many voices literature teaching and assessment...

M A N Y V O I C E S L I T E R A T U R E

Teaching and Assessment Resources

Reading the World

Many Voices: Reading the World 3

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Table of ContentsIntroduction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12

Features of the Student Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Special Focus: Research

Features of the Teaching and Assessment Resources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

Using the Teaching and Assessment Resources with the Student Book . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17

Skills Chart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18

Literary, Thinking, and Reading Skills

Using the Introductory Essays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33

Active Reading Strategies . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 34

Active Reading Model . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35

Active Reading Practice: Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 36

Active Reading Practice: Nonfiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37

Anticipation Guide: What Do You Think? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 45

UNIT ONE The AmericasDifferentiated Instruction for Unit One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46

Introducing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49

The Americas . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

Unit One Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .51

Unit One SelectionsAztec Creation Story Oral Tradition

Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 53Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 54Literary Skill: Mythic Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 55Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56

Borders Thomas KingResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 57Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 58Critical Thinking Skill: Compare Points of View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 59

At the Tourist Centre in Boston Margaret AtwoodResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 60Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61Literary Skill: Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62

The Literature of MexicoDay of the Butterfly Alice Munro

Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64Critical Thinking Skill: Analyze Information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 65Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 66

No Dogs Bark Juan RulfoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 67Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 68Literary Skill: Symbolism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 69

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4 Many Voices: Reading the World

Two Bodies Octavio PazResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 70Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .71Literary Skill: Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 72

Crossroads: A Sad Vaudeville Carlos SolórzanoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 73Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 74Literary Skill: Stage Directions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 75

Love after Love Derek WalcottResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 76Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 77Critical Thinking Skill: Analyze a Paradox . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78

When Greek Meets Greek Samuel SelvonResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 79Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 80Literary Skill: Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .81

Girls Can We Educate We Dads? James BerryResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 82Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 83Literary Skill: Dialect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84

In Trying Times Herberto PadillaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 85Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 Literary Skill: Repetition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 87

The Youngest Doll Rosario FerréResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 88Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Literary Skill: Magic Realism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90

The Handsomest Drowned Man in the World Gabriel García MárquezResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .91Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Skill Development: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94

The Third Bank of the River João Guimarães RosaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 96Critical Thinking Skill: Make Generalizations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 97

The Book of Sand Jorge Luis Borges Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 98Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 99Literary Skill: Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .100

The Censors Luisa Valenzuela Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .102Literary Skill: Irony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .103

Tonight I Can Write Pablo Neruda Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .104Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .105Literary Skill: Personification . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .106

Serenity Gabriela Mistral Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .107Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .108Literary Skill: Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .109


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And of Clay Are We Created Isabel Allende Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Critical Thinking Skill: Interpret Behavior . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .112Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .113

Unit One Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 115

Unit One Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 117

Unit One Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

Unit One Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

UNIT TWO Europe

Differentiated Instruction for Unit Two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

Introducing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

Europe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127

Unit Two Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128

Unit Two Selections from The Divine Comedy Dante Alighieri

Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .131Literary Skill: Rhyme Scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 132Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133

First Confessions Frank O’ConnorResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 134Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135Critical Thinking: Draw Conclustions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 136Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 137

from Clearances Seamus HeaneyResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139Critical Thinking: Compare Meanings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140

Do Not Go Gentle into That Good Night Dylan ThomasResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142Literary Skill: Rhyme Scheme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143

Not Waving but Drowning Stevie SmithResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 145Literary Skill: Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146

The Love Song of J. Alfred Prufrock T. S. Eliot Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149Literary Skill: Allusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150

from Ten Songs W. H. AudenResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .151Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152Literary Skill: Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 153

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The Destructors Graham GreeneResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155Literary Skill: Author’s Style. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

The Guitar Federico García LorcaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 159Critical Thinking: Make Inferences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 160

Poor Fish Alberto MoraviaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 161Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162Literary Skill: Conflict . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

The Black Sheep Italo CalvinoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165Literary Skill: Allegory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

The Balek Scales Heinrich BöllResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168Literary Skill: Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 169

The Last Judgment Karel CapekResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .170Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171Literary Skill: Dialogue . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

A Contribution to Statistics Wislawa SzymborskaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175Critical Thinking Skill: Analyze Author’s Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

And Yet the Books Czeslaw MiloszResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178Critical Thinking Skill: Identify Relevant Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

Rhinoceros Eugene IonescoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181Literary Skill: Theater of the Absurd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

Alone Tomas TranströmerResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185Critical Thinking Skill: Identify Cause and Effect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186

The Nobel Prize Boris PasternakResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .187Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .188Literary Skill: Imagery . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .189

First Frost Andrei VoznesenskyResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .190Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191Literary Skill: Lyricism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .192


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Forbidden Fruit Fazil IskanderResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .193Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .194Critical Thinking Skill: Apply Visual Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .195Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .196

Unit Two Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197Unit Two Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199Unit Two Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201Unit Two Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203

UNIT THREE Africa

Differentiated Instruction for Unit Three . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205

Introducing the Unit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .207

Africa . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208

Unit Three Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209

Unit Three Selectionsfrom Sunjata Djanka Tassey Condé

Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .212Literary Skill: Epic Poems: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .213Quiz: Vocabulary: . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .214

Africa David DiopResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 215Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .216Critical Thinking Skill: Interpret Meaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .217

Black Girl Sembene OusmaneResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .218Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .219Critical Thinking Skill: Compare Settings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220

Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

I Will Pronounce Your Name Léopold Sédar SenghorResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223Literary Skill: Author’s Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224

Telephone Conversation Wole SoyinkaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226Literary Skill: Word Choice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227

Marriage Is a Private Affair Chinua AchebeResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229Critical Thinking Skill: Draw Conclusions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230

In the Shadow of War Ben OkriResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .231Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232Literary Skill: Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234

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Loyalties Adewale Maja-Pearce Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236Literary Skill: Humor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 237

A Meeting in the Dark Ngugi wa Thiong’oResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239Critical Thinking Skill: Identify Supporting Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .241

The Pig Barbara KimenyeResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243Literary Skill: Tone . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245

No Witchcraft for Sale Doris LessingResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247Critical Thinking Skill: Summarize the Main Idea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249

The Moment Before the Gun Went Off Nadine GordimerResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .251Literary Skill: Irony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252

The Prisoner Who Wore Glasses Bessie HeadResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254Literary Skill: Characterization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256

Unit Three Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257

Unit Three Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258

Unit Three Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

Unit Three Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263

UNIT FOUR The Middle East & South Asia

Differentiated Instruction for Unit Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265


The Middle East & South Asia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268

Unit Four Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269

Unit Four Selectionsfrom The Ramayana by Valmiki

Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .271Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272Literary Skill: Characterization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274

My Father Writes to My Mother Assia DjebarResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276Critical Thinking Skill: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278


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Another Evening at the Club Alifa RifaatResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280Literary Skill: Symbolism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .281

The Happy Man Naguib MahfouzResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283Literary Skill: Dark Humor . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285

An Arab Shepherd Is Searching for His Goat on Mount Zion Yehuda Amichai Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287Literary Skill: Cultural Symbols . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288

The Swimming Contest Benjamin TammuzResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290Literary Skill: Foreshadowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .291

Song of Becoming Fadwa TuqanResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293Critical Thinking Skill: Apply Visual Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294

The Women’s Baths Ulfat al-IdlibiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296Literary Skill: Sensory Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

Wanted: A Town Without a Crazy Muzaffer Izgü Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300Literary Skill: Exaggeration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .301

The Armenian Language Is the Home of the Armenian Moushegh IshkhanResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303Literary Skill: Persuasive Techniques . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304

From Behind the Veil Dhu’l Nun AyyoubResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306Critical Thinking Skill: Compare Cultures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .307

Five Hours to Simla Anita DesaiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309Literary Skill: Mood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .310Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .311

The Cabuliwallah Rabindranath TagoreResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .312Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .313Critical Thinking Skill: Summarize the Main Idea . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .314Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .315

Like the Sun R. K. NarayanResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .316Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .317Critical Thinking Skill: Identifying Supporting Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .318

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Sweet Like a Crow Michael OndaatjeResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320Literary Skill: Simile . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .321

Unit Four Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322

Unit Four Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

Unit Four Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326

Unit Four Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

UNIT FIVE East Asia & The Pacific Rim

Differentiated Instruction for Unit Five . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330


East Asia & the Pacific Rim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

Unit Five Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334

Unit Five Selectionsfrom The Three Kingdoms Luo Guanzhong

Responding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337Literary Skill: Author’s Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339

from From Emperor to Citizen Aisin-Gioro P’u YiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341Literary Skill: Distinguish Fact and Fiction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 343

An Ancient Temple Bei DaoResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 345Literary Skill: Sensory Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346

The Tall Woman and Her Short Husband Feng Ji-caiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 348Literary Skill: Characterization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 349Quiz: Vocabulary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350

Saboteur Ha JinResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .351Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352Critical Thinking Skill: Make Predictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 353

Cranes Hwang Sun-wonResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355Literary Skill: Flashbacks and Foreshadowing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356

Thoughts of Hanoi Nguyen Thi VinhResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358Literary Skill: Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359

Tokyo Fumiko HayashiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .361Critical Thinking Skill: Identify Relevant Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362


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Swaddling Clothes Yukio MishimaResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364Critical Thinking Skill: Compare and Contrast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365

The Shadow Toge SankichiResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367Literary Skill: Author’s Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368

Inem Pramoedya Ananta ToerResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .370Literary Skill: Point of View . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .371

Eve to Her Daughters Judith WrightResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373Literary Skill: Voice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 374

American Dreams Peter CareyResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 375Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 376Critical Thinking Skill: Apply Visual Mapping . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 377

A Consumer’s Report Peter PorterResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 378Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 379Literary Skill: Irony . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 380

A Way of Talking Patricia GraceResponding and Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .381Quiz: Comprehension and Analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382Literary Skill: Dialect . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

Unit Five Review . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384Unit Five Vocabulary Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386Unit Five Objective and Essay Test . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388Unit Five Writing Prompts, Research, and Projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390

Writing Workshops

Writing About Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392

Six Traits of Writing Rubric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395Writing to Inform . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396

Six Traits of Writing Rubric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399Writing to Persuade . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .401

Six Traits of Writing Rubric . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404General Standards and Criteria for Project Evaluation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406Related Literature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .407Answer Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .415

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Features of the Student BookIntroducing the BookIntroductory Essays Two essays provide the context for using this book. “Who Are These Strangers?” explains the value of reading contemporary world literature. “The Art of Translation” describes the challenges and rewards of such work.

UnitsReading the World: Contemporary Literature from Around the Globe is arranged in fi ve units based on geographic regions. The regions are The Americas, Europe, Africa, The Middle East & South Asia, and East Asia & the Pacifi c Rim. The selections offer a mixture of fi ction, nonfi ction, poetry, and drama.

Unit Opener Each unit begins with an introductory essay that provides background on the literature of the region, and a literary map that shows photos of selected authors and identifi es where each lived or lives.

Classic Selection The fi rst selection in each unit is a classic piece of literature from that geographic region. The classic selections have infl uenced later writers from that area.

SelectionsCountry Pages Within each unit, selections are grouped by country. Immediately before the fi rst selection from each country or groups of closely connected countries, an introductory page provides the background information, a connection with the United States, and a research activity.

Before You Read Before reading a selection, students are offered assistance in preparing for and engaging in the text they will encounter. An introduction provides background information about the author and the selection. The Literary Lens ( ) asks a pre-reading question that focuses on a specifi c literary skill.

During Reading As students read the selections, they will encounter words with which they are unfamiliar. Foreign terms and other references that students are unlikely to know are indicated with footnotes and explained at the bottom of the page. Vocabulary words, which are challenging words of a more general usage, are highlighted in bold type in the text and defi ned in the margin. These vocabulary words, along with reproducible vocabulary quizzes, are found in this teacher guide.

After You Read After reading each selection, students are offered a set of questions to prompt them to respond to what they have read. One of these questions, identifi ed with a Literary Lens icon ( ) and including a literary skill builds on the prereading question asked in Before You Read.

Unit Review and Research Projects Each unit is followed by two pages of questions and activities. Discussing includes questions that stress inter-textual connections. Writing offers two assignments using literary analysis. Speaking/Listening includes prompts for oral presentations. Hands-on Projects is a multi-modal activity involving the unit’s regional culture. Personal Connection asks students to write in their own journals. Research Follow-Up builds on one of the research activities presented on an earlier country page. Synthesizing Through Research prompts students to combine their knowledge of multiple readings with research.

End MatterReference At the end of the anthology you will fi nd a Research Handbook that will guide students in such skills as fi nding and evaluating print and electronic sources, avoiding plagiarism, and sharing what they learn. Author Biographies provide background details on, and often a quotation from, the writers included in this book. Also included are an Index of Titles and Authors and a list of Acknowledgments.


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Features of the Teaching and Assessment Resources

Skills Chart Charts for each unit identify the teachable literary, thinking, and reading skills as well as cultural concepts found in the student book.

Introducing the Student Book Use the suggestions on page 33 to introduce the book and the importance of studying contemporary world literature. These suggestions include ideas for teaching the introductory essays “Who Are These Strangers?” and “The Art of Translation.”

Active Reading Reproducibles are offered to help students understand and use strategic reading.Active Reading Strategies, found on page 33, describes the six strategies that good readers use and explains how to apply them.An Active Reading Model, found on page 34, models how an active reader would go about reading a portion of the selection “When Greek Meets Greek.”Active Reading Practice pages offer a fiction piece, “The Black Sheep” (pages 36-38), and a nonfiction piece, “My Father Writes to My Mother” (pages 39-44). Students begin by answering questions, and then continue reading and writing their own questions and comments.

Anticipation Guide To help set the tone and context of your unit, administer the anticipation guide on page 45.

Differentiated Classroom Instruction Ideas for teaching students who learn in various ways are offered for each selection in the book. The Differentiated Instruction chart appears at the beginning of each unit. Creative ideas are offered for helping visual, auditory, and kinesthetic learners as well as ELL and struggling students. In addition each piece is rated Easy, Average, or Challenging.

Introducing the Unit Each of the five units in this resource opens with a lesson plan and a reproducible handout/overhead designed to set the tone and focus of the unit.

Unit Vocabulary Handouts All the vocabulary words defined in the margin of the anthology are listed and sorted by selection title in this resource. Pass these lists out to students to help them prepare for the vocabulary tests.

Responding and Writings Each selection in the anthology is supported with a teaching resource page containing a selection summary; answers to the After You Read questions in the student book, with one question highlighted as a Literary Lens item; and a writing activity. Certain pages also include a vocabulary list and definitions, ideas for further discussion, and a special focus that provides historical, literary, cultural, or biographical background on the selection.

Quiz: Comprehension and Analysis A comprehension quiz is provided for each main selection in the student book. The quiz contains five comprehension questions and two analysis items that require short answers. These pages are intended to check students’ understanding of the selections.

For Struggling or ELL Learners The quiz provides a quick way of checking that students have understood the basic events and themes of the selection. Students may benefit from working in small groups to answer the questions.For On-Level Learners These students should be able to answer the quiz questions without additional help.For Advanced Learners You should not have to use this resource with advanced students. However, you may wish to challenge them to write their own tests that can then be taken by other members of their group.

Literary or Critical Thinking Skill Page The skill development page is offered to help students develop their literary or critical thinking skills. Students use a graphic organizer to analyze, investigate, or evaluate a specific literary technique used in the selection or a critical thinking skill necessary to the understanding of the selection.

For Struggling or ELL Learners These students may need help understanding some of the instructions that accompany the graphic organizers. You may want to go over the information and the directions with them

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before they begin working on the page. These pages are very helpful in imparting the literary knowledge and reading skills necessary for understanding works of literature.For On-Level Learners These students should be able to answer the questions without additional help, particularly those who learn visually. If any of your average learners seem to have trouble with a particular page, team them up with students who are adept at these kinds of activities.For Advanced Learners Advanced students should benefit from the literary focus of most of these pages, but many will not need to work on the critical thinking skills covered. Literary techniques such as symbolism, sensory details, and poetic techniques will probably augment their understanding of literature as well as their own writing skills. You can pick and choose which pages your advanced students will best benefit from using.

Vocabulary Quiz Any main selection with a vocabulary list of five or more words has a one-page assessment of the students’ understanding of these words. Students match words to definitions or choose the correct vocabulary word to complete sentences.

For Struggling or ELL Learners The Vocabulary Quiz is a good way to check that students have understood the important vocabulary used in the selection. Have these students work in pairs or with an advanced student to learn any words that they do not understand.For On-Level Learners These students should be able to answer the questions without additional help; however, if there is a list that seems to you particularly challenging, have them work together to use these words in sentences. For Advanced Learners You will probably want to give your advanced students only those pages with challenging word lists. Advanced learners may benefit from helping struggling or ELL students learn the vocabulary in these selections by devising vocabulary “bees,” vocabulary flash cards, or other games to play with them.

Unit Review This resource page provides sample answers to the discussion questions at the end of each unit. It also provides suggestions for teaching some of the other student activities in the unit review.

Unit Assessments Two tests accompany each unit: Vocabulary Test: a two-page test with 25 questions based on the unit vocabulary words. Unit Test: a two-page test consisting of 20 true-false, multiple-choice, or sentence completion questions followed by a short essay question.

For Struggling or ELL Learners Both of these tests are a good way to check that students have understood important elements in the selections. You may want to offer support by reading the tests with them, helping with any questions they have, or giving them extra time to finish. After taking the test, have students work with an advanced student to discuss the items they missed and make corrections. For On-Level Learners These students should be able to do well on these tests without additional help; however, if there seem to be problematic areas, discuss this with the students and allow them to go over their tests. For Advanced Learners Advanced students will probably have no trouble completing these tests successfully. Ask for volunteers to help struggling students go over items they missed on the tests and help them make corrections.

Writing Prompts, Research, and Projects At the end of each unit there are two pages of writing prompts and project ideas divided into these five categories: Writing About Literature, Writing Nonfiction, Creative Writing, Writing Research Papers, and Presentations and Projects.

Writing Workshop There are pages at the end of this resource dedicated to academic writing in-depth. One workshop is entitled Writing About Literature, and the others are either Writing to Explain or Inform or Writing to Persuade. After each workshop, a rubric based on the Six Traits of Writing helps students assess their work.

General Standards and Criteria for Project Evaluation Use or adapt this convenient rubric prior to assigning and while assessing student work.

Related Literature Choose from this list of fiction and nonfiction to enhance and extend your unit on contemporary world literature.


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Skills Chart: Literary,Thinking, and Reading Skills

UNIT ONE—The AmericasTitle and Author Literary, Thinking, and Reading Ski

Aztec Creation StoryTraditional Story

Analyze a character’s motivations and actionsAnalyze social relationshipsCompare and contrast two charactersUnderstand implicationsInterpret theme

BordersThomas King

Interpret meaning of titleRecognize common techniques in literature (imagery, description, dialogue,

significant details)Analyze humorAnalyze relevance of setting to meaningUnderstand importance of namingIdentify point of viewIdentify internal and external conflictsAnalyze a character’s motivation and actions

At the Tourist Centre in BostonMargaret Atwood

Interpret themeRecognize tone (irony)Recognize common techniques in literature (symbolism, similes, metaphors,

rhetorical questions, sensory imagery)Recognize free verseUnderstand implicationsUnderstand historical and cultural allusions

Day of the ButterflyAlice Munro

Interpret themeInterpret meaning of titleAnalyze a character’s motivation and actionsRecognize common techniques in literature (symbolism, significant details, dialogue) Recognize and respond to tone (irony, pity)Analyze social relationshipsIdentify internal and external conflictsIdentify point of viewUnderstand the uses of dialogue

No Dogs BarkJuan Rulfo

Interpret themeRecognize common techniques in literature (symbolism, imagery)Analyze relevance of setting to meaningUnderstand implicationsIdentify point of viewInterpret meaning of titleRecognize tone (bleak irony)Analyze a character’s motivation and actions

Two BodiesOctavio Paz

Recognize common techniques in literature (metaphor, repetition, symbolism, juxtaposition)

Identify the influence of philosophy on literature (existentialism)Recognize tone (despair)Appreciate craft and styleRespond to mood

continued


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Crossroads: A Sad VaudevilleCarlos Solórzano

Interpret themeInterpret meaning of titleAppreciate craft and styleRecognize common techniques in drama (stage directions, scenario, dialogue)Recognize common techniques in literature (foreshadowing, non sequiturs,

symbolism)Understand artistic movements (the avant-garde, surrealism)Understand and recognize dramatic ironyIdentify the influence of philosophy on literature (existentialism)Analyze a character’s motivation and actions

Love after LoveDerek Walcott

Interpret meaning of titleInterpret themeRecognize common techniques in poetry (symbolism, significant details, rhythm)Identify point of viewIdentify poetic forms (free verse, lyric poetry)

When Greek Meets GreekSamuel Selvon

Interpret meaning of titleAnalyze uses of humorUnderstand the uses of dialectAnalyze a character’s motivation and actions Understand historical and cultural allusionsCompare and contrast two cultures (white British and Caribbean)Analyze humor

Girls Can We Educate We Dads?James Berry

Understand the uses of dialectCompare spoken and written modesRecognize common techniques in poetry (repetition, musical expression, rhyme,

rhythm)Interpret social relationshipsAnalyze cultural expectationsAnalyze humorIdentify point of view

In Trying TimesHerberto Padilla

Understand historical context (repression and civil unrest in Cuba)Interpret themeRecognize common techniques in poetry (repetition, abstraction, understatement,

double meanings)Appreciate craft and style

The Youngest DollRosario Ferré

Understand literary movements (magic realism)Identify internal and external conflictsInterpret themeRecognize common themes in literature (loss, women’s status, relationships of social

classes)Recognize common techniques in literature (foreshadowing, symbolism, metaphor,

sensory details, description)Interpret influence of historical context on literature (postcolonial literature of Latin

America)Appreciate craft and style

continued

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The Handsomest Drowned Man in the WorldGabriel García Márquez

Interpret themeUnderstand historical and cultural allusionsUnderstand literary movements (magic realism)Identify common themes in literature (a stranger comes to town, the superhuman

male in Latin America)Interpret gender roles and expectationsAnalyze relevance of setting to meaningRecognize common techniques in literature (hyperbole, concrete details, classical

allusions)Detect traditional influences on contemporary literature (myth, fable)Analyze plot developmentInterpret meaning

The Third Bank of the RiverJoão Guimarães Rosa

Interpret themeRecognize toneRespond to moodAnalyze the relationship of charactersUnderstand implicationsDetect traditional influences on contemporary literature (allegory, the supernatural)Analyze word choice and sentence structureRecognize allusions (Biblical, psychological, classical)Recognize common techniques in literature (symbolism, description, paradox)

The Book of SandJorge Luis Borges

Identify the influence of philosophy on literature (metaphysics)Interpret themeAnalyze sophisticated word choiceUnderstand historical and literary allusionsInterpret meaning of titleRecognize common techniques in literature (epigraphs, significant details, symbolism,

melodrama)Recognize genre influences (fantasy, psychological horror)Identify and respond to moodAppreciate craft and style

The CensorsLuisa Valenzuela

Interpret themeInterpret influence of historical context on literature (Argentine civil war and

repression)Analyze relevance of setting to meaningAnalyze a character’s motivation and actionsAnalyze humor (irony, satire)Recognize tone (irony)

Tonight I Can WritePablo Neruda

Interpret and respond to themeRecognize common techniques in poetry (parallel structure, rhythm, personification,

hyperbole)Identify poetic forms (free verse, lyric poetry)Respond to mood (sorrow, nostalgia)Understand implicationsInterpret meaningUnderstand universality

SerenityGabriela Mistral

Identify poetic forms (lyric poetry, lullabies)Recognize and respond to tone (comfort, irony)Recognize common techniques in poetry (similes, rhythm, inverted word order,

repetition)continued

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And of Clay Are We CreatedIsabel Allende

Interpret meaning of titleInterpret themeRecognize common techniques in literature (symbolism, allusions, figurative language,

e.g., metaphors, similes, personification, sensory details)Analyze a character’s motivation and actionsUnderstand historical and cultural allusionsIdentify moralRecognize use of artifacts or objects to illustrate themeAnalyze sophisticated word choiceReread for deeper meaningRespond to mood

RESPONDING TO UNIT ONE Reread for deeper meaningMake intertextual comparisonsRecognize influence of literary movements (magic realism, surrealism, existentialism)Recognize variations on common themes in literatureRecognize common techniques in fiction and poetryDraw on background to provide connections to textIdentify toneRecognize symbols in literature and poetryRecognize point of viewInterpret influence of history and culture on literature

UNIT TWO—EuropeTitle and Author Literary, Thinking, and Reading Skills

from The Divine ComedyDante Alighieri

Recognize toneUnderstand cultural allusionsUnderstand common techniques in literature (symbolism)Analyze characters’ motivations and actionsAnalyze the relationship of characters

First ConfessionFrank O’Connor

Interpret themeUnderstand influence of culture and religion on literatureAnalyze humorRecognize common techniques in literature (hyperbole, dialogue, description)Analyze a character’s motivation and actionsIdentify point of viewAnalyze voiceIdentify round versus flat characters and secondary charactersAppreciate craft and style

from ClearancesSeamus Heaney

Recognize common techniques in poetry (symbolic actions, double meanings, similes)

Interpret themePerceive nuances and understatementUnderstand implicationsAnalyze a character’s actionsUnderstand historical, religious, and cultural allusionsRespond to mood

Do Not Go Gentle into ThatGood NightDylan Thomas

Interpret themeIdentify poetic forms (villanelle)Recognize common techniques in poetry (rhyme, rhythm, personification, metaphors,

similes, exhortation)Recognize tone (urgency)Respond to mood

continued

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Not Waving but DrowningStevie Smith

Interpret themeRecognize tone (irony)Recognize common techniques in poetry (anecdote, repetition, dialogue)Analyze voiceIdentify point of viewUnderstand implications

The Love Song of J. Alfred PrufrockT. S. Eliot

Interpret themeRespond to moodInterpret meaning of titleUnderstand historical and cultural allusionsReread for deeper meaningAnalyze sophisticated word choiceRecognize common techniques in poetry (free verse, sensory imagery, repetition,

colloquialisms, rhetorical questions, rhyme)Recognize influence of literary movements (surrealism, modernism)Analyze voice

from Ten SongsW. H. Auden

Interpret themeRecognize common techniques in poetry (rhyme, rhythm, anecdote, vivid verbs,

sensory imagery)Analyze voiceIdentify point of viewUnderstand cultural and historical allusionsRecognize tone (irony, “the blues”)Interpret influence of historical context on literature (World War II and the

Holocaust)

The DestructorsGraham Greene

Interpret themeRespond to moodAnalyze relevance of setting to meaningInterpret influence of historical context on literature (World War II, postwar

depression)Recognize common techniques in literature (description, symbolism, slang)Analyze the motivation and actions of charactersUnderstand implicationsAppreciate craft and style

The GuitarFederico García Lorca

Interpret themeIdentify poetic forms (free verse, lyric poetry)Understand cultural and historical allusionsRecognize common techniques in poetry (symbolism, repetition, metaphor, rhythm)Recognize tone (sorrow)Understand implicationsRespond to mood

Poor FishAlberto Moravia

Analyze voiceInterpret characters’ speech and actionsAnalyze social relationshipsRespond to moodRecognize tone (comic)Recognize common techniques in literature (hyperbole, dialogue, description)Identify internal and external conflicts

The Black SheepItalo Calvino

Interpret themeInterpret meaning of titleDetect traditional influences on contemporary literature (fable, allegory)Recognize tone (irony)Analyze satireAppreciate craft and styleIdentify conflict

continued


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The Balek ScalesHeinrich Böll

Interpret themeIdentify point of viewUnderstand historical and cultural allusionsAnalyze relevance of setting to meaningIdentify internal and external conflictsAppreciate craft and style

The Last JudgmentKarel Capek

Interpret themeIdentify point of viewRecognize common techniques in literature (anecdotes, irony, dialogue)Understand implicationsAnalyze a character’s motivation and actionsIdentify conflictIdentify author’s purpose

A Contribution to StatisticsWislawa Szymborska

Recognize tone (irony)Identify poetic forms (free verse)Interpret themeIdentify author’s purposeIdentify point of viewPerceive nuances

And Yet the BooksCzeslaw Milosz

Interpret themeRecognize common techniques in poetry (rhythm, similes, personification, imagery)Recognize tone (philosophical, principled)Identify moral

RhinocerosEugene Ionesco

Interpret themeIdentify point of viewUnderstand the uses of dialogueRecognize common techniques in literature (symbolism, dialogue, irony,

metamorphoses)Interpret influence of historical context on literature (World War II, rise of Nazism)Understand literary movements (theater of the absurd)Analyze dictionRecognize tone (satire)Interpret the dialogue and actions of charactersAnalyze the relevance of setting to meaningUnderstand historical and culture allusions

AloneTomas Tranströmer

Interpret themeCompare and contrast settingsRecognize common techniques in literature (epiphany, emphasis, anecdote)Analyze voiceRecognize tone (earnest, philosophical)Analyze relevance of setting to meaningIdentify poetic forms (free verse)Identify author’s purpose

The Nobel PrizeBoris Pasternak

Recognize common themes in literature (censorship, self-expression)Interpret themeUnderstand historical and cultural allusionsRecognize common techniques in poetry (rhyme, rhythm, lyricism, similes, rhetorical

questions)Identify influence of historical context on poetry (the Cold War)Identify internal and external conflicts

First FrostAndrei Voznesensky

Identify poetic forms (free verse)Interpret themeRecognize tone (sorrow)Understand universalityRecognize common techniques in poetry (alliteration, lyricism)

continued

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Forbidden FruitFazil Iskander

Analyze humorAnalyze voiceIdentify point of viewIdentify internal and external conflictsRecognize common literary techniques (sensory details, anecdote, hyperbole)Analyze a character’s motivation and actionsRecognize tone (humor, irony)Interpret themeUnderstand influence of culture and religion on literature

RESPONDING TO UNIT TWO Reread for deeper meaningMake intertextual comparisonsRecognize influence of literary movements (modernism, surrealism, existentialism)Recognize variations on common themes in literatureRecognize common techniques in fiction and poetryDraw on background to provide connections to textIdentify tone and perspectiveRecognize symbols in literature and poetryInterpret influence of history and culture on literature

UNIT THREE—AfricaTitle and Author Literary, Thinking, and Reading Skills

from SunjataDjanka Tassey Condé

Analyze a character’s motivation and actionsAnalyze the relationship of charactersRecognize common techniques in literature (metaphors)Interpret theme

AfricaDavid Diop

Understand literary movements (Negritude)Recognize common techniques in poetry (personification, sensory details, symbolism,

metaphor, repetition, contrast, abstractions)Interpret meaningUnderstand allusionsInterpret themeUnderstand poet’s purposeAnalyze relevance of setting to meaningUnderstand implicationsRecognize tone (celebratory)

Black GirlSembene Ousmane

Understand literary movements (Negritude)Recognize tone (bleak irony)Interpret themeContrast two cultures (Black African and white French)Understand influence of social context and history on literature (postcolonialism,

racism)Interpret character’s thoughts and actionsAnalyze relevance of setting to meaningRecognize common techniques in literature (dialogue, description, flashbacks,

foreshadowing)Understand implicationsIdentify internal and external conflicts

I Will Pronounce Your NameLéopold Sédar Senghor

Understand literary movements (Negritude)Recognize common techniques in poetry (similes, metaphors, sensory details)Understand classical and geographical allusions Analyze voiceUnderstand poet’s purposeRespond to moodRecognize tone (celebratory, romantic)

continued

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Telephone ConversationWole Soyinka

Interpret themeRecognize tone (irony, playfulness)Analyze characters through dialogueAnalyze voiceAnalyze word choiceAnalyze relevance of setting to meaningRecognize narrative poetryInterpret influence of cultural context on literature (racism)Understand poet’s purpose

Marriage Is a Private AffairChinua Achebe

Analyze relevance of setting to meaningInterpret meaning of titleUnderstand cultural and historical allusionsRecognize common techniques in literature (symbolism, use of letters)Understand implicationsAnalyze social relationshipsIdentify internal and external conflictsRecognize tone (measured, sincere)Interpret themeDefine the moral values Compare and contrast two cultures (rural vs. urban, Christian vs. non-Christian)Appreciate craft and style

In the Shadow of WarBen Okri

Interpret themeInterpret meaning of titleInterpret influence of history on literature (Nigerian civil war)Identify point of viewIdentify internal and external conflictsAnalyze relevance of setting to meaningRecognize common techniques in literature (sensory imagery, symbolism, significant

details)Recognize tone (trauma)Respond to character’s actionsTrace story’s rise, break, and fall

LoyaltiesAdewale Maja-Pearce

Understand historical and cultural allusionsInterpret themeAnalyze humor and satireRecognize tone (irony)Detect traditional influences on contemporary literature (fable)Analyze social and gender relationshipsIdentify internal and external conflictsUnderstand implications

A Meeting in the DarkNgugi wa Thiong’o

Interpret themeIdentify internal and external conflictsAnalyze relevance of setting to meaningInterpret influence of culture and religion on literatureAnalyze social and gender relationshipsAppreciate the role of stories in the African traditionAnalyze a character’s motivation and actionsRecognize tone (intense drama)Understand implicationsRecognize common techniques in literature (foreshadowing, story-within-a-story,

allusions, parallel structures)Predict character’s fate

continued

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The PigBarbara Kimenye

Interpret themeAnalyze humorRecognize tone (light humor)Respond to character’s words and actionsAnalyze relevance of setting to meaningPerceive nuancesUnderstand cultural allusionsIdentify internal and external conflictsAppreciate craft and style

No Witchcraft for SaleDoris Lessing

Identify moralInterpret influence of historical and social context on literature (black-white

relations in Africa)Analyze relevance of setting to meaningInterpret themeUnderstand implicationsAnalyze characters through dialogue and actionsIdentify internal and external conflictsRecognize what is left out

The Moment Before the Gun Went OffNadine Gordimer

Interpret themeIdentify internal and external conflictsRecognize tone (irony)Identify point of viewIdentify moralInterpret meaning of titlePerceive nuancesInterpret influence of historical context on literature (apartheid South Africa)Interpret characters through thoughts and actionsRecognize common techniques in literature (symbolism, contrast, foreshadowing)Reread for deeper meaning

The Prisoner Who Wore GlassesBessie Head

Interpret themeAnalyze relevance of setting to meaningRecognize common techniques in literature (dialogue, description, interior thoughts)Interpret influence of historical context on literature (apartheid South Africa)Analyze characters through thought, dialogue, and actionsIdentify internal and external conflictsUnderstand implicationsCompare and contrast characters

RESPONDING TO UNIT THREE Reread for deeper meaningMake intertextual comparisonsRecognize influence of literary movements (Negritude)Recognize variations on common themes in literatureRecognize common techniques in fiction and poetryDraw on background to provide connections to textCompare differences in point of viewContrast different cultures (values, behavior, traditions)Recognize symbols in literature and poetryInterpret influence of history, religion, and culture on literatureIdentify internal and external conflicts

continued

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UNIT FOUR—The Middle East & South AsiaTitle and Author Literary, Thinking, and Reading Skills

from The RamayanaValmiki

Interpret themeAnalyze the relationship of charactersInterpret gender roles and expectationsAnalyze plot developmentUnderstand implications

My Father Writes to My MotherAssia Djebar

Interpret themeAnalyze relevance of setting to meaningUnderstand influence of culture and religion on literature (gender relations in

Middle Eastern countries)Analyze social and gender relationshipsRecognize sophisticated word choicePerceive nuancesUnderstand culture and customsUnderstand implicationsIdentify internal and external conflictsRecognize autobiographyAnalyze characters through dialogue and actions

Another Evening at the ClubAlifa Rifaat

Identify point of viewInterpret themeInterpret meaning of titleAnalyze relevance of setting to meaningUnderstand influence of religion and culture on literature (courtship and marriage

traditions in Middle Eastern countries)Recognize tone (subtlety, ambiguity)Analyze social relationshipsRecognize common techniques in literature (symbolism, sensory imagery,

description)

The Happy ManNaguib Mahfouz

Interpret themeAnalyze character through thought, dialogue, and actionsRecognize tone (dark humor)Recognize common techniques in literature (hyperbole, irony, allusions)Identify internal and external conflictsUnderstand implicationsUnderstand author’s purposePerceive nuances

An Arab Shepherd Is Searching for His Goat on Mount ZionYehuda Amichai

Understand historical, political, and geographical allusionsRecognize tone (sorrow, irony)Recognize common techniques in poetry (anecdotes, description)Compare and contrast two cultures (Israeli and Palestinian)Identify cultural symbolsIdentify internal and external conflictsAppreciate craft and styleIdentify poetic forms (free verse)

The Swimming ContestBenjamin Tammuz

Interpret themeAnalyze relevance of setting to meaningRecognizing common techniques in literature (foreshadowing, description,

symbolism, dialogue)Identify historical, linguistic, and cultural allusionsInterpret influence of history and culture on literature (the Middle East conflict)Compare and contrast two cultures (Israeli and Palestinian)Identify internal and external conflictsRecognize tone (irony)Analyze characters through dialogue and actions

continued

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Song of BecomingFadwa Tuqan

Interpret themeInterpret meaning of titleAnalyze relevance of setting to meaningUnderstand allusions (Biblical, historical, cultural)Identify internal and external conflictsRecognize common techniques in poetry (symbolism, metaphor, concrete imagery)Understand influence of history on literature (the Middle East conflict)Understand implicationsUnderstand poet’s purpose

The Women’s BathsUlfat al-Idlibi

Interpret themeIdentify internal and external conflictInterpret family and social relationshipsUnderstand influence of culture, history, and religion on literature (the Islamic

religion and gender roles in Syria at the time of the story)Recognize common techniques in literature (description, allusions, sensory details)Analyze the relevance of setting to story’s meaningAnalyze characters through dialogue and actionsRespond to mood

Wanted: A Town Without a CrazyMuzaffer Izgü

Understand customs and cultureRecognize tone (irony)Respond to moodUnderstand influence of culture on literature Recognize common techniques in literature (similes, sensory details, exaggeration)Interpret themeAnalyze relevance of setting to meaningUnderstand implications

The Armenian Language Is the Home of the ArmenianMoushegh Ishkhan

Identify internal and external conflictsRecognize common techniques in poetry (extended metaphor, half-rhymes, and

internal rhymes)Understand influence of history and culture on literature (the Armenian diaspora)Interpret themeRecognize tone (tribute)Recognize common themes in poetry (exile, ethnic heritage, the uses of language)Recognize what is left out

From Behind the VeilDhu’l Nun Ayyoub

Understand customs and cultureCompare two cultures (modern versus traditional)Identify internal and external conflictsAnalyze the relevance of setting to meaningRecognize common techniques in literature (symbolism, description, dialogue)Analyze character through dialogue and actionsIdentify point of viewInterpret themeDescribe and respond to atmosphere

Five Hours to SimlaAnita Desai

Understand author’s purposeDescribe and respond to atmosphereCompare two cultures (modern versus traditional)Interpret themeUnderstand customs and cultureAnalyze dictionIdentify internal and external conflictsRecognize common techniques in literature (sensory details, figurative language)

continued

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The CabuliwallahRabindranath Tagore

Interpret themePerceive nuancesRecognize tone (gentle humor, sadness)Understand customs and cultureRecognize common techniques in literature (sensory details, description,

euphemisms)Identify point of viewUnderstand implicationsIdentify allusions (history, geography, traditions)Analyze dictionRecognize common themes in literature (family love, crime and punishment, the

unknowable “other”)

Like the SunR. K. Narayan

Identify point of viewInterpret themeRecognize tone (humor, irony)Analyze characters through dialogue and actionsRecognize common literary techniques (similes, abstractions, anecdotes)Analyze diction

Sweet Like a CrowMichael Ondaatje

Recognize tone (irony)Recognize common techniques in poetry (similes, exaggeration, rhythm, imagery)Interpret themeIdentify point of viewUnderstand use of epigraphsIdentify stereotypesDraw conclusionsAppreciate craft and styleUnderstand culture and customs

RESPONDING TO UNIT FOUR Make intertextual comparisonsRecognize variations on common themes in literatureRecognize common techniques in fiction and poetryDraw on background to provide connections to textIdentify sources of conflictContrast different cultures (values, behavior, traditions)Recognize symbols in literature and poetryInterpret influence of history, religion, and culture on literatureReread for deeper meaning

UNIT FIVE—East Asia & the Pacific RimTitle and Author Literary, Thinking, and Reading Skills

from The Three KingdomsLuo Guanzhong

Analyze a character’s motivation and actionsSummarize key eventsAnalyze social relationshipsIdentify point of viewRecognize common techniques in literature (similes, metaphors)

from From Emperor to CitizenAisin-Gioro P’u Yi

Recognize elements of autobiographyUnderstand influence of history and culture on literatureAnalyze relevance of setting to meaningRecognize tone (irony)Identify point of viewRecognize common techniques of literature (listing, concrete details, similes,

euphemism)Understand culture and customsIdentify internal and external conflicts

continued

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An Ancient TempleBei Dao

Interpret themeRecognize common techniques in poetry (sensory details, allusions, description,

symbolism)Identify internal and external conflictsRecognize tone (sorrow, irony)Understand culture and customs Recognize influence of history and religion on literaturePerceive nuances

The Tall Woman and Her Short HusbandFeng Ji-cai

Interpret themeRecognize influence of history, politics, and culture on literatureAnalyze characters through thoughts, dialogue, and actionsUnderstand culture and customs Recognize tone (irony, grief)Identify point of viewInterpret use of contrastRecognize common techniques in literature (similes, description, exaggeration)

SaboteurHa Jin

Interpret themeInterpret meaning of titleAnalyze relevance of setting to meaningRecognize common techniques in literature (metaphor, allusions, similes, hyperbole,

rhetorical questions)Analyze characters through thoughts, dialogue, and actionsRecognize influence of history, politics, and culture on literatureIdentify internal and external conflictsIdentify and respond to ironyPredict character’s fate

CranesHwang Sun-won

Interpret themeIdentify internal and external conflictsRecognize common techniques in literature (flashbacks, foreshadowing, symbolism,

sensory details)Recognize turning pointsRecognize influence of history and culture on literature (the Korean War)Analyze relevance of setting to meaningPredict character’s fate

Thoughts of HanoiNguyen Thi Vinh

Interpret themeIdentify internal and external conflictsAnalyze relevance of setting to meaningRecognize common techniques of poetry (significant details, sensory imagery)Understand influence of history and politics on literature (the Vietnam War)Recognize tone (sorrow, nostalgia)

TokyoFumiko Hayashi

Interpret themeRelevance of setting to meaningUnderstand influence of history and politics on literature (war in China, postwar

depression)Identify moral valuesRecognize tone (sincerity, irony)Understand allusions (historical, political)Analyze characters through motivation, actions, and relationships

Swaddling ClothesYukio Mishima

Interpret themeRecognize common techniques in literature (symbolism, parallel structure, sensory

imagery, contrast)Analyze relevance of setting to meaningIdentify internal and external conflictsAnalyze thoughts and actions of central characterRecognize tone (moody, dark)Compare and contrast characters

continued

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The ShadowToge Sankichi

Interpret themeAnalyze relevance of setting to meaningRecognize common techniques in poetry (imagery, metaphor, personification, symbolism)Understand influence of history on literature (the atomic bombs dropped on

Hiroshima)Recognize elements of autobiographyRecognize tone (irony, pleading) and respond to toneUnderstand poet’s purposeUnderstand implications

InemPramoedya Ananta Toer

Interpret themeIdentify point of viewIdentify internal and external conflictsUnderstand culture and customsInterpret social relationshipsIdentify valuesUnderstand relevance of setting to meaningRecognize common techniques in literature (sensory details, dialogue, description)Perceive nuancesUnderstand implicationsRespond to mood

Eve to Her DaughtersJudith Wright

Interpret themeRecognize tone (irony, whimsy)Analyze voiceIdentify point of viewUnderstand allusions (biblical)Recognize influence of culture on literature (gender roles and expectations)Understand implicationsUnderstand symbolismAnalyze speaker through thoughts and actions

American DreamsPeter Carey

Interpret themeIdentify point of viewRecognize tone (irony)Identify internal and external conflictsPerceive nuancesInterpret meaning of titleRecognize use of objects to illustrate themeAnalyze relevance of setting to meaningUnderstand implicationsUnderstand universality

A Consumer’s ReportPeter Porter

Interpret themeAnalyze voiceIdentify and respond to ironyIdentify point of viewPerceive nuancesRecognize special vocabulary (the language of advertising)Interpret meaning of titleRecognize common techniques in poetry (significant details, metaphors, double

meanings)Understand implication

A Way of TalkingPatricia Grace

Interpret meaning of titleIdentify internal and external conflictsInterpret themeIdentify point of viewAnalyze relevance of setting to meaningIdentify uses of dialectExplore social issues (racism)Predict character’s fate

continued

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RESPONDING TO UNIT FIVE Understand universalityInterpret symbols in literatureUnderstand influence of history, culture, and politics on literatureUnderstand culture and customsIdentify sources of conflictMake intertextual comparisonsRecognize variations on common themes in literatureRecognize common techniques in fiction and poetryCompare and contrast different cultures (values, behavior, traditions)Reread for deeper meaning


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Using the Introductory Essays“Who Are These Strangers?” (page 1)This introductory essay attempts to answer the question, “Why read contemporary world literature?” There is no final answer to such a question, but here are a few of the reasons suggested in the essay.

• You become acquainted with some of the most influential contemporary writers, including many Nobel laureates.

• You are shown new worlds and new ways of thinking about and experiencing the world you live in.• You learn different perspectives on critical events and themes of the 20th century.• You begin to understand how some themes and human experiences and feelings are universal.

Here are a few prompts to continue the discussion started in the essay.• Can you think of any other reasons besides those suggested in the essay to read stories, poems, and

nonfiction from other parts of the world?• The essay suggests that reading world literature “may help you to consider which differences among

cultures actually matter.” Do you agree with this statement? Explain why or why not.• What does Gwendolyn Brooks mean by her statement, “To not know is to doubt, to shrink from,

sidestep or destroy”?• Why is literature a good source of clues about “these strangers—[our] neighbors on this shrinking

planet Earth”?

“The Art of Translation” (pages 2–3)This essay explains how translating literature is an art, demanding listening, linguistic, and literary skills. Here are some questions suggested by the essay with corresponding answers.

• What do you gain from translation? Without translation, you would not have access to some of the most important literary works ever written.

• What skills are required of a translator? The translator must have mastery over the original language as well as mastery of the host language.

• How is translation an art? The translator must be familiar with the traditions of the literature he or she is translating, sensitive to the qualities of fine writing, and aware of the musical qualities of the original language that he or she is attempting to translate.

Here are a few prompts to continue the discussion started in the essay.• Can you think of any other reasons besides those suggested in the essay to read translated literature?• What does the writer, Khaled Mattawa, mean by saying “. . . translations do not take place in a political

and social vacuum”? Do you agree or disagree? Explain.• Can you think of other works that have been translated into English besides those mentioned in the

essay? Name them.

Anticipation Guide (page 45 of this Teaching and Assessment Resources book)Discuss the statements on the Anticipation Guide with your students to assess prior knowledge and stimulate discussion. You may want to administer the anticipation guide again at the end of the unit to see if their answers have changed.

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Active Reading StrategiesActive Reading means being an interested and focused reader. It involves thinking about what you are going to read, what you are reading, and what you have just read. Use the information below to become an active reader.

Pre-readingBefore you even begin reading, ask yourself, “Why am I reading this? What do I hope to learn from it?” Look at the title and think about what it might tell you about the text. Skim over the pages looking for subheadings, captions, sidebars, or illustrations that give you clues about what you are going to read.

During ReadingIf you own the book you are reading, you should highlight, underline, and annotate as you read. This emphasizes the information and helps transmit it to your brain. You can also easily review these important points later. Always be sure to monitor your reading by constantly mulling over the information, images, impressions, and so on that you are receiving from the text. The best way to do this is to use the six Active Reading strategies outlined below. The more you employ these strategies, the more help they will offer. They should become second nature to you.

• QuestioningAsk questions that come to mind as you read. Continually questioning the text will help you stay alert and interested in what you are reading. As your questions are answered, think of new ones.

• PredictingUse what has happened to guess what will happen next.As you read, keep guessing as to what will happen next. Think about what the characters are up to, where the plot is going, and what the author will do next. Keep making predictions right up to the end of the reading.

• ClarifyingClear up any confusion about the text and resolve any questions. If you have trouble understanding something you have read, clear it up right away. Go back and reread the passage until you understand it. Think about the main idea of the passage. Continually clarify what the author is telling you throughout your reading.

• ConnectingCompare the text with your own experience.Connect what you read to something you have read, seen, or experienced yourself. Ask yourself, “What does this remind me of?” Visualize the information—try to see it in your mind. When you connect with the characters and situations you read about, your reading is more meaningful.

• SummarizingReview what has happened so far.Every now and again as you read, stop to review what you have read so far. Determine what you know, what you think you know, and what has changed about what you thought you knew.

• EvaluatingForm opinions and arrive at conclusions about your reading.Make judgments as you read. Use your common sense as well as the evidence in the text to arrive at sound opinions and valid conclusions.

After Reading When you finish reading, stop to think about what you have read. Go over the entire piece in your head. Try to remember the main points and the relevant details. Use a response journal to jot down your feelings about what you’ve read.


Many Voices: Reading the World Europe 123

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Differentiated InstructionUnit Two: EuropeReview the Literary Map on pages 136 and 137 with your students. Ask volunteers to identify and talk about as many of the countries in Europe identified in the text as time allows. To set the mood for the selections, play a wide variety of distinctive music from Europe, both folk and classical.

NAME OF SELECTION

TYPE OF LEARNER

Auditory Visual Kinesthetic ELL/Struggling

The Divine Comedy (poem)pp. 139–145Challenging

Ask students to take turns reading stanzas from the poem aloud. Discuss the rhythm of the language and the rhymes.

Assign students to bring to class examples of illustrations created for The Divine Comedy. Discuss how they differ.

Ask students to show the body language Dante might have used at vari-ous points in this canto.

As a class, draw a map of Dante’s movements in this canto, and the events that happen to him.

First Confession (short story) pp. 147–156Easy

Ask Catholic students to describe the confes-sion box to those who are not familiar with this tradition. Play recordings of Irish dialect.

Ask students to illustrate a scene from the story or draw a diagram of the confession box.

Using only facial expres-sions to communicate, students should take turns portraying a char-acter from the story. The other students have to guess which character is represented.

Help students under-stand that much of the humor in the story comes from Jackie’s mis-conceptions of Catholic beliefs.

from Clearances(poem) pp. 157–158Easy

Read the poem aloud with the students. Ask them to read a passage they particularly like and to explain why they like it.

Look at images in his-tory books related to the Irish potato famine in the 19th century. Have students discuss the rele-vance of potatoes in Irish history and culture.

Bring potatoes, peel-ers, bowls, and a bucket of clean water to class. Have the students peel the potatoes in small groups, noting the simi-larities and differences between the poem and their own experience.

Read the poem with the students. Ask them to discuss how they feel about the mother and the son in the poem.

Do Not Go Gentle into That Good Night(poem)pp. 160–161Average

Assign six students, one for each stanza, and have them read aloud to the class.

Have students create a graphic organizer, such as a web, that identifies and describes the dif-ferent kinds of men in the poem, such as “wise men,” “good men,” “wild men,” etc.

Have students panto-mime what it might feel like to “Rage, rage against the dying of the light.” If possible, dim the lights in the classroom during this activity.

Help students under-stand the imagery in this poem, such as “words had forked no lightning.”

Not Waving But Drowning(poem) p. 162 Challenging

Assign three students, one for each “voice,” to read the poem aloud. (The narrator, the dead man, and the dead man’s friends.)

Have students find images in magazines that represent the differences between how people are perceived by others and how they are actually feeling.

Have students demon-strate the difference between waving while swimming and the move-ments of someone who is drowning.

Have students write out the poem, using a differ-ent color ink for each of the three voices in the poem.

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124 Europe Many Voices: Reading the World

NAME OF SELECTION

TYPE OF LEARNER


The Love Song of J. Alfred Prufrock (poem) pp. 163–168 Challenging

Ask students to imagine what J. Alfred Prufrock’s voice might sound like. Have students prepare one stanza of their choice to read aloud to the class, presenting their own interpretations of Prufrock’s voice, accent, and diction.

Ask students to choose a stanza and draw or sculpt a representation of this stanza.

Have each student eat a peach. As they eat, have them discuss what might be “daring” about eating a peach.

Help students under-stand the literary and cultural allusions in this poem.

from Ten Songs (poem) pp. 169–171 Easy

Divide students into pairs. Have the pairs read the poem aloud to each other, with one student reading the first two lines of each stanza and the other student read-ing the third line of each stanza.

Have students look at images of Hitler and pre-World War II Germany on the Internet or in books.

Ask groups of three or four students to act out a scene from one of the stanzas of the poem.

Discuss with students the feelings and prob-lems someone might experience when moving from one country to another, trying to find a home.

The Destructors (short story) pp. 172–189 Challenging

Assign to students the roles of the characters in the story. Read the nar-ration of the story aloud to the class, allowing the students to speak the lines of dialogue.

Have students create an illustration depicting a scene from the story.

Have students construct a model of a house out of cardboard. Allow them to destroy the house, using the same methods used by the characters in the story.

Help students under-stand the slang used in the story.

The Guitar (poem) pp. 191–192 Average

Have students read the poem aloud to one another as you listen to recordings of Spanish guitar music.

Have students create a watercolor painting that is inspired by the poem.

Bring in an old acoustic guitar for students to try to play.

Help students under-stand the meaning of the symbols used in the poem.

Poor Fish (short story) pp. 194–202 Challenging

Have students describe what happens in the story and read their favorite passages aloud.

Ask students to draw or work with clay to create an image representing the circus scene from the story.

Have students act out the scene in which the narrator confronts the man at the circus.

Ask students to talk about how the narrator feels about himself and about Ida.

The Black Sheep (fable) pp. 203–205 Easy

Ask the students to imagine the dialogue that might have been exchanged between the thieves and the hon-est man. Have students improvise and perform a scene from the story with dialogue.

Have students draw a map of the setting for the story that includes landmarks such as the honest man’s house and the bridge.

Have students act out a scene from the story.

Help students under-stand the difference between a realistic fic-tion story and a fable. Ask students to compare and contrast this story with a story like “First Confession.”

The Balek Scales (short story) pp. 207–215 Average

Ask students to read aloud a passage from the story they especially like and explain why they like it.

Have students draw or paint a landscape repre-senting the setting of the story.

Bring in a balance scale with weights and have students weigh various objects in the classroom.

Ask students to talk about the role of the Balek family in the com-munity. Why weren’t the Baleks punished for deceiving the workers?


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NAME OF SELECTION

TYPE OF LEARNER


The Last Judgment (short story) pp. 217–222 Average

Divide the students into pairs. In each pair, one student plays the role of God and the other plays the role of Kugler. Have students read aloud the dialogue from the story. Then they switch roles.

Ask students to illustrate a scene from the story or draw a portrait of one of the characters.

Have students rearrange the classroom furniture so that the classroom represents a courtroom. Then read the story aloud as the students act out the roles in the story.

Read the story with the students and discuss how they feel about Kugler and his punishment.

A Contribution To Statistics (poem) pp. 224–226 Average

Have students take turns reading the poem aloud in contrasting voices. One voice, for example, could be that of a cold statistician. Another voice could be of some-one who is worried and afraid.

As you read the poem aloud, have students write the numerals rep-resented in the percent-ages. Then ask students to find ways other than numerals, such as pie charts, to represent quantities in the poem, such as “half at least.”

Have the students stand in an empty classroom or gym as you read the poem. Have students divide themselves into groups representing each “statistic.”

Help students under-stand that the poem uses statistics as figurative lan-guage, not as mathemati-cal concepts.

And Yet the Books (poem) pp. 227–228 Challenging

Read the poem aloud with the students. Ask them to read a line that they particularly like and explain why they like it.

Have students design the cover of a book that incorporates an image from the poem.

Have students hold and carry a book as if it were a living thing.

Help students under-stand the similes and metaphors in the poem.

Rhinoceros (short story) pp. 230–246 Challenging

Assign to students the roles of the characters in the story. Read the nar-ration of the story aloud to the class, allowing the students to speak the lines of dialogue.

Have students look at photos of rhinoceroses. As they study the pho-tos, ask them why they think the author chose this animal for the story.

Have students panto-mime what it would feel and look like to turn into a rhinoceros.

Discuss with students what becoming a rhinoc-eros symbolizes in the story.

Alone (poem) pp. 248–249 Average

Have students divide into pairs and read the poem aloud to each other. One partner reads the first part and the other reads the second part.

Ask students to illustrate either part I or part II of the poem.

Have students crowd together in one part of the room for a moment. Then ask students to compare the feeling of being in a crowd with the feeling of being alone.

Discuss with students how a near-death experi-ence might change a per-son’s attitude or outlook.

The Nobel Prize (poem) pp. 251–252 Challenging

Read the poem aloud with the students. Ask them to read a passage they particularly like and to explain why they like it.


Have students panto-mime an animal caught in a snare.

Read the poem with stu-dents and discuss how it feels to have no escape from a difficult situation.

First Frost (poem) p. 253 Easy

Assign five students, one for each stanza, to read aloud to the class.

Have students draw or paint a portrait of the girl described in the poem.

Have students touch cold water or ice and think about the line in the poem that begins “Fingers like ice.”

Ask students to talk about the girl and what might have happened to her.

Forbidden Fruit (short story) pp. 254–263 Average

Have students describe what happened in the story and read a passage aloud that seems to best demonstrate the unique voice of the narrator.

Have students draw or write on a piece of paper what they imagine the narrator would have drawn or written in his new notebook.

Bring in a small snack for students, such as crack-ers, and ask them to eat the snack in the same manner as the sister ate the pork in the story.

Ask the students to talk about the narrator and the way he treated his sister. Do they think the matter was resolved fairly?

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I N T R O D U C I N G T H E U N I T

EuropeIn this unit, students will read selections from European writers.

I. Help students develop a sense of how world conflicts have influenced the literature of Europe. A. Invite students to react to the quotation from Aleksandr Solzhenitsyn on the following page. Ask what

“pains and fears” writers might portray in American society. Then remind them that many European writers lived through world wars, the Holocaust, and the collapse of the Soviet Union. Ask them to predict whether the “pains and fears” in European works will differ from those in works from other parts of the globe.

B. Use the reproducible map on the next page as an overhead transparency or blackline master. Review the directions for the activities on the following page with students, perhaps putting one label on the map to illustrate what you want them to do.

C. Remind them of the location of any resources you want them to use, such as the headnotes, world maps, and history texts.

D. If you have students work in groups, you can assign each group to cover different authors and pool their results.

E. If you want to emphasize a particular historical event, such as the spread of communism or the extent of the Holocaust, you might have students color-code their maps to reflect the countries involved in that event.

II. You might extend this activity by having students create a giant time line. Some students could create labels for the most important historical events of a given time period, while others could add labels showing how the authors they read relate to these events.

Many Voices: Reading the World © Perfection Learning Corporation • R e p r o d u c i b l e 127

Name __________________________________________ Class _______________________ Date __________________________

EuropeWriters are among the first targets of totalitarian regimes. Aleksandr Solzhenitsyn, who was twice sent to Siberia, is one of many European authors who were exiled, imprisoned, or silenced. However, he refused to stop criticizing Russia’s Communist regime, believing that “Literature that is not the breath of contemporary society, that dares not transmit the pains and fears of that society, that does not warn in time against threatening moral and social dangers—such literature does not deserve the name of literature; it is only a façade. Such literature loses the confidence of its own people, and its published works are used as wastepaper instead of being read.”

Directions: The essay on “The Literature of Europe” (pages 134–135) suggests several ways that changes in the map of Europe influenced writers: the rise of fascism, the spread of communism, the Holocaust, and the end of the Cold War. Using the headnotes for the stories in this unit, add this information to the map below.

1. Write each author’s name in the country of his or her origin.

2. If the headnote mentions any historical event, put a short phrase or symbol describing that event by the author’s name.

3. Add any relevant information from your own knowledge of an author or other sources your teacher asks you to use.

UNITED

KINGDOM

AND

HEREGOVINA

MONTENEGRO KOSOVO

EUROPE

Name __________________________________________ Class _______________________ Date __________________________

128 © Perfection Learning Corporation • R E P R O D U C I B L E Many Voices: Reading the World

Unit Two VocabularyWatch for the following words as you read the selections in Unit Two. Record your own vocabulary words and definitions on the blank lines.

The Divine Comedy pages 139–145

mantled covered lithe able to move with effortless gracearray an imposing arrangement of elmentsravenous extremely hungrywan faint; suggestive of unhappinessshade a ghostsated satisfied; appeased

________________________________________________

________________________________________________

First Confession pages 147–156

covet want; desire what belongs to anothercryptically obscurely; mysteriouslyfastidious dainty; squeamishincredulously skeptically; unbelievinglymortified ashamed; embarrassedvixen a bad-tempered female

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________________________________________________

from Clearances pages 157–158

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Do Not Go Gentle into That Good Night pages 160–161

________________________________________________

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Not Waving but Drowning page 162

________________________________________________

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The Love Song of J. Alfred Prufrock pages 163–168

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from Ten Songs pages 169–171

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The Destructors pages 172–189

altruistic unselfish; without thought of personal gain

ambiguously obscurely; unclearlydaunted unnerved; intimidateddeviation nonconformity; departure from the normexploit adventure; featfickleness changeability; inconstancyignoble dishonorable; degradingimplacable inflexible; unrelentingimpromptu improvised; extemporaneousincendiaries bombs designed to cause firespillaged destroyed; lootedrebuked scolded; reproachedrendezvous meeting; appointmentstealthy secret; furtiveswathes folds; wraps

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The Guitar pages 191–192

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Poor Fish pages 194–202

cowering shrinking from; showing fearnil zero; absolutely nothingpiqued irritated; bothered

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Name __________________________________________ Class _______________________ Date __________________________

The Black Sheep pages 203–205

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The Balek Scales pages 207–215

flouted disregarded; defiedpoachers trespassers; people who hunt illegallyseminary school that trains priests, ministers, or

rabbistheology study of religious belief and practice

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The Last Judgment pages 217–222

desolate deserted; joylessinveterate habitual; confirmedpensively thoughtfully; musinglystately dignified; majesticusury lending money at a high rate of interest

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A Contribution to Statistics pages 224–226

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And Yet the Books pages 227–228

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Rhinoceros pages 230–246

archivist person who maintains a collection of documents

banal trite; overusedhumanism philosophy that stresses the power of

human reason; way of life centered on human interests or values

itinerant traveling; circuit-ridingmorbid unhealthy; gloomymutations changes; alterationsparadoxes seeming contradictions; anomaliespedant person who shows off learning; stickler for

detailspsychosis mental derangement; loss of contact with

reality

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Alone pages 248–249

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The Nobel Prize pages 251–252

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First Frost page 253

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Forbidden Fruit pages 254–263

abstinence avoidance; voluntary giving updiffident hesitant; unassumingegalitarian equal; fair-mindedenigma puzzle; mysterygamut range; spectrumideological based on beliefslatitude freedom; leewaynotoriety disrepute; poor reputationprodigiously enormously; excessivelyself-effacing modest; not seeking attentiontenets principles; teachingstransfixed held motionless; spellbound

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The Balek Scales by Heinrich Böll, pages 207–215 Short Story

Responding and WritingThe narrator’s grandfather lived in a feudal village, where the accuracy of the scale the Baleks—the overlords—used to weigh their purchases from the villagers went unquestioned for generations. When young Franz Brücher proves the scale weighs short, the village revolts. Armed men put down their attempt to get justice, and the Brüchers have to leave the village.

Vocabularyflouted disregarded; defied

poachers trespassers; people who hunt illegally

seminary school that trains priests, ministers, or rabbis

theology study of religious belief and practice

After You Read 1. What do you think is the theme of “The Balek

Scales”? Find some elements in the story that point to this idea. Answers will vary. Ask students to look for references to “justice” throughout the story. Then ask them if they can find a statement at the end of the story that sums up the theme. Possibilities include “everywhere the finger of justice swung falsely” and “but there were few who listened.”

2. When in the story does the author first reveal his sympathies? Find the line(s). Answers may vary. Evidence of the author’s sympathy for the poor villagers appears in the first paragraph, when he refers to how their work for the Baleks “killed [them] off by slow degrees” and describes them as “long-suffering, cheerful people.” Later he provides further evidence of how the Baleks exploit the villagers.

3. LITERARY LENS: POINT OF VIEW Why do you suppose the author chooses to use a first-person narrator to relate this story? Explain what he gains by doing so. Answers will vary. The first-person voice personalizes a story about economic injustice, providing it with more emotional intensity. The “I” voice also draws the reader to sympathize with a widespread problem since it has been given a human face.

4. What other institutions are bound to the power of the Baleks, according to Böll? Think about whether such relationships continue in any modern societies, especially your own. Answers will vary. The King ennobles the Baleks, the gendarmes help them put down the rebellion, and the priest is forced

to demonstrate the accuracy of the scales. Students’ opinions about the sources of power and legitimacy and the efficacy of protest will vary with their politics.

For Further DiscussionWhat is it that the villagers—and the Baleks—want? Answers will vary. It’s unlikely that the conflict can be lessened by adding “a tenth part of justice” to the villagers’ pay. At this point in history, the peasants of Europe are beginning to protest the absolute power and wealth of the landed aristocracy. Questioning the standards used to weigh the crops is just the first step in a process that will eventually lead to representative democracies in Europe.

Critic’s CommentRichard Plant notes, “Throughout Böll’s fiction, we also meet The Others: those who rule, possess, dictate. They show up in many guises—Böll is endowed with enough imagination to give variety to his fictional creatures. They appear as the exact counterpoint to our victimized heroes.”

Writing an EditorialHave students write a newspaper editorial pointing out something they consider an economic injustice. They might think about differences in compensation among people at a company, the differences in taxation paid by various individuals, or the treatment of a particular ethnic or social group, or other situations. Tell the students to use concrete details to support their opinions.

Name __________________________________________ Class _______________________ Date __________________________


The Balek Scales by Heinrich Böll, pages 207–215

Quiz: Comprehension and AnalysisChoose the best answer and write the letter on the blank.

____ 1. _____ is left to the children.

A. Drying the flax

B. Making the cheese

C. Grinding the coffee

D. Cleaning the house

____ 2. The pale coffee is the color of—

A. hay flowers.

B. pigtails.

C. flax.

D. pancakes.

____ 3. In Blaugau and Bernau it is against the law to—

A. smoke a cigar.

B. sing in church.

C. own a scale.

D. ride a horse.

____ 4. _____ weigh exactly fifty-five grams.

A. Five pebbles

B. Ten mushrooms

C. Two cups of coffee

D. Fifty lemon drops

____ 5. _____ displays the scales publicly.

A. Frau Balek

B. The priest

C. The gendarmes

D. Wilhelm Vohla

6. ANALYSIS: What do you learn about the grandfather when he does not take coffee for his mother?

__________________________________________________________________________________________________________

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7. ANALYSIS: Describe the impact on the grandfather’s family of leaving the village.

_______________________________________________________________________________________

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Name __________________________________________ Class _______________________ Date __________________________

The Balek Scales by Heinrich Böll, pages 207–215

Literary Skill: ThemeThe theme of a literary work is the underlying meaning or message. The theme may be stated explicitly or it may be developed through some other element. In analyzing any literary work, it is important to identify the theme.

Directions: In the center of the web below, write a sentence or phrase that you think best describes the theme of “The Balek Scales.” Fill in the outer circles surrounding the web by answering each question.

What is the theme?

How does the plot

support the theme?

Find a passage from

the story that supports the theme.

How does the

characterization support the theme?

How does the setting

support the theme?


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U N I T T W O R E V I E W

EuropeDiscussing 1. Both “First Confession” and “Forbidden Fruit” have reminiscent narrators: narrators telling the story from the

viewpoint of their younger selves. Talk about the advantages and disadvantages of this point of view. Answers will vary. Much of the humor and insight of both stories comes from the juxtaposition of a naïve viewpoint with a more mature understanding. For example, young Jackie thinks the priest is silent because he is horrified by Jackie’s escapades; the reader might suspect that the priest is trying to keep from laughing. The technique also allows the author to contrast childish and mature understandings of religion; for example, the young Muslim learns the painful lesson that it is not enough to follow the rules—he must also keep his heart free of envy.

2. Compare the poems by Thomas, Smith, Auden, Szymborska, and Milosz. All are important 20th century writers treating a similar theme: death. Which poets address it in terms of the times they live in (and its threat of fascism) and which address it in a more personal way? Characterize each poet’s treatment of this theme. Answers will vary. Students might find references to Nazi persecution in Auden’s poem and mention of “tribes” moving across Europe and book-burning in Milosz’s work. In Smith’s poem, a swimmer dies because his friends don’t realize he needs help. Szymborska points out that all humans are mortal. Thomas transmutes his feelings about his father’s approaching death into an appeal to live fiercely and resist death.

3. World War II and Nazism influenced many of these European writers. Look at the selections by Auden, Greene, Milosz, and Ionesco for evidence of such influences. Why is war such a rich theme for writers? Compare the very different tones and perspectives these writers bring to bear on this subject. Answers will vary. Auden, Milosz, and Ionesco all protested against Nazi barbarism. Auden dramatized the plight of the Jewish refugees, Milosz expressed his faith that books would endure, and Ionesco compared people’s conversion to Nazism to characters turning into rhinoc-eroses. Greene’s story reflects the social upheaval after the war but suggests that destruction has its own creative energy.

4. Irony and black humor are often seen in Western European writing. Which selections in this unit display this sort of humor? Discuss why European writers, in particular, might favor this form of expression. Answers will vary. Students might consider irony and black humor a response to the wars and totalitarian repression suffered by Europe during the 20th century. Greene’s “The Destructors” can be interpreted as a comment on the disruption of the social order. Capek’s “The Last Judgment” and Calvino’s “The Black Sheep” both invert the social norm. Ionesco’s “Rhinoceros” takes an illustration of the pressures to conform to absurd lengths. “Not Waving but Drowning” can be read as a macabre joke, in which good intentions are not enough to overcome a tragic miscommunication.

5. Some of the writers here, such as Eliot, Auden, Calvino, and Ionesco, are modernists. This 20th century school of writing breaks from formal traditions of the past, its writers choosing free verse, internal monologues, and stream-of-consciousness over more traditional forms of expression. Their writing often explores the psychology of the individual and tends toward a darker tone, particularly writing after World War I. After making sure of the definitions of these literary terms, find examples of one or more of them in the selections by these writers. Answers will vary. Students might cite structural elements, such as Prufrock’s monologue, or Eliot or Auden’s free use of rhyme. They might also note thematic elements, such as Ionesco’s story about how pressures to conform cause people to lose their humanity or Calvino’s fable in which an honest man destroys the social fabric.

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Writing 6. After reading the Seamus Heaney poem, “Clearances,” write about a ritual you have participated in with a

loved one. Try to pick something simple that you both appreciated. Write down every sensory detail that will help you remember this activity later.

7. Try to write a poem based on the general format of “A Contribution to Statistics,” using your own formulas and assessments of human behavior.

Speaking/Listening 8. Conduct a mock jury trial of Kugler, from “The Last Judgment.” Have one class member preside as judge and

others perform the tasks of defense and prosecution lawyers, witnesses, and jury members. Add to the details of the crimes mentioned in the stories and conclude with a verdict based on the evidence presented at trial.

9. Give an oral report on some aspect of World War II that moves, fascinates, or horrifies you, or that gives you some critical insight. Refer to Researching the World and the Research Handbook for ideas about what to research and how to narrow the focus of your presentation.

Hands-on ProjectMany Americans have European ancestors or are familiar with European culture because of its widespread influence. Choose a European cuisine that you are familiar with or that you would like to learn more about—for example, Italian, German, Spanish, or Portuguese—and demonstrate how to make a certain dish or holiday repast for your classmates. Try to choose something tasty that is typical of the region.

Personal ConnectionsAfter reading the selections in this unit, choose one of the following questions to write about in your journal. 1. Which characters or selections helped open your eyes to a new way of seeing the world?

2. What new understanding do you have about European culture, your family, or yourself?

3. Which differences among cultures do you think really matter? Explain.

This organizer will help students make generalizations about the selections they have read. Ask them to 1. List any selections that stand out in their minds in a chart like the one below.

2. Review the Table of Contents for Europe to see if there are any other selections they want to include.

3. Choose one of the three questions to write about.

4. Use the second column of the chart to collect their ideas about the details they want to include in their journal entry.

Title Reactions/Insights


Name __________________________________________ Class _______________________ Date __________________________

Unit Two Vocabulary Test pages 138–263

I. Multiple ChoiceChoose the meaning of the bold word in each passage.

1. Now, girls are supposed to be fastidious, but I was the one who suffered most from this. (“First Confession,” p. 1147)

A fashionable C talkative

B squeamish D delightful

2. “Someone will go for her with a bread-knife one day, and he won’t miss her,” [the priest] said rather cryptically. (“First Confession,” p. 155)

A jokingly C proudly

B mysteriously D angrily

3. The gang met every morning in an impromptu car park, the site of the last bomb of the first blitz. (“The Destructors,” p. 173)

A glorified C improvised

B shabby D communal

4. [T] was late at the rendezvous, and the voting for that day’s exploit took place without him. (“The Destructors,” p. 175)

A meeting C veto

B decision D nomination

5. Physical strength, then—nil: I am small, crooked, rickety, my arms and legs are like sticks, I’m like a spider. (“Poor Fish,” p. 194)

A obvious C average

B unusual D zero

6. The lions, cowering, poor beasts, on top of these cat-sized seats, roared and showed their teeth . . . . (“Poor Fish,” pp. 198–199)

A showing fear C showing ferocity

B showing hunger D showing affection

7. True, there were some among these quiet people who flouted the law, poachers bent on making more money in one night than they could earn in a whole month in the flax sheds . . . . (“The Balek Scales,” p. 209)

A enforced C defied

B obeyed D enacted

8. “Kugler, Ferdinand was a thief before his tenth year and an inveterate liar.” (“The Last Judgment,” p. 219)

A habitual C undetectable

B believable D entertaining

9. “But really, why don’t You . . . why don’t You Yourself do the judging?” Kugler asked pensively. (“The Last Judgment,” p. 221)

A regretfully C happily

B eagerly D thoughtfully

10. “The council has forbidden itinerant entertainers to stop on municipal property.” (“Rhinoceros,” p. 231)

A acrobatic C country

B acting D traveling

11. [We] . . . began to talk about the weather again, . . . and other banal and insoluble questions. (“Rhinoceros,” p. 231)

A trite C controversial

B critical D unexpected

Name __________________________________________ Class _______________________ Date __________________________


12. “Collective psychosis,” retorted Botard, who was a freethinker, “just like religion, the opium of the people!” (“Rhinoceros,” p. 236)

A awakening C derangement

B discovery D bargain

13. Though another of Mohammed’s commandments —the one on alcoholic drinks—was broken (and without constraint, as I know now) no latitude was allowed with regard to pork. (“Forbidden Fruit,” p. 254)

A argument C leeway

B sharing D expense

14. It seemed to me that a person with such a record ought to be more diffident, more self-effacing, ought to wait for worthier people to tell the story. (“Forbidden Fruit,” p. 261)

A assertive C indirect

B modest D agreeable

15. Perhaps I hadn’t expressed myself properly, or maybe Mohammed’s great tenets and a little urge to capture someone else’s notebooks didn’t go together. (“Forbidden Fruit,” p. 262)

A teachings C accomplishments

B questions D efforts

II. MatchingMatch each vocabulary word with its definition.

_______ 16. altruistic a. changes

_______ 17. deviation b. range

_______ 18. egalitarian c. equal

_______ 19. gamut d. looted

_______ 20. ideological e. irritated

_______ 21. mutations f. unselfish

_______ 22. notoriety g. nonconformity

_______ 23. paradoxes h. poor reputation

_______ 24. pillaged i. based on ideas

_______ 25. piqued j. seeming contradictions


Name __________________________________________ Class _______________________ Date __________________________

U N I T T W O T E S T

EuropeI. Sentence CompletionChoose the word that best completes the meaning of each sentence. Fill in the circle next to that word.

1. In “Do Not Go Gentle into That Good Night,” Dylan Thomas urged his father to resist _______.

A aging C quitting

B despair D death

2. The speaker in the poem from Auden’s “Ten Songs” is trying to flee from _______.

A police C memories

B Hitler D floods

3. The people in Eugene Ionesco’s story start turning into _______.

A cockroaches C rhinoceroses

B monkeys D giraffes

4. The “black sheep” in Italo Calvino’s fable causes problems because he is _______.

A honest C dishonest

B gullible D cruel

5. Andrei Voznesensky compares a young girl’s first disappointment to “First _______.”

A Spring C Frost

B Raindrops D Skylark

6. The Muslim narrator in “Forbidden Fruit” prides himself on his _______.

A appetite C handwriting

B driving D abstinence

7. The “Forbidden Fruit” in Fazil Iskander’s story is _______.

A milk C oranges

B pork D chocolate

II. True-FalseIf the statement is true, mark it T; if false, mark it F.

_______ 8. The priest in “First Confession” tells Jackie he should follow his sister Nora’s good example.

_______ 9. Seamus Heaney wrote “Clearances” in memory of his mother.

_______ 10. Federico García Lorca compares the guitar to a wounded heart.

_______ 11. In “The Last Judgment,” a murderer learns that he will receive not divine but human justice.

_______ 12. In “The Love Song of J. Alfred Prufrock,” T. S. Eliot deliberately uses old-fashioned poetic language.

_______ 13. Boris Pasternak was allowed to accept the Nobel Prize for Doctor Zhivago when it was awarded.

Name __________________________________________ Class _______________________ Date __________________________


III. Multiple ChoiceSelect the best answer to complete each statement.

_______ 14. In Stevie Smith’s poem, a swimmer tries to tell his friends that he is

a. afraid of the water. b. dying of cancer. c. only pretending to be in trouble. d. not waving but drowning.

_______ 15. At the end of “The Destructors,” the lorry driver tells Old Misery that

a. “Those boys really hated you.” b. “I’ll call the police.” c. “You’ve got to admit it’s funny.” d. “You haven’t lost anything more

than anyone else.”

_______ 16. The narrator of “Poor Fish” wonders

a. “Will anyone ever love me?” b. “Why do people call me a ‘poor

fish’?” c. “Will Ida stay true to me?” d. “Who can tell what women see

when they’re in love?”

_______ 17. In “The Balek Scales,” the villagers’ protest

a. forces the Baleks to return the money they stole.

b. is put down by force. c. ends peacefully after the priest

negotiates a settlement. d. results in the destruction of the

village.

_______ 18. In Szymborska’s “A Contribution to Statistics,” the only category that applies to everyone is

a. “those who always know better.” b. “glad to lend a hand.” c. “savage in crowds.” d. “mortal.”

_______ 19. In “And Yet the Books,” Czeslaw Milosz expresses his

a. belief that the ideas in books cannot be destroyed.

b. fear that the Nazis will burn his poetry.

c. despair that books are being burned throughout Germany.

d. hope for an end to book-burnings.

_______ 20. Tomas Tranströmer’s “Alone” describes a walk in the fields and a

a. childhood memory. b. waking dream. c. near-fatal accident. d. mountain rescue.

IV. Short EssayWrite a paragraph that answers the question below. Include at least two supporting details or examples.

In “The Literature of Europe,” Petra Fiero writes: “In the twentieth century, Europe was ravaged by two World Wars, saw the rise and fall of fascism and communism, and began to live with the threat of the atomic bomb. The impact of these events on all areas of human life, including literary activity, was enormous.” Explain how this statement applies to one of the selections you read. Be sure to include the title of the selection and explain which event(s) you believe affected the author you choose to write about.


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U N I T T W O W R I T I N G P R O M P T S , R E S E A R C H , A N D P R O J E C T S

EuropeThe activities that follow are intended to extend your students’ understanding and appreciation of the literature they have read in Unit Two—Europe. These activities also provide a wide range of writing and thinking experiences. All of these activities may not be suitable for all students.

Writing About Literature 1. Ask students to pick a story in Unit Two in which

setting plays a major role and write about it.

2. Ask students to write about the selection in this unit that they enjoyed the most, giving their reasons.

3. If students could become any character in one of these selections, which one would it be? What particularly appealed to them about the character?

4. There are a number of poems in this unit. Ask students to choose two and compare them.

5. Ask students to compare and contrast the plots and writers’ styles of “The Black Sheep” by Italo Calvino and “The Balek Scales” by Heinrich Böll.

6. Do European writers seem to have different concerns than writers from the Americas? Ask students to answer this question based on the two units they have read thus far.

7. Ask students to examine one element that the selec-tions in this unit have in common, not including the fact that they are all written by Europeans. Have students write a short essay detailing their findings.

Writing Nonfiction 1. Ask students to think about one of the stories in

this unit and then write about the sights, sounds, smells, and tastes they would encounter if they visited there.

2. Have students choose one of the authors in this unit and write a biography of that person.

3. Ask students to collect their favorite passages from the readings in this unit. Then ask them to choose two of these and rephrase them in their own words.

4. Have students write a description of a place they have visited. Remind them to include information on the location, flora, fauna, people, and other sights.

5. Have students listen to CDs or tapes of the poets represented in this unit reading their own work. Ask them to write a short piece describing their impressions of the readings.

6. Encourage students to write a letter to their favorite author. They should tell the author why they admire his or her writing as well as something about themselves.

7. Ask students to write a descriptive paragraph that

begins, “My best friend is . . .”

Creative Writing 1. Have students write a descriptive essay of

themselves from the viewpoint of their parents or teacher.

2. Ask students to rewrite “Rhinoceros” as an essay for a popular news magazine.

3. Have students choose one scene from “The Destructors” and rewrite it from the perspective of Blackie.

4. Ask students to write a paragraph describing how they felt when they first did something that delighted them. Encourage them to use vivid images and creative language.

5. Using either “Not Waving but Drowning” or “A Contribution to Statistics” as a model, students should write a poem that incorporates as many of the poetic elements found in the chosen poem as possible.

6. Ask students to choose a character from one of the selections in Unit Two and write a letter to a living political, literary, or cultural figure as that character.

7. Ask students to write a poem or song lyrics about one of the countries represented in this unit.

8. Have students rewrite the ending to the story “The Last Judgment.”

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Writing Research Papers 1. Ask students to research the European Union, or

EU, and write a research paper about it, including when it was established, who the members are, its purpose and its institutions.

2. Ask students if they know anyone living in one of the countries represented in Unit Two. If they are able to, have them interview the person, asking pertinent questions about the people, economy, major cities, and other vital information. Have students augment this interview with facts and figures gained through research. They should then write a research report detailing their findings.

3. Have students research the form of government in two of the countries represented in this unit. Ask them to write a paper comparing and contrasting each country’s governmental systems.

4. Have students choose a poet represented in Unit Two and write a research paper on that author’s life, work, major influences, and common themes.

5. Ask students to research the arts or music of one of the countries in Unit Two. Have them write an informative report as to what they discover.

Presentations and Projects 1. Ask students who have listened to taped readings

and have read the work of a particular poet, to stage a presentation in which they assume the character of the poet reading his or her poems.

2. Encourage groups of students to prepare a Readers Theatre piece based on one of the longer selections in this unit. Have students perform their piece for the entire class.

3. Ask students to draw a portrait of two characters from Unit Two. Have them name the character and write a descriptive passage about the character. Display their work in the classroom.

4. Ask students to create a four-page travel brochure that invites travelers to visit one of the countries represented in this unit. The brochure must include interesting and noteworthy images as well as some descriptive text about the country.

5. Have students memorize one of the poems in this unit and recite it for the class.

6. Ask groups of students to represent various countries in the European Union and to plan and present a conference in which these representatives voice their feelings about the EU and about the other countries in the European Union.

7. Have students work together to study the educa-tional systems in particular countries in Europe. Have students share their findings.

8. Have groups of students of each learning style work together to study the history of one of the countries represented in this unit. Students should write a report that includes maps, images, and aspects of the cultural, religious, and political issues in the country.

9. Get the entire class brainstorming to create a “European Collage.” Have them compile photo-graphs, text, and other items to put together in their collage. Each student must contribute at least three items.

Many Voices: Reading the World A f r i c a 205

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Differentiated InstructionUnit Three: AfricaReview with students the Literary Map of Africa on pages 258–259. Ask volunteers to identify and talk about as many of the countries in Africa identified in the text as time allows. To set the mood for the selections, play a wide variety of distinctive music from Africa.

NAME OF SELECTION

TYPE OF LEARNER


Sunjata(oral tradition) pp. 271–279Average

Have students read aloud their favorite passages from the story. Discuss what they liked about their passage.

Ask students to illustrate one scene from the story, adding appropriate details not mentioned in the story.

Have one group of students pantomime a scene while other stu-dents identify which one they are performing.

As a class, make a chart showing the causes of each main event in the story.

Africa(poem)pp. 281–282Average

Have students take turns reading the poem aloud. Suggest that students change the tone of their voice when they get to the line, “But a grave voice answers me.”

Give each student a copy of a map of Africa. Have students decorate the map with a variety of colors, patterns, and images inspired by the poem.

Bring in a textured relief map of Africa and have students look at it and touch it. Talk about the various countries in Africa.

Help students under-stand the imagery in the poem.

Black Girl (short story)pp. 283–298Challenging

Have students describe what happens in the story and choose a sig-nificant passage to read aloud.

Ask students to draw two portraits of Diouana: one before she left for France and one after she arrived in France.

Have students act out the scene in which Diouana and Madame Pouchet prepare to leave for France.

Have students create a timeline showing the chronology of the events in the story.

I Will PronounceYour Name(poem)pp. 299–300Challenging

Have students practice saying their own names in the different ways described the poem, such as “mild like cin-namon” or “like a ‘dry tornado.’ ”

Ask students to choose a line in the poem and draw or sculpt a repre-sentation of that line.

Bring in cinnamon and lemons for students to smell.

Help students under-stand the similes and metaphors in the poem.

Telephone Conversation(poem)pp. 302–303Average

Divide the students into pairs and have them read the dialogue in the poem in two parts: the narra-tor and the landlady.

Help students mix tempura paints to cre-ate a color that might be called “West African sepia.”

As you read the poem aloud, have two students pantomime the facial expressions and body language of the charac-ters in the poem.

Help students under-stand the meaning of the sentence fragments in the poem.

Marriage Is a Private Affair(short story)pp. 304–310Average

Assign to students the roles of the characters in the story. Read the narration aloud to the class, allowing students to speak the lines of dialogue.

Draw a picture of the two grandsons as Okeke imagines them.

Have students act out the scene when Nnaemeka tells his father he is going to marry Nene.

Discuss with students the reasons why Okeke objected to the marriage.

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206 A f r i c a Many Voices: Reading the World

NAME OF SELECTION

TYPE OF LEARNER


In the Shadow of War(short story)pp. 311–316Average

Ask students to read aloud a passage from the story that they found especially detailed and vivid.

Show students photo-graphs of the people and the landscape of Nigeria.

Have students move like the woman in the story, “as if an invisible force were trying to blow her away.”

Help students under-stand the impact of civil war in Nigeria.

Loyalties(short story)pp. 317–320Easy

Assign to students the roles of the characters in the story. Read the narration aloud, allowing students to speak the dialogue.

Ask students to illustrate a scene from the story.

Have students act out the scene in which the father is trying to con-vince the mother to flee into the forest.

Discuss with students the differences between the beliefs of the mother and those of the father.

A Meeting in the Dark(short story)pp. 322–338Average

Have students describe what happens in the story and choose a sig-nificant passage to read aloud.

Have students draw or work with clay to create an image from the story.

Have students act out the story within the story, about the girl who has no home. Allow stu-dents to come up with their own endings.

Discuss with students the relationship between John and his father. Why did John feel so afraid of displeasing his father?

The Pig(short story)pp. 340–347Easy

Have students read the story aloud to one another. Encourage dis-cussion as they read. Play a recording of traditional East African music.

Ask students to draw a portrait of Kibuka with his pig.

Have students panto-mime the movements of Kibuka as he took the pig for a walk.

Discuss with students the character of Kibuka. Why did he become so attached to the pig?

No Witchcraft for Sale(short story)pp. 349–357Average

Have students retell the story of how Gideon saved Teddy as if they had been witnesses to the events.


Have students demon-strate what Gideon’s body language might have been when he was ques-tioned by the scientist.

Help students under-stand the deep chasm between the two social classes described in the story.

The Moment Before the Gun Went Off(short story)pp. 359–365Challenging

Have students retell the story from the point of view of the dead man’s mother.

Show students photo-graphs, from books or from the Internet, of South African life during apartheid.

Have students act out the scene when the gun goes off.

Help students under-stand the system of apartheid and its oppres-sions.

The Prisoner Who Wore Glasses(short story)pp. 366–373Average

Ask students to illustrate a scene from the story.

Ask students to imagine and act out the way the prisoners stole bites of cabbages while they were working in the fields.

Help students under-stand the slang and terminology used in the story, such as the word “Baas.”

Name __________________________________________ Class _______________________ Date __________________________


General Standards and Criteria for Project EvaluationApply those standards that fi t the specifi c project. Some standards might not be used.

Standards Criteria

Areas of High Very Good Adequate Needs Work Assessment

Research and Preparation

• Resources• Evidence• Deadlines• Use of Time

Content • Purpose• Organization• Audience Appeal• Information• Sources

Visual Elements

• Audience Appeal• Purpose• Effectiveness• Effort

Written Elements

• Accuracy• Revision• Details

Oral Presentation

• Delivery• Props• Eye Contact

❏ used a variety of challenging, reliable, and appropriate resources

❏ used appropriate evidence and examples

❏ met all deadlines

❏ used any extra time to extend research

❏ creatively fulfilledpurpose

❏ used logical, easy-to-follow order

❏ created and maintained high audience interest

❏ covered topic withoutstanding information

❏ credited sources

❏ were highly interesting, easy to see and understand

❏ supported purpose

❏ communicated main ideas clearly

❏ showed outstanding effort

❏ had few errors

❏ were thoroughly proofread and revised

❏ supported main ideas with rich details

❏ spoke audibly and expressively

❏ used engaging gestures and props

❏ maintained excellent eye contact

❏ used several reliable, appropriate resources

❏ made effort to use evidence and examples

❏ met deadlines

❏ used preparation time well

❏ completely fulfilledpurpose

❏ used easy-to-follow order

❏ kept audience’s attention

❏ covered topic with appropriate information


❏ were interesting, easy to see and understand

❏ supported purpose

❏ communicated main ideas

❏ showed effort

❏ had few errors

❏ were proofread and revised

❏ supported main ideas

❏ spoke audibly and expressively

❏ used gestures and props

❏ maintained good eye contact

❏ used few resources

❏ used little evidence and few examples

❏ didn’t meet all deadlines

❏ spent little time on preparation

❏ did not fulfill purpose

❏ used hard-to-follow order

❏ created little audience interest

❏ omitted important information

❏ provided incomplete credits

❏ were messy, disorganized, hard to understand

❏ were unrelated to purpose

❏ didn’t support main ideas

❏ showed little effort

❏ had many errors

❏ needed to be proofread and revised

❏ didn’t support main ideas

❏ was difficult to hear

❏ used few or distracting gestures and props

❏ made little attempt to maintain eye contact

❏ used minimum number of resources for basic information

❏ used some evidence and examples

❏ needed encouragement to meet deadlines

❏ spent minimal time on preparation

❏ fulfilled purpose

❏ used order that was confusing at times

❏ lost audience’s attention at times

❏ covered the basics


❏ were somewhat interesting

❏ were related to purpose

❏ generally supported main ideas

❏ showed fair effort

❏ had several errors

❏ needed more proofreading and revision

❏ weakly supported main ideas

❏ could develop more expression

❏ used few or awkward gestures and props

❏ attempted to maintain eye contact

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Related LiteratureThe AmericasAlegría, Claribel. Sorrow: A Bilingual Poetry Edition. Willimantic: Curbstone Press, 1999. Translated by Carolyn Forché.

Allende, Isabel. The House of Spirits. New York: A.A. Knopf, 1985. Translated by Magda Bogin.

Angel Asturias, Miguel. El Señor Presidente. New York: Atheneum, 1963. Translated by Frances Partridge.

Atwood, Margaret. The Handmaid’s Tale. Boston: Houghton Mifflin, 1986.

Borges, Jorge Luis. Ficciones. New York: Grove Press, 1962. Translated from the Spanish; edited and with an introduction by Anthony Kerrigan.

Cortázar, Julio. A Change of Light and Other Stories. New York: Knopf, 1980. Translated by Gregory Rabassa.

Fuentes, Carlos. The Old Gringo. New York: Farrar, Straus and Giroux, 1985. Translated by Margaret Sayers Peden and the author.

Galeano, Eduardo. Book of Embraces. New York: W. W. Norton & Co. Translated by Cedric Belfrage with Mark Schafer.

Gallant, Mavis. From the Fifteenth District: A Novella and Eight Short Stories. New York: Random House, 1979.

Gallant, Mavis. Home Truths: Sixteen Stories. New York: Random House, 1981.

Gallant, Mavis. In Transit: Twenty Stories. New York: Random House, 1988.

Gallant, Mavis. My Heart Is Broken: Eight Stories and a Short Novel. New York: Random House, 1964.

Gallant, Mavis. The Other Paris: Stories. Freeport: Books for Libraries Press, 1955.

García Márquez, Gabriel. One Hundred Years of Solitude. New York: Harper & Row, 1970. Translated by Gregory Rabassa.

Laurence, Margaret. The Stone Angel. New York: Knopf, 1964.

Lispector, Clarice. Family Ties. Austin: University of Texas Press, 1972.

Mistral, Gabriela. Selected Poems of Gabriela Mistral. Baltimore: John Hopkins Press, 1971. Translated by Dorris Dana.

Munro, Alice. Hateship, Friendship, Courtship, Loveship, Marriage: Stories. New York: Alfred A. Knopf, 2001.

Neruda, Pablo. Twenty Love Poems and a Song of Despair. London: Cape, 1969. Translated by W. S. Merwin.

Padilla, Herberto. Legacies: Selected Poems. New York: Farrar, Straus & Giroux, 1982. Translated by Alastair Reid and Andrew Hurley.

Paz, Octavio. The Labyrinth of Solitude. New York: Grove Press, 1961. Translated by Lysander Kemp.

Quiroga, Horacio. The Decapitated Chicken and Other Stories. Austin: University of Texas Press, 1976. Translated by Margaret Sayers Peden.

Rhys, Jean. Sleep It Off, Lady. New York: Harper & Row, 1976.

Many Voices: Reading the World Re l a ted L i t e r a tu re 407

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Rhys, Jean. Wide Sargasso Sea. New York: W. W. Norton, 1966.

Rulfo, Juan. The Burning Plain and Other Stories. Austin: University of Texas Press, 1972.

Valenzuela, Luisa. Strange Things Happen Here: Twenty-Six Short Stories and a Novel. New York: Harcourt Brace Jovanovich, 1979. Translated by Helen Lane.

Vargas Llosa, Mario. The Cubs and Other Stories. New York: Harper & Row, 1979. Translated by Helen Lane.

Vargas Llosa, Mario. The Feast of the Goat. New York: Farrar, Straus and Giroux, 2001. Translated by Edith Grossman.

Vargas Llosa, Mario. The Storyteller. New York: Farrar, Straus and Giroux, 1989. Translated by Helen Lane.

Walcott, Derek. Omeros. New York: Farrar, Straus, Giroux, 1990.

EuropeBöll, Heinrich. The Stories of Heinrich Böll. New York: Knopf, 1986. Translated by Leila Vennewitz.

Bowen, Elizabeth. The Death of the Heart. New York: Knopf, 1938.

Camus, Albert. The Stranger. New York: Vintage Books, 1946. Translated by Stuart Gilbert.

Céla, Camilo José. The Family of Pascal Duarte. Boston: Little, Brown and Co., 1964. Translated by Anthony Kerrigan.

Colette. The Collected Stories of Colette. New York: Farrar, Straus and Giroux, 1983. Translated by Matthew Ward.

Dinesen, Isak. Out of Africa. New York: Random House, 1938.

Drabble, Margaret. The Ice Age. New York: Knopf, 1977.

Eliot, T. S. The Waste Land. New York: Boni and Liveright, 1922.

Grass, Günter. The Tin Drum. New York: Pantheon, 1962. Translated by Ralph Manheim.

Heaney, Seamus. Opened Ground: Selected Peoms 1966-1996. London: Faber and Faber, 1998.

Heaney, Seamus. Opened Ground: Selected Poems 1966-1996. New York: Farrar, Straus and Giroux, 1998.

Hesse, Hermann. Steppenwolf. New York: Ungar, 1929. Translated by Basil Creighton.

Joyce, James. Ulysses. Paris: Shakespeare and Company, 1922.

Kis, Danilo. A Tomb for Boris Davidovich. New York: Harcourt Brace Jovanovich, 1978. Translated by Duska Mikic-Mitchell.

Lagerkvist, Pär. The Dwarf. New York: Hill and Wang, 1945. Translated by Alexandra Dick.

Lagerlöf, Selma. Jerusalem. Garden City: Doubleday, Page & Co., 1925. Translated by Velma Swanston Howard.

Lagerlöf, Selma. Jerusalem. Westport: Greenwood Press, 1970. Translated by Jessie Bröchner.

Lagerlöf, Selma. Jerusalem: A Novel. Garden City: Doubleday, 1916-18. Translated by Velma Swanston Howard.

408 Re l a ted L i t e r a tu re Many Voices: Reading the World

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Levi, Primo. The Periodic Table. New York: Schocken Books, 1984. Translated from the Italian by Raymond Rosenthal.

Milosz, Czeslaw. New and Collected Poems 1931-2001. New York: Ecco Press, 2001.

O’Brien, Edna. The Country Girls. New York: Knopf, 1960.

O’Connor, Frank. Guests of the Nation. New York: The Macmillan Company, 1931.

Pasternak, Boris. Doctor Zhivago. New York: Pantheon, 1958. Translated by Max Hayward and Manya Harari.

Seferis, George. George Seferis: Collected Poems 1924-1955. Princeton: Princeton University Press, 1967.

Smith, Stevie. The Collected Poems of Stevie Smith. New York: Oxford University Press, 1976.

Szymborska, Wislawa. Miracle Fair: Selected Poems of Wislawa Szymborska. New York: Norton & Company, 2001. Translated by Joanna Trzeciak.

Thomas, Dylan. Collected Poems. London: Dent, 1952.

Yeats, W.B. Collected Poems. New York: Macmillan, 1956.

Yeats, W.B. The Collected Poems of W.B. Yeats. New York: Macmillan, 1949.

Yevtushenko, Yevgeny. Almost at the End. New York: H. Holt, 1987. Translated by Antonina W. Bouis, Albert C. Todd, and Yevgeny Yevtushenko.

AfricaAchebe, Chinua. Things Fall Apart. New York: McDowell, Obolensky, 1959.

Aidoo, Ama Ata. An Angry Letter in January and Other Poems. Coventry: Dungaroo Press, 1992.

Aidoo, Ama Ata. No Sweetness Here. Garden City: Anchor Books, 1972.

Diop, Birago. Tales of Amadou Koumba. London: Oxford University Press, 1966. Translated by Dorothy S. Blair.

Diop, David. Hammer Blows and Other Writings. Bloomington: Indiana University Press, 1973. Translated by Simon Mpondo and Frank Jones.

Diop, David. Hammer Blows: Poems. London: Heinemann, 1975. Translated by Simon Mpondo and Frank Jones.

Farah, Nuruddin. From a Crooked Rib. London: Heinemann, 1970.

Fugard, Athol. “Master Harold”—and the Boys. New York: A.A. Knopf, 1982.

Gordimer, Nadine. July’s People. New York: Viking Press, 1981.

Head, Bessie. The Collector of Treasures and Other Botswana Village Tales. London: Heinemann Education, 1977.

Jacobson, Dan. Through the Wilderness and Other Stories. New York: Macmillan, 1968.

Lessing, Doris. The Grass Is Singing. New York: Crowell, 1950.

Maja-Pearce, Adewale. Loyalties. Harlow: Longman, 1986.


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Mathabane, Mark. Kaffir Boy: The True Story of a Black Youth’s Coming of Age in Apartheid. New York: Macmillan, 1986.

Ogot, Grace. The Graduate. Nairobi: Uzima, 1980.

Okri, Ben. The Famished Road. London: Cape, 1991.

Okri, Ben. The Famished Road. New York: Anchor Books, 1991.

Ousmane, Sembene. The Last of the Empire: A Sengalese Novel. London: Heinemann, 1983. Translated by Adrian Adams.

Senghor, Léopold Sédar. Selected Poems. London: Oxford Press, 1964. Translated by John Reed and Clive Wake.

Soyinka, Wole. Aké: The Years of Childhood. New York: Random House, 1981.

wa Thiong’o, Ngugi. Weep Not, Child. London: Heinemann, 1964.

The Middle East & South AsiaAbbasi, Talat. Bitter Gourd and Other Stories. London: Oxford University Press, 2001.

Amichai, Yehuda. Open Closed Open: Poems. New York: Harcourt, 2000. Translated from the Hebrew by Chana Bloch and Chana Kronfeld. (first edition)

Amichai, Yehuda. Poems. New York: Harper & Row, 1969. Translated from the Hebrew by Assia Gutmann; with an introduction by Michael Hamburger.

Amichai, Yehuda. Poems of Jerusalem and Love Poems. Sheep Meadow Press, 1993. Translated by Harold Schimmel and Assia Gutmann.

Amichai, Yehuda. The Selected Poetry of Yehuda Amichai. Berkeley: University of California Press, 1996. Edited and translated by Chana Bloch and Stephen Mitchell.

Amichai, Yehuda. The Selected Poetry of Yehuda Amichai. New York: Harper & Row, 1986. Edited and translated by Chana Bloch and Stephen Mitchell. (first edition)

Amichai, Yehuda. The World Is a Room and Other Stories. Philadelphia: Jewish Publication Society of America, 1984. Translated from the Hebrew by Elinor Grumet.

Amichai, Yehuda. Yehuda Amichai, A Life of Poetry. New York: Harper Collins Publishers, 1994. Selected and translated by Benjamin and Barbara Harshav. (first edition)

Babel, Isaak. Benia Krik: A Film Novel. Hyperion Press, 1973.

Babel, Isaak. Benia Krik: A Film Novel. London: Collet’s, 1935. Translated by Ivor Montagu and S.S. Nolbandov.

Babel, Isaak. Benya Krik, the Gangster, and Other Stories. New York: Schocken Books, 1969. Edited by Avrahm Yarmolinsky.

Babel, Isaak. Collected Stories. London: Penguin, 1994. Translated from Russian by David McDuff.

Babel, Isaak. The Collected Stories. New York: Criterion Books, 1955. Translated by Walter Morison; introduction by Lionel Trilling. (first edition)


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Babel, Isaak. Four Stories. Bristol Classical Press.

Darwish, Mahmud. The Adam of Two Edens. Syracuse, New York: Jusoor and Syracuse University Press, 2000. Translated by Husain Haddawl. (poems)

Darwish, Mahmud. Splinters of Bone: Poems. Greenfield Center, New York: Greenfield Review Press, 1974. Selected and translated by B.M. Bennani.

Desai, Anita. Clear Light of Day. New York: Harper & Row, 1980.

Desai, Anita. Diamond Dust and Other Stories. London: Chatto & Windus, 2000.

Desai, Anita. Fasting, Feasting. London: Chatto & Windus, 1999.

Desai, Anita. Journey to Ithaca. London: Heinemann, 1995.

Djebar, Assia. Fantasia: An Algerian Calvalcade. New York: Quartet, 1989. Translated by Dorothy S. Blair.

Djebar, Assia. A Sister to Scheherazade. London: Quartet, 1988. Translated by Dorothy S. Blair.

Djebar, Assia. So Vast the Prison. New York: Seven Stories Press, 1999. Translated by Betsy Wing.

Djebar, Assia. Women of Algiers in Their Apartment. Charlottesville: University Press of Virginia, 1992. Translated by Marjolijn de Jager.

al-Idlibi, Ulfat. Grandfather’s Tale. London: Quartet Books, 1998. Translated from the Arabic by Peter Clark.

al-Idlibi, Ulfat. Sabriya: Damascus Bitter Sweet. London: Quartet Books, 1995. Translated by Peter Clark.

Jhabvala, Ruth Prawer. Out of India: Selected Stories. New York: Morrow, 1986.

Mahfouz, Naguib. Arabian Nights and Days. New York: Doubleday, 1995. Translated by Denys Johnson-Davies.

Mahfouz, Naguib. The Cairo Trilogy. New York: Alfred A. Knopf, 2001. Translated by William Maynard Hutchins; introduction by Sabry Hafez.

Mahfouz, Naguib. Mirrors. Minneapolis: Bibliotheca Islamica, 1977. Translated from the Arabic by Roger Allen.

Mahfouz, Naguib. Palace Walk. Cairo: American University in Cairo Press, 1989. Translated by William M. Hutchins and Olive E. Kenny.

Mistry, Rohinton. A Fine Balance. New York: Knopf, 1996.

Naipaul, V.S. Miguel Street. London: Heinemann, 1974. (first edition reprint)

Naipaul, V.S. Miguel Street. New York: Vanguard Press, 1959.

Narayan, R.K. Under the Banyan Tree and Other Stories. New York: Viking, 1985.

Ondaatje, Michael. The English Patient: A Novel. New York: Knopf, 1992.

Oz, Amos. In the Land of Israel. San Diego: Harcourt Brace Jovanovich, 1983. Translated by Maurie Goldberg-Bartura. (first edition)

Rifaat, Alifa. Distant View of a Minaret and Other Stories. New Hampshire: Heinemann, 1983. Selected and translated from the Arabic by Denys Johnson-Davies.


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Rifaat, Alifa. Distant View of a Minaret and Other Stories. New York: Quartet Books, 1983. Translated by Denys Johnson-Davies.

Rushdie, Salman. East, West. London: Jonathon Cape, 1994.

Rushdie, Salman. East, West: Stories. New York: Random House Value Publishing, 1996. (hardcover edition)

Rushdie, Salman. East, West: Stories. New York: Vintage International, 1996. (first vintage international edition)

Rushdie, Salman. Fury: A Novel. London: Jonathon Cape, 2001.

Rushdie, Salman. Midnight’s Children. London: Jonathan Cape Ltd., 1980. (first print in Britain)

Rushdie, Salman. Midnight’s Children. New York: Knopf, 1981. (first print in U.S.)

Rushdie, Salman. The Satanic Verses. New York: Viking, 1988.

Sa’dawi, Nawal. Woman at Point Zero. London: Zed Books, 1983. Translated by Sherif Hetata.

Shmuel, Yosef Agnon. A Guest for the Night. New York: Schocken Books, 1968. Translation by Misha Louvish with the cooperation of Naftali C. Brandwein, Allen Mandelbaum, and Oscar Shaftel.

Shmuel Yosef Agnon. Twenty-One Stories. New York: Schocken Books, 1970. Edited by Nahum N. Glatzer.

Siletz, Ari Barkeshli. The Mullah with No Legs and Other Stories. Yarmouth, Me: Intercultural Press, 1992.

Tagore, Rabindranath. Collected Poems and Plays. London: Macmillan, 1936.

Tagore, Rabindranath. Collected Poems and Plays. New York: Macmillan, 1937.

Tammuz, Benjamin. Castle in Spain. New York: Bobbs-Merrill, 1973. Translated from the Hebrew by Joseph Schachter.

Tammuz, Benjamin. Minotaur. New York: New American Library, 1981. Translated by Kim Parfitt and Mildred Budny.

Tammuz, Benjamin. The Orchard: A Novella. Providence: Copper Beech Press, 1984. Translated by Richard Flanz. (first edition)

Tharoor, Shashi. The Great Indian Novel. New York: Arcade Publishing, 1989.

Tharoor, Shashi. India, From Midnight to the Millenium. New York: Viking, 1997.

Tharoor, Shashi. Riot. New York: Arcade Publishing, 2001.

Tuqan, Fadwa. Daily Nightmares. Vantage Press, 1988.

Tuqan, Fadwa. A Mountainous Journey: An Autobiography. St. Paul: Graywolf Press, 1990. Translated by Olive Kenny; edited by Salma Khadra Jayyusi.

East Asia & the Pacific RimBulosan, Carlos. The Laughter of My Father. New York: Harcourt, Brace, 1944.

Carey, Peter. Oscar and Lucinda. Boston: Faber and Faber, 1988.


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Dao, Bei. The August Sleepwalker. London: Anvil Press Poetry, 1988. Translated and introduced by Bonnie S. McDougal.

Dao, Bei. Blue House. Brookline: Zephyr Press, 2000. Translated from the Chinese by Ted Huters and Feng-Ying Ming. (first edition)

Dao, Bei. Old Snow. New York: New Directions Publishing Corporation, 1991. Translated by Bonnie S. McDougall and Chen Maiping.

Dao, Bei. Unlock: Poems. New York: New Directions Book, 2000. Translated by Eliot Weinberger and Iona Man-Cheong.

Dao, Bei. Waves: Stories. New York: New Directions, 1990. Translated by Bonnie S. McDougall and Susette Ternent Cooke.

Grace, Patricia. Selected Stories. New York: Penguin USA, 1991.

Hwang, Sun-won. The Book of Masks: Stories. London: Readers International, 1989. Edited and introduced by Martin Holman.

Hwang, Sun-won. The Descendants of Cain. Armonk: UNESCO Publishing, 1997. Translated by Suh Ji-moon and Julie Pickering.

Hwang, Sun-won. Shadows of a Sound: Stories. San Francisco: Mercury House, 1990.

Hwang, Sun-won. The Stars and Other Korean Short Stories. Hong Kong: Heinemann Asia, 1980. Translated and introduced by Edward W. Poitras. (in English)

Hwang, Sun-won. Sunlight, Moonlight. Seoul: Korea, 1990. Translated by Sol Sun-bong.

Hwang, Sun-won. Trees on the Cliff: A Novel of Korea and Two Stories. New York: Larchwood Publications, 1980. Translated by Chang Wank-rok.

Ji-cai, Feng. Chrysanthemums and Other Stories. San Diego: Harcourt Brace, 1985. Translated by Susan Wilf Chen.

Jie, Zhang. As Long as Nothing Happens, Nothing Will. London: Virago, 1988.

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Jie, Zhang. Heavy Wings. New York: Grove Weidenfeld, 1989. Translated from the Chinese by Howard Goldblatt.

Jie, Zhang. Love Must Not Be Forgotten. San Francisco: China Books & Periodicals, 1986. Translated by Gladys Yang.

Jin, Ha. Waiting. New York: Pantheon Books, 1999.

Kawabata, Yasunari. The Sound of the Mountain. New York: Knopf, 1970. Translated from the Japanese by Edward M. Seidensticker.

Lim, Catherine. The Bondmaid. Woodstock: Overlook Press, 1995.

Lim, Catherine. Or Else, The Lightning God and Other Stories. Singapore: Heinemann Educational Books, 1980.

Lim, Catherine. The Serpent’s Tooth. Singapore: Times Books International, 1982.


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Lim, Catherine. The Shadow of a Shadow of a Dream: Love Stories of Singapore. Singapore: Heinemann Asia, 1987.

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Lim, Catherine. They Do Return. Singapore: Times Book International, 1983.

Mishima, Yukio. Sun and Steel. Tokyo: Kodansha International, 1970. (first edition)

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Oe, Kenzaburo. A Personal Matter. New York: Grove Press, 1969. Translated from the Japanese by John Nathan.

Oe, Kenzaburo. The Silent Cry. New York: Harper & Row, 1974. Translated by John Bester.

Oe, Kenzaburo. Teach Us to Outgrow Our Madness: Four Short Novels. New York: Grove Press, 1977. Translated by John Nathan.

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Toer, Pramoedya Ananta. The Girl from the Coast: A Novel. Singapore: Select Books, 1991. Translated from the Indonesian by Harry Aveling.

Toer, Pramoedya Ananta. House of Glass. New York: W. Morrow and Co., 1996. Translated by Max Lane. (first U.S. edition)

Wright, Judith. The Moving Image: Poems. Melbourne: The Meanjin Press, 1953.

Yoshimoto, Banana. Kitchen. New York: Grove Press, 1993. Translated from the Japanese by Megan Backus.


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T H E B L A C K S H E E P Quiz: Comprehension and Analysis p. 165 1. D; 2. B; 3. D; 4. A; 5. C

6. Answers will vary. Suggested answers follow.

The honest man arrives.The rich people start going to the bridge.The rich people hire the poor people to protect them.


Probably less, because Calvino uses simple language to create a simple story with a child-like quality.

Literary Skill: Allegory p. 166Answers will vary. Possible answers:

The thieves: ordinary people; those who follow accepted waysThe honest man: a force for change; a leader; a saviorThe rich people: capitalistsThe bridge: a place for contemplation and repose; spiritual element; religion

Money: evil

Prisons: the modern work place; place of retribution and inequality or injustice

The honest man arrives: catalyst for change; offers an opportunity for redemption

The rich people hire the poor people: exploitation; slavery and oppression

The people only spoke of rich and poor: modern class system is established; inequality is the norm

T H E B A L E K S C A L E S Quiz: Comprehension and Analysis p. 168 1. D; 2. B; 3. C; 4. A; 5. B

6. Answers will vary. Suggested answer follows.

Instead of taking coffee for his mother, he walks for two hours to see an apothecary who has a scale so he can determine how far off the Balek scales are. This shows his determination and his commitment to justice.


The family became basket weavers and did not stay anywhere long. They sang about justice and told their story to anyone who would listen.

Literary Skill: Theme p. 169Answers will vary. Possible responses:

What is the theme?

The struggle to achieve justice

How does the plot support the theme?

The plot is built around the moment the grandfather discovers the scales are not fair and the consequences of his discovery.

How does the setting support the theme?

The story is set during a time when there was a great divide between the rich and the poor and when the rich could create laws that restricted the rights of the poor.

How does the characterization support the theme?

The author does not include detailed description of the characters or their emotions. This gives the story an objective and impartial feel, like he is presenting a case in a court of law.

Find a passage from the story that supports the theme.

“…but every Sunday, as soon as the Baleks entered the church, the hymn was struck up: ‘The justice of this

430 Answer Key Un i t 2 Many Voices: Reading the World

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earth, O Lord, hath put Thee to death,’ until the reeve ordered it proclaimed in every village that the singing of the hymn was forbidden.”

T H E L A S T J U D G M E N T Quiz: Comprehension and Analysis p. 171 1. B; 2. C; 3. A; 4. C; 5. D


They couldn’t judge because they would know the accused too well and their hearts would ache. Student may agree, noting that more knowledge can lead to more sympathy. Others may disagree, pointing out that even with more knowledge, a person can decide that punishment is appropriate.


Kugler’s crimes resulted “from anger, from greed, deliberately and by chance, sometimes with pleasure and other times from necessity.” Students may find that “crimes from necessity” seem more justifiable than those committed “with pleasure.”

Literary Skill: Dialogue p. 172Answers will vary. Possible answers follow.

Sample 1:

The sample shows that Kugler began getting into trouble from a very young age and that his parents were upset by his actions. We also learn that Kugler had tender feelings for Irma.

The sample shows that God knows everything that happened and knows how other people felt about it. The phrase, “Young man,” sounds like God is a father speaking to his son.

Sample 2:

The sample shows that Kugler is bold enough to think he can point out God’s mistakes. We also learn that Kugler believes some people are completely worthless.

The sample shows that God sees both the good and bad in each person. He also seems to be trying to gently show Kugler that Kugler was wrong in his views.

Vocabulary Quiz p. 163 1. C; 2. E; 3. D; 4. A; 5. B; 6. A; 7. D; 8. A; 9. D; 10. B

A C O N T R I B U T I O N T O S TAT I S T I C S Quiz: Comprehension and Analysis p. 175 1. D; 2. C; 3. B; 4. D; 5. A


Examples of exact numbers include “fifty-two” and “seventy-seven.” Examples of approximate numbers include “four, well maybe five” and “sixty, give or take a few.”Perhaps the poet is mocking professional statisticians who present hard numbers to represent things that can’t really be defined, like emotions. The exact numbers give the poem an authoritarian tone while the approximate numbers give the impression that nothing can really be too certain.


Many of the statistics suggest that people can be cruel and learn little from experience. These statistics are discouraging about the future. However, the next to last stanza states that 99 percent of people are worthy of compassion implies some hope.

Critical Thinking Skill: Analyze Author’s Purpose p. 176Answers will vary. Possible answers:

Author’s Purpose

To suggest to the reader that people should improve the way they treat each other.

Many Voices: Reading the World Answer Key Un i t 2 431

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