Standard 1: Reading SIXTH GRADE - Pearson School Coach12 to... · Psalm 137 Commissioned by King James Bible, page 300 . Sermon on the Mount Commissioned by King James Bible, page

A Correlation of

Prentice Hall Writing Coach

©2012

To

Pearson Common Core Literature

©2015

Grade 12

A Correlation of Prentice Hall Writing Coach, Grade 12, ©2012 to

Pearson Common Core Literature, Grade 12, ©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 From Legend to History ................................................................................ 4 Unit 2 Celebrating Humanity .................................................................................. 6 Unit 3 A Turbulent Time ....................................................................................... 10 Unit 4 Rebels and Dreamers ................................................................................. 14 Unit 5 Progress and Decline ................................................................................. 18 Unit 6 A Time of Rapid Change ............................................................................. 21



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Pearson Common Core Literature, ©2015 The British Tradition

Prentice Hall Writing Coach Grade 12, ©2012

Grade 12 Unit 1 From Legend to History Part 1 The Seafarer Burton Raffel, Translator, page 20 The Wanderer Charles W. Kennedy, Translator, page 26 The Wife's Lament Ann Stanford, Translator, page 30 Writing: Editorial, page 32

Persuasion: Op-Ed Piece, 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

Part 2 from Beowulf Burton Raffel, Translator, page 40 Grammar: Coordinating Conjunctions, page 67 Writing and Speaking Conventions, page 67 Writing to Sources: Job Application, page 66

Job applications, 23; also see: Workplace writing, 256–269 Coordinating conjunctions, 326, 329, 330, 398, 401; Faulty coordination of coordinating conjunctions, 418–419

English Literature - Online Encyclopedia Article Encyclopedia Article, page 71 Timed Writing: Explanatory Text, page 75

Exposition: Classification Essay, 144–147, 148–148, 150–151, 152–155, 156–157, 158–161, 162–163, 164, 165, 166–167, 168–169 Research Writing: Find Sources, 232; Distinguish Between Types of Sources, 233; Provide and Document Evidence, 240; Use Graphics and Illustrations, 241; Communicate Ideas in a Class Newspaper, 249

Part 3 from a History of the English Church and People Bede, page 84 Writing to Sources: Business memo, page 89

Memos, 22; also see: Workplace writing, 256–269



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from The Canterbury Tales: The Prologue Geoffrey Chaucer, page 96 Writing to Sources: Pilgrimage Blog, page 121

Blogs, 9, 24, 67, 266, 267, R7; Blog comments, 20

from The Pardoner's Tale Geoffrey Chaucer, page 124 Writing to Sources: Persuasive Sermon on Greed, page 136

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 Persuasion: Op-Ed Piece, 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 Wife of Bath's Tale Geoffrey Chaucer, page 138 Grammar: Correlative Conjunctions, page 154 Combining: Correlative Conjunctions, page 154 Writing and Speaking Conventions, page 154 Writing: Argumentative Essay, page 153

Persuasion: Op-Ed Piece, 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 Correlative conjunctions, 326, 329–331, 416

from the Decameron: Federigo's Falcon Giovanni Boccaccio, page 158 Timed Writing: Argumentative Essay, page 166


Part 4 from Sir Gawain and the Green Knight Marie Borrof, Translator, page 170 from Morte d'Arthur Sir Thomas Malory, page 185 Writing to Sources: Interior Monologue, page 197

Movie script, 113–115 Characters: in narrative nonfiction, 66, 69, 77, 89, 143, in fiction narration, 92, 94, 102, 103, 105, 114, 117



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Letters of Margaret Paston Margaret Paston, page 201 Twa Corbies Margaret Paston, page 205 Lord Randall Margaret Paston, page 206 Get up and Bar the Door Margaret Paston, page 207 Barbara Allan Margaret Paston, page 209 Research Task: Report on the Manor in Medieval England, page 213

Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255 Historical fiction, 11, 93

Writing Workshop Narration: Autobiographical Narrative, page 214-221

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

Unit 2 Celebrating Humanity Part 1 Sonnet 1 Edmund Spenser, page 254 Sonnet 35 Edmund Spenser, page 254 Sonnet 75 Edmund Spenser, page 256 Sonnet 31 Sir Phillip Sidney, page 259 Sonnet 39 Sir Phillip Sidney, page 260 Grammar: Subordinating Conjunctions, page 263 Writing to Sources: Manual for a Sonnet, page 262

Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125 Create a Set of Instructions, 266–267; Procedural Text, 268–269 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221



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The Passionate Shepherd to His Love Christopher Marlowe, page 266 The Nymph's Reply to the Shepherd Sir Walter Raleigh, page 268 Writing to Sources: Compare-and-Contrast Essay, page 271

Forms of Interpretive Response: Comparison Essay, 198–199; Featured Assignment: Comparison Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125

Sonnet 29 William Shakespeare, page 275 Sonnet 106 William Shakespeare, page 275 Sonnet 116 William Shakespeare, page 276 Sonnet 130 William Shakespeare, page 278 Writing to Sources: Analysis of a Sonnet’s Imagery, page 280

Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221

Part 2 Speech Before Her Troops Queen Elizabeth I, page 285 Examination of Don Luis de Cordoba Don Luis de Cordoba, page 288 Research Task: Report on the Defeat of the Spanish Armada, page 391

Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255



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From The King James Bible Psalm 23 Commissioned by King James Bible, page 298 Psalm 137 Commissioned by King James Bible, page 300 Sermon on the Mount Commissioned by King James Bible, page 301 Parable of the Prodigal Son Commissioned by King James Bible, page 302 Writing to Sources: Parable, page 306

Legends, Myths, 12, 93 Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221

Part 3 The Tragedy of Macbeth, Act 1 William Shakespeare, page 322 Writing to Sources: Speaker Introduction, page 341

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 Characters: in fiction narration, 92, 94, 102, 103, 105, 114, 117

The Tragedy of Macbeth, Act 2 William Shakespeare, page 343 Writing to Sources: Argumentative Essay, page 359


The Tragedy of Macbeth, Act 3 William Shakespeare, page 361 Writing to Sources: Soliloquy, page 377

Movie script, 113–115 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 Characters: in fiction narration, 92, 94, 102, 103, 105, 114, 117



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The Tragedy of Macbeth, Act 4 William Shakespeare, page 379 Writing to Sources: Analysis of Archetypal Images, page 398

Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125

The Tragedy of Macbeth, Act 5 William Shakespeare, page 401 Conventions and Style: Adjective and Adverb Clauses, page 419 Writing to Sources: Response to Literature, page 418


from Oedipus the King Sophocles, page 423 from Faust Johann Wolfgang von Goethe, page 430 Timed Writing: Explanatory Essay, page 435


Writing Workshop Argumentation: Argumentative Essay, page 442-449




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Unit 3 A Turbulent Time Part 1 Works of John Donne Song John Donne, page 482 A Valediction: Forbidding Mourning John Donne, page 484 Holy Sonnet 10 John Donne, page 486 Meditation 17 John Donne, page 488 Grammar: Comparative and Superlative Adjectives and Adverbs, page 493 Writing and Speaking Conventions, page 493 Writing to Sources: Plan for a Biographical Narrative, page 492

Biographical narratives, 9, 67; Biographical profiles, 225 Nonfiction Narrative: Memoir, 64–67, 68–69, 70–71, 72–75, 76–77, 78–81, 82–83, 84, 85, 86–87, 88–89 Degrees of Comparison, 506–510; Making Clear Comparisons, 511–518

On My First Son Ben Jonson, page 496 Still to Be Neat Ben Jonson, page 498 Song: To Cecilia Ben Jonson, page 500 Grammar: Participles, Gerunds, and Infinitives, page 503 Writing and Speaking Conventions, page 503 Writing to Sources: Argumentative Text, page 502

Persuasion: Op-Ed Piece, 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 Verbal phrases, 364–366, 367 368–371, 372



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To His Coy Mistress Andrew Marvell, page 506 To the Virgins, To Make Much of Time Robert Herrick, page 510 Song Sir John Suckling, page 512 Writing to Sources: Public Service Announcement, page 514


Part 2 Poetry of John Milton Sonnet VII John Milton, page 522 Sonnet XIX John Milton, page 523 from Paradise Lost John Milton, page 524 Grammar: Misplaced and Dangling Modifiers, page 539 Writing and Speaking Conventions, page 539 Writing to Sources: Response to Literature, page 538

Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125 Misplaced / dangling modifiers, 412–413, 414

from the Divine Comedy: Inferno Dante Alighieri, page 543 Timed Writing: Comparison-and-Contrast Essay, page 551


from the Pilgrim's Progress John Bunyan, page 554 Writing to Sources: Casting Memo, page 557

Memos, 22; also see: Workplace writing, 256–269 Characters in fiction narration, 92, 94, 102, 103, 105, 114, 117



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from Eve's Apology in Defense of Woman Amelia Lanier, page 560 To Lucasta on Going to the Wars Richard Lovelace, page 563 To Althea, From Prison Richard Lovelace, page 564 Writing to Sources: Dramatic Scene, page 566

Movie script, 113–115 Characters in fiction narration, 92, 94, 102, 103, 105, 114, 117

from the Diary Samuel Pepys, page 571 Research Task: Report on the Great Fire of London, page 581


Part 3 from A Journal of the Plague Year Daniel Defoe, page 590 Writing to Sources: Reflective Essay, page 597


from Gulliver's Travels Jonathon Swift, page 606 A Modest Proposal Jonathon Swift, page 617 Writing to Sources: Plan for a Multimedia Presentation, page 627

Multimedia projects / presentations, 25, 85, 139, 165, 217, 249, 264, 266, 267; Writing for media, 24, 25, 86, 87, 114–115, 140–141, 166–167, 192–193, 218–219, 250, 251–253; New media, R6–R11

from An Essay on Man Alexander Pope, page 630 from The Rape of the Lock Alexander Pope, page 632 Writing to Sources: Essay, page 645

Compare–and–contrast essays, 15, 20, 147 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125



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from A Dictionary of the English Language Samuel Johnson, page 648 from The Life of Samuel Johnson James Boswell, page 655 Writing to Sources: Essay, page 663


Elegy Written in a Country Churchyard Thomas Gray, page 666 Nocturnal Reverie Anne Finch, page 673 Writing to Sources: Directions for Reciting a Poem, page 676

Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125 Create a Set of Instructions, 266–267; Procedural Text, 268–269 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221

Part 4 The Aims of the Spectator Joseph Addison, page 682 Richard Rodriguez Introduces Days of Obligation Richard Rodriguez, page 686 from Days of Obligation from "In Athens Once" Richard Rodriguez, page 689 Writing to Sources: Letter to the Editor, page 685


Writing Workshop Informative Text: Reflective Essay, page 694-700




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Unit 4 Rebels and Dreamers Part 1 To a Mouse Robert Burns, page 734 To a Louse Robert Burns, page 737 Woo'd and Married and A' Joanna Baillie, page 741 Writing to Sources: Editorial Speech on the use of Dialect, page 745

Persuasion: Op-Ed Piece, 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 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 Lamb William Blake, page 748 The Tyger William Blake, page 749 The Chimney Sweeper William Blake, page 751 Infant Sorrow William Blake, page 752 Writing to Sources: Explanatory Essay, page 754 Using Introductory phrases and Clauses, page 755 Writing and Speaking Conventions, page 767

Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221 Introductory words / expressions: here, there, 343, 346, in noun clauses, 384–386, 387, varying, 405, 406, capitalizing, 544–545, 546, commas after, 574–575, quotations with, 593–594

Introduction to Frankenstein Mary Wollstonecraft Shelley, page 760 The Curse of Frankenstein Saturday Night Live, page 769 Writing to Sources: Autobiography of a Monster, page 766 Subject-Verb Agreement Problems, page 767 Writing and Speaking Conventions, page 795

Nonfiction Narrative: Memoir, 64–67, 68–69, 70–71, 72–75, 76–77, 78–81, 82–83, 84, 85, 86–87, 88–89 Fiction Narration: Realistic Fiction, 90–93, 94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 112, 113, 114–115, 116–117 Subject-Verb Agreement,476–490



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Part 2 Lines Composed a Few Miles Above a Tintern Abbey William Wordsworth, page 780 from The Prelude William Wordsworth, page 786 The World is Too Much With Us William Wordsworth, page 790 London, 1802 William Wordsworth, page 791 Writing to Sources: Assessing an Analysis of Wordsworth, page 794 Grammar: Pronoun-Antecedent Agreement Problems, page 795 Writing and Speaking Conventions, page 795

Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125 Pronoun-Antecedent Agreement, 491–499

I Have Visited Again Alexander Pushkin, page 799 Invitation to the Voyage Charles Baudelaire, page 802 Thick Grow the Rush Leaves Arthur Waley, Translator, page 805 Jade Flower Palace Tu Fu, page 806 Three Tanka Priest Jankuren, Ki Tsurayuki, Ono Kamachi, page 807 Timed Writing: Explanatory Essay, page 809

Compare–and–contrast essays, 15, 20, 147 Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221



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The Rime of the Ancient Mariner Samuel Taylor Coleridge, page 820 Kubla Khan Samuel Taylor Coleridge, page 846 Writing to Sources: Comparing Poetic Symbols, page 851

Forms of Interpretive Response: Comparison Essay, 198–199; Featured Assignment: Comparison Essay, 200–201, 202–203, 204–216, 220–221 Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125

She Walks in Beauty George Gordon, Lord Byron, page 854 from Childe Harold's Pilgrimage Apostrophe to the Ocean George Gordon, Lord Byron, page 856 from Don Juan George Gordon, Lord Byron, page 860 Writing to Sources: Interior Monologue of a Modern Byronic Hero, page 865

Characters in fiction narration, 92, 94, 102, 103, 105, 114, 117 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125

Ozymandias Percy Bysshe Shelley, page 868 Ode to the West Wind Percy Bysshe Shelley, page 870 To a Skylark Percy Bysshe Shelley, page 873 Writing to Sources: Develop a Research Plan for a Report, page 879




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On First Looking into Chapman's Homer John Keats, page 882 When I Have Fears That I May Cease to Be John Keats, page 885 Ode to a Nightingale John Keats, page 886 Ode on a Grecian Urn John Keats, page 886 Writing to Sources: Essay, page 894

Sonnets and Free Verse Poem: Mentor Texts (Learn From Experience) 122–123; Student Model (Use a Reader’s Eye & Use a Writer’s Eye), 124–125 Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221

Part 3 Speech in Favor of Reform Lord John Russell, page 899 Speech Against Reform Sir Robert Peel, page 902 On The Passing of the Reform Bill Thomas Babington Macaulay, page 904 Research Task: Debate on the Reform Bill, page 909

Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255 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

On Making an Agreeable Marriage Jane Austen, page 912 from A Vindication of the Rights of Women Mary Wollstonecraft Shelley, page 916 Writing to Sources: E-mail Exchange on Marriage, page 919

E–mails, Friendly letters, 22, 259, 261, R15



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Writing Workshop Argumentation: Multimedia Presentation of an Argument, page 920-927

Persuasion: Op-Ed Piece, 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, 217, 249, 264, 266, 267; Writing for media, 24, 25, 86, 87, 114–115, 140–141, 166–167, 192–193, 218–219, 250, 251–253; New media, R6–R11

Unit 5 Progress and Decline Part 1 from In Memorium, A.H.H. Alfred, Lord Tennyson, page 960 The Lady of Shalott Alfred, Lord Tennyson, page 963 Tears, Idle Tears Alfred, Lord Tennyson, page 969 Ulysses Alfred, Lord Tennyson, page 970 Writing to Sources: Biographical Essay, page 975

Biographical narratives, 9, 67; Biographical profiles, 225 Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255

My Last Duchess Robert Browning, page 979 Life in a Love Robert Browning, page 981 Porphyria's Lover Robert Browning, page 982 Sonnet 43 Elizabeth Barrett Browning, page 986 Writing to Sources: Writing a Detective’s Report on the Duke, page 988

Characters in fiction narration, 92, 94, 102, 103, 105, 114, 117 Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255



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Part 2 from Hard Times Charles Dickens, page 998 Writing to Sources: Historical Investigation: Annotated Bibliography, page 1008 Grammar: Shifts in Verb Tense, page 1009 Writing and Speaking Conventions, page 1009

Annotated bibliographies, 21, 225 Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255 Verb tenses, sequence of, 444–447, 448–450

An Upheaval Anton Chekhov, page 1013 Timed Writing: Compare-and-Contrast Essay, page 1021


Charles Dickens Museum Web Site, page 1023 Andalusia: Home of Flannery O'Connor Brochure, page 1025 Timed Writing: Analytical Essay

Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255 Create a Set of Instructions, 266–267; Procedural Text, 268–269

from Jane Eyre Charlotte Bronte, page 1030 Writing to Sources: School Conduct Report, page 1038

Characters: in narrative nonfiction, 66, 69, 77, 89, 143, in fiction narration, 92, 94, 102, 103, 105, 114, 117

Part 3 Dover Beach Matthew Arnold, page 1042 Recessional Rudyard Kipling, page 1045 Writing to Sources: Essay About the Victorian Age, page 1051




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from Lucy: Englan' Lady James Berry, page 1055 Freedom James Berry, page 1057 Time Removed James Berry, page 1058 Research Task: Presentation on the Theme of “Progress” in the Media, page 1070

Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255 New media, R6–R11

Part 4 Remembrance Emily Bronte, page 1075 The Darkling Thrush Thomas Hardy, page 1078 Ah, Are You Digging on my Grave? Thomas Hardy, page 1081 Writing to Sources: Comparative Analysis, page 1084 Active, Not Passive Voice, page 1085 Writing and Speaking Conventions, page 1085


God's Grandeur Gerald Manley Hopkins, page 1088 Spring and Fall: To a Young Child Gerald Manley Hopkins, page 1090 To an Athlete Dying Young A.E. Housman, page 1092 When I Was One-and-Twenty A.E. Housman, page 1093 Writing to Sources: Letter of Recommendation, page 1095

Business letters, 22, R14 Persuasion: Op-Ed Piece, 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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Writing Workshop Research: Historical Investigation Report, page 1096-1107


Unit 6 A Time of Rapid Change Part 1 When You Are Old William Butler Yeats, page 1140 The Lake Isle of Innisfree William Butler Yeats, page 1141 The Wild Swans at Coole William Butler Yeats, page 1142 The Second Coming William Butler Yeats, page 1145 Sailing to Byzantium William Butler Yeats, page 1147 Writing to Sources: Response to Literature, page 1150 Grammar in your Writing, page 1151 Grammar and Style Lesson: Sentence Fragments and Run-ons, page 1151

Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125 Fragments, 339–340, 342, 407–409, 411 Run–ons, 407, 410, 411, 570

Preludes T.S. Eliot, page 1156 Journey of the Magi T.S. Eliot, page 1158 The Hollow Men T.S. Eliot, page 1160 Writing to Sources: Multi-Genre Response, page 1168 Grammar in Your Writing, page 1169 Grammar and Style Lesson: Transitional Expressions, page 1169

Response to Literature, 196–197; Forms of Interpretive Response, 198–199; Featured Assignment: Response to Literature Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125 Multimedia projects / presentations, 25, 85, 139, 165, 217, 249, 264, 266, 267; Writing for media, 24, 25, 86, 87, 114–115, 140–141, 166–167, 192–193, 218–219, 250, 251–253; New media, R6–R11 Transitional expressions, 587–588



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In Memory of W.B. Yeats W.H. Auden, page 1172 Musée des Beaux Arts W.H. Auden, page 1177 Carrick Revisited Louis MacNeice, page 1180 Not Palaces Stephen Spender, page 1183 Writing to Sources: Poem About an Artwork, page 1186

Poetry and Description, 118–121, 122, 123, 124, 125, 126–129, 130, 131, 132–135, 136–138, 139, 140–141, 142–143

Part 2 The Lady in the Looking Glass: A Reflection Virginia Woolf, page 1192 from Mrs. Dalloway Virginia Woolf, page 1198 Shakespeare's Sister Virginia Woolf, page 1202 Writing to Sources: Essay Comparing Narrative Styles, page 1206 Grammar and Style Lesson: Parallel Structure, page 1207 Grammar in Your Writing, page 1207

Forms of Interpretive Response: Comparison Essay, 198–199; Featured Assignment: Comparison Essay, 200–201, 202–203, 204–216, 220–221; also see: Fiction and Poetry Mentor Texts (Try It activities), 94–97, 122–123; Fiction Student Model (Use a Reader’s Eye), 98–99, 124, 125 Parallel structures, 188, 189; Parallelism, 415–417, 420

from Pedro Páramo Juan Rulfo, page 1211 from The Nine Guardians Rosario Castellanos, page 1213 Writing to Compare Literary Works: Essay, page 1215




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The Lagoon Joseph Conrad, page 1220 Araby James Joyce, page 1236 Writing to Sources: Response to Literature, page 1243


The Rocking Horse Winner D.H. Lawrence, page 1246 A Shocking Accident Graham Greene, page 1263 Writing to Sources: Script for a Scene, page 1270

Movie script, 113–115

Part 3 The Soldier Rupert Brooke, page 1274 Wirers Siegfried Sassoon, page 1276 Anthem for Doomed Youth Wilfred Owen, page 1277 Writing Argument: Response to Criticism, page 1279


Wartime Speech Winston Churchill, page 1287 Evacuation Scheme English Government, page 1291 Photographs of the London Blitz, page 1292 Research Task: Multimedia Presentation on Great Speeches, page 1295

Research Writing, 222–223, 224–225, 226–227, 228–229, 230–237, 238–241, 242–245, 246–247, 248, 249, 250–253, 254–255 Multimedia projects / presentations, 25, 85, 139, 165, 217, 249, 264, 266, 267; Writing for media, 24, 25, 86, 87, 114–115, 140–141, 166–167, 192–193, 218–219, 250, 251–253; New media, R6–R11

The Demon Lover Elizabeth Bowen, page 1298 Writing to Sources: Sequel, page 1307

Fiction Narration: Realistic Fiction, 90–93, 94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 112, 113, 114–115, 116–117



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World War II Poets Vergissmeinnicht (Forget Me Not) Keith Douglas, page 1310 Postscript: For Gweno Alun Lewis, page 1312 Naming of Parts Henry Reed, page 1313 Writing to Sources: Memorandum, page 1315

Memos, 22; also see: Workplace writing, 256–269

Shooting an Elephant George Orwell, page 1318 No Witchcraft for Sale Doris Lessing, page 1328 Writing to Sources: Problem-and-Solution Essay, page 1338 Grammar in Your Writing, page 1339 Grammar and Style Lesson: Variety in Sentence Beginnings, page 1339

Problem–solution essays, 16, 147 Persuasion: Op-Ed Piece, 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 Train from Rhodesia Nadine Gordimer, page 1342 B. Wordsworth V.S. Naipaul, page 1349 Writing to Sources: Biographical Sketch of a Remarkable Person, page 1357

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

from Midsummer, XXIII Derek Walcott, page 1360 from Omeros, from Chapter XXVIIII Derek Walcott, page 1362 Writing to Sources: Multimedia Presentation, page 1365

Multimedia projects / presentations, 25, 85, 139, 165, 217, 249, 264, 266, 267; Writing for media, 24, 25, 86, 87, 114–115, 140–141, 166–167, 192–193, 218–219, 250, 251–253; New media, R6–R11 Poetry and Description, 118–121, 122, 123, 124, 125, 126–129, 130, 131, 132–135, 136–138, 139, 140–141, 142–143



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Follower Seamus Heaney, page 1368 Two Lorries Seamus Heaney, page 1370 Outside History Eavan Boland, page 1374 Writing to Sources: Directions, page 1376

Research Writing: Collect and Organize Data, 234; Avoid Plagiarism, 235; Document Your Sources, 236–237; Provide and Document Evidence, 240; Use Graphics and Illustrations, 241; Big Picture, 244

Part 4 Come and Go Samuel Beckett, page 1380 That's All Harold Pinter, page 1384 Writing to Sources: Scene, page 1387

Characters in fiction narration, 92, 94, 102, 103, 105, 114, 117 Movie script, 113–115

Do Not Go Gentle into That Good Night Dylan Thomas, page 1390 Fern Hill Dylan Thomas, page 1392 The Horses Ted Hughes, page 1396 Writing to Sources: Parody, page 1399

Poetry and Description, 118–121, 122, 123, 124, 125, 126–129, 130, 131, 132–135, 136–138, 139, 140–141, 142–143

An Arundel Tomb Philip Larkin, page 1402 The Explosion Philip Larkin, page 1404 On the Patio Peter Redgrove, page 1407 Not Waving but Drowning Stevie Smith, page 1408 Writing to Sources: Reflective Essay, page 1409




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Prayer Carol Ann Duffy, page 1412 In the Kitchen Penelope Shuttle, page 1414 Writing to Sources: Radio Introductions, page 1415

Create a Script for a News Interview, 166–167

Introduces A Devoted Son Anita Desai, page 1416 A Devoted Son Anita Desai, page 1420 Writing to Sources: Response to Literature, page 1431


Next Term, We'll Mash You Penelope Lively, page 1436 Writing to Sources: Magazine Advertisement, page 1443

Create an Advertisement Based on a Poem, 140–141

from We'll Never Conquer Space Arthur C. Clarke, page 1446 Writing to Sources: Expository Essay, page 1453


Extra-Terrestrial Relays: Can Rocket Stations Give World-wide Radio Coverage? Arthur C. Clarke, page 1455 Timed Writing: Expository Essay, page 1459

Writing for media, 24, 25, 86, 87, 114–115, 140–141, 166–167, 192–193, 218–219, 250, 251–253; New media, R6–R11

I'm Like a Bird Nick Hornby, page 1464 Writing to Sources: Explanatory Notes, page 1467

Write a Music Review of a Song, 218–219 Create a Set of Instructions, 266–267

Writing Workshop Narration: Short Story, page 1468-1475 Fiction Narration: Realistic Fiction, 90–93,

94–97, 98–99, 100–103, 104–105, 106–109, 110–111, 112, 113, 114–115, 116–117

Documents

Standard 1: Reading SIXTH GRADE - Pearson School Coach12 to... · Psalm 137 Commissioned by King James Bible, page 300 . Sermon on the Mount Commissioned by King James Bible, page