Standard 1: Reading SIXTH GRADE - Pearson School · PDF file · 2016-06-10Grade 11 Unit 1 A Gathering of Voices The Earth on Turtle's Back Onondaga, ... To My Dear and Loving Husband

A Correlation of

Prentice Hall Writing Coach

©2012

To

Pearson Common Core Literature

©2015

Grade 11

A Correlation of Prentice Hall Writing Coach, Grade 11 ©2012 to

Pearson Common Core Literature, Grade 11, ©2015

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Introduction

This document demonstrates how Prentice Hall Writing Coach, ©2012 aligns to Pearson Common Core Literature, ©2015, and fully complements the program. Correlation page references are to the Teacher’s Edition and are cited by activity and page number. Lessons in the Teacher’s Edition contain facsimile Student Edition pages.

Prentice Hall Writing Coach is a digitally driven grammar and writing program that improves students’ skills in Grades 6–12.

It’s Personalized Prentice Hall Writing Coach gives students personalized, detailed feedback on the strengths and weaknesses of their writing. It is the only program that uses a paragraph scorer as well as an essay scorer so struggling students that aren’t ready to write larger pieces can receive the same productive feedback as the rest of the class. It’s Flexible Prentice Hall Writing Coach has several components that work together as a comprehensive writing program or a seamless complement to any literature anthologies, novels, or other language arts program teachers might be using. It’s Manageable The best way for students to become better writers is to spend more time writing. The problem is, the more time they spend writing, the more time teachers need to spend grading and assessing. Prentice Hall Writing Coach performs this time-consuming task by grading students’ writing examples and providing personalized feedback. This lets teachers spend more time teaching and a lot less time grading. It’s Engaging Prentice Hall Writing Coach provides targeted writing feedback in an online format. Plus, students will receive extensive experience communicating in today’s digital world with skills instruction in writing e-mails and blogs, evaluating material on the Internet, and developing multimedia presentations. It’s Comprehensive Prentice Hall Writing Coach is more than just a writing program. It’s a complete language arts program that provides personalized grammar instruction as well. Prentice Hall Writing Coach uses students’ writing examples to diagnose strengths and weaknesses in their grammar and supports them with grammar instruction and remediation.



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Table of Contents

Unit 1 A Gathering of Voices ................................................................................... 4 Unit 2 A Growing Nation ......................................................................................... 8 Unit 3 Division, Reconciliation, and Expansion ..................................................... 13 Unit 4 Disillusion, Defiance, and Discontent ......................................................... 17 Unit 5 Prosperity and Protest ............................................................................... 22 Unit 6 New Voices, New Frontiers ........................................................................ 26



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Pearson Common Core Literature, ©2015 The American Experience

Prentice Hall Writing Coach Grade 11, ©2012

Grade 11 Unit 1 A Gathering of Voices The Earth on Turtle's Back Onondaga, page 20 When Grizzlies Walked Upright Modoc, page24 from The Navajo Origin Legend Navajo, page 27 Grammar: Coordinating Conjunctions, page 31 Writing to Sources: Play, page 30

Historical fiction, script based on, 113, 114, 115; Writing for Media: Script Adaptation, 218–219; also see: Documentary script, 86, 87; Docudrama, 249 Coordinating conjunctions, 326, 329, 330; Combining sentences with coordinating conjunctions, 398, 401; Faulty coordination, 418–419; Commas with coordinating conjunctions, 569–571

from The Iroquois Constitution Dekanawidah, page 42 Writing to Sources: Found Poem, page 45

Poetry and Description, 118–119; Feature Assignment: Ballad and Free Verse Poem, 120–121, 122–123, 124–125, 126–138, 142–143

from of Plymouth Plantation William Bradford, page 58 Writing to Sources: Explorer’s Journal Entry, page 55 Writing: Speaker Introduction, page 67

Make Your Writing Count: Give a Speech to Persuade, 191; Evaluating a Speech, R31; also see: Mentor Text: Speech (Try It), 174–175; Use a Writer’s Eye, 177 Journal(s), 4, 10, 21

Part 2 To My Dear and Loving Husband Anne Bradstreet, page 76 Writing to Sources: Interpretive Essay, page 79

“A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; also see: Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 202–203, 204–216

Huswifery Edward Taylor, page 82 Writing: Reflective Essay, page 83

Nonfiction Narration: Memoir, 64–67, 68–69, 70–71, 72–75, 76–77, 78–81, 82–83, 84, 85, 86–87, 88–89



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from Sinners in the Hands of an Angry God Jonathan Edwards, page 86 Grammar: Correlative Conjunctions, page 94 Writing to Sources: Evaluation of Persuasion, page 93

Persuasion: Mentor Text, 174–175, Revision Model, 184–185, Rhetorical Questions, 187, Model Proposal, 192 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Correlative conjunctions, 326, 329–331, 416

Part 3 Speech in the Virginia Convention Patrick Henry, page 100 Speech in the Convention Benjamin Franklin, page 105 Writing to Sources: Compare-and-Contrast Essay, page 109

Compare–and–contrast essays, 15, 20, 147; Comparison essays, 199 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Speech to Persuade: Listening and Speaking, 191; Evaluating a Speech, R31; also see: Mentor Text: Speech (Try It), 174–175; Use a Writer’s Eye, 177

The Declaration of Independence Thomas Jefferson, page 112 from The American Crisis Thomas Paine, page 117 Writing Lesson: Persuasive Editorial, page 121

Persuasion, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263; also see: Editorials, 18, 173

To His Excellency, General Washington Phillis Wheatley, page 124 Writing: Persuasive Memorandum, page 127

Persuasion, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263; also see: Memos, 22



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from The Autobiography Benjamin Franklin, page 140 Benjamin Franklin: America’s Everyman William L. Andrews, page 147 from Poor Richard's Almanac Benjamin Franklin, page 148 Grammar: Subordinating Conjunctions, page 155 Writing to Sources: Essay Analyzing Cause and Effect, page 154

Cause–and–effect essays, 15, 147; also see: Exposition: Pro-Con Essay, 144–147, 148–149, 150–151, 152–155, 156–157, 158–161, 162–163, 164, 165, 166–167, 168–169

Straw Into Gold: The Metamorphosis of the Everyday Sandra Cisneros, page 158 Timed Writing: Explanatory Essay (comparing and contrasting writers’ ideas), page 165

Compare–and–contrast essays, 15, 20, 147; Comparison essays, 199 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

from the Interesting Narrative of the Life of Olaudah Equiano Olaudah Equiano, page 170 Response to Literature, page 165 Writing Lesson: Museum Placard, page 177

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Biographical narratives, 9, 67; Biographical profiles, 225 Nonfiction Narration: Documentary script, 86, 87 Make Your Writing Count: Summary, 166–167



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Letter from the President's House John Adams, page 181 Letter to Her Daughter From the New White House Abigail Adams, page 182 Floor Plan of the President's House Benjamin Henry Latrobe, page 184 Research Task, Topic: Changing the White House, page 187

Research Writing: Checklist for Evaluating Sources, 233; Collect and Organize Data, 234; Avoid Plagiarism, 235; Document Your Sources, 236–237; Provide and Document Evidence, 240; Use Graphics and Illustrations, 241; Add Citations, 244

Common Core Assessment Synthesis Test Taking Practice, page 200 Editing, 42–45, 82–83, 87, 110–111, 115,

141, 167, 188–189, 193, 219, 246–247, 250, 253, 261, 263, 267

Performance Tasks, page 204 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

Writing Workshop Narration: Autobiographical Narrative, pages 188-195




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Unit 2 A Growing Nation Part 1 The Devil and Tom Walker Washington Irving, page 228 Writing: Modern Retelling of a Story, page 241

Historical Fiction, 90–93, 94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 113, 114–115, 116

Commission of Meriwether Lewis Thomas Jefferson, page 245 Crossing the Great Divide Meriwether Lewis, page 250 Research Task, Topic: The Life of Sacagawea, page 255

Research Writing, 222–225, 226–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255

from the Song of Hiawatha Henry Wadsworth Longfellow, page 258 The Tide Rises, The Tide Falls Henry Wadsworth Longfellow, page 260 Thanatopsis William Cullen Bryant, page 262 Old Ironsides Oliver Wendell Holmes, page 266 Writing: Comparing Literary Works, page 268


Part 2 The Minister's Black Veil Nathaniel Hawthorne, page 272 Grammar: Adjective and Adverb Clauses, page 287 Grammar in Your Writing, page 287 Writing to Sources: Interpretive Essay About Ambiguity, page 286

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Adjectival clauses, 188, 189, 301, 374–375, 376, 377–378, 380, 381, 385, 386, 409 Adverbial clauses, 82, 83, 188, 189, 378–379, 382, 383, 385, 386, 387, 409, 413, 414, 574



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The Fall of the House of Usher Edgar Allan Poe, page 292 The Raven Edgar Allan Poe, page 311 Grammar: Comparative and Superlative Adjectives and Adverbs, page 321 Writing to Sources: Essay Evaluating Differing Critical Views, page 320

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Degrees of Comparison, 506–510; Making Clear Comparisons, 511–518

Where Is Here? Joyce Carol Oates, page 325 Timed Writing: Explanatory Text: Analytical Essay, page 333


from Moby Dick Herman Melville, page 336 Grammar: Participles, Gerunds, and Infinitives (Verbals), page 358 Writing Lesson: Character Study, page 357

Characters, in narratives, 66, 68, 77, 89, 92, 94, 96, 103, 105, 106, 107 108, 117, 143 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Verbal Phrases, 364–372



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Part 3 from Nature Ralph Waldo Emerson, page 366 from Self-Reliance Ralph Waldo Emerson, page 369 Concord Hymn Ralph Waldo Emerson, page 371 Writing to Sources: Evaluation of a Philosophical Essay, page 373

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

from Walden Henry David Thoreau, page 378 from Civil Disobedience Henry David Thoreau, page 388 Writing Argument: Editorial, page 391

Exposition: Pro-Con Essay, 144–147, 148–149, 150–151, 152–155, 156–157, 158–161, 162–163, 164, 165, 166–167, 168–169; also see: Editorials, 18, 173



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Part 4 Emily Dickinson’s Poetry Because I Could Not Stop for Death Emily Dickinson, page 408 I Heard a Fly Buzz – when I Died Emily Dickinson, page 410 There’s a Certain Slant of Light Emily Dickinson, page 412 My Life Closed Twice Before Its Close Emily Dickinson, page 413 The Soul Selects her own Society Emily Dickinson, page 414 The Brain - Is Wider Than the Sky Emily Dickinson, page 415 There Is a Solitude of Space Emily Dickinson, page 416 Water, Is Taught by Thirst Emily Dickinson, page 417 Writing to Sources: Blog Entry About Poetry, page 421

Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216 Poetry and Description, 118–119; Feature Assignment: Ballad and Free Verse Poem, 120–121, 122–123, 124–125, 126–138, 142–143 Blogs, 9, 24, 67, 199, 267, R7; Blog comments, 20



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Poetry and Essay Excerpt by Walt Whitman from Preface to the 1855 Edition of Leaves of Grass Walt Whitman, page 426 from Song of Myself Walt Whitman, page 428 When I Heard the Learn’d Astronomer Walt Whitman, page 432 By the Bivouac’s Fitful Flame Walt Whitman, page 433 I Hear America Singing Walt Whitman, page 434 A Noiseless Patient Spider Walt Whitman, page 436 Writing: Free verse Poem in Honor of Whitman, page 439



141, 167, 188–189, 193, 219, 246–247, 250, 253, 261, 263, 267


Writing Workshop Informative Text: Reflective Essay, page 440-447




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Unit 3 Division, Reconciliation, and Expansion Part 1 An Occurrence at Owl Creek Bridge Ambrose Bierce, page 480 Writing to Sources: Critical Essay on a Stylistic Device, page 491


from Mary Chestnut's Civil War Mary Chestnut, page 495 Recollections of a Private Warren Lee Gross, page 500 A Confederate Account of the Battle of Gettysburg Randolph McKim, page 502 Research task, Topic: Women and the Civil War, page 505


An Episode of War Stephen Crane, page 508 Writing to Sources: Essay in Response to Criticism, page 515


from My Bondage and My Freedom Frederick Douglass, page 520 Writing: College Application Essay, page 529

College applications, 23; College application essays, 257, 258–259

Go Down, Moses Traditional, page 532 Swing Low Sweet Chariot Traditional, page 534 Writing to Sources: Electronic Slide Presentation, page 535

Multimedia projects/presentations, 25, 85, 139, 165, 191; also see: Writing for media, 24, 114, 115, 140, 141, 166–167, 192, 250, 251–252, 266–267; New media, R6–R11



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The Gettysburg Address Abraham Lincoln, page 538 Letter to His Son Robert E. Lee, page 541 Writing to Sources: Compare-and-Contrast Essay, page 543


An Account of an Experience with Discrimination Sojourner Truth, page 554 Writing to Sources: Newspaper Article, page 557

Newspapers, 17, 147, 602; Feature article, 166–167

Part 2 from Life on the Mississippi Mark Twain, page 570 from How to Tell a Story Mark Twain, page 575 Notorious Jumping Frog of Calaveras County Mark Twain, page 576 Grammar: Fixing Misplaced and Dangling Modifiers, page 585 Writing to Sources: Analytical Essay, page 584 Grammar in Your Writing: page 613

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Misplaced and Dangling Modifiers, 412–413, 414

from The Life and Times of the Thunderbolt Kid Bill Bryson, page 589 Writing to Sources: Compare-and-Contrast Essay, page 593




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To Build a Fire Jack London, page 596 Grammar: Introductory Phrases and Clauses, page 613 Writing to Sources: Literary Criticism, page 612 Grammar in Your Writing, page 613

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Introductory taglines, 214; Introductory words / expressions capitalizing, 544–545, 546; Commas after introductory material, 574–575, 594

Heading West Miriam Davis Colt, page 617 I Will Fight No More Forever Chief Joseph, page 622 Research task, Topic: Westward Expansion, page 624


Part 3 The Story of an Hour Kate Chopin, page 628 Writing: Reflective Essay, page 633


Douglass Paul Laurence Dunbar, page 636 We Wear the Mask Paul Laurence Dunbar, page 638 Writing to Sources: Report on Literary History, page 639




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Luke Havergal Edwin Arlington Robinson, page 642 Richard Cory Edwin Arlington Robinson, page 644 Lucinda Matlock Edgar Lee Masters, page 646 Richard Bone Edgar Lee Masters, page 647 Writing: Outline for a Short Story, page 649

Historical Fiction, 90–93, 94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 113, 114–115, 116

A Wagner Matinee Willa Cather, page 652 Writing Argument: Editorial, page 663

Exposition: Pro-Con Essay, 144–147, 148–149, 150–151, 152–155, 156–157, 158–161, 162–163, 164, 165, 166–167, 168–169; also see: Editorials, 18, 173


141, 167, 188–189, 193, 219, 246–247, 250, 253, 261, 263, 267


Writing Workshop Research: Historical Investigation Report, page 664-675




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Unit 4 Disillusion, Defiance, and Discontent Part 1 The Love Song of J. Alfred Prufrock T.S. Eliot, page 708 Writing to Sources: Character Analysis, page 715

Characters, in narratives, 66, 68, 77, 89, 92, 94, 96, 103, 105, 106, 107 108, 117, 143 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

The Imagist Poets A Few Don'ts Ezra Pound, page 719 In a Station of the Metro Ezra Pound, page 722 The Red Wheelbarrow William Carlos Williams, page 723 This Is Just to Say William Carlos Williams, page 723 The Great Figure William Carlos Williams, page 724 Pear Tree H.D. , page 725 Writing Argument: An Editor’s Review of a manuscript, page 727


Winter Dreams F. Scott Fitzgerald, page 730 Grammar: Subject-Verb Agreement, page 755 Writing to Sources: Literary Criticism, page 754

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Subject and verb agreement, 476–490



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The Turtle from The Grapes of Wrath John Steinbeck, page 758 Writing to Sources: Essay About Historical Context, page 763

Research Writing, 222–225, 226–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255 Historical Fiction, 90–93, 94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 113, 114–115, 116

The Unknown Citizen W.H. Auden, page 774 Writing to Sources: Political Approach to Literary Criticism, page 777


old age sticks E.E. Cummings, page 780 anyone lived in a pretty how town E.E. Cummings, page 781 Writing to Sources: Poet’s Introduction, page 783


Of Modern Poetry Wallace Stevens, page 786 Ars Poetica Archibald MacLeish, page 789 Poetry Marianne Moore, page 791 Writing to Sources: Comparison-and-Contrast Essay, page 794




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Part 2 In Another Country Ernest Hemingway, page 800 Writing to Sources: Critical Essay on Style, page 807


A Rose for Emily William Faulkner, page 816 Nobel Prize Acceptance Speech William Faulkner, page 828 Writing to Sources: Critical Review, page 831


The Jilting of Granny Weatherall Katherine Anne Porter, page 834 Writing: Stream-of-Consciousness Monologue, page 845

Characters, in narratives, 66, 68, 77, 89, 92, 94, 96, 103, 105, 106, 107 108, 117, 143

A Worn Path Eudora Welty, page 848 Writing: Sequel, page 857

Writing for Assessment: Short Story, 116–117; also see: Historical Fiction, 90–93, 94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 113, 114–115

The Night the Ghost Got In James Thurber, page 860 Writing to Sources: Explanatory Essay on Humor, page 868


Chicago Carl Sandburg, page 868 Grass Carl Sandburg, page 870 Writing to Sources: Analytical Essay, page 871




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Robert Frost’s Poetry Birches Robert Frost, page 874 Stopping By Woods on a Snowy Evening Robert Frost, page 877 Mending Wall Robert Frost, page 878 "Out, Out-" Robert Frost, page 880 Acquainted With the Night Robert Frost, page 882 The Gift Outright Robert Frost, page 884 Writing to Sources: Critical Essay, page 887


Part 3 The Negro Speaks of Rivers Langston Hughes, page 902 I, Too Langston Hughes, page 904 Dream Variations Langston Hughes, page 906 Refugee in America Langston Hughes, page 907 Grammar and Style lesson: Pronoun-Antecedent Agreement, page 911 Writing: Multi-Genre Response to Literature, page 910

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Multimedia projects/presentations, 25, 85, 139, 165, 191; also see: Writing for media, 24, 114, 115, 140, 141, 166–167, 192, 250, 251–252, 266–267; New media, R6–R11



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Study the Masters Lucille Clifton, page 915 For My Children Colleen McElroy, page 916 Timed Writing: Explanatory Text: Analytical Essay, page 919


The Tropics in New York Claude McKay, page 923 A Black Man Talks of Reaping Arna Bontemps, page 924 From the Dark Tower Countee Cullen, page 926 Writing to Sources: Compare-and-Contrast Essay, page 927


from Dust Tracks on a Road Zora Neale Hurston, page 930 Writing: Reflective Essay, page 937



141, 167, 188–189, 193, 219, 246–247, 250, 253, 261, 263, 267




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Writing Workshop Argumentation: Multimedia Presentation of an Argument, page 944-951

Persuasion; Speech, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263 Multimedia projects/presentations, 25, 85, 139, 165, 191; also see: Writing for media, 24, 114, 115, 140, 141, 166–167, 192, 250, 251–252, 266–267; New media, R6–R11

Unit 5 Prosperity and Protest Part 1 from Hiroshima John Hersey, page 984 The Death of the Ball Turret Gunner Randall Jarrell, page 997 Writing to Sources: Compare-and-Contrast Essay on Theme, page 999


Junk Rally Poster Poster, page 1003 The Battle of the Easy Chair Dr. Seuss, page 1004 Backing the Attack Editors of the NY Times, page 1005 Research Task, Topic: Society and Culture in the Media, page 1008


Part 2 The Life You Save May Be Your Own Flannery O'Connor, page 1012 Writing to Sources: Essay of Interpretation, page 1025




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The First Seven Years Bernard Malamud, page 1028 Writing to Sources: Personality Profile, page 1039

Characters, in narratives, 66, 68, 77, 89, 92, 94, 96, 103, 105, 106, 107 108, 117, 143 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

Constantly Risking Absurdity Lawrence Ferlinghetti, page 1042 Writing: Poem Using an Extended Metaphor, page 1045


Mirror Sylvia Plath, page 1052 Courage Anne Sexton, page 1053 Writing to Sources: Analytical Essay, page 1055


Cuttings Theodore Roethke, page 1058 Cuttings (later) Theodore Roethke, page 1060 Writing to Sources: Essay Comparing Science to Poetry, page 1061


The Explorer Gwendolyn Brooks, page 1064 Frederick Douglass Robert Hayden, page 1066 Writing to Sources: Literary Criticism, page 1069




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One Art Elizabeth Bishop, page 1072 The Filling Station Elizabeth Bishop, page 1074 Writing to Sources: Multi-Genre Response to Poetry, page 1078

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Multimedia projects/presentations, 25, 85, 139, 165, 191; also see: Writing for media, 24, 114, 115, 140, 141, 166–167, 192, 250, 251–252, 266–267; New media, R6–R11

Part 3 The Rockpile James Baldwin, page 1082 Grammar: Avoiding Shifts in verb Tense, page 1093 Grammar in Your Writing, page 1093 Writing: Radio Play, page 1092

Historical fiction, script based on, 113, 114, 115; Writing for Media: Script Adaptation, 218–219; also see: Documentary script, 86, 87; Docudrama, 249 Sentences, tense sequence in, 444–447, 448–450; Adverbs, clarifying tense with, 451

Life in His Language Toni Morrison, page 1096 Writing: Essay of Tribute, page 1101

Biographical narratives, 9, 67; Biographical profiles, 225 Nonfiction Narration: Memoir, 64–67, 68–69, 70–71, 72–75, 76–77, 78–81, 82–83, 84, 85, 86–87, 88–89

Inaugural Address John F. Kennedy, page 1104 from Letter From Birmingham Jail Martin Luther King, Jr. , page 1109 Grammar: Using Active, Not Passive Voice, page 1115 Grammar in Your Writing, page 1115 Writing Argument: Letter to the Editor, page 1114

Persuasion, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263 Letters: to editors, 19, 173, to authors, 20, 199 Voice active / passive, 456–458, 459–460

The Crucible, Act 1 Arthur Miller, page 1126 Writing to Sources: Newspaper Article, page 1159

Newspapers, 17, 147, 602; Feature article, 166–167



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The Crucible, Act 2 Arthur Miller, page 1161 Writing Argument: Persuasive Letter, page 1183

Persuasion, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263 Letters: to editors, 19, 173, to authors, 20, 199

The Crucible, Act 3 Arthur Miller, page 1187 Writing Argument: Workplace Document/Legal Brief, page 1215

Workplace Writing, 256–269 Persuasion, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263

The Crucible, Act 4 Arthur Miller, page 1217 Grammar: Avoiding Sentence Fragments and Run-ons, page 1237 Grammar in Your Writing, page 1237 Writing to Sources: Literary Criticism on Universal Theme, page 1236

Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203 Fragments, 339–340, 342, 407–409, 411 Run–ons, 407, 410, 411, 570

from Good Night, and Good Luck George Clooney and Grant Heslov, page 1241 Timed Writing: Explanatory Text: Analytical Essay, page 1249



141, 167, 188–189, 193, 219, 246–247, 250, 253, 261, 263, 267




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Writing Workshop Argumentation: Argumentative Essay, page 1256-1263

Persuasion, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263

Unit 6 New Voices, New Frontiers Part 1 Antojos Julia Alvarez, page 1298 Writing: Same Story, Different Point of View, page 1309

Writing for Assessment: Short Story, 116–117; also see: Historical Fiction, 90–93, 94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 113, 114–115 Point of view (viewpoint): in poetry and description, 120, 123, in interpretative responses, 209

Everyday Use Alice Walker, page 1312 Grammar and Style lesson: Using Transitional Expressions, page 1323 Writing Argument: Critical Review, page 1322 Grammar in Your Writing, page 1323


Part 2 Everything Stuck to Him Raymond Carver, page 1326 Writing to Sources: Analytical Essay on the Ending, page 1332


Traveling Through the Dark William Stafford, page 1336 The Secret Denise Levertov, page 1339 The Gift Li-Young Lee, page 1342 Writing to Sources: Compare and Contrast Essay, page 1345




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Who Burns for the Perfection of Paper Martin Espada, page 1348 Camouflaging the Chimera Yusef Komunyakaa, page 1350 Streets Naomi Shihab Nye, page 1353 Writing to Sources: Analytical Essay on Theme, page 1355


Halley's Comet Stanley Kunitz, page 1358 Writing: Reflective Essay, page 1361


The Latin Deli: An Ars Poetica Judith Ortiz Cofer, page 1366 Writing to Sources: Interpretive Essay, page 1369

Create a Definition Essay, 140–141 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

Onomatopoeia William Safire, page 1378 Writing: Research Paper on Word Origins, page 1381

Create a Definition Essay, 140–141 Word Bank, 67, 93, 121, 147, 173, 199, 225, 247 Research Writing, 222–225, 226–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255

Coyote v. Acme Ian Frazier, page 1384 Writing Argument: Parody of an Opening Statement, page 1391

Persuasion: Speech, 170–171, 172–173, 174–175, 176–177, 178–181, 182–182, 184–187, 188–189, 190, 191, 192–193, 194–195; Proposal, 262–263



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Part 3 One Day, Now Broken in Two Anna Quindlen, page 1394 Writing: Letter to the Author, page 1397

Letters: to authors, 20, 199 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

Urban Renewal Sean Ramsay, page 1401 Playing for the Fighting Sixty-Ninth William Harvey, page 1403 Research Task: the Value and Values of Memorials, page 1407


Mother Tongue Amy Tan, page 1410 For the Love of Books Rita Dove, page 1418 Writing to Sources: Letter to the Author, page 1422 Grammar in Your Writing, page 1423

Letters: to authors, 20, 199 Response to Literature, 196–197, 198–199, 202–203, 204–207, 208–209, 210–213, 214–215, 216, 217, 218–219, 220–221; also see: “A Response to Walt Whitman’s ‘Song of Myself,’” 200–201; “Point of View in ‘An Occurrence at Owl Creek Bridge,’” 202–203

from The Woman Warrior Maxine Hong Kingston, page 1426 from The Names N. Scott Momaday, page 1434 Writing: Memoir, page 1440 Grammar in your Writing, page 1441




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141, 167, 188–189, 193, 219, 246–247, 250, 253, 261, 263, 267


Writing Workshop Narration: Short Story, page 1448-1455 Historical Fiction, 90–93, 94–97, 98–99,

100–103, 104–105, 106–109, 110–111, 113, 114–115, 116

Documents

Standard 1: Reading SIXTH GRADE - Pearson School · PDF file · 2016-06-10Grade 11 Unit 1 A Gathering of Voices The Earth on Turtle's Back Onondaga, ... To My Dear and Loving Husband