Transcript Slide 1

Unit 6, Part 2
UNIT 6, Part 2
The Uncanny and Mysterious
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Unit 6, Part 2
MAIN MENU
The Uncanny and Mysterious
(pages 1230–1265)
Click a selection title to go to the corresponding
selection menu.
Unit 6, Part 2
SELECTION MENU
Selection Menu (pages 1230–1239)
Before You Read
Reading the Selection
After You Read
Unit 6, Part 2
BEFORE YOU READ
Meet O. Henry
Click the picture to learn
about the author.
Unit 6, Part 2
BEFORE YOU READ
Connecting to the Story
“A Retrieved Reformation” is about a
pardoned criminal and the choices he
makes after his release from prison.
Henry incorporates irony and a surprise
ending into the story.
Unit 6, Part 2
BEFORE YOU READ
Connecting to the Story
Before you read, think about the following
questions:
• Do you believe that a criminal can
change for the better? Why or why not?
• What experiences or influences do you
think have the power to bring about
major changes?
Unit 6, Part 2
BEFORE YOU READ
Building Background
Henry probably drew on events in his own life
when he wrote “A Retrieved Reformation.” Set
primarily in the South, an area familiar to Henry,
the story revolves around banking and robbery,
two subjects he knew well. The main character,
Jimmy Valentine, demonstrates the positive
results of hope and industry as well as Henry’s
belief in the human capacity for goodness.
Unit 6, Part 2
BEFORE YOU READ
Setting Purposes for Reading
The Uncanny and Mysterious
Early in “A Retrieved Reformation,” the
prison warden says, “Stop cracking safes,
and live straight.” This advice foreshadows
an uncanny situation at the end of the
story. As you read, look for this and other
mysterious circumstances.
Unit 6, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Humor
Literary humor relies on the writer’s ability
to describe a character or an event in an
amusing way. Writers use many
techniques—exaggeration, puns,
sarcasm, verbal irony—to create humor.
As you read, watch for examples of humor
in “A Retrieved Reformation.”
Unit 6, Part 2
BEFORE YOU READ
Making Predictions
Making predictions, or reasonable
guesses, about what may happen in a
story can increase comprehension. As you
read, think about what may happen next.
Verify, or see whether your predictions
were right, at the end of the story.
Unit 6, Part 2
BEFORE YOU READ
Making Predictions
Reading Tip: Taking Notes In a chart,
explain and
support at
least three
predictions
about the
story.
Unit 6, Part 2
BEFORE YOU READ
assiduously adv. Carefully diligent;
persistently attentive (p. 1232) Luis worked
assiduously on the complicated assignment.
retribution n. Punishment; justice (p. 1234)
Do you think that detention is sufficient
retribution for vandalism?
Click a vocabulary term to listen to the definition.
Unit 6, Part 2
BEFORE YOU READ
exclusive adj. single or sole; stylish,
fashionable (p. 1235) The elegant new store
features an exclusive line of leather purses.
unobtrusively adv. inconspicuously;
discreetly (p.1236) To avoid interrupting,
Brook sat unobtrusively in the back.
Click a vocabulary term to listen to the definition.
Unit 6, Part 2
BEFORE YOU READ
anguish n. extreme suffering, pain, or
anxiety (p. 1237) Anna felt intense
anguish at hearing of her grandmother’s
death.
Click a vocabulary term to listen to the definition.
Unit 6, Part 2
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Keep
the following questions in mind as you
read. How does your opinion of Jimmy
Valentine change as the story
progresses? Which aspect of the plot
do you find most uncanny?
Unit 6, Part 2
READING THE SELECTION
Answer: Some will come to like Valentine
and be happy that he is not going back to
prison. Some will think he still needs to be
punished for his past crimes. You may list
one of the following examples as the most
uncanny: Valentine being able to save the
young girl because of his criminal
background, Price’s pretending not to
know Valentine.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Making Predictions Read the first text
highlighted in blue on page 1233. What
does this act show about Jimmy
Valentine’s character? Predict how you
think he might grow and change later in
the story.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Answer: Valentine seems to take his
freedom or the simple things in life for
granted. This suggests his eventual
downfall or his learning to value simple
joys.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Making Predictions Read the second
text highlighted in blue on page 1233. How
does Valentine’s action here fit in with your
previous prediction?
Answer: This action displays a generosity
that is contrary to the criminal stereotype. It
shows the kind and generous side of
Valentine.
Unit 6, Part 2
READING THE SELECTION
Literary Element
Humor Read the text highlighted in
purple on page 1233. Explain how this is
an example of humor. If you need to, look
up the definitions for some of the words.
Unit 6, Part 2
READING THE SELECTION
Literary Element
Answer: Valentine’s company is obviously
not real; the name makes little sense:
biscuit cracker is redundant, and it is
unlikely that anyone would want wheat
that is “frazzled”— weary or frayed.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the image on page 1234. How
does this image help you picture the
story’s setting? Explain.
Answer: This image shows the interior of
a bank as it would have appeared in the
late 1800’s, when O. Henry was writing
stories.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read
the first text highlighted in tan on page
1235. Elusive means “mysterious.” What
qualities make Valentine mysterious?
Answer: You should cite “long jumps,
quick getaways, no confederates, and a
taste for good society” and Valentine’s
ability to avoid capture.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Making Predictions Read the text
highlighted in blue on page 1235. What is
happening here? What do you think will
happen next?
Answer: Valentine is attracted to the young
woman and has already begun to fall in love.
He may become a new man, stop cracking
safes, go “straight,” and marry the young
woman.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read the
second text highlighted in tan on page
1235. Explain what is uncanny and
mysterious about this information.
Unit 6, Part 2
READING THE SELECTION
Answer: It is uncanny that Valentine has
become attracted to a woman whose
father owns the very bank that he may
have been planning to rob. Another
possible mystery is whether Annabel
Adams will cause Valentine’s reformation
or his downfall.
Unit 6, Part 2
READING THE SELECTION
Literary Element
Humor Read the fifth complete
paragraph on page 1235. What about the
boy’s lines adds humor to the story?
Answer: The short lines of dialogue
speed up the pace, and the line about
the bulldog is unexpected.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read the
third complete paragraph on page 1236
of your textbook. What is uncanny about
Ben Price’s arrival?
Answer: It is strange that Ben Price finds
Valentine just as Valentine is making his
final commitment to living the straight life.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Making Predictions Read the second to
last paragraph on page 1236 of your
textbook. Why has the author included a
scene in the bank safe? What do you think
is going to happen next?
Answer: You will probably predict that
someone is going to get locked in the safe
or that Valentine is going to have to break
into it for some other reason.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Making Predictions Read the text
highlighted in blue on page 1237. Explain
the irony in this passage and the possible
ways that this drama could end.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Answer: Some ironies: Valentine, an
accomplished safecracker, just happens
to be present. He could save himself by
not revealing that he can open the safe,
or he can expose himself by opening it
and thus saving the child’s life.
Unit 6, Part 2
READING THE SELECTION
Literary Element
Humor Read the text highlighted in
purple on page 1237. Explain how this
small detail provides amusement.
Answer: Valentine’s asking for the rose in
the midst of this crisis is a quirky gesture
that implies that love has led him to reveal
his criminal skill to save the child.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1237. What
personality does this woman convey?
Does it reflect that of Annabel Adams?
Answer: Answers will vary. You may say
that the woman seems friendly and
wealthy. Her apparently upbeat attitude
seems similar to that of Annabel Adams.
Unit 6, Part 2
READING THE SELECTION
Encountering the Unexpected Read
the second column on page 1238. Do you
find Price’s action believable?
Answer: Some will say no because it is
Price’s job to arrest Valentine; some will
find the action believable because Price
recognizes that Valentine has changed.
Unit 6, Part 2
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Respond
1. (a) What do you think of Ben Price’s
action at the end of the story? (b) How
would you have acted if you were in
his position? Why?
Answer: Answers will vary.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
2. (a) Where is Jimmy Valentine at the
beginning of the story? (b) Why do
you think he “expected to stay only
about three months”?
Answer: (a) In prison (b) He had
powerful friends on the outside.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
3. (a) What reason does Mike Dolan give
for not getting Jimmy out earlier? (b)
How do you think Dolan obtained the
governor’s pardon?
Answer: (a) The governor almost “balked”
after a protest in Springfield. (b) The
governor was threatened or bribed by
Dolan’s or Valentine’s powerful friends.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
4. (a) Describe the contents of
Valentine’s suitcase. (b) What do
these contents tell you about him?
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
Answer: (a) The “finest set of burglar’s
tools in the East,” “drills, punches, braces
and bits, jimmies, clamps, and augers,”
and “two or three novelties invented by
Jimmy himself” (b) He was probably
guilty of the crime he was convicted of
and plans to steal again.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
5. (a) How does the comparison of Ralph
Spencer to the legendary phoenix help
the reader understand him as a
character? (b) Explain why you think
that this comparison is effective or
ineffective.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
Answer: (a) It shows that Valentine made
his work look easy. (b) The simile creates
an image of the adeptness of the principal
character.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
6. (a) Analyze the symbolic meaning of
Valentine asking for Annabel’s rose.
What effect do you think O. Henry
means to create? (b) How effective is
the author in creating it?
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
Answer: (a) The rose can symbolize
love, beauty, and tenderness. It shows
here that Valentine (note the romantic
name) knows that his next action may
land him in jail but chooses this sacrifice
as his last act as Ralph Spencer before
he reverts to being Jimmy Valentine. (b)
Answers will vary.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Connect
The Uncanny and Mysterious
7. Explain the ironic situation that
Valentine finds himself in at the end of
the story.
Answer: After choosing family life
over a life of crime, he must use his
criminal skills to save a member of
his fiancée’s family.
Unit 6, Part 2
AFTER YOU READ
Humor
Much of the humor in O. Henry’s stories
revolves around ironic situations, in which
the outcome is contrary to the reader’s
expectations, such as Valentine falling in
love with a bank owner’s daughter.
Unit 6, Part 2
AFTER YOU READ
Humor
1. O. Henry’s detective story character
archetypes in this selection are also
humorous. Give one example.
Answer: Jimmy Valentine, the
criminal, is generous and softhearted
rather than tough and frightening.
Unit 6, Part 2
AFTER YOU READ
Humor
2. Explain whether your example shows
irony, coincidence, or something else.
Answer: Answers will vary but should
be supported.
Unit 6, Part 2
AFTER YOU READ
Writing About Literature
Evaluate Figures of Speech In this
selection, O. Henry uses several figures of
speech. In similes and metaphors, unlike
things are compared to help the reader
visualize the action. A simile is a direct
comparison in which like or as is used; a
metaphor is an implied comparison.
Unit 6, Part 2
AFTER YOU READ
Writing About Literature
An idiom is a phrase that conveys
meaning beyond a literal definition of its
words. Write a one or two-page analysis
evaluating the effectiveness of the similes,
metaphors, and idioms in “A Retrieved
Reformation.” Use evidence from the story
to support your opinions.
Unit 6, Part 2
AFTER YOU READ
Making Predictions
After reading a selection, it is useful to
review your predictions and verify them.
Unit 6, Part 2
AFTER YOU READ
Making Predictions
1. How many of your predictions about ”A
Retrieved Reformation“ proved to be
correct? List them.
Answer: Answers will vary.
Unit 6, Part 2
AFTER YOU READ
Making Predictions
2. What new information did you acquire
while verifying your predictions?
Answer: Verification should include
one or more points about the plot or
characters.
Unit 6, Part 2
AFTER YOU READ
Practice
Practice with Context Clues Read the
sentences on the following slides and use
context clues to select the most likely
meaning for each vocabulary word.
Unit 6, Part 2
AFTER YOU READ
Practice
1. Janet stayed up all night assiduously
working on her algebra homework.
A. inconsistently
B. industriously
C. strangely
D. calmly
Unit 6, Part 2
AFTER YOU READ
Practice
2. Noah was angry and demanded retribution
for the vandal’s damage to his car.
A. fair dealing
B. payment
C. tickets
D. punishment
Unit 6, Part 2
Unit 6, Part 2
SELECTION MENU
Selection Menu (pages 1240–1255)
Before You Read
Reading the Selection
After You Read
Unit 6, Part 2
BEFORE YOU READ
Meet Joan Aiken
Click the picture to learn
about the author.
Unit 6, Part 2
BEFORE YOU READ
Connecting to the Story
One of the most important characters
in the story you are about to read is
someone who may at first seem
powerless or insignificant in the face
of the story’s conflict.
Unit 6, Part 2
BEFORE YOU READ
Connecting to the Story
Before you read the selection, consider
the following questions:
• Have you ever suddenly noticed
someone who seemed insignificant prior
to that moment?
• Do you think people who treat others
badly eventually pay for their behavior?
Explain.
Unit 6, Part 2
BEFORE YOU READ
Building Background
In medieval Europe, tenant farmers called serfs were bound
to a plot of land and to the will of the landowner. A serf,
through his productivity, provided his own clothing and food.
After giving a substantial part of the harvest to his lord, he
was able to keep a small portion for himself and his family.
Serfs lacked many personal liberties. Landlords frequently
treated serfs cruelly, but serfs had no legal rights and
therefore no way of stopping such treatment. Unless he was
formally freed by his lord, the only way a serf might escape
his bondage would be to run away.
Unit 6, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Uncanny and Mysterious
As you read “Lungewater,” observe the
mysterious characters and circumstances.
Then decide for yourself if something
uncanny is occurring.
Unit 6, Part 2
BEFORE YOU READ
Setting Purposes for Reading
Mood
Mood is the emotional quality or atmosphere
of a work. Authors create mood through their
choice of subject matter, setting, language,
diction, and tone. Gothic literature, such as
“Lungewater,” has a particularly gloomy,
foreboding mood and contains elements of
mystery, horror, and the supernatural.
Unit 6, Part 2
BEFORE YOU READ
Analyzing Text Structure
Analyzing text structure means looking
critically at the pattern used to present
events and ideas in a literary work.
“Lungewater” is a frame story—a story
within which another story unfolds. The
frame is the outer story, which usually
precedes and follows the inner and more
important story.
Unit 6, Part 2
BEFORE YOU READ
Analyzing Text Structure
Reading Tip: Charting Structure As you
read, use a Venn diagram like the one
shown on the next slide to keep track of
characters, events, and places in the
inner and the outer story. In the middle of
the diagram, note what the two stories
have in common.
Unit 6, Part 2
BEFORE YOU READ
Analyzing Text Structure
Unit 6, Part 2
BEFORE YOU READ
accosted v. approached someone in order to
speak (p. 1242) The woman accosted the
postal carrier to ask about the rising cost of
stamps.
guttural adj. sounding as if coming from the
throat (p. 1243) The dog let out a guttural
sound and then began to bark?
Click a vocabulary term to listen to the definition.
Unit 6, Part 2
BEFORE YOU READ
impediment n. something that hinders or
obstructs (p. 1245) Ted’s speech
impediment prevented him from debating.
brooded v. thought fretfully or anxiously
about (p.1247) the seniors brooded over
their forthcoming college applications.
Click a vocabulary term to listen to the definition.
Unit 6, Part 2
BEFORE YOU READ
sonorous adj. loud, forceful, or heavy in
sound (p. 1252) The preacher’s sonorous
voice filled the cavernous church.
Click a vocabulary term to listen to the definition.
Unit 6, Part 2
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Keep the
following question in mind as you read. What
elements of the text contribute to its eeriness
and mystery?
Answer: The text is made eerie by its
mood, subject matter, and strange
characters. Its mystery is provided by the
frequent twists in its plots and by its framewithin-a-frame structure.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read the
text highlighted in tan on page 1242.
How has the author introduced the
element of mystery here?
Answer: The narrator’s admission that he
or she never takes the path alone makes
the reader wonder what is so scary about
the path.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1242. How
is the setting in this painting similar to or
different from the setting at the beginning
of the story?
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Answer: The bus depot in the painting is
in a teeming metropolis, whereas the bus
stop where the narrator is sitting at the
beginning of the story is described as
one of many “cheerless wayside bus
stations.”
Unit 6, Part 2
READING THE SELECTION
Literary Element
Mood Read the text highlighted in purple
on page 1243. How do you feel about this
character after he is first described by the
narrator?
Answer: The man’s height, baldness, and
tall boots give him an air of mystery. The
description helps establish the story’s
mood of ominous foreboding.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Text Structure Read the
text highlighted in blue on page 1243.
What is the function of this and the
previous paragraph?
Answer: The paragraphs function as
the beginning of the story inside the
frame, or the story within the story. They
cover many years in a short amount of
time, as in a fairy tale.
Unit 6, Part 2
READING THE SELECTION
Writer’s Technique
Character Read the first column on
page 1243 of your textbook. What does
the narrator’s behavior say about him
or her?
Answer: The narrator is considerate;
she is reluctant to express her true
feelings to adults.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1244. What
similarities do you find between these
women and the beautiful lady?
Answer: Answers will vary. You may point
out that the setting seems to be that of an
upper-class estate. Or you may point out
that the count was a lonely, friendless man
who never would have thrown such a
pleasant party.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Text Structure Read the text
highlighted in blue on page 1245. What role
does Christmas Eve play in the structure of
the story?
Answer: It is Christmas Eve in the present
of the story and Christmas Eve in the storywithin-the-story. That particular day is a
repeating element in the structure of the
story.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Text Structure Read the text
highlighted in blue on page 1245. Why
might an author choose to frame a story
within a story?
Answer: By framing, an author is able to
tell two stories at once, thus increasing a
story’s complexity and, hopefully,
enjoyableness.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read
the text highlighted in tan on page 1245.
What does the narrator’s response to this
name suggest?
Answer: It suggests that the narrator
recognizes the name of the house.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1246. Could
this scene take place at the count’s
Lungewater home? Why or why not?
Answer: You may say that the count
does not have an older servant and
would have been unlikely to have guests
at his home.
Unit 6, Part 2
READING THE SELECTION
Literary Element
Mood Read the text highlighted in purple
on page 1247. What mood does this
description help create?
Answer: This description creates a
frenzied, crazed, and sinister mood
associated with the count’s letter writing.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Text Structure Read the text
highlighted in blue on page 1247. How
does the repetition of the events
surrounding the count’s letter writing
affect the story?
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Answer: The repetition of the letter
writing and the count’s order for Stiva to
deliver it gives the story the feel of a
folktale. In folktales, something usually
happens three times before the climax of
the story. The repetition helps the reader
experience the count’s refusal to take no
for an answer.
Unit 6, Part 2
READING THE SELECTION
Writer’s Technique
First-Person Point of View Read the first
column on page 1247 of your textbook.
The decision to use first person point of
view is crucial to how a story is relayed.
As a class, discuss the advantages and
disadvantages of “Lungewater” as told
through the first-person point of view.
Unit 6, Part 2
READING THE SELECTION
Writer’s Technique
Answer: Advantages: narrator is
likeable, readers are easily drawn to
story because they feel invited by the
“I”; disadvantages: feelings of other
characters cannot be explored
thoroughly.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1248. In
what ways does this painting reflect the
story’s setting?
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Answer: This painting could be a
depiction of the Stride-the Ravine into
which Stiva and the count fall to their
deaths. The bridge in the background
could be the foot bridge that Stiva
crosses when he delivers the first two
poems. The River Lunge seems to be
missing.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read the
text highlighted in tan on page 1249. Why
do you think the count chooses to follow
Stiva this time?
Answer: Because of the lady’s failure to
respond to his letters, the count may be
suspicious of Stiva and is following him to
see if he is really delivering the letters.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Text Structure Read the text
highlighted in blue on page 1249. How
does the story’s structure shift here?
Answer: The narrator’s comments help
merge the two existing stories, the
present and the past.
Unit 6, Part 2
READING THE SELECTION
Writer’s Technique
Dialogue Read the first column on page
1249. Is it possible for a scene to consist
only of dialogue? Explain.
Answer: Yes. The characters’ words not
only can move the story along but also
can present past action, introduce
conflict, and describe the setting.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read the
text highlighted in tan on page 1250. What
might Thorne have found mysterious about
Stiva’s situation?
Answer: Thorne might wonder why Stiva
has stayed with the count when he could be
a free man. He might also wonder at how
cruel the count must be to keep Stiva
thinking that he is an enslaved person.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1250. Could
the man in this painting represent the
count? Why or why not?
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Answer: The man in the painting—with
arms crossed, chest puffed out, and chin
raised—exudes the same self-absorption
and haughtiness as does the count. But
he would not have been seen in public
with a woman other than his love across
the River Lunge.
Unit 6, Part 2
READING THE SELECTION
The Uncanny and Mysterious Read
the text highlighted in tan on page 1251.
What seems uncanny about the river as
the narrator describes it?
Unit 6, Part 2
READING THE SELECTION
Answer: The physical description of the
water makes it seem very powerful, much
more powerful than humans, able to
destroy both nature (broken branches)
and the things humans make (tools and
boards). It seems alive and threatening.
Unit 6, Part 2
READING THE SELECTION
Literary Element
Mood Read the text highlighted in purple
on page 1251. How does this observation
by the old man enhance the mood?
Answer: The man suggests explicitly
what the mood implies—that the area is
mysterious and likely haunted.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1251. Is the
boy portrayed here similar to the image
you have developed of Stiva? Explain.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Answer: Answers will vary. You may
point out that this boy looks older than an
undernourished Stiva would look. Also,
Garwhal is in India, at the foot of the
Himalayas, not in Bulgaria. This
difference could cause discrepancies
between the image of the boy portrayed
the painting and the image that you may
have generated in your mind.
Unit 6, Part 2
READING THE SELECTION
Literary Element
Mood Read the text highlighted in purple
on page 1252. How does the author’s
word choice here contribute to the story’s
mood?
Unit 6, Part 2
READING THE SELECTION
Literary Element
Answer: The language in this passage
makes it seem as though the narrator is
falling into a trance brought on by the
ghost of the Stride. The passage
complicates the mood of fear with the
hypnotic pull of the place. The words “a
wish, a will” suggest a sinister agency that
beckons people to plunge to their deaths.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1252. What
mood is evoked by this scene? Is it
similar to the story’s mood?
Answer: With its shining sun and
picturesque setting, this scene has an
idyllic mood. It is not similar to the story’s
mood, which is much darker and more
harrowing.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Look at the painting on page 1253. What
mood is expressed by this scene? Does
it match the mood at the conclusion of
this story? Explain.
Unit 6, Part 2
READING THE SELECTION
Viewing the Art
Answer: The scene has a mood of
mystery and suspense. The woman in
the doorway seems equally intrigued by
the situation. This does not match the
mood in the story, where the woman
receiving the love letter quickly burns it.
Unit 6, Part 2
READING THE SELECTION
Reading Strategy
Analyzing Text Structure Read the first
text highlighted in blue on page 1254.
How do the inner story and the outer
story come together here?
Answer: The two stories have merged
with the introduction of the character of
the great-aunt. She is a character in both
stories, so she bridges the action in each.
Unit 6, Part 2
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Respond
1. Were you satisfied with the story’s
ending? Explain.
Answer: Answers will vary.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
2. (a) Where and when does the story
begin? (b) Give specific reasons that
might explain the author’s choice to
begin the narrative here.
Answer: (a) In a dilapidated bus shelter
in England on a recent Christmas Eve
(b) Answers will vary.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
3. (a) Who is Stiva? (b) Why does he
remain with Count Boyanus?
Answer: (a) The enslaved person of
Count Boyanus (b) He is illiterate and
ignorant of his rights.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
4. (a) What is the shortest route
between Count Boyanus’s and the
lady’s properties? (b) What is strange
about the count’s insistence that Stiva
take this route?
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
Answer: (a) By way of the Stride, a
dangerous location (b) He has no
compassion for Stiva and does not
seem to realize that if Stiva plunges
to his death, the letters will be lost.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Recall and Interpret
5. (a) What happens to Stiva? (b) How is
what happens to Stiva related to what
happens to the count later?
Answer: (a) He fatally falls down the
ravine when forced to jump the Stride.
(b) Later, the count supposedly tries to
jump the Stride and falls, some say
pulled into the river by Stiva’s ghost.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
6. (a) How does Joan Aiken present
the story of Count Hugo Boyanus?
(b) How does this decision affect the
structure of the story?
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
Answer: (a) As a story within a story
(b) The outer story, set in the present
day, becomes the frame for the inner
story.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
7. (a) How does Aiken communicate the
lady’s feelings for Count Boyanus to the
reader? (b) How well does the author
reveal important information without
explicitly stating it? Explain.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
Answer: (a) Through her refusal to
respond to the count (b) She does not
assign motives to the characters but
allows the reader to interpret what they
say and do.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Analyze and Evaluate
8. (a) How does the old man’s story
connect him to the narrator? (b) How
believable is this connection? Explain.
Answer: (a) The narrator is the great
grandchild of the lady, and the old man
is the brother of Stiva. (b) Answers will
vary.
Unit 6, Part 2
AFTER YOU READ
Responding and Thinking Critically
Connect
The Uncanny and Mysterious
9. What strikes you as the most uncanny
or mysterious element in this story?
Explain.
Answer: Answers will vary but should
be supported by details in the text.
Unit 6, Part 2
AFTER YOU READ
Mood
When determining the mood of a piece,
first contemplate the emotional effect it has
on you. Then try to link the cause of your
feelings to specific elements of the text. By
doing so, you can more easily identify the
mood of the piece and which elements
contribute most to it.
Unit 6, Part 2
AFTER YOU READ
Mood
1. (a) Describe the mood of “Lungewater,”
using examples from the story as
support. (b) How does the author
establish this mood?
Unit 6, Part 2
AFTER YOU READ
Mood
Answer: (a) “Lungewater” has a gothic
mood: gloomy, eerie setting and
elements of mystery, horror, and the
supernatural. (b) Through descriptions of
the misty weather, violent river, and deep
ravine and the count’s personality
Unit 6, Part 2
AFTER YOU READ
Mood
2. Do you believe the mood is fitting?
Explain.
Answer: The mood fits the plot well:
Both are sad and eerie.
Unit 6, Part 2
AFTER YOU READ
Writing About Literature
Analyze Style Style is the expressive
quality of an author’s work, consisting of
the sentence structure, word choice, and
use of figurative language and imagery
that make the writing unique.
Unit 6, Part 2
AFTER YOU READ
Writing About Literature
In “Lungewater,” Joan Aiken uses
elements of style to paint a vivid picture of
one strange, dark Christmas Eve journey.
In an essay, examine Aiken’s use of
figurative language and imagery in
“Lungewater” and how they contribute to
her distinct style.
Unit 6, Part 2
AFTER YOU READ
Analyzing Text Structure
A writer may use a variety of techniques
in structuring a literary work. Stories are
often arranged chronologically, and the
action moves straightforwardly through
time. Other techniques include repetition,
flashback, and framing.
Unit 6, Part 2
AFTER YOU READ
Analyzing Text Structure
1. Does “Lungewater” have a
chronological structure?
Answer: “Lungewater” jumps back and
forth from the past to the present.
Unit 6, Part 2
AFTER YOU READ
Analyzing Text Structure
2. How would the story change if it did not
have a frame? Give examples.
Answer: Answers will vary.
Unit 6, Part 2
AFTER YOU READ
Practice
Practice with Antonyms Choose the best
antonym for each vocabulary word.
Unit 6, Part 2
AFTER YOU READ
Practice
1. accosted
A. approached
B. retreated
Unit 6, Part 2
AFTER YOU READ
Practice
2. guttural
A. silky
B. grating
Unit 6, Part 2
AFTER YOU READ
Practice
3. impediment
A. obstacle
B. benefit
Unit 6, Part 2
AFTER YOU READ
Practice
4. brooded
A. concentrated
B. daydreamed
Unit 6, Part 2
AFTER YOU READ
Practice
5. sonorous
A. quiet
B. loud
Unit 6, Part 2
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Exploring Science Fiction
Connecting to Literature In “A Sound of Thunder,”
Ray Bradbury takes the reader to another world, where
a machine can make the sun stop “in the sky” and
cause time to roll “backward.” This type of writing is
called science fiction. It has all the elements of fiction—
including characters, events, and a plot—but it deals
with the impact of technology, real or imagined, on
society and individuals. Science fiction is also often set
in the future or in an alternative world. Study the rubric
below to learn the goals and strategies for writing a
successful science fiction story.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Exploring Science Fiction
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Exploring Science Fiction
Assignment
Write a science fiction story that contains dialogue.
As you move through the stages of the writing
process, keep your audience and purpose in mind.
Audience: classmates and peers
Purpose: to entertain by including all of the
elements of a good short story, including setting,
characters, events, exposition, conflict, rising
action, resolution, falling action, and dialogue
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Analyzing a Professional Model
In the short story on pages 1257–1259 of your
textbook, Isaac Asimov presents a not-so-future
world in which computers are used to create
conditions for, and to fight, wars. As you read the
story, identify story elements as well as features of
science fiction. Pay close attention to the
comments in the margin. They point out features
that you might want to include in your own story.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Analyzing a Professional Model
Reading-Writing Connection Think about the
writing techniques that you have just encountered
and try them out in the science fiction story you
write.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Prewriting
Brainstorm Setting, Characters, Events, and
Focus Before writing your story, think through
many ideas and then choose the best ones.
► Begin by thinking about where and when your
story will take place. Make a list of possible
settings.
► Think about who will appear in your story. List
your characters.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Prewriting
► Decide what will happen to your characters. List
possible events.
► Create a science fiction focus. Brainstorm about
issues related to science and technology that
you could explore in a story.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Prewriting
Make a Story Map A story must have a conflict or
a problem to solve. It must also be told in a logical
order. Making a story map will help ensure that
you have ideas for all the story elements before
you begin writing. It will also help you put your
ideas, especially the events, in order.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Prewriting
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Prewriting
Talk About Your Ideas Meet with a partner. Use
your story map to help you summarize the ideas you
have for your story so far. Ask your partner for
suggestions about what to add, take out, or do
differently. To develop your writing voice, listen to
your own speaking voice now as you retell the most
important or exciting parts of the story, such as the
conflict or high point of the action. Work with your
partner to identify the words and phrases that reflect
your voice—which should be part of your written
story. Jot down those words and phrases.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Prewriting
Develop Dialogue Look at your events again.
Decide what the characters will be thinking to
themselves or saying to one another at the most
important moments of the story. Also think about
how the characters’ words and thoughts can help
you get the story started or move the plot along.
Make some notes.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Drafting
Create paragraphs Whenever the time or place
changes, or when you write dialogue, be sure to
create a new paragraph. Finally, your ending or
resolution should be stated in a separate
paragraph.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Analyzing a Workshop Model
On page 1261 of your textbook is a final draft
of a science fiction story. Read the story and
answer the questions in the margin. Use the
answers to guide you as you write.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Revising
Peer Review When you finish your draft, ask a
classmate to read it. Have your classmate identify
the characters, the problem or conflict, the events,
and the resolution or ending. Then ask your
reviewer to make suggestions about where to
change background information or dialogue, or add
more details about the conflict and how it builds up.
Ask your reviewer to review the traits of strong
writing, too; then think about how they apply to your
work.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Revising
Use the rubric below to help you evaluate your
writing.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Using Dialogue
Dialogue in a story helps bring characters to life. It
can show their motives, thoughts, and values. It
can also reveal their relationships to other
characters and to the conflict. As you revise your
narrative, look for places where you can add
dialogue or replace flat statements with dialogue.
Note how dialogue improves the passage from the
Workshop Model on the following slides.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Using Dialogue
Draft:
As I make my way to the bridge, I remember how
upset Laura was when I told her of my plan to join
the crew of the Zodiac, a space explorer. She
worried about how much I’d be gone, so I asked
her to come with me. I said I’d get her a job on the
Zodiac.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Using Dialogue
Revision:
As I make my way to the bridge, I remember how
upset Laura was when I told her of my plan to join the
crew of the Zodiac, a space explorer.
“You’ll be gone so much. I may not see you again!” she
cried.1
“Come with me,” I pleaded. “I can get you a job on
the Zodiac, too.”
1: shows character’s feelings
2: shows character’s values
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Editing and Proofreading
Get It Right When you have completed the final
draft of your story, proofread it for errors in
grammar, usage, mechanics, and spelling. Refer
to the Language Handbook, pages R46–R60, as a
guide.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Correcting Shifts in Point of View
Stories are often told from the third-person point of
view. The narrator uses pronouns such as he, she,
and they to tell the story. Many stories are told from
the first-person point of view. A character in the story
uses the pronoun I to tell what is happening. You
should tell your story in third person or first person,
but not both. You should also avoid shifting to the
second person. On the following slides are examples
of shifts in point of view and corrections from the
Workshop Model.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Correcting Shifts in Point of View
Problem: The narrative shifts from the first person
to the third person.
I knew that the wide-open universe was calling
me. He packed his things, and in the morning he
left—but not without a few tears of his own.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Correcting Shifts in Point of View
Solution: Make sure that all personal pronouns are
first-person pronouns.
I knew that the wide-open universe was calling
me. I packed my things, and in the morning I
left—but not without a few tears of my own.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Correcting Shifts in Point of View
Problem: The narrative shifts inappropriately to the
second person (you).
The atmosphere is so toxic there that you
couldn’t last thirty seconds without a suit.
Solution: Use a noun or another pronoun that
makes sense in the context of the sentence.
The atmosphere is so toxic there that a person
couldn’t last thirty seconds without a suit.
Unit 6, Part 2
WRITING WORKSHOP
Short Story
Presenting
One Last Look If you word process your work,
read it again after you print it out. Sometimes, it is
easier to see errors on paper than on the screen.
Make all corrections neatly in red or blue ink. To
cross something out, draw a single line through the
word or words.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Presenting an Oral Interpretation of a Short
Story
Connecting to Literature Science fiction stories
such as “A Sound of Thunder” are often full of
interesting events, complicated choices, moral
questions, and characters in conflict. Like other
literary genres, they offer much to discuss—and
much to discover through the process of sharing
interpretations. In this workshop, you will learn how
to participate in a group discussion in which all
group members present their oral interpretations of
a science fiction story.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Presenting an Oral Interpretation of a Short
Story
Assignment
In a group, discuss and interpret a science fiction
story, using accurate and detailed references to
the text.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Planning Your Group Discussion
In a group discussion, every member must be
an active participant, contributing through active
speaking and listening strategies. To ensure that
everyone takes an active role, assign specific
group tasks such as the following:
• Leader or Facilitator This person introduces
the topic, keeps the discussion focused, and
keeps track of time.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Planning Your Group Discussion
• Recorder This person keeps track of the most
important points and takes the lead in
summarizing the discussion.
• Group Participants All group participants,
including the leader and the recorder, present
ideas and ask questions about the literature;
support their opinions with details from the
literature; and evaluate, respect, and respond to
the interpretations and questions of others.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Planning Your Group Discussion
After you assign roles, work with the rest of the
group to plan ways to achieve the following
goals for a group discussion that interprets a
story:
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Planning Your Group Discussion
• Make judgments about the story.
• Support each judgment with words and passages
from the story.
• Point out stylistic devices (such as imagery) and
their effects.
• Discuss the questions raised in the text, such as
the problems created by new technology.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Interpreting the Literature
What can you say about the literature? Follow these
steps for thinking of your own interpretations and
questions.
• Review the story under discussion. Summarize the
story, or make a story map showing its main
events, its conflict, and its resolution, or ending.
• Ask questions. Many of the best questions about
literature begin with the questions why, how, or
how well. Complete an organizer like the one
shown on the following slide, substituting your own
questions.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Interpreting the Literature
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Preparing for the Group Discussion
As a group member, you can prepare for the
discussion this way:
• Plan a logical order in which to present your
points.
• Rehearse the points you will make.
• Gather references to the text or quotations from
the story as support.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Preparing for the Group Discussion
As a group, you can prepare for the discussion
this way:
• Decide on a format. For example, will each
person have a certain amount of time to speak?
Will the discussion follow a specific order?
• Decide how and when to end discussion and how
to summarize.
Unit 6, Part 2
SPEAKING, LISTENING, AND VIEWING WORKSHOP
Group Discussion
Preparing for the Group Discussion
Unit 6, Part 2
BELLRINGER
Criminal
What does it mean to be a criminal?
Once someone is a criminal, is that
person a criminal for life?
Unit 6, Part 2
BELLRINGER
Do you believe in the supernatural?
Explain.
Unit 6, Part 2
CHECKPOINT QUESTIONS
Where did Jimmy go first upon his release
from prison?
0%
0%
0%
0%
A. Richmond, Indiana
B. a restaurant
C. a bank
D. the train depot
Unit 6, Part 2
CHECKPOINT QUESTIONS
According to the narrator, what happens to Jimmy
when he see Annabel Adams for the first time?
0%
0%
0%
0%
A. He tries to behave like another man.
B. He is struck by a feeling that he
knows the woman.
C. He realizes that she is the key to
robbing the bank.
D. He decides that the Elmore bank job
will be his last.
Unit 6, Part 2
CHECKPOINT QUESTIONS
Why does Jimmy open a shoe business in
Elmore?
0%
0%
0%
0%
A. He always wanted to open a shoe
store.
B. He adored the community.
C. He needed more time in which to
plan the bank robbery.
D. He fell in love and decided to quit
being a burglar.
Unit 6, Part 2
CHECKPOINT QUESTIONS
What happened to Agatha while at the
bank?
A. She is scolded by Jimmy for revealing
0%
the contents of his suitcase.
B. She faints at the sight of Ben Price.
0%
0%
0%
C. She gets locked in the vault.
D. She see Jimmy’s “Most Wanted”
poster on the wall.
Unit 6, Part 2
CHECKPOINT QUESTIONS
What does Ben Price do after Jimmy frees
Agatha from the Vault?
0%
A. He takes Jimmy’s suitcase.
B. He tells Annabel and her family all
0%
about Jimmy’s past.
C. He pretends he doesn’t know Jimmy
0%
and lets him go.
D. He arrests him on the spot.
0%
Unit 6, Part 2
CHECKPOINT QUESTIONS
What does the Hungarian man do to pass the
time with the narrator while they wait for the bus?
0%
0%
0%
0%
A. tells the narrator about his clothes
B. tells the narrator the story of Count
Hugo Boyanus
C. plays cards with the narrator
D. sings songs to the narrator
Unit 6, Part 2
CHECKPOINT QUESTIONS
Why did Count Boyanus leave Hungary?
0%
0%
0%
0%
A. All his money was in banks in
England.
B. He was a wanted criminal.
C. He wanted Stiva to grow up in
England.
D. He was forced to leave because of a
revolution.
Unit 6, Part 2
CHECKPOINT QUESTIONS
What did the count do to try to change the
woman’s mind?
0%
A. He gave her money.
B. He helped take care of her family’s
0%
estate
C. He wrote the woman poems.
0%
0%
D. He visited her everyday.
Unit 6, Part 2
CHECKPOINT QUESTIONS
What happened to Stiva and Count
Boyanus?
0%
0%
0%
0%
A. The count was arrested and Stiva
was set free.
B. Stiva disappeared when the count
died of old age.
C. Stiva and the count returned to
Hungary.
D. Stiva and the count both fell into the
Stride.
Unit 6, Part 2
CHECKPOINT QUESTIONS
Who was the old Hungarian man who was
with the narrator?
0%
0%
0%
0%
A. Stiva’s younger brother, Matvey
B. Will Thorne’s brother
C. The ghost of Count Boyanus
D. Stiva
Unit 6, Part 2
► Literary Terms
Handbook
► Reading Handbook
► Foldables
► Writing Handbook
► Business Writing
► Language Handbook
REFERENCE
► Test-Taking Skills
Handbook
► Daily Language
Practice
Transparencies
► Grammar and Writing
Workshop
Transparencies
Unit 6, Part 2
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