline the first sentence of this paragraph. How does the sentence shift the story from the past back to the present? Circle the letter next to the statement that best matches your response.

4. Cementerio (se men te
r¯e o ¯ ) is Spanish for “cemetery.”

a. Luis is confused about what year it is.

Vocabulary

b. Luis realizes he was in a time warp.

makeshift (m¯ak
shift´) adj. suitable as a temporary substitute for the proper or desired thing vintage (vin
tij) adj. characterized by enduring appeal; classic

c. Luis daydreams about the past while he does something in the present. The Glencoe Reader

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iterary

lement

90

Sensory Details Descriptions that appeal to one or more of the five senses are called sensory details. Writers use sensory details to help readers see, hear, taste, feel, or smell what is being described. Here, the writer is describing a girl. Reread the boxed text. Mark th e text

Underline one sensory detail that appeals to your sense of touch. What do the sensory details suggest about the girl? Write your answer on the lines below. F

100

110

Interpret What do you think the girl is smiling about? Check the box next to the answer below that most closely matches your opinion. G

❏ She wants to date Luis. ❏ She recognizes Luis. ❏ She thinks Luis is Superman.

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in her white sundress waiting for his father, while Luis stared. She was like a smooth wood carving. Her skin was mahogany, almost black, and her arms and legs were long and thin, but curved in places so that she did not look bony and hard—more like a ballerina. And her ebony hair was braided close to her head. F Luis let his breath out, feeling a little dizzy. He had forgotten to breathe. Both the girl and his father heard him. Mr. Cintrón waved him over. “Luis, the señorita here has lost a wheel cover. Her car is twenty-five years old, so it will not be an easy match. Come look on this side.” Luis tossed a wrench he’d been holding into a toolbox like he was annoyed, just to make a point about slave labor. Then he followed his father, who knelt on the gravel and began to point out every detail of the hubcap. Luis was hardly listening. He watched the girl take a piece of paper from her handbag. “Señor Cintrón, I have drawn the hubcap for you, since I will have to leave soon. My home address and telephone number are here, and also my parents’ office number.” She handed the paper to Mr. Cintrón, who nodded. “Sí, señorita, very good. This will help my son look for it. Perhaps there is one in that stack there.” He pointed to the pile of caps that Luis was supposed to wash and polish. “Yes, I’m almost certain that there is a match there. Of course, I do not know if it’s near the top or the bottom. You will give us a few days, yes?” Luis just stared at his father like he was crazy. But he didn’t say anything because the girl was smiling at him with a funny expression on her face. Maybe she thought he had X-ray eyes like Superman, or maybe she was mocking him. G “Please call me Naomi, Señor Cintrón. You know my mother. She is the director of the funeral home. . . .” Mr. Cintrón seemed surprised at first; he prided himself on having a great memory. Then his friendly expression changed to one of sadness as he recalled the day of his wife’s burial. Naomi did not finish her sentence. She reached over and placed her hand on Mr. Cintrón’s arm for a moment. Then she said “Adiós” softly, and got in her shiny white car. She waved to them as she left, and her gold bracelets flashing in the sun nearly blinded Luis. Mr. Cintrón shook his head. “How about that,” he said as if to himself. “They are the Dominican owners of Ramirez Funeral

Home.” And, with a sigh, “She seems like such a nice young woman. Reminds me of your mother when she was her age.” Hearing the funeral parlor’s name, Luis remembered too. The day his mother died, he had been in her room at the hospital while his father had gone for coffee. The alarm had gone off on her monitor and nurses had come running in, pushing him outside. After that, all he recalled was the anger that had made him punch a hole in his bedroom wall. And afterward he had refused to talk to anyone at the funeral. H Strange, he did see a black girl there who didn’t try like the others to talk to him, but actually ignored him as she escorted family members to the viewing room and brought flowers in. Could it be that the skinny girl in a frilly white dress had been Naomi? She didn’t act like she had recognized him today, though. Or maybe she thought that he was a jerk. Luis grabbed the drawing from his father. The old man looked like he wanted to walk down memory lane. But Luis was in no mood to listen to the old stories about his falling in love on a tropical island. The world they’d lived in before he was born wasn’t his world. No beaches and palm trees here. Only junk as far as he could see. He climbed back up his hill and studied Naomi’s sketch. It had obviously been done very carefully. It was signed “Naomi Ramirez” in the lower right-hand corner. He memorized the telephone number. Luis washed hubcaps all day until his hands were red and raw, but he did not come across the small silver bowl that would fit the VW. After work he took a few practice Frisbee shots across the yard before showing his father what he had accomplished: rows and rows of shiny rings drying in the sun. His father nodded and showed him the bump on his temple where one of Luis’s flying saucers had gotten him. “Practice makes perfect, you know. Next time you’ll probably decapitate me.” Luis heard him struggle with the word decapitate, which Mr. Cintrón pronounced in syllables. Showing off his big vocabulary again, Luis thought. He looked closely at the bump, though. He felt bad about it. I

130

Infer In the boxed passage, underline the things Luis did after his mother died. What can you infer about how Luis handles his feelings? Write your answer on the lines below. H

Mark th e text

140

150

Interpret What does it mean that Luis feels bad about the bump? What do his guilty feelings tell you about Luis and his relationship with his father? I

160

Vocabulary decapitate (di kap
ə t¯at´) v. to cut off the head of The Glencoe Reader

59

Connect Connecting means linking what you read to your own life. Does it ever seem like you can’t do anything right? How does that make you feel? Write your response here. J

170

Step 1 Ask yourself how well you have understood the story so far. Did you put question marks next to any passages? If so, use one of these strategies to help you answer your questions.

180

• Reread confusing passages slowly or read them aloud. • Read on to see whether new information helps make a passage clear. • Ask a classmate or a teacher, parent, or other adult for help.

Step 2 Now write a one- or two-sentence summary of the action on the lines below. Be sure your summary names the main characters and events so far.

190

“They look good, hijo.”5 Mr. Cintrón made a sweeping gesture with his arms over the yard. “You know, all this will have to be classified. My dream is to have all the parts divided by year, make of car, and condition. Maybe now that you are here to help me, this will happen.” “Pop . . .” Luis put his hand on his father’s shoulder. They were the same height and build, about five foot six and muscular. “The judge said six months of free labor for you, not life, okay?” Mr. Cintrón nodded, looking distracted. It was then that Luis suddenly noticed how gray his hair had turned—it used to be shiny black like his own—and that there were deep lines in his face. His father had turned into an old man and he hadn’t even noticed. “Son, you must follow the judge’s instructions. Like she said, next time you get in trouble, she’s going to treat you like an adult, and I think you know what that means. Hard time, no breaks.” “Yeah, yeah. That’s what I’m doing, right? Working my hands to the bone instead of enjoying my summer. But listen, she didn’t put me under house arrest, right? I’m going out tonight.” “Home by ten. She did say something about a curfew, Luis.” Mr. Cintrón had stopped smiling and was looking upset. It had always been hard for them to talk more than a minute or two before his father got offended at something Luis said, or at his sarcastic tone. He was always doing something wrong. J Luis threw the rag down on the table and went to sit in his father’s ancient Buick, which was in mint condition. They drove home in silence.

After sitting down at the kitchen table with his father to eat a pizza they had picked up on the way home, Luis asked to borrow the car. He didn’t get an answer then, just a look that meant “Don’t bother me right now.”

5. Hijo (¯e
h¯o) is Spanish for “son.” 60

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Before bringing up the subject again, Luis put some ice cubes in a Baggie and handed it to Mr. Cintrón, who had made the little bump on his head worse by rubbing it. It had GUILTY written on it, Luis thought. “Gracias, hijo.” His father placed the bag on the bump and made a face as the ice touched his skin. They ate in silence for a few minutes more; then Luis decided to ask about the car again. “I really need some fresh air, Pop. Can I borrow the car for a couple of hours?” “You don’t get enough fresh air at the yard? We’re lucky that we don’t have to sit in a smelly old factory all day. You know that?” “Yeah, Pop. We’re real lucky.” Luis always felt irritated that his father was so grateful to own a junkyard, but he held his anger back and just waited to see if he’d get the keys without having to get in an argument. K “Where are you going?” “For a ride. Not going anywhere. Just out for a while. Is that okay?” His father didn’t answer, just handed him a set of keys, as shiny as the day they were manufactured. His father polished everything that could be polished: doorknobs, coins, keys, spoons, knives, and forks, like he was King Midas counting his silver and gold. Luis thought his father must be really lonely to polish utensils only he used anymore. They had been picked out by his wife, though, so they were like relics.6 Nothing she had ever owned could be thrown away. Only now the dishes, forks, and spoons were not used to eat the yellow rice and red beans, the fried chicken, or the mouth-watering sweet plantains that his mother had cooked for them. L They were just kept Did You Know? in the cabinets that his father had turned plantain (plant
ən) is a into a museum for her. Mr. Cintrón could Atropical fruit similar to a cook as well as his wife, but he didn’t have banana, which must be cooked before eating. the heart to do it anymore. Luis thought

READ ALOUD 200

Build Fluency Find a quiet place to practice reading aloud the boxed passage. Reread the passage several times until you can read it smoothly. K

iterary 210

lement

Sensory Details This description is filled with details! Mark th e text Underline or highlight the words in the boxed passage that appeal to one or more of your senses. Below, circle the senses that the details appeal to. L sight hearing taste touch smell

220

s Your Note

230

6. Here, a relic is a preserved and protected object that is associated with a highly respected person. The Glencoe Reader

61

Interpret Luis thinks the relationship he and his father have might “get better” if they eat together more often. What does Luis want to be different about their relationship? Write your answer on the lines below. M 240

Visualize Take a minute to picture the tree in your mind. Underline the details that describe the tree as it was Mark th e text and as it is now. From the description of the tree, what can you tell about when Luis’s mother died? What season is it now? N

Using Time Clues Take another look at this paragraph. The first two sentences of this paragraph shift the time from the present to the distant past—when Luis’s mother was still alive. What time shift occurs in the highlighted sentences? Put a check mark next to the correct answer below. O

250

260

❏ from recent past to present ❏ from distant past to present ❏ from distant past to recent past 62

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that maybe if they ate together once in a while things might get better between them, but he always had something to do around dinnertime and ended up at a hamburger joint. Tonight was the first time in months they had sat down at the table together. M Luis took the keys. “Thanks,” he said, walking out to take his shower. His father kept looking at him with those sad, patient eyes. “Okay. I’ll be back by ten, and keep the ice on that egg,” Luis said without looking back. He had just meant to ride around his old barrio, see if any of the Tiburones were hanging out at El Building, where most of them lived. It wasn’t far from the single-family home his father had bought when the business started paying off: a house that his mother lived in for three months before she took up residence at St. Joseph’s Hospital. She never came home again. These days Luis wished he still lived in that tiny apartment where there was always something to do, somebody to talk to. Instead Luis found himself parked in front of the last place his mother had gone to: Ramirez Funeral Home. In the front yard was a huge oak tree that Luis remembered having climbed during the funeral to get away from people. The tree looked different now, not like a skeleton, as it had then, but green with leaves. The branches reached to the second floor of the house, where the family lived. N For a while Luis sat in the car allowing the memories to flood back into his brain. He remembered his mother before the illness changed her. She had not been beautiful, as his father told everyone; she had been a sweet lady, not pretty but not ugly. To him, she had been the person who always told him that she was proud of him and loved him. She did that every night when she came to his bedroom door to say good-night. As a joke he would sometimes ask her, “Proud of what? I haven’t done anything.” And she’d always say, “I’m just proud that you are my son.” She wasn’t perfect or anything. She had bad days when nothing he did could make her smile, especially after she got sick. But he never heard her say anything negative about anyone. She always blamed el destino, fate, for what went wrong. He missed her. He missed her so much. Suddenly a flood of tears that had been building up for almost three years started pouring from his eyes. Luis sat in his father’s car, with his head on the steering wheel, and cried, “Mami, I miss you.” O

When he finally looked up, he saw that he was being watched. Sitting at a large window with a pad and a pencil on her lap was Naomi. At first Luis felt angry and embarrassed, but she wasn’t laughing at him. Then she told him with her dark eyes that it was okay to come closer. He walked to the window, and she held up the sketch pad on which she had drawn him, not crying like a baby, but sitting on top of a mountain of silver disks, holding one up over his head. He had to smile. The plate-glass window was locked. It had a security bolt on it. An alarm system, he figured, so nobody would steal the princess. He asked her if he could come in. It was soundproof too. He mouthed the words slowly for her to read his lips. She wrote on the pad, “I can’t let you in. My mother is not home tonight.” So they looked at each other and talked through the window for a little while. Then Luis got an idea. He signed to her that he’d be back, and drove to the junkyard. P Luis climbed up on his mountain of hubcaps. For hours he sorted the wheel covers by make, size, and condition, stopping only to call his father and tell him where he was and what he was doing. The old man did not ask him for explanations, and Luis was grateful for that. By lamppost light, Luis worked and worked, beginning to understand a little why his father kept busy all the time. Doing something that had a beginning, a middle, and an end did something to your head. It was like the satisfaction Luis got out of planning “adventures” for his Tiburones, but there was another element involved here that had nothing to do with showing off for others. This was a treasure hunt. And he knew what he was looking for. Finally, when it seemed that it was a hopeless search, when it was almost midnight and Luis’s hands were cut and bruised from his work, he found it. It was the perfect match for Naomi’s drawing, the moon-shaped wheel cover for her car, Cinderella’s shoe. Luis jumped off the small mound of disks left under him and shouted, “Yes!” He looked around and saw neat stacks of hubcaps that he would wash the next day. He would build a display wall for his father. People would be able to come into the yard and point to whatever they wanted. Q

Interpret Naomi and Luis share a special moment through the window. What do you think their new friendship might mean to Luis? Write your thoughts on the lines below. P

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300

Infer Underline the things that Luis plans to do in the junkyard. Mark th e text How is Luis’s attitude toward working in the junkyard different from his attitude at the beginning of the story? What causes him to change his attitude? Write your answer on the lines below. Q

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310

Interpret Why does Luis give Naomi the hubcap by hanging it in the tree? Explain. R

320

Step 1 Think back over the whole story. Review any notes you made as you read. How does Luis feel about himself at the end of the story? Why?

Step 2 Now think about your own actions. Which part of your nature makes you happiest—the generous part or the selfish part? Why?

Choose three words to record in your Hot Words Journal at the back of this book. Then complete one of the activities listed there.

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Luis washed the VW hubcap and polished it until he could see himself in it. He used it as a mirror as he washed his face and combed his hair. Then he drove to the Ramirez Funeral Home. It was almost pitch-black, since it was a moonless night. As quietly as possible, Luis put some gravel in his pocket and climbed the oak tree to the second floor. He knew he was in front of Naomi’s window—he could see her shadow through the curtains. She was at a table, apparently writing or drawing, maybe waiting for him. Luis hung the silver disk carefully on a branch near the window, then threw the gravel at the glass. Naomi ran to the window and drew the curtains aside while Luis held on to the thick branch and waited to give her the first good thing he had given anyone in a long time. R

Visualize

in your head—one of the Imagine That Create two pictures other of the moon in hubcap hanging in the tree and the larities between the the night sky. Now list as many simi hubcap and the moon as you can.

Using Time Clues

ner to determine 1. What Time Is It? Work with a part es takes place in the whether each of the following sentenc nt past. Next to each present, the recent past, or the dista happens in the sentence below, write P if the event recent past, and D if present, R if the event happens in the . the event happens in the distant past se. Luis broke into an old woman’s hou d of him. Luis’s mother told him she was prou . Luis worked in his father’s junkyard

Interpret 1. Cause and Effect? How might Luis’s reaction to his mother’s death have affected his beh avior—both in the recent past and in the present? Disc uss this question with your group and jot down your answ er here.

2. What’s He Thinking? The stor y doesn’t reveal many of Mr. Cintrón’s thoughts. For example, when Luis is trying to find the hubcap for Naomi, he calls his father to let him know where he is and what he’s doin g. Mr. Cintrón does not ask for an explanation, even thou gh Luis is staying out past his curfew. In your group, disc uss how you think Mr. Cintrón reacts to Luis’s telephone call. Then write a few sentences summarizing your discussi on.

Luis’s mother died. Animals The Tiburones put on the Save the talent show. Luis hung the hubcap in the tree. ing, you practiced 2. Timing Is Everything While read ent, the recent pres the een recognizing time shifts betw ner, look back at past, and the distant past. With a part show shifts from one the story and find two sentences that rmine the times that time to another. Work together to dete example, the are connected in each sentence. For trouble since he started sentence “Luis has been getting in ts the present and the high school two years ago” connec and your answers on recent past. Jot down the sentences the lines below.

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Sensory Details Sensory details are descriptions that appeal to one or more of the five senses. Sensory details make writing come alive by helping readers see, hear, taste, touch, or smell what is being described. For example, a writer may describe the wail of a police siren on a pleasant sunny day, helping you to hear, see, and feel what is happening in the story. Fill in the cluster diagram below with details from the story that appeal to each of the five senses.

Sight

Hearing

Touch

Sensory Details

Smell

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Taste

Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

Why does Luis work at his father’s junkyard? A. He thinks it will be a fun summer job. B. He wants to make some extra money. C. He wants to learn everything he can about cars so he can become a mechanic. D. He was released from juvenile hall on the condition that he would work there for six months. How does Luis react when he sees Naomi at the junkyard? A. He ignores her. B. He is stunned by her beauty. C. He recognizes her right away. D. He starts a friendly conversation with her.

Do you think Luis and his father will build a good relationship? Use details from the story to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write the word from the list that belongs in the blank in each sentence. harass v. to bother or annoy repeatedly

1. My big sister can be a pest. Sometimes she likes to

makeshift adj. used as a temporary substitute for something

2. Mia likes to pick dandelions and heads and a pile of the stems.

vintage adj. having a lasting appeal; classic

3. An empty storage room has been turned into a

decapitate v. to cut off the head of

4. Mr. Smith collects old phonograph records. He loves those

me.

them. Then she makes a pile of the

classroom. recordings.

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THE SHORT STORY

Story Impressions Do you enjoy stories about traveling back in time? What about these tales makes them appealing to so many people? With a partner, discuss why time travel stories are popular. Then look at the following phrases from the story you’re about to read. Safari Guide in the Past

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disobey instructions

stiff penalty

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Tyrannosaurus rex

Stay on the Path

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don’t want to change the Future

With your partner, use these exact phrases in order (row by row and left to right) to write a paragraph predicting what this story may be about. Think about the ideas you discussed as you write. In this science fiction story, you will meet Eckels, a man who is looking for thrills and excitement as he travels back in time to join an unusual safari.

Building Background Science fiction is a form of fantasy, an unreal story that takes place in a nonexistent world. In science fiction, scientific facts as well as unproven theories shape adventures in the future, on other planets, or in other dimensions in time. • Although the term science fiction was not used until about 1930, science fiction tales were told even before writing was invented. • This story begins in an unnamed place in the United States in A.D. 2055. In this futuristic world, it is possible to return to the past by means of a time machine.

Vocabulary Preview Read the definitions of these words from “A Sound of Thunder.” Use the pronunciation guides to help you say each word aloud. You may already know the meaning of some of these words, but others might still be unclear. As you read, use context clues to help unlock the meanings and make those words clearer. expendable (iks pen
də bəl) adj. not strictly necessary; capable of being given up without negative effect; p. 73 correlate (kor
ə la¯ t´) v. to bring (one thing) into relation (with another thing); calculate; p. 74 paradox (par
ə doks´) n. something that seems illogical, opposite, or ridiculous but that may, in fact, be true; p. 74 resilient (ri zil
yənt) adj. capable of springing back into shape or position after being bent, stretched, or squeezed together; p. 76 primeval (pr¯ me¯
vəl) adj. related to the first or earliest age; primitive; p. 80

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

Setting a Purpose for Reading Read to find out what happens as a result of Eckels’s words and actions during his time travel. Graphic Organizer Organizer Graphic

As you read, use this Foldable to help you keep track of the things Eckels says and does and the results of those words and actions.

1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from the top to the bottom. 2. Fold the paper in half again from left to right. Unfold and cut only through the top layer of the paper to make two tabs.

Eckels's Words and Actions

Results of Eckels's Words and Actions

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Clarify Think It Over: Synthesize

3. Label the left tab Eckels’s Words and Actions. Label the right tab Results of Eckels’s Words and Actions.

Literary Element: Foreshadowing

4. Use your foldable to jot down notes as you read the story. Under the left tab, write what Eckels says and does. Under the right tab, write what happens as a result of what he says and does.

Reading Coach: Understanding Causeand-Effect Statements

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Foreshadowing Science fiction writers often use foreshadowing, or clues about future story events, to create suspense and excitement as you read. Look for bits of information that hint at what might happen later. A Mark th e text

Underline or highlight the official’s answer to Eckels’s question on this page. What future event might his comment foreshadow? Write your answer on the lines below.

Ray Bradbury

T

he sign on the wall seemed to quaver under a film of sliding warm water. Eckels felt his eyelids blink over his stare, and the sign burned in this momentary darkness:

TIME SAFARI, INC. SAFARIS TO ANY YEAR IN THE PAST. YOU NAME THE ANIMAL. WE TAKE YOU THERE. YOU SHOOT IT.

A warm phlegm gathered in Eckels’ throat; he swallowed and pushed it down. The muscles around his mouth formed a smile as he put his hand slowly out upon the air, and in that hand waved a check for ten thousand dollars to the man behind the desk. “Does this safari guarantee I come back alive?” “We guarantee nothing,” said the official, “except the dinosaurs.” A He turned. “This is Mr. Travis, your Safari Guide in the Past. He’ll tell you what and where to shoot. If he says no shooting, no shooting. If you disobey instructions, there’s a stiff penalty of another ten thousand dollars, plus possible government action, on your return.” B Eckels glanced across the vast office at a mass and tangle, a snaking and humming of wires and steel boxes, at an aurora1 that 1. Here, aurora refers to the shimmering lights that come off of the time machine.

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Understanding Causeand-Effect This story is full of cause-and-effect statements— statements about what happens as a result of something else. You’ll need to understand causeand-effect statements to get the gist of the story. Just remember, causes are things that make other things happen. Effects are the results of these causes. Look at the boxed sentence and read the thinking model below. B Model: This statement explains that if Eckels does not precisely follow instructions on the safari, he’ll have to pay ten thousand dollars and he may face government action. I see—disobeying instructions is the cause here, and the fine and the government action are the effects. The Glencoe Reader

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Clarify There’s a lot of description in the boxed paragraph on this page. The sentences can be confusing at first, so you may need to clarify, or clear up, just what the writer is saying. C Model: I’ll reread this paragraph slowly to make sure I understand it. The first sentence says that the burning—which I think is the passage of time—can be reversed or turned back by a human. So the writer is talking about going back in time. All the rest of the sentences are examples of going back in time—white hair turns black, wrinkles vanish, and everything flies back to seeds and greenness. I get it now.

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Keep This in Mind Use these symbols to record your reactions as you read.

? I have a question about something here.

! This really caught my attention. ★ This information is important.

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Understanding Cause-and-Effect Statements Look at the highlighted sentences on this page. On the lines below, write what is the cause and what is the effect in the passage. D Cause: , Effect:

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flickered now orange, now silver, now blue. There was a sound like a gigantic bonfire burning all of Time, all the years and all the parchment calendars, all the hours piled high and set aflame. A touch of the hand and this burning would, on the instant, beautifully reverse itself. Eckels remembered the wording in the advertisements to the letter. Out of chars and ashes, out of dust and coals, like golden salamanders, the old years, the green years, might leap; roses sweeten the air, white hair turn Irish-black, wrinkles vanish; all, everything fly back to seed, flee death, rush down to their beginnings, suns rise in western skies and set in glorious easts, moons eat themselves opposite to the custom, all and everything cupping one in another like Chinese boxes, rabbits into hats, all and everything returning to the fresh death, the seed death, the green death, to the time before the beginning. A touch of a hand might do it, the merest touch of a hand. C “Unbelievable.” Eckels breathed, the light of the Machine on his thin face. “A real Time Machine.” He shook his head. “Makes you think. If the election had gone badly yesterday, I might be here now running away from the results. Thank God Keith won. He’ll make a fine President of the United States.” “Yes,” said the man behind the desk. “We’re lucky. If Deutscher had gotten in, we’d have the worst kind of dictatorship. There’s an anti-everything man for you, a militarist, anti-Christ, antihuman, anti-intellectual. People called us up, you know, joking but not joking. Said if Deutscher became President they wanted to go live in 1492. Of course it’s not our business to conduct Escapes, but to form Safaris. Anyway, Keith’s President now. All you got to worry about is—” “Shooting my dinosaur,” Eckels finished it for him. “A Tyrannosaurus rex. The Tyrant Lizard, the most incredible monster in history. Sign this release. Anything happens to you, we’re not responsible. Those dinosaurs are hungry.” D Eckels flushed angrily. “Trying to scare me!” “Frankly, yes. We don’t want anyone going who’ll panic at the first shot. Six Safari leaders were killed last year, and a dozen hunters. We’re here to give you the severest thrill a real hunter ever asked for. Traveling you back sixty million years to bag the biggest game in all of Time. Your personal check’s still there. Tear it up.”

Mr. Eckels looked at the check for a long time. His fingers twitched. “Good luck,” said the man behind the desk. “Mr. Travis, he’s all yours.” They moved silently across the room, taking their guns with them, toward the Machine, toward the silver metal and the roaring light. First a day and then a night and then a day and then a night, then it was day-night-day-night-day. A week, a month, a year, a decade! A.D. 2055. A.D. 2019. 1999! 1957! Gone! The Machine roared. They put on their oxygen helmets and tested the intercoms. Eckels swayed on the padded seat, his face pale, his jaw stiff. He felt the trembling in his arms and he looked down and found his hands tight on the new rifle. There were four other men in the Machine. Travis, the Safari Leader, his assistant, Lesperance, and two other hunters, Billings and Kramer. They sat looking at each other, and the years blazed around them. E “Can these guns get a dinosaur cold?” Eckels felt his mouth saying. “If you hit them right,” said Travis on the helmet radio. “Some dinosaurs have two brains, one in the head, another far down the spinal column. We stay away from those. That’s stretching luck. Put your first two shots into the eyes, if you can, blind them, and go back into the brain.” The Machine howled. Time was a film run backward. Suns fled and ten million moons fled after them. “Think,” said Eckels. “Every hunter that ever lived would envy us today. This makes Africa seem like Illinois.” F The Machine slowed; its scream fell to a murmur. The Machine stopped. The sun stopped in the sky. The fog that had enveloped the Machine blew away and they were in an old time, a very old time indeed, three hunters and two Safari Heads with their blue metal guns across their knees. “Christ isn’t born yet,” said Travis. “Moses has not gone to the mountain to talk with God. The Pyramids are still in the earth, waiting to be cut out and put up. Remember that. Alexander, Caesar, Napoleon, Hitler—none of them exists.” The men nodded.

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Foreshadowing Reread the boxed passage and underline Mark th e text words or phrases that describe Eckels’s emotional state. How might Eckels’s emotions be hinting at events to come? Explain. E 70

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Synthesize When you combine ideas to create something new, you are synthesizing. One way is to create an alternate version of a story. Think about the story and your understanding of Eckels so far. Below, write what Eckels might have told Travis if Travis had said that the guns were not real and that the purpose of the safari was to take pictures. F

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Mark th e text

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Choose your own words As you continue reading, circle words you find interesting or that you don’t understand. You’ll come back to these words later.

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Don’t forget about your Foldable! As you read, remember to jot down what Eckels says and does and what happens as a result of his words and actions.

Graphic Organizer Organizer Graphic

Clarify Do you understand the government’s attitude toward the safari company? Use the footnote at the bottom of this page to help you clarify the ideas here. On the lines below, explain the government’s attitude. G

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Understanding Causeand-Effect Statements Reread the boxed sentences. Notice how Bradbury states cause-andeffect relationships. “For want of” is another way of saying “because there aren’t.” On the lines below, use your own words to restate one of these causeand-effect statements. H

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“That”—Mr. Travis pointed—”is the jungle of sixty million two thousand and fifty-five years before President Keith.” He indicated a metal path that struck off into green wilderness, over steaming swamp, among giant ferns and palms. “And that,” he said, “is the Path, laid by Time Safari for your use. It floats six inches above the earth. Doesn’t touch so much as one grass blade, flower, or tree. It’s an anti-gravity metal. Its purpose is to keep you from touching this world of the past in any way. Stay on the Path. Don’t go off it. I repeat. Don’t go off. For any reason! If you fall off, there’s a penalty. And don’t shoot any animal we don’t okay.” “Why?” asked Eckels. They sat in the ancient wilderness. Far birds’ cries blew on a wind, and the smell of tar and an old salt sea, moist grasses, and flowers the color of blood. “We don’t want to change the Future. We don’t belong here in the Past. The government doesn’t like us here. We have to pay big graft to keep our franchise.2 A Time Machine is finicky business. G Not knowing it, we might kill an important animal, a small bird, a roach, a flower even, thus destroying an important link in a growing species.” “That’s not clear,” said Eckels. “All right,” Travis continued, “say we accidentally kill one mouse here. That means all the future families of this one particular mouse are destroyed, right?” “Right.” “And all the families of the families of the families of that one mouse! With a stamp of your foot, you annihilate first one, then a dozen, then a thousand, a million, a billion possible mice!” “So they’re dead,” said Eckels. “So what?” “So what?” Travis snorted quietly. “Well, what about the foxes that’ll need those mice to survive? For want of ten mice, a fox dies. For want of ten foxes, a lion starves. For want of a lion, all manner of insects, vultures, infinite billions of life forms are thrown into chaos and destruction. H Eventually it all boils down to this: fifty-nine million years later, a cave man, one of a dozen 2. Time Safari, Inc., pays money as bribes to government officials in return for continued permission to run its business. That is, it pays graft to keep our franchise.

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on the entire world, goes hunting wild boar or saber-tooth tiger for food. But you, friend, have stepped on all the tigers in that region. By stepping on one single mouse. So the cave man starves. And the cave man, please note, is not just any expendable man, no! He is an entire future nation. From his loins would have sprung ten sons. From their loins one hundred sons, and thus onward to a civilization. Destroy this one man, and you destroy a race, a people, an entire history of life. It is comparable to slaying some of Adam’s grandchildren. The stomp of your foot, on one mouse, could start an earthquake, the effects of which could shake our earth and destinies down through Time, to their very foundations. With the death of that one cave man, a billion others yet unborn are throttled in the womb. Perhaps Rome never rises on its seven hills. Perhaps Europe is forever a dark forest, and only Asia waxes healthy and teeming. Step on a mouse and you crush the Pyramids. Step on a mouse and you leave your print, like a Grand Canyon, across Eternity. Queen Elizabeth might never be born. Washington might not cross the Delaware, there might never be a United States at all. So be careful. Stay on the Path. Never step off!” I “I see,” said Eckels. “Then it wouldn’t pay for us even to touch the grass? ” “Correct. Crushing certain plants could add up infinitesimally.3 A little error here would multiply in sixty million years, all out of proportion. Of course maybe our theory is wrong. Maybe Time can’t be changed by us. Or maybe it can be changed only in little subtle ways. A dead mouse here makes an insect imbalance there, a population disproportion later, a bad harvest further on, a depression, mass starvation, and, finally, a change in social temperament in far-flung countries. Something much more subtle, like that. Perhaps only a soft breath, a whisper, a hair, pollen on the air, such a slight, slight change that unless you looked close you wouldn’t see it. Who knows? Who really can say

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Using Word Analysis When you don’t know the meaning of a word, look to see if you recognize parts of the word. In the word expendable, you probably recognize -able, which means “able to.” The root expend is a lot like the word expense, which refers to something paid out or lost. Using these clues and the context, try figuring out the meaning before you look at the definition below.

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Understanding Causeand-Effect Statements Read this series of cause-and-effect statements by Travis. Think about what they mean. Then, in your own words, finish the cause-and-effect statement below. I The effect over time of stepping off the Path and killing just one mouse might be that

.

3. Infinitesimally (in´ fi nə tes
ə məl l¯e) describes something being done “in a way that is too small to be measured.”

Vocabulary expendable (iks pen
də bəl) adj. not strictly necessary; capable of being given up without negative effect The Glencoe Reader

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Clarify Do you understand what Lesperance is saying in the boxed text? If not, reread more slowly. Then, on the lines below, explain why the safari company feels that it’s okay to kill the animals it marks. J

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he knows? We don’t know. We’re guessing. But until we do know for certain whether our messing around in Time can make a big roar or a little rustle in history, we’re being careful. This Machine, this Path, your clothing and bodies, were sterilized, as you know, before the journey. We wear these oxygen helmets so we can’t introduce our bacteria into an ancient atmosphere.” “How do we know which animals to shoot?” “They’re marked with red paint,” said Travis. “Today, before our journey, we sent Lesperance here back with the Machine. He came to this particular era and followed certain animals.” “Studying them?” “Right,” said Lesperance. “I track them through their entire existence, noting which of them lives longest. Very few. How many times they mate. Not often. Life’s short. When I find one that’s going to die when a tree falls on him, or one that drowns in a tar pit, I note the exact hour, minute, and second. I shoot a paint bomb. It leaves a red patch on his hide. We can’t miss it. Then I correlate our arrival in the Past so that we meet the Monster not more than two minutes before he would have died anyway. This way, we kill only animals with no future, that are never going to mate again. You see how careful we are?” J “But if you came back this morning in Time,” said Eckels eagerly, “you must’ve bumped into us, our Safari! How did it turn out? Was it successful? Did all of us get through—alive?” Travis and Lesperance gave each other a look. “That’d be a paradox,” said the latter. “Time doesn’t permit that sort of mess—a man meeting himself. When such occasions threaten, Time steps aside. Like an airplane hitting an air pocket. You felt the Machine jump just before we stopped? That was us passing ourselves on the way back to the Future. We saw nothing. There’s no way of telling if this expedition was a success, if we got our monster, or whether all of us— meaning you, Mr. Eckels—got out alive.” Eckels smiled palely.

Vocabulary correlate (kor
ə l¯at´) v. to bring (one thing) into relation (with another thing); calculate paradox (par
ə doks´) n. something that seems illogical, opposite, or ridiculous, but that may, in fact, be true 74

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“Cut that,” said Travis sharply. “Everyone on his feet!” They were ready to leave the Machine.

The jungle was high and the jungle was broad and the jungle was the entire world forever and forever. Sounds like music and sounds like flying tents filled the sky, and those were pterodactyls soaring with cavernous gray wings, Did You Know? gigantic bats of delirium and night fever. Pterodactyls (ter´ ə dak
tilz) Eckels, balanced on the narrow Path, are extinct flying reptiles with wingspans of up to aimed his rifle playfully. forty feet. “Stop that!” said Travis. “Don’t even aim for fun, blast you! If your gun should go off—” Eckels flushed. “Where’s our Tyrannosaurus? ” Lesperance checked his wristwatch. “Up ahead. We’ll bisect his trail in sixty seconds. Look for the red paint! Don’t shoot till we give the word. Stay on the Path. Stay on the Path!” They moved forward in the wind of morning. “Strange,” murmured Eckels. “Up ahead, sixty million years, Election Day over. Keith made President. Everyone celebrating. And here we are, a million years lost, and they don’t exist. The things we worried about for months, a lifetime, not even born or thought about yet.” “Safety catches off, everyone!” ordered Travis. “You, first shot, Eckels. Second, Billings. Third, Kramer.” “I’ve hunted tiger, wild boar, buffalo, elephant, but now, this is it,” said Eckels. “I’m shaking like a kid.” “Ah,” said Travis. Everyone stopped. Travis raised his hand. “Ahead,” he whispered. “In the mist. There he is. There’s His Royal Majesty now.” The jungle was wide and full of twitterings, rustlings, murmurs, and sighs. Suddenly it all ceased, as if someone had shut a door. Silence.

Step 1 Ask yourself how well you understand the story so far. If you put question marks next to anything, these strategies can help you answer your questions. • Reread confusing passages or read them aloud.

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• Jot down specific questions and look for answers in the text. • Ask a classmate or a teacher, parent, or other adult for help.

Step 2 When you understand what you’ve read so far, write a short summary on the lines below. Be sure your summary tells who, what why, where, and when.

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Visualize When you visualize, you picture what you read in your mind’s eye. Reread these vividly descriptive sentences about the Tyrannosaurus rex. K

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Mark th e text

Underline or highlight words or phrases that describe the dinosaur. Then, on the lines below, write three adjectives you might use to describe the Tyrannosaurus rex.

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A sound of thunder. Out of the mist, one hundred yards away, came Tyrannosaurus rex. “It,” whispered Eckels. “It . . .” “Sh!” It came on great oiled, resilient, striding legs. It towered thirty feet above half of the trees, a great evil god, folding its delicate watchmaker’s claws close to its oily reptilian4 chest. Each lower leg was a piston, a thousand pounds of white bone, sunk in thick ropes of muscle, sheathed over in a gleam of pebbled skin like the mail of a terrible warrior. Each thigh was a ton of meat, ivory, and steel mesh. And from the great breathing cage of the upper body those two delicate arms dangled out front, arms Did You Know? with hands which might pick up and Mail is a flexible body armor examine men like toys, while the snake made of small, overlapping or interlinked metal plates neck coiled. And the head itself, a ton of or rings. sculptured stone, lifted easily upon the sky. Its mouth gaped, exposing a fence of teeth like daggers. Its eyes rolled, ostrich eggs, empty of all expression save hunger. It closed its mouth in a death grin. It ran, its pelvic bones crushing aside trees and bushes, its taloned feet clawing damp earth, leaving prints six inches deep wherever it settled its weight. It ran with a gliding ballet step, far too poised and balanced for its ten tons. It moved into a sunlit arena warily, its beautifully reptilian hands feeling the air. K “Why, why,” Eckels twitched his mouth. “It could reach up and grab the moon.” “Sh!” Travis jerked angrily. “He hasn’t seen us yet.” “It can’t be killed.” Eckels pronounced this verdict quietly, as if there could be no argument. He had weighed the evidence and this was his considered opinion. The rifle in his hands seemed a cap gun. “We were fools to come. This is impossible.”

4. Reptilian (rep til
e ¯ ən) means “of or like a reptile.”

Vocabulary resilient (ri zil
yənt) adj. capable of springing back into shape or position after being bent, stretched, or squeezed together 76

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“Shut up!” hissed Travis. “Nightmare.” “Turn around,” commanded Travis. “Walk quietly to the Machine. We’ll remit one half your fee.” “I didn’t realize it would be this big,” said Eckels. “I miscalculated, that’s all. And now I want out.” “It sees us!” “There’s the red paint on its chest!” The Tyrant Lizard raised itself. Its armored flesh glittered like a thousand green coins. The coins, crusted with slime, steamed. In the slime, tiny insects wriggled, so that the entire body seemed to twitch and undulate,5 even while the monster itself did not move. It exhaled. The stink of raw flesh blew down the wilderness. “Get me out of here,” said Eckels. “It was never like this before. I was always sure I’d come through alive. I had good guides, good safaris, and safety. This time, I figured wrong. I’ve met my match and admit it. This is too much for me to get hold of.” “Don’t run,” said Lesperance. “Turn around. Hide in the Machine.” “Yes.” Eckels seemed to be numb. He looked at his feet as if trying to make them move. He gave a grunt of helplessness. “Eckels!” He took a few steps, blinking, shuffling. “Not that way!” L The Monster, at the first motion, lunged forward with a terrible scream. It covered one hundred yards in four seconds. The rifles jerked up and blazed fire. A windstorm from the beast’s mouth engulfed them in the stench of slime and old blood. The Monster roared, teeth glittering with sun. Eckels, not looking back, walked blindly to the edge of the Path, his gun limp in his arms, stepped off the Path, and walked, not knowing it, in the jungle. His feet sank into green moss. His legs moved him, and he felt alone and remote from the events behind. M The rifles cracked again. Their sound was lost in shriek and lizard thunder. The great level of the reptile’s tail swung up, lashed sideways. Trees exploded in clouds of leaf and branch. The Monster twitched its jeweler’s hands down to fondle at the

READ ALOUD

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Build Fluency Find a quiet place and practice reading the boxed passage aloud. You may need to read it several times before you can read all the sentences smoothly and with expression. L

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Have you been keeping up with your Foldable? Now would be a good time to jot down some of the things Eckels says and does and the results of those words and actions. M

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5. Undulate (un
jə l¯at´) means “to move like a wave.” The Glencoe Reader

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Synthesize Think about what you already know about the Tyrannosaurus rex and about dinosaurs in general. Combine that knowledge with the description here comparing the mortally wounded Tyrannosaurus rex with a wrecked locomotive or a steam shovel at quitting time. What does the killing of the dinosaur remind you of? Write your own comparison on the lines below. N

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men, to twist them in half, to crush them like berries, to cram them into its teeth and its screaming throat. Its boulder-stone eyes leveled with the men. They saw themselves mirrored. They fired at the metallic eyelids and the blazing black iris. Like a stone idol, like a mountain avalanche, Tyrannosaurus fell. Thundering, it clutched trees, pulled them with it. It wrenched and tore the metal Path. The men flung themselves back and away. The body hit, ten tons of cold flesh and stone. The guns fired. The Monster lashed its armored tail, twitched its snake jaws, and lay still. A fount of blood spurted from its throat. Somewhere inside, a sac of fluids burst. Sickening gushes drenched the hunters. They stood, red and glistening. The thunder faded. The jungle was silent. After the avalanche, a green peace. After the nightmare, morning. Billings and Kramer sat on the pathway and threw up. Travis and Lesperance stood with smoking rifles, cursing steadily. In the Time Machine, on his face, Eckels lay shivering. He had found his way back to the Path, climbed into the Machine. Travis came walking, glanced at Eckels, took cotton gauze from a metal box, and returned to the others, who were sitting on the Path. “Clean up.” They wiped the blood from their helmets. They began to curse too. The Monster lay, a hill of solid flesh. Within, you could hear the sighs and murmurs as the furthest chambers of it died, the organs malfunctioning, liquids running a final instant from pocket to sac to spleen, everything shutting off, closing up forever. It was like standing by a wrecked locomotive or a steam shovel at quitting time, all valves being released or levered tight. Bones cracked; the tonnage of its own flesh, off balance, dead weight, snapped the delicate forearms, caught underneath. The meat settled, quivering. N Another cracking sound. Overhead, a gigantic tree branch broke from its heavy mooring, fell. It crashed upon the dead beast with finality. “There.” Lesperance checked his watch. “Right on time. That’s the giant tree that was scheduled to fall and kill this animal originally.” He glanced at the two hunters. “You want the trophy picture?”

“What?” “We can’t take a trophy back to the Future. The body has to stay right here where it would have died originally, so the insects, birds, and bacteria can get at it, as they were intended to. Everything in balance. The body stays. But we can take a picture of you standing near it.” The two men tried to think, but gave up, shaking their heads. They let themselves be led along the metal Path. They sank wearily into the Machine cushions. They gazed back at the ruined Monster, the stagnating mound, where already strange reptilian birds and golden insects were busy at the steaming armor. A sound on the floor of the Time Machine stiffened them. Eckels sat there, shivering. “I’m sorry,” he said at last. “Get up!” cried Travis. Eckels got up. “Go out on that Path alone,” said Travis. He had his rifle pointed. “You’re not coming back in the Machine. We’re leaving you here!” Lesperance seized Travis’ arm. “Wait—” “Stay out of this!” Travis shook his hand away. “This fool nearly killed us. But it isn’t that so much, no. It’s his shoes! Look at them! He ran off the Path. That ruins us! We’ll forfeit! Thousands of dollars of insurance! We guarantee no one leaves the Path. He left it. Oh, the fool! I’ll have to report to the government. They might revoke6 our license to travel. Who knows what he’s done to Time, to History!” O “Take it easy, all he did was kick up some dirt.” “How do we know?” cried Travis. “We don’t know anything! It’s all a mystery! Get out there, Eckels!” P Eckels fumbled his shirt. “I’ll pay anything. A hundred thousand dollars!” Travis glared at Eckels’ checkbook and spat. “Go out there. The Monster’s next to the Path. Stick your arms up to your elbows in his mouth. Then you can come back with us.” “That’s unreasonable!”

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Respond How do you feel about what Eckels has done? Were you surprised, or did the foreshadowing give you a clue about what was going to happen? Does Eckels make you feel angry? Sad? Amused? Write your thoughts on the lines below. O

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Clarify On this page, there are two views about the seriousness of Eckels’s mistake. Be sure you’re clear on who thinks what. On the lines below, explain the two views and tell who has each view. P

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6. Revoke means “to cancel or withdraw.” The Glencoe Reader

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Evaluate Is it necessary for Travis to make Eckels recover the bullets from the dead dinosaur, or is the guide simply being mean? Write your thoughts on the lines below. Q

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Foreshadowing Reread the boxed passage. Then Mark th e text underline or highlight any words or phrases that might foreshadow events or conditions in the remainder of the story. Write what you think these clues may foreshadow. Use the lines below. R

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“The Monster’s dead, you idiot. The bullets! The bullets can’t be left behind. They don’t belong in the Past; they might change anything. Here’s my knife. Dig them out!” The jungle was alive again, full of the old tremorings and bird cries. Eckels turned slowly to regard the primeval garbage dump, that hill of nightmares and terror. After a long time, like a sleepwalker, he shuffled out along the Path. He returned, shuddering, five minutes later, his arms soaked and red to the elbows. He held out his hands. Each held a number of steel bullets. Then he fell. He lay where he fell, not moving. “You didn’t have to make him do that,” said Lesperance. “Didn’t I? It’s too early to tell.” Travis nudged the still body. “He’ll live. Next time he won’t go hunting game like this. Okay.” He jerked his thumb wearily at Lesperance. “Switch on. Let’s go home.” Q 1492. 1776. 1812. They cleaned their hands and faces. They changed their caking shirts and pants. Eckels was up and around again, not speaking. Travis glared at him for a full ten minutes. “Don’t look at me,” cried Eckels. “I haven’t done anything.” “Who can tell?” “Just ran off the Path, that’s all, a little mud on my shoes—what do you want me to do—get down and pray?” “We might need it. I’m warning you, Eckels, I might kill you yet. I’ve got my gun ready.” “I’m innocent. I’ve done nothing.” 1999. 2000. 2055. The Machine stopped. “Get out,” said Travis. The room was there as they had left it. But not the same as they had left it. The same man sat behind the same desk. But the same man did not quite sit behind the same desk. Travis looked around swiftly. “Everything okay here?” he snapped. R

Vocabulary primeval (pr¯ m¯e
vəl) adj. related to the first or earliest age; primitive

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“Fine. Welcome home!” Travis did not relax. He seemed to be looking at the very atoms of the air itself, at the way the sun poured through the one high window. “Okay, Eckels, get out. Don’t ever come back.” Eckels could not move. “You heard me,” said Travis. “What’re you staring at?” Eckels stood smelling of the air, and there was a thing to the air, a chemical taint7 so subtle, so slight, that only a faint cry of his subliminal8 senses warned him it was there. The colors, white, gray, blue, orange, in the wall, in the furniture, in the sky beyond the window, were . . . were . . . And there was a feel. His flesh twitched. His hands twitched. He stood drinking the oddness with the pores of his body. Somewhere, someone must have been screaming one of those whistles that only a dog can hear. His body screamed silence in return. Beyond this room, beyond this wall, beyond this man who was not quite the same man seated at this desk that was not quite the same desk . . . lay an entire world of streets and people. What sort of world it was now, there was no telling. He could feel them moving there, beyond the walls, almost, like so many chess pieces blown in a dry wind. . . . S But the immediate thing was the sign painted on the office wall, the same sign he had read earlier today on first entering. Somehow, the sign had changed:

Clarify Does this paragraph about what Eckels sees, smells, hears, and feels seem hard to understand? Don’t worry. Bradbury is deliberately keeping the suspense going. Reread the paragraph and use the lines below to describe what’s going on. S

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Predict Don’t turn the page yet! Think about what may have happened. On the lines below, jot down a quick prediction about how the story will end. Then go ahead and finish reading. T

TYME SEFARI INC. SEFARIS TU ANY YEER EN THE PAST. YU NAIM THE ANIMALL. WEE TAEKYUTHAIR. YU SHOOT ITT.

Eckels felt himself fall into a chair. He fumbled crazily at the thick slime on his boots. He held up a clod of dirt, trembling, “No, it can’t be. Not a little thing like that. No!” Embedded in the mud, glistening green and gold and black, was a butterfly, very beautiful and very dead. T

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7. A taint is a trace of something that harms or spoils. 8. Subliminal (sub lim
ən əl) means “existing below the limits of sensation or consciousness; subconscious.” The Glencoe Reader

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Step 1 Take a moment to think about the story and its ending. Look back at the notes you wrote and the passages you marked. Review what you wrote in your Foldable. Then answer this question: Of the things that Eckels says and does, what one thing has the most significant consequence or effect? Explain your answer.

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Step 2 What meaning might this story have for people today? Write your thoughts below.

Mark th e text

Choose three words either from the underlined vocabulary in the story or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book and complete one of the activities listed there.

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“Not a little thing like that! Not a butterfly!” cried Eckels. It fell to the floor, an exquisite thing, a small thing that could upset balances and knock down a line of small dominoes and then big dominoes and then gigantic dominoes, all down the years across Time. Eckels’ mind whirled. It couldn’t change things. Killing one butterfly couldn’t be that important! Could it? His face was cold. His mouth trembled, asking: “Who—Who won the presidential election yesterday?” The man behind the desk laughed. “You joking? You know very well. Deutscher, of course! Who else? Not that fool weakling Keith. We got an iron man now, a man with guts!” The official stopped. “What’s wrong?” Eckels moaned. He dropped to his knees. He scrabbled at the golden butterfly with shaking fingers. “Can’t we,” he pleaded to the world, to himself, to the officials, to the Machine, “can’t we take it back, can’t we make it alive again? Can’t we start over? Can’t we—” He did not move. Eyes shut, he waited, shivering. He heard Travis breathe loud in the room; he heard Travis shift his rifle, click the safety catch, and raise the weapon. There was a sound of thunder.

Understanding Cause-and-effect Statements

ed to recognize causeJust Because As you read, you learn r turn to write some. On and-effect statements. Now it’s you d-effect statements that the lines below, write two cause-an Remember that signal tell about the story events or ideas. of, so, and therefore words such as because, as a result and effects. show connections between causes

Synthesize 1. Does This Speak to Us? This story was written more than fifty years ago. Do the ideas in it seem silly and out of date to you now, or do Bradbury’s thoughts have meaning for the twenty-first century? Work with your group to combine your understanding of the story with your knowledge of today’s issues. Then use the lines here to summarize your group’s answer to the question above.

Clarify

r Eckels comes back 1. Check It Out What is different afte back and reread the go ner, from his time travel? With a part tly what changes exac ine erm last two pages of the story. Det Eckels’s journey into the have occurred in 2055 because of lines below. past. Then list those changes on the

2. Story Impressions Revisited Look back at the short paragraph you wrote with a partner at the beginning of this lesson in which you predicted wha t the story might be about. Share your story predictions in your group. Then use the group’s ideas as a starting point for coming up with a new ending to Bradbury’s tale . Be sure your ending fits with story details. Summarize you r group’s ending on the lines below.

two places in the 2. A Sound of Thunder There are phrase “a sound of story where Bradbury uses the title other is on page thunder.” One is on page 76, and the and discuss y 82. Review these sections of the stor nd Bradbury is sou t them with your partner. Clarify wha lanations on exp r you describing in each instance. Write the lines provided.

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Foreshadowing When an author provides clues that hint at what will happen later in a story, he or she is using foreshadowing. Foreshadowing prepares readers for what is to come. It is a good way for writers to create excitement or suspense. Read each quotation below from the story “A Sound of Thunder.” Tell whether it represents an example of foreshadowing and explain why or why not.

1. “We don’t want anyone going who’ll panic at the first shot. Six Safari leaders were killed last year, and a dozen hunters.” (page 70)

2. They moved silently across the room, taking their guns with them, toward the Machine, toward the silver metal and the roaring light. (page 71)

3. “It’s an anti-gravity metal. Its purpose is to keep you from touching this world of the past in any way. Stay on the Path. Don’t go off it. . . . If you fall off, there’s a penalty.” (page 72)

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

Which adjectives best describe Travis, the safari leader? A. kind and thoughtful B. controlling and harsh C. humorous and capable D. decisive and hardworking Why does Eckels decide NOT to shoot the Tyrannosaurus rex? A. He thinks Travis is in his way. B. He thinks his rifle has no bullets. C. He thinks that the task is impossible. D. He thinks the animal is turning around.

Why does the author call his story “A Sound of Thunder”? Use details from the story to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write the word from the list that belongs in the blank in each sentence. expendable adj. not strictly necessary, capable of being given up without negative effect

1. Let’s

correlate v. to bring (one thing) into relation (with another thing); calculate

3. Charlie is the most runner I know. He springs back after every race, no matter how much effort the event requires.

paradox n. something that seems illogical, opposite, or ridiculous but that may, in fact, be true

4. This

forest has never been cleared or cut. It contains ancient secrets.

5. It’s a

that one day can be both the best and worst day of your life.

our travel plans. We want to arrive at the same time.

2. I have more key chains than I need, so these three are

.

resilient adj. capable of springing back into shape or position after being bent, stretched, or squeezed together primeval adj. related to the first or earliest age; primitive

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Reading Poetry is all around you, not just in books. Poets read their describes. Poets choose words carefully, both for their work to audiences. Poetry is in nursery rhymes, in popular meaning and for their sound. Mark th songs, and in slogans for politics or advertising. Poems e text Remember that a poem can be a song, a nursery can make people think “That’s just how I feel” or “I wish rhyme, a playground chant, or an advertising jingle. Write I’d said that" or “I never thought of it like that before.” a line or a verse from a poem that you have recently There is no simple definition of poetry. Poems are read or heard. usually written in lines instead of running text. Many poems rhyme. Some poems create a rhythmic pattern, like the gentle beating of a drum. Poems often use imagery to help readers experience what the poem

Poems can be surprising and delightful, so people read them to have fun. Poems can create a new experience, so people read them to learn about the world. Poems can show new ways to look at something, so people read them to gain insight. Poems can create interesting

sounds, so people read them to enjoy their music. Poems can talk about things that are hard to express in words, so people read them to provoke thought. Poetry can have a power that ordinary language lacks.

Poetry is different from stories, articles, and other kinds of prose in several ways. • Poetry looks different. It can have short lines or long lines—the lines don’t have to go all the way to the margin of the page. Poetry can have groupings of lines, called stanzas. Stanzas connect ideas, something like paragraphs do in prose. • Poetry uses sound more than prose does. Many poems have rhythm—a pattern of beats, or stressed syllables. Some poems have rhyme—repeated sounds at the ends of words. • Poetry uses more imagery than most prose does. Imagery is language that helps readers see, hear, feel, smell, and taste the things that are being described. Poetry and prose are also alike in some ways. Both have themes, or main messages, often about life or about a way of understanding something.

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D Even though poems don’t all look the same, many poems share some of the elements of this poem. Each line adds to the meaning of the poem. Stanzas are groups of lines that form a unit in a poem. Often, as in this poem, each stanza is similar in line length, rhythm, and rhyme.

J a m e s We l d o n Johnson

The glory of the day was i n her face, The beauty o f the night w a s in her eyes. And over all her loveliness , the grace Of Morning b lushing in the early skies.

End rhymes appear at the end of lines. In this poem, every other line of each stanza ends with a rhyming word.

5 And in her voice, the cal ling of the do Like music of ve; a sweet, melo dious part. And in her sm ile, the break ing light of lo And all the g ve; entle virtues in her heart.

Figurative language is language that is not literally true. The words help the reader grasp an idea in a different way. 10

Rhythm refers to the pattern that stressed and unstressed syllables make when a line of poetry is spoken.

Mark th e text

And now the g l o r i o u s d a y, the beauteous The birds tha night, t signal to th e ir mates at da To m y d u l l e a w n, r s , t o m y t e a rblinded sight Are one with all the dead, since she is g one.

Try it Out! Circle the words that rhyme in one stanza. Connect rhyming pairs with a line.

These reading strategies will be especially useful when you read poetry. Clarify: Unravel difficult passages by asking yourself, What’s another way of saying this? Then reread slowly. Visualize: As you read, try to picture what the poem is describing. Listen: Whether reading aloud or to yourself, listen to the sounds the words make. Ask yourself how the sounds fit with the meaning of the poem.

Interpret: Look beyond the literal meaning of the words and try to find the larger ideas the poet wants to express. Ask yourself what certain symbols might stand for. Look for new connections in similes and metaphors. For more information on reading strategies, see pages 366–372 in the Reading Handbook.

Read the poems that follow. Be sure to • learn to recognize and make meaning from the literary elements of poetry • use reading strategies to help you get the most from your reading

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POETRY

Word Web What do know about cows and horses? What adjectives come to mind when you think about these animals? Use this word web to record your thoughts about cows and horses. Be creative! Picture one or both of these animals and jot down what comes to mind. Feel free to expand this web, adding more ovals where you need them.

Vocabulary Preview Read the definitions of these words from “Horses Graze.” Use the pronunciation guides to help you say each word aloud. majestic (mə jestik) adj. stately; grand; having a quality of dignified greatness; p. 89 oblivion (ə bliv¯e ən) n. a lack of awareness or memory; p. 89

Cows and Horses

folly (fol e ¯ ) n. a lack of good sense; a foolish action; p. 89 crest (krest) n. a peak or high point; p. 89 affirmation (af´ər m¯ashən) n. a positive statement or confirmation; p. 89

The poem on the next two pages gives one person’s impressions of cows and horses.

As you read the poem, circle two or three words that you find interesting or that you don’t understand. After reading, add these words to your Hot Words Journal at the back of this book and complete an activity listed there.

Building Background The title of this poem, “Horses Graze,” refers to the way horses—and cows—eat grasses and other plants growing in the field.

• Horses are hooved plant-eating mammals related to the zebra. They have wide, flat teeth for grinding their food and long foot bones for swift running. For centuries horses have been domesticated, or tamed and adapted to living with people. However, some horses still run wild in regions of the United States and in other parts of the world. • In the past, people used horses in warfare, for farming, and for transportation. Many people today use them for sport and show. • Cows are domesticated farm animals that are raised for their milk, meat, and hides.

Setting a Purpose for Reading Read to find out what the speaker finds most appealing about horses and cows.

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Key Goals In this lesson, you will learn these key skills, strategies, and concepts.

Reading Focus: Question Think It Over: Draw Conclusions Literary Element: Personification Reading Coach: Reading Thoughts, Not Lines

Question To be sure that you understand a poem, ask questions such as these as you read: What might this mean? Why might the speaker say this? Try answering these questions as best you can. What questions do you have about the first 15 lines of the poem? A

Gwendolyn Brooks

Cows graze. Horses graze. They eat eat eat. Their graceful heads are bowed bowed bowed in majestic oblivion. They are nobly oblivious to your follies, your inflation,1 the knocks and nettles 2 of administration. A They eat eat eat. And at the crest of their brute satisfaction, with wonderful gentleness, in affirmation, they lift their clean calm eyes and they lie down and love the world. B

5

10

15

20

(continued) 1. Inflation is an economic condition that results in increased prices of goods and services. It can also refer to an exaggerated sense of self-importance. 2. A knock is a sharp blow or hit. A nettle is a weedy plant that, if touched, will irritate the skin. Here, nettle is used figuratively to refer to something that is irritating.

Model: The footnotes and definitions help me get what the speaker is saying about how horses and cows look as they eat. But who is meant by “your” in lines 13 and 14? I wonder if the speaker is talking about people in general.

Reading Thoughts, Not Lines In this poem, a period signals the end of a complete thought. Sometimes that thought is one line long, as in line 1, “Cows graze.” Sometimes a complete thought runs through several lines of the poem, as in lines 7–11. As you read, pause at the commas but stop at the periods—and think about what the speaker is saying. B Mark th e text

In lines 20–23, circle the punctuation marks that show where you should pause and where you should stop. Below, write what main thought or idea you think the speaker is trying to say in these lines.

Vocabulary majestic (mə jestik) adj. stately; grand; having a quality of dignified greatness oblivion (ə bliv¯e ən) n. a lack of awareness or memory folly (fol¯e) n. a lack of good sense; a foolish action crest (krest) n. a peak or high point affirmation (af´ər m¯ashən) n. a positive statement or confirmation The Glencoe Reader

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25

Draw Conclusions When you draw a conclusion, you pull together several pieces of information to make a general statement.

30

Mark th e text

Reread lines 26–40 and underline or highlight the lines that tell you that the speaker thinks horses and cows everywhere have something in common. Below, write what you think that common feature is. C

35

40

Reread the entire poem to see if you understand something new about it that you didn’t understand before. On the lines below, name three qualities that the speaker finds appealing about cows and horses.

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They speak with their companions. They do not wish that they were otherwhere. Perhaps they know that creature feet may press only a few earth inches at a time, that earth is anywhere earth, that an eye may see, wherever it may be, the Immediate arc, alone, of life, of love. In Sweden, China, Afrika, in India or Maine the animals are sane; they know and know and know there’s ground below and sky up high. C

Reading Thoughts, Not Lines examined lines What’s the Point? As you read, you e thought. Review plet 20–23. These lines form one com lines that form a of p the poem and choose another grou e the numbers writ w, belo complete thought. On the lines n point the mai t wha tell of the lines you chose and then s. speaker is making in these line

Question parts of the poem 1. A Question of Meaning What understand, and “Horses Graze” do you think you fully about? On the lines s what parts do you still have question k you know the thin below, write one question that you ’t. Discuss your don you answer to and one question that ner. part a with questions—and possible answers—

Draw Conclusions 1. Lasting Impressions Rememb er that you draw a conclusion by putting together seve ral pieces of information and then making a gen eral statement about something. With your group, review the poem, looking for all the adjectives that describe hors es and cows. Below, write what your group decides is the speaker’s overall impression or feeling about these animals.

2. A Second Look Take one more look at the sentence that makes up lines 20–23. Notice that lines 20–21 are made up of three prepositional phra ses divided by commas. But in lines 22–23, there are no punctuation marks that allow you to pause. Disc uss these lines with your group and then draw a conclus ion about why the poet doesn’t want you to stop or slow down as you read the second part of this sentence.

’t get lines 26–31, 2. Take the First Step If you don step in figuring out the you’re probably not alone! The first try is to ask questions. meaning behind difficult lines of poe Together, come up with Discuss these lines with a partner. r questions below. two questions about them. Write you

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Personification Personification is a figure of speech that describes an animal, an object, an idea, or a force of nature as if it had human qualities, feelings, and characteristics. Readers can sometimes relate more easily to something that is described in human terms. Analyze Gwendolyn Brooks’s use of personification in the poem “Horses Graze” by completing the web below. In each oval, write a human quality, feeling, or characteristic used to describe cows and horses in the poem.

Animals in “Horses Graze”

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

This poem is mainly about A. how horses and cows eat. B. how people and horses are different. C. the knocks and nettles of everyday life. D. the calm and knowing ways of horses and cows. Which of the following statements does NOT describe the relationship of the animals to the ground, or earth? A. They stay close to the ground. B. They know the ground is below them. C. They wish they were on a different patch of ground. D. Their feet don’t press into the ground more than a few inches at a time.

What does the speaker in “Horses Graze” find most appealing about horses and cows? Use details from the poem to support your ideas.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write the word from the word list that belongs in the blank in each sentence. majestic adj. stately; grand; having a quality of dignified greatness

1. After his surgery, my brother experienced a temporary sense of anesthesia wore off.

oblivion n. a lack of awareness or memory

2. The bride looked absolutely length gown.

folly n. a lack of good sense; a foolish action crest n. a peak or high point affirmation n. a positive statement or confirmation

until the

as she walked down the aisle in her full-

3. Before the actor made those insensitive remarks, he was at the popularity. 4. In the United States, reciting the Pledge of Allegiance is an the country. 5. To ride in a car without a seatbelt is just plain

of his

of loyalty to

.

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POETRY

Charting Choices Making choices can be difficult—especially when you have to choose between two things that seem equally good. For example, some kids have to choose between working for extra money in the summer and going to a sport or music camp to build their skills. Think of a time when you had to make a choice between two good things. Then fill out the chart below. What choice did you make? How did you decide (for example, by listing pros and cons)? Do you think you made the right choice? Explain. In this poem, the speaker looks down two paths in the woods, decides to follow one of them, and then thinks about his decision.

Building Background This poem describes “two roads . . . in a yellow wood.” To visualize this scene, you need to know two things. The “roads” are really just walking paths. And the leaves of some trees, such as birches, turn yellow in the fall.

Setting a Purpose for Reading Read to find out what road the speaker took and how he feels about his choice. Graphic Organizer Organizer Graphic





 “she laughed and cried and sighed all night.” The stressed syllables are marked (). The unstressed syllables are marked (
).

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

As you read, use this Foldable to help you keep track of the choices.

1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from side to side. ad The road he ro h 2. Fold the top of the paper down about one inch. 3. Unfold. Label the left column The road he took. Label the right column The road he didn’t take. 4. Read through the poem once. Then reread it and write down the speaker’s observations and feelings about each road.

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Poetry Terms Read the terms below. They’ll come in handy as you read, think about, and respond to the poem on the next page. Lyric poem A short musical poem that expresses the thoughts and feelings of the speaker. Repetition The repeating of sounds, words, phrases, lines, or stanzas. For example, the sentence “I would never, never lie to you” repeats the word never. Rhyme The repeating of the final vowel and consonant sounds of words. For example, sat and hat rhyme. In poems, rhyming words often appear at the ends of lines. Rhythm The pattern of beats created by the arrangement of stressed and unstressed syllables in a poem. An example is the phrase

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T ok he to

e didn't take

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Visualize Literary Element: Lyric Poem Reading Coach: Making Meaning

Making Meaning The lines in a stanza work together to express a main idea. If you’re not sure what one line means, try reading the rest of the stanza to see what the lines mean together. A

Robert Frost

Two roads diverged1 in a yellow wood, And sorry I could not travel both And be one traveler, long I stood And looked down one as far as I could To where it bent in the undergrowth;2

A

Then took the other, as just as fair, And having perhaps the better claim, Because it was grassy and wanted wear; Though as for that the passing there Had worn them really about the same, And both that morning equally lay In leaves no step had trodden3 black. Oh, I kept the first for another day! Yet knowing how way leads on to way, I doubted if I should ever come back.

5

Model: I don’t get the first and second lines. I better read on. Oh, I see. The speaker is deciding which path to walk on. He wishes he could choose both paths. He’s looking way down one of the paths, trying to make up his mind.

10

B

I shall be telling this with a sigh Somewhere ages and ages hence:4 Two roads diverged in a wood, and I— I took the one less traveled by, And that has made all the difference.

1. Diverged, here, means “went off in different directions.” 2. The small plants that grow beneath the larger trees of a forest are called undergrowth. 3. The leaves had not been pressed down with someone’s feet (trodden); otherwise, the leaves would have turned black. 4. Hence means “from this time.”

15

Visualize When you visualize, you picture in your mind’s eye what the writer describes. Underline the words Mark th e text the speaker uses to describe the roads. Does he find either road more attractive? Circle your answer below. B Yes

No

20

Review the poem and your Foldable. What feature of the road the speaker chose “has made all the difference”?

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Visualize

illustrate the scene A Yellow Wood Make a collage to in the materials you described in this poem. Be creative ple, you might use bits use to make your collage. For exam and leaves, foil— of fabric, magazine clippings, twigs scene to life. On the anything that will help you bring the d and why. use lines below, tell what materials you

Making Meaning What’s the Point? With a partner, take turns reading each stanza aloud and summarizing its mai n idea. Then discuss the main message (or theme) that you both got from the poem as a whole. Write that theme on the lines below. THEME:

Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

96

Write your answer to open-ended question A in the space provided below. A.

The two roads that the speaker describes A. are very different. B. come together in the distance. C. are both covered over with leaves. D. have both been worn smooth by other travelers. Why does the speaker take the road he does? A. He really can’t see a difference between the two roads, so he just takes one of them. B. The road he takes has been cleared, so it is easier to walk on. C. The road he takes is a shorter walk to where he’s going. D. The road he doesn’t take is too muddy.

The Glencoe Reader

Why will the speaker be telling about his choice of roads “with a sigh”? Use details from the poem to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

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lement

Lyric Poem A lyric poem might be about an object, a person, or an event, but it usually focuses on an emotional experience of the poem’s speaker. Lyric poems are generally short and musical. They often include a variety of sound effects, such as the following: repetition the repeating of sounds, words, phrases, lines, or stanzas, as in “ages and ages” (line 17) rhyme the repeating of vowel and consonant sounds at the ends of words, as in wood/stood/could (lines 1, 3, 4) rhythm the pattern of stressed () and unstressed (
) syllables, as in  



 Two roads diverged in a yellow wood (line 1) Fill in the chart below to show how “The Road Not Taken” has the elements of a lyric poem. Use details from the poem to support your responses.

The Road Not Taken How long is the poem? What’s the poem about? Name one emotion the speaker experiences. Name one phrase that is repeated in the poem. Which words rhyme in the second stanza? Mark the stressed and unstressed syllables in line 12:

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POETRY

Think-Pair-Share What does it mean to be alive? Is it simply being alive physically—existing and breathing? Or is there something more that makes a person truly alive? Discuss your ideas with a partner and then share them with the rest of the class. In this poem, an adult remembers a childhood conversation in which her mother taught her a lesson her about dying and living.

Building Background Poets often write about an experience on a literal, surface level, but they hope readers will then make connections to deeper levels of meaning about life. The things the poet’s words describe act as symbols for deeper meanings. For example, in this poem, a little girl asks her mother about how to tell whether she’s dying. The mother answers that people are dying when they can no longer make a fist. As you read the poem, try to figure out what the question and answer might symbolize. • Did you know that a person cannot make a fist if he or she is dying? It’s true. When a person is dying, the flow of blood to the nerves that control the hands stops. Those nerves stop bringing signals from the brain, and the person can no longer make a fist. • People clench their fists when they feel strongly about something. A clenched fist can send a message of strength, anger, excitement, determination, success, power, courage, or daring.

Vocabulary Preview Read the definitions of these words from “Making a Fist.” Use the pronunciation guides to help you say each word aloud. If you’re still unsure about the meaning of one of these words, use context clues as you read to help make the meaning clearer. confidence (kon
fə dəns) n. feeling of certainty; assurance woe (wo ¯ ) n. great sadness or suffering; sorrow; grief clench (klench) v. to close or press together tightly

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts: Reading Focus: Respond

Setting a Purpose for Reading Read to find out what the speaker learns about dying and being alive.

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Think It Over: Interpret Literary Element: Speaker

Respond How does this description make you feel? On the lines below, write whatever thoughts come to you. A

Naomi Shihab Nye

For the first time, on the road north of Tampico,° I felt the life sliding out of me, a drum in the desert, harder and harder to hear. I was seven, I lay in the car watching palm trees swirl a sickening pattern past the glass. My stomach was a melon split wide inside my skin. A “How do you know if you are going to die?” I begged my mother. We had been traveling for days. With strange confidence she answered, “When you can no longer make a fist.” B Years later I smile to think of that journey, the borders we must cross separately, stamped with our unanswerable woes. I who did not die, who am still living, still lying in the backseat behind all my questions, clenching and opening one small hand.

5

10

Interpret When you read poetry, you have to look beyond the surface meaning of words. Use your own understanding of the world to interpret, or determine the deeper meaning of, the mother’s answer. Check your interpretation below. B

❏ When you die, you can’t fight 15

anymore.

❏ You are dying when you can’t squeeze your hand into a fist.

❏ Not being able to express yourself and stand up for yourself is like being dead.

In the end, what has the speaker learned from her mother and from her life?

° Tampico (tam p¯e
k¯o) is a port city on Mexico’s east coast.

Vocabulary confidence (kon
fə dəns) n. feeling of certainty; assurance woe (w¯o) n. great sadness or suffering; sorrow; grief clench (klench) v. to close or press together tightly The Glencoe Reader

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Respond

feelings you had while What Grabs You? Think about the ription produced the reading the poem. Which line or desc below, write the line strongest response in you? On the lines onse. resp r number or numbers and describe you

Interpret The Beat Goes On With your part ner, reread the first stanza. Discuss what the speaker mea ns when she talks about “a drum in the desert” and a “melon split wide inside my skin.” What do these things repr esent? Write your interpretations below.

Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

100

Write your answer to open-ended question A in the space provided below. A.

How does the grown-up speaker feel about her childhood car trip? A. It still makes her feel sick to remember it. B. She remembers it fondly and with a smile. C. She’s glad not to sit in the backseat anymore. D. She’s embarrassed that she thought she was dying. Read the following sentence. A good night’s sleep will help you approach your interview with confidence. What does the word confidence mean in the sentence? A. energy B. secrecy C. self-assurance D. physical strength

The Glencoe Reader

What do you think the speaker means when she says she is “still lying in the backseat behind all my questions”? Use details from the poem to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

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Speaker The speaker in a poem is the voice that communicates the actions, emotions, or ideas to the reader. The speaker may be the poet or an invented person, animal, or thing. In this poem, the speaker is an adult remembering a childhood car trip. Complete the chart to show what has changed and what has stayed the same for the speaker since that journey.

Speaker as a Child

Speaker as an Adult

How does she feel?

What type of journey is she on?

What has stayed the same?

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POETRY

Anticipation Guide Have you ever hand-washed a car? Baked cookies? Used a shovel to clear snow from a walkway? With a small group, come up with a list of jobs that you have done by hand that could also be done by a machine. Talk about why you do these jobs and how you feel about doing them. Then read the statements below. Decide with your group whether each statement is TRUER of a person doing work by hand or of a machine doing the work mechanically. Put a check mark by your choices. Person

Machine

Rhyming Words In this poem, Toomer uses exact end rhymes. This means that the words at the end of every two lines rhyme (weeds and bleeds), and rhyme exactly. Toomer never varies the rhyme pattern. It is as regular and mechanical as the movement of a machine cutting down rows of grain.

1. Work gets done quickly. 2. Work is done well. 3. Work is hard. 4. Work is rewarding. 5. Work can cause damage or injury.

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of the book and complete one of the activities there.

In this poem, you’ll read about farm work that can be done by humans or by a machine.

Building Background Reaping is cutting down a crop such as wheat or the grass that’s used to make hay. Farm workers used to do the reaping, but it’s now done mainly by machines. • People who reap are called reapers. Machines that reap are called reapers or mowers. • When reaping is done by people, the workers use tools called scythes. A scythe is a cutting tool with a long curved blade attached to a handle. The reaper holds the scythe in front of his or her body and moves it back and forth in wide sweeping arcs. • Although the work of reaping is graceful and rhythmic, like much other farm labor, it is also exhausting. The reaper does the same motion hundreds and thousands of times, and the work is performed in a stooped-over position.

Setting a Purpose for Reading Read to find out how each reaper—human and machine—does its job.

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Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Visualize Think It Over: Analyze Literary Element: Sound Devices

Visualize Use the words of the poem to create a picture in your mind. Underline the words in the boxed section Mark th e text that help you see what’s going on. Then describe what you see on the lines below. A

Jean Toomer

Black reapers with the sound of steel on stones Are sharpening scythes. I see them place the hones° In their hip-pockets as a thing that’s done, And start their silent swinging, one by one. A Black horses drive a mower through the weeds, And there, a field rat, startled, squealing bleeds. His belly close to ground. I see the blade, Blood-stained, continue cutting weeds and shade. B

5

Analyze What is one way the last four lines of the poem are similar to the first four lines? B

What is one way these lines are different from the first lines?

Name the two kinds of workers in this poem and tell what each does.

° The fine-grained stones used to sharpen any kind of blade are called hones. The Glencoe Reader

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Visualize

m and look for details An Eye for Details Reread the poe place. Then close your that tell you where the poem takes your imagination take eyes and picture that location. Let t colors do you see? over where the details leave off. Wha What do you see in What’s the sky look like? The ground? place that you the the distance? Write a description of visualize.

Analyze Human Versus Machine With you r group, turn to the Anticipation Guide on page 102 and discuss how the speaker of the poem (the “I” who sees the reapers) might respond to each statement. Use exam ples from the poem in your discussion. Then decide wha t the poem may be saying about the work of reaping by hand and the work of mowing by machine. Write your answ er below.

Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

104

Write your answer to open-ended question A in the space provided below. A.

According to the poem, the job of reaping always involves A. large machinery. B. the use of horses. C. the use of sharp blades. D. the death of small field creatures. At the end of the poem, what happens to the mechanical mower? A. It is shut down. B. It keeps on cutting. C. Its blades are cleaned. D. It is no longer driven by black horses.

The Glencoe Reader

How is the mower different from the human reapers? Use details from the poem to explain and support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

iterary

lement

Sound Devices Sound devices are techniques that poets and writers use to emphasize sounds. By emphasizing certain sounds, poets can create rhythm, draw attention to particular words, add to the poem’s meaning, and set a mood. There are many types of sounds devices. One sound device used in “Reapers” is end rhyme, which is discussed in the Word Power box on page 102. Other sound devices used in the poem are alliteration and assonance. • Alliteration is the repetition of sounds at the beginning of words. For example, in the phrase madly mowing the lawn at midnight, the m sound is repeated. • Assonance is the repetition of vowel sounds within words. For example, in the sentence Moving can be s oothing, the oo ¯¯¯ sound is emphasized. Find examples of alliteration and assonance in “Reapers.” For each line of the poem listed, look for words that have the same sounds. Write the words in the center column of the chart and underline the sound that is repeated. In the last column, tell which type of sound device the words are an example of. The first line has been filled in for you. Lines 1

Words st eel, st ones

Type of Sound Device alliteration

2–3

4–5

6–7

8

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Reading Drama is all around you. Television shows—from soap operas to cartoons to crime stories—are drama. Movies at the theater or at home are drama. Skits and plays performed at school are drama. Even advertisements on television or radio can be drama.

it may be watched or listened to. Drama may be performed by puppets, cartoon characters, computergenerated images, or real people. Whether it is a TV show, a cartoon, a radio play, or a Broadway stage performance, if it’s acted out for an audience, it’s drama.

A drama, also called a play, is a story meant to be performed for an audience. Drama may be brief or long;

Mark th e text

What kinds of drama do you know? What kinds do you like? Check the boxes next to the kinds of drama you have seen or heard. Then tell about your favorite kind on the lines that follow. television comedy

television serious show

made-for-TV movie

soap opera

movie at the theater

play on stage

radio broadcast of a play or show

skit performed in school

recording of a movie played on a TV

A drama is written to be performed on stage or screen. But reading a script, the written version of a play or movie, has some advantages. You can set your own pace, rereading difficult or enjoyable passages. With the script in front of you, you can see the author’s stage

Like other stories, dramas have a plot, a setting, and characters. But the text of a drama looks different because it’s set up to make the play easy to perform. Some characteristics of drama are listed here. • The printed version of a drama is called a script. The script usually begins with the cast of characters. • The audience follows the story line and learns about the characters through dialogue, or lines spoken by the characters. 106

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directions—the description of the scene and the instructions for the actors. You also have the opportunity to think like a director or a performer. Should this scene be tense or funny? How should that character react? Reading drama lets you stage the play in your mind.

• Story events are usually presented in chronological order, or time order—that is, in the order that the events happen. • Long plays are broken up into shorter sections called acts and scenes. A new act or scene shows that the time or place has changed.

D Most drama scripts have similar text features. Check out this sample page to see some of those text features. The cast of characters is a list of all characters in the play. It sometimes tells who they are.

CHARACTERS MARICA (ma
r e¯kə): the sist er of General

Stage directions—often in brackets and italic type—describe what the stage looks like and how actors should read their lines.

The speaker’s name appears before the lines that the character says.

Dialogue is the conversation between characters in a drama. Dialogue develops a drama’s plot and helps reveal the personalities of the characters.

Mark th e text

Try it out! Circle a stage direction that tells a character how to behave.

Macías General Macías d¯a lə o ¯ ): a captain in

RAQUEL (rə kel ): the wife of ANDRÉS DE LA O (a
n dr¯as

the Revolutionary Army CLETO (kl¯ at¯o): a private in

the Revolutionary

Army




Josephina Niggli

BASILIO FLORES

(bə s¯ely o ¯ flor¯as): a cap tain in the Federal Army Just outside Mexico Cit y. TIME: A night in April 1912. PLACE:

[The living room of General Macías’s hom e is luxuriously furnished MARICA. [Atte mpting a forced lau in the gold and ornate gh.] style of Louis XVI. I? Nothing. Why . . . The room looks do you think I have rather stuffy and un anything? lived in. RAQUEL. [Takin When the curtains par g a step toward her.] t, the stage is in dar Give kness save for the mo it to me. onlight that comes thr ough the French windows. MARICA. [Backi ng away from her.] Then the house doo No. r opens and a young gir No, I won’t. l in negligee enters stealthily. She is car RAQUEL. [Stret ching out her hand.] rying a lighted candle I .... She puts the candle demand that you giv on top of the bookca e it to me. se and begins searching beh MARICA. You have no right to ord ind the books. She fin er me ally finds what she wants about. I’m a marri : a small bottle. While ed woman. I . . . I ... she is searching, the hou [Sh e beg ins to sob and flings her se door opens silentl self down on y and a woman, also in neg the sofa.] ligee, enters. . . . ] MARICA. [Tryin RAQUEL. [Much g to hide the bottle beh gentler.] You should ind n’t be her.] Raquel! Wha up. The doctor tol t are you doing he d you to stay in be re? d. RAQUEL. Wha [Sh e ben ds over MARICA and gen t did you have hid tly takes the den behind the books, bottle out of the girl’s Marica? hand.] It was poiso n. I thought so.

These reading strategies will be especially useful when you read drama. Preview: Before starting the dialogue, read through the character list. Then glance ahead, taking mental note of future scenes and their settings.

Connect: Drama is about life and living. As you read, make connections between the events depicted on stage and events in your own life.

Visualize: Drama is meant to be performed. See it in your mind’s eye by visualizing the stage and the characters as you read. Stage directions can help.

For more information on reading strategies, see pages 366–372 in the Reading Handbook.

Respond: Make running comments as events happen: “I wouldn’t have done that.” “She’s pretty smart.” “He’s going to get in trouble.”

Read the drama excerpts that follow. Be sure to • use the text features to find your way through the script • use reading strategies to help you get the most from your reading The Glencoe Reader

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DRAMA

Rankings Chart Have you ever had an experience where doing what you thought was right meant disobeying a rule or disregarding a quality you value? For example, your friend asks if you like her peculiar new haircut, and you lie—something you promised yourself never to do— because you want to be kind. When values conflict, how do you choose one value over another? The chart below lists qualities that many people value. Think about how important each quality is to you. Then rank these qualities from 1 (most important) to 6 (least important). In a small group, discuss your rankings and your reasons for them. Value

Rank

Getting good grades Being honest Being popular

Vocabulary Preview Read the definitions of these words from the prologue to Antigone. Use the pronunciation guides to help you say each word aloud. If you’re still unsure about the meaning of the words, use context clues as you read to help make the meaning clearer. repulse (ri puls
) n. an act of beating back or driving away, as with force; p. 109 decree (di kre¯
) n. an order or decision made by a judge, king, or other official; p. 110 meddle (med
əl) v. to concern oneself with other people’s business; p. 112

Obeying school rules Being funny Being respectful

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

In the prologue to Antigone, two sisters argue about whether to obey the law or break the law while performing a valued ritual for their dead brother.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Building Background You are about to read the prologue, or opening, of this play. You will meet only two of the many characters in the play—Antigone and her sister, Ismene. • The action in this part of the play takes place after the death of Oedipus, father of Antigone and Ismene. Oedipus is the famous Greek king who killed his father and married his mother. • The ancient Greeks followed strict rituals for burials. They believed that the souls of the unburied could be forced to wander the earth forever. For this reason, people thought that leaving the dead unburied would anger the gods and bring shame on family members.

Setting a Purpose for Reading Read to find out what the sisters decide to do about their brother and what values are most important to them. 108

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Reading Focus: Summarize Think It Over: Draw Conclusions Literary Element: Protagonist/Antagonist Reading Coach: Reading Long Sentences

from

from Sophocles Translated by Dudley Fitts and Robert Fitzgerald

CHARACTERS ANTIGONE: daughter of Oedipus ISMENE: daughter of Oedipus EURYDICE: wife of Creon CREON: King of Thebes, uncle of Antigone and Ismene HAIMON: son of Creon TEIRESIAS: a blind prophet A SENTRY A MESSENGER

elders of Thebes CHORAGOS: leader of the Chorus CHORUS:

Before the palace1 of CREON, King of Thebes. A central double door, and two lateral 2 doors. A platform extends the length of the façade,3 and from this platform three steps lead down into the “orchestra,” or chorus-ground. TIME: Dawn of the day after the repulse of the Argive army from the assault on Thebes. A SCENE:

1. In an ancient Greek theater, the palace would really be just a small rectangular building where the actors could change costumes and store props. 2. Lateral doors are side doors. 3. Here, the façade (fə sad
) is the front of the small building standing in for the palace.

Vocabulary repulse (ri puls
) n. an act of beating back or driving away, as with force

Summarize Summarizing is retelling main ideas in your own words. Ask yourself who, what, where, why, and when questions to summarize main ideas. Look at the boxed stage directions. They tell you where and when Mark th e text the play begins. Circle the two words that point you to the where and when of this prologue. Then complete the lines below. A Where the play begins: Model: The play begins in Thebes, in front of the king’s palace. When the play begins:

Using Word Parts Use familiar word parts to help you figure out the meaning of an underlined vocabulary word. For example, you may know that one meaning of the prefix re- is “back,” as in rebound. You may also know that pulse means “beat,” as in heartbeat. You can guess, then, that a repulse is “an act of beating back.”

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from

Prologue

Summarize Stopping from time to time to summarize will help you check your understanding of this play. In lines 7–10, Ismene mentions key events that happen before the play begins.

[ANTIGONE and ISMENE enter from the central door of the Palace.]

Mark th e text

Underline these events. Then read the side note on the opposite page that explains the events. In your own words, write what has happened on the lines below. B

Ismene,° dear sister, You would think that we had already suffered enough For the curse on Oedipus:° I cannot imagine any grief That you and I have not gone through. And now— Have they told you of the new decree of our King Creon?

ANTIGONE.°

5

I have heard nothing: I know That two sisters lost two brothers, a double death In a single hour; and I know that the Argive army° Fled in the night; but beyond this, nothing. B

ISMENE.

10

I thought so. And that is why I wanted you To come out here with me. There is something we must do.

ANTIGONE.

ISMENE.

Why do you speak so strangely?

Listen, Ismene: Creon buried our brother Eteocles With military honors, gave him a soldier’s funeral, And it was right that he should; but Polyneices, Who fought as bravely and died as miserably,— They say that Creon has sworn No one shall bury him, no one mourn for him, But his body must lie in the fields, a sweet treasure For carrion birds° to find as they search for food. C That is what they say, and our good Creon is coming here To announce it publicly; and the penalty— Stoning to death in the public square! There it is, And now you can prove what you are: A true sister, or a traitor to your family.

ANTIGONE. 15

Mark th e text

Choose your own words As you read, circle words you find interesting or that you don’t understand. You’ll come back to these words later.

Keep This in Mind Use these symbols to record your reactions as you read.

? I have a question about something here.

! This really caught my attention. ★ This information is important.

20

25

ISMENE.

Antigone, you are mad! What could I possibly do?

ANTIGONE. 30 ISMENE.

You must decide whether you will help me or not.

I do not understand you. Help you in what?

ANTIGONE.

Ismene, I am going to bury him. Will you come?

Vocabulary decree (di kr¯e
) n. an order or decision made by a judge, king, or other official 110

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D

from

1 Antigone: (an ti
ə n¯e). Ismene: (is m¯e
n¯e). 3 Oedipus: (ed
ə pəs).

8–9 two sisters . . . Argive army: After the death of Oedipus, King of Thebes (th¯ebz), his sons, Eteocles (¯e t¯e
ə kl¯ez´) and Polyneices (pa´ lə n¯
s¯ez), struggled to gain the throne. Argos, a rival city-state, sent its army in support of Polyneices. Before the Argive (ar
j¯v) army was driven back, Eteocles and Polyneices killed each other in battle. Creon (kr¯e
on), their uncle and Oedipus’s brother-in-law, became king.

Reading Long Sentences This play has a number of long sentences that may be difficult to follow. To understand these sentences, reread the text in smaller chunks, separating sections between punctuation marks. Then think about the meaning one section at a time. Read the following model. C Model: The first section of the sentence, ending at the semicolon, tells me that Creon gave Eteocles a well-deserved soldier’s funeral with military honors. The second section, ending at the dash, tells me that Polyneices also fought bravely in the battle and died. Divide the rest of the sentence into two sections. Think about what each section means. Then summarize the sections on the lines below.

22 carrion birds: birds (such as vultures) that eat dead or decaying flesh (carrion).

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lement

Protagonist/Antagonist Antigone is the protagonist, or main character, of this play. Her actions set the play in motion. Reread line 31. What action is Antigone planning? D

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111

from

iterary

ISMENE.

lement

Protagonist/Antagonist Any character or force that stands in the way of the protagonist is called an antagonist. This means that an antagonist can be someone or something. E

ANTIGONE. ISMENE.

E

Creon is not strong enough to stand in my way.

Ah sister! Oedipus died, everyone hating him For what his own search brought to light, his eyes Ripped out by his own hand; and Jocasta died, His mother and wife at once: she twisted the cords That strangled her life;° and our two brothers died, Each killed by the other’s sword. F And we are left: But oh, Antigone, Think how much more terrible than these Our own death would be if we should go against Creon And do what he has forbidden! We are only women, We cannot fight with men, Antigone! The law is strong, we must give in to the law In this thing, and in worse. I beg the Dead To forgive me, but I am helpless: I must yield To those in authority. And I think it is dangerous business To be always meddling. G

ISMENE.

40

45

Reading Long Sentences Reread the long sentence from lines 37–42. To make sense of this sentence, first read the side note on page 113. Then paraphrase the sentence one section at a time, using the same technique you used on page 111. Write your paraphrase here. F

He is my brother. And he is your brother, too.

But think of the danger! Think what Creon will do!

35 ANTIGONE.

Mark th e text

Circle the words in lines 32–34 that identify two antagonists of Antigone. Do you think that Ismene is an antagonist? Explain why.

Bury him! You have just said the new law forbids it.

50

If that is what you think, I should not want you, even if you asked to come. You have made your choice, you can be what you want to be. But I will bury him; and if I must die, I say that this crime is holy: I shall lie down With him in death, and I shall be as dear To him as he to me. It is the dead, Not the living, who make the longest demands: We die for ever . . .° You may do as you like, Since apparently the laws of the gods mean nothing to you. H

ANTIGONE.

55

60

They mean a great deal to me; but I have no strength To break laws that were made for the public good.

ISMENE.

Vocabulary meddle (med
əl) v. to concern oneself with other people’s business 112

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Summarize The boxed passage is part of Ismene’s argument for not burying Polyneices. G Mark th e text

Underline Ismene’s main points in this part of her argument. Then write a brief summary of her points here.

37–41 Oedipus died . . . her life: Oedipus had killed Laïos (l¯
əs), the king of Thebes at the time, and married the queen, Jocasta (j¯o kas
tə). Together, they had four children—Antigone, Ismene, and two sons. When it was revealed that Oedipus had, without realizing it, killed his own father and married his own mother, he blinded himself, was banished from Thebes, and died, and Jocasta hanged herself.

Draw Conclusions Now that you’ve gotten to know Antigone through the things she’s said, you can draw conclusions—or make some general statements—about her character. Reread lines 52–62 and combine what you learn in these lines with what you already know about Antigone. Then check the conclusions below that you can draw about her. H

❏ She respects Ismene’s opinion.

❏ She wants to do the respectful thing for her brother.

❏ The law of the gods is more 60 We die for ever: When we die, we are dead for all eternity.

important to her than Creon’s law.

❏ Obeying Creon’s law is more important to her than honoring her brother.

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That must be your excuse, I suppose. But as for me, I will bury the brother I love.

ANTIGONE. 65

Step 1 Think about what you’ve read. Look back over the prologue and your notes to be sure you understand this excerpt from the play. Then tell what Antigone plans to do and why.

Antigone,

ISMENE.

I am so afraid for you! You need not be: You have yourself to consider, after all.

ANTIGONE.

But no one must hear of this, you must tell no one! I will keep it a secret, I promise!

ISMENE.

Oh tell it! Tell everyone! Think how they’ll hate you when it all comes out If they learn that you knew about it all the time!

ANTIGONE. 70

ISMENE.

So fiery! You should be cold with fear.

ANTIGONE. ISMENE.

Perhaps. But I am only doing what I must.

But can you do it? I say that you cannot.

Very well: when my strength gives out, I shall do no more.

75 ANTIGONE.

Step 2 Now think about your own discussion about values from earlier in this lesson. Who do you think is right—Antigone or Ismene? Write your answer here.

ISMENE.

Impossible things should not be tried at all.

Go away, Ismene: I shall be hating you soon, and the dead will too, For your words are hateful. Leave me my foolish plan: I am not afraid of the danger; if it means death, It will not be the worst of deaths—death without honor.

ANTIGONE.

80

Go then, if you feel that you must. You are unwise, But a loyal friend indeed to those who love you.

ISMENE.

[Exit into the Palace. ANTIGONE goes off, L.]

Choose three words, either from the underlined vocabulary in the prologue or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book and complete an activity listed there.

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Reading Long Sentences ticed making long Break It Up As you read, you prac did this by breaking sentences simpler and clearer. You part in your own them up into parts and restating each s line 79–81, the last words. Use this strategy to rewrite gone speaks. sentence in this prologue that Anti

Summarize

over the prologue and 1. In Brief With a partner, go back ing Polyneices. List bury summarize Antigone’s reasons for those reasons on the lines below.

Draw Conclusions 1. What Can You Say? As you read , you drew some conclusions about Antigone. With you r group, review the prologue and discuss what conclus ions you can draw about her sister, Ismene. Be sure you’re able to support your conclusions with information from the play. Write several of your conclusions on the lines below.

2. Sis, I Love You, But . . . Imagine that you are Ismene and you have just come from the heated discussion with your sister, Antigone. You’ve promised not to tell anyone of Antigone’s plan, but you’re too ups et, and so you confide in a friend. In your emotional state , what conclusions might you draw about Antigone as you spe ak to your friend? In your group, decide what Ismene wou ld say. Speaking as Ismene, but using your own informa l language, write your conclusions on the lines below.

e with a partner. 2. Keep It Short Discuss the prologu - or three-sentence Then, work together to write a two brief, but be sure to summary of this part of the play. Be . Use the lines tell who, what, when, where, and why below.

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Protagonist/Antagonist The conflict between opposite forces is what makes a drama or any good story exciting and suspenseful. One force, the protagonist, is the central character in a story. The protagonist is often the character you understand the best or would most like to be. Any character or force that acts against the protagonist is called the antagonist. In the prologue from Antigone, the protagonist, Antigone, wants to bury her brother Polyneices. A number of forces oppose this plan. Answer the questions in the boxes below, explaining how each antagonist stands in Antigone’s way.

1. How does Creon act as an antagonist to Antigone?

2. How does Ismene act as an antagonist to Antigone?

3. How does the law act as an antagonist to Antigone?

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

What does Antigone mean by these words, her last line in the prologue? It will not be the worst of deaths—death without honor. A. Creon’s death was the worst of deaths. B. The death of Polyneices was honorable. C. Her own death will be the worst of deaths. D. Her own death will not be the worst, because it will be honorable. Which of the following statements is Ismene LEAST likely to agree with? A. It would be right to bury Polyneices if the law of Thebes allowed it. B. Antigone should keep quiet about her plans to bury Polyneices. C. Antigone does not respect her family. D. Creon’s law is for the public good.

How does Antigone’s plan to bury Polyneices show courage? Support your answer with details and information from the prologue.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write the word from the list that belongs in the blank in each sentence. repulse n. an act of beating back or driving away, as with force decree n. an order or decision made by a judge, king, or other official

1. People may think you are nosey if you

in their affairs.

2. The queen expects everyone to obey her royal 3. The citizens celebrated after the

.

of the invading army.

meddle v. to concern oneself with other people’s business

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DRAMA

Persuasion Checklist Imagine that this is an election year and that people are debating the effectiveness of the current president of the United States. What kinds of arguments do you find most persuasive? Put a check beside those that attract your attention.

❏ appeals to my emotions ❏ appeals to my patriotism ❏ appeals to my intellect, or reason In this scene from a play, you’ll hear Marcus Brutus and Mark Antony speak persuasively to a crowd following the assassination, or murder, of the great Roman leader Julius Caesar.

Building Background William Shakespeare’s play The Tragedy of Julius Caesar is set in ancient Rome between 44 and 42 B.C. • Julius Caesar was a great Roman general and politician who became dictator of Rome in 48 B.C. He was popular with the people for his military victories and for his reforms of Roman government and society. However, Caesar’s power frightened many people, including several important senators. A group of conspirators, or enemies of Caesar, secretly plotted to kill Caesar. They stabbed him to death in 44 B.C. • Shakespeare wrote this play around 1599. Some words in the play are no longer used, and some words are used but their meanings have changed. Don’t worry. The side notes and the activities in the margin can help you understand the main ideas.

Setting a Purpose for Reading Read to find out how Antony and Brutus try to persuade people to believe their different viewpoints about Julius Caesar and his sudden death. Graphic Organizer Organizer Graphic

Use this Foldable to note examples of persuasion in Brutus’s and Antony’s speeches.

Vocabulary Preview Read the definitions of these words from The Tragedy of Julius Caesar. Use the pronunciation guides to help you say each word aloud. ambitious (am bish
əs) adj. having a strong desire for rank, fame, or power; p. 119 conspiracy (kən spir
ə s¯e) n. a secret agreement to commit an illegal act; a plot; p. 119 valiant (val
yənt) adj. brave; bold; courageous; p. 122 tyrant (t¯
rənt) n. an absolute ruler, especially one who takes power illegally or rules in a cruel or unfair manner; p. 124 compel (kəm pel
) v. to drive or force to action; p. 130 ingratitude (in rat
ə t¯¯¯ ood´) n. a lack of appreciation; ungratefulness; p. 130

As you read, circle words that you find interesting or that you don’t understand. Later, you may add them to your Hot Words Journal at the back of this book.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Clarify

1. Place a sheet of paper in front of you with the short side up. Fold the paper in half from side to side. Then fold down the top inch or so as shown.

Think It Over: Infer

2. Unfold the paper and draw lines along the fold lines. This will be your two-column chart.

Reading Coach: Reading Side Notes

3. Label the left column Brutus and the right column Antony. As you read, record how each man tries to convince his audience that Caesar’s death was either right or wrong. 118

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from The Tragedy of

William Shakespeare

CHARACTERS A JULIUS CAESAR: ambitious military leader and politician; the most powerful man in Rome MARK ANTONY: friend of Caesar, senator, and eloquent orator; member of the triumvirate, the three-man governing body that ruled Rome after Caesar’s death MARCUS BRUTUS: friend of Caesar, appointed by him to high office in the Roman government; a believer in the republic and member of the conspiracy against Caesar CAIUS CASSIUS: brother-in-law of Brutus and member of the conspiracy against Caesar OCTAVIUS CAESAR: Caesar’s great-nephew and official heir; member of the triumvirate M. AEMILIUS LEPIDUS: military leader and member of the triumvirate PLEBEIANS: commoners, the everyday people who live in Rome

Preview The cast list on this page is a list of the characters that take part in the scene you are about to read. Below, write a question that comes to mind after reading this list. A

Using Prior Knowledge An underlined vocabulary word may seem familiar, but you may not be exactly sure of its meaning. If that’s the case, reread the sentence the word is in, replacing the vocabulary word with your best guess. Does the sentence make sense? Check to see if you have it right by reading the definition at the bottom of the page.

SERVANT TO OCTAVIUS

Mark th e text

Vocabulary ambitious (am bish
əs) adj. having a strong desire for rank, fame, or power conspiracy (kən spir
ə s¯e) n. a secret agreement to commit an illegal act; a plot

Choose your own words As you read this scene, circle words that you find interesting or that you don’t understand. You’ll come back to these words later.

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The scene you are about to read takes place in a great public space in the center of Rome, where a restless crowd of plebeians, or commoners, has gathered for Caesar’s funeral. In the scene before this one, Brutus, Cassius, and several other conspirators assassinate Caesar, stabbing him to death. Caesar’s friend Mark Antony approaches the conspirators after the murder and asks their permission to present Caesar’s body to the public and to speak at the funeral. Cassius objects, but Brutus gives Antony permission with two conditions. Brutus must speak first, and Antony must not blame the conspirators. Antony agrees. B

Clarify This paragraph of italic text is not part of the play. However, it is very important! This paragraph sets the stage by telling you what happened in the scene right before the one you’re about to read. B Make sure you understand this text before you read act 3, scene 2. To clarify, start by rereading. Look up any words you don’t know or ask questions about anything you don’t understand. Clarify this paragraph by answering who, when, where, and what questions about its content. Model: Who? The main characters are Brutus, Cassius, and Mark Antony. When? right after Caesar’s murder, but before the funeral. Where? in a public square in Rome. What? Antony asks the conspirators for permission to speak at Caesar’s funeral. Brutus says OK, but only if he can speak first and only if Antony promises not to blame the conspirators for Caesar’s death.

ACT 3, SCENE 2. The Roman Forum, the city’s great public square. A few days later. [Enter BRUTUS and CASSIUS with the PLEBEIANS.] PLEBEIANS. We

will be satisfied!° Let us be satisfied!

C

BRUTUS. Then

5

follow me, and give me audience, friends. Cassius, go you into the other street, And part the numbers.° Those that will hear me speak, let ’em stay here; Those that will follow Cassius, go with him; And public reasons shall be rendered° Of Caesar’s death.

FIRST PLEBEIAN.

I will hear Brutus speak.

SECOND PLEBEIAN. I 10

will hear Cassius, and compare their reasons, When severally° we hear them rendered.

[Exit CASSIUS with some of the PLEBEIANS. BRUTUS goes into the pulpit.] THIRD PLEBEIAN. The BRUTUS. Be

Keep This in Mind Use the following symbols to record your reactions as you read.

15

? I have a question about something here.

! This really caught my attention. ★ This information is important.

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noble Brutus is ascended; silence!

patient till the last.° Romans, countrymen, and lovers,° hear me for my cause, and be silent, that you may hear. Believe me for mine honor, and have respect to mine honor,° that you may believe. Censure° me in your wisdom, and awake your senses,° that you may the better judge. If there be any in this assembly, any dear friend of Caesar’s, to him I say, that Brutus’ love to Caesar was no less than his. If then that friend demand why Brutus rose against Caesar, this is my answer; Not that I lov’d Caesar less, but that I lov’d Rome more. Had you rather Caesar were living, and die all slaves, than that Caesar were dead, to live all free men? D As Caesar

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FCAT Test

Reading Side Notes Notice that a tiny circle sometimes appears at the end of a word or a line of dialogue. The circle tells you there’s a side note on the right-hand page that explains a word’s meaning or translates a phrase into modern English. The boldface number before the side note matches the number of the line in which the word or phrase appears. C 1 We . . . satisfied: The common people (plebeians) demand a full explanation of the assassination.

4 part the numbers: divide the crowd.

Read the first side note on this page. Notice the ellipsis points (. . .), which show that words have been left out. On the Mark th e text left-hand page, underline the sentence that this side note explains. Below, write the words that are replaced by the ellipses points.

7 rendered: presented.

10 severally: separately.

12 last: end of the speech. 13 lovers: dear friends.

15 have respect . . . honor: remember that I am honorable.

Infer When you infer, you use reason and experience— along with clues in the text—to guess at what the author does not say directly. Reread the boxed text. What is Brutus trying to convince his audience to believe about himself and about Caesar? D

16 Censure: judge. 17 senses: reason.

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25

Draw Conclusions When you combine details to make a general statement about something, you draw a conclusion. Underline the Mark th e text reason that Brutus gives for killing Caesar. Why do you think Brutus appeals to the people’s love for their country as he explains why he killed Caesar? Write your conclusion below. E

30

lov’d me, I weep for him; as he was fortunate, I rejoice at it; as he was valiant , I honor him; but, as he was ambitious, I slew him.° There is tears for his love; joy for his fortune; honor for his valor; and death for his ambition. Who is here so base that would be a bondman?° If any, speak, for him have I offended. Who is here so rude,° that would not be a Roman? If any, speak, for him have I offended. Who is here so vile that will not love his country? If any, speak, for him have I offended. I pause for a reply. E ALL. None,

Brutus, none.

Then none have I offended. I have done no more to Caesar than you shall do to Brutus. The question of his death is enroll’d in the Capitol;° his glory not extenuated,° wherein he was worthy; nor his offenses enforc’d,° for which he suffer’d death. F

BRUTUS. 35

[Enter MARK ANTONY (and others) with CAESAR’s body.] 40

Here comes his body, mourn’d by Mark Antony, who, though he had no hand in his death, shall receive the benefit of his dying, a place in the commonwealth,° as which of you shall not? With this I depart, that, as I slew my best lover for the good of Rome, I have the same dagger for myself, when it shall please my country to need my death. G

45 ALL.

Live, Brutus, live, live!

FIRST PLEBEIAN.

Reading Side Notes What do lines 35–38 mean? The side notes can help you understand these lines. Below, explain the lines in your own words. F

Bring him with triumph home unto his house.

SECOND PLEBEIAN. Give THIRD PLEBEIAN. Let

him a statue with his ancestors.

him be Caesar. Caesar’s better parts°

FOURTH PLEBEIAN.

Shall be crown’d in Brutus. We’ll bring him to his house

FIRST PLEBEIAN. 50

With shouts and clamors.

My countrymen—

BRUTUS. SECOND PLEBEIAN. Peace, FIRST PLEBEIAN. Peace, BRUTUS. Good

H

silence! Brutus speaks.

ho!

countrymen, let me depart alone,

Vocabulary valiant (val
yənt) adj. brave; bold; courageous 122

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26 slew: killed.

28 bondman: slave. 29 rude: uncivilized.

FCAT Test

Clarify Stop from time to time to make sure you understand the action of the play. Mark Antony has just entered the stage with others. He is carrying Caesar’s body. What does Brutus want the people to know about Antony? G

35–36 The question . . . Capitol: The reasons for his death are recorded in the public archives of the Capitol. 37 extenuated: diminished; decreased. 38 enforc’d: exaggerated.

What do you think Brutus means when he says “I have the same dagger for myself, when it shall please my country to need my death”?

41 a place in the commonwealth: citizenship in a free republic.

48 parts: qualities.

Synthesize In line 45, the people speak together, as if they have one voice. Then in lines 46–50, four individuals speak out, but they all send similar messages. Below, describe the plebeians’ reaction to Brutus’s speech. H

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Foldables Don’t forget about your Foldable! Remember to jot down examples from Brutus’s and Antony’s speeches that show how each man tries to convince the audience that Caesar’s death was either right or wrong.

Graphic Organizer Organizer Graphic

55

And, for my sake, stay here with Antony. Do grace to Caesar’s corpse, and grace his speech Tending to Caesar’s glories,° which Mark Antony (By our permission) is allow’d to make. I do entreat you, not a man depart, Save I alone, till Antony have spoke. [BRUTUS exits.]

60 FIRST PLEBEIAN.

Stay, ho, and let us hear Mark Antony.

THIRD PLEBEIAN. Let

him go up into the public chair;° We’ll hear him. Noble Antony, go up.

Visualize When you read a play, it’s important to picture in your mind how the scene might look. Think about who is onstage and where the characters are standing in relation to one another.

ANTONY. For

Brutus’ sake, I am beholding° to you.

[Goes into the pulpit.] FOURTH PLEBEIAN. What

does he say of Brutus? He says, for Brutus’ sake,

THIRD PLEBEIAN.

In the frame below, quickly sketch the scene. Use stick figures to represent the characters, and label the figures with the characters’ names. If you prefer, use the space inside the frame to write a description of what you see in your mind’s eye. I

65

He finds himself beholding to us all. FOURTH PLEBEIAN. ’Twere FIRST PLEBEIAN. This

best he speak no harm of Brutus here!

Caesar was a tyrant. Nay, that’s certain.

THIRD PLEBEIAN.

We are blest that Rome is rid of him. SECOND PLEBEIAN. Peace, 70 ANTONY.

You gentle Romans—

[The noise continues.] ALL.

Your Sketch

let us hear what Antony can say.

I

Peace, ho, let us hear him.

ANTONY. Friends,

75

80

Romans, countrymen, lend me your ears! I come to bury Caesar, not to praise him. The evil that men do lives after them, The good is oft interred° with their bones; So let it be with Caesar. J The noble Brutus Hath told you Caesar was ambitious; If it were so, it was a grievous fault, And grievously hath Caesar answer’d° it. Here, under leave° of Brutus and the rest (For Brutus is an honorable man, So are they all, all honorable men),

Vocabulary tyrant (t¯
rənt) n. an absolute ruler, especially one who takes power illegally or rules in a cruel or unfair manner 124

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55–56 Do grace . . . glories: Pay respect to Caesar’s body and listen respectfully to Antony’s speech about Caesar’s glories.

FCAT Test

Clarify Caesar’s friend Mark Antony may be thinking that Brutus is a tough act to follow! The plebeians, who sing Brutus’s praises, are clearly on his side. Reread the boxed lines, which are the beginning of Antony’s speech. Make sure you understand what Antony is saying.

61 public chair: elevated platform or pulpit.

63 beholding: grateful; thankful.

Mark th e text

Underline the two main points he makes in these lines. Below, tell why you think the plebeians might want to continue listening after hearing this opening. J

s Your Note 74 interred: buried.

78 answer’d: paid the penalty for. 79 leave: permission.

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Reading Side Notes Don’t forget to read the side notes. They will help you understand Shakespeare’s language. Carefully read the side notes for line 87. Below, write whether the people would consider Caesar’s filling the “general coffers” to be an example of a good deed or an act of personal ambition. K

85

90

95

100

Infer Underline or highlight the lines that Antony repeats three times in this part of his speech. What inference can you make about why Antony would repeat these lines? Write your ideas below. L

Mark th e text

105

Come I to speak in Caesar’s funeral. He was my friend, faithful and just to me; But Brutus says he was ambitious, And Brutus is an honorable man. He hath brought many captives home to Rome, Whose ransoms° did the general coffers° fill; Did this in Caesar seem ambitious? K When that the poor have cried, Caesar hath wept; Ambition should be made of sterner stuff: Yet Brutus says he was ambitious; And Brutus is an honorable man. You all did see that on the Lupercal° I thrice presented him a kingly crown, Which he did thrice refuse. Was this ambition? Yet Brutus says he was ambitious; And sure he is an honorable man. I speak not to disprove what Brutus spoke, But here I am to speak what I do know. L You all did love him once, not without cause; What cause withholds you then to mourn for him? O judgment, thou art fled to brutish beasts, And men have lost their reason. Bear with me, My heart is in the coffin there with Caesar, And I must pause till it come back to me. M FIRST PLEBEIAN. Methinks

there is much reason in his sayings.

SECOND PLEBEIAN. If

thou consider rightly of the matter, Caesar has had great wrong.

Has he, masters? I fear there will a worse come in his place.

THIRD PLEBEIAN.

110 FOURTH PLEBEIAN.

Mark’d ye° his words? He would not take the

crown, Therefore, ’tis certain he was not ambitious. FIRST PLEBEIAN. If

it be found so, some will dear abide it.°

SECOND PLEBEIAN. Poor

soul, his eyes are red as fire with weeping.

THIRD PLEBEIAN. There’s 115 FOURTH PLEBEIAN.

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not a nobler man in Rome than Antony.

Now mark him, he begins again to speak.

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87 ransoms: payment for the release of someone who has been captured and imprisoned, in this case, during a military battle; general coffers: public treasury.

Connect Reread the highlighted lines. Antony is so moved with emotion that he must take a break from his speech. If you were one of the plebeians, how would you react to seeing Antony overcome with emotion? M

93 Lupercal: a religious festival celebrated about a month earlier.

Step 1 If you have questions about the scene, use one of these strategies to help you answer your questions. • Read aloud. • Review who is speaking and to whom. • Review the side notes. • Ask a classmate or a teacher, parent, or other adult for help. Step 2 So far Brutus and Antony have spoken at Caesar’s funeral. Briefly summarize each man’s message. Brutus said that

110 Mark’d ye: Did you listen to?

. 112 dear abide it: pay dearly for it.

Antony said that

.

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ANTONY. But

lement

Blank Verse Shakespeare wrote much of this play in blank verse, which is a form of unrhymed poetry that has five beats per line. In each line of blank verse, you will hear five pairs of syllables. The stress, or emphasis, falls on the second syllable of every pair. Count out the syllables in line 116, 117, and 118. Below, write the number of syllables in each line. Then practice reading the lines aloud. Emphasize the second syllable of each pair. N

120

125

130

135

Analyze Irony is a contrast between appearance and reality. In verbal irony, a person says one thing and means another. Take another look at what Antony says in lines 119–125. Why might these lines be an example of verbal irony? Explain below. O

yesterday the word of Caesar might Have stood against the world; now lies he there, And none so poor to do him reverence.° N O masters! if I were dispos’d to stir Your hearts and minds to mutiny° and rage, I should do Brutus wrong and Cassius wrong, Who (you all know) are honorable men. O I will not do them wrong; I rather choose To wrong the dead, to wrong myself and you, Than I will wrong such honorable men. But here’s a parchment with the seal of Caesar; I found it in his closet, ’tis his will. Let but the commons° hear this testament— Which, pardon me, I do not mean to read— And they would go and kiss dead Caesar’s wounds, And dip their napkins° in his sacred blood; Yea, beg a hair of him for memory, And dying, mention it within their wills, Bequeathing it as a rich legacy Unto their issue.°

FOURTH PLEBEIAN. We’ll ALL. The

hear the will; read it, Mark Antony.

will, the will! we will hear Caesar’s will!

ANTONY. Have 140

patience, gentle friends, I must not read it. It is not meet° you know how Caesar lov’d you: You are not wood, you are not stones, but men; And being men, hearing the will of Caesar, It will inflame you, it will make you mad. ’Tis good you know not that you are his heirs, For if you should, O, what would come of it? Read the will, we’ll hear it, Antony. You shall read us the will, Caesar’s will.

145 FOURTH PLEBEIAN.

ANTONY. Will

150

you be patient? Will you stay awhile? I have o’ershot myself° to tell you of it. I fear I wrong the honorable men Whose daggers have stabb’d Caesar; I do fear it.

FOURTH PLEBEIAN. They ALL. The

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were traitors; honorable men!

will! the testament!

P

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118 none . . . reverence: No one is humble enough to honor him.

120 mutiny: riot, revolt.

Connect Has anyone ever said that they were not going to tell you something? What effect did that have on you? Check the best box below. P

❏ It made me more curious about the information.

❏ It made me less curious about the information.

128 commons: common people.

131 napkins: handkerchiefs. (Antony refers to the custom of dipping cloths in the blood of martyrs.)

135 issue: children.

Clarify In the two boxed passages, underline what Antony says are his main concerns about reading the will. Mark th e text Is he really concerned about these things? Explain why or why not. Q

139 meet: proper.

148 o’ershot myself: gone further than I intended.

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SECOND PLEBEIAN. They

were villains, murderers. The will, read

the will! ANTONY. You 155

Review Turn back to page 122 and review the way the plebeians reacted to Brutus as he finished his speech. Mark th e text Underline the things that the plebeians are now saying that show they’ve had a change of heart about Brutus and the other conspirators. Below, tell what the crowd seems to think about Mark Antony now. R

will compel me then to read the will? Then make a ring about the corpse of Caesar, And let me show you him that made the will. Shall I descend? And will you give me leave?

ALL. Come

down.

SECOND PLEBEIAN. Descend. 160 THIRD PLEBEIAN.

You shall have leave.

[ANTONY comes down from the pulpit.] FOURTH PLEBEIAN. A

ring, stand round.

FIRST PLEBEIAN. Stand

from the hearse, stand from the body.

SECOND PLEBEIAN. Room ANTONY. Nay, 165 ALL.

for Antony, most noble Antony.

press not so upon me; stand far° off.

Stand back; room, bear back.

ANTONY. If

170

175

180

you have tears, prepare to shed them now. You all do know this mantle.° I remember The first time ever Caesar put it on; ’Twas on a summer’s evening, in his tent, That day he overcame the Nervii.° Look, in this place ran Cassius’ dagger through; See what a rent° the envious Casca made; Through this the well-beloved Brutus stabb’d, S And as he pluck’d his cursed steel away, Mark how the blood of Caesar followed it, As rushing out of doors, to be resolv’d If Brutus so unkindly knock’d or no;° For Brutus, as you know, was Caesar’s angel.° Judge, O you gods, how dearly Caesar lov’d him! This was the most unkindest cut of all; T For when the noble Caesar saw him stab, Ingratitude, more strong than traitors’ arms, Quite vanquish’d° him. Then burst his mighty heart,

Vocabulary compel (kəm pel
) v. to drive or force to action ingratitude (in rat
ə t¯¯¯ ood´) n. a lack of appreciation; ungratefulness 130

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Reading Side Notes Remember to use the side notes. They can help you understand the unfamiliar words in the play. On the lines below, briefly summarize what Antony is doing in lines 166–173. S

164 far: farther.

167 mantle: cloak, toga.

Infer What can you infer about Caesar’s thoughts toward Brutus? Check the best answer below. T

170 Nervii (nur
v¯e ¯´): a fierce Gallic tribe defeated by Caesar in 57 B.C.

❏ He thought Brutus was

172 rent: rip.

❏ He thought Brutus was his

unkind. friend.

❏ He thought Brutus was an angel. 176–177 As rushing . . . no: as if rushing outside to learn for certain whether or not Brutus so cruelly and unnaturally “knocked.” 178 angel: favorite.

s Your Note

183 vanquish’d: conquered; defeated.

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Reading Side Notes Be sure to read the side note that explains the highlighted lines. Does it help you visualize the scene? What is your reaction to Antony’s lifting Caesar’s cloak and showing the people Caesar’s body? Jot your answer below. U

185

190

And, in his mantle muffling° up his face, Even at the base of Pompey’s statue (Which all the while ran blood) great Caesar fell. O, what a fall was there, my countrymen! Then I, and you, and all of us fell down, Whilst bloody treason flourish’d over us.° O now you weep, and I perceive you feel The dint° of pity. These are gracious drops. Kind souls, what weep you when you but behold Our Caesar’s vesture° wounded? Look you here, [Lifting CAESAR’s mantle.] Here is himself, marr’d as you see with traitors.° U

195 FIRST PLEBEIAN.

O piteous spectacle!

SECOND PLEBEIAN. O THIRD PLEBEIAN. O

woeful day!

FOURTH PLEBEIAN. O FIRST PLEBEIAN. O

Analyze Look at what the plebeians say in lines 195–200. Why do most of these lines end with exclamation marks? V

200 SECOND PLEBEIAN.

noble Caesar!

traitors, villains!

most bloody sight! We will be reveng’d.

ALL. Revenge!

About! Seek! Burn! Fire! Kill! Slay! Let not a traitor live! V

ANTONY. Stay,

countrymen.

FIRST PLEBEIAN. Peace 205 SECOND PLEBEIAN.

there, hear the noble Antony.

We’ll hear him, we’ll follow him, we’ll die

with him. Now look at lines 201–202. How do you know that the plebeians are unanimous in their response to seeing Caesar’s body?

ANTONY. Good

210

215

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friends, sweet friends, let me not stir you up To such a sudden flood of mutiny. They that have done this deed are honorable. What private griefs° they have, alas, I know not, That made them do it. They are wise and honorable, And will, no doubt, with reasons answer you. W I come not, friends, to steal away your hearts. I am no orator, as Brutus is; But (as you know me all) a plain blunt man That love my friend, and that they know full well That gave me public leave to speak of him.

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184 muffling: covering up; enveloping.

Main Idea In the boxed passage, underline or highlight the most important point that Antony stresses here. Keep in mind that Antony is repeating a point he has already made several times. Write that idea on the lines below. W

Mark th e text

189 Whilst . . . us: While the effects of betrayal (treason) spread all around us.

191 dint: force; blow.

193 vesture: garment; cloak. 192–194 Kind souls . . . traitors: In a dramatic gesture, Antony uncovers Caesar’s slain body after remarking how much the commoners weep when they look at Caesar’s bloodied clothing.

s Your Note 209 private griefs: personal grievances. Antony suggests that the conspirators killed Caesar not for the public reasons Brutus has declared but rather for personal, and therefore less worthy, motives.

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Reading Side Notes The side note for lines 217–219 explains the use of several words in these lines. Read the side note carefully. If you were a plebeian listening to Antony’s speech and could speak to Antony right now, what would you say? Write your answer below. X

220

225

For I have neither wit, nor words, nor worth, Action, nor utterance, nor the power of speech To stir men’s blood;° I only speak right on. X I tell you that which you yourselves do know, Show you sweet Caesar’s wounds, poor, poor, dumb mouths, And bid them speak for me. But were I Brutus, And Brutus Antony, there were an Antony Would ruffle up° your spirits, and put a tongue In every wound of Caesar, that should move The stones of Rome to rise and mutiny. Y ALL. We’ll

mutiny. We’ll burn the house of Brutus.

FIRST PLEBEIAN.

THIRD PLEBEIAN. Away ANTONY. Yet 230 ALL.

then, come, seek the conspirators.

hear me, countrymen, yet hear me speak.

Peace, ho, hear Antony, most noble Antony!

ANTONY. Why,

Clarify You may find this boxed passage to be a bit confusing. It’s worth taking a moment to clarify what you don’t understand. Try rereading the passage slowly. Concentrate on the highlighted lines. What does Antony want Caesar’s wounds to say? Y

friends, you go to do you know not what. Wherein hath Caesar thus deserv’d your loves? Alas, you know not! I must tell you then; You have forgot the will I told you of.

235 ALL.

Most true. The will! Let’s stay and hear the will.

ANTONY. Here

is the will, and under Caesar’s seal: To every Roman citizen he gives, To every several° man, seventy-five drachmas.°

SECOND PLEBEIAN. 240 THIRD PLEBEIAN.

ANTONY. Hear ALL. Peace,

Most noble Caesar! we’ll revenge his death!

O royal° Caesar!

me with patience.

ho!

ANTONY. Moreover,

245

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Z

he hath left you all his walks, His private arbors and new-planted orchards,° On this side Tiber; he hath left them you, And to your heirs forever—common pleasures,° To walk abroad and recreate yourselves. Here was a Caesar! when comes such another? AA

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217–219 For I have . . . blood: Antony claims that he doesn’t have the cleverness (wit), fluency (words), high personal standing or reputation (worth), gestures (action), and manner of speaking (utterance) of a skilled pubic speaker.

224 ruffle up: anger; enrage.

238 several: individual. drachmas: silver coins.

240 royal: most generous.

Infer On pages 128 and 130, Antony mentioned Caesar’s will but refused to read it. He said that hearing the will would make the people very angry (line 142). But now that Antony has shown the people Caesar’s body, he seems ready to read the will. What can you infer, or guess, is the reason he waited to read the will? Z

Monitor Comprehension Antony has just told the plebeians what Caesar has left them in his will. Do you understand what their inheritance Mark th e text includes? Underline what the people have inherited. Below, tell whether you think Caesar had the public’s best interests in mind when he wrote the will. AA

244 orchards: gardens. 246 common pleasures: public recreation areas.

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FIRST PLEBEIAN. Never, 250

Evaluate The people are extremely angry right now. They plan to honor Caesar by cremating, or burning, his body at the most holy Roman temple. Mark th e text Circle the action they plan to take next. What is your opinion of this action? Write your answer below. BB

never! Come, away, away! We’ll burn his body in the holy place,° And with the brands° fire the traitors’ houses. Take up the body.

SECOND PLEBEIAN. Go

fetch fire.

THIRD PLEBEIAN. Pluck 255 FOURTH PLEBEIAN.

down benches.

Pluck down forms,° windows,° anything.

[Exit PLEBEIANS with the body.] ANTONY. Now

let it work. Mischief, thou art afoot, Take thou what course thou wilt!

[Enter SERVANT.] How now, fellow? SERVANT. Sir,

Octavius is already come to Rome.

ANTONY. Where 260 SERVANT.

is he?

He and Lepidus° are at Caesar’s house.

ANTONY. And

thither will I straight to visit him;° He comes upon a wish.° Fortune is merry, And in this mood will give us anything.

Mark th e text

Choose three words, either from the underlined vocabulary in the scene or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book and complete an activity listed there.

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SERVANT. I 265

heard him say, Brutus and Cassius Are rid° like madmen through the gates of Rome.

ANTONY. Belike°

they had some notice of the people, How I had mov’d them. Bring me to Octavius.

[They exit.]

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250 the holy place: the site of the most sacred Roman temples. 251 brands: pieces of burning wood.

255 forms: benches. windows: shutters.

Step 1 Take a moment to think about this scene from Julius Caesar. Look back at the notes you wrote and the passages you marked. Also review your Foldable. Think about how Brutus and Antony tried to persuade the audience. Who do you think has been more persuasive? On the lines below, tell how you draw this conclusion.

260 Lepidus: one of Caesar’s generals. 261 thither will . . . him: I will go there immediately to visit him. 262 upon a wish: just as I had wished.

265 Are rid: have ridden. 266 Belike: probably.

Step 2 In his speech, Antony appeals to the people’s emotions, patriotism, and intellect. Which of these appeals do you find the most persuasive?

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Reading Side Notes

lines) from the play that In Other Words Select a line (or ng one or two words. has a side note defining or translati s a complete (Do not choose a side note that give line or lines below in explanation of the text.) Rewrite the your own words.

Blank Verse Plainly Speaking The dialogue in Julius Caesar is a mixture of prose and blank verse. Pros e is literature that is written in sentence and paragraph form, while blank verse is unrhymed lines of poetry. In Sha kespeare’s plays, commoners often speak in prose, and members of the educated upper class often speak in blank verse. With your group, review Brutus’s and Antony’s speeches. Whose speech is written in prose, and who se speech is written in blank verse? Write your answer belo w. Tell why you think Shakespeare chose to have one spe ak in prose and the other in blank verse.

Clarify

ner, review and discuss 1. I Plead Not Guilty With a part 122. Below, list two Brutus’s speech on pages 120 and his murder of port sup to arguments Brutus provides Caesar.

Infer a Way With a 2. Where There’s a Will There’s important to read partner, discuss why Antony felt it was g to prove to the tryin Caesar’s will in public. What was he will to have? the t people, and what effect did he wan Write your answers below.

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The People’s Choice With your grou p, discuss the plebeians’ reactions to Brutus’s and Antony’s speeches. On the lines below, summarize their reac tions. Then tell what you can infer about the crowd on the basis of their responses to the speeches.

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

After Brutus finishes speaking, he A. warns the people not to listen to Antony. B. asks the people to listen to Antony. C. declares that he is the new Caesar. D. immediately gets out of Rome. What is the last thing you hear about Brutus in this scene? A. He flees Rome. B. He takes his own life. C. He calls himself dishonorable. D. He asks for Antony’s forgiveness.

In his speech, does Antony keep his promise not to blame the conspirators for Caesar’s death? Use details from the play to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write the word from the list that belongs in the blank in each sentence. ambitious adj. having a strong desire for rank, fame, or power

1. Many people would have been thankful for such a gift, but the woman showed only .

conspiracy n. a secret agreement to commit an illegal act; a plot

2. Because the dictator made unfair laws and punished innocent people, his subjects called him a .

valiant adj. brave; bold; courageous

3. Helping the child to escape the burning house was a to do.

tyrant n. an absolute ruler, especially one who takes power illegally or rules in a cruel or unfair manner compel v. to drive or force to action ingratitude n. a lack of appreciation; ungratefulness

thing

4. My brother, who is not a serious student, doesn’t tackle his homework until my parents him to do so. 5. Wanting to be elected to public office by the age of thirty is an goal. 6. There had been a to kidnap the millionaire’s baby, but the suspects were arrested before the crime took place.

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Reading You know that George Washington was a real person— he was the first president of the United States. But did he really cut down a cherry tree and tell his father “I cannot tell a lie. I did it with my little hatchet”? And did he really throw a coin across the Delaware River? Some legends have grown up around George Washington. A legend is a traditional story passed down by word of mouth that is believed to be based on historical events and an actual hero. Over the years, most legends

become exaggerated. Many legends have grown up about Abraham Lincoln, Teddy Roosevelt, and other U.S. presidents. Legendary figures from the days of knighthood include Robin Hood, Sir Launcelot, and William Tell. Legends from the old West include stories about Wild Bill Hickock, Crazy Horse, and Annie Oakley— to name a few. We even talk about sports legends and movie legends.

Mark th e text

Legends often focus on a hero. Write the name of someone you think of as a hero. Then explain what qualities make him or her heroic.

People read legends to enjoy interesting stories about well-known people. Even though it is hard to know which events in a legend are true and which are exaggerated, legends are full of action and excitement. Like other folktales, legends can give you a glimpse of the kinds of heroes that people admired long ago.

In this section of the Glencoe Reader, you will read a legend about Sir Launcelot, one of the knights of King Arthur’s round table.

Legends are organized like other stories. They are usually told in chronological order—that is, in the order that events happened. They have a plot, a setting, and characters. Often legends focus more on plot than on character development. They tend to care more about what happens than about why the characters act as they do.

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D Legends that are written down are similar to short stories in many ways. Check out this legend to see some common story elements.

The setting is a particular place, even though now no one knows where Camelot was or if it ever existed.

Heroism is what makes a legend survive from generation to generation. Sometimes the hero has superhuman strength, character, or courage.

Point of view refers to who is telling the story. In a legend, an anonymous narrator usually tells the tale and refers to the hero as “he” or “she.” This is known as third-person point of view.

The plot is often a loosely connected series of events or heroic deeds.

When King Arthu r returned from Ro me he settled his court at Camelot, and there gathered about him his knigh ts of the Round Tab le, who diverted themselves with jousting and tournaments. Of all his kn ights one was suprem e, both in prowess at arms and in nobility of bearing, and this was Sir Lau ncelot, who was also the favorite of Queen Gwynevere, to wh om he had sworn oaths of fidelit y. One day Sir Launce lot, feeling weary of his life at the court, and of only playing at arms, decided to set forth in search of advent ure. He asked his nephew Sir Lyonel to accom pany him, and when bot h were suitably arm ed and mounted, they rod e off together throug h the forest. At noon they starte d across a plain, but the intensity of the sun made Sir Launcelot feel sleepy, so Sir Lyonel suggested that the y should rest beneath the sha de of an apple tree that grew by a hedge no t far from the road. They

Sir Thomas M alory retold by Kei th Baines

Characters do the action in the story. Often in legends, the characters are "flat," or not well developed.

Mark th e text

Try it out! Circle a passage that describes Sir Launcelot.

These reading strategies will be especially useful when you read legends. Preview: Before reading, look at the title, the illustrations, and the chapter titles or subheadings to get a sense of where the story is set, what the story is about, and what culture it comes from. Visualize: Legends are a lot like cartoons or adventure films. Recreate the action on the big screen in your mind!




dismounted, tether ed their horses, and settled down. “Not for seven yea rs have I felt so sle epy,” said Sir Launcelot , and with that fell fast asleep, while Sir Lyo nel watched over him. Soon three knights came galloping pas t, and Sir Lyonel noticed that they were being pursued by a fourth knight, who was one of the most powerful he had yet seen. The pursuing knight overtook each of the others in turn, and as he did so, knocked eac h off his horse with a thrust of his spear. When all three lay stunned he dismounted, bound the m securely to their horses with the reins, and led them away. Without waking Sir Launcelot, Sir Lyo nel mounted his horse and rode after the knight, and as soon as he had drawn close enough , shouted his challen ge. The knight tur ned about and they charged at each other, with the result that Sir Lyonel wa s likewise flung fro m his horse, bound, and led away a prisoner.

Connect: How do the characters or themes relate to your life? Summarize: Sometimes a legend takes unexpected twists. Stop every so often to recap what has happened. For more information on reading strategies, see pages 366–372 in the Reading Handbook.

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LEGEND

List Ideas What does it take for a person to become a leader? Are some people born to lead others and achieve great things, or do leaders have to overcome terrible hardships to become great? With a small group of classmates, brainstorm about someone you might consider a true leader—maybe a political figure, a sports figure, a humanitarian, or even a friend. Then list the qualities you think that person exemplifies. This legend takes you back to the Middle Ages—the time period roughly from A.D. 400 to 1450—when the legendary King Arthur was born and became the leader of all of Britain.

Building Background The title Le Morte d’Arthur, the work from which this excerpt is taken, means “the death of Arthur” in French. This story not only tells about the end of Arthur’s life but also about his adventures as head of the fellowship of the Knights of the Round Table. • Historians don’t know whether Arthur was real or not. Some people think that a real-life Arthur may have fought several important battles as early as A.D. 500. • The action of this story takes places mainly in what is now southern England and Wales. • Sir Thomas Malory wrote his work about Arthur and his legendary deeds in the late 1400s.

Setting a Purpose for Reading Read to learn the legend about how Arthur is born and becomes a king.

Vocabulary Preview Read the definitions of these words from Le Morte d’Arthur. Use the pronunciation guides to help you say each word aloud. If you’re still unsure about the meaning of the words, use context clues as you read to make the meaning clearer. accost (ə ko  st) v. to approach and speak to, especially in a pushy or unpleasant way; p. 144 abashed (ə basht) adj. self-conscious; embarrassed or ashamed; p. 146 inscribe (in skr¯b) v. to write, carve, or mark on a surface; p. 148 ignoble (i no ¯ bəl) adj. of low status or position; without honor or worth; p. 149 tumultuous (too mulchoo ¯¯¯ əs) adj. wildly excited or enthusiastic; p. 150

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Monitor Comprehension Think It Over: Draw Conclusions Literary Element: Dialogue Reading Coach: Understanding Formal Language

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Understanding Formal Language If some words or sentences in this story seem stuffy or uppity, don’t worry. That’s the way people wrote in the author’s time. You can figure out what the formal language means by using these strategies. First reread the passage slowly. Determine the meanings of key words, using context or a dictionary. Then put the words in an order that makes sense. Reread the highlighted words on this page and look at the model below. A

Sir Thomas Malory retold by Keith Baines

ing Uther1 Pendragon,2 ruler of all Britain, had been at war for many years with the Duke of Tintagil in Cornwall when he was told of the beauty of Lady Igraine,3 the duke’s wife. Thereupon he called a truce and invited the duke and Igraine to his court, where he prepared a feast for them, and where, as soon as they arrived, he was formally reconciled to the duke through the good offices of his courtiers. A In the course of the feast, King Uther grew passionately desirous of Igraine and, when it was over, begged her to become his paramour.4 Igraine, however, being as naturally loyal as she was beautiful, refused him. “I suppose,” said Igraine to her husband, the duke, when this had happened, “that the king arranged this truce only because he wanted to make me his mistress. I suggest that we leave at once, without warning, and ride overnight to our castle.” The duke agreed with her, and they left the court secretly. B

K

1. Uther (oo ¯¯¯thər) 2. In ancient Britain, Pendragon, meaning "supreme leader," was a title attached after a ruler’s name. 3. Igraine (¯e r¯an) 4. A man’s lover or mistress is his paramour.

Model: I know the narrator is talking about the king and the duke. I looked up “formally” and “reconciled” in a dictionary. The words mean that the two men made up, at least in public. I’m not sure what “through the good offices of his courtiers” means. Maybe the guys in the king’s court helped him patch things up with the duke. That makes sense. 10

Monitor Comprehension Reading this legend can be a little tricky, so be sure you monitor your comprehension, or check whether you’ve understood what you’ve read. Stop to ask yourself, Am I getting this? Do I know what just happened? B Model: I’ll review to see if I understand what’s going on. King Uther wants the Duke of Tintagil’s wife, Igraine, for himself. The Duke and Igraine learn about this plan, so they leave the King’s fancy feast. The Glencoe Reader

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Draw Conclusions When you use bits of information from your reading to make a general statement about a character or situation, you are drawing a conclusion. Underline Mark th e text information you learn about the king in this boxed paragraph. Write a general statement about him below. C

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Dialogue Conversation between characters in a literary work is called dialogue. Writers use dialogue to show what characters are like or to tell readers about important story events. Quotation marks (“ “) most often enclose the words a character speaks. Underline on Mark th e text this page the dialogue between King Uther and Sir Ulfius. Then below, write what you learned from their conversation. D

READ ALOUD

Read Aloud When you see an underlined vocabulary word, read aloud the sentence the word appears in. Then reread the sentence, substituting the definition at the bottom of the page for the underlined word.

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The king was enraged by Igraine’s flight and summoned his privy council.5 They advised him to command the fugitives’ return under threat of renewing the war; but when this was done, the duke and Igraine defied his summons. He then warned them that they could expect to be dragged from their castle within six weeks. C The duke manned and provisioned6 his two strongest castles: Tintagil for Igraine, and Terrabyl, which was useful for its many sally ports, for himself. Soon King Uther arrived with a huge army and laid siege to Terrabyl; but despite the ferocity of the fighting, and the numerous casualties suffered by both sides, neither was able to gain a decisive victory. Did You Know? Still enraged, and now despairing, King Sally ports were the gates or in the castle walls Uther fell sick. His friend Sir Ulfius came openings through which the duke’s troops could make sudden to him and asked what the trouble was. attacks. “Igraine has broken my heart,” the king replied, “and unless I can win her, I shall never recover.” “Sire,” said Sir Ulfius, “surely Merlin the Prophet could find some means to help you? I will go in search of him.” D Sir Ulfius had not ridden far when he was accosted by a hideous beggar. “For whom are you searching?” asked the beggar; but Sir Ulfius ignored him. “Very well,” said the beggar, “I will tell you: You are searching for Merlin, and you need look no further, for I am he. Now go to King Uther and tell him that I will make Igraine his if he will reward me as I ask; and even that will be more to his benefit than to mine.” “I am sure,” said Sir Ulfius, “that the king will refuse you nothing reasonable.” “Then go, and I shall follow you,” said Merlin. 5. A privy council is the group of a ruler’s closest advisors. (Privy comes from the same Latin root as private.) 6. The duke supplied (provisioned) the castles with food and goods.

Vocabulary accost (ə kost) v. to approach and speak to, especially in a pushy or unpleasant way

Well pleased, Sir Ulfius galloped back to the king and delivered Merlin’s message, which he had hardly completed when Merlin himself appeared at the entrance to the pavilion. The king bade him welcome. “Sire,” said Merlin, “I know that you are in love with Igraine; will you swear, as an anointed7 king, to give into my care the child that she bears you, if I make her yours?” E The king swore on the gospel that he would do so, and Merlin continued: “Tonight you shall appear before Igraine at Tintagil in the likeness of her husband, the duke. Sir Ulfius and I will appear as two of the duke’s knights: Sir Brastius and Sir Jordanus. Do not question either Igraine or her men, but say that you are sick and retire to bed. I will fetch you early in the morning, and do not rise until I come; fortunately Tintagil is only ten miles from here.” The plan succeeded: Igraine was completely deceived by the king’s impersonation of the duke, and gave herself to him, and conceived Arthur. The king left her at dawn as soon as Merlin appeared, after giving her a farewell kiss. But the duke had seen King Uther ride out from the siege on the previous night and, in the course of making a surprise attack on the king’s army, had been killed. When Igraine realized that the duke had died three hours before he had appeared to her, she was greatly disturbed in mind; however, she confided in no one. F Once it was known that the duke was dead, the king’s nobles urged him to be reconciled to Igraine, and this task the king gladly entrusted to Sir Ulfius, by whose eloquence8 it was soon accomplished. “And now,” said Sir Ulfius to his fellow nobles, “why should not the king marry the beautiful Igraine? Surely it would be as well for us all.” The marriage of King Uther and Igraine was celebrated joyously thirteen days later; and then, at the king’s request, Igraine’s sisters were also married: Margawse, who later bore Sir Gawain, to King Lot of Lowthean and Orkney; Elayne, to King Nentres of Garlot. Igraine’s daughter, Morgan le Fay, was put to

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Monitor Comprehension Remember to keep asking yourself whether you understand what’s happening in the selection. Review the unusual request Merlin makes of the king. On the lines below, describe that request in your own words. E

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Keep This in Mind Use these symbols to record your reactions as you read. 70

? I have a question about something here.

! This really caught my attention. ★ This information is important.

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Summarize Reread the boxed paragraph. Then check the box that best summarizes what has happened. F

❏ Igraine falls in love with the king because of his kindness.

❏ Igraine is tricked into thinking the king is her husband.

❏ Igraine has successfully 7. An anointed king was believed to have been chosen by God to be king. 8. Here, eloquence is speech or writing that is expressive, stirring, and effective.

worked out a plan to trick the king into marrying her.

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Draw Conclusions On this page, what do you learn about Igraine from her conversation with the king? Now think about what you already know about her. What conclusion or general statement can you make about Igraine? G

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Choose your own words As you continue reading this story, circle any words that you find interesting or that you don’t understand. You’ll come back to these words later.

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Dialogue Underline or highlight Merlin’s portion of his conversation with the king. Merlin’s words tell about important events. They also tell you something about Merlin. On the lines below, write what you learn about Merlin from what he says. H

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school in a nunnery; in after years she was to become a witch, and to be married to King Uryens of Gore, and give birth to Sir Uwayne of the Fair Hands. A few months later it was seen that Igraine was with child, and one night, as she lay in bed with King Uther, he asked her who the father might be. Igraine was greatly abashed . “Do not look so dismayed,” said the king, “but tell me the truth and I swear I shall love you the better for it.” “The truth is,” said Igraine, “that the night the duke died, about three hours after his death, a man appeared in my castle—the exact image of the duke. With him came two others who appeared to be Sir Brastius and Sir Jordanus. Naturally I gave myself to this man as I would have to the duke, and that night, I swear, this child was conceived.” “Well spoken,” said the king; “it was I who impersonated the duke, so the child is mine.” He then told Igraine the story of how Merlin had arranged it, and Igraine was overjoyed to discover that the father of her child was now her husband. G Sometime later, Merlin appeared before the king. “Sire,” he said, “you know that you must provide for the upbringing of your child?” “I will do as you advise,” the king replied. “That is good,” said Merlin, “because it is my reward for having arranged your impersonation of the duke. Your child is destined for glory, and I want him brought to me for his baptism. I shall then give him into the care of foster parents who can be trusted not to reveal his identity before the proper time. Sir Ector would be suitable: he is extremely loyal, owns good estates, and his wife has just borne him a child. She could give her child into the care of another woman, and herself look after yours.” H Sir Ector was summoned, and gladly agreed to the king’s request, who then rewarded him handsomely. When the child was born he was at once wrapped in a gold cloth and taken by two knights and two ladies to Merlin, who stood waiting at the rear entrance to the castle in his beggar’s disguise. Merlin took the child to a priest, who baptized him with the name of Arthur, and thence to Sir Ector, whose wife fed him at her breast.

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Two years later King Uther fell sick, and his enemies once more overran his kingdom, inflicting heavy losses on him as they advanced. Merlin prophesied that they could be checked only by the presence of the king himself on the battlefield, and suggested that he should be conveyed there on a horse litter.9 King Uther’s army met the invader on the plain at St. Albans, and the king duly appeared on the horse litter. Inspired by his presence, and by the lively leadership of Sir Brastius and Sir Jordanus, his army quickly defeated the enemy and the battle finished in a rout.10 The king returned to London to celebrate the victory. I But his sickness grew worse, and after he had lain speechless for three days and three nights Merlin summoned the nobles to attend the king in his chamber on the following morning. “By the grace of God,” he said, “I hope to make him speak.” In the morning, when all the nobles were assembled, Merlin addressed the king: “Sire, is it your will that Arthur shall succeed to the throne, together with all its prerogatives?”11 The king stirred in his bed, and then spoke so that all could hear: “I bestow on Arthur God’s blessing and my own, and Arthur shall succeed to the throne on pain of forfeiting my blessing.”12 Then King Uther gave up the ghost. He was buried and mourned the next day, as befitted his rank, by Igraine and the nobility of Britain.

Understanding Formal Language Reread this first paragraph slowly. Try using context to determine the meanings of key words. When you understand the ideas in the passage, complete the following sentence. I

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The King’s army is able to defeat the enemy after

Step 1 Stop now and ask yourself, Do I understand this legend so far? Did you put a question mark next to anything as you read? If so, use these strategies to answer your questions. • Reread confusing passages slowly or read them aloud.

During the years that followed the death of King Uther, while Arthur was still a child, the ambitious barons fought one another for the throne, and the whole of Britain stood in jeopardy. Finally the day came when the Archbishop of Canterbury, on the advice of Merlin, summoned the nobility to London for Christmas

• Read on to see if new information makes a difficult passage clear. • Ask a classmate or a teacher, parent, or other adult for help.

Step 2 On the lines below, answer this question: What long-term plan is Merlin trying to accomplish?

9. The king was to be carried (conveyed) on a stretcher (litter) pulled by a horse. 10. A rout (rout) is an overwhelming defeat. 11. Prerogatives (pri ro ə tivz) are the rights and privileges belonging solely to a particular person (such as a king) or group. 12. Forfeiting my blessing means that Uther is withholding his blessing if Arthur does not eventually become king. The Glencoe Reader

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Clarify These words in Middle English look like words you already know, don’t they? Figure out what this message says. Then write it here the way you would say it. J

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Monitor Comprehension Reread the boxed text. Underline or highlight words or sentences that Mark th e text tell why Arthur goes to retrieve the sword from the stone. Sum up the explanation on the lines below. K 170

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morning. In his message the Archbishop promised that the true succession to the British throne would be miraculously revealed. Many of the nobles purified themselves during their journey, in the hope that it would be to them that the succession would fall. The Archbishop held his service in the city’s greatest church (St. Paul’s), and when matins13 were done the congregation filed out to the yard. They were confronted by a marble block into which had been thrust a beautiful sword. The block was four feet square, and the sword passed through a steel anvil which had been struck in the stone, and which projected a foot from it. The anvil had been inscribed with letters of gold: WHOSO PULLETH OUTE THIS SWERD OF THIS STONE AND ANVLYD IS RIGHTWYS KYNGE BORNE OF ALL BRYTAYGNE J The congregation was awed by this miraculous sight, but the Archbishop forbade anyone to touch the sword before mass had been heard. After mass, many of the nobles tried to pull the sword out of the stone, but none was able to, so a watch of ten knights was set over the sword, and a tournament proclaimed for New Year’s Day, to provide men of noble blood with the opportunity of proving their right to the succession. Sir Ector, who had been living on an estate near London, rode to the tournament with Arthur and his own son Sir Kay, who had been recently knighted. When they arrived at the tournament, Sir Kay found to his annoyance that his sword was missing from its sheath, so he begged Arthur to ride back and fetch it from their lodging. Arthur found the door of the lodging locked and bolted, the landlord and his wife having left for the tournament. In order not to disappoint his brother, he rode on to St. Paul’s, determined to get for him the sword which was lodged in the stone. The yard was empty, the guard also having slipped off to see the tournament, so Arthur strode up to the sword, and, without troubling to read the inscription, tugged it free. He then rode straight back to Sir Kay and presented him with it. K 13. Matins (mat inz) are morning prayers.

Vocabulary inscribe (in skr¯b) v. to write, carve, or mark on a surface 148

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Sir Kay recognized the sword, and taking it to Sir Ector, said, “Father, the succession falls to me, for I have here the sword that was lodged in the stone.” But Sir Ector insisted that they should all ride to the churchyard, and once there bound Sir Kay by oath to tell how he had come by the sword. Sir Kay then admitted that Arthur had given it to him. Sir Ector turned to Arthur and said, “Was the sword not guarded?” “It was not,” Arthur replied. “Would you please thrust it into the stone again?” said Sir Ector. Arthur did so, and first Sir Ector and then Sir Kay tried to remove it, but both were unable to. Then Arthur, for the second time, pulled it out. Sir Ector and Sir Kay both knelt before him. “Why,” said Arthur, “do you both kneel before me?” “My lord,” Sir Ector replied, “there is only one man living who can draw the sword from the stone, and he is the true-born King of Britain.” Sir Ector then told Arthur the story of his birth and upbringing. “My dear father,” said Arthur, “for so I shall always think of you— if, as you say, I am to be king, please know that any request you have to make is already granted.” L Sir Ector asked that Sir Kay should be made Royal Seneschal,14 and Arthur declared that while they both lived it should be so. Then the three of them visited the Archbishop and told him what had taken place. All those dukes and barons with ambitions to rule were present at the tournament on New Year’s Day. But when all of them had failed, and Arthur alone had succeeded in drawing the sword from the stone, they protested against one so young, and of ignoble blood, succeeding to the throne. The secret of Arthur’s birth was known only to a few of the nobles surviving from the days of King Uther. The Archbishop urged them to make Arthur’s cause their own; but their support proved ineffective. The tournament was repeated at Candlemas and at Easter,15 and with the same outcome as before. M

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Draw Conclusions You might conclude that Arthur is already behaving as a true leader. What details help you draw that conclusion? L

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Monitor Comprehension How does Arthur convince the ambitious dukes and barons that he really is the rightful king of Britain? Write your answer here. M

14. In medieval times, the Royal Seneschal (sen ə shəl) managed the king’s estate, ran his household, and sometimes also had official state duties or a military command. 15. Candlemas and Easter are Christian festivals; Candlemas is celebrated on February 2 and Easter in early spring.

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Step 1 Think back over the legend you’ve just read. Review the notes you wrote and the passages you marked. Then on the lines below, explain how and when Arthur proves himself worthy to lead all of Britain.

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Finally at Pentecost,16 when once more Arthur alone had been able to remove the sword, the commoners arose with a tumultuous cry and demanded that Arthur should at once be made king. The nobles, knowing in their hearts that the commoners were right, all knelt before Arthur and begged forgiveness for having delayed his succession for so long. Arthur forgave them, and then, offering his sword at the high altar, was dubbed first knight of the realm. The coronation took place a few days later, when Arthur swore to rule justly, and the nobles swore him their allegiance.

Step 2 Think back to your own thoughts about the qualities of a good leader. On the basis of your thoughts, does Arthur deserve to lead Britain?

Choose three words, either from the underlined vocabulary in the story or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book and complete an activity listed there.

16. Pentecost, a religious observance, is the seventh Sunday after Easter.

Vocabulary tumultuous (too mul choo ¯¯¯ əs) adj. wildly excited or enthusiastic

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Understanding Formal Language

nd, you used active Be Reconciled! As you read this lege fashioned language reading strategies to turn formal, oldy. Here’s one more into sentences you might use toda sentence to try your hand on. uld all ride to the “But Sir Ector insisted that they sho Sir Kay by oath to tell nd bou e ther churchyard, and once (page 149) how he had come by the sword.” e in your own words. tenc sen the e writ On the lines below,

Monitor Comprehension 1. Asked and Answered Work with a small group to write a question you had as you read and then answer it on the lines below.

2. Legendary Advice Think about what strategies worked best to help you keep your underst anding on track as you read this legend. Work with a small group to write three useful tips for readers on how to mon itor their understanding of the characters and events in this selection from Le Morte d'Arthur.

Draw Conclusions partner, review the 1. Like Father, Like Son? With a er and Arthur. Uth King legend for information about what general ide dec and Discuss the two characters contrast the two. or pare com to statements you can make below. Write your conclusions on the lines

look back over the 2. Another World With your partner, about what their lives characters in the legend and think Arthur rule? Who had were like. What sort of society did women treated the right to govern? Were men and and about what you equally? Think about what you read e one conclusion writ w, already know. On the lines belo ety. soci n you might draw about Arthuria

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Dialogue Dialogue is the conversation between characters in a work of literature. Writers use dialogue to show readers what characters are like. They also use dialogue to give readers information about important events in a selection. Read the following examples from Le Morte d’Arthur. Then go back to the legend to review the conversation these examples are taken from. On the lines below, explain what each character’s words show about him.

1. “Do not look so dismayed,” said the king, “but tell me the truth and I swear I shall love you the better for it.” (page 146)

2. “That is good,” said Merlin, “because it is my reward for having arranged your impersonation of the duke. Your child is destined for glory, and I want him brought to me for his baptism. I shall give him into the care of his foster parents who can be trusted not to reveal his identity before the proper time.” (page 146)

3. “My dear father,” said Arthur, “for so I shall always think of you—if, as you say, I am to be king, please know that any request you have to make is already granted.” (page 149)

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

What does King Uther do after he proclaims Arthur his successor? A. He dies. B. He marries Igraine. C. He is carried into battle on a litter. D. He pulls the sword from the stone. Which word BEST describes Merlin? A. soldier B. prophet C. emperor D. nobleman

Why is Merlin such an important character in this legend? Use story events and details in your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write the word from the word list that belongs in the blank in each sentence. accost v. to approach and speak to, especially in a pushy or unpleasant way

1. The prince would not let his daughter marry a laborer of

ancestry.

2. Robert feels so angry about the results of the school election that I’m afraid he may us with his viewpoint.

abashed adj. selfconscious; embarrassed or ashamed

3. Anna was greatly traffic ticket.

inscribe v. to write, carve, or mark on a surface

4. For five extra dollars, the jeweler will

ignoble adj. of low status or position; without honor or worth

5. The audience was so impressed with the concert that they broke into applause.

to find out that her brother had told everyone about her

your initials on your new locket.

tumultuous adj. wildly excited or enthusiastic

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TALL TALE

Quickwrite What makes people do great things? What would inspire you to go the extra mile or take an extra risk? Jot down some ideas on the lines below.

In this tall tale, you’ll meet people who do extraordinary things as they prepare to save their homeland from an evil sorcerer.

Building Background According to legend, a hero named Sundiata created the empire of Mali (ma
le¯) in western Africa about 1230. • Sundiata didn’t win Mali single-handedly. He had help from people you will read about in this excerpt. • One of the people who helped Sundiata was a griot (re¯o¯), a person whose job was to memorize and pass on information about the history, laws, and customs of the land. Griots were great storytellers.

Setting a Purpose for Reading Read to learn what inspires Sundiata and his supporters to gather their strength and bravery.

Graphic Organizer Organizer Graphic

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of the book and complete one of the activities there.

As you read, use the following Foldable to keep track of characters, their deeds, and the people or things that inspire them to greatness.

1. Place a sheet of paper in front of you so that the short side is at the top. Fold the paper in half from top to bottom. 2. Working in the same direction, fold the paper in thirds. 3. Fold the paper in thirds from left to right. You now have a character matrix with eighteen parts or cells. 4. Unfold the paper. With the short side at the top, write these labels across the top three cells: Character, Great Deeds, Inspired By. Under Character, write these names at the top of the five cells on the left: Sundiata, Balla Fasséké, Nana Triban, Fran Kamara, and Kamandjan. Underline each name. 5. As you read, record notes about the characters, their great deeds, and the people or things that inspire them. 154

Vocabulary Preview Read the definitions of these words from Sundiata. Use the pronunciation guides to help you say each word aloud. As you read, use context clues to help unlock the meanings of these and other words you don’t know. vanquish (vankwish) v. to conquer or overcome; p. 156 scrupulous (skr¯¯¯¯ oopyə ləs) adj. thoroughly attentive to even the smallest details; precise; p. 156 elude (i l¯¯¯¯ ood) v. to avoid or escape, especially through cleverness or quickness; p. 156 confidante (konfə dant) n. a person who is entrusted with secrets or private affairs; p. 157 perpetuate (pər pech¯¯¯¯ oo a ¯ t´) v. to cause to continue to be remembered; p. 158

The Glencoe Reader

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Clarify Think It Over: Evaluate Literary Element: Tall Tale Reading Coach: Keeping Track of Characters

Keeping Track of Characters The text on this page provides background about the characters and events you’ll read about in the excerpt that starts on page 156. When you’re reading about a lot of characters with unfamiliar names, jotting notes to yourself can help you remember who’s who. For this selection, you can jot notes on your Foldable. A

Recorded by D. T. Niane Translated by G. D. Pickett

Even before he was born, Sundiata was destined for greatness. Acting on the instructions of a fortune-teller, his father, the king of Mali, had married a hideous, hunchbacked woman named Sogolon. As foretold, the couple had a son. It seemed, however, that the boy was unlikely to become a great leader as the fortune-teller had predicted. The young Sundiata could not even walk. He and his ugly mother became the object of cruel jokes and jealous abuse by the old king’s first wife. At the age of seven, Sundiata suddenly reacted to an insult by standing up and tearing a tree from the ground. He instantly became the center of attention, a boy with great charm and the strength of ten men. Among his constant companions were the princes Fran Kamara (kämä rä) and Kamandjan (kämän jän). Even more important to him was his griot, Balla Fasséké (bälä fä sa ¯ka ¯), who taught him the history of his people and of the world beyond. A Still fearing mistreatment from the jealous queen, Sogolon escaped with Sundiata to neighboring Ghana. B There the amazing boy grew up. In his absence, Mali was taken over by the king of Sosso, a cruel sorcerer named Soumaoro, (soo ¯¯¯¯m r o ¯¯) whose secret chamber was tapestried with human skins and adorned with the skulls of his enemies. Soumaoro captured Balla Fasséké and Sundiata’s half-sister, Nana Triban. (nänä tribän) Angered by Soumaoro’s barbarism, Sundiata raised an army and prepared to restore his country to its rightful people. Although he succeeded in defeating Soumaoro in a great battle, he could not capture or kill the man himself, for the magician had the power to appear and disappear at will. While Sundiata rested in the town of Sibi, (sibe ¯¯) Soumaoro once again raised a powerful army. The two prepared to meet in a final battle. C

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Underline all the characters named in this paragraph. Then check your Foldable to see which of these names are listed there. Write notes under the names of these characters to help you sort out who’s who as you read. Clarify When you clarify, you slow down or reread to clear up anything that might be confusing you. B

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Model: Who’s Sogolon again? When I reread the first paragraph, I see that’s Sundiata’s mother. Why did she need to escape? When I look back, I see that the king’s first wife was jealous of her and her son.

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Tall Tale In tall tales, characters have super-human abilities and can do impossible deeds. Read the highlighted sentence. Then on the lines below, tell who has what amazing ability. C

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Mark th e text

Choose your own words As you continue reading, circle words you find interesting or difficult. You’ll come back to these words later.

Keeping Track of Characters In the Character column of your Foldable, make a note of the name variations that appear in the boxed paragraph. Footnote 2 states that Sundiata also goes by the name Djata. In another part of the selection, readers learn that Fran Kamara also goes by the name Tabon Wana, which is the name used here. D Other characters in this selection go by two or more names or by their first names and their full names. Keep your eyes open and use your Foldable to keep track of who’s who.

Using Context Clues and Word Parts When you don't know a word, always use both context clues and familiar word parts to help you uncover meaning. Whether you think you know the word or not, it is almost always a good idea to double-check the meaning given at the bottom of the page. This meaning is specific to this context.

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undiata and his mighty army stopped at Sibi for a few days. The road into Mali lay open, but Soumaoro was not yet vanquished. The king of Sosso had mustered a powerful army and his sofas were numbered by the thousand. He had raised contingents1 in all the lands over which he held sway and got ready to pounce again on Mali. With scrupulous care, Sundiata had made his preparations at Sibi. Now he had sufficient sofas to meet Soumaoro in the open field, but it was not a question of having a lot of troops. In order to defeat Soumaoro it was necessary first of all to destroy his magical power. At Sibi, Sundiata decided to consult the soothsayers, of whom the most famous in Mali were there. On their advice Djata2 had to sacrifice a hundred white bulls, a hundred white rams and a hundred white cocks. It was in the middle of this slaughter that it was announced to Sundiata that his sister Nana Triban and Balla Fasséké, having been able to escape from Sosso, had now arrived. Then Sundiata said to Tabon Wana, “If my sister and Balla have been able to escape from Sosso, Soumaoro has lost the battle.” D Leaving the site of the sacrifices, Sundiata returned to Sibi and met his sister and his griot. “Hail, my brother,” said Nana Triban. “Greetings, sister.” “Hail Sundiata,” said Balla Fasséké. “Greetings, my griot.” After numerous salutations, Sundiata asked the fugitives to relate how they had been able to elude the vigilance of a king such as Soumaoro. But Triban was weeping for joy. Since the time of their childhood she had shown much sympathy towards the crippled child that Sundiata had been. Never had she shared the hate of her mother, Sassouma Bérété.

1. The sofas are soldiers or warriors, and contingents are additional troops. 2. Djata (dy
a tə) is a shortened form of Sundiata.

Vocabulary vanquish (van kwish) v. to conquer or overcome scrupulous (skr¯¯¯ oo pyə ləs) adj. thoroughly attentive to even the smallest details; precise elude (i l¯¯¯ ood) v. to avoid or escape, especially through cleverness or quickness

“You know, Djata,” she said, weeping, “for my part I did not want you to leave the country. It was my mother who did all that. Now Niani is destroyed, its inhabitants scattered, and there are many whom Soumaoro has carried off into captivity in Sosso.” She cried worse than ever. Djata was sympathetic to all this, but he was in a hurry to know something about Sosso. Balla Fasséké understood and said, “Triban, wipe away your tears and tell your story, speak to your brother. You know that he has never thought ill of you, and besides, all that was in his destiny.” E Nana Triban wiped her tears away and spoke. “When you left Mali, my brother sent me by force to Sosso to be the wife of Soumaoro, whom he greatly feared. I wept a great deal at the beginning but when I saw that perhaps all was not lost I resigned3 myself for the time being. I was nice to Soumaoro and was the chosen one among his numerous wives. I had my chamber in the great tower where he himself lived. I knew how to flatter him and make him jealous. Soon I became his confidante and I pretended to hate you, to share the hate which my mother bore you. It was said that you would come back one day, but I swore to him that you would never have the presumption4 to claim a kingdom you had never possessed, and that you had left never to see Mali again. However, I was in constant touch with Balla Fasséké, each of us wanting to pierce the mystery of Soumaoro’s magic power. One night I took the bull by the horns and said to Soumaoro: ‘Tell me, oh you whom kings mention with trembling, tell me Soumaoro, are you a man like others or are you the same as the jinn5 who protects humans? No one can bear the glare of your eyes, your arm has the strength of ten arms. Tell me, king of kings, tell me what jinn protects you so that I can worship him also.’ These words filled him with pride and he himself boasted to me of the might of his Tana. That very night he took me into his magic chamber and told me all. 3. When Nana resigned herself, she gave in without resistance or complaint. 4. Here, presumption means “excessive boldness in thought or conduct.” 5. In Arab folklore, a jinn, or genie, was an angel-like spirit that had magical powers and could take on human or animal form.

Vocabulary confidante (kon´ fə dant) n. a person who is entrusted with secrets or private affairs

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Evaluate When you evaluate, you make a judgment about something or form an opinion about it. You’ve already seen that some pretty unbelievable things happen in this tall tale. How about Sundiata and his sister’s reaction to one another? Is it believable? Explain your opinion on the lines below. E

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Keep This in Mind Use these symbols to record your reactions as you continue to read.

? I have a question about something here.

! This really caught my attention. ★ This information is important. The Glencoe Reader

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“Then I redoubled my zeal to show myself faithful to his cause, I seemed more overwhelmed than him. It was even he who went to the extent of telling me to take courage, that nothing was yet lost. During all this time, in complicity6 with Balla Fasséké, I was preparing for the inevitable flight. Nobody watched over me any more in the royal enclosure, of which I knew the smallest twists and turns. And one night when Soumaoro was away, I left that fearsome tower. Balla Fasséké was waiting for me at the gate to which I had the key. It was thus, brother, that we left Sosso.”

Your foldable isn’t only for keeping track of who characters are. Don’t forget to use it to note characters’ great deeds and their inspirations. If the selection doesn’t spell out what the inspiration is, take your best guess from what you know about the characters and the situation.

Graphic Organizer Organizer Graphic

Step 1 Think back over all you’ve read so far and ask yourself what’s clear and what’s not. For anything you don’t get, try one or more of these strategies:

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• Reread. • Ask a classmate or a teacher, parent, or other adult for help. • Read on to see if new story information helps.

Step 2 On the lines below, write a brief summary of the story up to this point. Be sure your summary tells who, what, when, where, and why.

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Balla Fasséké took up the story. “We hastened to you. The news of the victory of Tabon made me realize that the lion had burst his chains. Oh son of Sogolon, I am the word and you are the deed, now your destiny begins.” Sundiata was very happy to recover his sister and his griot. He now had the singer who would perpetuate his memory by his words. There would not be any heroes if deeds were condemned to man’s forgetfulness, for we ply our trade to excite the admiration of the living, and to evoke the veneration7 of those who are to come. Djata was informed that Soumaoro was advancing along the river and was trying to block his route to Mali. The preparations were complete, but before leaving Sibi, Sundiata arranged a great military review in the camp so that Balla Fasséké, by his words, should strengthen the hearts of his sofas. In the middle of a great circle formed by the sofas, Balla Fasséké extolled8 the heroes of Mali. To the king of Tabon he said: “You whose iron arm can split ten skulls at a time, you, 6. People acting in complicity are involved together, as accomplices in a crime or, as here, in secret activities. 7. To evoke veneration is to call up feelings of deep respect. 8. Balla highly praised (extolled) the heroes.

Vocabulary perpetuate (pər pech oo ¯¯¯ a¯ t´) v. to cause to continue to be remembered 158

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Tabon Wana, king of the Sinikimbon and the Djallonké,9 can you show me what you are capable of before the great battle is joined?” The griot’s words made Fran Kamara leap up. Sword in hand and mounted on his swift steed he came and stood before Sundiata and said, “Maghan Sundiata, I renew my oath to you in the sight of all the Mandingoes gathered together. I pledge myself to conquer or to die by your side. Mali will be free or the smiths10 of Tabon will be dead.” The tribes of Tabon shouted their approval, brandishing their weapons, and Fran Kamara, stirred by the shouts of the sofas, spurred his charger and charged forward. The warriors opened their ranks and he bore down on a great mahogany tree. With one stroke of his sword he split the giant tree just as one splits a paw-paw.11 The flabbergasted army shouted, “Wassa Wassa . . . Ayé . . .” F Then, coming back to Sundiata, his sword held aloft, the king of Tabon said, “Thus on the Niger plain will the smiths of Tabon cleave those of Sosso in twain.”12 And the hero came and fell in beside Sundiata. Turning towards Kamandjan, the king of Sibi and cousin of the king of Tabon, Balla Fasséké said, “Where are you, Kamandjan, where is Fama Djan? Where is the king of the Dalikimbon Kamaras? Kamandjan of Sibi, I salute you. But what will I have to relate of you to future generations?” G Before Balla had finished speaking, the king of Sibi, shouting his war cry, started his fiery charger off at full gallop. The sofas, stupefied, watched the extraordinary horseman head for the mountain that dominates13 Sibi. . . . Suddenly a tremendous din filled the sky, the earth trembled under the feet of the sofas and a cloud of red dust covered the mountain. Was this the end of the world? . . . But slowly the dust cleared and the sofas saw

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Clarify Take a moment to make sure you understand what’s going on in this boxed passage. Circle any confusing words or phrases. Then use the Mark th e text footnotes on this page or a dictionary to help you figure out the meanings. F

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Now use the lines below to tell what Fran Kamara does in this section. If you’re not sure, reread the passage slowly.

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Evaluate With these words, the griot is warning Kamandjan that he’ll be forgotten unless he does great things. Do you think the griot’s style of motivating is effective? Explain why or why not below. G

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9. Sinikimbon (si´ n¯e kim b¯on), Djallonké ( j
a lon k¯a) 10. The Mandingoes were various peoples who inhabited the upper and middle Niger River valley. Smiths make or repair metal objects, such as swords, but Fran Kamara is speaking figuratively, referring to his swordbearing troops. 11. Paw-paw is a banana-like fruit. 12. To cleave in twain is to split in two. 13. The mountain dominates Sibi because it towers over the city. The Glencoe Reader

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Step 1 Take a moment to look back over the entire selection, reread your notes, and clarify anything you don’t understand. Review your Foldable. Then describe at least two great deeds in this story and who or what inspires them.

Step 2 What would inspire you to greatness? Would you risk your life for fame, or would you need another reason? Explain.

Mark th e text

Choose three words, either from the underlined vocabulary in the story or from the words you circled as you read. Record them in your Hot Words Journal at the back of this book and complete one of the activities listed there.

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Kamandjan coming back holding a fragment of a sword. The mountain of Sibi, pierced through and through, disclosed a wide tunnel! Admiration was at its highest pitch. The army stood speechless and the king of Sibi, without saying a word, came and fell in beside Sundiata. Balla Fasséké mentioned all the chiefs by name and they all performed great feats; then the army, confident in its leadership, left Sibi.

Keeping Track of Characters

er listed in column 1, Who’s Who? Next to each charact who he or she is. write the letter in column 2 that tells Nana Triban

a. Sundiata’s griot

Balla Fasséké

b. the king who splits a tree in half

Fran Kamara

c. the evil sorcerer who’s taken over Mali

Soumaoro Kamandjan

Evaluate 1. That’s Unbelievable! With you r group, come up with a list of all the main events in this exce rpt of Sundiata. Then decide which of those events are the most believable and which are the most unbelievable. Ran k the events on the scale below. Mark the most believab le event at the bottom of the scale and the most unbelievab le event at the top of the scale. Then show where on the scale at least two other events fall. Unbelievable

d. Sundiata’s loyal sister e. the king who tunnels through a mountain

Clarify

a partner, figure 1. When the Dust Cleared . . . With graph starting para the in out exactly what’s happening ther to restate toge k wor n on line 144 (page 159). The ds. wor the paragraph in your own

Believable 2. The Main Man Why was Sundiat a successful in regaining Mali? Who helped him the most? Discuss these questions with your group. Use the notes in your Foldable to support what you hav e to say. Then decide with your group on the one charact er who really made it all happen for Sundiata. Write his or her name below and give reasons for your opinion.

out the scene 2. What a Scene With a partner, act line 138 (pages begining on line 116 and ending on the part of Balla 158–159). One of you should play Fran Kamara. Use Fasséké and the other should play racters’ meanings. your own words to get across the cha ize it below. mar After you perform the scene, sum

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Tall Tale Sundiata is a tall tale. Tall tales are wildly imaginative stories. Often they were passed down by word of mouth for many years before being written down. The heroes of tall tales have extraordinary traits—for example, they might have superhuman strength or the ability to fly. They might have giant hands or ears or feet. These traits allow them to do amazing deeds. Although crazy things happen in tall tales, the stories are usually told seriously—as if the events were true. Fill out the two web diagrams below. In the first web, find examples in the excerpt from Sundiata of the extraordinary traits that some of the characters have. In the second, add examples of the amazing deeds that the characters perform.

Exaggerated Traits

Exaggerated Deeds

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

Who is Sundiata’s army getting ready to fight? A. Tabon Wana B. the sorcerer Soumaoro C. the griot Balla Fasséké D. Sundiata’s stepmother, Sassouma Bérété How does Sundiata’s sister escape from Sosso? A. She digs a tunnel to Ghana. B. She tricks Balla Fasséké into helping her. C. She makes Soumaoro think she’s on his side. D. She poisons the guards and runs off with her mother.

One way to describe the story of Sundiata is as a triumph of good over evil. Why is this a good description? Use details from the story to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write each vocabulary word on the line next to the words and phrases with similar meanings. vanquish v. to conquer or overcome

1. friend, secret keeper,

scrupulous adj. thoroughly attentive to even the smallest details; precise

2. continue, keep going,

elude v. to avoid or escape, especially through cleverness or quickness

4. evade, keep away from,

3. defeat, subdue,

5. careful, exact,

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LEGEND

Think-Pair-Share Think about heroes you know, have read about, or have seen on television or in movies. What made them heroic? Did they act with courage? Did they save a life? Discuss your answer with a classmate. Then as a class, list qualities that make a person a hero. In this legend, you’ll read about a young woman who acts heroically in a time of crisis.

Building Background The characters and events described in this legend are based on fact. The battle that sparked these events took place on June 17, 1876, at Rosebud Creek in southern Montana. • When gold was discovered in the Black Hills of South Dakota in the early 1870s, miners rushed into the area. But a treaty with the U.S. government had guaranteed the land to the Sioux (soo ¯¯¯) people. As a result, the miners and the Sioux began to fight. • Brigadier General George Crook of the United States Army ordered the Sioux to leave the area. The Sioux ignored the order, so the army planned to attack them. Sioux chief Sitting Bull asked the Sioux, the Cheyenne, and some Arapaho to come to Montana to help him defend his land. They came, and the group surprised Crook’s troops at Rosebud Creek. Part of the battle is described in this legend.

Vocabulary Preview Read the definitions of these words from “Where the Girl Rescued Her Brother.” Use the pronunciation guides to say each word aloud. As you read the story, use context clues to help unlock the meaning of these words and any others you don’t know. confront (kən frunt) v. to come face to face with; oppose; p. 167 vault (volt) v. to jump; spring; p. 169 strategic (strə te¯ jik) adj. very important to reaching a goal; p. 170

As you read, circle words that you find interesting or that you don’t understand. Later you may add them to your Hot Words Journal at the back of this book.

Key Goals In this lesson, you will learn these key skills, strategies, and concepts. Reading Focus: Summarize

Setting a Purpose for Reading Read to find out what makes the young woman in this legend a hero.

Think It Over: Evaluate Literary Element: Suspense Reading Coach: Understanding Figures of Speech

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Joseph Bruchac & Gayle Ross

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Suspense is what makes you feel uneasy or uncertain about what’s going to happen next. This title creates suspense because it makes you wonder what will happen in the story. What question would you ask after reading the title? A

I

t was the moon when the chokecherries were ripe. A young woman rode out of a Cheyenne camp with her husband and her brother. The young woman’s name was Buffalo Calf Road Woman. Her husband, Black Coyote, was one of the chiefs of the Cheyenne, the people of the plains who call themselves Tsis-tsis-tas, meaning simply “The People.” Buffalo Calf Road Woman’s brother, Comes-in-Sight, was also one of the Cheyenne chiefs, and it was well-known how close he was to his sister. Like many of the other young women of the Cheyenne, Buffalo Calf Road Woman was respected for her honorable nature. Although it was the men who most often went to war to defend the people—as they were doing on this day—women would accompany their husbands when they went to battle. If a man held an important position among the Cheyenne, such as the keeper of the Sacred Arrows, then his wife, too, would have to be of the highest moral character, for she shared the weight of his responsibility. Buffalo Calf Road Woman was well aware of this, and as she rode by her husband she did so with pride. She knew that today they were on their way to meet their old allies, the Lakota.1 They were going out to try to drive back the veho, the spider people who were trying to claim all the lands of the Native peoples. B

Summarize In a summary, you tell the main ideas in your own words. When you want to check how well you’re understanding your reading, summarize. B 10

Model: So far this story is about Buffalo Calf Road Woman, an important and honorable person. Her husband and her brother are Cheyenne chiefs. She rides with them to the battlefield where they’ll fight the U.S. Army for land rights. Buffalo Calf Road Woman is proud to go to battle.

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Keep This in Mind Use these symbols to record your reactions as you read.

? I have a question about something here.

! This really caught my attention. 1. The Lakota were the largest group of the Sioux peoples. Their traditional hunting grounds were in the western Dakotas and Nebraska.

★ This information is important. The Glencoe Reader

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Evaluate When you evaluate, you make a judgment or form an opinion about what Mark th e text you read. Circle the details in this paragraph that describe what black widow spiders and white people have in common, according to the Cheyenne. Do you think this is a good comparison? Why or why not? C

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Suspense Details in the boxed paragraphs give you a sense that something bad or scary happened during the events that are being recalled. Mark th e text

Underline details that help create suspense. Then write what you think will happen next. D

Mark th e text

Choose your own words As you continue reading this story, circle any words that you find interesting or that you don’t understand. You’ll come back to these words later.

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The Cheyenne had been worried about the veho, the white people, for a long time. They had given them that name because, like the black widow spider, they were very beautiful but it was dangerous to get close to them. And unlike the Cheyenne, they seemed to follow a practice of making promises and not keeping them. Although their soldier chief Custer had promised to be friendly with the Cheyenne, now he and the others had come into their lands to make war upon them. C Buffalo Calf Road Woman wore a robe embroidered with porcupine quills. The clothing of her brother and her husband, Black Coyote, was also beautifully decorated with those quills, which had been flattened, dyed in different colors, folded, and sewed on in patterns. Buffalo Calf Road Woman was proud that she belonged to the Society of Quilters. As with the men’s societies, only a few women—those of the best character—could join. Like the men, the women had to be strong, honorable, and brave. Buffalo Calf Road Woman had grown up hearing stories of how Cheyenne women would defend their families when the men were away. The women of the Cheyenne were brave, and those in the Society of Quilters were the bravest of all. Buffalo Calf Road Woman smiled as she remembered one day when the women of the Society of Quilters showed such bravery. It was during the Moon of Falling Leaves. A big hunt had been planned. The men who acted as scouts had gone out and located the great buffalo herd. They had seen, too, that there were no human enemies anywhere near their camp. So almost none of the men remained behind. On that day, when all the men were away, a great grizzly bear came into the camp. Such things seldom happened, but this bear was one that had been wounded in the leg by a white fur-trapper’s bullet. It could no longer hunt as it had before, and hunger brought it to the Cheyenne camp, where it smelled food cooking. D

When the huge bear came walking into the camp, almost everyone scattered. Some women grabbed their little children. Old people shut the door flaps of their tepees, and the boys ran to find their bows and arrows. Only a group of seven women who had been working on the embroidery of an elk-skin robe did not run. They were members of the Society of Quilters, and Buffalo Calf Road Woman was among them. The seven women put down their work, picked up the weapons they had close to hand, and stood to face the grizzly bear. Now of all of the animals of the plains, the only one fierce enough and powerful enough to attack a human was the grizzly. But confronted by that determined group of women, the grizzly bear stopped in its tracks. It had come to steal food, not fight. The head of the Society of Quilters stepped forward a pace and spoke to the bear. “Grandfather,” she said, her voice low and firm, “we do not wish to harm you, but we will protect our camp. Go back to your own home.” The grizzly shook its head and then turned and walked out of the camp. The women stood and watched it as it went down through the cottonwoods and was lost from sight along the bend of the stream.

Buffalo Calf Road Woman turned her mind away from her memories. E They were close to Rosebud Creek. The scouts had told them that a great number of the veho soldiers would be there and that the Gray Fox, General George Crook, was in command. The Cheyenne had joined up now with the Oglala,2 led by Crazy Horse. The Lakota people were always friends to the Cheyenne,

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Step 1 Ask yourself, Have I understood what I’ve read so far? These strategies can help you answer your questions. • Reread confusing passages. • Read on. New details may help make a passage clear. • Ask a classmate or a teacher, parent, or other adult for help.

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Step 2 Now answer this question on the lines below: What do Buffalo Calf Road Woman’s actions in the past tell you about her?

Understanding Figures of Speech A figure of speech is an expression that describes something in a new or interesting way. Read the highlighted phrase. To understand this figure of speech, picture turning away from something. Then think again about the phrase. Check the correct meaning below. E

❏ She turned and walked away. ❏ She thought about something else.

❏ She changed her mind. 2. Also a Sioux people, the Oglala (¯o la lə) lived in what is now South Dakota.

Vocabulary confront (kən frunt) v. to come face-to-face with; to oppose The Glencoe Reader

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Evaluate Underline words or phrases that tell about the Mark th e text battle preparations. Do you think the writers do a good job of describing the scene leading up to the battle? Explain your answer. F

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but this man, Crazy Horse, was the best friend of all. Some even said that he was one of their chiefs, too, as well as being a war leader of his Oglala. There were Crow and Shoshone3 scouts with Crook, and the veho had many cannons. The Lakota and the Cheyenne were outnumbered by the two thousand men in Crook’s command. But they were prepared to fight. They had put on their finest clothes, for no man should risk his life without being dressed well enough so that if he died, the enemy would know a great warrior had fallen. Some of the men raised their headdresses three times, calling out their names and the deeds they had done. Those headdresses of eagle feathers were thought to give magical protection to a warrior. Other men busied themselves painting designs on their war ponies. Now they could hear Crook’s army approaching. The rumble of the horses’ hooves echoed down the valley, and there was the sound of trumpets. War ponies reared up and stomped their feet. Many of the Cheyenne men found it hard to put on the last of their paint as their hands shook from the excitement of the coming battle. F Crazy Horse vaulted onto his horse and held up one arm. “Hoka Hey,” he cried. “It is a good day to die.” Buffalo Calf Road Woman watched from a hill as the two lines of men—the blue soldiers to one side, and the Lakota and Cheyenne to the other—raced toward each other. The battle began. It was not a quick fight or an easy one. There were brave men on both sides. Two Moons, Little Hawk, Yellow Eagle, Sitting Bull, and Crazy Horse were only a few of the great warriors who fought for the Cheyenne and the Lakota. And Crook, the Gray Fox general of the whites, was known to be a tough fighter and a worthy enemy. Buffalo Calf Road Woman’s husband, Black Coyote, and her brother, Comes-in-Sight, were in the thick of the fight. The odds in the battle were almost even. Although the whites had more soldiers and guns, the Lakota and the Cheyenne were better

3. The Crow and Shoshone (shə sh¯o n¯e) peoples lived primarily in the Rocky Mountains.

Vocabulary vault (volt) v. to jump; spring 168

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shots and better horsemen. Had it not been for the Crow and Shoshone scouts helping Crook, the white soldiers might have broken quickly from the ferocity of the attack. From one side to the other, groups of men attacked and retreated as the guns cracked, cannons boomed, and smoke filled the air. The war shouts of the Lakota and the Cheyenne were almost as loud as the rumble of the guns. The sun moved across the sky as the fight went on, hour after hour, while the confusion of battle swirled below. G Then Buffalo Calf Road Woman saw something that horrified her. Her brother had been drawn off to one side, surrounded by Crow scouts. He tried to ride free of them, but his pony went down, struck by a rifle bullet and killed. Now he was on foot, still fighting. The Crow warriors were trying to get close, to count coup4 on him. It was more of an honor to touch a living enemy, so they were not firing their rifles at him. And he was able to keep them away with his bow and arrows. But it was clear that soon he would be out of ammunition and would fall to the enemy. H Buffalo Calf Road Woman waited no longer. She dug her heels into her pony’s sides and galloped down the hill. Her head low, her braids streaming behind her, she rode into the heart of the fight. Some men moved aside as they saw her coming, for there was a determined look in her eyes. She made the long howling cry that Cheyenne women used to urge on the warriors. This time, however, she was the one going into the fight. Her voice was as strong as an eagle’s. Her horse scattered the ponies of the Crow scouts who were closing in on her brother, Comes-in-Sight. She held out a hand; her brother grabbed it and vaulted onto the pony behind her. Then she wheeled, ducking the arrows of the Crow scouts, and heading back up the hill.

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Summarize What’s happening in these paragraphs? Who is fighting? Who is winning? Using your own words, write a summary on the lines below. G

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Build Fluency Find a quiet place and practice reading aloud the boxed paragraph. Reread the paragraph several times until you can read it smoothly and easily. H

Mark th e text

4. Among some Native Americans, to count coup (k¯¯¯ oo) was to touch a living enemy and get away safely—an act requiring both skill and courage.

Choose three words to record in your Hot Words Journal at the back of this book. Then complete one of the activities listed there.

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Respond How does this reaction from the soldiers make your feel? I

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Step 1 Review your notes and any passages you marked as you read the legend. Think about Buffalo Calf Road Woman—what kind of person she was and what she did. Then on the lines below, tell how the “girl” rescued her brother.

That was when it happened. For a moment, it seemed as if all the shooting stopped. The Cheyenne and the Lakota, and even the veho soldiers, lowered their guns to watch this act of great bravery. A shout went up, not from one side but from both, as Buffalo Calf Road Woman reached the safety of the hilltop again, her brother safe behind her on her horse. White men and Indians cheered her. I So it was that Buffalo Calf Road Woman performed the act for which the people would always remember her. Inspired by her courage, the Cheyenne and Lakota drove back the Gray Fox— Crook made a strategic withdrawal. “Even the veho general was impressed,” said the Cheyenne people. “He saw that if our women were that brave, he would stand no chance against us in battle.” So it is that to this day, the Cheyenne and the Lakota people do not refer to the fight as the Battle of the Rosebud. Instead, they honor Buffalo Calf Road Woman by calling the fight Where the Girl Rescued Her Brother.

Step 2 Think back to the Connect activity on page 164. Does Buffalo Calf Road Woman fit your description of a hero? Explain.

Vocabulary strategic (strə t¯e jik) adj. very important to reaching a goal 170

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Understanding Figures of Speech the story, find the Try them out! On the last page of the sentences around following figures of speech and read to figure out the them. Visualize what is happening . Then on the lines, meaning of these figures of speech them. write a sentence that uses each of

Summarize 1. Sum It Up In a small group, brai nstorm to make a list of the main ideas you would include in a summary of “Where the Girl Rescued Her Brother. ” Write the main ideas on the lines below.

1. a shout went up

2. stand no chance

Evaluate ner, discuss your 1. You Be the Judge! With a part grizzly bear. Do you opinions about the episode with the not? Explain below. why believe it really happened? Why or

t has made this 2. Standing the Test of Time Wha s? Work with a story worth retelling through the year that make the story partner to identify three elements ing. Write your interesting, memorable, or entertain ideas on the lines below.

2. Battle Report In your group, sum marize the battle. Answer the questions who, what, whe n and where. Be sure to include the final result. Writ e the information on the lines below.

Now retell the story of the battle the way it might be told on a newscast. Use the information you wrote on the lines above. Add a few interesting highlight s as well. Then present your newscast to the class.

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Suspense Suspense is the tension that builds in a story. Suspense makes readers wonder what will happen next. Writers can build suspense through characters’ actions or words. Writers also know that you will use what you know to guess about what will happen next. How does suspense build in this story? Look at the chart below. The bottom step tells what happens at the beginning of the story. The top step tells what happens at the most exciting part of the story. In each middle step, write one detail that helps build the suspense between these two steps. Make sure you write the details in the order in which they happen. Buffalo Calf Road Woman rescues her brother.

The Cheyenne gather for the battle against the veho.

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Standardized Test Practice Choose the best answer for each multiplechoice question. Fill in the circle in the spaces for questions 1 and 2 on the right. 1.

2.

Write your answer to open-ended question A in the space provided below. A.

Who are the Lakota? A. a group of brave women B. friends of the Cheyenne C. friends of General Crook’s army D. Buffalo Calf Road Woman’s people What do the Cheyenne think about the veho? A. They are good friends. B. They make nice neighbors. C. They can’t be trusted. D. They aren’t good-looking.

How does Buffalo Calf Road Woman’s action affect the outcome of the battle? Use details from the story to support your answer.

Multiple-Choice Questions

1. ABCD

2. ABCD

Open-Ended Question A.

Vocabulary Check Write the word from the list that belongs in the blank in each sentence. confront v. to come face to face with; oppose

1. You can get to the neighbor’s yard if you

vault v. to jump; spring

2. Our success in this game depends on our next

strategic adj. very important to reaching a goal

3. When problems arise, it is usually best to

over the fence. move. them directly.

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Reading Have you ever heard people say “I couldn’t put that book down” or “This book really carried me away”? You can be pretty sure that the book they were talking about is a novel. Reading a good novel compares to no other reading experience. It is like opening a door to an alternative existence—suddenly you are in a different place. For a few hours, at least, the real world falls away, and the world of fiction becomes reality. Simply defined, a novel is a very long story—book length. Novels are fiction—their situations and characters are mostly imaginary. But because the novel is a long story, the author can develop and expand the fictional world. Novelists describe the time and place in detail,

People read novels for various reasons. Some novels let you escape to an imaginary world. Some lead you to think about what people are like or about what the world is like. Many novels give you experiences that most people never encounter. Have you ever • crossed the plains in a covered wagon? • fought in a worldwide war?

Like other fiction, a novel has a plot, characters, and setting. But because a novel is longer than a short story, it can be more complex and detailed.

they may introduce a crowd of characters, and they often weave into their narrative several different plots, or story lines. When a novel succeeds, the reader is caught in a web spun by the author’s imagination. Mark th e text

Characters in novels can be all sorts of people. What kind of character do you especially enjoy reading about? Write your answer on the lines below. Then write the reasons that you enjoy that kind of character. I like characters who are __________________________ because _______________________________________ _______________________________________________

• sailed on a voyage to search for buried treasure? • lived in a royal court? • traveled on a mission to outer space? Few people have such exciting or dangerous experiences. But with your imagination—and a good novel to help you along—you can experience these adventures and many more.

—The falling action is what happens after the climax. —The resolution tells how everything turns out.

• The length of a novel can allow the reader to get to know the major characters very well.

Climax

• A novel can have several different settings—times and places where the action happens.

Falling action

• A novel usually has a main plot that continues throughout the book. It can also have a number of subplots. The diagram shows a main plot with two subplots. • Each plot and subplot has several main parts. —Exposition starts a problem or conflict. —Rising action adds to the conflict. —The climax is the time of greatest interest or suspense.

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Exposition

Rising action

Resolution

D Look over this excerpt from All Quiet on the Western Front by Erich Maria Remarque to see some common elements of novels. Chapters are the sections of a novel. Chapters begin or end with a change in time or place.

Setting, the time and place in which the events occur, is generally presented near the opening.

The exposition includes information that introduces the characters, setting, and situation.

Characters are what drive the action of a novel. Here, in a very short space, the reader encounters several characters.

Point of view is the relationship of the storyteller to the story. When a story is told by a character in the story who uses the words I, me, and we, the story is being told in first-person point of view. When the narrator is outside of the story, the story is being told in third-person point of view.

Mark th e text

Find It! Circle a word that shows that the story is told by a first-person narrator.

WE AR E AT RE

Chapter 1

ST five miles behind the front. our bellies are full Yesterday we were of beef and haricot relieved, and now beans. We are satisfi has another messed and at peace. Ea tin full for the even ch man ing; and, what is mo sausage and bread re, there is a doub . That puts a man le ration of in fine trim. We ha a long time. The co ve not had such luc ok with his carrot k as this for y head is begging ladle to every one us to eat; he beckon that passes, and spo s with his ons him out a great he can empty his dollop. He does no stewpot in time for t see how coffee. Tjaden and washbasins and ha Müller have produ d them filled up to ced two the brim as a reserv in Müller it is foresi e. In Tjaden this is ght. Where Tjaden voracity, puts it all is a myste be as thin as a rak ry, for he is and alw e. ays will What’s more impo rtant still is the iss ue of a double rat twenty cigarettes, ion of smokes. Ten and two quids of ch cigars, ew per man; now tha my chewing tobac t is decent. I have co with Katczinsky exchanged for his cigarettes, altogether. That’s en which means I ha ough for a day. ve forty It is true we have no right to this wi ndfall. The Prussian have only a misca is not so generous. lculation to thank We for it. Fourteen days ago we had to go up an d relieve the front our sector, so the qu line. It was fairly qu artermaster who rem iet on ained in the rear ha quantity of rations d requisitioned the and provided for the usual full company of on But on the last day e hundred and fift an astonishing numb y men. er of English heav high-explosive, dru ies opened up on us mming ceaselessly with on our position, so came back only eig that we suffered sev hty strong. ere ly and Last night we move d back and settled down to get a good is right when he say sleep for once: Ka s it would not be suc tczinsky h a bad war if only sleep. In the line we one could get a litt have had next to le more none, and fourteen stretch. days is a long time at one It was noon before the first of us crawl ed out of our quart every man had his ers. Half an hour lat mess-tin and we gat er hered at the cook-ho and nourishing. At use, which smelt gre the head of the qu asy eue of course were Kropp, the clearest the hungriest—litt thinker among us le Albert and therefore only still carries his sch a lance-corporal; Mü ool textbooks with ller, who him , dreams of examina bombardment mu tions, and during tters propositions a in physics; Leer, wh o wears a full beard and has a

These reading strategies will be especially useful when you read novels. Predict: Read the title, any chapter title, and the first page. Ask yourself, What will happen in this book? Then read to find out.

Visualize: Most novels don’t have illustrations. Let your imagination create portraits of the characters and snapshots of the setting.

Question: In fiction—as in life—characters behave in strange ways. Don’t let their behavior pass unchallenged. Ask those important “why” questions. Why did she say that? Why did they treat him that way?

Sequence: A lot can happen in a novel. Avoid confusion by pausing every so often to review the sequence of events. For more information on reading strategies, see pages 366–372 in the Reading Handbook.

Read All Quiet on the Western Front or another novel. Be sure to • notice the literary elements and the author’s plan • use reading strategies to help you get the most from your reading The Glencoe Reader

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