Literature, Course 2 Grade 7 TE

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Teacher Wraparound Edition
TEACHER EDITION
Program Consultants
Jeffrey D. Wilhelm, Ph.D.
Douglas Fisher, Ph.D.
Kathleen A. Hinchman, Ph.D.
David O’Brien, Ph.D.
Taffy Raphael, Ph.D.
Cynthia Hynd Shanahan, Ed.D.
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T2
Program Consultants
Senior Program Consultants
Jeffrey D. Wilhelm, Ph.D. Jeffrey Wilhelm is Douglas Fisher, Ph.D. Douglas Fisher
Professor of English Education at Boise State is Professor of Language and Literacy
University and Director of the Boise State Education at San Diego State University.
Writing Project. He specializes in reading He is also Director of the award-winning
and adolescent literacy and does research on City Heights Educational Pilot, a project for
ways to engage readers and writers. A middle improving urban adolescent literacy. Fisher
and high school teacher for thirteen years, has published many articles on reading
Wilhelm is author or coauthor of eleven and literacy and has co-authored Improving
books, including the award-winning works Adolescent Literacy: Strategies that Work.
You Gotta BE the Book and Reading Don’t Fix
No Chevys.

Program Consultants
Kathleen A. Hinchman, Ph.D. Kathleen Taffy Raphael, Ph.D. Taffy Raphael is
Hinchman is Professor and Chair, Reading Professor of Literacy Education at the
and Language Arts Center, School of University of Illinois at Chicago (UIC).
Education, Syracuse University. A former She does literacy research on upper
middle school English and reading teacher, elementary and middle school students
Hinchman researches social perspectives and has coauthored several books, including
toward literacy. She is coauthor of three books Book Club: A Literature-Based Curriculum and
on reading and literacy, including Principled Book Club for Middle School. She
Practices of a Literate America: A Framework for has received the International Reading
Literacy and Learning in the Upper Grades. Association (IRA) Outstanding Educator
David G. O’Brien, Ph.D. David O’Brien Award and is in the IRA Hall of Fame.
is Professor of Literacy Education at Cynthia Hynd Shanahan, Ed.D. Cynthia
the University of Minnesota and a former Hynd Shanahan is Professor in the Reading,
classroom teacher. O’Brien’s research explores Writing, and Literacy program at the
reading in content areas as well as ways to University of Illinois at Chicago (UIC). She is
motivate learners to engage in school-based also a consultant with the Center for Literacy
literacy tasks. He is conducting studies on at UIC. Hynd Shanahan has been a classroom
the use of technology-based literacy, using teacher and has taught reading instruction to
computers and related technology. elementary-level through college-level
teachers. She has authored a chapter in the
book Engaged Reading, edited by John T.
Guthrie and Donna Alverman.

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 Advisory Board
Special Consultants
Donald R. Bear, PhD. Jana Echevarria, PhD. Dinah Zike, M.Ed.
Professor, Department of Professor, Eductional Dinah Zike was
Curriculum and Instruction Psychology, Califronia a classroom teacher and a
Director, E. L. Cord Foundation State University, Long Beach consultant for many years
Center for Learning and Principal Researcher, National before she began to develop
Literacy at the University of Research and Development Foldables™—a variety of easily
Nevada, Reno. Author of Center of English Language created graphic organizers.
Words Their Way and Words Learners. Author of Making Zike has written and developed
Their Way with English Learners. Content Comprehensible more than 150 supplemental
for English Learners: the books and materials used
SIOP Model. in classrooms worldwide.
Her Big Book of Books and
Activities won the Teacher’s
Choice Award

Glencoe National Reading and Language Arts Advisory Council

Wanda J. Blanchett, Ph.D. Susan Floria-Ruane, Ed.D. William Ray, M.A.
Associate Dean for Academic Professor, College Lincoln-Sudbury Regional
Affairs and Associate of Education High School
Professor of Exceptional Michigan State University Sudbury, Massachusetts
Education School Lansing, Michigan
Victoria Gentry
of Education
Nancy Frey, Ph.D. Ridgeway, Ph.D.
University of Wisconsin-
Associate Professor of Literacy Associate Professor
Milwaukee
in Teacher Education Reading Education
Milwaukee, Wisconsin
School of Teacher Education Clemson University
William G. Brozo, Ph.D. San Diego State University Clemson, South Carolina
Professor of Literacy San Diego, California
Graduate School of Education, Janet Saito-Furukawa, M.Ed.
Kimberly Lawless, Ph.D. English Language Arts
College of Education and
Associate Professor Specialist
Human Development
Curriculum, Instruction District 4
George Mason University
and Evaluation Los Angeles, California
Fairfax, Virginia
College of Education
Nancy Drew, Ed.D. University of Illinois Bonnie Valdes, M.Ed.
Independent Reading
LaPointe Educational at Chicago
Consultant
Consultants Chicago, Illinois
CRISS Master Trainer
Corpus Christi, Texas 78411 Sharon Fontenot Largo, Florida
O’Neal, Ph.D.
Associate Professor
Texas State University
San Marcos, Texas

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Teacher Reviewers
Bridget Agnew Heather S. Lewis
St. Michael Middle School Waverly Middle School
Chicago, IL Lansing, MI
Monica Araiza Sandra C. Lott
Garcia Middle School Aiken Optional School
Brownsville, TX Alexandria, LA
Katherine R. Baer Lori Howton Means
Howard County Public Schools Fulton Junior High School
Ellicott City, MD O’Fallon, IL
Tanya Bateson Claire C. Meitl
Amundsen High School Howard County Public Schools
Chicago, IL Ellicott City, MD
Yolanda Conder Paul C. Putnoki
Owasso Mid-High School Torrington Middle School
Owasso, OK Torrington, CT
Gwenn de Mauriac Stephanie L. Robin
The Wicasset Schools N. P. Moss Middle School
Wicasset, ME Lafayette, LA
Joseph F. Hutchinson Fareeda J. Shabazz
Toledo Public Schools Paul Revere Elementary School
Toledo, OH Chicago, IL
Dianne Konkel Molly Steinlage
Cypress Lake Middle School Brookpark Middle School
Fort Myers, FL Grove City, OH
Patricia Lee Barry Stevenson
Radnor Middle School Garnet Valley Middle School
Wayne, PA Glen Mills, PA

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 T E AC H E R E DI T ION OV E RV I E W

Table of Contents for the Student Edition

and Teacher Edition .................................................... T10
How to Use Glencoe Literature .............. ....................... T30

Course 2 Scope and Sequence ......................... T42

Essential Course of Study ..................................... T46

Teacher Edition Walk-Through ......................... T50

Guide to Readability .................................................. T58

T6
African American Vernacular English ..... T59

Language Transfers .................................................... T62

Planning and Instructional Support:

Classroom Resources
Print Resources................................................................. T74

Technology Resources .................................................... T77

Library Resources ............................................................ T81

T7
 Book Overview
How to Use Glencoe Literature ............................................ ........................ T30
Foldables ........................................................................... ........................ T36
Cyber Safety ...................................................................... ........................ T37
Reading Handbook .............................................................. ........................ T38

UNIT ONE Whom Can You Count On? .................................................................. 1

Genre Focus: Short Fiction .................................................. .......................... 84
Reading Skills: Identify Cause-and-Effect Relationships, Identify
Sequence, Analyze Plot, Analyze Setting, Determine Main Idea
and Supporting Details
Literary Elements: Narrator/POV, Plot, Setting, Character, Description
Writing Product: Narrative
Vocabulary: Word Usage, Context Clues, Synonyms/Antonyms
Grammar: Action and Linking Verbs, Main and Helping Verbs,
Verb Tenses

U N I T T WO Why Do You Read? .................................................................................... 171

Genre Focus: Informational Text .......................................... ......................... 220
Reading Skills: Recognize Author’s Purpose, Analyze Evidence,
Distinguish Fact and Opinion, Identify Cause and Effect Relationships
Literary Elements: Characterization, Theme, Description, Setting,
Point of View, Style, Author’s Purpose
Writing Product: Functional Document
Vocabulary: Context Clues, Word Usage, Synonyms/Antonyms
Grammar: Present Perfect Tense, Past Perfect Tense, Future Tense,
Irregular Verbs, Infinitives, Participles and Participial Phrases

UNIT THREE What Makes Life Good? ...................................................................... 349

Genre Focus: Poetry .................................................................................... 388
Reading Skills: Analyze Style, Draw Conclusions About Characters
Literary Elements: Diction, Imagery, Metaphor, Characterization,
Rhyme, Mood, Dialogue
Writing Product: Response to Literature
Vocabulary: Context Clues, Word Usage, Synonyms/Antonyms
Grammar: Nouns, Pronouns and Antecedents, Indefinite Pronouns,
Subject Pronouns and Object Pronouns, Comparative and
Superlative Adjectives

T8
 Book Overview

UNIT FOUR What Influences You? ............................................................................ 465

Genre Focus: Argument and Persuasion ....................................................... 534
Reading Skills: Make Predictions About Plot, Analyze Text Structure,
Analyze Theme, Visualize, Preview, Distinguish Fact and Opinion,
Recognize Bias, Determine Main Ideas and Details, Evaluate Argument,
Analyze Text Structure
Literary Elements: Symbol, Narrator and Point of View, Humor,
Motivation, Style, Simile, Author’s Purpose
Writing Product: Persuasive Essay
Vocabulary: Context Clues, Word Usage, Synonyms/Antonyms
Grammar: Comparative and Superlative Adverbs, Subjects and Predicates,
Compound Subjects and Predicates, Main and Subordinate Clauses

UNIT FIVE How Can you Become Who You Want to Be?.................. 597
Genre Focus: Biography and Autobiography ................................................. 672
Reading Skills: Make Generalizations About Characters,
Identify Text Structure
Literary Elements: Theme, Symbol, Motivation, Alliteration, Personification,
Imagery, Text Features, Metaphor, Diction
Writing Product: Research Report
Vocabulary: Synonyms/Antonyms, Context Clues, Word Usage
Grammar: Commas in Introductory Clauses and Phrases, Subject/Verb
Agreement, Agreement with Compounds, Agreement and Inverted
Sentences, Making to be Agree, Subjects Separated from Verbs,
Agreement of Indefinite Pronouns

UNIT SIX Why Share Stories? .................................................................................. 757

Genre Focus: Drama .................................................................................... 792
Reading Skills: Identify Problems and Solutions
Literary Elements: Setting, Mood, Conflict, Simile, Alliteration
Writing Product: Expository Essay
Vocabulary: Synonyms/Antonyms, Context Clues, Word Usage
Grammar: Parallelism, Agreement of Collective Nouns,
Tricky Subjects and Verbs

BOOK OVERVIEW T9
 UNIT ONE

WHOM Can You

Count On?
Skills and Standards
BQ Explore the BIG Question

Amy Tan Fish Cheeks............................. Autobiography ............ 2

Part
1 Friends and Family
Narrator, Identify Cause-and- Yoshiko Uchida The Wise Old Woman ............. . Folktale ............ 8
Effect Relationships

Plot, Connect to Personal Piri Thomas Amigo Brothers ......................... Short story .......... 18
Experience

Grammar Workshop
Sentence Combining ............................................... .......................... 36

Setting, Identify Sequence Rudyard Kipling Rikki-Tikki-Tavi ................ Short story .......... 38

Narrative Poetry, Summarize Alfred Noyes The Highwayman ............................. Poem .......... 60

Vocabulary Workshop
Context Clues.......................................................... .......................... 70

T10
 Contents

Part
2 Me, Myself, and I
Plot, Visualize Rene Saldana Jr. The Good Samaritan.......... Short story .......... 72

Genre Focus: Fiction ................................................................... 84

Fable Aesop, retold by Jerry Pinkney

The Lark and Her Children ................................... Fable .......... 86
The Travelers and the Bear .................................... Fable .......... 88

Rudolfo A. Anaya The Force of Luck ................. Folktale .......... 90

Characterization Rita Dove Rosa.......................................................... Poem ........ 104

Rosa Parks with Jim Haskins

Social Perspective
from Rosa Parks: My Story .......................... Autobiography ........ 107

Part
3 Extraordinary Individuals
Description, Make Inferences Gary Soto Seventh Grade .............................. Short story ........ 112

Langston Hughes Thank You, M’am ............. Short story ........ 124

Theme, Interpret Plot Events Laurence Yep We Are All One............................. Folktale ........ 134

J. Madeleine Nash
Fireproofing the Forests .................. Magazine article ........ 144

Comparing Literature
Naomi Shihab Nye The Rider .................................. Poem ........ 150

Margaret Danner I’ll Walk the Tightrope ............. Poem ........ 152

CONTENTS T11
 Theme Writing Workshop
Narrative ................................................................ ........................ 154

Speaking, Listening, and Viewing Workshop

Narrative Presentation .................................................................... 160

Unit Challenge
On Your Own Activity: Create a Chart .............................................. 161
Group Activity: Write a Handbook ........................... ........................ 161

Independent Reading ............................................................... 162

Assessment .................................................................................... 164

Pearl S. Buck from The Old Demon ............. Short story ........ 164

U N I T T WO

WHY Do You
Read?
Skills and Standards
BQ Explore the BIG Question

Julius Lester Brer Rabbit and Brer Lion ........... Folktale ........ 172

Part
1 For Fun
Foreshadowing, Draw Shirley Jackson Charles ................................... Short story ........ 178
Conclusions

Alliteration Shel Silverstein Sarah Cynthia Sylvia Stout

Would Not Take the Garbage Out ........................ Poem ........ 190

T12
 Contents

Mood, Make Predictions About O. Henry After Twenty Years ....................... Short story ........ 194
Plot
Metaphor and Simile, Visualize Yusef Komunyakaa Slam, Dunk, & Hook .............. Poem ........ 202
Grammar Workshop
Sentence Fragments ....................................................................... 208

Part
2 For Information
Author’s Purpose, Activate Prior John Farman What Is a Knight? .................... Nonfiction ........ 210
Knowledge

Genre Focus: Informational Text............................................. 220

Text Structure, Question James Cross Giblin

from When Plague Strikes .......................... Nonfiction ........ 222

Christina Cheakalos and Matt Birkbeck

Miracle Hands ................................ Magazine article ........ 240

Functional Documents
Getting There: Train Schedule and Stadium Map.............................. 243

Media Workshop
Media Elements .............................................................................. 247

Diction, Monitor Comprehension Jack London The Story of an Eyewitness ...... Nonfiction ........ 248

Vocabulary Workshop
Word Parts ..................................................................................... 262

CONTENTS T13
 Part
3 For Understanding
Style, Recognize Author’s Judith Ortiz Cofer An Hour with Abuelo ...... Short story ........ 264
Purpose

Dialogue, Evaluate Ernest Hemingway A Day’s Wait ................... Short story ........ 276
Characterization

Conflict Diane Wolkstein The Monkey Who

Asked For Misery .................................. Haitian folktale ........ 284

Text Structure, Analyze Evidence Mary Batten Do Animals Lie?............. Magazine article ........ 289
Diction, Analyze Text Structure Leonard Mann One’s Name Is Mud ............. Nonfiction ........ 297

Text Features, Distinguish Fact Kelly Tyler-Lewis Tending Sir Ernest’s Legacy:
and Opinion
An Interview with Alexandra Shackleton...... Web site ........ 302
Jennifer Armstrong
Historical Perspective
Shipwreck at the Bottom of the World ................. Nonfiction ........ 318

Comparing Literature
Conflict Judith Ortiz Cofer Aunty Misery ........................ Folktale ........ 324

Gayle Ross Strawberries .......................................... Myth ........ 329

Writing Workshop
Functional Document ...................................................................... 332

Speaking, Listening, and Viewing Workshop

Informative Presentation ......................................... ........................ 338

Unit Challenge
On Your Own Activity: Make an Advertising Brochure ..................... 339
Group Activity: Create a TV Commercial .......................................... 339

Independent Reading................................................................ 340

Assessment .................................................................................... 342

from Violent Vesuvius ........................ Magazine article ........ 342
Lloyd Alexander from The Stone ................... Short story ........ 344

T14
 Contents
UNIT THREE

WHAT Makes
Life Good?
Skills and Standards

BQ Explore the BIG Question

Robert Frost The Pasture ......................................... Poem ........ 350

Part
1 Appreciating Nature
Line and Stanza Li-Young Lee From Blossoms.................................. Poem ........ 354

Imagery Raymond R. Patterson, Ann Atwood, Basho-

Glory, Glory; Birds Circling at Dusk;
Bamboo Grove ....................................................... Haiku ........ 358

Free Verse, Interpret Meaning Leslie Marmon Silko

Where Mountain Lion Lay Down With Deer ..... Poem ........ 362

Vocabulary Workshop
Multiple-Meaning Words ..................................................... ........... 368

Style Zora Neale Hurston

Why the Waves Have Whitecaps ..................... Folktale ........ 369

Part
2 Finding Humor and Delight
Tone, Analyze Style Annie Dillard
from An American Childhood ......................... Memoir ........ 374

Tracy Eberhart and Robert A. Barnett

The Giggle Prescription .................. Magazine article ........ 384

Genre Focus: Poetry ....................................................... ........... 388

Repetition Walter Dean Myers Summer .................................. Poem ........ 390

CONTENTS T15
 Rhyme Langston Hughes Dreams ........................................ Poem ........ 393

Alliteration, Repetition Walt Whitman Miracles ........................................... Poem ........ 397

Humor, Analyze Graphic Stories Mark Crilley The Tale of ‘Kiko-Wiko....... Graphic story ........ 400

Part
3 Love and Friendship
Rhythm and Meter, Interpret Edgar Allan Poe Annabel Lee ............................ ..... Poem ........ 412
Imagery

Symbol, Draw Conclusions Cynthia Rylant A Crush.................................. Short story ........ 419
About Characters
Motivation Lucille Clifton The Luckiest Time of All ....... Short story ........ 433

Comparing Literature
Setting Sherman Alexie Superman and Me........................ Essay ........ 439

Nikki Giovanni
My First Memory (of Librarians) ......................... Poem ........ 446
Writing Workshop
Response to Literature .................................................................... 448

Speaking, Listening, and Viewing Workshop

Oral Response to Literature ............................................................. 454

Unit Challenge
On Your Own Activity: Make a Collage .................... ........................ 455
Group Activity: Create a Character Study ........................................ 455

Independent Reading................................................................ 456

Assessment .................................................................................... 458

Jack Prelutsky Ankylosaurus .................................. Poem ........ 458
A. E. Housman XXXVIII ..................................... ..... Poem ........ 459
Edna St. Vincent Millay Afternoon on a Hill ......... Poem ........ 460

T16
 Contents

UNIT FOUR

WHAT
Influences You?
Skills and Standards
BQ Explore the BIG Question

Barbara Jordan All Together Now ........................ Speech ........ 466

Part
1 Life Experiences
Conflict and Resolution, Make Marta Salinas
Predictions About Plot
The Scholarship Jacket ................................. Short story ........ 472
Thesis, Analyze Text Structure Clifton Davis
A Mason-Dixon Memory ...................................... Essay ........ 482

Anecdote, Analyze Theme Julia Alvarez Names/Nombres .............. Autobiography ........ 494

CONTENTS T17
 Imagery Francisco X. Alarcón
In a Neighborhood in Los Angeles ..................... Poem ........ 505
Vocabulary Workshop
Idioms .................................................................... ........................ 509

Characterization, Visualize Toni Cade Bambara

The War of the Wall....................................... Short story ........ 510

Toni Cade Bambara

Cultural Perspective
Outdoor Art in America .............................................. Article ........ 524

Sidney Poitier
Oprah Winfrey ................................ Magazine article ........ 527

E. E. Cummings
old age sticks ...................................................... ..... Poem ........ 530

Part
2 Persuasive Ideas
Genre Focus: Argument and Persuasion ....... ........................ 534

Argument, Recognize Bias John Yinger and Matthew Spalding

Should Naturalized Citizens Be President? ...... Essay ........ 536

Functional Documents
Voting Sign and Technical Directions ............................................... 543

Allusion Alice Walker Without Commercials ................. ..... Poem ........ 547
Author’s Perspective, Evaluate Lavendhri Pillay Toward a Rainbow Nation.......... Essay ........ 553
Argument

Tone, Analyze Text Structure Erma Bombeck Heroes ......................................... ..... Essay ........ 561

Media Workshop
Propaganda .................................................................................... 566

Personification Carl Sandburg Primer Lesson ................................. Poem ........ 567

T18
 Contents

Comparing Literature
Tone Eloise Greenfield and Lessie Jones Little
Langston Terrace ..................................................... Essay ........ 570
Gwendolyn Brooks Home ................................ Short story ........ 575
Writing Workshop
Persuasive Essay ................................................................. ........... 580

Speaking, Listening, and Viewing Workshop

Persuasive Speech ......................................................................... 586

Unit Challenge
On Your Own Activity: Write a Poem or a Song ..................... ........... 587
Group Activity: Make a Poster......................................................... 587

Independent Reading ............................................................... 588

Assessment .................................................................................... 590

Kathryn Sullivan from A Glimpse of Home .......... Essay ........ 590
Washington Irving from Rip Van Winkle ...... Short story ........ 592

UNIT FIVE

HOW Can You Become

Who You Want to Be?

BQ Explore the BIG Question

from Tony Hawk: Chairman of the Board .... Biography ........ 598

CONTENTS T19
 Part
1
Skills and Standards
Positive Actions
Assonance and Consonance Emily Dickinson
If I can stop one heart from breaking
and I stepped from plank to plank................. ... Poems ........ 604

Analogy, Draw Conclusions Cherylene Lee Hollywood and the Pits ........ Short story ........ 608
About Characters

Media Workshop
Media Ethics........................................................... ........................ 625

Legend, Make Generalizations Robert D. San Souci Young Arthur .................... .. Legend ........ 626
Karen Cushman
Historical Perspective
Medieval England,
from Catherine, Called Birdy ................................ Nonfiction ........ 636

Author’s Purpose, Question Malcolm X with Alex Haley

from The Autobiography of Malcolm X ..... Biography ........ 640

Setting, Make Predictions About Maya Angelou New Directions ..................... Nonfiction ........ 648
Plot

Part
2 Courage and Confidence

Irony Arnold Adoff Almost Ready............................... ..... Poem ........ 656

Vocabulary Workshop
Dictionary Skills ...................................................... ........................ 659

Symbol, Paraphrase Georgia Douglas Johnson Your World ..................... Poem ........ 660

James Berry One................................................... ..... Poem ........ 663

Voice Sandra Cisneros

Four Skinny Trees ......................................... Short story ........ 666
Chanclas .......................................................... Short story ........ 668

T20
 Contents

Genre Focus: Biography and Autobiography ............ ........... 672

Conflict, Identify Text Structure Zlata Filipovic from Zlata’s Diary ....................... Journal ........ 674

Description, Monitor Russell Freedman

Comprehension
from The Adventures of Marco Polo ........... Biography ........ 684

Part
3 People Who Lend a Hand
Style, Evaluate Theme Jane Yolen Birthday Box ................................. Short story ........ 700

Frank Horne To James .............................................. Poem ........ 708

Ericka Sóuter and Dietlind Lerner

Message of Hope ........................... Magazine article ........ 712

Tone, Interpret Plot Events Nicholas Gage The Teacher Who

Changed My Life ..................................... Personal essay ........ 716

Comparing Literature
Setting Ernesto Galarza from Barrio Boy ........................ Memoir ........ 728

Gregory Djanikian How I Learned English .......... Poem ........ 735

Writing Workshop
Research Report .................................................................. ........... 738

Speaking, Listening, and Viewing Workshop

Oral Report .......................................................................... ........... 746

Unit Challenge
On Your Own Activity: Create a Web Diagram ...................... ........... 747
Group Activity: Write a Letter of Advice ................................ ........... 747

Independent Reading................................................................ 748

Assessment .................................................................................... 750

Paul Zindel from The Day It
Rained Cockroaches............................... Autobiography ........ 750

CONTENTS T21
 UNIT SI X

WHY Share
Stories?
Skills and Standards
BQ Explore the BIG Question

Joni Mitchell Big Yellow Taxi ........................ Song lyrics ........ 758

Part
1 Entertainment
Amanda Hinnant
Ah, Wilderness ............................... Magazine article ........ 764

Stage Directions, Analyze Plot Joellen Bland

The Miraculous Eclipse .................................... ... Drama ........ 768

Vocabulary Workshop
Word Origins................................................................................... 790

Part
2 Messages and Lessons
Genre Focus: Drama.......................................... ........................ 792

Teleplay, Monitor Rod Serling

Comprehension
The Monsters Are Due
on Maple Street, Act I ....................................... Teleplay ........ 794
Suspense, Analyze Historical The Monsters Are Due
Context
on Maple Street, Act II ..................................... Teleplay ........ 812

T22
 Contents

Flashback, Synthesize Dorothy West

The Bird Like No Other ............................... Short story ........ 830
Diction, Intepret Author’s Ray Bradbury
Meaning
There Will Come Soft Rains ........................ Short story ........ 840
Description, Identify Problems Claire Miller
and Solutions
Missing ................................... Informational web article ........ 854

Joseph Bruchac
Birdfoot’s Grampa .................................................. Poem ........ 859

Comparing Literature
Theme Roger Lancelyn Green
Echo and Narcissus ................................................. Myth ........ 862

Olivia Coolidge
Orpheus, the Great Musician ................................ Myth ........ 868
Writing Workshop
Expository Essay ............................................................................. 874

Speaking, Listening, and Viewing Workshop

Active Listening and Note Taking ..................................................... 880

Unit Challenge
On Your Own Activity: Assemble a Multimedia List ............... ........... 881
Group Activity: Write a Story Review .................................... ........... 881

Independent Reading ............................................................... 882

Assessment .................................................................................... 884

Neal Marlens and Carol Black
from The Wonder Years .................................... Teleplay ........ 884

CONTENTS T23
 Selections by Genre
Fiction Poetry
Amigo Brothers . . . . . . . . . .............................. 18 The Highwayman.......... .......................... 60
Piri Thomas Alfred Noyes
Rikki-Tikki-Tavi. . . . . . . . . ............................. 38 Rosa ........................................................ 104
Rudyard Kipling Rita Dove
The Good Samaritan . .............................. 72 Thank You, M’am ................................... 124
Rene Saldana, Jr. Langston Hughes
Seventh Grade . . . . . . . . . . . . ............................ 112 The Rider ...................... ......................... 150
Gary Soto Naomi Shihab Nye
Charles . . . . . . . . . . . . . . . . . . . . . . . ............................ 178 I’ll Walk the Tightrope ........................... 152
Shirley Jackson Margaret Danner
After Twenty Years . . . . ............................. 194 Sarah Cynthia Sylvia Stout Would Not
O. Henry Take the Garbage Out ... ......................... 190
An Hour with Abuelo ............................ 264 Shel Silverstein
Judith Ortiz Cofer Slam, Dunk, & Hook.............................. 202
A Day’s Wait . . . . . . . . . . . . . . . ............................ 276 Yusef Komunyakaa
Ernest Hemingway The Pasture............................................. 350
A Crush . . . . . . . . . . . . . . . . . . . . . ............................. 419 Robert Frost
Cynthia Rylant From Blossoms ....................................... 354
The Luckiest Time of All ....................... 433 Li-Young Lee
Lucille Clifton Glory, Glory; Birds Circling at Dusk;
The Scholarship Jacket ........................... 472 Bamboo Grove ....................................... 358
Marta Salinas Raymond R. Patterson, Ann Atwood,
The War of the Wall . . . ............................ 510 Basho-
Toni Cade Bambara Where Mountain Lion Lay Down
Home . . . . . . . . . . . . . . . . . . . . . . . . . ............................. 575 With Deer ............................................... 362
Gwendolyn Brooks Leslie Marmon Silko
Hollywood and the Pits.......................... 608 Summer .................................................. 390
Cherylene Lee Walter Dean Myers
Four Skinny Trees . . . . . ............................. 666 Dreams ................................................... 393
Sandra Cisneros Langston Hughes
Chanclas . . . . . . . . . . . . . . . . . . . . . ............................ 668 Miracles .................................................. 397
Sandra Cisneros Walt Whitman
Birthday Box. . . . . . . . . . . . . . . ............................ 700 Annabel Lee .................. ......................... 412
Jane Yolen Edgar Allan Poe
The Bird Like No Other ......................... 830 My First Memory (of Librarians) ........... 446
Dorothy West Nikki Giovanni
There Will Come Soft Rains................... 840 In a Neighborhood in Los Angeles ........ 505
Ray Bradbury Francisco X. Alarcón

T24
 Selections by Genre

old age sticks . . . . . . . . . . . . . . . . . . . . . . . . . . ................ 530 The Travelers and the Bear ......... ............. 88
E. E. Cummings Aesop retold by Jerry Pinkney
Without Commercials. . . . . . . . . . . . . ................ 547 The Force of Luck .................................... 90
Alice Walker Rudolfo A. Anaya
Primer Lesson . . . . . . . . . . . . . . . . . . . . . . . . . ................ 567 We Are All One ...................................... 134
Carl Sandburg Laurence Yep
If I can stop one heart Brer Rabbit and Brer Lion .......... ............ 172
from breaking . . . . . . . . . . . . . . . . . . . . . . . . ................ 604 Julius Lester
Emily Dickinson The Monkey Who Asked For Misery ..... 284
I stepped from plank to plank ............... 604 Diane Wolkstein
Emily Dickinson Aunty Misery ............................. ............ 324
Almost Ready . . . . . . . . . . . . . . . . . . . . . . . . . . ............... 656 Judith Ortiz Cofer
Arnold Adoff Strawberries ........................................... 329
Your World . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................ 660 Gayle Ross
Georgia Douglas Johnson Why the Waves Have Whitecaps ............ 369
One .. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ................ 663 Zora Neale Hurston
James Berry Young Arthur ......................................... 626
To James . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . ............... 708 Robert D. San Souci
Frank Horne Echo and Narcissus .................... ............ 862
How I Learned English . . . . . . . . . . . ............... 735 Roger Lancelyn Green
Gregory Djanikian Orpheus, the Great Musician ................. 868
Birdfoot’s Grampa . . . . . . . . . . . . . . . . . . . ............... 859 Olivia Coolidge
Joseph Bruchac
Graphic Story
Drama The Tale of ‘Kiko-Wiko .............. ............ 400
The Miraculous Eclipse . . . . . . . . . . ................ 768 Mark Crilley
Joellen Bland
The Monsters Are Due on Song Lyrics
Maple Street, Act I . . . . . . . . . . . . . . . . . ................ 794 Big Yellow Taxi........................... ............ 758
Rod Serling Joni Mitchell
The Monsters Are Due on
Maple Street, Act II . . . . . . . . . . . . . . . . . ............... 812 Speech
Rod Serling All Together Now ....................... ............ 466
Barbara Jordan
Folktales, Fables, and Myths
The Wise Old Woman . . . . . . . . . . . . . .................. 8 Nonfiction
Yoshiko Uchida What Is a Knight? ....................... ............ 210
The Lark and Her Children . . . . . ................ 86 John Farman
Aesop retold by Jerry Pinkney from When Plague Strikes ...................... 222
James Cross Giblin

SELECTIONS BY GENRE T25

 The Story of an Eyewitness .................... 248 from The Autobiography of
Jack London Malcolm X ..................... ......................... 640
One’s Name Is Mud . . . ............................ 297 Malcolm X with Alex Haley
Leonard Mann from Zlata’s Diary .......... ......................... 674
Shipwreck at the Bottom of the World ... 318 Zlata Filipovi´ć
Jennifer Armstrong from The Adventures of Marco Polo ...... 684
Medieval England, Russell Freedman
from Catherine, Called Birdy ................. 636 The Teacher Who Changed My Life....... 716
Karen Cushman Nicholas Gage
New Directions . . . . . . . . . ............................. 648 from Barrio Boy ...................................... 728
Maya Angelou Ernesto Galarza

Essays Informational Texts

Superman and Me . . . . . ............................. 439 Fireproofing the Forests ......................... 144
Sherman Alexie J. Madeleine Nash
A Mason-Dixon Memory ....................... 482 Miracle Hands ........................................ 240
Clifton Davis Christina Cheakalos and Matt Birkbeck
Should Naturalized Citizens Do Animals Lie?............ ......................... 289
Be President? . . . . . . . . . . . . . . ............................ 536 Mary Batten
John Yinger and Matthew Spalding Tending Sir Ernest’s Legacy: An Interview
Toward a Rainbow Nation ..................... 553 with Alexandra Shackleton .................... 302
Lavendhri Pillay Kelly Tyler-Lewis
Heroes . . . . . . . . . . . . . . . . . . . . . . . . ............................ 561 The Giggle Prescription ......................... 384
Erma Bombeck Tracy Eberhart and Robert A. Barnett
Langston Terrace . . . . . . . . ............................ 570 Outdoor Art in America ......................... 524
Eloise Greenfield and Lessie Jones Little Toni Cade Bambara
Oprah Winfrey .............. ......................... 527
Biography, Autobiography, Sidney Poitier
Memoirs, Letters Message of Hope ........... ......................... 712
Fish Cheeks . . . . . . . . . . . . . . . ................................ 2 Ericka Sóuter and Dietlind Lerner
Amy Tan Ah, Wilderness ....................................... 764
from Rosa Parks: My Story ..................... 107 Amanda Hinnant
Rosa Parks with Jim Haskins Missing ......................... ......................... 854
from An American Childhood ................ 374 Claire Miller
Annie Dillard
Names/Nombres . . . . . . . . . ............................ 494
Functional Documents
Julia Alvarez Train Schedule and Stadium Map .......... 243
from Tony Hawk: Chairman Sign and Technical Directions................ 543
of the Board . . . . . . . . . . . . . . . . ............................ 598

T26
Features
Perspective

Award-winning nonfiction book excerpts High-interest, informative magazine articles

and primary source documents
Fireproofing the Forests .............................. 144
Social Perspective J. Madeleine Nash
from Rosa Parks: My Story . . . . .............. 107 Miracle Hands ............................... ........... 240
Rosa Parks with Jim Haskins Christina Cheakalos and Matt Birkbeck
Historical Perspective Shipwreck The Giggle Prescription ................... ........... 384
at the Bottom of the World . . . . . ............... 318 Tracy Eberhart and Robert A. Barnett
Jennifer Armstrong
Oprah Winfrey ........................................... 527
Cultural Perspective Sidney Poitier
Outdoor Art in America . . . . . . . . ............... 524
Message of Hope ............................ ........... 712
Toni Cade Bambara
Ericka Sóuter and Dietlind Lerner
Historical Perspective Medieval England,
Ah, Wilderness ............................... ........... 764
from Catherine, Called Birdy ............... 636
Amanda Hinnant
Karen Cushman

FEATURES T27
 Orpheus, the Great Musician ................. 868
Comparing Literature
Olivia Coolidge

UNIT ONE
Genre Focus
The Rider . . . . . . . . . . . . . . . . . . . ........................... 151 Fiction ..................................................... 84
Naomi Shihab Nye
Informational Text ................................. 220
I’ll Walk the Tightrope .......................... 152
Poetry .................................................... 388
Margaret Danner
Argument and Persuasion ..................... 534
Biography and Autobiography ............. 672
U N I T T WO
Drama ............................ ........................ 792
Aunty Misery . . . . . . . . . . . . ............................ 325
Judith Ortiz Cofer
Unit Challenge
Strawberries . . . . . . . . . . . . . . ............................ 329
Gayle Ross Unit 1 ............................. ........................ 161
Unit 2 ............................. ........................ 339
UNIT THREE Unit 3 ............................. ........................ 445
Unit 4 ............................. ........................ 587
Superman and Me . . . . . ............................ 440
Sherman Alexie Unit 5 ............................. ........................ 747
My First Memory (of Librarians) .......... 446 Unit 6 ............................. ........................ 881
Nikki Giovanni
Independent Reading
UNIT FOUR
Unit 1 ............................. ........................ 162
Langston Terrace . . . . . . . . ........................... 571 Unit 2 ............................. ........................ 340
Eloise Greenfield and Lessie Jones Little
Unit 3 ............................. ........................ 456
Home . . . . . . . . . . . . . . . . . . . . . . . . . ............................ 575
Unit 4 ............................. ........................ 588
Gwendolyn Brooks
Unit 5 ............................. ........................ 748
Unit 6 ............................. ........................ 882
UNIT FIVE

from Barrio Boy . . . . . . . . . ............................ 729 Assessment

Ernesto Galarza Unit 1 ............................. ........................ 164
How I Learned English ......................... 735 Unit 2 ............................. ........................ 342
Gregory Djanikian Unit 3 ............................. ........................ 458
Unit 4 ............................. ........................ 590
UNIT SIX
Unit 5 ............................. ......................... 750
Echo and Narcissus . . . . ........................... 863 Unit 6 ............................. ........................ 884
Roger Lancelyn Green

T28
Skills Workshops
Writing Workshops Grammar Workshops

Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............. 154 Sentence Combining ................................ 36

Functional Document. . . . . . . . . . . . . . . . .............. 332 Sentence Fragments .................... ........... 208
Response to Literature . . . . . . . . . . . . . ............... 448
Persuasive Essay. . . . . . . . . . . . . . . . . . . . . . .............. 580 Vocabulary Workshops
Research Report . . . . . . . . . . . . . . . . . . . . . . . .............. 738 Context Clues ........................................... 70
Expository Essay . . . . . . . . . . . . . . . . . . . . . ............... 874 Word Parts .................................. ........... 262
Multiple-Meaning Words ............ ........... 368
Speaking, Listening, Idioms ..................................................... 509
and Viewing Workshops
Dictionary Skills.......................... ............ 659
Narrative Presentation . . . . . . . . . . . . ............... 160 Word Origins ........................................... 790
Informative Presentation . . . . . . . . . ............... 338
Oral Response to Literature . . . . . ............... 454 Media Workshops
Persuasive Speech . . . . . . . . . . . . . . . . . . . .............. 586
Media Elements .......................... ........... 247
Oral Report . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .............. 746
Propaganda ............................................ 566
Active Listening and Note Taking ........... 880
Media Ethics ............................... ........... 625

SKILLS WORKSHOPS T29

 How to Use Glencoe Literature

Consultant’s Note Wouldn’t you like to read better—and understand more? That’s
what Glencoe Literature is all about. This book will help you bridge
People read for enjoyment, the gap between a writer’s meaning and your understanding.
to help themselves think, to The next few pages will show you some of the ways Glencoe
solve problems, and to get Literature can help you read, think, and write better.
work done. Their reading
is often organized around What’s in it for you?
“inquiry” questions. These Every unit in Glencoe Literature is built around a Big Question, a
question that you will want to think about, talk about, maybe
questions help them explore even argue about, and finally answer. The unit’s reading
how what they learn can selections will help you come up with your answers.
help make a difference in the
real world. Organization
Each unit contains:
—Jeff Wilhelm
• A Unit Opener that introduces and helps you explore the
unit’s Big Question. A short reading selection uses the
unit’s Parts to guide you through ways of approaching the
Big Question.
• Literature selections such as short stories, poems, plays,
and biographies.
• Informational texts such as nonfiction, newspaper and
magazine articles, reference books, and manuals.
• A Genre Focus that guides you through the features of a main
genre from the unit.
• Functional documents such as signs, schedules, letters,
and instructions.
• A Comparing Literature feature that will give you a chance to
compare and contrast pieces of writing.
• A Writing Workshop to help you express your ideas about the
Big Question through a specific form of writing.
• A Unit Challenge where you’ll answer the Big Question.

T30
 How to Use Glencoe Literature

Reading and Thinking

As an active reader, you’ll use Glencoe Literature Before You Read
Amigo Brothers
to develop your reading and thinking skills. Meet Piri Thomas

Connect to the Short Story

BEFORE YOU READ sets the stage for the Think about a time when you had to compete against a good friend
or a family member. The competition might have involved sports,
grades, music, or another activity in which you and your friend or
selection and previews the skills and family member wanted the same thing.
Partner Talk With a partner, talk about a time when you competed

strategies that will guide your reading. against a friend or family member. How did this competition make
you feel? Did you try your hardest to win? How did competing affect
your relationship?
“I said . . . ‘I got a mind; let’s
see if I can use it,’ so I jumped
Build Background into books.”
In the story “Amigo Brothers,” Antonio and Felix are boxers. Here —Piri Thomas
MEET THE AUTHOR introduces you to the are some facts about boxing.
Writing Changed His Life
• Boxers compete in divisions, or groups, based on their weight. Piri Thomas first began writing
real-life story of the writer whose work Antonio and Felix are in the light welterweight division. Boxers
in that division weigh between 132 and 141 pounds.
while serving a prison term for
attempted armed robbery.
• Amateur boxing matches are broken into three rounds. The ringing Creative writing helped Thomas
you will read and write about. of a bell tells when a round is beginning or ending. to escape his surroundings,
combat stereotypes, and change
• The annual Golden Gloves national tournament is the most
his life. After his release
famous tournament in amateur boxing.
from prison, he continued his
writing career.
Vocabulary
Literary Works Thomas is the
devastating (dev́əs tāting) adj. causing a lot of pain, author of stories, a play, and
Set Purposes for Reading damage, or destruction; overwhelming
Learning Objectives (p. 22). several autobiographies. His
The devastating drought ruined most of the farmer’s crops. literary works are known for
BQ BIG Question For pages 18–35
wary (wārē) adj. cautious; on the alert (p. 24). The mail their use of the Spanish Harlem
Read “Amigo Brothers” to find out how two friends respond to a test In studying this text, you will
carrier was wary offocus
the on
large, barking dog. dialect and for the tough reality
of their friendship. As you read, ask yourself, how much can these two the following
 əl) adj. constant; unceasing (p. 26).
objectives:
perpetual (pər pechoo they portray.
friends count on each other?
The perpetual rocking motion
Literary Study:of the ship made Anthony ill. Piri Thomas was born in 1928.
Literary Element Plot Analyzing plot.
improvised (imprəAnalyzing
vı̄zd́)conflict.
v. invented, composed, or did
Plot is the sequence of events in a story. A struggle between twopreparation (p. 27). Without a recipe, we improvised Literature Online
without Reading Strategy: Connecting
The LITERARY ELEMENT and the opposing forces is usually at the center of a plot. This struggle
called conflict.
as we is
made the stew.
to personal experience.
evading (i vāding) adj. keeping away or avoiding (p. 32).
Author Search For more about
Piri Thomas, go to glencoe.com
and enter QuickPass code
Conflict is an important part of a story because it moves the plot the rain, we hurried to take shelter during the storm.
Evading
READING SKILL OR STRATEGY give forward. An external conflict exists when a character struggles
against some outside force, such as another person, nature, or
GL29763u1.

you the basic tools you will use to society. A character who is torn between his or her own opposing
feelings or goals experiences internal conflict. 18 UNIT 1 Whom Can You Count On?
As you read, ask yourself, are the conflicts Antonio and Felix face
read and analyze the selection. internal or external? Notice how the conflicts move the plot forward.
0018_0019_U1P1_879624.indd 18 2/4/08 6:42:30 AM
Reading Strategy Connect to Personal Experience TRY IT
Connecting is finding the links between one thing and another. When Connect to Personal
you read, you can think about how the selection you are reading Experience Have you ever
connects to your own personal experiences. Connecting is important read a book or seen a movie
because it helps you understand the world around you and what and been in the same situation
you read. or had the same feelings
as a character? If you have,
To connect what you read with your personal experiences,
you connected what you
ask yourself saw or read with your own
• Are the characters similar to anyone I know? personal experiences.

• Do I know anyone who has done what this character is doing?

• Have I been in this situation before?
• Have I felt this way before?
You may find it helpful to use a graphic organizer like the one below.

“Amigo Brothers”
Brot My Connections

Characters
Characte

Actions/Situations
Actions/Situa

Feelings

Amigo
Amigo Brothers 19

0018_0019_U1P1_877976.indd 19 12/17/07 12:23:03 PM

Brothers
As you read the LITERATURE SELECTIONS you
will see that parts of the text are highlighted
in different colors. On the side of the page are Piri Thomas
color-coded questions that help you think
about and understand the selection. A ntonio Cruz and Felix Varga were both seventeen
years old. They were so together in friendship that
they felt themselves to be brothers. They had known each
Connect to Personal
Experience In your
experience, why do some
other since childhood, growing up on the lower east side friends feel as close as
of Manhattan in the same tenement1 building on Fifth sisters or brothers?
Street between Avenue A and Avenue B.
Antonio was fair, lean, and lanky, while Felix was dark,
short, and husky. Antonio’s hair was always falling over his
eyes, while Felix wore his black hair in a natural Afro style.
Each youngster had a dream of someday becoming
lightweight champion of the world. Every chance they had
the boys worked out, sometimes at the Boys Club on 10th
Street and Avenue A and sometimes at the pro’s gym on
14th Street. Early morning sunrises would find them
running along the East River Drive, wrapped in sweat
shirts, short towels around their necks, and handkerchiefs
Apache style around their foreheads.

1 A tenement is a kind of apartment building.

20 UNIT 1 Whom Can You Count On?

0020-0033_U1P1_879264.indd 20 12/17/07 12:33:48 PM

HOW TO USE GLENCOE LITERATURE T31

 tops, covered with mats, serving as resting tables. Antonio
thought he caught a glimpse of Felix waving to him from
a room at the far end of the corridor. He waved back just
in case it had been him.
The fighters changed from their street clothes into fighting
VOCABULARY A new gear. Antonio wore white trunks, black socks, and black
shoes. Felix wore sky blue trunks, red socks, and white
vocabulary word is in bold boxing shoes. Each had dressing gowns to match their
fighting trunks with their names neatly stitched on the back.

type when it first appears The loudspeakers blared into the open windows of the
school. There were speeches by dignitaries, community
leaders, and great boxers of yesteryear. Some were well
in the reading selection. prepared, some improvised on the spot. They all carried the
same message of great pleasure and honor at being part of
such a historic event. This great day was in the tradition of
champions emerging from the streets of the lower east side.
Interwoven with the speeches were the sounds of the
other boxing events. After the sixth bout, Felix was much
relieved when his trainer Charlie said, “Time change.
Quick knock-out. This is it. We’re on.”
Waiting time was over. Felix was escorted from the
classroom by a dozen fans in white T-shirts with the word
FELIX across their fronts.
Antonio was escorted down a different stairwell and
guided through a roped-off path.
As the two climbed into the ring, the crowd exploded
with a roar. Antonio and Felix both bowed gracefully and
then raised their arms in acknowledgment.
Antonio tried to be cool, but even as the roar was in its
first birth, he turned slowly to meet Felix’s eyes looking
directly into his. Felix nodded his head and Antonio
responded. And both as one, just as quickly, turned away Connect to Personal
VOCABULARY The word with its to face his own corner. Experience If you had to
face a good friend in a
Bong—bong—bong. The roar turned to stillness. competition, would you look
pronunciation, part of speech, “Ladies and Gentlemen, Señores y Señoras.”16 him or her in the eyes or
look away? Why?

and definition appear at the 16 Señores y señoras (sen yôrās ē sen yôrəs) is Spanish for “ladies and
gentlemen.” FOOTNOTES Selection
Vocabulary
bottom of the same page. improvised (imprə vı̄zd́) v. invented, composed, or did without preparation footnotes explain
Amigo Brothers 27
words or phrases that
0020-0033_U1P1_879264.indd 27 12/17/07 12:33:57 PM
you may not know to
help you understand
the story.
While some youngsters were into street negatives,
Antonio and Felix slept, ate, rapped, and dreamt positive.
Between them, they had a collection of Fight magazines VISUAL VOCABULARY Some
second to none, plus a scrapbook filled with torn tickets
to every boxing match they had ever attended, and some vocabulary words are explained
clippings of their own. If asked a question about any Visual Vocabulary
given fighter, they would immediately zip out from their
memory banks divisions, weights, records of fights,
A boxing ring is a square
area, bounded by ropes,
with the help of a picture.
knock-outs, technical knock-outs, and draws or losses.2 in which boxing matches
take place.
Each had fought many bouts representing their
community and had won two gold-plated medals plus a
silver and bronze medallion. The difference was in their
style. Antonio’s lean form and long reach made him the
better boxer, while Felix’s short and muscular frame made
him the better slugger. Whenever they had met in the ring “If it’s fair, hermano, I’m for it.” Antonio admired the
for sparring sessions,3 it had always been hot and heavy. courage of a tug boat pulling a barge five times its
Now, after a series of elimination bouts,4 they had been welterweight8 size.
informed that they were to meet each other in the division Plot Given the details in “It’s fair, Tony. When we get into the ring, it’s gotta be
finals that were scheduled for the seventh of August, two the story so far, what like we never met. We gotta be like two heavy strangers
kind of conflict do you think
weeks away—the winner to represent the Boys Club in the is developing?
that want the same thing and only one can have it. You
Golden Gloves Championship Tournament. understand, don’tcha?”
The two boys continued to run together along the East “Si, I know.” Tony smiled. “No pulling punches. We go
River Drive. But even when joking with each other, they all the way.”
both sensed a wall rising between them. “Yeah, that’s right. Listen, Tony. Don’t you think it’s a
One morning less than a week before their bout, they good idea if we don’t see each other until the day of the
met as usual for their daily work-out. They fooled around fight? I’m going to stay with my Aunt Lucy in the Bronx.
with a few jabs at the air, slapped skin, and then took off, I can use Gleason’s Gym for working out. My manager
running lightly along the dirty East River’s edge. says he got some sparring partners with more or less
Antonio glanced at Felix who kept his eyes purposely your style.”
straight ahead, pausing from time to time to do some Tony scratched his nose pensively.9 “Yeah, it would be
fancy leg work while throwing one-twos followed by better for our heads.” He held out his hand, palm upward.
upper cuts to an imaginary jaw. Antonio then beat the air “Deal?”
“Deal.” Felix lightly slapped open skin.
“Ready for some more running?” Tony asked lamely.
2 A knock-out is when a boxer falls to the ground and does not stand up within a
certain amount of time. In a technical knock-out (TKO), the boxer is judged to be
“Naw, bro. Let’s cut it here. You go on. I kinda like to
physically unable to go on fighting. A TKO can be called by an official, the fighter, get things together in my head.”
or the fighter’s coach. A draw is when a fight is so close that neither boxer can be “You ain’t worried, are you?” Tony asked.
called the winner.
“No way, man.” Felix laughed out loud. “I got too much
3 Sparring sessions are practice fights.
smarts for that. I just think it’s cooler if we split right here.
4 Elimination bouts are fights in a tournament; the winners advance to fight again,
but the losers are eliminated from competition. After the fight, we can get it together again like nothing BQ BIG Question
ever happened.” Do you think that it will be
Amigo Brothers 21 The amigo brothers were not ashamed to hug each possible for Antonio and
Felix to remain friends after
other tightly. the fight?
“Guess you’re right. Watch yourself, Felix. I hear there’s
0020_0033_U1P1_879624.indd 21 2/4/08 6:43:32 AM
some pretty heavy dudes up in the Bronx. Suavecito,10 okay?”
“Okay. You watch yourself too, sabe?”11

BIG QUESTION These questions

help keep you focused on the 8 Hermano (ār mänō) is Spanish for “brother.” A professional welterweight
boxer weighs between 141 and 147 pounds
9 Pensively means “in a thoughtful or sad way.”

unit’s Big Question as you read. 10 Suavecito (soo ävvā sētō) is American Spanish slang for “take it easy” or
“be cool.”
11 Sabe (sābā) means “You know?”

Amigo Brothers 23

0020-0033_U1P1_879264.indd 23 12/17/07 12:33:54 PM

T32
 How to Use Glencoe Literature

After You Read Wrap-up the selection with AFTER YOU READ.
Respond and Think Critically TIP
1. What dream do Felix and Antonio share? Explain. [Identify] Interpreting
Explore what you have learned through a
2. How are Antonio and Felix different from each other? List some of To answer question 3, you
the ways they are different. [Recall]
3. How does boxing make Antonio and Felix different from other boys
must think about details
in the story that describe
wide range of reading, thinking, vocabulary,
Antonio and Felix, as
in their neighborhood? Explain. [Interpret]
4. You read the description of the fight in the story. Do you think anyone
well as the boys in their
neighborhood. You must also and writing activities.
lost? Use details from the story to explain your answer. [Analyze] think about what you know
from your own experience
5. Do you think the friendship between Antonio and Felix is strong about competitive athletes.
enough to survive other problems? How do you come to this • Start by reviewing the
conclusion? [Conclude] details in the story. How
6. BQ BIG Question Antonio and Felix each fight hard to beat the does the author describe
other in the championship. Does this mean that they can’t count on Antonio and Felix? How
is this description different
each other? After reading this story, what are your thoughts about
from the description
whom you can count on? [Connect]
he provides of others in
their neighborhood?
Vocabulary Practice • What do you know about
On a separate sheet of paper, write the vocabulary word that athletes working to be in
correctly completes each sentence. If none of the words fits the top physical condition?
How would Antonio’s
sentence, write “none.”
and Felix’s desire to be
devastating perpetual wary champion boxers set
evading improvised them apart?

1. Without any preparation, the actors ______ their lines.

Keep track of
2. The damaging storm was ______ to the community. your ideas about
3. In the midst of the commotion, no one heard the ______ of the BIG Question in your
the doorbell. unit Foldable.

4. We avoided the highway, ______ the traffic jam.

5. The ticking of the clock was ______, or never-ending.
6. Always cautious on our hike, we were ______ of poison ivy
along the trail.

Academic Vocabulary
To prepare for the fight, Antonio “cut negative thinking” by
Literature Online

Selection Resources
Vocabulary
practicing his footwork. In the preceding sentence, negative For Selection Quizzes,
means damaging. What do you do to stop negative thinking? eFlashcards, and Reading-
Writing Connection activities,
VOCABULARY WORDS may be new or difficult to
go to glencoe.com and enter
QuickPass code GL29763u1.
you, but they are important words. Vocabulary
34 UNIT 1 Whom Can You Count On?

words from each selection are introduced on the

0034_0035_U1P1_879624.indd 34 2/4/08 6:55:37 AM

BEFORE YOU READ page. Each word is

accompanied by its pronunciation, its part of
speech, its definition, and the page number on
which it appears. The vocabulary word is also
used in a sample sentence. Vocabulary words are
highlighted in the Literature Selection.

After You Read

Respond and Think Critically TIP
1. What dream do Felix and Antonio share? Explain. [Identify]
2. How are Antonio and Felix different from each other? List some of
Interpreting
To answer question 3, you
must think about details
VOCABULARY PRACTICE On the AFTER
the ways they are different. [Recall]
in the story that describe
3. How does boxing make Antonio and Felix different from other boys
in their neighborhood? Explain. [Interpret]
Antonio and Felix, as
well as the boys in their
YOU READ pages, you will be able to
neighborhood. You must also
4. You read the description of the fight in the story. Do you think anyone
lost? Use details from the story to explain your answer. [Analyze] think about what you know
from your own experience
practice using the vocabulary words in
5. Do you think the friendship between Antonio and Felix is strong about competitive athletes.
enough to survive other problems? How do you come to this
conclusion? [Conclude]
• Start by reviewing the
details in the story. How
an exercise. This exercise will show you
6. BQ BIG Question Antonio and Felix each fight hard to beat the
other in the championship. Does this mean that they can’t count on
does the author describe
Antonio and Felix? How
is this description different
how to use a vocabulary strategy to
each other? After reading this story, what are your thoughts about
whom you can count on? [Connect]
from the description
he provides of others in
their neighborhood?
understand new or difficult words.
Vocabulary Practice • What do you know about
On a separate sheet of paper, write the vocabulary word that athletes working to be in
correctly completes each sentence. If none of the words fits the top physical condition?
How would Antonio’s
sentence, write “none.”
devastating perpetual wary
and Felix’s desire to be
champion boxers set
them apart?
ACADEMIC VOCABULARY Many of the
evading improvised
1. Without any preparation, the actors ______ their lines.
Keep track of
AFTER YOU READ pages will also
2. The damaging storm was ______ to the community. your ideas about
3. In the midst of the commotion, no one heard the ______ of
the doorbell.
the BIG Question in your
unit Foldable. introduce you to examples of academic
4. We avoided the highway, ______ the traffic jam.
5. The ticking of the clock was ______, or never-ending.
vocabulary. These are words that you
6. Always cautious on our hike, we were ______ of poison ivy
along the trail. come across in your school work. You
Academic Vocabulary
To prepare for the fight, Antonio “cut negative thinking” by
Literature Online

Selection Resources
will be asked to use the definitions of
practicing his footwork. In the preceding sentence, negative For Selection Quizzes,
means damaging. What do you do to stop negative thinking? eFlashcards, and Reading-
Writing Connection activities,
these words to answer questions.
go to glencoe.com and enter
QuickPass code GL29763u1.

34 UNIT 1 Whom Can You Count On?

0034_0035_U1P1_879624.indd 34 2/4/08 6:55:37 AM

HOW TO USE GLENCOE LITERATURE T33

 Organizing Information
UNIT ONE

BIG

THE
Question
Some say we are
responsible for those
we love. Others know
we are responsible for
those who love us.
FOLDABLES For every unit, you’ll be
— N I K K I G I O VA N N I
shown how to make a Foldable that will
help you keep track of your thoughts Throughout Unit 1, you will
read, write, and talk about
the BIG Question—
about the Big Question. See page R8 for “Whom Can You Count
On?” Use your Unit 1
Foldable, shown here, to
more about Foldables. keep track of your ideas as
you read. Turn to the back
of this book for instructions
on making this Foldable.

0000_0001_U1_879624.indd 1 12/19/07 8:49:11 AM

ctives
Learning Obje

for Re ading For pag es 8–17

Set Purposes d,
ying this text,
In stud
you will

BIG Questio
n ble. As you rea focus on the
following
BQ woman in trou d?
y of a wise old in a time of nee objectives:
tells the stor an count on
This folktale the wise old wom Literary Stud
y:
who can ator.
ask yourself, View Analyzing narr
t of view.
and Point of Analyzing poin
nt Narrator story. Point
Literary Eleme who tells the cause-
the per son g firs t- Read ing: Analyzing
is usin
ary wor ks, the narrator to the stor y. In a story and-effect relat
ionships.
In liter r’s relationship in the story. The
the nar rato cha rac ter
of view is narrator is a In a story with
t of view, the racter’s eyes.
person poin ugh that cha Old Woman,”
everything thro view, such as “The Wise
reader sees t of and feelings
d-person poin als the thoughts
a limited thir stor y and reve t of view, the
nar rato r is outside the with an omn iscient poin tion,
the y
one cha racter. In a stor reve al any kind of informa
of only and may
ide the story .
narrator is outs ghts of sev eral characters of view
thou t
along with the ration and poin
how do the nar
ask yourself,
As you read, and events?
of characters TR Y IT
affect details ect Relationsh
ips t
se- and -Eff se-and-Effec
another Identify Cau
ll Identify Cau action causes s Think abo
ut a
Reading Ski ship , one event or wro ng Relationship the
nd-effect rela tion eth ing you made in
In a cause-a ter does som decision that
event or act
ion. For exampl
the n feels guilty
e, a
abo
cha
ut
rac
wha t he
ng
or she did (eff
that was done
ect)
(a
. The
new last day or two
you to make
.
that
Wha
dec
t cau
ision
sed
? GRAPHIC ORGANIZERS In Glencoe
(cause ) and rect the wro resu lt? How
then try to cor of guilt). What was the
character may
effect caused
by the cha racter’s feeling
relationships
helps reader
s und erst and the might things
had made ano
be different
ther cho
if you
ice? Literature, you will use different
se-and-effect certain ways.
Identifying cau racters act in
and why cha
reasons why
events happen
se-and- effe ct rela tionships,
ons and the
kinds of graphic organizers to help
To identify cau events or acti
tion between
• think abo
resulting outc
ut the connec
omes
the story and
how events
you arrange information. These
hap pen in
f why things
• ask yoursel ters
affect charac
s, such as bec
ause, so, sinc
e, if . . . then
,
graphic organizers include, among
ds and phrase effect
• look for wor lt of, that signal cause and k
and as a resu
use a graphic
organizer like
the one belo
e boxes, as
w to kee
needed, to
p trac
others, Venn Diagrams, Compare and
As you read, rela tion ships. Add mor
ct
of cause-and-
show chains
effe
of causes and
effects. Contrast Charts, Cluster Diagrams,
Effect
Cause
and Chain-of-Events Charts.
Woman 9
The Wise Old

3 AM
2/4/08 6:34:5

24.indd 9
U1P1_8796
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T34
 How to Use Glencoe Literature

Writing Workshops
Learning Objectives Writing Workshop
Each unit in Glencoe Literature includes a Writing For pages 154–159
In this workshop, you will Narrative
Workshop. The workshop walks you through focus on the following
objective:
What challenges do people face in life? How can friends and family
Writing: Writing a short story
help? In this workshop, you will write a short story that will help you
the writing process as you work on an extended using the writing process.
think about the Unit 1 Big Question: Whom Can You Count On?
Review the writing prompt, or assignment, below. Then read the
piece of writing related to the unit. Writing Plan. It will tell you what you will do to write your story.

Writing Assignment

• You will use helpful strategies to meet writing A narrative tells a story. A fictional narrative is a story about imaginary
people and events. Write a short story in which a character faces a
challenge with the help of friends or family. The audience, or those

goals. reading your story, should be your classmates and teacher.

Prewrite
What different kinds of people do you count on? Look at the stories in
• You will learn tips and polish your critical Writing Plan
this unit for examples, including “Seventh Grade” by Gary Soto.

Gather Ideas
thinking skills as you analyze professional • Choose an appropriate
narrator and point of view. Ask yourself the following questions and write down your answers:
• Develop a plot that has an
• What are some conflicts, or challenges, that I or people I know
and workshop models. exposition (a beginning),
rising action, a climax,
have faced? How did people overcome these challenges, and who
helped them? Which challenge might make a good story and why?
falling action, and a
resolution. • Who are the main characters involved in the challenge? What do

• You will focus on mastering specific aspects • Make the internal or

external conflict the basis of
the theme and all plot
•
the characters look like? How do they act? What do they say?
Where does the story take place? How does the setting relate to
the conflict and the characters?
of writing, including organization, grammar, events.
• Add sensory details to Choose a Point of View
describe setting and action.

and vocabulary. • Use dialogue and

description, including
Point of view is the relationship of the narrator, or storyteller, to the
story. Point of view determines what the narrator is able to see and
movement and expressions, hear and therefore tell the reader. A story with first-person point of
to highlight similarities and view is told by one of the characters, referred to as “I.” The reader
• You will use a writing plan to evaluate your differences among main
and minor characters.
generally sees everything through that character’s eyes. In a story
with a limited third-person point of view, the narrator reveals the
thoughts of only one character and refers to that character as “he” or
own writing. “she.” In a story with omniscient point of view, the narrator reveals
the thoughts of several characters. If you choose first-person or
third-person limited, you will also need to choose which character will
be the focus of the story.

154 UNIT 1 Whom Can You Count On?

0154_0159_U1WW_877976.indd 154 12/17/07 12:28:41 PM

Assessment
Following each unit, you will be tested on the 6. Read this excerpt from the passage. 9. Read this sentence from the story.
. . . now they stood staring down at The evening was beautiful, the
literature, reading, and vocabulary skills you the malicious yellow waters,
curling along like a lot of snakes,
sky so clear and still that the
willows overhanging the dike
and biting at the high dike banks. were reflected even in the muddy
learned. This test will give you the practice you What word might the author have used water.
in place of malicious? This sentence represents an example of
need to succeed while providing an assessment A. hateful
B. choppy
A.
B.
imagery.
falling action.
C. polluted implied theme.
ofyour understanding of the unit objectives. D. fascinating
C.
D. internal conflict.

7. Mrs. Wang became less confident of 10. Which remark might Little Pig make to
her opinions as a result of his wife when his grandmother could
A. meeting a foreigner. not hear him?
B. learning that the Empress was dead. A. “One day I’m going to tell her
C. climbing up the dike for the first time. exactly what I think of her.”
D. seeing how high the river waters B. “She thinks she knows everything;
had risen. in fact, she knows nothing.”
C. “She’s got some strange ideas, but
8. What is one way in which the river and she’s seen a lot of life.
the Japanese are alike? D. “It’s amazing how she’s right about
A. Both are familiar to the villagers. nearly everything.”
B. Both represent a danger to the village.
C. Both are linked to ancient traditions. 11. What does Mrs. Wang fear most?
D. Both can either benefit or harm A. war
the village. B. a flood
C. airplanes
D. the Japanese

166 UNIT 1 Whom Can You Count On?

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HOW TO USE GLENCOE LITERATURE T35

 Reading and Thinking
with Foldables®
by Dinah Zike, M.Ed., Creator of Foldables®

Foldables™, are three-dimensional interactive graphic organizers for taking notes and
organizing your ideas. They’re also fun! You will fold paper, cut tabs, write, and
manipulate what you have made in order to organize information; review skills,
concepts, and strategies; and assess your learning.

Using Dinah Zike’s Foldables in

Reading and Literature Classes
Use Foldables before, during, and after reading
selections in Glencoe Literature.
• Before you read: Your unit Foldable will help
you to focus on your purpose for reading by
reminding you about the Big Question.
• During reading: Your unit Foldable will help
you to stay focused and engaged. You will
track key ideas and your thoughts about
each selection and how it helps you answer
the Big Question. It will also encourage to analyze, interpret, and evaluate various
you to use higher level thinking skills in aspects of the Big Question. Your Foldable
approaching text. notes will also help you with your unit
• After reading: Your Foldable will help you to challenge. They also stimulate rich group
review your thoughts from your reading and discussions and inquiry.

As you read, you’ll make notes about the Big Question.

Become an active reader, track
Later, you’ll use these notes to complete the Unit
and reorganize information so
Challenge. See pages R8–R9 for help with making
that you can better understand
Foldable 1. This diagram shows how it should look.
the selection.
1. Make one page for each selection. At the end of the
unit, you’ll staple the pages together into one Foldable.
2. Label the front of the fold-over page with the selection Practice reading and
title. (See page 1 for the titles.) following step-by-step
3. Open the fold-over page. On the right side, directions.
write the label My Purpose for Reading.
4. Open the Foldable all the way. At the top
center, write the label The Big Question. Use the illustrations
that make the directions
easier to follow.

T36
Be Computer Safe and Smart
Cyber Safety
As you explore the Glencoe Literature program, you will have many opportunities to
go online. When you use the Internet at school or home, you enter a kind of
community—the cyber world. In this online world, you need to follow safety rules
and to protect yourself. Here are some tips to keep in mind:

Be a responsible cyber citizen. Use the Internet to share

knowledge that makes people’s lives better. Respect other Words To Know
people’s feelings and do not break any laws.
Beware of cyber bullying. People can be hurt and embarrassed cyber world the world of
by comments that have been made public. You should computers and high-tech
immediately tell your teacher or counselor if you feel communications
threatened by another student’s computer postings. cyber safety actions that protect
Do not give out personal information, such as your address Internet users from harm
and telephone number, without your parents’ or guardians’ cyber ethics responsible code
permission. of conduct for using the Internet
Tell your teacher, parent, or guardian right away if you find or cyber bully a person who uses
read any information that makes you feel uneasy or afraid. technology to frighten, bother, or
Do not email your picture to anyone. harm someone else
Do not open email or text messages from strangers. cyber citizen a person who uses
Do not tell anyone your Internet password. the Internet to communicate

Do not make illegal copies of computer games and programs,

and software CDs.

Literature Online

For more about internet safety and

responsibility, go to glencoe.com.

T37
 Reading Handbook
The What, Why, and How of Reading
You’ll need to use the skills and strategies in the following chart to respond to
questions and prompts in the selections. As you begin a new lesson, look carefully at
the Key Goals on the Get Ready to Read page. Then find those skills in this chart and
read about what they are and how to use them. Don’t forget to read about why each
skill or strategy is important. The more you refer to the chart, the more these active
reading strategies will become a natural part of the way you read.

What is it? Why is it important? How to do it

Preview Previewing lets you begin to see Look at the title, illustrations,
Previewing is looking over a what you already know and what headings, captions, and graphics
selection before you read. you’ll need to know. It helps you Look at how ideas are organized.
set a purpose for reading. Ask questions about the text.

Skim Skimming will tell you what a Read the title of the selection and
Skimming is looking over an selection is about. If the selection quickly look over the entire piece.
entire selection quickly to get a you skim isn’t what you’re looking Read headings and captions and
general idea of what the piece for, you won’t need to read the maybe part of the first paragraph
is about. entire piece. to get a general idea of the
selection’s content.

Scan Scanning helps you pinpoint As you move your eyes quickly over
Scanning is glancing quickly information quickly. It saves you the lines of text, look for key words
over a selection in order to find time when you have a number of or phrases that will help you locate
specific information. selections to look at. the information you’re looking for.

Predict Predicting gives you a reason to Combine what you already know
Predicting is taking an educated read. You want to find out if your about an author or subject with
guess about what will happen prediction and the selection what you learned in your preview
in a selection. events match, don’t you? As you to guess at what will be included
read, adjust or change your in the text.
prediction if it doesn’t fit what
you learn.

Set a Purpose Setting a purpose for reading Ask yourself if you are reading
Setting a Purpose for reading is helps you decide on the reading to understand new information, to
deciding why you are reading. strategies you use with a text. find specific information, or to
be entertained.

T38
 Reading Handbook

What is it? Why is it important? How to do it

Clarify Authors will often build ideas Go back and reread a confusing
Clarifying is looking at difficult one on another. If you don’t clear section more slowly.
sections of text in order to clear up a confusing passage, you may Look up words you don’t know.
up what is confusing. not understand main ideas or
Ask questions about what you
information that comes later.
don’t understand. Sometimes you
may want to read on to see if
further information helps you.

Question When you ask questions as you Have a running conversation with
Questioning is asking yourself read, you’re reading strategically. yourself as you read. Keep asking:
whether information in a selection As you answer your questions, Is this idea important? Why?
is important. Questioning is also you’re making sure that you’ll Do I understand what this is about?
regularly asking yourself whether get the gist of a text. Might this information be on a
you’ve understood what test later?
you’ve read.

Visualize Visualizing is one of the best Carefully read how a writer

Visualizing is picturing a writer’s ways to understand and describes a person, place, or thing.
ideas or descriptions in your remember information in fiction, Then ask yourself: What would this
mind’s eye. nonfiction,and informational text. look like? Can I see how the steps in
this process would work?

Monitor Comprehension The whole point of reading is to Keep asking yourself questions
Monitoring your comprehension understand a piece of text. When about main ideas, characters, and
means thinking about whether you don’t understand a selection, events. When you can’t answer a
you’re understanding what you’re not really reading it. question, review, read more slowly,
you’re reading. or ask someone to help you.

Identify Sequence In a work of fiction, events Think about what the author is
Identifying sequence is finding usually happen in chronological trying to do. Tell a story? Explain
the logical order of ideas (time) order. With nonfiction, how something works? Present
or events. understanding the logical information? Look for clues or
sequence of ideas in a piece signal words that might point to
helps you follow a writer’s train time order, steps in a process, or
of thought. You’ll remember ideas order of importance.
better when you know the logical
order a writer uses.

Connect You’ll “get into” your reading Ask yourself: Do I know someone
Connecting means linking and recall information and ideas like this? Have I ever felt this way?
what you read to events in your better by connecting events, What else have I read that is like
own life or to other selections emotions, and characters to this selection?
you’ve read. your own life.

READING HANDBOOK T39

 What is it? Why is it important? How to do it
Summarize Summarizing shows whether Ask yourself: What is this
Summarizing is stating the main you’ve understood something. It selection about?
ideas of a selection in your own teaches you to rethink what Answer who, what, where, when,
words and in a logical sequence. you’ve read and to separate main why, and how? Put that information
ideas from supporting in a logical order.
information.

Determine Main Idea Finding main ideas gets you Think about what you know about
Determining an author’s main ready to summarize. You also the author and the topic. Look for
idea is finding the most important discover an author’s purpose for how the author organizes ideas.
thought in a paragraph or in writing when you find the main Then look for the one idea that all
a selection. ideas in a selection. of the sentences in a paragraph or
all the paragraphs in a selection
are about.

Respond When you react in a personal As you read, think about how you
Responding is telling what you way to what you read, you’ll feel about story elements or ideas in
like, dislike, find surprising or enjoy a selection more and a selection. What’s your reaction to
interesting in a selection. remember it better. the characters in a story? What
grabs your attention as you read?

Review Reviewing is especially important Filling in a graphic organizer, such

Reviewing is going back over when you have new ideas and a as a chart or diagram, as you read
what you’ve read to remember lot of information to remember. helps you organize information.
what’s important and to organize These study aids will help you
ideas so you’ll recall them later. review later.

Interpret Every reader constructs meaning Think about what you already know
Interpreting is when you use your on the basis of what he or she about yourself and the world. Ask
own understanding of the world understands about the world. yourself: What is the author really
to decide what the events or Finding meaning as you read is trying to say here? What larger idea
ideas in a selection mean. It’s all about you interacting with might these events be about?
more than just understanding the text.
and remembering the facts.

Infer Making inferences is a large part Look for clues the author provides.
Inferring is when you use your of finding meaning in a selection. Notice descriptions, dialogue,
reason and experience to guess Inferring helps you look more events, and relationships that might
at what an author does not come deeply at characters and points tell you something the author wants
right out and say. you toward the theme or you to know.
message in a selection.

T40
 Reading Handbook

What is it? Why is it important? How to do it

Draw Conclusions Drawing conclusions helps you Notice specific details about
Drawing a conclusion is using a find connections between ideas characters, ideas, and events
number of pieces of information and events. It’s another tool to as you read. Can you make a general
to make a general statement help you see the larger picture. statement on the basis of these
about people, places, events, and details? For example, do a
ideas. character’s actions lead you to
conclude that he is kind?

Analyze Analyzing helps you look To analyze a story, think about what
Analyzing is looking at separate critically at a piece of writing. the author is saying through the
parts of a selection in order to When you analyze a selection, characters, the setting, and the plot.
understand the entire selection. you’ll discover its theme or To analyze nonfiction, look at how
message, and you’ll learn the the writer has organized main ideas.
author’s purpose for writing. What do those ideas suggest?

Synthesize Synthesizing helps you move to a Think about the ideas or informa-tion
Synthesizing is combining higher level of thinking. Creating you’ve learned in a selection. Ask
ideas in order to create something new of your own goes yourself: Do I understand something
something new. You may beyond remembering what you more than the main ideas here? Can
synthesize in order learned from someone else. I create something else from what I
to reach a new understanding, or now know?
you may actually create a new
chapter or ending to a story.

Evaluate Evaluating helps you become a As you read, ask yourself questions
Evaluating is making a judgment wise, sensible reader. Many such as: Is this character realistic
or forming an opinion about selections, including various and believable? Is this author
something you have read. You electronic materials, require qualified to write on this subject?
can evaluate a character, an careful judgments about Is this author biased? Does this
author’s craft, or the reliability of an author’s qualifications and author present opinions as facts?
information in an article or text. about the reliability of
information presented.

READING HANDBOOK T41

 SCOP E A N D SEQU E NC E

This chart provides an overview of the scope and sequence for Glencoe Literature—Course 2. For a detailed scope and
sequence of skills, see the chart at the beginning of each unit in the Teacher Edition. Refer also to the Index of Skills in the
Reference section in the back of the book for a comprehensive listing of all skills and concepts taught in Course 2.

✔ = Introduced ✔ = Reviewed UNIT ONE U N I T T WO UNIT THREE UNIT FOUR UNIT FIVE UNIT SIX

Reading Skills
Activate Prior Knowledge ✔ ✔
Analyze ✔ ✔ ✔ ✔ ✔ ✔
Clarify ✔ ✔ ✔ ✔
Compare and Contrast ✔ ✔ ✔ ✔ ✔ ✔
Connect ✔ ✔ ✔ ✔ ✔ ✔
Distinguish Fact and Opinion ✔ ✔
Draw Conclusions ✔ ✔ ✔ ✔ ✔
Evaluate ✔ ✔ ✔ ✔ ✔ ✔
Identify Author’s Purpose ✔ ✔ ✔
Identify Cause and Effect ✔ ✔
Identify Main Idea and Details ✔ ✔
Identify Problem and Solution ✔
Identify Sequence ✔
Infer ✔ ✔ ✔ ✔ ✔ ✔
Interpret ✔ ✔ ✔
Make Generalizations ✔
Monitor Comprehension ✔ ✔ ✔ ✔
Paraphrase and Summarize ✔ ✔ ✔ ✔
Predict ✔ ✔ ✔
Preview ✔ ✔ ✔ ✔ ✔ ✔
Question ✔ ✔
Respond ✔
Review ✔ ✔ ✔ ✔ ✔ ✔
Set a Purpose for Reading ✔ ✔ ✔ ✔ ✔ ✔
Skim and Scan ✔
Synthesize ✔
Understand Persuasive Techniques ✔
Understand Text Structure ✔ ✔ ✔ ✔ ✔
Use Text Features ✔ ✔ ✔ ✔ ✔
Visualize ✔ ✔
T42
 UNIT ONE U N I T T WO UNIT THREE UNIT FOUR UNIT FIVE UNIT SIX

Literary and Text Elements

Analogy ✔
Anecdote ✔
Author’s Credibilty ✔
Character (Characterization) ✔ ✔ ✔ ✔ ✔
Conflict ✔ ✔ ✔ ✔ ✔
Cultural Allusions, Cultural Context ✔ ✔ ✔ ✔
Description ✔ ✔ ✔
Dialect ✔
Dialogue ✔ ✔
Diction, Language, and Word Choice ✔ ✔ ✔ ✔ ✔
Figurative Language ✔ ✔ ✔ ✔ ✔
Foreshadowing ✔
Humor ✔ ✔
Imagery ✔ ✔ ✔
Irony ✔
Line and Stanza ✔
Mood ✔ ✔ ✔
Motivation ✔ ✔ ✔
Narrator ✔ ✔
Persuasive Techniques ✔
Plot ✔ ✔ ✔ ✔
Point of View ✔ ✔ ✔
Rhyme, Rythm, and Meter ✔
Sensory Details ✔
Setting ✔ ✔ ✔ ✔
Sound Devices ✔ ✔
Style ✔ ✔ ✔ ✔
Suspense ✔
Symbolism ✔ ✔ ✔
Teleplay ✔
Text Features ✔ ✔ ✔
Theme ✔ ✔ ✔ ✔ ✔
Thesis ✔
Title and Subheads ✔
Tone ✔ ✔ ✔

T43
 SCOP E A N D SEQU E NC E

✔ = Introduced ✔ = Reviewed UNIT ONE U N I T T WO UNIT THREE UNIT FOUR UNIT FIVE UNIT SIX

Genres
Biography and Autobiography ✔
Drama ✔
Folktales ✔
Functional Documents ✔
Informational Text ✔
Persuasive Media ✔
Poetry ✔
Short Story ✔
Vocabulary Skills
Base Words, Prefixes, and Suffixes ✔
Compound Words ✔
Connotation and Denotation ✔
Context Clues ✔
Dialect ✔
Idioms ✔
Multiple-Meaning Words ✔
Prefixes and Suffixes ✔
Word Origins ✔
Writing Skills
Writing Products
Autobiographical Narrative ✔
Essay ✔ ✔ ✔ ✔ ✔
Functional Document ✔ ✔
Poem ✔ ✔
Research Report ✔ ✔
Short Story ✔ ✔
Summary ✔ ✔ ✔ ✔
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T44
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 WORKS IN LITERATURE

THE LITERARY HISTORY OF THE AMERICAN

REVOLUTION.
By Moses Coit Tyler, Professor of American History, Cornell
University.
Two volumes, sold separately. 8o, each, $3.00
Volume I., 1763-1776; Volume II., 1776-1783.
“Professor Tyler’s newest work is rich, stimulating,
informing, and delightful. And it is not only fascinating, itself,
but it is a luminous guide into the whole abundant, varied, and
alluring field of our revolutionary literature: poetry, belles-
lettres, biography, history, travel and crackling controversy.”—
George W. Cable in Current Literature.

A HISTORY OF AMERICAN LITERATURE DURING

THE COLONIAL TIME.
By Moses Coit Tyler, New edition, revised. Two volumes, sold
separately.
8o, each, $2.50
Volume I., 1607-1676; Volume II., 1676-1765.
Agawam edition, 2 vols. in one, 8o, half leather $3.00

THE LITERARY MOVEMENT IN FRANCE DURING

THE NINETEENTH CENTURY.
 By Georges Pellissier. Authorized English version by
Anne G. Brinton, together with a General Introduction. 8o
The eminent French critic M. Ferdinand Brunetière says of
this: “M. Pellissier’s work is no less the picture than the history
of contemporary literature. In addition, it is also the philosophy
of, or rather describes, the evolution of the literary movement
of our country.”

PHILOSOPHY OF ENGLISH LITERATURE.

A course of lectures delivered in the Lowell Institute, Boston. By
John Bascom, author of “Problems of Philosophy,” etc. 8o, pp. xii. +
318, $1.50

STUDIES IN GERMAN LITERATURE.

Edited by Marie Taylor. 8o, pp. viii. + 421 $2.00

“The work of a painstaking scholar, who can select with rare
discernment what should come to the foreground of attention,
and who has the power of expressing his own views with
exceptional grace.”—Literary World.

THE HISTORY OF FRENCH LITERATURE.

I. From its Origin to the Renaissance.
II. From the Renaissance to the Close of the Reign of Louis
XIV.
III. From the Reign of Louis XIV. to that of Napoleon III.
By Henry Van Laun. Three vols. in one. Half leather, cloth sides, 8o,
pp. 342, 392, 467 $3.50
“It is full of keenest interest for every person who knows or
wishes to learn any thing of French literature, or of French
 literary history and biography—scarcely any book of recent
origin, indeed, is better fitted than this to win general favor
with all classes of persons.”—N. Y. Evening Post.

AMERICAN LITERATURE, 1607-1885.

By Prof. Charles F. Richardson, of Dartmouth College. Two vols.,
8o,
pp. xx. + 535, 456 $6.00
Popular edition. Two vols. in one, half bound, 8o, pp. xx. + 992, $3.50
Part I.—The Development of American Thought.
Part II.—American Poetry and Fiction.
“It is acute, intelligent, and original, showing true critical
instinct and a high order of literary culture.”—Indianapolis
Journal.

THE LITERARY MOVEMENT IN FRANCE DURING

THE NINETEENTH CENTURY.
By Georges Pellissier. Authorized English version by Anne G.
Brinton,
together with a General Introduction. 8o, pp. 479 $3.50
The eminent French critic, M. Ferdinand Brunetiere says of
this: “M. Pellissier’s work is no less the picture than the history
of contemporary French literature. In addition, it is also the
philosophy of, or rather describes, the evolution of the literary
movement of our country.”

AMERICAN LITERATURE, 1607-1885.

By Prof. Charles F. Richardson, of Dartmouth College. Two vols.,
8o,
pp. xx. + 535, 456 $6 00
Popular edition. Two vols. in one, half bound, 8o, pp. xx. + 992 $3 50
Part I.—The Development of American Thought.
Part II.—American Poetry and Fiction.
“It is acute, intelligent, and original, showing true critical
instinct and a high order of literary culture.”—Indianapolis
Journal.

PHILOSOPHY OF ENGLISH LITERATURE.

A course of lectures delivered in the Lowell Institute, Boston. By
John Bascom, author of “Problems of Philosophy,” etc. 8o, pp. xii. +
318, $1.50
“A knowledge of forces, as well as of facts, is essential to
our comprehension of any phenomena.... It is this which Mr.
Bascom helps us to gain.”—Chicago Tribune.

STUDIES IN GERMAN LITERATURE.

Edited by Marie Taylor. Crown 8o, pp. viii. + 421 $2 00

“The work of a painstaking scholar, who can select with rare
discernment what should come to the foreground of attention,
and who has the power of expressing his own views with
exceptional grace.”—Literary World.

THE HISTORY OF FRENCH LITERATURE.

I. From its Origin to the Renaissance.
II. From the Renaissance to the Close of the Reign of Louis
XIV.
III. From the Reign of Louis XIV. to that of Napoleon III.
By Henry van Laun. Three vols. in one. Half leather, cloth sides, 8o,
pp. 342, 392, 467 $3 50
“It is full of keenest interest for every person who knows or
wishes to learn anything of French literature, or of French
literary history and biography—scarcely any book of recent
origin, indeed, is better fitted than this to win general favor
with all classes of persons.”—N. Y. Evening Post.

A LITERARY HISTORY OF THE ENGLISH

PEOPLE.
From the Earliest Times to the Present Day. By J. J.
Jusserand, author of “The English Novel in the Time of
Shakespeare,” etc. To be completed in three parts, each part
forming one volume. Sold separately.
Part I.—From the Origins to the Renaissance. With frontispiece.
8o, gilt top, pp. xii. + 544 $3 50
In Preparation:
Part II.—From the Renaissance to Pope.
Part III.—From Pope to the Present Day.
“The book bears witness on every page to having been
written by one whose mind was overflowing with information,
and whose heart was in abounding sympathy with his work.
Mr. Jusserand possesses pre-eminently the modern spirit of
inquiry, which has for its objects the attainment of truth and a
comprehension of the beginnings of things and of the causes
that have brought about effects.”—New York Times.

G. P. PUTNAM’S SONS, New York and London.

 Transcriber’s Notes
Obvious errors in punctuation and inconsistencies in proper names have been silently
corrected.
Page 17: “he rest of Europe” changed to “the rest of Europe”
Page 263: “Bogdanóvich’s Pysche” changed to “Bogdanóvich’s Psyche”
Page 313: “shine in the bark” changed to “shine in the dark”
Page 315: “mary him” changed to “marry him”
Page 321: “aphabetical order” changed to “alphabetical order”
Page 352: “more stupid that our” changed to “more stupid than our”
Page 418: “are overthown” changed to “are overthrown”
Page 438: “learny our parts” changed to “learn our parts”
*** END OF THE PROJECT GUTENBERG EBOOK ANTHOLOGY
OF RUSSIAN LITERATURE FROM THE EARLIEST PERIOD TO
THE PRESENT TIME, VOLUME 1 (OF 2) ***

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