English Language Arts - DOC 2

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					            Los Angeles County Office of Education

                 English/Language Arts


                 11th/12th Grade Standards


 Word      Comprehension        Response to       Writing       Written
Analysis   of Informational      Literature      Strategies   Conventions
 1.1 (2)         2.1 (1)           3.1 (1)         1.1 (3)      1.1 (1)
 1.2 (2)         2.2 (1)           3.2 (1)         1.2 (1)      1.2 (1)
 1.3 (2)         2.3 (1)           3.3 (1)         1.3 (1)
                 2.4 (1)           3.4 (2)         1.4 (1)
                 2.5 (1)          3.5.2 (2)        1.5 (1)
                 2.6 (1)          3.5.3 (1)        1.9 (1)
                                   3.6 (1)
                                   3.8 (1)
                                   3.9 (1)

                          Developed by
 Division of Alternative Education/Juvenile Court & Community
                            with support from
                         The BridgeWorks Group

                              September, 2007
                             Table of Contents

     Reading              Author        Questions       Standards          Test
   Reading One:           William             1-5    Writing Strategies
 “A Rose for Emily”      Faulkner                           1.2
                                                            1.3             5

                                                      Response to
  Reading Two:           No Author           6-10     Word Analysis
“Analyzing A Model        Listed                           1.3
    Web Site”
                                                     Comprehension of
                                                       Informational        8-9

                                                     Writing Strategies
  Reading Three:        Rita Dove /          11-13   Writing Strategies
 “Adolescence III” /   Robert Henrich                       1.1
 “To The Virgins, to
Make Much of Time”                                     Response to
                                                        Literature          11

                                                       Response to
  Reading Four:        Lady Isabella         14-16     Response to
 “The Rising of the      Augusta                        Literature
      Moon”              Gregory                            3.1
                                                            3.8             15

                                                     Writing Strategies

  Reading Five:       Rudyard Kipling       17-20    Word Analysis
  “The Miracle of                                        1.2
  Puran Bhagat”
                                                     Response to           18
  Reading Six:        John Steinbeck        21-23    Word Analysis
“Why Soldiers Won‟t                                       1.1
      Talk”                                               1.3
                                                      Response to

 Reading Seven:        Toni Morrison        24-28    Word Analysis
 “Thoughts on the                                        1.1
       Novel”                                       Comprehension of     23 - 24
  Reading Eight:        No Author           29-33        Written
   “Revising and         Listed                       Conventions
      Editing”                                             1.1
                                                                         26 - 27
                                                    Writing Strategies

Reading One
Title: “A Rose for Emily”
Author: William Faulkner
Pages: 517-518 (yellow)

         When Miss Emily Grierson died, our whole town went to her funeral: the men through a sort
of respectful affection for a fallen monument, the women mostly out of curiosity to see the inside of
her house, which no one save an old manservant – a combined gardener and cook – had seen in at
least ten years.
         It was a big, squarish frame house that had once been white, decorated with cupolas and
spires and scrolled balconies in the heavily lightsome style of the seventies, set on what had once
been our most select street. But garages and cotton gins had encroached and obliterated even the
august names of that neighborhood; only Miss Emily‟s house was left, lifting its stubborn and
coquettish decay above the cotton wagons and the gasoline pumps – an eyesore among eyesores.
And now Miss Emily had gone to join the representatives of those august names where they lay in
the cedar-bemused cemetery among the ranked and anonymous graves of Union and Confederate
soldiers who fell at the battle of Jefferson.
         Alive, Miss Emily had been a tradition, a duty, and a care; a sort of hereditary obligation upon
the town, dating from that day in 1894 when Colonel Sartoris, the mayor – he who fathered the edict
that no Negro woman should appear on the streets without an apron – remitted her taxes, the
dispensation dating from the death of her father on into perpetuity. Not that Miss Emily would have
accepted charity. Colonel Sartoris invented an involved tale to the effect that Miss Emily‟s father had
loaned money to the town, which the town, as a matter of business, preferred this way of repaying.
Only a man of Colonel Sartoris‟ generation and thought could have invented it, and only a woman
could have believed it.
         When the next generation, with its more modern ideas, became mayors and aldermen, this
arrangement created some little dissatisfaction. On the first of the year, they mailed her a tax notice.
February came and there was no reply. They wrote her a formal letter, asking her to call at the
sheriff‟s office at her convenience. A week later the mayor wrote her himself, offering to call or to
send his car for her, and received in reply a note on paper of an archaic shape, in a thin, flowing
calligraphy in faded ink, to the effect that she no longer went out at all. The tax notice was also
enclosed, without comment.
         They called a special meeting of the Board of Aldermen. A deputation waited upon her,
knocked at the door through which no visitor had passed since she ceased giving china-painting
lessons eight or ten years earlier. They were admitted by the old Negro into a dim hall from which a
stairway mounted into still more shadow. It smelled of dust and disuse – a close, dank smell. The
Negro led them into the parlor. It was furnished in heavy, leather covered furniture. When the
Negro opened the blinds of one window, they could see that the leather was cracked; and when they
sat down, a faint dust rose sluggishly about their things, spinning with slow motes in the single sun-
ray. On a tarnished gilt easel before the fireplace stood a crayon portrait of Miss Emily‟s father.
         They rose when she entered – a small, fat woman in black, with a thin gold chain descending
to her waist and vanishing into her belt, leaning on an ebony cane with a tarnished gold head. Her
skeleton was small and spare; perhaps that was why what should have been merely plumpness in
another was obesity in her. She looked bloated, like a body long submerged in motionless water,
and of that pallid hue. Her eyes, lost in the fatty ridges of her face, looked like two small pieces of
coal pressed into a lump of dough as they moved from one face to another while the visitors stated
their errand.
         She did not ask them to sit. She just stood in the door and listened quietly until the
spokesman came to a stumbling halt. Then they could hear the invisible watch ticking at the end of
the gold chain.

1. (WS1.2)
Which sentence from A Rose for Emily expresses the writer’s point of view?

   A.   “When Miss Emily Grierson died, out whole town went to her funeral.”
   B.   “It was a big, squarish frame house that had once been white.”
   C.   “Alive, Miss Emily had been a tradition, a duty, and a care…”
   D.   “On the first of the year they mailed her a tax notice.”

2. (WS1.3)
Which of these would best support the main idea of the short story A Rose for

   A.   “Her voice was cold and dry…”
   B.   “She looked bloated…”
   C.   “We are the city authorities, Miss Emily.”
   D.   “So She vanquished them, horse and foot, just as she had vanquished their
        fathers thirty years before…”

3. (RL3.2)
In which of the following excerpts does Faulkner’s description of Miss Emily
represent a view of the times and makes a comment on life?

   A. “Alive, Miss Emily had been a tradition, a duty, and a care…”
   B. “Miss Emily‟s father loaned money to the town.”
   C. “And now Miss Emily had gone to join the representatives of those August
   D. “On a tarnished gilt easel before the fireplace stood a crayon portrait of Miss
      Emily‟s father.”

4. (RL3.5.3)
“When the next generation, with its more modern ideas, became mayors and
aldermen…”, which arrangement created dissatisfaction?

   A. Miss Emily‟s father loaning money to the town.
   B. The town using the money loaned by Miss Emily‟s father to pay her property
   C. Miss Emily accepting charity.
   D. The town‟s Board of Aldermen mailing Miss Emily a tax bill.

5. (RL3.9)
What literary trend is found in Faulkner’s, A Rose For Emily?

   A.   Colonial
   B.   Southern Gothic
   C.   Early American
   D.   Modern
Title: Analyzing A Model Web Site
Author: No Author Listed
Pages: 1176-1177 (purple)

Reaching out through the Web…
During World Wars I and II, people around the world tuned in their radios to learn how
the war was progressing and to listen to political leaders such as Winston Churchill
deliver important speeches. Radio broadcasting revolutionized communication by
allowing people to learn about events as they happened. Today, the World Wide Web
allows more people to communicate faster than ever before. The Web contains millions
of Web sites that offer news and information about individuals, companies, and

Web Site at a Glance:

                                   Visual Information
                                   - pictures - colors
                                   - graphics - tints

    Verbal information                                                 Hypertext Links
    - paragraphs                                                       Links to supporting
    - captions                                                         documents & other
    - labels                                                           websites


    A successful Web site should:
    - clearly show what the site is about             - include well written text that provides
    - be designed in a logical manner so                 accurate and current information
      that users can easily navigate through          - provide working links to other
      parts of the site                                 reliable Web sites related to the
    - use graphics to add to or clarify written         main topics
      information                                     - offer text, graphics, and links that
                                                        relate to each other and that work
                                                        together to create a whole

Carl’s Model Web Site:

                                        Carl’s Home Page
                                        Hi! I’m Carl. I’m seventeen and live in
        LINKS                           Beaumont, Texas. I am interested in all kinds
                                        of things, but most recently I have become a
                                        peer mediator in our school’s conflict
                                        resolution program. I believe that peace begins
                                        with individuals, and I encourage everyone I
                                        know to take steps to participate in peace.
     Grant H.S. Tigers                           I am also on the soccer team and am
      Game Schedule                     involved in other school organizations.

                                                “Give peace a chance.”
                                                  John Lennon & Paul McCartney

                                        Participate in Peace
                          Make a commitment to creating a more peaceful world.

     Peer Mediator                      Visit some peace museums to find out
       Program                          what’s behind the words and actions of
                                        individuals and groups.

                                        There are many organizations that
                                        sponsor peace projects that promote a
                                        more peaceful world.

                                        Check out Nobel Peace Prize recipients
                                        from the past 95 years to find some
   Participate in Peace
                                        great role models.

6. (RW1.3)
The relationship between text and graphics is the same as the relationship
between words and ____________.

   A.   links
   B.   symbols
   C.   tints
   D.   pictures

7. (RC2.3)
A successful website should include all of the following except ____________.

   A. clearly show what the site is about.
   B. use graphics to add to or clarify written information.
   C. include well written text that provides accurate and current information.
   D. small text and unauthorized information.

8. (RC2.6)
The author of “Analyzing a Model Web Site” shares the view that _____________.

   A. the World Wide Web does not contain enough information to allow people to
   B. websites only offer news about organizations.
   C. the world Wide Web allows more people to communicate faster than ever before.
   D. to have your own website you must belong to an organizations.

9. (RC2.1)
What is the author’s main purpose of the information provided?

   A.   To develop a model website.
   B.   To offer news and information about organizations.
   C.   To learn how to navigate the World Wide Web.
   D.   To learn how to conduct research.

10. (WA1.2)
Which word is the correct term for information characterized by a written or
drawn representation?

   A.   Graphic
   B.   Hypertext
   C.   Captions
   D.   Link

Reading Three
Title: “Adolescence III” / “To the Virgins, to Make Much of Time”
Author: Rita Dove / Robert Herrick
Pages: 803 (yellow) / 464 (purple)

                   Adolescence III
With Dad gone, Mom and I worked
The dusky rows of tomatoes.
As they glowed orange in sunlight
And rotted in shadow, I too
Grew orange and softer, swelling out
Starched cotton slips.

The texture of twilight made me think of
Lengths of Dotted Swiss. In my room
I wrapped scarred knees in dresses
That once went to big-band dances;
I baptized my earlobes with rosewater.
Along the window-sill, the lipstick stubs
Glittered in their steel shells.

Looking out at the rows of clay
And chicken manure, I dreamed how it would happen:
He would meet me by the blue spruce,
A carnation over his ear, saying,
“I have come for you, Madam;
I have loved you in my dreams.”
At his touch, the scabs would fall away.
Over his shoulder, I see my father coming toward us:
He carries his tears in a bowl,
And blood hangs in the pine-soaked air.
       To the Virgins, to Make Much of Time
Gather ye rosebuds while ye may,
       Old time is still a-flying;
And this same flower that smiles today
       Tomorrow will be dying.

The glorious lamp of heaven, the sun,
       The higher he‟s a-getting,
The sooner will his race be run,
       And nearer he‟s to setting.

That age is best which is the first,
       When youth and blood are warmer;
But being spent, the worse, and worst
       Times still succeed the former.

Then be not coy, but use your time
       And, while ye may, go marry;
For, having lost but once your prime,
       You may forever tarry.

11. (WS1.1)
Which of the following best states the speaker’s apparent purpose in the poem
“To the Virgins, to Make Much of Time”?

   A. To convey to the reader that time is of the essence.
   B. To suggest that with time comes love.
   C. To communicate to the reader to use time wisely.
   D. To tell the reader that time passes and with it the opportunity to love.

12. (RL3.4)
Which of the following sentences from the poem “Adolescence III” best displays
the use of imagery?

   A.   “With Dad gone, Mom and I worked the dusky rows of tomatoes.”
   B.   “I baptized my earlobes with rosewater.”
   C.   “Along the window-sill, the lipstick stubs glittered in their steel shells.”
   D.   “He would meet me by the blue spruce.”

13. (RL3.4)
In lines 4-6 of “Adolescence III” when the poet mentions “I too grew orange and
softer, swelling out starched cotton slips…”, she is comparing herself to

   A.   sunlight.
   B.   her father.
   C.   her mother.
   D.   tomatoes.

Reading Four
Title: “The Rising of the Moon”
Author: Lady Isabella Augusta Gregory
Pages: 995-997 (purple)

Cast of Characters:
Policeman X
Policeman B
A Ragged Man

Scene: Side of a quay in a seaport town. Some posts and chains. A large barrel. Enter three
policemen. Moonlight. Sergeant, who is older than the others, crosses the stage to right and
looks down steps. The others put down a pastepot and unroll a bundle of placards.

Policeman B. I think this would be a good place to put up a notice. (He points to barrel.)

Policeman X. Better ask him. (calls to Sergeant) Will this be a good place for a placard? (no

Policeman B. Will we put up a notice here on the barrel? (no answer)

Sergeant. There‟s a flight of steps here that leads to the water. This is a place that should be
   minded well. If he got down here, his friends might have a boat to meet him; they might
   send it in here from outside.

Policeman B. Would the barrel be a good place to put a notice up?

Sergeant. It might; you can put it there. (They paste the notice up.)

Sergeant. (reading it). Dark hair-dark eyes, smooth face, height five feet five – there‟s not
   much to take hold of in that – It‟s a pity I had no chance of seeing him before he broke out of
   jail. They say he‟s a wonder, that it‟s he makes all the plans for the whole organization.
   There isn‟t another man in Ireland would have broken jail the way he did. He must have
   some friends among the jailers.

Policeman B. A hundred pounds is little enough for the Government to offer for him. You may
   be sure any man in the force that takes him will get promotion.

Sergeant. I‟ll mind this place myself. I wouldn‟t wonder at all if he came this way. He might
   come slipping along there (points to side of quay), and his friends might be waiting for him
   there (points down steps), and once he got away it‟s little chance we‟d have of finding him;
   it‟s maybe under a load of kelp he‟d be in a fishing boat, and not one to help a married man
   that wants to the reward.

Policeman X. And if we get him itself, nothing but abuse on our heads for it from the people,
   and maybe from our own relations.

Sergeant. Well, we have to do our duty in the force. Haven‟t we the whole country depending
   on us to keep law and order? It‟s those that are down would be up and those that are up

   would be down, if it wasn‟t for us. Well, hurry on, you have plenty of other places to placard
   yet, and come back here then to me. You can take the lantern. Don‟t be too long now. Its
   very lonesome here with nothing but the moon.

Policeman B. It‟s a pity we can‟t stop with you. The Government should have brought more
   police into the town, with him in jail, and at assize time too. Well, good luck to your watch.
   They go out.)

Sergeant. (walks up and down once or twice and looks at placard). A hundred pounds and
   promotion sure. There must be a great lead of spending in a hundred pounds. It‟s a pity
   some honest man not to be the better of that. (A ragged man appears at left and tries to slip
   past. Sergeant suddenly turns.)

Man. I‟m a poor ballad singer, your honor. I thought to sell some of these (holds out bundle of
  ballads) to the sailors. (He goes on.)

Sergeant. Stop! Didn‟t I tell you to stop? You can‟t go on there.

Man. Oh, very well. It‟s a hard thing to be poor. All the world‟s against the poor!

Sergeant. Who are you?

Man. You‟d be as wise as myself if I told you, but I don‟t mind. I‟m one Jimmy Walsh, a ballad

Sergeant. Jimmy Walsh? I don‟t know that name.

Man. Ah, sure, they know it well enough in Ennis. Were you ever in Ennis, Sergeant?

Sergeant. What brought you here?

Man. Sure, it‟s to the assizes I came, thinking I might make a few shillings here or there. It‟s in
  the one train with the judges I came.

Sergeant. Well, if you came so far, you may as well go farther, for you‟ll walk out of this.

Man. I will, I will; I‟ll just go on where I was going. (goes toward steps)

Sergeant. Come back from those steps; no one has leave to pass down them tonight.

Man. I‟ll just sit on the top of the steps till I see will some sailor boy a ballad off me that would
give me my supper. They do be late going back to the ship. It‟s often I saw them in Cork
carried down the quay in a handcart.

Sergeant. Move on, I tell you. I won‟t have anyone lingering about the quay tonight.

Man. Well, I‟ll go. It‟s the poor that have the hard life! Maybe yourself might like one,
Sergeant. Here‟s a good sheet now. (turns one over) “Content and a pipe” – that‟s not much.
“The Peeler and the Goat” – you wouldn‟t like that. “Johnny Hart” – that‟s a lovely song.

Sergeant. Move on.

Man. Ah, wait till you hear it. (sings)
      There was a rich farmer’s daughter lived near the town of Ross;
      She courted a Highland soldier, his name was Johnny Hart;
      Says the mother to her daughter, “I’ll go distracted mad
      If you marry that Highland soldier dressed up in Highland plaid.”

Sergeant. Stop that noise. (Man wraps up his ballads and shuffles toward the steps.)

Sergeant. Where are you going?

Man. Sure you told me to be going, and I am going.

Sergeant. Don‟t be a fool. I didn‟t tell you to go that way; I told you to go back to the town.

Man. Back to the town is it?

Sergeant. (taking him by the shoulder and shoving him before him.) Here, I‟ll show you the
way. Be off with you. What are you stopping for?

Man. (who has been keeping his eye on the notice, points to it). I think I know what you‟re
waiting for, Sergeant.

Sergeant. What‟s that to you?

Man. And I know well the man you‟re waiting for – I know him well – I‟ll be going. (He shuffles

Sergeant. You know him? Come back here. What sort is he?

Man. Come back is it, Sergeant? Do you want to have me killed?

Sergeant. Why do you say that?

Man. Never mind. I‟m going. I wouldn‟t be in your shoes if the reward was ten times as much.
(goes on offstage to left) Not if it was ten times as much.

Sergeant. (rushing after him). Come back here, come back. (drags him back) What sort is
he? Where did you see him?

14. (WS1.1)
Which of the following best states the writer’s apparent purpose in this epic play?

   A.   To celebrate the spirit of the Irish people.
   B.   To present a dialogue between two cultures.
   C.   To express her personal feelings about conflict.
   D.   To show the irony that is often found in conflict.

15. (RL3.1)
To which literary sub-genre is this passage most closely related?

   A.   parody
   B.   allegory
   C.   satire
   D.   pastoral

16. (RL3.8)
There is a conflict that takes place in this story. Which of the following is the
underlying issue of this conflict?

   A.   communism
   B.   autonomy
   C.   women‟s rights
   D.   civil rights

Reading Five
Title: “The Miracle of Purun Bhagat”
Author: Rudyard Kipling
Pages: 901-903 (purple)

There was once a man in India who was Prime Minister of one of the semi-independent native
States in the north-western part of the country. He was a Brahmin, so high-caste that caste
ceased to have any particular meaning for him; and his father had been an important official in
the gay-colored tag-rag and bob-tail of an old-fashioned Hindu Court. But as Purun Dass grew
up he realized that the ancient order of things was changing, and that if any one wished to get
on he must stand well with the English, and imitate all the English believed to be good. At the
same time a native official must keep his own master‟s favor. This was a difficult game, but the
quiet, closed-mouth young Brahmin, helped by a good English education at a Bombay
University, played it coolly, and rose, step by step, to be Prime Minister of the kingdom. That is
to say, he held more real power than his master, the Maharajah.

When the old king – who was suspicious of the English, their railways and telegraphs – died,
Purun Dass stood high with his young successor, who had been tutored by an Englishman; and
between them, though he always took care that his master should have the credit, they
established schools for little girls, made roads, and started State dispensaries and shows of
agricultural implements, and published a yearly blue-book on the “Moral and Material Progress
of the State,” and the Foreign Office and the Government of India were delighted. Very few
native states take up English progress without reservations, for they will not believe, as Purun
Dass showed he did, that what is good for the Englishman must be twice as good for the
Asiatic. The Prime Minister became the honored friends of Viceroys and Governors, and
Lieutenant Governors, and medical missionaries, and common missionaries, and hard-riding
English officers who came to shoot in the State preserves, as well as of whole hosts of tourists
who traveled up and down India in the cold weather, showing how things ought to be managed.
In his spare time he would endow scholarships for the study of medicine and manufactures on
strictly English lines, and write letters to the Pioneer, the greatest Indian daily paper, explaining
his master‟s aims and objects. At last he went to England on a visit, and had to pay enormous
sums to the priests when he came back; for even so high-caste a Brahmin as Puran Dass lost
caste by crossing the black sea. In London he met and talked with every one worth knowing –
men whose names go all over the world – and saw a great deal more than he said. He was
given honorary degrees by learned universities, and he made speeches and talked of Hindu
social reform to English ladies in evening dress, till all London cried, “This is the most
fascinating man we have ever met at dinner since cloths were first laid!”

When he returned to India there was a blaze of glory, for the Viceroy himself made a special
visit to confer upon the Maharajah the Grand cross of the Star of India – all diamonds and
ribbons and enamel; and at the same ceremony, while the cannon boomed, Purun Dass was
made a Knight Commander of the Order of the Indian Empure; so that his name stood Sir Purun
Dass, K.C.I.E.

That evening at dinner in the big Viceregal tent he stood up with the badge and the collar of the
Order on his breast, and replying the toast of his master‟s health, made a speech that few
Englishmen could have surpassed.

Next month, when the city had returned to its sub-baked quiet, he did a thing no Englishman
would have dreamed of doing, for, so far as the world‟s affairs went, he died. The jeweled order
of his knighthood returned to the Indian Government, and a new Prime Minister was appointed

to the charge of affairs, and a great game of General Post began in all the subordinate
appointments. The priests knew what happened and the people guessed; but India is the one
place in the world where a man can do as he pleases and nobody asks why; and the fact that
Dewan Sir Purun Dass, K.C.I.E., had resigned position palace, and power, and taken up the
begging-bowl and ochre-colored dress of a Sunnyasi or holy man, was considered nothing
extraordinary. He had been, as the Old Law recommends, twenty years a youth, twenty years a
fighter – though he had never carried a weapon in his life – and twenty years head of a
household. He had used his wealth and his power for what he knew both to be worth; he had
taken honor when it came his way; he had seen men and cities far and near, and men and cities
had stood up and honored him. Now he would let these things go, as a man drops the cloak he
needs no longer.

17. (RW1.2)
Which term best refers to “belonging to a lower class or rank”?

   A.   subordinate
   B.   submarine
   C.   subterranean
   D.   substitute

18. (RL3.3)
What is ironic about the ending of “The Miracle of Purun Bhagat”?

   A. Purun was born into a high caste, achieved power, and gave it all up.
   B. Purun rose step by step to become a Prime Minister.
   C. The old king was suspicious of the English but Purun proved the English were
   D. The Prime Minister became friends with the Governors, but was an enemy of the
      government in the end.

19. (RL3.5.2)
One feature of this short story that compares two cultures are the __________.

   A.   Hindu caste and Sunnyasi caste.
   B.   English hierarchy and Untouchables.
   C.   Maharajah and the Prime Minister.
   D.   English hierarchy and Hindu caste.

20. (RL3.6)
Rudyard Kipling draws from which of the following archetypes in his portrayal of
the main character in “The Miracle of Purun Bhagat”?

   A.   martyr
   B.   saint
   C.   beggar
   D.   rebel

Reading Six
Title: “Why Soldiers Won‟t Talk”
Author: John Steinbeck
Pages: 1090-1092 (yellow)

         During the years between the last war and this one, I was always puzzled by the
reticence of ex-soldiers about their experiences in battle. If they had been reticent men it would
have been different, but some of them were talkers and some were even boasters. They would
discuss their experiences right up to the time of battle and then suddenly they wouldn‟t talk any
more. This was considered heroic in them. It was thought that what they had seen or done was
so horrible that they didn‟t want to bring it back to haunt them or their listeners. But many of
these men had no such consideration in any other field.
         Only recently have I found what seems to be a reasonable explanation, and the answer
is simple. They did and do not remember – and the worse the battle was, the less they
         In all kinds of combat the whole body is battered by emotion. The ductless glands pour
their fluids into the system to make it able to stand up to the great demand on it. Fear and
ferocity are products of the same fluid. Fatigue toxins poison the system. Hunger followed by
wolfed food distorts the metabolic pattern already distorted by the adrenaline and fatigue. The
body and the mind so disturbed are really ill and fevered. But in addition to these ills, which
come from the inside of a man and are given him so that he can temporarily withstand
pressures beyond his ordinary ability, there is the further stress of explosion.
         Under extended bombardment or bombing the nerve ends are literally beaten. The
eardrums are tortured by blast and the eyes ache from the constant hammering.
         This is how you feel after a few days of constant firing. Your skin feels thick and
insensitive. There is a salty taste in your mouth. A hard, painful know is in your stomach where
the food is undigested. Your eyes do not pick up much detail and the sharp outlines of objects
are slightly blurred. Everything looks a little unreal. When you walk, your feet hardly seem to
touch the ground and there is a floaty feeling all over your body. Even the time sense seems to
be changed. Men who are really moving at a normal pace seem to take forever to pass a given
point. And when you move it seems to you that you are very much slowed down, although
actually you are probably moving more quickly than you normally do.
         Under the blast your eyeballs are so beaten that the earth and the air seem to shudder.
At first your ears hurt, but then they become dull and all your other senses become dull, too.
There are exceptions, of course. Some men cannot protect themselves this way and they
break, and they are probably the ones we call shell-shock cases.
         In the dullness all kinds of emphases change. Even the instinct for self-preservation is
dulled so that a man may do things which are called heroic when actually his whole fabric of
reaction is changed. The whole world becomes unreal. You laugh at things which are not
ordinarily funny and you become enraged at trifles. During this time a kind man is capable of
great cruelties and a timid man of great bravery, and nearly all men have resistance to stresses
beyond their ordinary ability.
         Then sleep can come without warning and like a drug. Gradually your whole body
seems to be packed in cotton. All the main nerve trunks are deadened, and out of the battered
cortex curious dreamlike thoughts emerge. It is at this time that many men see visions. The
eyes fasten on a cloud and the tired brain makes a face of it, or an angel or a demon. And out
of the hammered brain strange memories are jolted loose, scenes and words and people
forgotten, but store in the back of the brain. These may not be important things, but they come
back with startling clarity into the awareness that is turning away from reality. And these
memories are almost always visions.

21. (RW1.1)
When one is under intense combat or attack, this can be referred to as ________.

   A.   Tournament
   B.   Temperament
   C.   Bombardment
   D.   Torment

22. (WA1.3)
The relationship between fatigue and adrenaline is the same as the relationship
between ________________.

   A.   hunger and wolfed food.
   B.   breeze and wind
   C.   sweet and candy
   D.   light and bright

23. (RL3.5.3)
John Steinbeck wrote and published from his wartime experiences until his
death. What literary trend of Steinbeck’s wartime experience in WWII working as
a news correspondent from England, North Africa, and with the Allied invasion of
Italy, can be found in this essay?

   A.   personification.
   B.   similes.
   C.   satire.
   D.   imagery.

Reading Seven
Title: “Thoughts on the African-American Novel”
Author: Toni Morrison
Pages: 974-975 (yellow)

         The label “novel” is useful in technical terms because I write prose that is longer than a
short story. My sense of the novel is that it has always functioned for the class or the group that
wrote it. The history of the novel as a form began when there was a new class, a middle class,
to read it; it was an art form that they needed. The lower classes didn‟t need novels at that time
because they had an art form already: they had songs, and dances, and ceremony, and gossip,
and celebration. The aristocracy didn‟t need it because they had the art that they had
patronized, they had their own pictures painted, their own houses built, and they made sure
there are separated them from the rest of the world. But when the industrial revolution began,
there emerged a new class of people who ere neither peasants nor aristocrat. In large measure
they had no art form to tell them how to behave in the new situation. So they produced an art
form: we call it the novel of manners, an art form designed to tell people something they didn‟t
know. That is, how to behave in this new world, how to distinguish between the good guys and
the bad guys. How to get married. What a good living was. What would happen if you strayed
from the fold. So that early works such as Pamela, by Samuel Richardson, and the Jane
Austen material provided social rules and explained behavior, identified outlaws, identified the
people, habits, and customs that one should approve of. They were didactic in that sense.
That, I think, is probably why the novel was not missed among the so-called peasant cultures.
They didn‟t need it, because they were clear about what their responsibilities were and who and
where was evil, and who and were was good.
         But when the peasant class, or lower class, or what have you, confronts the middle
class, the city, or the upper classes, they are thrown a little bit into disarray. For a long time, the
art form that was that was healing for Black people was music. That music is no longer
exclusively ours, we don‟t have exclusive rights to it. Other people sing it and play it; it is the
mode of contemporary music everywhere. So another form has to take that place, and it seems
to me that the novel is needed by African-Americans now in a way that it was not needed before
– and it is following along the lines of the function of novels everywhere. We don‟t live in places
where we can hear those stories anymore; parents don‟t sit around and tell their children those
classical, mythological archetypal stories that we heard years ago. But new information has got
to get out, and there are several ways to do it. One is in the novel. I regard it as a way to
accomplish certain very strong functions – one being the one I just described.
         It should be beautiful, and powerful, but it should also work. It should have something in
it that enlightens; something in it that opens the door and points the way. Something in it that
suggests what the conflicts are, what the problems are. But it need not solve those problems
because it is not a case study, it is not a recipe. There are things that I try to incorporate into
my fiction that are directly and deliberately related to what I regard as the major characteristics
of Black art, wherever it is. One if which is the ability be both print and oral literature: to
combine those two aspects so that the stories can be read in silence, of course, but one should
be able to hear them as well. It should try deliberately to make you stand up and make you feel
something profoundly in the same way that a black preacher requires his congregation to speak,
to join him in the sermon, to behave in a certain way, to stand up and to weep and to cry and to
accede or to change and to modify – to expand on the sermon that is being delivered. In the
same way that a musician‟s music is enhanced when there is a response from the audience.
Now in a book, which closes, after all – it‟s of some importance to me to try to make that
connection – to try to make that happen also. And, having at my disposal only the letters of the
alphabet and some punctuation, I have to provide the places and spaces so that the reader can

participate. Because it is the affective and participatory relationship between the artist or the
speaker and the audience that is of primary importance, as it is in the other art forms that I have
         To make the story appear oral, meandering, effortless, spoken – to have the reader feel
the narrator, or hearing him or her knock about, and to have the reader work with the author in
the construction of the book – is what‟s important. What is left out is as important as what is
there. To describe sexual scenes in such a way that they are not clinical, not even explicit – so
that the reader brings his own sexuality to the scene and thereby participates in a very personal
way. And owns it. So that there are no adverbs attached to them: “loudly,” “softly,” “he said
menacingly.” The menace should be in the sentence. To use, even formally, a chorus. The
real presence of a chorus. Meaning the community or the reader at large, commenting on the
action as it goes ahead.
         In the books that I have written, the chorus has changed but there has always been a
choral note, whether it is the “I” narrator of Bluest Eye, or the town functioning as a character in
Sula, or the neighborhood and the community that responds in the two parts of town in
Solomon. Or, as extreme as I‟ve gotten, all of nature thinking and feeling and watching and
responding to the action going on in Tar Baby, so that they are in the story: the trees hurt, the
fish are afraid, clouds report, and the bees are alarmed. Those are the ways in which I try to
incorporate, into that traditional genre the novel, unorthodox novelistic characteristics – so that it
is, in my view, Black, because it uses the characteristics of Black art. I am not suggesting that
some of these devices have not been used before and elsewhere – only the reason why I do. I
employ them as well as I can. And those are just some; I wish there were ways in which such
things could be talked about in the criticism. My general disappointment in some of the criticism
that my work has received has nothing to do with approval. It has something to do with the
vocabulary used in order to describe these things. I don‟t like to find my books condemned as
bad or praised as good, when that condemnation or that praise is based on criteria from other
paradigms. U would much prefer that they were dismissed or embraces based on the success
of their accomplishment within the culture out of which I write.
         I don‟t regard Black literature as simply books written by Black people, or simply as
literature written about Black people, or simply as literature that uses a certain mode of
language in which you just sort of drop g‟s. There is something very special and identifiable
about it and it is my struggle to find that elusive but identifiable style in the books. My joy is
when I think that I have approached it; my misery is when I think I can‟t get there.

24. (RW1.1)
When a group is in a state of confusion, they are __________.

   A.   in chaos.
   B.   in disarray.
   C.   in cohesion.
   D.   united.

25. (RC2.1)
Read these lines from the beginning of paragraph 3.
    It should be beautiful, and powerful, but it should also
    work. It should have something in it that enlightens;
    something in it that opens the door and points the way.
    Something in it that suggests what the conflicts are, what
    the problems are.

Morrison’s use of repetition in phrasing and structure
in these lines creates ___________.

   A.   a hostile tone that increases in anger.
   B.   an objective tone based on facts.
   C.   a persuasive tone that builds with intensity.
   D.   a sympathetic tone supported by example.

26. (RC2.2)
In the third sentence of paragraph 2 of “Thoughts on the African-American
Novel”, the word exclusively means _________.

   A.   specifically.
   B.   solely.
   C.   entirely.
   D.   generally.

27. (RC2.4)
Morisson’s reference to chorus at the end of paragraph 4 is __________.

   A.   an argument.
   B.   A summary.
   C.   An accusation.
   D.   A clarification.

28. (RC2.5)
The reader can infer from the passage that Morrison believes that Black literature
is literature that is ______________.

   A.   written by Black people.
   B.   written about Black people.
   C.   written with a certain mode of language.
   D.   written with an identifiable style.

Reading Eight
Title: Student Profile
Author: No Author Listed
Pages: ????

The following is a rough draft of a student’s personality profile. It contains
errors. Use this passage to answer the following five (5) questions.

       (1) Her nickname is „Mique, but don‟t believe it. (2) Chamique Holdsclaw is anything but
meek. (3) She‟s a powerhouse moving on the court as a thoroughbred is on a racetrack. (4)
She has been called “the greatest women‟s basketball player of all time,” yet she always strives
to be better.
       (5) Holdsclaw‟s intensity helps to motivate her teammates. (6) “Once I get it up, it filters
through the team,” she says. (7) Her team is the Tennessee Lady Volunteers. (8) The team
won three consequtive championships. (9) Holdsclaw is definitely the heart and fire of the team.
(10) Her determination helps her live up to her favorite…

29. (WC1.1)
What is the best way to rewrite sentence 4?

   A. She has been called “the greatest women‟s basketball player of all time.” Yet
      she always strives to be better.
   B. She has been called “the greatest women‟s basketball player of all time,” or she
      always strives to be better.
   C. Although she has been called “the greatest women‟s basketball player of all
      time,” yet she always strives to be better.
   D. Correct as is.

30. (WC1.2)
Which word in sentences 7 and 8 is spelled incorrectly?

   A.   Tennessee
   B.   Volunteers
   C.   Consequtive
   D.   Championship

31. (WS1.5)
What tone is achieved in sentence 9?

   A.   nostalgic
   B.   admiring
   C.   serious
   D.   humorous

32. (WS1.4)
The writer includes an analogy in sentence 3m in order to help the reader

   A.   visualize Holdsclaw‟s strength.
   B.   organize Holdsclaw‟s strength.
   C.   review Holdsclaw‟s strength.
   D.   research Holdsclaw‟s strength.

33. (WS1.9)
Which of the following is the best way to combine sentences 7 and 8?

   A. Her team is the Tennessee Lady Volunteers, winner of three consecutive
   B. Her team is the Tennessee Lady Volunteers and the team won three consecutive
   C. Because Holdsclaw plays for the Tennessee Lady Volunteers, the team won
      three consecutive championships.
   D. Her team is the Tennessee Lady Volunteers; therefore, the team won three
      consecutive championships.

 #    Answer          Standard/Sub-Strand         # on       #of Students
                                                BluePrint   Who Answered
                                                            Correctly / Total
                                                             # of Students
1.    C        Writing Strategies 1.2           2                   /
2.    D        Writing Strategies 1.3           4                   /
3.    A        Response to Literature 3.2       1                   /
4.    B        Response to Literature 3.5.3     1                   /
5.    B        Response to Literature 3.9       3                   /
6.    D        Word Analysis 1.3                4                   /
7.    D        Comprehension of Informational   2                   /
               Materials 2.3
8.    C        Comprehension of Informational   6                   /
               Materials 2.6
9.    A        Writing Strategies 1.1           4                   /
10.   A        Word Analysis 1.2                4
11.   D        Writing Strategies 1.1           4                   /
12.   C        Word Analysis 1.2                2                   /
13.   D        Response to Literature 3.4       1                   /
14.   D        Writing Strategies 1.1           4                   /
15.   C        Response to Literature 3.1       3                   /
16.   B        Response to Literature 3.8       3                   /
17.   A        Word Analysis 1.2                2                   /
18.   A        Response to Literature3.3        2                   /
19.   D        Response to Literature 3.5.2     1                   /
20.   B        Response to Literature 3.6       1                   /
21.   C        Word Analysis 1.1                2                   /
22.   A        Word Analysis 1.3                4                   /
23.   D        Response to Literature 3.5.3     1                   /
24.   A        Word Analysis 1.1                2                   /
25.   C        Comprehension of Informational   4                   /
               Materials 2.1
26.   B        Comprehension of Informational   3                   /
               Materials 2.2
27.   D        Comprehension of Informational   2                   /
               Materials 2.4
28.   D        Comprehension of Informational   2                   /
               Materials 2.5
29.   D        Written Conventions 1.1          4                   /
30.   C        Written Conventions 1.2          2                   /
31.   B        Writing Strategies 1.5           2                   /
32.   A        Writing Strategies 1.4           4                   /
33.   B        Writing Strategies 1.9           4                   /


Jun Wang Jun Wang Dr
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