G R A D E 9

English Language Arts

S T U D E N T E D I T I O N

ABOUT THE COLLEGE BOARD Th e College Board is a mission-driven not-for-profi t organization that connects students to college success and opportunity. Founded in 1900, the College Board was created to expand access to higher education. Today, the membership association is made up of more than 6,000 of the world’s leading educational institutions and is dedicated to promoting excellence and equity in education. Each year, the College Board helps more than seven million students prepare for a successful transition to college through programs and services in college readiness and college success—including the SAT® and the Advanced Placement Program®. Th e organization also serves the education community through research and advocacy on behalf of students, educators and schools. For further information, visit www.collegeboard.com.

ISBN: 978-1-4573-0838-3

© 2018 Th e College Board. College Board, Advanced Placement Program, AP, AP Central, AP Vertical Teams, CollegeEd, connect to college success, Pre-AP, SAT, SpringBoard, and the acorn logo are registered trademarks of the College Board. College Board Standards for College Success and English Textual Power are trademarks owned by the College Board. PSAT/NMSQT is a registered trademark of the College Board and National Merit Scholarship Corporation. Microsoft is a registered trademark of Microsoft Corporation. All other products and services may be trademarks of their respective owners.

Common Core State Standards © Copyright 2010. National Governors Association Center for Best Practices and Council of Chief State School Offi cers. All rights reserved.

1 2 3 4 5 6 7 8 18 19 20 21 22 23 24 Printed in the United States of America

ACKNOWLEDGMENTSTh e College Board gratefully acknowledges the outstanding work of the classroom teachers and writers who have been integral to the development of this revised program. Th e end product is testimony to their expertise, understanding of student learning needs, and dedication to rigorous and accessible English Language Arts instruction.

Colleen AncrileEnglish TeacherLos Angeles Unifi ed School DistrictSun Valley, California

Leia BellEnglish TeacherHillsborough County Public SchoolsTampa, Florida

Alli BennettAssistant PrincipalBethel School District 403Spanaway, Washington

Jessica BrockmanEnglish TeacherHillsborough County Public SchoolsTampa, Florida

Kirstin A. DanielsEnglish TeacherSunnyside Unifi ed School DistrictTucson, Arizona

Paul DeMaretSpringBoard/AP English TeacherPoudre School DistrictFort Collins, Colorado

Allison FonsecaEnglish TeacherHillsborough County Public SchoolsTampa, Florida

Karen FullamAdvanced Academics CoordinatorHillsborough County Public SchoolsTampa, Florida

Ron LybargerEnglish Teacher/Department HeadDecatur Public School District #61Decatur, Illinois

Glenn MorganEnglish TeacherSan Diego Unifi ed School DistrictSan Diego, California

Michelle NellonEnglish TeacherLos Angeles Unifi ed School DistrictSun Valley, California

Carmen P. Padilla, M.Ed.English TeacherLos Angeles Unifi ed School DistrictLos Angeles, California

Bryan Craig Sandala6–12 ELA SpecialistSchool District of Palm Beach CountyWest Palm Beach, Florida

Stephanie SharpeEnglish TeacherHillsborough County Public SchoolsTampa, Florida

Holly TalleyWriting CoachHillsborough County Public SchoolsRuskin, Florida

Susan Van DorenEnglish/AP English Language/AP Computer Science TeacherDouglas County School DistrictZephyr Cove, Nevada

Rebecca WenrichEnglish TeacherPeninsula School District 401Gig Harbor, Washington

Tom WilkinsEnglish TeacherFayette County Public SchoolsLexington, Kentucky

SPRINGBOARD ENGLISH LANGUAGE ARTSLori O’DeaExecutive DirectorContent Development

Doug WaughExecutive DirectorProduct Management

Joely NegedlySenior DirectorHumanities Curriculum and Instruction

JoEllen VictoreenSenior Product ManagerEnglish Language Arts

Julie ManleySenior DirectorProfessional Learning

Sarah BalistreriDirectorELA Content Development

Eden OrlandoSpringBoard District Coach

Jacquelyn GomezDistrict Instructional Coach

Jennifer DuvaEnglish Language Arts Editor

Rebecca GrudzinaEnglish Language Arts Editor

Spencer GonçalvesAssociate DirectorSpringBoard Content Development

RESEARCH AND PLANNING ADVISORSWe also wish to thank the members of our SpringBoard Advisory Council and the many educators who gave generously of their time and their ideas as we conducted research for both the print and online programs. Your suggestions and reactions to ideas helped immeasurably as we planned the revisions. We gratefully acknowledge the teachers and administrators in the following districts.

Bellevue School District 405Bellevue, Washington

Fresno Unifi ed School DistrictFresno, California

Hawaii State Department of EducationHonolulu, Hawaii

Hillsborough County Public SchoolsTampa, Florida

Kenton County School DistrictFort Wright, Kentucky

Los Angeles Unifi ed School DistrictLos Angeles, California

Milwaukee Public SchoolsMilwaukee, Wisconsin

Newton County SchoolsCovington, Georgia

Noblesville SchoolsNoblesville, Indiana

Orange County Public SchoolsOrlando, Florida

Quakertown Community School DistrictQuakertown, Pennsylvania

St. Vrain School DistrictLongmont, Colorado

San José Unifi ed School DistrictSan José, California

Scottsdale Public SchoolsPhoenix, Arizona

Seminole County Public SchoolsSanford, Florida

Spokane Public SchoolsSpokane, Washington

Sunnyside Unifi ed School DistrictTucson, Arizona

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9 ContentsTo the Student . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xiCollege and Career Readiness Standards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . xv

Unit 1

Activities1.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 41.2 Talking About Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61.3 Narrative Voices . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Novel: “Spotlight,” excerpt from Speak, by Laurie Halse AndersonIntroducing the Strategy: Double-Entry Journal

1.4 Parallel Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131.5 Defining Experiences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16

Short Story: “Marigolds,” by Eugenia Collier

Language Checkpoint: Understanding Verb Voice and Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281.6 Learning How to Interview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301.7 Conversations with Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341.8 Two Versions of One Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Memoir: from Always Running, by Luis J. Rodriguez Poetry: “‘Race’ Politics,” by Luis J. Rodriguez

Introducing the Strategy: RAFT1.9 Reading an Interview Narrative . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Nonfiction: “WMDs,” by Brian O’ConnorIntroducing the Strategy: SOAPSTone

1.10 Examining the Art of Questioning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51Interview Transcript: “Chuck Liddell,” by Steven Yaccino

1.11 Transforming the Transcript . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 571.12 Planning an Interview. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

Embedded Assessment 1: Writing and Presenting an Interview Narrative  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 61

1.13 Previewing Embedded Assessment 2 and Preparing to Write an Argument . . . . . . . . . . . . . . . . . . . . . . . . . . 63 1.14 Building an Argument. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

Informational Text: “Education Still Pays”1.15 Using Rhetorical Appeals. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

Speech: Remarks by the President in a National Address to America’s Schoolchildren,by Barack Obama

Introducing the Strategy: SMELL1.16 Targeting Your Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79

Editorial: “An Early Start on College,” StarTribune1.17 Evaluating Claims and Reasoning. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83

Opinion: “Why College Isn’t (And Shouldn’t Have to Be) For Everyone,” by Robert ReichOpinion: “Actually, College Is Very Much Worth It,” by Andrew J. Rotherham

Embedded Assessment 2: Writing an Argumentative Essay  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91

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Unit 2

Activities2.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 962.2 Reviewing the Elements of a Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 972.3 Analyzing Writer’s Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1012.4 The Meaning of Imagery and Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Poetry: “Fire and Ice,” by Robert Frost2.5 Shared Gifts: Introducing Irony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

Short Story: “The Gift of the Magi,” by O. HenryIntroducing the Strategy: SIFT

Language Checkpoint: Using Punctuation Within Sentences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1152.6 Close Reading of a Short Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Short Story: “The Stolen Party,” by Liliana Heker (translated by Alberto Manguel)Introducing the Strategy: Levels of Questions

2.7 Introducing a Story of Revenge . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126Informational Text: “Catacombs and Carnival”

2.8 Irony in the Vaults . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Short Story: “The Cask of Amontillado,” by Edgar Allan Poe

Introducing the Strategy: Diffusing2.9 Connecting Symbolism to Meaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Poetry: “A Poison Tree,” by William Blake

Embedded Assessment 1: Writing a Short Story  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

2.10 Previewing Embedded Assessment 2: Thinking About Style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1452.11 Working with Cinematic Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1482.12 Film in Context: An Authorial Study . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

Biographical Essay: “Tim Burton: Wickedly Funny, Grotesquely Humorous”2.13 Setting the Mood and Understanding Tone: Wonka Two Ways . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

Novel: Excerpts from Charlie and the Chocolate Factory, by Roald Dahl*Film: Charlie and the Chocolate Factory (2005), directed by Tim Burton

2.14 Revisiting Wonka: Thinking About Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162*Film: Charlie and the Chocolate Factory (2005), directed by Tim Burton

2.15 More About Stylistic Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163*Film: Charlie and the Chocolate Factory (2005), directed by Tim Burton

2.16 Interpreting Style: Tim Burton’s Edward Scissorhands . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166*Film: Edward Scissorhands (1990), directed by Tim Burton

2.17 Analyzing Burton’s Style: Supporting with Textual Evidence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168*Film: Edward Scissorhands (1990), directed by Tim Burton

2.18 Analyzing Burton’s Style: Explaining with Commentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172*Film: Edward Scissorhands (1990), directed by Tim Burton

2.19 Analyzing Burton’s Style: Bringing to Closure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175*Film: Edward Scissorhands (1990), directed by Tim Burton

2.20 Analyzing Burton’s Style: Writing the Analytical Paragraph . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178*Film: Edward Scissorhands (1990), directed by Tim Burton

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2.21 Independent Viewing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1802.22 Planning a Draft . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

Embedded Assessment 2: Writing a Style Analysis Essay  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185

Unit 3

Activities3.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1903.2 Picturing the Past . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191

*Photographs: Segregation and Desegregation in America: 1930s through 1960s3.3 Setting the Context . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195

Informational Text: “Jim Crow: Shorthand for Separation,” by Rick EdmondsInformational Text: “Jim Crow Laws,” Martin Luther King, Jr. National Historic Site, compiled by the National Park Service

3.4 Researching and Presenting Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203*Website: “The Rise and Fall of Jim Crow,” PBS

3.5 A Time for Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206Letter: from “Letter from Birmingham Jail,” by Martin Luther King, Jr.

3.6 Voices of Change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212Timeline: Civil Rights Timeline

3.7 Historical Research and Citation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2153.8 Reaching an Audience . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Embedded Assessment 1: Historical Investigation and Presentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223

3.9 Previewing Embedded Assessment 2: Writing a Literary Analysis Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . 2253.10 A Story of the Times . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226

Reflective Texts: Excerpt from Scout, Atticus and Boo: A Celebration of To Kill a Mockingbird, by Mary McDonagh Murphy

3.11 A Scouting Party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230Novel: Excerpts from To Kill a Mockingbird, by Harper Lee*Film: Clips from To Kill a Mockingbird, directed by Robert Mulligan

3.12 Conflict with Miss Caroline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235*Novel: To Kill a Mockingbird, by Harper Lee

3.13 Analyzing Boo . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237Novel: Excerpt from To Kill a Mockingbird, by Harper Lee

3.14 Questions and Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243

Language Checkpoint: Using Pronouns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2463.15 Two Views of “One Shot” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250

Novel: Excerpt from To Kill a Mockingbird, by Harper Lee*Film: Clip from To Kill a Mockingbird, directed by Robert Mulligan

3.16 Pin the Quote on Atticus . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253Novel: Excerpt from To Kill a Mockingbird, by Harper Lee

3.17 Shifting Perspectives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257*Novel: To Kill a Mockingbird, by Harper Lee

3.18 A Solitary Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260*Film: Clip from To Kill a Mockingbird, directed by Robert Mulligan*Novel: To Kill a Mockingbird, by Harper Lee

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3.19 Analyzing Atticus’s Closing Argument . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263Novel: Excerpt from To Kill a Mockingbird, by Harper Lee*Film: Clip from To Kill a Mockingbird, directed by Robert Mulligan

3.20 Aftermath and Reflection . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269*Novel: To Kill a Mockingbird, by Harper Lee

3.21 Standing in Borrowed Shoes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273*Novel: To Kill a Mockingbird, by Harper Lee

3.22 “Hey, Boo”. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275*Novel: To Kill a Mockingbird, by Harper Lee

3.23 Controversy in Context. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277Essay: Excerpt from “In Defense of To Kill a Mockingbird,” by Nicholas J. Karolides, et al.

Embedded Assessment 2: Writing a Literary Analysis Essay . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281

Unit 4

Activities4.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2864.2 What Is Poetry?. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287

Poetry: “Poetry,” by Pablo NerudaEssay: from poemcrazy, by Susan Goldsmith Wooldridge

4.3 Literary Devices in Poetry . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2984.4 Examining Experiences and Poetic Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301

Poetry: “Nikki-Rosa,” by Nikki GiovanniPoetry: “We Real Cool,” by Gwendolyn Brooks Art: The Pool Game, by Jacob Lawrence

4.5 Exploring Diction and Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 Poetry: “Fast Break,” by Edward Hirsch

Introducing the Strategy: TWIST4.6 Extended Metaphor and Hyperbolic Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311

Poetry: “Identity,” by Julio Noboa PolancoPoetry: “Ego Tripping,” by Nikki Giovanni

4.7 Exploring Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318Poetry: “Hanging Fire,” by Audre Lorde

4.8 Odes to Special Things . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 321Poetry: “Ode to My Socks,” by Pablo Neruda, translated by Robert Bly Poetry: “Abuelito Who,” by Sandra Cisneros

4.9 Coming of Age in Sonnets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326Sonnet: Sonnet 18, by William Shakespeare

Embedded Assessment 1: Creating a Poetry Anthology  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329

4.10 Unpacking Embedded Assessment 2: Analyzing and Presenting a Poet . . . . . . . . . . . . . . . . . . . . . . . . . . . 331*Song: “Smells Like Teen Spirit,” recorded by Nirvana and by Tori Amos

4.11 Analyzing a Persona Poem . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333Poetry: “In Response to Executive Order 9066: All Americans of Japanese Descent Must Report to Relocation Centers,” by Dwight Okita

4.12 Poetry Analysis of “Young” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336Poetry: “Young,” by Anne Sexton

Introducing the Strategy: TP-CASTT

Exploring Poetic Voices

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4.13 Poetry Café . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339Poetry: “Combing,” by Gladys CardiffPoetry: “I Wandered Lonely as a Cloud,” by William WordsworthPoetry: “Harlem,” by Langston HughesPoetry: “‘Hope’ is the thing with feathers,” by Emily DickinsonPoetry: “Scars,” by Daniel HalpernPoetry: “Ozymandias,” by Percy Bysshe ShelleyPoetry: “American Hero,” by Essex Hemphill

4.14 Exploring and Analyzing a Poet’s Work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347Poetry: “Prayer to the Pacific,” by Leslie Marmon SilkoPoetry: “In Cold Storm Light,” by Leslie Marmon Silko

4.15 Choosing and Researching a Poet . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 4.16 Generating a Rhetorical Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Embedded Assessment 2: Analyzing and Presenting a Poet  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355

Unit 5

Activities5.1 Previewing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 3605.2 Shakespeare’s Age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361

Monologue: Excerpt from As You Like It, by William Shakespeare5.3 A Sonnet Sets the Stage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

Drama: Prologue from Romeo and Juliet, by William Shakespeare5.4 Conflict Up Close . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367

*Drama: Romeo and Juliet, by William Shakespeare (Act I)5.5 Talking by Myself . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371

*Drama: Romeo and Juliet, by William Shakespeare (Act I)5.6 Party Blocking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373

*Film: Two film interpretations of Romeo and Juliet (Act I)5.7 Acting Companies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

*Images: Posters and flyers from Shakespeare productions5.8 What’s in a Setting? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382

*Drama: Romeo and Juliet, by William Shakespeare (Act II)Script: Excerpt from West Side Story, by Arthur Laurents*Film: Two film interpretations of Romeo and Juliet

5.9 Friends and Foils . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389*Drama: Romeo and Juliet, by William Shakespeare (Act II)

5.10 A Wedding and a Brawl . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391*Drama: Romeo and Juliet, by William Shakespeare (Act II–III)*Film: A film interpretation of Romeo and Juliet

5.11 Emotional Roller Coaster . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397*Drama: Romeo and Juliet, by William Shakespeare (Act III)

5.12 TWISTing Their Words . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399*Drama: Romeo and Juliet, by William Shakespeare (Act II–III)

5.13 A Desperate Plan . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402*Drama: Romeo and Juliet, by William Shakespeare (Act IV)

Coming of Age on Stage

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CONTENTScontinued

5.14 The Fault in Their Stars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405*Drama: Romeo and Juliet, by William Shakespeare (Act V)*Film: A film interpretation of Romeo and Juliet

Embedded Assessment 1: Presenting a Dramatic Interpretation  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408

5.15 Previewing Embedded Assessment 2: Is Shakespeare Relevant? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 4105.16 Shakespeare in the Modern Age . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414

Article: “On the Bard’s Birthday, Is Shakespeare Still Relevant?” by Alexandra Petri5.17 Shakespeare’s Globe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 420

Article: “Britain Puts on a Shakespeare Marathon as World Arrives for the Olympic Games,” by Jill LawlessArticle: “On Love and War, Iraq Learns from Shakespeare,” by Shelina Zahra Janmohamed

5.18 Did Shakespeare Invent Teenagers? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428Article: Excerpt from How Shakespeare Changed Everything, by Stephen Marche

5.19 Shakespeare Behind Bars . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434Article: “Kentucky Inmates Turned Actors Explore Selves Through Shakespeare Play,” by Sean Rose

5.20 Give Up the Bard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440Article: “Why It’s Time to Give the Bard the Heave-ho!” by Brandon Robshaw

Embedded Assessment 2: Writing a Synthesis Argument  . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443

Resources

Independent Reading. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447

SpringBoard Learning Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454

Graphic Organizers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460

English-Spanish Glossary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 505

Index of Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .519

Index of Authors and Titles. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 524

Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 526

*Texts not included in these materials.

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To the Student xi

WELCOME TO SPRINGBOARD!

Dear Student,

Welcome to the SpringBoard program! Th is program has been created with you in mind: it contains the English Language Arts content you need to learn, the tools to help you learn, and tasks to strengthen the critical thinking skills that will help you succeed in high school and beyond.

In SpringBoard, you will explore compelling themes through reading, writing, discussions, performances, and research. You will closely read short stories, novels, poems, historical texts, and articles. You’ll also view and interpret fi lms, plays, and audio texts while comparing them to their related print versions. With frequent opportunities to write creatively and analytically throughout the program, you will develop fl uency, research skills, and an understanding of how to craft your writing based on audience and purpose. Th rough collaborative discussions, presentations, performances, and debates with your peers, you will deepen your understanding of the texts you’ve read and viewed and learn how to convey your ideas with clarity and voice.

Tools to help you learn are built into every lesson. At the beginning of each activity, you will see suggested learning strategies, each of which is explained in full in the Resources section of your book. Th ese strategies will help you deeply analyze text, collect evidence for your writing, and critically think about and discuss issues and ideas. Within the activities, you’ll also notice explanations about essential vocabulary and grammar concepts that will enrich your ability to read and write eff ectively.

High school is the time to challenge yourself to develop skills and habits you need to be successful throughout your academic life and career. Th e SpringBoard program provides you with meaningful and engaging activities built on the rigorous standards that lead to college and career success. Your participation in SpringBoard will help you advance your reading, writing, language, and speaking and listening skills, all while helping you build confi dence in your ability to succeed academically.

We hope you enjoy learning with the SpringBoard program. It will give you many opportunities to explore ideas and issues collaboratively and independently and to cultivate new skills as you prepare for your future.

Sincerely,

SpringBoard

To the Student

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xii SpringBoard® English Language Arts Grade 9

AP CONNECTIONSWhen you reach high school, you may have an opportunity to take Advanced Placement (AP) classes or other rigorous courses. When the time comes to make that decision, we want you to be equipped with the kind of higher-order thinking skills, knowledge, and behaviors necessary to be successful in AP classes and beyond. You will see connections to AP in the texts that you read, the strategies you use, and the writing tasks you encounter throughout the course.

Connections to AP Language and Literature will help you:

• Read closely and analyze both literary and nonfi ction texts.

• Analyze relationships among author’s purpose, literary/stylistic devices, rhetorical appeals, and desired eff ects for intended audiences.

• Write with attention to selecting textual evidence and organizational patterns according to purpose and audience.

• Write to interpret and evaluate multiple perspectives in literature.

• Develop the control of language and command of conventions required for academic writing.

PSAT/SAT CONNECTIONSSometime during the course of your academic career, you will likely be expected to take a college readiness test like the PSAT or SAT. Many colleges require applicants to submit SAT scores along with their school transcripts and essays, and a good PSAT score can lead to scholarships and other awards. Th e SAT suite is designed to predict which students are on track to leave secondary school and enter college or a career. Your SpringBoard ELA coursework will help you succeed on the Reading, Writing and Language, and Essay tests.

Th e PSAT/SAT will require you to:

• Read, analyze, and use reasoning to comprehend challenging literary and informational texts to demonstrate and expand your knowledge and understanding.

• Revise and edit texts for expression of ideas and to show facility with a core set of grammar, usage, and punctuation conventions.

• Make careful and considered use of evidence as you read and write.

• Reveal an understanding of relevant words in context and of how word choice helps shape meaning and tone.

THE SPRINGBOARD DIFFERENCESpringBoard is diff erent because it provides instruction with hands-on participation that involves you and your classmates in daily discussions and analysis of what you’re reading and learning. You will have an opportunity to:

• Discuss and collaborate with your peers to explore and express your ideas.

• Explore multiple perspectives by reading a variety of texts—both fi ction and nonfi ction—that introduce you to diff erent ways of thinking, writing, and communicating.

• Examine writing from the perspective of a reader and writer and learn techniques that good writers use to communicate their message eff ectively.

• Gain a deep understanding of topics, enabling you to apply your learning to new and varied situations.

• Take ownership of your learning by practicing and selecting strategies that work for you.

• Refl ect on your growth and showcase your best work as a reader, writer, speaker, and listener in a working Portfolio.

HIGH SCHOOL AT A GLANCEGrade 9Investigating the thematic concept of coming of age, you will read Harper Lee’s novel To Kill a Mockingbird; informational articles about college; short stories by Poe and Collier; historical articles about segregation; poetry by Wordsworth, Neruda, Lorde, and Silko; and Shakespeare’s Romeo and Juliet. From your reading, you will gather evidence from texts and incorporate it

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To the Student xiii

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in written and oral responses, including a presentation using multiple forms of media.

You will encounter more varied and complex writing in this grade as you write in a variety of modes including argumentative, explanatory, and narrative writing. Film texts are a large part of Grade 9 activities. In Unit 2, you will study a fi lm director’s style and analyze how style is evident in the transformation of print texts to fi lms. In Unit 5, you will study Romeo and Juliet and analyze how key scenes are represented in multiple fi lm versions as well as the print text.

Grade 10In this grade, you will explore the thematic concept of culture. Texts include Chinua Achebe’s Th ings Fall Apart, Sophocles’ Antigone, Susan B. Anthony’s “On Women’s Right to Vote,” and the Nobel Prize acceptance speeches of Alexander Solzhenitsyn and Elie Wiesel. You will be challenged to use evidence from these texts in both your written and oral responses. For example, you will study the extent to which one’s culture infl uences one’s worldview, and incorporate textual evidence in a written argument. Research plays a role as you investigate the Ibo culture represented in Th ings Fall Apart and present your fi ndings in a collaborative presentation using digital media.

Film texts play a role when you analyze the degree of objectivity and subjectivity present in documentary fi lms while also gathering evidence about environmental issues.

Grade 11In this grade, you will explore concepts that have shaped American thought and discourse since its revolution through the study of American literature and rhetoric. You will read foundational U.S. documents such as Lincoln’s Second Inaugural Address and Th e Declaration of Independence, essays by Ralph Waldo Emerson and Henry David Th oreau, and poetry by Langston Hughes and Walt Whitman. You will also read full-length works from the 20th century: Arthur Miller’s drama Th e Crucible, Jon Krakauer’s Into the Wild, and Zora Neale Hurston’s Th eir Eyes Were Watching God. Th ese texts will help you gather evidence to incorporate in writing, speeches, performances, and presentations about the

American Dream, what it means to be an American, the freedom of speech, the role of media in a democracy, and literary movements like Transcendentalism and the Harlem Renaissance.

You will compare print and fi lm versions of Th eir Eyes Were Watching God, and study various features of news outlets while working collaboratively to create your own news collection of news pieces.

Grade 12Your SpringBoard journey culminates in Grade 12 with a year-long focus on using literary theory to analyze complex texts through multiple perspectives. You will encounter James Baldwin’s “Stranger in the Village,” George Orwell’s “Shooting an Elephant,” Shakespeare’s Othello, and George Bernard Shaw’s Pygmalion. Th roughout the level, you will learn about and apply Archetypal, Cultural, Feminist, Historical, Marxist, and Reader Response Criticism to both literary and informational texts. You will also use your knowledge of these theories to shed new light on fi lm, photography, and media coverage of newsworthy events, including Hurricane Katrina.

Senior English off ers many opportunities for you to synthesize your learning through rigorous writing and speaking tasks. Independent research, fi lm study, and presentations go hand in hand with your study of print texts, and allow you to develop complex and nuanced understandings of the texts, fi lms, and issues in the course.

CLASSROOM TOOLSAs you move through each SpringBoard unit, your teacher will guide you to use tools that will help you develop strong study habits, keep your work organized, and track your learning progress.

Reader/Writer NotebookYour Reader/Writer Notebook is a place to record and keep track of vocabulary words, grammar practice, notes and refl ections on readings, some writing assignments, brainstorms, and other items as determined by your teacher. You will use your Reader/Writer Notebook oft en, so think of it as an extension of the main SpringBoard book.

TO THE STUDENT

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xiv SpringBoard® English Language Arts Grade 9

continued

Word WallYour teacher will regularly add new vocabulary words to the class Word Wall. Th e Word Wall gives you and your classmates a visual reminder of the words you are learning throughout the unit of study. Also, you can use the Word Wall to easily check the spelling of new words.

Performance PortfolioYour Performance Portfolio is a place to keep your assignments organized so that you can see your growth and learning across the school year. Keeping a portfolio will make it easier to share your work with others, refl ect on what you are learning, revise certain pieces of work, and set goals for future learning.

Your teacher will guide you to include items in your portfolio that illustrate a wide range of work, such as fi rst draft s, fi nal draft s, quickwrites, notes, reading logs, graphic organizers, audio and video examples, and graphics that represent a variety of genres, forms, and media created for a multitude of purposes. As you progress through the course, you will have opportunities to revisit prior work, revise it based on new learning, and refl ect on the learning strategies and activities that help you be successful.

Independent ReadingBased on your personal interests and preferences, you will be encouraged to select books, articles, and other texts to read independently. Reading independently not only reinforces the learning you’re doing in class, but it also gives you a chance to expand your knowledge about topics that fascinate you.

You can fi nd Independent Reading Lists in the Resources section at the back of your book. Th e lists provide ideas for texts that complement the reading you’re doing in each SpringBoard unit. Th ese are suggestions to get you started, but you may also choose other readings with input from your teacher, family, and peers.

While you work your way through each SpringBoard unit, your teacher will give you time to read independently. You can record general thoughts or reactions to your independent reading in the Independent Reading Log in the Resources section of your book. You may also use the Independent Reading Log to respond to the occasional Independent Reading Links that you’ll encounter in each SpringBoard unit. Th ese links prompt you to think about your independent reading by responding to questions, doing research, making connections between texts and themes, discussing ideas in book groups, and recommending titles to your classmates.

We hope you enjoy exploring the texts, topics, and themes in SpringBoard and that you feel inspired to deepen your reading, writing, speaking, and analytic skills through the program.

TO THE STUDENTcontinued

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College and Career Readiness Standards xv

Reading Standards for Literature

Key Ideas and Details

RL.9–10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RL.9–10.2 Determine a theme or central idea of a text and analyze in detail its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

RL.9–10.3 Analyze how complex characters (e.g., those with multiple or conflicting motivations) develop over the course of a text, interact with other characters, and advance the plot or develop the theme.

Craft and Structure

RL.9–10.4 Determine the meaning of words and phrases as they are used in the text, including figurative and connotative meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language evokes a sense of time and place; how it sets a formal or informal tone).

RL.9–10.5 Analyze how an author’s choices concerning how to structure a text, order events within it (e.g., parallel plots), and manipulate time (e.g., pacing, flashbacks) create such effects as mystery, tension, or surprise.

RL.9–10.6 Analyze a particular point of view or cultural experience reflected in a work of literature from outside the United States, drawing on a wide reading of world literature.

Integration of Knowledge and Ideas

RL.9–10.7 Analyze the representation of a subject or a key scene in two different artistic mediums, including what is emphasized or absent in each treatment (e.g., Auden’s “Musée des Beaux Arts” and Breughel’s Landscape with the Fall of Icarus).

RL.9–10.8 (Not applicable to literature)

RL.9–10.9 Analyze how an author draws on and transforms source material in a specific work (e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare).

Range of Reading and Level of Text Complexity

RL.9–10.10 By the end of grade 9, read and comprehend literature, including stories, dramas, and poems, in the grades 9–10 text complexity band proficiently, with scaffolding as needed at the high end of the range.

By the end of grade 10, read and comprehend literature, including stories, dramas, and poems, at the high end of the grades 9–10 text complexity band independently and proficiently.

GRADES 9–10

College and Career Readiness Standards

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xvi SpringBoard® English Language Arts Grade 9

Reading Standards for Informational Text

Key Ideas and Details

RI.9–10.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text.

RI.9–10.2 Determine a central idea of a text and analyze its development over the course of the text, including how it emerges and is shaped and refined by specific details; provide an objective summary of the text.

RI.9–10.3 Analyze how the author unfolds an analysis or series of ideas or events, including the order in which the points are made, how they are introduced and developed, and the connections that are drawn between them.

Craft and Structure

RI.9–10.4 Determine the meaning of words and phrases as they are used in a text, including figurative, connotative, and technical meanings; analyze the cumulative impact of specific word choices on meaning and tone (e.g., how the language of a court opinion differs from that of a newspaper).

RI.9–10.5 Analyze in detail how an author’s ideas or claims are developed and refined by particular sentences, paragraphs, or larger portions of a text (e.g., a section or chapter).

RI.9–10.6 Determine an author’s point of view or purpose in a text and analyze how an author uses rhetoric to advance that point of view or purpose.

Integration of Knowledge and Ideas

RI.9–10.7 Analyze various accounts of a subject told in different mediums (e.g., a person’s life story in both print and multimedia), determining which details are emphasized in each account.

RI.9–10.8 Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning.

RI.9–10.9 Analyze seminal U.S. documents of historical and literary significance (e.g., Washington’s Farewell Address, the Gettysburg Address, Roosevelt’s Four Freedoms speech, King’s “Letter from Birmingham Jail”), including how they address related themes and concepts.

Range of Reading and Level of Text Complexity

RI.9–10.10 By the end of grade 9, read and comprehend literary nonfiction in the grades 9–10 text complexity band proficiently, with scaffolding as needed at the high end of the range.

By the end of grade 10, read and comprehend literary nonfiction at the high end of the grades 9–10 text complexity band independently and proficiently.

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College and Career Readiness Standards xvii

Writing Standards

Text Types and Purposes

W.9–10.1 Write arguments to support claims in an analysis of substantive topics or texts, using valid reasoning and relevant and sufficient evidence.

W.9–10.1a Introduce precise claim(s), distinguish the claim(s) from alternate or opposing claims, and create an organization that establishes clear relationships among claim(s), counterclaims, reasons, and evidence.

W.9–10.1b Develop claim(s) and counterclaims fairly, supplying evidence for each while pointing out the strengths and limitations of both in a manner that anticipates the audience’s knowledge level and concerns.

W.9–10.1c Use words, phrases, and clauses to link the major sections of the text, create cohesion, and clarify the relationships between claim(s) and reasons, between reasons and evidence, and between claim(s) and counterclaims.

W.9–10.1d Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing.

W.9–10.1e Provide a concluding statement or section that follows from and supports the argument presented.

W.9–10.2 Write informative/explanatory texts to examine and convey complex ideas, concepts, and information clearly and accurately through the effective selection, organization, and analysis of content.

W.9–10.2a Introduce a topic; organize complex ideas, concepts, and information to make important connections and distinctions; include formatting (e.g., headings), graphics (e.g., figures, tables), and multimedia when useful to aiding comprehension.

W.9–10.2b Develop the topic with well-chosen, relevant, and sufficient facts, extended definitions, concrete details, quotations, or other information and examples appropriate to the audience’s knowledge of the topic.

W.9–10.2c Use appropriate and varied transitions to link the major sections of the text, create cohesion, and clarify the relationships among complex ideas and concepts.

W.9–10.2d Use precise language and domain-specific vocabulary to manage the complexity of the topic.

W.9–10.2e Establish and maintain a formal style and objective tone while attending to the norms and conventions of the discipline in which they are writing.

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xviii SpringBoard® English Language Arts Grade 9

Writing Standards

Text Types and Purposes

W.9–10.2f Provide a concluding statement or section that follows from and supports the information or explanation presented (e.g., articulating implications or the significance of the topic).

W.9–10.3 Write narratives to develop real or imagined experiences or events using effective technique, well-chosen details, and well-structured event sequences.

W.9–10.3a Engage and orient the reader by setting out a problem, situation, or observation, establishing one or multiple point(s) of view, and introducing a narrator and/or characters; create a smooth progression of experiences or events.

W.9–10.3b Use narrative techniques, such as dialogue, pacing, description, reflection, and multiple plot lines, to develop experiences, events, and/or characters.

W.9–10.3c Use a variety of techniques to sequence events so that they build on one another to create a coherent whole.

W.9–10.3d Use precise words and phrases, telling details, and sensory language to convey a vivid picture of the experiences, events, setting, and/or characters.

W.9–10.3e Provide a conclusion that follows from and reflects on what is experienced, observed, or resolved over the course of the narrative.

Production and Distribution of Writing

W.9–10.4 Produce clear and coherent writing in which the development, organization, and style are appropriate to task, purpose, and audience. (Grade-specific expectations for writing types are defined in standards 1–3 above.)

W.9–10.5 Develop and strengthen writing as needed by planning, revising, editing, rewriting, or trying a new approach, focusing on addressing what is most significant for a specific purpose and audience. (Editing for conventions should demonstrate command of Language standards 1–3 up to and including grades 9–10.)

W.9–10.6 Use technology, including the Internet, to produce, publish, and update individual or shared writing products, taking advantage of technology’s capacity to link to other information and to display information flexibly and dynamically.

Research to Build and Present Knowledge

W.9–10.7 Conduct short as well as more sustained research projects to answer a question (including a self-generated question) or solve a problem; narrow or broaden the inquiry when appropriate; synthesize multiple sources on the subject, demonstrating understanding of the subject under investigation.

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College and Career Readiness Standards xix

Writing Standards

Research to Build and Present Knowledge

W.9–10.8 Gather relevant information from multiple authoritative print and digital sources, using advanced searches effectively; assess the usefulness of each source in answering the research question; integrate information into the text selectively to maintain the flow of ideas, avoiding plagiarism and following a standard format for citation.

W.9–10.9 Draw evidence from literary or informational texts to support analysis, reflection, and research.

W.9–10.9a Apply grades 9–10 Reading standards to literature (e.g., “Analyze how an author draws on and transforms source material in a specific work [e.g., how Shakespeare treats a theme or topic from Ovid or the Bible or how a later author draws on a play by Shakespeare]”).

W.9–10.9b Apply grades 9–10 Reading standards to literary nonfiction (e.g., “Delineate and evaluate the argument and specific claims in a text, assessing whether the reasoning is valid and the evidence is relevant and sufficient; identify false statements and fallacious reasoning”).

Range of Writing

W.9–10.10 Write routinely over extended time frames (time for research, reflection, and revision) and shorter time frames (a single sitting or a day or two) for a range of tasks, purposes, and audiences.

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xx SpringBoard® English Language Arts Grade 9

Speaking and Listening Standards

Comprehension and Collaboration

SL.9–10.1 Initiate and participate effectively in a range of collaborative discussions (one-on-one, in groups, and teacher-led) with diverse partners on grades 9–10 topics, texts, and issues, building on others’ ideas and expressing their own clearly and persuasively.

SL.9–10.1a Come to discussions prepared, having read and researched material under study; explicitly draw on that preparation by referring to evidence from texts and other research on the topic or issue to stimulate a thoughtful, well-reasoned exchange of ideas.

SL.9–10.1b Work with peers to set rules for collegial discussions and decision-making (e.g., informal consensus, taking votes on key issues, presentation of alternate views), clear goals and deadlines, and individual roles as needed.

SL.9–10.1c Propel conversations by posing and responding to questions that relate the current discussion to broader themes or larger ideas; actively incorporate others into the discussion; and clarify, verify, or challenge ideas and conclusions.

SL.9–10.1d Respond thoughtfully to diverse perspectives, summarize points of agreement and disagreement, and, when warranted, qualify or justify their own views and understanding and make new connections in light of the evidence and reasoning presented.

SL.9–10.2 Integrate multiple sources of information presented in diverse media or formats (e.g., visually, quantitatively, orally) evaluating the credibility and accuracy of each source.

SL.9–10.3 Evaluate a speaker’s point of view, reasoning, and use of evidence and rhetoric, identifying any fallacious reasoning or exaggerated or distorted evidence.

Presentation of Knowledge and Ideas

SL.9–10.4 Present information, findings, and supporting evidence clearly, concisely, and logically such that listeners can follow the line of reasoning and the organization, development, substance, and style are appropriate to purpose, audience, and task.

SL.9–10.5 Make strategic use of digital media (e.g., textual, graphical, audio, visual, and interactive elements) in presentations to enhance understanding of findings, reasoning, and evidence and to add interest.

SL.9–10.6 Adapt speech to a variety of contexts and tasks, demonstrating command of formal English when indicated or appropriate. (See grades 9–10 Language standards 1 and 3 for specific expectations.)

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College and Career Readiness Standards xxi

Language Standards

Conventions of Standard English

L.9–10.1 Demonstrate command of the conventions of standard English grammar and usage when writing or speaking.

L.9–10.1a Use parallel structure.*

L.9–10.1b Use various types of phrases (noun, verb, adjectival, adverbial, participial, prepositional, absolute) and clauses (independent, dependent; noun, relative, adverbial) to convey specific meanings and add variety and interest to writing or presentations.

L.9–10.2 Demonstrate command of the conventions of standard English capitalization, punctuation, and spelling when writing.

L.9–10.2a Use a semicolon (and perhaps a conjunctive adverb) to link two or more closely related independent clauses.

L.9–10.2b Use a colon to introduce a list or quotation.

L.9–10.2c Spell correctly.

Knowledge of Language

L.9–10.3 Apply knowledge of language to understand how language functions in different contexts, to make effective choices for meaning or style, and to comprehend more fully when reading or listening.

L.9–10.3a Write and edit work so that it conforms to the guidelines in a style manual (e.g., MLA Handbook, Turabian’s Manual for Writers) appropriate for the discipline and writing type.

Vocabulary Acquisition and Use

L.9–10.4 Determine or clarify the meaning of unknown and multiple-meaning words and phrases based on grades 9–10 reading and content, choosing flexibly from a range of strategies.

L.9–10.4a Use context (e.g., the overall meaning of a sentence, paragraph, or text; a word’s position or function in a sentence) as a clue to the meaning of a word or phrase.

L.9–10.4b Identify and correctly use patterns of word changes that indicate different meanings or parts of speech (e.g., analyze, analysis, analytical; advocate, advocacy).

L.9–10.4c Consult general and specialized reference materials (e.g., dictionaries, glossaries, thesauruses), both print and digital, to find the pronunciation of a word or determine or clarify its precise meaning, its part of speech, or its etymology.

L.9–10.4d Verify the preliminary determination of the meaning of a word or phrase (e.g., by checking the inferred meaning in context or in a dictionary).

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xxii SpringBoard® English Language Arts Grade 9

Language Standards

Vocabulary Acquisition and Use

L.9–10.5 Demonstrate understanding of figurative language, word relationships, and nuances in word meanings.

L.9–10.5a Interpret figures of speech (e.g., euphemism, oxymoron) in context and analyze their role in the text.

L.9–10.5b Analyze nuances in the meaning of words with similar denotations.

L.9–10.6 Acquire and use accurately general academic and domain-specific words and phrases, sufficient for reading, writing, speaking, and listening at the college and career readiness level; demonstrate independence in gathering vocabulary knowledge when considering a word or phrase important to comprehension or expression.

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