220 Collection 8: Evaluating StylePart 1
Imagine being able to travel back in time. Many writers have explored thisidea in science fiction stories and movies. You are about to read one of themost popular_and thought-provoking_stories about time travel ever written.
LITERARY FOCUS: STYLE AND MOODA writer’s diction, or word choice, greatly defines a work’s style. Style is alsodetermined by sentence length and complexity. A story that is written inbrief simple sentences, for example, is different in style from a story writtenin long complex sentences. See below:
The use (or non-use) of imagery and figurative language also has an effecton style. In the story you’re about to read, Ray Bradbury uses vivid imageryand figurative language to create a style that is as lush as its prehistoric set-ting. Mood, like style, is also created by diction, sentence length, imagery,and figurative language. A story’s mood, or atmosphere, can be describedusing adjectives like scary, calm, and mysterious. • As you read “A Sound of Thunder,” notice how Bradbury's choice of
words, imagery, and figurative language creates a unique style.• As Bradbury describes the ancient jungle, think about the words you’d
use to describe the story’s mood.
READING SKILLS: CAUSE AND EFFECTThe events in a story are connected by a chain of causes and effects. Oneevent causes another, which causes another, and so on. A cause is thereason something happens. An effect is the result. Certain words_likebecause, consequently, for, so, since, and therefore_can alert you to cause-and-effect relationships.
As you read “A Sound of Thunder,” look for causes and effects. Thereare plenty to find. In fact, the whole story is about how one event causesanother_and another, and another, and . . .
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A Sound of Thunder by Ray Bradbury
Literary SkillsUnderstandelements of
style, includingfigurative
language andmood.
ReadingSkills
Understandcause-and-effect
relationships.
VocabularySkills
UnderstandGreek and Latin
prefixes andword roots.
Style: More Complex
“It was Miss Murdstone who wasarrived, and a gloomy-looking ladyshe was: dark, like her brother,whom she greatly resembled inface and voice . . .” (from DavidCopperfield, by Charles Dickens)
Style: Simple
The sun rose. The air was warm,my coffee was hot. Nothingstirred. Nothing breathed exceptfor the lizard. That lizard couldoutstare a rock.
A Sound of Thunder 221
annihilate (¥·n¢!¥·l†t") v.: destroy; wipe out.
If we continue to destroy the region's forests, wemay also annihilate the wildlife that lives there.
expendable (ek·spen!d¥·b¥l) adj.: worth sacri-ficing to gain an objective.
The officers regretted the loss but considered theground troops expendable.
depression (d#·presh!¥n) n.: major economicdownturn. (Depression also means “sadness.”)
A depression hit the country, resulting in wide-spread unemployment and homelessness.
paradox (par!¥·däks") n.: something that has orseems to have contradictory qualities.
The paradox is that sometimes we are loneliestwhen we are in a crowd of people.
delirium (di·lir!#·¥m) n.: extreme mental distur-bance, often accompanied by hallucinations(seeing things that are not there).
In his delirium, he imagined he was seeinggiant insects.
resilient (ri·zil!y¥nt) adj.: able to return to itsoriginal shape quickly after being stretched orcompressed; elastic.
This resilient fabric springs back to its originalshape no matter how you stretch it.
remit (ri·mit!) v.: return payment.
The company will remit, or return, full paymentif the consumers are not satisfied.
revoke (ri·v£k!) v.: cancel; withdraw.
They can revoke your club membership if youfail to attend meetings.
primeval (pr¢·m#!v¥l) adj.: primitive; of the earliest times.
In the prehistoric world, giant lizards crashedthrough the primeval forest.
subliminal (sub·lim!¥·n¥l) adj.: below the level ofawareness.
Unaware of the movie’s subliminal message tobuy food, the audience flocked to buy snacks.
PREVIEW SELECTION VOCABULARYThe following words appear in the story you are about to read. You may wantto become familiar with them before you begin reading.
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PREFIXES AND WORD ROOTSA prefix is a word part that comes before a word root and affects its meaning.A knowledge of prefixes can help you figure out the meanings of unfamiliarwords. It can also help you use and understand a wider variety of words. Theword remit, for example, contains the prefix re-, which means “back.” It alsocontains the word root mit, which means “send.” When you remit something,you send it back.
When you come across an unfamiliar word, look for a prefix or word root yourecognize to help you figure out the word’s meaning.
The sign on the wall seemed to quaver under a film of sliding
warm water. Eckels felt his eyelids blink over his stare, and the
sign burned in this momentary darkness:
TIME SAFARI, INC. SAFARIS TO ANY YEAR IN THE PAST.
YOU NAME THE ANIMAL. WE TAKE YOU THERE. YOU SHOOT IT.
A warm phlegm gathered in Eckels’s throat; he swallowed and
pushed it down. The muscles around his mouth formed a smile as
he put his hand slowly out upon the air, and in that hand waved a
check for ten thousand dollars to the man behind the desk.
“Does this safari guarantee I come back alive?”
“We guarantee nothing,” said the official, “except the
dinosaurs.” He turned. “This is Mr. Travis, your Safari Guide in
the Past. He’ll tell you what and where to shoot. If he says no
shooting, no shooting. If you disobey instructions, there’s a stiff
penalty of another ten thousand dollars, plus possible govern-
ment action, on your return.”
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222 Collection 8: Evaluating StylePart 1
Pause at line 16. Why do youthink there is such a stiffpenalty for disobeyinginstructions?
Pause after you read the sign(lines 4-5). Underline theinformation that seemsunusual. Based on this infor-mation, when do you thinkthe story takes place?
“A Sound of Thunder” by Ray Bradbury. Copyright © 1952 by the Crowell-Collier Publishing Co.; copyrightrenewed © 1980 by Ray Bradbury. Reprinted by permission of Don Congdon Associates, Inc.
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A Sound of Thunder
Ray Bradbury
Eckels glanced across the vast office at a mass and tangle,
a snaking and humming of wires and steel boxes, at an aurora1
that flickered now orange, now silver, now blue. There was
a sound like a gigantic bonfire burning all of Time, all the years
and all the parchment calendars, all the hours piled high and set
aflame.
A touch of the hand and this burning would, on the
instant, beautifully reverse itself. Eckels remembered the word-
ing in the advertisements to the letter. Out of chars and ashes,
out of dust and coals, like golden salamanders, the old years, the
green years, might leap; roses sweeten the air, white hair turn
Irish-black, wrinkles vanish; all, everything fly back to seed, flee
death, rush down to their beginnings, suns rise in western skies
and set in glorious easts, moons eat themselves opposite to the
custom, all and everything cupping one in another like Chinese
boxes2, rabbits into hats, all and everything returning to the
fresh death, the seed death, the green death, to the time before
the beginning. A touch of a hand might do it, the merest touch
of a hand.
“Unbelievable.” Eckels breathed, the light of the Machine
on his thin face. “A real Time Machine.” He shook his head.
“Makes you think. If the election had gone badly yesterday, I
might be here now running away from the results. Thank God
Keith won. He’ll make a fine President of the United States.”
“Yes,” said the man behind the desk. “We’re lucky. If
Deutscher had gotten in, we’d have the worst kind of dictator-
ship. There’s an anti-everything man for you, a militarist, anti-
Christ, anti-human, anti-intellectual. People called us up, you
know, joking but not joking. Said if Deutscher became President
they wanted to go live in 1492. Of course it’s not our business to
conduct Escapes, but to form Safaris. Anyway, Keith’s President
now. All you got to worry about is—”
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Pause at line 43. Who werethe two candidates for presi-dent of the United States?Circle their names. Whichone won the election?
Re-read lines 17-35, and underline examples of figurative language (simile,metaphor, personification).
Anti- is a prefix meaning“against.” According to thedescription of Deutscher inlines 43-44, what is he“against”?
1. aurora (ô·rôr!¥) n.: Bradbury is comparing the glow coming from thetime machine to an aurora, a colorful display of light that appears atnight in the skies near the North and South Poles.
2. Chinese boxes: set of boxes, each of which fits into the next-largestone.
“Shooting my dinosaur,” Eckels finished it for him.
“A Tyrannosaurus rex. The Tyrant Lizard, the most incredi-
ble monster in history. Sign this release. Anything happens to
you, we’re not responsible. Those dinosaurs are hungry.”
Eckels flushed angrily. “Trying to scare me!”
“Frankly, yes. We don’t want anyone going who’ll panic at the
first shot. Six Safari leaders were killed last year, and a dozen
hunters. We’re here to give you the severest thrill a real hunter ever
asked for. Traveling you back sixty million years to bag the biggest
game in all of Time. Your personal check’s still there. Tear it up.”
Mr. Eckels looked at the check. His fingers twitched.
“Good luck,” said the man behind the desk. “Mr. Travis, he’s
all yours.”
They moved silently across the room, taking their guns
with them, toward the Machine, toward the silver metal and the
roaring light.
First a day and then a night and then a day and then a night,
then it was day-night-day-night-day. A week, a month, a year, a
decade! A.D. 2055. A.D. 2019. 1999! 1957! Gone! The Machine
roared.
They put on their oxygen helmets and tested the intercoms.
Eckels swayed on the padded seat, his face pale, his jaw stiff.
He felt the trembling in his arms, and he looked down and
found his hands tight on the new rifle. There were four other
men in the Machine. Travis, the Safari Leader; his assistant,
Lesperance; and two other hunters, Billings and Kramer. They
sat looking at each other, and the years blazed around them.
“Can these guns get a dinosaur cold?” Eckels felt his mouth
saying.
“If you hit them right,” said Travis on the helmet radio.
“Some dinosaurs have two brains, one in the head, another far
down the spinal column. We stay away from those. That’s
stretching luck. Put your first two shots into the eyes, if you can,
blind them, and go back into the brain.”
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224 Collection 8: Evaluating StylePart 1
Re-read lines 54-58. What dothese details suggest aboutTime Safari, Inc.?
Circle the words in lines 76-77 that mean “Eckelssaid.” What does this phrasereveal about Eckels?
Pause at line 52. What ani-mal is Eckels hunting? Circlethe answer.
The Machine howled. Time was a film run backward. Suns
fled and ten million moons fled after them. “Think,” said Eckels.
“Every hunter that ever lived would envy us today. This makes
Africa seem like Illinois.”
The Machine slowed; its scream fell to a murmur. The
Machine stopped.
The sun stopped in the sky.
The fog that had enveloped the Machine blew away and
they were in an old time, a very old time indeed, three hunters
and two Safari Heads with their blue metal guns across their
knees.
“Christ isn’t born yet,” said Travis. “Moses has not gone to
the mountain to talk with God. The Pyramids are still in the
earth, waiting to be cut out and put up. Remember that.
Alexander, Caesar, Napoleon, Hitler—none of them exists.”
The men nodded.
“That”—Mr. Travis pointed—“is the jungle of sixty mil-
lion two thousand and fifty-five years before President Keith.”
He indicated a metal path that struck off into green wilder-
ness, over streaming swamp, among giant ferns and palms.
“And that,” he said, “is the Path, laid by Time Safari for
your use. It floats six inches above the earth. Doesn’t touch so
much as one grass blade, flower, or tree. It’s an anti-gravity
metal. Its purpose is to keep you from touching this world of the
Past in any way. Stay on the Path. Don’t go off it. I repeat. Don’t
go off. For any reason! If you fall off, there’s a penalty. And don’t
shoot any animal we don’t okay.”
“Why?” asked Eckels.
They sat in the ancient wilderness. Far birds’ cries blew on
a wind, and the smell of tar and an old salt sea, moist grasses,
and flowers the color of blood.
“We don’t want to change the Future. We don’t belong here
in the Past. The government doesn’t like us here. We have to pay
big graft3 to keep our franchise. A Time Machine is finicky
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3. graft n.: bribes.
Underline the sentence inlines 103-107 that tells youthe purpose of “the Path.”Why do you think the term iscapitalized?
Re-read lines 111-113, whichare full of imagery. To whatsenses do these imagesappeal?
business. Not knowing it, we might kill an important animal, a
small bird, a roach, a flower even, thus destroying an important
link in a growing species.”
“That’s not clear,” said Eckels.
“All right,” Travis continued, “say we accidentally kill one
mouse here. That means all the future families of this one par-
ticular mouse are destroyed, right?”
“Right.”
“And all the families of the families of the families of that
one mouse! With a stamp of your foot, you annihilate first one,
then a dozen, then a thousand, a million, a billion possible
mice!”
“So they’re dead,” said Eckels. “So what?”
“So what?” Travis snorted quietly. “Well, what about the
foxes that’ll need those mice to survive? For want of ten mice, a
fox dies. For want of ten foxes, a lion starves. For want of a lion,
all manner of insects, vultures, infinite billions of life forms are
thrown into chaos and destruction. Eventually it all boils down to
this: Fifty-nine million years later, a cave man, one of a dozen in
the entire world, goes hunting wild boar or saber-toothed tiger
for food. But you, friend, have stepped on all the tigers in that
region. By stepping on one single mouse. So the cave man starves.
And the cave man, please note, is not just any expendable man,
no! He is an entire future nation. From his loins would have
sprung ten sons. From their loins one hundred sons, and thus
onward to a civilization. Destroy this one man, and you destroy a
race, a people, an entire history of life. It is comparable to slaying
some of Adam’s grandchildren. The stomp of your foot, on one
mouse, could start an earthquake, the effects of which could
shake our earth and destinies down through Time, to their very
foundations. With the death of that one cave man, a billion oth-
ers yet unborn are throttled in the womb. Perhaps Rome never
rises on its seven hills. Perhaps Europe is forever a dark forest,
and only Asia waxes healthy and teeming.4 Step on a mouse and
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NotesNotes
annihilate (¥·n¢!¥·l†t") v.:destroy; wipe out.
expendable (ek·spen!d¥·b¥l)adj.: worth sacrificing to gainan objective.
In this long paragraph (lines130-155), Travis explains thepossible effects of steppingoff the path and killing amouse. Each effect, in turn,becomes the cause of anoth-er event. What is the finaleffect Travis mentions?
4. teeming (t#m!i«) adj.: swarming; overflowing.
you crush the Pyramids. Step on a mouse and you leave your
print, like a Grand Canyon, across Eternity. Queen Elizabeth
might never be born, Washington might not cross the Delaware,
there might never be a United States at all. So be careful. Stay on
the Path. Never step off!”
“I see,” said Eckels. “Then it wouldn’t pay for us even to
touch the grass?”
“Correct. Crushing certain plants could add up infinitesi-
mally.5 A little error here would multiply in sixty million years,
all out of proportion. Of course maybe our theory is wrong.
Maybe Time can’t be changed by us. Or maybe it can be changed
only in little subtle ways. A dead mouse here makes an insect
imbalance there, a population disproportion later, a bad harvest
further on, a depression, mass starvation, and, finally, a change
in social temperament in far-flung countries. Something much
more subtle, like that. Perhaps only a soft breath, a whisper, a
hair, pollen on the air, such a slight, slight change that unless
you looked close you wouldn’t see it. Who knows? Who really
can say he knows? We don’t know. We’re guessing. But until we
do know for certain whether our messing around in Time can
make a big roar or a little rustle in history, we’re being careful.
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NotesNotes
depression (d#·pre$!¥n) n.:major economic downturn.
What does Travis mean whenhe says he’s not sure whether“messing around in Time canmake a big roar or a littlerustle in history” (lines 169-171)?
5. infinitesimally (in"fin·i·tes!i·m¥l·#) adv.: in amounts too small to bemeasured.
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This Machine, this Path, your clothing and bodies, were steril-
ized, as you know, before the journey. We wear these oxygen
helmets so we can’t introduce our bacteria into an ancient
atmosphere.”
“How do we know which animals to shoot?”
“They’re marked with red paint,” said Travis. “Today, before
our journey, we sent Lesperance here back with the Machine. He
came to this particular era and followed certain animals.”
“Studying them?”
“Right,” said Lesperance. “I track them through their entire
existence, noting which of them lives longest. Very few. How
many times they mate. Not often. Life’s short. When I find one
that’s going to die when a tree falls on him, or one that drowns
in a tar pit, I note the exact hour, minute, and second. I shoot a
paint bomb. It leaves a red patch on his side. We can’t miss it.
Then I correlate our arrival in the Past so that we meet the
Monster not more than two minutes before he would have died
anyway. This way, we kill only animals with no future, that are
never going to mate again. You see how careful we are?”
“But if you came back this morning in Time,” said Eckels
eagerly, “you must’ve bumped into us, our Safari! How did it
turn out? Was it successful? Did all of us get through—alive?”
Travis and Lesperance gave each other a look.
“That’d be a paradox,” said the latter. “Time doesn’t permit
that sort of mess—a man meeting himself. When such occa-
sions threaten, Time steps aside. Like an airplane hitting an air
pocket. You felt the Machine jump just before we stopped? That
was us passing ourselves on the way back to the Future. We saw
nothing. There’s no way of telling if this expedition was a suc-
cess, if we got our monster, or whether all of us—meaning you,
Mr. Eckels—got out alive.”
Eckels smiled palely.
“Cut that,” said Travis sharply. “Everyone on his feet!”
They were ready to leave the Machine.
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Re-read lines 195-202. Whatdo you think? Will the expe-dition be a success, or will itend in tragedy?
Pause at line 175. Why dothe travelers wear sterilizedclothing and oxygen helmets?
Pause at line 190. Why areonly animals that are aboutto die anyway chosen forhunting?
paradox (par!¥·däks") n.:something that has or seemsto have contradictory qualities.
The jungle was high and the jungle was broad and the jun-
gle was the entire world forever and forever. Sounds like music
and sounds like flying tents filled the sky, and those were ptero-
dactyls soaring with cavernous gray wings, gigantic bats of
delirium and night fever. Eckels, balanced on the narrow Path,
aimed his rifle playfully.
“Stop that!” said Travis. “Don’t even aim for fun, blast you!
If your guns should go off—”
Eckels flushed. “Where’s our Tyrannosaurus?”
Lesperance checked his wristwatch. “Up ahead. We’ll bisect
his trail in sixty seconds. Look for the red paint! Don’t shoot till
we give the word. Stay on the Path. Stay on the Path!”
They moved forward in the wind of morning.
“Strange,” murmured Eckels. “Up ahead, sixty million years,
Election Day over. Keith made President. Everyone celebrating.
And here we are, a million years lost, and they don’t exist. The
things we worried about for months, a lifetime, not even born
or thought of yet.”
“Safety catches off, everyone!” ordered Travis. “You, first
shot, Eckels. Second, Billings. Third, Kramer.”
“I’ve hunted tiger, wild boar, buffalo, elephant, but now,
this is it,” said Eckels. “I’m shaking like a kid.”
“Ah,” said Travis.
Everyone stopped.
Travis raised his hand. “Ahead,” he whispered. “In the mist.
There he is. There’s His Royal Majesty now.”
The jungle was wide and full of twitterings, rustlings, mur-
murs, and sighs.
Suddenly it all ceased, as if someone had shut a door.
Silence.
A sound of thunder.
Out of the mist, one hundred yards away, came
Tyrannosaurus rex.
“It,” whispered Eckels. “It . . .”
“Sh!”
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Pause at line 217. The guideskeep telling Eckels, “Stay onthe Path!” What do theirwarnings lead you to predict?
delirium (di·lir!#·¥m) n.:extreme mental disturbance,often accompanied by hallu-cinations (seeing things thatare not there).
Pause at line 231. Whommight Travis be referring toas “His Royal Majesty”?
Re-read lines 206-211, andcircle repeated words. Then,underline the imaginativedescription of pterodactyls.How would you describe thestyle of the writing here?
It came on great oiled, resilient, striding legs. It towered
thirty feet above half of the trees, a great evil god, folding its deli-
cate watchmaker’s claws close to its oily reptilian chest. Each
lower leg was a piston, a thousand pounds of white bone, sunk
in thick ropes of muscle, sheathed over in a gleam of pebbled
skin like the mail6 of a terrible warrior. Each thigh was a ton of
meat, ivory, and steel mesh. And from the great breathing cage
of the upper body those two delicate arms dangled out front,
arms with hands which might pick up and examine men like
toys, while the snake neck coiled. And the head itself, a ton of
sculptured stone, lifted easily upon the sky. Its mouth gaped,
exposing a fence of teeth like daggers. Its eyes rolled, ostrich
eggs, empty of all expression save hunger. It closed its mouth in
a death grin. It ran, its pelvic bones crushing aside trees and
bushes, its taloned feet clawing damp earth, leaving prints six
inches deep wherever it settled its weight. It ran with a gliding
ballet step, far too poised and balanced for its ten tons. It moved
into a sunlit arena warily, its beautifully reptilian hands feeling
the air.
“Why, why,” Eckels twitched his mouth. “It could reach up
and grab the moon.”
“Sh!” Travis jerked angrily. “He hasn’t seen us yet.”
“It can’t be killed.” Eckels pronounced this verdict quietly,
as if there could be no argument. He had weighed the evidence
and this was his considered opinion. The rifle in his hands
seemed a cap gun. “We were fools to come. This is impossible.”
“Shut up!” hissed Travis.
“Nightmare.”
“Turn around,” commanded Travis. “Walk quietly to the
Machine. We’ll remit one half your fee.”
“I didn’t realize it would be this big,” said Eckels. “I miscal-
culated, that’s all. And now I want out.”
“It sees us!”
“There’s the red paint on its chest!”
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resilient (ri·zil!y¥nt) adj.: ableto return to its original shapequickly after being stretchedor compressed; elastic.
The author uses rich figurative language in lines 241-259. Underline at leastfour metaphors or similesthat help you visualize thefearsome dinosaur.
Read the boxed passagealoud twice. Focus on read-ing the figures of speechclearly and dramatically.
remit (ri·mit!) v.: return payment.
NotesNotes
6. mail n.: here, flexible metal armor.
The Tyrant Lizard raised itself. Its armored flesh glittered
like a thousand green coins. The coins, crusted with slime,
steamed. In the slime, tiny insects wriggled, so that the entire
body seemed to twitch and undulate,7 even while the monster
itself did not move. It exhaled. The stink of raw flesh blew down
the wilderness.
“Get me out of here,” said Eckels. “It was never like this
before. I was always sure I’d come through alive. I had good
guides, good safaris, and safety. This time, I figured wrong. I’ve
met my match and admit it. This is too much for me to get hold
of.”
“Don’t run,” said Lesperance. “Turn around. Hide in the
Machine.”
“Yes.” Eckels seemed to be numb. He looked at his feet as if
trying to make them move. He gave a grunt of helplessness.
“Eckels!”
He took a few steps, blinking, shuffling.
“Not that way!”
The Monster, at the first motion, lunged forward with a
terrible scream. It covered one hundred yards in six seconds.
The rifles jerked up and blazed fire. A windstorm from the
beast’s mouth engulfed them in the stench of slime and old
blood. The Monster roared, teeth glittering with sun.
Eckels, not looking back, walked blindly to the edge of the
Path, his gun limp in his arms, stepped off the Path, and walked,
not knowing it, in the jungle. His feet sank into green moss. His
legs moved him, and he felt alone and remote from the events
behind.
The rifles cracked again. Their sound was lost in shriek and
lizard thunder. The great level of the reptile’s tail swung up,
lashed sideways. Trees exploded in clouds of leaf and branch.
The Monster twitched its jeweler’s hands down to fondle at the
men, to twist them in half, to crush them like berries, to cram
them into its teeth and its screaming throat. Its boulder-stone
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How does Eckels react whenhe sees the dinosaur (lines260-287)? What do theguides tell him to do?
Pause at line 302. What causes Eckels to step off thepath? What effect might thisaction have?
7. undulate (un!j¥·l†t") v.: move in waves.
eyes leveled with the men. They saw themselves mirrored. They
fired at the metallic eyelids and the blazing black iris.
Like a stone idol, like a mountain avalanche, Tyrannosaurus
fell. Thundering, it clutched trees, pulled them with it. It
wrenched and tore the metal Path. The men flung themselves
back and away. The body hit, ten tons of cold flesh and stone.
The guns fired. The Monster lashed its armored tail, twitched its
snake jaws, and lay still. A fount of blood spurted from its
throat. Somewhere inside, a sac of fluids burst. Sickening gushes
drenched the hunters. They stood, red and glistening.
The thunder faded.
The jungle was silent. After the avalanche, a green peace.
After the nightmare, morning.
Billings and Kramer sat on the pathway and threw up.
Travis and Lesperance stood with smoking rifles, cursing
steadily.
In the Time Machine, on his face, Eckels lay shivering. He
had found his way back to the Path, climbed into the Machine.
Travis came walking, glanced at Eckels, took cotton gauze
from a metal box, and returned to the others, who were sitting
on the Path.
“Clean up.”
They wiped the blood from their helmets. They began to
curse too. The Monster lay, a hill of solid flesh. Within, you
could hear the sighs and murmurs as the furthest chambers of it
died, the organs malfunctioning, liquids running a final instant
from pocket to sac to spleen, everything shutting off, closing up
forever. It was like standing by a wrecked locomotive or a steam
shovel at quitting time, all valves being released or levered tight.
Bones cracked; the tonnage of its own flesh, off balance, dead
weight, snapped the delicate forearms, caught underneath. The
meat settled, quivering.
Another cracking sound. Overhead, a gigantic tree branch
broke from its heavy mooring, fell. It crashed upon the dead
beast with finality.
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What two things is the dino-saur compared to in line 311?What type of figurative lan-guage is each comparison?
Circle the words in lines 311-318 that help you visual-ize the violent death of thegiant dinosaur.
The prefix mal- means “not”or “bad.” What do you thinkmalfunctioning (line 334)means?
Peter Bollinger.
“There.” Lesperance checked his watch. “Right on time.
That’s the giant tree that was scheduled to fall and kill this ani-
mal originally.” He glanced at the two hunters. “You want the
trophy picture?”
“What?”
“We can’t take a trophy back to the Future. The body has to
stay right here where it would have died originally, so the
insects, birds, and bacteria can get at it, as they were intended to.
Everything in balance. The body stays. But we can take a picture
of you standing near it.”
The two men tried to think, but gave up, shaking their
heads.
They let themselves be led along the metal Path. They sank
wearily into the Machine cushions. They gazed back at the
ruined Monster, the stagnating mound, where already strange
reptilian birds and golden insects were busy at the steaming
armor.
A sound on the floor of the Time Machine stiffened them.
Eckels sat there, shivering.
“I’m sorry,” he said at last.
“Get up!” cried Travis.
Eckels got up.
“Go out on that Path alone,” said Travis. He had his rifle
pointed. “You’re not coming back in the Machine. We’re leaving
you here!”
Lesperance seized Travis’s arm. “Wait—”
“Stay out of this!” Travis shook his hand away. “This fool
nearly killed us. But it isn’t that so much, no. It’s his shoes! Look
at them! He ran off the Path. That ruins us! We’ll forfeit!
Thousands of dollars of insurance! We guarantee no one leaves
the Path. He left it. Oh, the fool! I’ll have to report to the gov-
ernment. They might revoke our license to travel. Who knows
what he’s done to Time, to History!”
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A Sound of Thunder 233
Pause at line 355. Why doyou think the two hunters,Billings and Kramer, do notwant to take “trophy pictures”?
Re-read lines 369-376.Underline what Travis fearsmight happen because Eckelsstepped off the path.
revoke (ri·v£k!) v.: cancel;withdraw.
“Take it easy, all he did was kick up some dirt.”
“How do we know?” cried Travis. “We don’t know anything!
It’s all a mystery! Get out of here, Eckels!”
Eckels fumbled his shirt. “I’ll pay anything. A hundred
thousand dollars!”
Travis glared at Eckels’s checkbook and spat. “Go out there.
The Monster’s next to the Path. Stick your arms up to your
elbows in his mouth. Then you can come back with us.”
“That’s unreasonable!”
“The Monster’s dead, you idiot. The bullets! The bullets
can’t be left behind. They don’t belong in the Past; they might
change anything. Here’s my knife. Dig them out!”
The jungle was alive again, full of the old tremorings and
bird cries. Eckels turned slowly to regard the primeval garbage
dump, that hill of nightmares and terror. After a long time, like a
sleepwalker he shuffled out along the Path.
He returned, shuddering, five minutes later, his arms
soaked and red to the elbows. He held out his hands. Each held a
number of steel bullets. Then he fell. He lay where he fell, not
moving.
“You didn’t have to make him do that,” said Lesperance.
“Didn’t I? It’s too early to tell.” Travis nudged the still body.
“He’ll live. Next time he won’t go hunting game like this. Okay.”
He jerked his thumb wearily at Lesperance. “Switch on. Let’s go
home.”
1492. 1776. 1812.
They cleaned their hands and faces. They changed their
caking shirts and pants. Eckels was up and around again, not
speaking. Travis glared at him for a full ten minutes.
“Don’t look at me,” cried Eckels. “I haven’t done anything.”
“Who can tell?”
“Just ran off the Path, that’s all, a little mud on my shoes—
what do you want me to do—get down and pray?”
“We might need it. I’m warning you, Eckels, I might kill
you yet. I’ve got my gun ready.”
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410
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234 Collection 8: Evaluating StylePart 1
Pause at line 388. What doesTravis want Eckels to do aspunishment?
primeval (pr¢·m#!v¥l) adj.:primitive; of the earliesttimes.
NotesNotes
“I’m innocent. I’ve done nothing!”
1999. 2000. 2055.
The Machine stopped.
“Get out,” said Travis.
The room was there as they had left it. But not the same as
they had left it. The same man sat behind the same desk. But the
same man did not quite sit behind the same desk.
Travis looked around swiftly. “Everything okay here?” he
snapped.
“Fine. Welcome home!”
Travis did not relax. He seemed to be looking at the very
atoms of the air itself, at the way the sun poured through the
one high window.
“Okay, Eckels, get out. Don’t ever come back.”
Eckels could not move.
“You heard me,” said Travis. “What’re you staring at?”
Eckels stood smelling of the air, and there was a thing to
the air, a chemical taint so subtle, so slight, that only a faint cry
of his subliminal senses warned him it was there. The colors,
white, gray, blue, orange, in the wall, in the furniture, in the sky
beyond the window, were . . . were . . . And there was a feel. His
flesh twitched. His hands twitched. He stood drinking the odd-
ness with the pores of his body. Somewhere, someone must have
been screaming one of those whistles that only a dog can hear.
His body screamed silence in return. Beyond this room, beyond
this wall, beyond this man who was not quite the same man
seated at this desk that was not quite the same desk . . . lay an
entire world of streets and people. What sort of world it was
now, there was no telling. He could feel them moving there,
beyond the walls, almost, like so many chess pieces blown in a
dry wind. . . .
But the immediate thing was the sign painted on the office
wall, the same sign he had read earlier today on first entering.
Somehow, the sign had changed:
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A Sound of Thunder 235
Pause at line 415. Do youthink that Eckels will findthat he has “done nothing”when he gets back to thefuture?
Underline clues in lines 416-418 that indicate thatEckels’s actions have had aneffect on life in his present.
subliminal (sub·lim!¥·n¥l)adj.: below the level of awareness.
Circle the sensory images inlines 428-442 that describeEckels’s feeling that some-thing is not right. Why doeshe compare people to chesspieces?
Eckels felt himself fall into a chair. He fumbled crazily at
the thick slime on his boots. He held up a clod of dirt, trem-
bling, “No, it can’t be. Not a little thing like that. No!”
Embedded in the mud, glistening green and gold and black,
was a butterfly, very beautiful and very dead.
“Not a little thing like that! Not a butterfly!” cried Eckels.
It fell to the floor, an exquisite thing, a small thing that
could upset balances and knock down a line of small dominoes
and then big dominoes and then gigantic dominoes, all down
the years across Time. Eckels’s mind whirled. It couldn’t change
things. Killing one butterfly couldn’t be that important! Could it?
His face was cold. His mouth trembled, asking: “Who—
who won the presidential election yesterday?”
The man behind the desk laughed. “You joking? You know
very well. Deutscher, of course! Who else? Not that fool weakling
Keith. We got an iron man now, a man with guts!” The official
stopped. “What’s wrong?”
Eckels moaned. He dropped to his knees. He scrabbled at
the golden butterfly with shaking fingers. “Can’t we,” he pleaded
to the world, to himself, to the officials, to the Machine, “can’t
we take it back, can’t we make it alive again? Can’t we start over?
Can’t we—”
He did not move. Eyes shut, he waited, shivering. He heard
Travis breathe loud in the room; he heard Travis shift his rifle,
click the safety catch, and raise the weapon.
There was a sound of thunder.
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Compare this sign with theone at the beginning of thestory. How are they the sameor different?
Pause at line 462. What wasthe main effect of Eckels’skilling of the butterfly?
What is the “sound of thun-der” in line 471?
Tyme Sefari, Inc.Sefaris tu any yeer en the past.
Yu naim the animall.Wee taekyuthair.
Yu shoot itt.
Peter Bollinger.
A Sound of Thunder 237
A Sound of ThunderStyle Chart Ray Bradbury uses language to re-create a lush prehistoric setting.We see and feel the vast jungle and its huge inhabitant, the Tyrannosaurus rex.The boxed passages below contain some of Bradbury’s stylistic devices:
• figures of speech—metaphors, similes, personification• imagery—words that appeal to sight, hearing, taste, touch, smell
Underline figures of speech, circle the images, and draw boxes around examplesof repetition. Then, in the space provided, describe the writer’s style and themood of the story.
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“The jungle was high and the jungle was
broad and the jungle was the entire
world forever and forever. Sounds like
music and sounds like flying tents filled
the sky, and those were pterodactyls,
soaring with cavernous gray wings,
gigantic bats of delirium and night fever.”
Describe the Story’s Mood
Describe Bradbury’s Style
Passage One Passage Two
“The Tyrant Lizard raised itself. Its
armored flesh glittered like a thousand
green coins. The coins, crusted with
slime, steamed. In the slime, tiny insects
wriggled, so that the entire body
seemed to twitch and undulate, even
while the monster itself did not move.
It exhaled. The stink of raw flesh blew
down the wilderness.”
Complete the sample test item below. Then, check your answer, and read the explanation that appears in the right-hand box.
A Sound of Thunder
Skills ReviewSkills Review
238 Collection 8: Evaluating StylePart 1
Explanation of the Correct Answer
The correct answer is A.
The word except tells you that the cor-rect answer is the one that does not fit.The story does not include any charac-ters who speak in a regional dialect. B and C are not correct because wordchoice and sentence length are ele-ments of style. D is wrong because thisstory is full of figurative language,another component of style.
Sample Test Item
In “A Sound of Thunder,” Bradbury’sstyle is created by all the following elements except—
A regional dialect
B diction, or word choice
C sentence length and pattern
D figurative language
3. Overall, Bradbury's style can best bedescribed as —
A humorous
B matter-of-fact
C sparse
D richly descriptive
4. Which of the following words bestdescribes the mood of “A Sound ofThunder”?
F relaxed
G quiet
H terrifying
J evil
1. Which passage from the story con-tains a figure of speech?
A “Stay on the Path.”
B “They were ready to leave theMachine.”
C “That'd be a paradox.”
D “Each lower leg was a piston . . .”
2. In this story, Bradbury's diction, orword choice, can best be described as —
F flat
G vivid
H everyday
J technical
DIRECTIONS: Circle the letter of each correct answer.
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Literary SkillsAnalyze
elements ofstyle, including
figurativelanguage and
mood.
A Sound of Thunder 239
Skills ReviewSkills Review
A Sound of Thunder
annihilate
expendable
depression
paradox
delirium
resilient
remit
revoke
primeval
subliminal
Word BoxWord Box I have been wanting to go to the (1) forest,
the oldest place open to time travelers. I have money to pay the hefty fee,
though the world is in an economic (2) . Besides,
Historic Travels, Inc., will (3) my fee if the authori-
ties (4) the company's license and cancel the trip.
The Time Traveler packed light, bringing nothing that was not
(5) and could be left behind if something went
wrong. But nothing could go wrong, could it?
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VocabularySkillsUse prefixes todefine words.Use words incontext.
DIRECTIONS: Read each sentence carefully. Then, write the definition ofeach boldface word on the line below. Refer to the chart above for help.
Prefixes
3. The dinosaur seemed immortal, like aterrifying pagan god.
4. After their adventure, the travelershad no desire to revisit the past.
1. Eckels took an extraordinary journeyinto the past.
2. To keep the world unchanged, theywere ordered to stay on the Path.
in-, im-, or un-, meaning “not”ex-, meaning “out”extra-, meaning “outside; beyond”
re-, meaning “back; again”sub-, meaning “below”pre-, meaning “came before”
Prefixes and Meanings
Vocabulary in ContextDIRECTIONS: Complete the paragraph below by writing a word from the word box to fiteach numbered blank. Not all words from the box will be used.
112 The Holt Reader: Teacher’s Manual
A S
ound
of
Thun
der
2
21
ann
ihila
te(¥
·n¢!¥
·l†t"
)v.
:des
tro
y; w
ipe
ou
t.
Ifw
e co
ntin
ue to
des
troy
the
regi
on's
fore
sts,
we
may
als
o an
nihi
late
the
wild
life
that
live
s th
ere.
exp
end
able
(ek·
spen!d
¥·b
¥l)
adj.:
wo
rth
sac
ri-
fici
ng
to
gai
n a
n o
bje
ctiv
e.
The
offi
cers
reg
rett
ed th
e lo
ss b
ut c
onsi
dere
d th
egr
ound
tro
ops
expe
ndab
le.
dep
ress
ion
(d#·
pre
sh!¥
n)
n.:
maj
or
eco
no
mic
do
wn
turn
. (D
epre
ssio
nal
so m
ean
s “s
adn
ess.
”)
A d
epre
ssio
nhi
t the
cou
ntry
,res
ulti
ng in
wid
e-sp
read
une
mpl
oym
ent a
nd h
omel
essn
ess.
par
ado
x(p
ar!¥
·däk
s")
n.:
som
eth
ing
th
at h
as o
rse
ems
to h
ave
con
trad
icto
ry q
ual
itie
s.
The
par
adox
is th
at s
omet
imes
we
are
lone
liest
whe
n w
e ar
e in
a c
row
d of
peop
le.
del
iriu
m(d
i·lir!#
·¥m
)n
.:ex
trem
e m
enta
l dis
tur-
ban
ce, o
ften
acc
om
pan
ied
by
hal
luci
nat
ion
s(s
eein
g t
hin
gs
that
are
no
t th
ere)
.
In h
is d
elir
ium
,he
imag
ined
he
was
see
ing
gian
t ins
ects
.
resi
lien
t(r
i·zil!
y¥n
t)ad
j.:ab
le t
o r
etu
rn t
o it
so
rig
inal
sh
ape
qu
ickl
y af
ter
bei
ng
str
etch
ed o
rco
mp
ress
ed; e
last
ic.
Thi
s re
sili
ent
fabr
ic s
prin
gs b
ack
to it
s or
igin
alsh
ape
no m
atte
r ho
w y
ou s
tret
ch it
.
rem
it(r
i·mit!)
v.:r
etu
rn p
aym
ent.
The
com
pany
will
rem
it,o
r re
turn
,ful
l pay
men
tif
the
cons
umer
s ar
e no
t sat
isfie
d.
revo
ke(r
i·v£
k!)
v.:c
ance
l; w
ith
dra
w.
The
y ca
n re
voke
your
clu
b m
embe
rshi
p if
you
fail
to a
tten
d m
eeti
ngs.
pri
mev
al(p
r¢·m#!
v¥l)
adj.:
pri
mit
ive;
of
the
earl
iest
tim
es.
In th
e pr
ehis
tori
c w
orld
,gia
nt li
zard
s cr
ashe
dth
roug
h th
e pr
imev
alfo
rest
.
sub
limin
al(s
ub
·lim!¥
·n¥l
)ad
j.:b
elo
w t
he
leve
l of
awar
enes
s.
Una
war
e of
the
mov
ie’s
subl
imin
alm
essa
ge to
buy
food
,the
aud
ienc
e flo
cked
to b
uy s
nack
s.
PREV
IEW
SEL
ECTI
ON V
OCAB
ULAR
YTh
e fo
llow
ing
wo
rds
app
ear
in t
he
sto
ry y
ou
are
ab
ou
t to
rea
d. Y
ou
may
wan
tto
bec
om
e fa
mili
ar w
ith
th
em b
efo
re y
ou
beg
in r
ead
ing
.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
PREF
IXES
AND
WOR
D RO
OTS
A p
refi
xis
a w
ord
par
t th
at c
om
es b
efo
re a
wo
rd r
oo
t an
d a
ffec
ts it
s m
ean
ing
.A
kn
ow
led
ge
of
pre
fixe
s ca
n h
elp
yo
u f
igu
re o
ut
the
mea
nin
gs
of
un
fam
iliar
wo
rds.
It c
an a
lso
hel
p y
ou
use
an
d u
nd
erst
and
a w
ider
var
iety
of
wo
rds.
Th
ew
ord
rem
it,f
or
exam
ple
, co
nta
ins
the
pre
fix
re-
,wh
ich
mea
ns
“bac
k.”
It a
lso
con
tain
s th
e w
ord
ro
ot
mit
,wh
ich
mea
ns
“sen
d.”
Wh
en y
ou
rem
itso
met
hin
g,
you
sen
d it
bac
k.
Wh
en y
ou
co
me
acro
ss a
n u
nfa
mili
ar w
ord
, lo
ok
for
a p
refi
x o
r w
ord
ro
ot
you
reco
gn
ize
to h
elp
yo
u f
igu
re o
ut
the
wo
rd’s
mea
nin
g.
220
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Imag
ine
bei
ng
ab
le t
o t
rave
l bac
k in
tim
e. M
any
wri
ters
hav
e ex
plo
red
th
isid
ea in
sci
ence
fic
tion
sto
ries
and
mov
ies.
You
are
abo
ut t
o re
ad o
ne o
f th
em
ost
popu
lar_
and
thou
ght-
prov
okin
g_st
orie
s ab
out
tim
e tr
avel
eve
r w
ritt
en.
LITE
RARY
FOC
US:
STYL
E AN
D M
OOD
A w
rite
r’s
dic
tio
n, o
r w
ord
ch
oic
e, g
reat
ly d
efin
es a
wo
rk’s
sty
le.S
tyle
is a
lso
det
erm
ined
by
sen
ten
ce le
ng
th a
nd
co
mp
lexi
ty. A
sto
ry t
hat
is w
ritt
en in
bri
ef s
imp
le s
ente
nce
s, f
or
exam
ple
, is
dif
fere
nt
in s
tyle
fro
m a
sto
ry w
ritt
enin
lon
g c
om
ple
x se
nte
nce
s. S
ee b
elo
w:
The
use
(o
r n
on
-use
) o
f im
ager
y an
d f
igu
rati
ve la
ng
uag
e al
so h
as a
n e
ffec
to
n s
tyle
. In
th
e st
ory
yo
u’r
e ab
ou
t to
rea
d, R
ay B
rad
bu
ry u
ses
vivi
d im
ager
yan
d f
igu
rati
ve la
ng
uag
e to
cre
ate
a st
yle
that
is a
s lu
sh a
s it
s p
reh
isto
ric
set-
tin
g. M
oo
d,l
ike
styl
e, is
als
o c
reat
ed b
y d
icti
on
, sen
ten
ce le
ng
th, i
mag
ery,
and
fig
ura
tive
lan
gu
age.
A s
tory
’s m
oo
d, o
r at
mo
sph
ere,
can
be
des
crib
edu
sin
g a
dje
ctiv
es li
ke s
cary
, cal
m, a
nd
mys
teri
ou
s.
•A
s yo
u r
ead
“A
So
un
d o
f Th
un
der
,” n
oti
ce h
ow
Bra
db
ury
's c
ho
ice
of
wo
rds,
imag
ery,
an
d f
igu
rati
ve la
ng
uag
e cr
eate
s a
un
iqu
e st
yle.
•A
s B
rad
bu
ry d
escr
ibes
th
e an
cien
t ju
ng
le, t
hin
k ab
ou
t th
e w
ord
s yo
u’d
use
to
des
crib
e th
e st
ory
’s m
oo
d.
READ
ING
SKIL
LS:
CAUS
E AN
D EF
FECT
The
even
ts in
a s
tory
are
co
nn
ecte
d b
y a
chai
n o
f ca
use
s an
d e
ffec
ts.O
ne
even
t ca
use
s an
oth
er, w
hic
h c
ause
s an
oth
er, a
nd
so
on
. A c
ause
is t
he
reas
on
so
met
hin
g h
app
ens.
An
eff
ect
is t
he
resu
lt. C
erta
in w
ord
s_lik
eb
ecau
se, c
on
seq
uen
tly,
fo
r, so
, sin
ce,a
nd
th
eref
ore_
can
ale
rt y
ou
to
cau
se-
and
-eff
ect
rela
tio
nsh
ips.
As
you
rea
d “
A S
ou
nd
of
Thu
nd
er,”
loo
k fo
r ca
use
s an
d e
ffec
ts. T
her
ear
e p
len
ty t
o f
ind
. In
fac
t, t
he
wh
ole
sto
ry is
ab
ou
t h
ow
on
e ev
ent
cau
ses
ano
ther_
and
an
oth
er, a
nd
an
oth
er, a
nd
. . .
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A So
und
of T
hund
er by
Ray
Bra
dbur
y
Lit
erar
y Skills
Und
erst
and
elem
ents
of
styl
e, in
clud
ing
figu
rati
vela
ngua
ge a
ndm
ood.
Rea
din
gSkills
Und
erst
and
caus
e-an
d-ef
fect
rela
tion
ship
s.
Voca
bula
rySkills
Und
erst
and
Gre
ek a
nd L
atin
pref
ixes
and
wor
d ro
ots.
Sty
le:
Mo
re C
om
ple
x
“It
was
Mis
s M
urd
sto
ne
wh
o w
asar
rive
d, a
nd
a g
loo
my-
loo
kin
g la
dy
she
was
: dar
k, li
ke h
er b
roth
er,
wh
om
sh
e g
reat
ly r
esem
ble
d in
face
and
vo
ice
. . .”
(fr
om
Dav
idC
op
per
fiel
d, b
y C
har
les
Dic
ken
s)
Sty
le:
Sim
ple
The
sun
ro
se. T
he
air
was
war
m,
my
coff
ee w
as h
ot.
No
thin
gst
irre
d. N
oth
ing
bre
ath
ed e
xcep
tfo
r th
e liz
ard
. Th
at li
zard
co
uld
ou
tsta
re a
ro
ck.
Collection 8Student pages 220–221
Student Pages with Answers 113
Ecke
ls g
lanc
ed a
cros
s th
e va
st o
ffic
e at
a m
ass
and
tang
le,
a sn
akin
g an
d hu
mm
ing
ofw
ires
and
ste
el b
oxes
,at a
n au
rora
1
that
flic
kere
d no
w o
rang
e,no
w s
ilver
,now
blu
e.T
here
was
a so
und
like
a gi
gant
ic b
onfir
e bu
rnin
g al
l of
Tim
e,al
l the
yea
rs
and
all t
he p
arch
men
t cal
enda
rs,a
ll th
e ho
urs
pile
d hi
gh a
nd s
et
afla
me. A to
uch
ofth
e ha
nd a
nd th
is b
urni
ng w
ould
,on
the
inst
ant,
beau
tifu
lly r
ever
se it
self.
Ecke
ls r
emem
bere
d th
e w
ord-
ing
in th
e ad
vert
isem
ents
to th
e le
tter
.Out
of
char
s an
d as
hes,
out o
fdu
st a
nd c
oals
,lik
e go
lden
sal
aman
ders
,the
old
yea
rs,t
he
gree
n ye
ars,
mig
ht le
ap;r
oses
sw
eete
n th
e ai
r,w
hite
hai
r tu
rn
Iris
h-bl
ack,
wri
nkle
s va
nish
;all,
ever
ythi
ng fl
y ba
ck to
see
d,fle
e
deat
h,ru
sh d
own
to th
eir
begi
nnin
gs,s
uns
rise
in w
este
rn s
kies
and
set i
n gl
orio
us e
asts
,moo
ns e
at th
emse
lves
opp
osit
e to
the
cust
om,a
ll an
d ev
eryt
hing
cup
ping
one
in a
noth
er li
ke C
hine
se
boxe
s2 ,ra
bbit
s in
to h
ats,
all a
nd e
very
thin
g re
turn
ing
to th
e
fres
h de
ath,
the
seed
dea
th,t
he g
reen
dea
th,t
o th
e ti
me
befo
re
the
begi
nnin
g.A
touc
h of
a ha
nd m
ight
do
it,t
he m
eres
t tou
ch
ofa
hand
.
“Unb
elie
vabl
e.”Ec
kels
bre
athe
d,th
e lig
ht o
fth
e M
achi
ne
on h
is th
in fa
ce.“
A r
eal T
ime
Mac
hine
.”H
e sh
ook
his
head
.
“Mak
es y
ou th
ink.
Ifth
e el
ecti
on h
ad g
one
badl
y ye
ster
day,
I
mig
ht b
e he
re n
ow r
unni
ng a
way
from
the
resu
lts.T
hank
God
Kei
th w
on.H
e’ll
mak
e a
fine
Pres
iden
t of
the
Uni
ted
Stat
es.”
“Yes
,”sa
id th
e m
an b
ehin
d th
e de
sk.“
We’
re lu
cky.
If
Deu
tsch
er h
ad g
otte
n in
,we’
d ha
ve th
e w
orst
kin
d of
dict
ator
-
ship
.The
re’s
an a
nti-
ever
ythi
ng m
an fo
r yo
u,a
mili
tari
st,a
nti-
Chr
ist,
anti
-hum
an,a
nti-
inte
llect
ual.
Peop
le c
alle
d us
up,
you
know
,jok
ing
but n
ot jo
king
.Sai
d if
Deu
tsch
er b
ecam
e Pr
esid
ent
they
wan
ted
to g
o liv
e in
149
2.O
fco
urse
it’s
not o
ur b
usin
ess
to
cond
uct E
scap
es,b
ut to
form
Saf
aris
.Any
way
,Kei
th’s
Pres
iden
t
now
.All
you
got t
o w
orry
abo
ut is—
”
20 30 40
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A S
ound
of
Thun
der
223
Pau
se a
t lin
e 43
. Wh
o w
ere
the
two
can
did
ates
fo
r p
resi
-d
ent
of
the
Un
ited
Sta
tes?
Cir
cle
thei
r n
ames
. Wh
ich
on
e w
on
th
e el
ecti
on
?
Re-
read
lin
es 1
7-35
, an
d
un
der
line
exam
ple
s o
f fi
gu
rati
ve la
ng
uag
e(s
imile
,m
etap
ho
r, p
erso
nif
icat
ion
).
An
ti-
is a
pre
fix
mea
nin
g“a
gai
nst
.” A
cco
rdin
g t
o t
he
des
crip
tio
n o
f D
euts
cher
inlin
es 4
3-44
, wh
at is
he
“ag
ain
st”?
1.au
rora
(ô·r
ôr!
¥) n
.:B
rad
bu
ry is
co
mp
arin
g t
he
glo
w c
om
ing
fro
m t
he
tim
e m
ach
ine
to a
n a
uro
ra, a
co
lorf
ul d
isp
lay
of
ligh
t th
at a
pp
ears
at
nig
ht
in t
he
skie
s n
ear
the
No
rth
an
d S
ou
th P
ole
s.2.
Ch
ines
e b
oxe
s:se
t o
f b
oxe
s, e
ach
of
wh
ich
fit
s in
to t
he
nex
t-la
rges
to
ne.
Kei
th
He
seem
s to
be
agai
nst
ever
yth
ing
bu
t th
e m
il-
itar
y.
The
sig
n on
the
wal
l see
med
to q
uave
r un
der
a fil
m o
fsl
idin
g
war
m w
ater
.Eck
els
felt
his
eyel
ids
blin
k ov
er h
is s
tare
,and
the
sign
bur
ned
in th
is m
omen
tary
dar
knes
s:
TIM
ESA
FAR
I,IN
C.S
AFA
RIS
TO
AN
YY
EAR
INT
HE
PAST
.
YO
UN
AM
ET
HE
AN
IMA
L.W
ETA
KE
YOU
TH
ERE.
YO
USH
OO
TIT
.
A w
arm
phl
egm
gat
here
d in
Eck
els’s
thro
at;h
e sw
allo
wed
and
push
ed it
dow
n.T
he m
uscl
es a
roun
d hi
s m
outh
form
ed a
sm
ile a
s
he p
ut h
is h
and
slow
ly o
ut u
pon
the
air,
and
in th
at h
and
wav
ed a
chec
k fo
r te
n th
ousa
nd d
olla
rs to
the
man
beh
ind
the
desk
.
“Doe
s th
is s
afar
i gua
rant
ee I
com
e ba
ck a
live?
”
“We
guar
ante
e no
thin
g,”
said
the
offic
ial,
“exc
ept t
he
dino
saur
s.”H
e tu
rned
.“T
his
is M
r.Tr
avis
,you
r Sa
fari
Gui
de in
the
Past
.He’
ll te
ll yo
u w
hat
and
whe
re to
sho
ot.I
fhe
say
s no
shoo
ting
,no
shoo
ting
.If
you
diso
bey
inst
ruct
ions
,the
re’s
a st
iff
pena
lty
ofan
othe
r te
n th
ousa
nd d
olla
rs,p
lus
poss
ible
gov
ern-
men
t act
ion,
on y
our
retu
rn.”
10
Copyright © by Holt,Rinehart and Winston.All rights reserved.
222
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Pau
se a
t lin
e 16
. Wh
y d
o y
ou
thin
k th
ere
is s
uch
a s
tiff
pen
alty
fo
r d
iso
bey
ing
inst
ruct
ion
s?
Pau
se a
fter
yo
u r
ead
th
e si
gn
(lin
es 4-
5). U
nd
erlin
e th
ein
form
atio
n t
hat
see
ms
un
usu
al. B
ased
on
th
is in
for-
mat
ion
, wh
en d
o y
ou
th
ink
the
sto
ry t
akes
pla
ce?
“A S
ou
nd
of
Thu
nd
er”
by
Ray
Bra
db
ury
. Co
pyr
igh
t ©
195
2 b
y th
e C
row
ell-
Co
llier
Pu
blis
hin
g C
o.;
cop
yrig
ht
ren
ewed
© 1
980
by
Ray
Bra
db
ury
. Rep
rin
ted
by
per
mis
sio
n o
f D
on
Co
ng
do
n A
sso
ciat
es, I
nc.
Peter Bollinger.
A S
ound
of
Thun
der
Ray
Bra
db
ury
It t
akes
pla
ce s
om
e-
tim
e in
th
e fu
ture
.
Poss
ible
res
po
nse
:
Tim
e tr
avel
is d
ang
er-
ou
s, a
nd
har
m c
ou
ld
resu
lt f
rom
no
t fo
llow
-
ing
th
e ru
les.
Collection 8Student pages 222–223
114 The Holt Reader: Teacher’s Manual
The
Mac
hine
how
led.
Tim
e w
as a
film
run
bac
kwar
d.Su
ns
fled
and
ten
mill
ion
moo
ns fl
ed a
fter
them
.“T
hink
,”sa
id E
ckel
s.
“Eve
ry h
unte
r th
at e
ver
lived
wou
ld e
nvy
us to
day.
Thi
s m
akes
Afr
ica
seem
like
Illi
nois
.”
The
Mac
hine
slo
wed
;its
scr
eam
fell
to a
mur
mur
.The
Mac
hine
sto
pped
.
The
sun
sto
pped
in th
e sk
y.
The
fog
that
had
env
elop
ed th
e M
achi
ne b
lew
aw
ay a
nd
they
wer
e in
an
old
tim
e,a
very
old
tim
e in
deed
,thr
ee h
unte
rs
and
two
Safa
ri H
eads
wit
h th
eir
blue
met
al g
uns
acro
ss th
eir
knee
s. “Chr
ist i
sn’t
born
yet
,”sa
id T
ravi
s.“M
oses
has
not
gon
e to
the
mou
ntai
n to
talk
wit
h G
od.T
he P
yram
ids
are
still
in th
e
eart
h,w
aiti
ng to
be
cut o
ut a
nd p
ut u
p.R
emem
ber
that
.
Ale
xand
er,C
aesa
r,N
apol
eon,
Hit
ler—
none
of
them
exi
sts.”
The
men
nod
ded.
“Tha
t”—
Mr.
Trav
is p
oint
ed—
“is
the
jung
le o
fsi
xty
mil-
lion
two
thou
sand
and
fift
y-fiv
e ye
ars
befo
re P
resi
dent
Kei
th.”
He
indi
cate
d a
met
al p
ath
that
str
uck
off
into
gre
en w
ilder
-
ness
,ove
r st
ream
ing
swam
p,am
ong
gian
t fer
ns a
nd p
alm
s.
“And
that
,”he
sai
d,“i
s th
e Pa
th,l
aid
by T
ime
Safa
ri fo
r
your
use
.It
float
s si
x in
ches
abo
ve t
he e
arth
.Doe
sn’t
touc
h so
muc
h as
one
gra
ss b
lade
,flo
wer
,or
tree
.It’s
an
anti
-gra
vity
met
al.I
ts p
urpo
se is
to k
eep
you
from
touc
hing
this
wor
ld o
fth
e
Past
in a
ny w
ay.S
tay
on th
e Pa
th.D
on’t
go o
ffit
.I r
epea
t.D
on’t
go o
ff.Fo
r an
yre
ason
! If
you
fall
off,
ther
e’s
a pe
nalt
y.A
nd d
on’t
shoo
t any
ani
mal
we
don’
t oka
y.”
“Why
?”as
ked
Ecke
ls.
The
y sa
t in
the
anci
ent w
ilder
ness
.Far
bir
ds’c
ries
ble
w o
n
a w
ind,
and
the
smel
l of
tar
and
an o
ld s
alt s
ea,m
oist
gra
sses
,
and
flow
ers
the
colo
r of
bloo
d.
“We
don’
t wan
t to
chan
ge th
e Fu
ture
.We
don’
t bel
ong
here
in t
he P
ast.
The
gov
ernm
ent
does
n’t l
ike
us h
ere.
We
have
to p
ay
big
graf
t3to
kee
p ou
r fr
anch
ise.
A T
ime
Mac
hine
is fi
nick
y
90 100
110
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A S
ound
of
Thun
der
225
3.g
raft
n.:
bri
bes
.
Un
der
line
the
sen
ten
ce in
lines
103-
107
that
tel
ls y
ou
the
pu
rpo
se o
f “t
he
Path
.”W
hy
do
yo
u t
hin
k th
e te
rm is
cap
ital
ized
?
Re-
read
lin
es 1
11-
113,
wh
ich
are
full
of
imag
ery.
To w
hat
sen
ses
do
th
ese
imag
esap
pea
l?
It is
cap
ital
ized
to
emp
has
ize
its
imp
ort
ance
.
the
sen
ses
of
sig
ht,
smel
l, to
uch
, an
d
hea
rin
g
“Sho
otin
g m
y di
nosa
ur,”
Ecke
ls fi
nish
ed it
for
him
.
“A T
yran
nosa
urus
rex
.The
Tyr
ant L
izar
d,th
e m
ost i
ncre
di-
ble
mon
ster
in h
isto
ry.S
ign
this
rel
ease
.Any
thin
g ha
ppen
s to
you,
we’
re n
ot r
espo
nsib
le.T
hose
din
osau
rs a
re h
ungr
y.”
Ecke
ls fl
ushe
d an
grily
.“Tr
ying
to s
care
me!
”
“Fra
nkly
,yes
.We
don’
t wan
t any
one
goin
g w
ho’ll
pan
ic a
t the
first
sho
t.Si
x Sa
fari
lead
ers
wer
e ki
lled
last
yea
r,an
d a
doze
n
hunt
ers.
We’
re h
ere
to g
ive
you
the
seve
rest
thri
ll a
real
hunt
er e
ver
aske
d fo
r.Tr
avel
ing
you
back
six
ty m
illio
n ye
ars
to b
ag th
e bi
gges
t
gam
e in
all
ofT
ime.
Your
per
sona
l che
ck’s
still
ther
e.Te
ar it
up.
”
Mr.
Ecke
ls lo
oked
at t
he c
heck
.His
fing
ers
twit
ched
.
“Goo
d lu
ck,”
said
the
man
beh
ind
the
desk
.“M
r.Tr
avis
,he’
s
all y
ours
.”
The
y m
oved
sile
ntly
acr
oss
the
room
,tak
ing
thei
r gu
ns
wit
h th
em,t
owar
d th
e M
achi
ne,t
owar
d th
e si
lver
met
al a
nd th
e
roar
ing
light
.
Firs
t a d
ay a
nd th
en a
nig
ht a
nd th
en a
day
and
then
a n
ight
,
then
it w
as d
ay-n
ight
-day
-nig
ht-d
ay.A
wee
k,a
mon
th,a
yea
r,a
deca
de! A
.D.2
055.
A.D
.201
9.19
99! 1
957!
Gon
e! T
he M
achi
ne
roar
ed.
The
y pu
t on
thei
r ox
ygen
hel
met
s an
d te
sted
the
inte
rcom
s.
Ecke
ls s
way
ed o
n th
e pa
dded
sea
t,hi
s fa
ce p
ale,
his
jaw
sti
ff.
He
felt
the
trem
blin
g in
his
arm
s,an
d he
look
ed d
own
and
foun
d hi
s ha
nds
tigh
t on
the
new
rifl
e.T
here
wer
e fo
ur o
ther
men
in th
e M
achi
ne.T
ravi
s,th
e Sa
fari
Lea
der;
his
assi
stan
t,
Lesp
eran
ce;a
nd tw
o ot
her
hunt
ers,
Bill
ings
and
Kra
mer
.The
y
sat l
ooki
ng a
t eac
h ot
her,
and
the
year
s bl
azed
aro
und
them
.
“Can
thes
e gu
ns g
et a
din
osau
r co
ld?”
Ecke
ls fe
lt hi
s m
outh
sayi
ng. “If
you
hit t
hem
rig
ht,”
said
Tra
vis
on th
e he
lmet
rad
io.
“Som
e di
nosa
urs
have
two
brai
ns,o
ne in
the
head
,ano
ther
far
dow
n th
e sp
inal
col
umn.
We
stay
aw
ay fr
om th
ose.
Tha
t’s
stre
tchi
ng lu
ck.P
ut y
our
first
two
shot
s in
to th
e ey
es,i
fyo
u ca
n,
blin
d th
em,a
nd g
o ba
ck in
to th
e br
ain.
”
50 60 70 80
Copyright © by Holt,Rinehart and Winston.All rights reserved.
224
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Re-
read
lin
es 5
4-58
. Wh
at d
oth
ese
det
ails
su
gg
est
abo
ut
Tim
e Sa
fari
, In
c.?
Cir
cle
the
wo
rds
in li
nes
76-
77 t
hat
mea
n “
Ecke
lssa
id.”
Wh
at d
oes
th
is p
hra
sere
veal
ab
ou
t Ec
kels
?
Pau
se a
t lin
e 52
. Wh
at a
ni-
mal
is E
ckel
s h
un
tin
g?
Cir
cle
the
answ
er.
Ecke
ls is
ner
vou
s an
d
feel
s d
isco
nn
ecte
d
fro
m w
hat
he
is
sayi
ng
.
It c
on
du
cts
very
dan
-
ger
ou
s tr
ips.
Collection 8Student pages 224–225
Student Pages with Answers 115
you
crus
h th
e Py
ram
ids.
Step
on
a m
ouse
and
you
leav
e yo
ur
prin
t,lik
e a
Gra
nd C
anyo
n,ac
ross
Ete
rnit
y.Q
ueen
Eliz
abet
h
mig
ht n
ever
be
born
,Was
hing
ton
mig
ht n
ot c
ross
the
Del
awar
e,
ther
e m
ight
nev
er b
e a
Uni
ted
Stat
es a
t all.
So b
e ca
refu
l.St
ay o
n
the
Path
.Nev
erst
ep o
ff!”
“I s
ee,”
said
Eck
els.
“The
n it
wou
ldn’
t pay
for
us e
ven
to
touc
h th
e gr
ass?
”
“Cor
rect
.Cru
shin
g ce
rtai
n pl
ants
cou
ld a
dd u
p in
finit
esi-
mal
ly.5
A li
ttle
err
or h
ere
wou
ld m
ulti
ply
in s
ixty
mill
ion
year
s,
all o
ut o
fpr
opor
tion
.Of
cour
se m
aybe
our
theo
ry is
wro
ng.
May
be T
ime
can’
t be
chan
ged
by u
s.O
r m
aybe
it c
an b
e ch
ange
d
only
in li
ttle
sub
tle w
ays.
A d
ead
mou
se h
ere
mak
es a
n in
sect
imba
lanc
e th
ere,
a po
pula
tion
dis
prop
orti
on la
ter,
a ba
d ha
rves
t
furt
her
on,a
dep
ress
ion,
mas
s st
arva
tion
,and
,fin
ally
,a c
hang
e
in s
ocia
ltem
pera
men
t in
far-
flung
cou
ntri
es.S
omet
hing
muc
h
mor
e su
btle
,lik
e th
at.P
erha
ps o
nly
a so
ft b
reat
h,a
whi
sper
,a
hair
,pol
len
on th
e ai
r,su
ch a
slig
ht,s
light
cha
nge
that
unl
ess
you
look
ed c
lose
you
wou
ldn’
t see
it.W
ho k
now
s? W
ho r
eally
can
say
he k
now
s? W
e do
n’t k
now
.We’
re g
uess
ing.
But
unt
il w
e
do k
now
for
cert
ain
whe
ther
our
mes
sing
aro
und
in T
ime
can
mak
e a
big
roar
or
a lit
tle r
ustle
in h
isto
ry,w
e’re
bei
ng c
aref
ul.
160
170
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A S
ound
of
Thun
der
227
Notes
Notes
dep
ress
ion
(d#·
pre$!¥
n)
n.:
maj
or
eco
no
mic
do
wn
turn
.
Wh
at d
oes
Tra
vis
mea
n w
hen
he
says
he’
s n
ot
sure
wh
eth
er“m
essi
ng
aro
un
d in
Tim
e ca
nm
ake
a b
ig r
oar
or
a lit
tle
rust
le in
his
tory
” (l
ines
16
9-17
1)?
5.in
fin
ites
imal
ly(i
n"f
in·i·
tes!
i·m¥l
·#)
adv.
:in
am
ou
nts
to
o s
mal
l to
be
mea
sure
d.
Peter Bollinger.
He
wo
nd
ers
wh
eth
er
chan
gin
g s
om
eth
ing
in
the
pas
t w
ill c
reat
e a
big
ch
ang
e, a
litt
le
chan
ge,
or
any
chan
ge
in t
he
futu
re.
busi
ness
.Not
kno
win
g it
,we
mig
ht k
ill a
n im
port
ant a
nim
al,a
smal
l bir
d,a
roac
h,a
flow
er e
ven,
thus
des
troy
ing
an im
port
ant
link
in a
gro
win
g sp
ecie
s.”
“Tha
t’s n
ot c
lear
,”sa
id E
ckel
s.
“All
righ
t,”Tr
avis
con
tinu
ed,“
say
we
acci
dent
ally
kill
one
mou
se h
ere.
Tha
t mea
ns a
ll th
e fu
ture
fam
ilies
of
this
one
par
-
ticu
lar
mou
se a
re d
estr
oyed
,rig
ht?”
“Rig
ht.”
“And
all
the
fam
ilies
of
the
fam
ilies
of
the
fam
ilies
of
that
one
mou
se! W
ith
a st
amp
ofyo
ur fo
ot,y
ou a
nnih
ilate
first
one
,
then
a d
ozen
,the
n a
thou
sand
,a m
illio
n,a
billi
onpo
ssib
le
mic
e!” “S
o th
ey’r
e de
ad,”
said
Eck
els.
“So
wha
t?”
“So
wha
t?”
Trav
is s
nort
ed q
uiet
ly.“
Wel
l,w
hat a
bout
the
foxe
s th
at’ll
nee
d th
ose
mic
e to
sur
vive
? Fo
r w
ant o
fte
n m
ice,
a
fox
dies
.For
wan
t of
ten
foxe
s,a
lion
star
ves.
For
wan
t of
a lio
n,
all m
anne
r of
inse
cts,
vultu
res,
infin
ite b
illio
ns o
flif
e fo
rms
are
thro
wn
into
cha
os a
nd d
estr
ucti
on.E
vent
ually
it a
ll bo
ils d
own
to
this
:Fift
y-ni
ne m
illio
n ye
ars
late
r,a
cave
man
,one
of
a do
zen
in
the
enti
re w
orld
,goe
s hu
ntin
g w
ild b
oar
or s
aber
-too
thed
tige
r
for
food
.But
you
,fri
end,
have
step
ped
on a
ll th
e ti
gers
in th
at
regi
on.B
y st
eppi
ng o
n on
esi
ngle
mou
se.S
o th
e ca
ve m
an s
tarv
es.
And
the
cave
man
,ple
ase
note
,is
not j
ust a
nyex
pend
able
man
,
no! H
e is
an
enti
re fu
ture
nat
ion.
From
his
loin
s w
ould
hav
e
spru
ng te
n so
ns.F
rom
thei
rlo
ins
one
hund
red
sons
,and
thus
onw
ard
to a
civ
iliza
tion
.Des
troy
this
one
man
,and
you
des
troy
a
race
,a p
eopl
e,an
ent
ire
hist
ory
oflif
e.It
is c
ompa
rabl
e to
sla
ying
som
e of
Ada
m’s
gran
dchi
ldre
n.T
he s
tom
p of
your
foot
,on
one
mou
se,c
ould
sta
rt a
n ea
rthq
uake
,the
eff
ects
of
whi
ch c
ould
shak
e ou
r ea
rth
and
dest
inie
s do
wn
thro
ugh
Tim
e,to
thei
r ve
ry
foun
dati
ons.
Wit
h th
e de
ath
ofth
at o
ne c
ave
man
,a b
illio
n ot
h-
ers
yet u
nbor
n ar
e th
rott
led
in th
e w
omb.
Perh
aps
Rom
e ne
ver
rise
s on
its
seve
n hi
lls.P
erha
ps E
urop
e is
fore
ver
a da
rk fo
rest
,
and
only
Asi
a w
axes
hea
lthy
and
teem
ing.
4St
ep o
n a
mou
se a
nd
120
130
140
150
Copyright © by Holt,Rinehart and Winston.All rights reserved.
226
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Notes
Notes
ann
ihila
te(¥
·n¢!¥
·l†t"
) v.
:d
estr
oy;
wip
e o
ut.
exp
end
able
(ek·
spen!d
¥·b
¥l)
adj.:
wo
rth
sac
rifi
cin
g t
o g
ain
an o
bje
ctiv
e.
In t
his
lon
g p
arag
rap
h (
lines
130-
155)
, Tra
vis
exp
lain
s th
ep
oss
ible
eff
ects
of
step
pin
go
ff t
he
pat
h a
nd
kill
ing
am
ou
se. E
ach
eff
ect,
in t
urn
,b
eco
mes
th
e ca
use
of
ano
th-
er e
ven
t. W
hat
is t
he
fin
alef
fect
Tra
vis
men
tio
ns?
4.te
emin
g(t#m!i«
) ad
j.:sw
arm
ing
; ove
rflo
win
g.
Ther
e m
igh
t n
ever
be
a U
nit
ed S
tate
s.
Collection 8Student pages 226–227
116 The Holt Reader: Teacher’s Manual
The
jung
le w
as h
igh
and
the
jung
le w
as b
road
and
the
jun-
gle
was
the
enti
re w
orld
fore
ver
and
fore
ver.
Soun
ds li
ke m
usic
and
soun
ds li
ke fl
ying
tent
s fil
led
the
sky,
and
thos
e w
ere
pter
o-
dact
yls
soar
ing
wit
h ca
vern
ous
gray
win
gs,g
igan
tic
bats
of
delir
ium
and
nigh
t fev
er.E
ckel
s,ba
lanc
ed o
n th
e na
rrow
Pat
h,
aim
ed h
is r
ifle
play
fully
.
“Sto
p th
at!”
said
Tra
vis.
“Don
’t ev
en a
im fo
r fu
n,bl
ast y
ou!
Ifyo
ur g
uns
shou
ld g
o of
f—”
Ecke
ls fl
ushe
d.“W
here
’s ou
r Ty
rann
osau
rus?
”
Lesp
eran
ce c
heck
ed h
is w
rist
wat
ch.“
Up
ahea
d.W
e’ll
bise
ct
his
trai
l in
sixt
y se
cond
s.Lo
ok fo
r th
e re
d pa
int!
Don
’t sh
oot t
ill
we
give
the
wor
d.St
ay o
n th
e Pa
th.S
tay
on th
e Pa
th!”
The
y m
oved
forw
ard
in th
e w
ind
ofm
orni
ng.
“Str
ange
,”m
urm
ured
Eck
els.
“Up
ahea
d,si
xty
mill
ion
year
s,
Elec
tion
Day
ove
r.K
eith
mad
e Pr
esid
ent.
Ever
yone
cel
ebra
ting
.
And
her
e w
e ar
e,a
mill
ion
year
s lo
st,a
nd th
ey d
on’t
exis
t.T
he
thin
gs w
e w
orri
ed a
bout
for
mon
ths,
a lif
etim
e,no
t eve
n bo
rn
or th
ough
t of
yet.”
“Saf
ety
catc
hes
off,
ever
yone
!”or
dere
d Tr
avis
.“Yo
u,fir
st
shot
,Eck
els.
Seco
nd,B
illin
gs.T
hird
,Kra
mer
.”
“I’v
e hu
nted
tige
r,w
ild b
oar,
buff
alo,
elep
hant
,but
now
,
this
is it
,”sa
id E
ckel
s.“I
’m s
haki
ng li
ke a
kid
.”
“Ah,
”sa
id T
ravi
s.
Ever
yone
sto
pped
.
Trav
is r
aise
d hi
s ha
nd.“
Ahe
ad,”
he w
hisp
ered
.“In
the
mis
t.
The
re h
e is
.The
re’s
His
Roy
al M
ajes
ty n
ow.”
The
jung
le w
as w
ide
and
full
oftw
itte
ring
s,ru
stlin
gs,m
ur-
mur
s,an
d si
ghs.
Sudd
enly
it a
ll ce
ased
,as
ifso
meo
ne h
ad s
hut a
doo
r.
Sile
nce.
A s
ound
of
thun
der.
Out
of
the
mis
t,on
e hu
ndre
d ya
rds
away
,cam
e
Tyra
nnos
auru
s re
x.
“It,”
whi
sper
ed E
ckel
s.“I
t...
”
“Sh!
”
210
220
230
240
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A S
ound
of
Thun
der
229
Paus
e at
line
217
. The
gui
des
keep
tel
ling
Ecke
ls, “
Stay
on
the
Path
!” W
hat
do t
heir
war
ning
s le
ad y
ou t
o pr
edic
t?
del
iriu
m(d
i·lir!#
·¥m
)n
.:ex
trem
e m
enta
l dis
turb
ance
,o
ften
acc
om
pan
ied
by
hal
lu-
cin
atio
ns
(see
ing
th
ing
s th
atar
e n
ot
ther
e).
Pau
se a
t lin
e 23
1. W
ho
mm
igh
t Tr
avis
be
refe
rrin
g t
oas
“H
is R
oya
l Maj
esty
”?
Re-
read
lin
es 2
06-
211,
an
dci
rcle
rep
eate
d w
ord
s. T
hen
,u
nd
erlin
e th
e im
agin
ativ
ed
escr
ipti
on
of
pte
rod
acty
ls.
Ho
w w
ou
ld y
ou
des
crib
e th
est
yle
of
the
wri
tin
g h
ere?
The
styl
e is
ric
h a
nd
laye
red
, lik
e an
ove
r-
gro
wn
jun
gle
.
Som
eon
e, p
rob
ably
Ecke
ls, w
ill le
ave
the
pat
h.
a Ty
ran
no
sau
rus
rex
Thi
s M
achi
ne,t
his
Path
,you
r cl
othi
ng a
nd b
odie
s,w
ere
ster
il-
ized
,as
you
know
,bef
ore
the
jour
ney.
We
wea
r th
ese
oxyg
en
helm
ets
so w
e ca
n’t i
ntro
duce
our
bac
teri
a in
to a
n an
cien
t
atm
osph
ere.”
“How
do
we
know
whi
ch a
nim
als
to s
hoot
?”
“The
y’re
mar
ked
wit
h re
d pa
int,”
said
Tra
vis.
“Tod
ay,b
efor
e
our
jour
ney,
we
sent
Les
pera
nce
here
bac
k w
ith
the
Mac
hine
.He
cam
e to
this
par
ticu
lar
era
and
follo
wed
cer
tain
ani
mal
s.”
“Stu
dyin
g th
em?”
“Rig
ht,”
said
Les
pera
nce.
“I t
rack
them
thro
ugh
thei
r en
tire
exis
tenc
e,no
ting
whi
ch o
fth
em li
ves
long
est.
Very
few
.How
man
y ti
mes
they
mat
e.N
ot o
ften
.Life
’s sh
ort.
Whe
n I
find
one
that
’s go
ing
to d
ie w
hen
a tr
ee fa
lls o
n hi
m,o
r on
e th
at d
row
ns
in a
tar
pit,
I no
te th
e ex
act h
our,
min
ute,
and
seco
nd.I
sho
ot a
pain
t bom
b.It
leav
es a
red
pat
ch o
n hi
s si
de.W
e ca
n’t m
iss
it.
The
n I
corr
elat
e ou
r ar
riva
l in
the
Past
so
that
we
mee
t the
Mon
ster
not
mor
e th
an tw
o m
inut
es b
efor
e he
wou
ld h
ave
died
anyw
ay.T
his
way
,we
kill
only
ani
mal
s w
ith
no fu
ture
,tha
t are
neve
r go
ing
to m
ate
agai
n.Yo
u se
e ho
w c
aref
ulw
e ar
e?”
“But
ifyo
u ca
me
back
this
mor
ning
in T
ime,”
said
Eck
els
eage
rly,
“you
mus
t’ve
bum
ped
into
us,
our
Safa
ri! H
ow d
id it
turn
out
? W
as it
suc
cess
ful?
Did
all
ofus
get
thro
ugh—
aliv
e?”
Trav
is a
nd L
espe
ranc
e ga
ve e
ach
othe
r a
look
.
“Tha
t’d b
e a
para
dox,
”sa
id th
e la
tter
.“T
ime
does
n’t p
erm
it
that
sor
t of
mes
s—a
man
mee
ting
him
self.
Whe
n su
ch o
cca-
sion
s th
reat
en,T
ime
step
s as
ide.
Like
an
airp
lane
hit
ting
an
air
pock
et.Y
ou fe
lt th
e M
achi
ne ju
mp
just
bef
ore
we
stop
ped?
Tha
t
was
us
pass
ing
ours
elve
s on
the
way
bac
k to
the
Futu
re.W
e sa
w
noth
ing.
The
re’s
no w
ay o
fte
lling
ifth
is e
xped
itio
n w
as a
suc
-
cess
,ifw
ego
t our
mon
ster
,or
whe
ther
all
ofus—
mea
ning
you
,
Mr.
Ecke
ls—
got o
ut a
live.”
Ecke
ls s
mile
d pa
lely
.
“Cut
that
,”sa
id T
ravi
s sh
arpl
y.“E
very
one
on h
is fe
et!”
The
y w
ere
read
y to
leav
e th
e M
achi
ne.
180
190
200
Copyright © by Holt,Rinehart and Winston.All rights reserved.
228
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Re-
read
lin
es 1
95-
202.
Wh
atd
o y
ou
thin
k? W
ill t
he
exp
e-d
itio
n b
e a
succ
ess,
or
will
iten
d in
tra
ged
y?
Pau
se a
t lin
e 17
5. W
hy
do
the
trav
eler
s w
ear
ster
ilize
dcl
oth
ing
an
d o
xyg
en
hel
met
s?
Pau
se a
t lin
e 19
0. W
hy
are
on
ly a
nim
als
that
are
ab
ou
tto
die
an
yway
ch
ose
n f
or
hu
nti
ng
?
par
ado
x(p
ar!¥
·däk
s")
n.:
som
eth
ing
th
at h
as o
r se
ems
to h
ave
con
trad
icto
ry
qu
alit
ies.
They
do
n't
wan
t to
intr
od
uce
bac
teri
a in
to
the
pas
t b
ecau
se t
hat
mig
ht
chan
ge
the
futu
re.
Kill
ing
an
imal
s w
ith
no
futu
re w
ill n
ot
affe
ct
futu
re e
ven
ts.
Mo
st s
tud
ents
will
pre
-
dic
t th
at s
om
eth
ing
will
go
wro
ng
.
Collection 8Student pages 228–229
Student Pages with Answers 117
The
Tyr
ant L
izar
d ra
ised
itse
lf.It
s ar
mor
ed fl
esh
glit
tere
d
like
a th
ousa
nd g
reen
coi
ns.T
he c
oins
,cru
sted
wit
h sl
ime,
stea
med
.In
the
slim
e,ti
ny in
sect
s w
rigg
led,
so t
hat
the
enti
re
body
see
med
to t
wit
ch a
nd u
ndul
ate,
7ev
en w
hile
the
mon
ster
itse
lfdi
d no
t mov
e.It
exh
aled
.The
sti
nk o
fra
w fl
esh
blew
dow
n
the
wild
erne
ss.
“Get
me
out o
fhe
re,”
said
Eck
els.
“It w
as n
ever
like
this
befo
re.I
was
alw
ays
sure
I’d
com
e th
roug
h al
ive.
I ha
d go
od
guid
es,g
ood
safa
ris,
and
safe
ty.T
his
tim
e,I
figur
ed w
rong
.I’v
e
met
my
mat
ch a
nd a
dmit
it.T
his
is to
o m
uch
for
me
to g
et h
old
of.”
“Don
’t ru
n,”
said
Les
pera
nce.
“Tur
n ar
ound
.Hid
e in
the
Mac
hine
.”
“Yes
.”Ec
kels
see
med
to b
e nu
mb.
He
look
ed a
t his
feet
as
if
tryi
ng to
mak
e th
em m
ove.
He
gave
a g
runt
of
help
less
ness
.
“Eck
els!
”
He
took
a fe
w s
teps
,blin
king
,shu
fflin
g.
“Not
that
way
!”
The
Mon
ster
,at t
he fi
rst m
otio
n,lu
nged
forw
ard
wit
h a
terr
ible
scr
eam
.It c
over
ed o
ne h
undr
ed y
ards
in s
ix s
econ
ds.
The
rifl
es je
rked
up
and
blaz
ed fi
re.A
win
dsto
rm fr
om th
e
beas
t’s m
outh
eng
ulfe
d th
em in
the
sten
ch o
fsl
ime
and
old
bloo
d.T
he M
onst
er r
oare
d,te
eth
glit
teri
ng w
ith
sun.
Ecke
ls,n
ot lo
okin
g ba
ck,w
alke
d bl
indl
y to
the
edge
of
the
Path
,his
gun
lim
p in
his
arm
s,st
eppe
d of
fth
e Pa
th,a
nd w
alke
d,
not k
now
ing
it,i
n th
e ju
ngle
.His
feet
san
k in
to g
reen
mos
s.H
is
legs
mov
ed h
im,a
nd h
e fe
lt al
one
and
rem
ote
from
the
even
ts
behi
nd.
The
rifl
es c
rack
ed a
gain
.The
ir s
ound
was
lost
in s
hrie
k an
d
lizar
d th
unde
r.T
he g
reat
leve
l of
the
rept
ile’s
tail
swun
g up
,
lash
ed s
idew
ays.
Tree
s ex
plod
ed in
clo
uds
ofle
afan
d br
anch
.
The
Mon
ster
twit
ched
its
jew
eler
’s ha
nds
dow
n to
fond
le a
t the
men
,to
twis
t the
m in
hal
f,to
cru
sh th
em li
ke b
erri
es,t
o cr
am
them
into
its
teet
h an
d it
s sc
ream
ing
thro
at.I
ts b
ould
er-s
tone
280
290
300
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A S
ound
of
Thun
der
231
Ho
w d
oes
Eck
els
reac
t w
hen
he
sees
th
e d
ino
sau
r (l
ines
260-
287)
? W
hat
do
th
eg
uid
es t
ell h
im t
o d
o?
Pau
se a
t lin
e 30
2. W
hat
ca
use
s Ec
kels
to
ste
p o
ff t
he
pat
h?
Wh
at e
ffec
t m
igh
t th
isac
tio
n h
ave?
7.u
nd
ula
te(un!j¥·l†t"
) v.
:mo
ve in
wav
es.
Ecke
ls is
afr
aid
an
d
wan
ts t
o r
un
; th
e
gu
ides
tel
l him
to
go
bac
k to
th
e Ti
me
Mac
hin
e.
He
step
s o
ff b
ecau
se
he
is in
a d
aze;
his
acti
on
co
uld
ch
ang
e
the
futu
re in
so
me
way
.
It c
ame
on g
reat
oile
d,re
silie
nt,s
trid
ing
legs
.It t
ower
ed
thir
ty fe
et a
bove
hal
fof
the
tree
s,a
grea
t evi
l god
,fol
ding
its
deli-
cate
wat
chm
aker
’s cl
aws
clos
e to
its
oily
rep
tilia
n ch
est.
Each
low
er le
g w
as a
pis
ton,
a th
ousa
nd p
ound
s of
whi
te b
one,
sunk
in th
ick
rope
s of
mus
cle,
shea
thed
ove
r in
a g
leam
of
pebb
led
skin
like
the
mai
l6of
a te
rrib
le w
arri
or.E
ach
thig
h w
as a
ton
of
mea
t,iv
ory,
and
stee
l mes
h.A
nd fr
om th
e gr
eat b
reat
hing
cag
e
ofth
e up
per
body
thos
e tw
o de
licat
e ar
ms
dang
led
out f
ront
,
arm
s w
ith
hand
s w
hich
mig
ht p
ick
up a
nd e
xam
ine
men
like
toys
,whi
le th
e sn
ake
neck
coi
led.
And
the
head
itse
lf,a
ton
of
scul
ptur
ed s
tone
,lift
ed e
asily
upo
n th
e sk
y.It
s m
outh
gap
ed,
expo
sing
a fe
nce
ofte
eth
like
dagg
ers.
Its
eyes
rol
led,
ostr
ich
eggs
,em
pty
ofal
l exp
ress
ion
save
hun
ger.
It c
lose
d it
s m
outh
in
a de
ath
grin
.It r
an,i
ts p
elvi
c bo
nes
crus
hing
asi
de t
rees
and
bush
es,i
ts ta
lone
d fe
et c
law
ing
dam
p ea
rth,
leav
ing
prin
ts s
ix
inch
es d
eep
whe
reve
r it
set
tled
its
wei
ght.
It r
an w
ith
a gl
idin
g
balle
t ste
p,fa
r to
o po
ised
and
bal
ance
d fo
r it
s te
n to
ns.I
t mov
ed
into
a s
unlit
are
na w
arily
,its
bea
utifu
lly r
epti
lian
hand
s fe
elin
g
the
air. “W
hy,w
hy,”
Ecke
ls tw
itch
ed h
is m
outh
.“It
cou
ld r
each
up
and
grab
the
moo
n.”
“Sh!
”Tr
avis
jerk
ed a
ngri
ly.“
He
hasn
’t se
en u
s ye
t.”
“It c
an’t
be k
illed
.”Ec
kels
pro
noun
ced
this
ver
dict
qui
etly
,
as if
ther
e co
uld
be n
o ar
gum
ent.
He
had
wei
ghed
the
evid
ence
and
this
was
his
con
side
red
opin
ion.
The
rifl
e in
his
han
ds
seem
ed a
cap
gun
.“W
e w
ere
fool
s to
com
e.T
his
is im
poss
ible
.”
“Shu
t up!
”hi
ssed
Tra
vis.
“Nig
htm
are.”
“Tur
n ar
ound
,”co
mm
ande
d Tr
avis
.“W
alk
quie
tly to
the
Mac
hine
.We’
ll re
mit
one
half
your
fee.”
“I d
idn’
t rea
lize
it w
ould
be
this
big
,”sa
id E
ckel
s.“I
mis
cal-
cula
ted,
that
’s al
l.A
nd n
ow I
wan
t out
.”
“It s
ees
us!”
“The
re’s
the
red
pain
t on
its
ches
t!”
250
260
270
Copyright © by Holt,Rinehart and Winston.All rights reserved.
230
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
resi
lien
t(ri·zil!y¥nt)
adj.:
able
to r
etu
rn t
o it
s o
rig
inal
sh
ape
qu
ickl
y af
ter
bei
ng
str
etch
edo
r co
mp
ress
ed; e
last
ic.
The
auth
or
use
s ri
ch
fig
ura
tive
lan
gu
age
in li
nes
24
1-25
9. U
nd
erlin
e at
leas
tfo
ur
met
aph
ors
or
sim
iles
that
hel
p y
ou
vis
ual
ize
the
fear
som
e d
ino
sau
r.
Rea
d t
he
bo
xed
pas
sag
eal
ou
d t
wic
e. F
ocu
s o
n r
ead
-in
g t
he
fig
ure
s o
f sp
eech
clea
rly
and
dra
mat
ical
ly.
rem
it(ri·mit!)
v.: r
etu
rn
pay
men
t.
Notes
Notes
6.m
ailn
.:h
ere,
fle
xib
le m
etal
arm
or.
Collection 8Student pages 230–231
HRT9_pp_101_149 10/3/03 3:26 PM Page 117 impos03 108:hrhrt9r1:hrt9ch:layouts:
118 The Holt Reader: Teacher’s Manual
“The
re.”
Lesp
eran
ce c
heck
ed h
is w
atch
.“R
ight
on
tim
e.
Tha
t’s t
he g
iant
tre
e th
at w
as s
ched
uled
to fa
ll an
d ki
ll th
is a
ni-
mal
ori
gina
lly.”
He
glan
ced
at th
e tw
o hu
nter
s.“Y
ou w
ant t
he
trop
hy p
ictu
re?”
“Wha
t?”
“We
can’
t tak
e a
trop
hy b
ack
to th
e Fu
ture
.The
bod
y ha
s to
stay
rig
ht h
ere
whe
re it
wou
ld h
ave
died
ori
gina
lly,s
o th
e
inse
cts,
bird
s,an
d ba
cter
ia c
an g
et a
t it,
as th
ey w
ere
inte
nded
to.
Ever
ythi
ng in
bal
ance
.The
bod
y st
ays.
But
we
can
take
a p
ictu
re
ofyo
u st
andi
ng n
ear
it.”
The
two
men
tri
ed to
thin
k,bu
t gav
e up
,sha
king
thei
r
head
s. The
y le
t th
emse
lves
be
led
alon
g th
e m
etal
Pat
h.T
hey
sank
wea
rily
into
the
Mac
hine
cus
hion
s.T
hey
gaze
d ba
ck a
t the
ruin
ed M
onst
er,t
he s
tagn
atin
g m
ound
,whe
re a
lrea
dy s
tran
ge
rept
ilian
bir
ds a
nd g
olde
n in
sect
s w
ere
busy
at t
he s
team
ing
arm
or. A s
ound
on
the
floor
of
the
Tim
e M
achi
ne s
tiff
ened
them
.
Ecke
ls s
at th
ere,
shiv
erin
g.
“I’m
sor
ry,”
he s
aid
at la
st.
“Get
up!
”cr
ied
Trav
is.
Ecke
ls g
ot u
p.
“Go
out o
n th
at P
ath
alon
e,”sa
id T
ravi
s.H
e ha
d hi
s ri
fle
poin
ted.
“You
’re
not c
omin
g ba
ck in
the
Mac
hine
.We’
re le
avin
g
you
here
!”
Lesp
eran
ce s
eize
d Tr
avis
’s ar
m.“
Wai
t—”
“Sta
y ou
t of
this
!”Tr
avis
sho
ok h
is h
and
away
.“T
his
fool
near
ly k
illed
us.
But
it is
n’t
that
so m
uch,
no.I
t’s h
is s
hoes
! Loo
k
at th
em! H
e ra
n of
fth
e Pa
th.T
hat
ruin
sus
! We’
ll fo
rfei
t!
Tho
usan
ds o
fdo
llars
of
insu
ranc
e! W
e gu
aran
tee
no o
ne le
aves
the
Path
.He
left
it.O
h,th
e fo
ol! I
’ll h
ave
to r
epor
t to
the
gov-
ernm
ent.
The
y m
ight
rev
oke
our
licen
se to
tra
vel.
Who
kno
ws
wha
the’
s do
ne to
Tim
e,to
His
tory
!”
350
360
370
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A S
ound
of
Thun
der
233
Pau
se a
t lin
e 35
5. W
hy
do
you
th
ink
the
two
hu
nte
rs,
Bill
ing
s an
d K
ram
er, d
o n
ot
wan
t to
tak
e “t
rop
hy
pic
ture
s”?
Re-
read
lin
es 3
69-
376.
Un
der
line
wh
at T
ravi
s fe
ars
mig
ht
hap
pen
bec
ause
Eck
els
step
ped
off
th
e p
ath
.
revo
ke(ri·v£k!)
v.:c
ance
l;w
ith
dra
w.
They
are
to
o h
orr
ifie
d
at w
hat
th
ey’v
e d
on
e
to w
ant
to r
eco
rd it
.
eyes
leve
led
wit
h th
e m
en.T
hey
saw
them
selv
es m
irro
red.
The
y
fired
at t
he m
etal
lic e
yelid
s an
d th
e bl
azin
g bl
ack
iris
.
Like
a s
tone
idol
,lik
e a
mou
ntai
n av
alan
che,
Tyra
nnos
auru
s
fell.
Thu
nder
ing,
it c
lutc
hed
tree
s,pu
lled
them
wit
h it
.It
wre
nche
d an
d to
re th
e m
etal
Pat
h.T
he m
en fl
ung
them
selv
es
back
and
aw
ay.T
he b
ody
hit,
ten
tons
of
cold
fles
h an
d st
one.
The
gun
s fir
ed.T
he M
onst
er la
shed
its
arm
ored
tail,
twit
ched
its
snak
e ja
ws,
and
lay
still
.A fo
unt
ofbl
ood
spur
ted
from
its
thro
at.S
omew
here
insi
de,a
sac
of
fluid
s bu
rst.
Sick
enin
g gu
shes
dren
ched
the
hunt
ers.
The
y st
ood,
red
and
glis
teni
ng.
The
thun
der
fade
d.
The
jung
le w
as s
ilent
.Aft
er th
e av
alan
che,
a gr
een
peac
e.
Aft
er th
e ni
ghtm
are,
mor
ning
.
Bill
ings
and
Kra
mer
sat
on
the
path
way
and
thre
w u
p.
Trav
is a
nd L
espe
ranc
e st
ood
wit
h sm
okin
g ri
fles,
curs
ing
stea
dily
.
In th
e T
ime
Mac
hine
,on
his
face
,Eck
els
lay
shiv
erin
g.H
e
had
foun
d hi
s w
ay b
ack
to th
e Pa
th,c
limbe
d in
to th
e M
achi
ne.
Trav
is c
ame
wal
king
,gla
nced
at E
ckel
s,to
ok c
otto
n ga
uze
from
a m
etal
box
,and
ret
urne
d to
the
oth
ers,
who
wer
e si
ttin
g
on th
e Pa
th.
“Cle
an u
p.”
The
y w
iped
the
bloo
d fr
om th
eir
helm
ets.
The
y be
gan
to
curs
e to
o.T
he M
onst
er la
y,a
hill
ofso
lid fl
esh.
Wit
hin,
you
coul
d he
ar th
e si
ghs
and
mur
mur
s as
the
furt
hest
cha
mbe
rs o
fit
died
,the
org
ans
mal
func
tion
ing,
liqui
ds r
unni
ng a
fina
l ins
tant
from
poc
ket t
o sa
c to
spl
een,
ever
ythi
ng s
hutt
ing
off,
clos
ing
up
fore
ver.
It w
as li
ke s
tand
ing
by a
wre
cked
loco
mot
ive
or a
ste
am
shov
el a
t qu
itti
ng t
ime,
all v
alve
s be
ing
rele
ased
or
leve
red
tigh
t.
Bon
es c
rack
ed;t
he to
nnag
e of
its
own
flesh
,off
bala
nce,
dead
wei
ght,
snap
ped
the
delic
ate
fore
arm
s,ca
ught
und
erne
ath.
The
mea
t set
tled,
quiv
erin
g.
Ano
ther
cra
ckin
g so
und.
Ove
rhea
d,a
giga
ntic
tre
e br
anch
brok
e fr
om it
s he
avy
moo
ring
,fel
l.It
cra
shed
upo
n th
e de
ad
beas
t w
ith
final
ity.
310
320
330
340
Copyright © by Holt,Rinehart and Winston.All rights reserved.
232
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Wha
t tw
o th
ings
is t
he d
ino-
saur
com
pare
d to
in li
ne 3
11?
Wha
t ty
pe o
f fi
gura
tive
lan-
guag
e is
eac
h co
mpa
riso
n?
Cir
cle
the
wo
rds
in li
nes
31
1-31
8 th
at h
elp
yo
u v
isu
al-
ize
the
vio
len
t d
eath
of
the
gia
nt
din
osa
ur.
The
pre
fix
mal-
mea
ns
“no
t”o
r “b
ad.”
Wh
at d
o y
ou
th
ink
mal
fun
ctio
nin
g(l
ine
334)
mea
ns?
Pete
r B
olli
ng
er.
It m
ean
s “n
ot
fun
c-
tio
nin
g”
or
“fu
nct
ion
-
ing
bad
ly.”
a st
on
e id
ol a
nd
a
mo
un
tain
ava
lan
che;
the
com
par
iso
ns
are
sim
iles
Collection 8Student pages 232–233
HRT9_pp_101_149 10/3/03 3:26 PM Page 118 impos03 108:hrhrt9r1:hrt9ch:layouts:
Student Pages with Answers 119
“I’m
inno
cent
.I’v
e do
ne n
othi
ng!”
1999
.200
0.20
55.
The
Mac
hine
sto
pped
.
“Get
out
,”sa
id T
ravi
s.
The
roo
m w
as th
ere
as th
ey h
ad le
ft it
.But
not
the
sam
e as
they
had
left
it.T
he s
ame
man
sat
beh
ind
the
sam
e de
sk.B
ut th
e
sam
e m
an d
id n
ot q
uite
sit
beh
ind
the
sam
e de
sk.
Trav
is lo
oked
aro
und
swift
ly.“
Ever
ythi
ng o
kay
here
?”he
snap
ped.
“Fin
e.W
elco
me
hom
e!”
Trav
is d
id n
ot r
elax
.He
seem
ed to
be
look
ing
at t
he v
ery
atom
s of
the
air
itse
lf,at
the
way
the
sun
pour
ed th
roug
h th
e
one
high
win
dow
.
“Oka
y,Ec
kels
,get
out
.Don
’t ev
er c
ome
back
.”
Ecke
ls c
ould
not
mov
e.
“You
hea
rd m
e,”sa
id T
ravi
s.“W
hat’r
e yo
u st
arin
gat
?”
Ecke
ls s
tood
sm
ellin
g of
the
air,
and
ther
e w
as a
thin
g to
the
air,
a ch
emic
al ta
int s
o su
btle
,so
slig
ht,t
hat o
nly
a fa
int c
ry
ofhi
s su
blim
inal
sens
es w
arne
d hi
m it
was
ther
e.T
he c
olor
s,
whi
te,g
ray,
blue
,ora
nge,
in th
e w
all,
in th
e fu
rnit
ure,
in th
e sk
y
beyo
nd th
e w
indo
w,w
ere
...w
ere
...A
nd t
here
was
a fe
el.H
is
flesh
tw
itch
ed.H
is h
ands
tw
itch
ed.H
e st
ood
drin
king
the
odd
-
ness
wit
h th
e po
res
ofhi
s bo
dy.S
omew
here
,som
eone
mus
t hav
e
been
scr
eam
ing
one
ofth
ose
whi
stle
s th
at o
nly
a do
g ca
n he
ar.
His
bod
y sc
ream
ed s
ilenc
e in
ret
urn.
Bey
ond
this
roo
m,b
eyon
d
this
wal
l,be
yond
thi
s m
an w
ho w
as n
ot q
uite
the
sam
e m
an
seat
ed a
t thi
s de
sk th
at w
as n
ot q
uite
the
sam
e de
sk .
..la
y an
enti
re w
orld
of
stre
ets
and
peop
le.W
hat s
ort o
fw
orld
it w
as
now
,the
re w
as n
o te
lling
.He
coul
d fe
el th
em m
ovin
g th
ere,
beyo
nd t
he w
alls
,alm
ost,
like
so m
any
ches
s pi
eces
blo
wn
in a
dry
win
d...
.
But
the
imm
edia
te th
ing
was
the
sign
pai
nted
on
the
offic
e
wal
l,th
e sa
me
sign
he
had
read
ear
lier
toda
y on
firs
t ent
erin
g.
Som
ehow
,the
sig
n ha
d ch
ange
d:
420
430
440
Copyright © by Holt,Rinehart and Winston.All rights reserved.
A S
ound
of
Thun
der
235
Pau
se a
t lin
e 41
5. D
o y
ou
thin
k th
at E
ckel
s w
ill f
ind
that
he
has
“d
on
e n
oth
ing
”w
hen
he
get
s b
ack
to t
he
futu
re?
Un
der
line
clu
es in
lin
es
416-
418
that
ind
icat
e th
atEc
kels
’s a
ctio
ns
hav
e h
ad a
nef
fect
on
life
in h
is p
rese
nt.
sub
limin
al(s
ub
·lim!¥
·n¥l
)ad
j.:b
elo
w t
he
leve
l of
awar
enes
s.
Cir
cle
the
sen
sory
imag
esin
lines
428-
442
that
des
crib
eEc
kels
’s f
eelin
g t
hat
so
me-
thin
g is
no
t ri
gh
t. W
hy
do
esh
e co
mp
are
peo
ple
to
ch
ess
pie
ces?
Mo
st s
tud
ents
will
pre
-
dic
t th
at t
her
e w
ill b
e
an e
ffec
t fr
om
his
mis
-
take
.
Peo
ple
, lik
e ch
ess
pie
ces,
are
hel
ple
ss t
o
det
erm
ine
thei
r o
wn
fate
s.
“Tak
e it
eas
y,al
l he
did
was
kic
k up
som
e di
rt.”
“How
do
we
know
?”cr
ied
Trav
is.“
We
don’
t kno
w a
nyth
ing!
It’s
all a
mys
tery
! Get
out
of
here
,Eck
els!
”
Ecke
ls fu
mbl
ed h
is s
hirt
.“I’
ll pa
y an
ythi
ng.A
hun
dred
thou
sand
dol
lars
!”
Trav
is g
lare
d at
Eck
els’s
che
ckbo
ok a
nd s
pat.
“Go
out t
here
.
The
Mon
ster
’s ne
xt to
the
Path
.Sti
ck y
our
arm
s up
to y
our
elbo
ws
in h
is m
outh
.The
n yo
u ca
n co
me
back
wit
h us
.”
“Tha
t’s u
nrea
sona
ble!
”
“The
Mon
ster
’s de
ad,y
ou id
iot.
The
bul
lets
! The
bul
lets
can’
t be
left
beh
ind.
The
y do
n’t b
elon
g in
the
Past
;the
y m
ight
chan
ge a
nyth
ing.
Her
e’s
my
knife
.Dig
them
out
!”
The
jung
le w
as a
live
agai
n,fu
ll of
the
old
trem
orin
gs a
nd
bird
cri
es.E
ckel
s tu
rned
slo
wly
to r
egar
d th
e pr
imev
alga
rbag
e
dum
p,th
at h
ill o
fni
ghtm
ares
and
terr
or.A
fter
a lo
ng ti
me,
like
a
slee
pwal
ker
he s
huff
led
out a
long
the
Path
.
He
retu
rned
,shu
dder
ing,
five
min
utes
late
r,hi
s ar
ms
soak
ed a
nd r
ed to
the
elb
ows.
He
held
out
his
han
ds.E
ach
held
a
num
ber
ofst
eel b
ulle
ts.T
hen
he fe
ll.H
e la
y w
here
he
fell,
not
mov
ing.
“You
did
n’t h
ave
to m
ake
him
do
that
,”sa
id L
espe
ranc
e.
“Did
n’t I
? It
’s to
o ea
rly
to te
ll.”
Trav
is n
udge
d th
e st
ill b
ody.
“He’
ll liv
e.N
ext
tim
e he
won
’t go
hun
ting
gam
e lik
e th
is.O
kay.”
He
jerk
ed h
is th
umb
wea
rily
at L
espe
ranc
e.“S
wit
ch o
n.Le
t’s g
o
hom
e.” 1492
.177
6.18
12.
The
y cl
eane
d th
eir
hand
s an
d fa
ces.
The
y ch
ange
d th
eir
caki
ng s
hirt
s an
d pa
nts.
Ecke
ls w
as u
p an
d ar
ound
aga
in,n
ot
spea
king
.Tra
vis
glar
ed a
t him
for
a fu
ll te
n m
inut
es.
“Don
’t lo
ok a
t me,”
crie
d Ec
kels
.“I
have
n’t d
one
anyt
hing
.”
“Who
can
tell?
”
“Jus
t ran
off
the
Path
,tha
t’s a
ll,a
little
mud
on
my
shoe
s—
wha
t do
you
wan
t me
to d
o—ge
t dow
n an
d pr
ay?”
“We
mig
ht n
eed
it.I
’m w
arni
ng y
ou,E
ckel
s,I
mig
ht k
ill
you
yet.
I’ve
got
my
gun
read
y.”
380
390
400
410
Copyright © by Holt,Rinehart and Winston.All rights reserved.
234
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Pau
se a
t lin
e 38
8. W
hat
do
esTr
avis
wan
t Ec
kels
to
do
as
pu
nis
hm
ent?
pri
mev
al(p
r¢·m#!
v¥l)
adj.:
pri
mit
ive;
of
the
earl
iest
tim
es.
Notes
Notes
Trav
is w
ants
Eck
els
to
dig
th
e b
ulle
ts o
ut
of
the
dea
d d
ino
sau
r.
Collection 8Student pages 234–235
120 The Holt Reader: Teacher’s Manual
A S
ound
of
Thun
der
2
37
A S
ound
of
Thun
der
Styl
e Ch
art
Ray
Bra
dbur
y us
es la
ngua
ge to
re-
crea
te a
lush
pre
hist
oric
set
ting
.W
e se
e an
d fe
el th
e va
st ju
ngle
and
its
huge
inha
bita
nt,t
he T
yran
nosa
urus
rex
.T
he b
oxed
pas
sage
s be
low
con
tain
som
e of
Bra
dbur
y’s
styl
isti
c de
vice
s:•
figu
res
ofsp
eech—
met
apho
rs,s
imile
s,pe
rson
ifica
tion
•im
ager
y—w
ords
tha
t ap
peal
to s
ight
,hea
ring
,tas
te,t
ouch
,sm
ell
Und
erlin
e fig
ures
of
spee
ch,c
ircl
e th
e im
ages
,and
dra
w b
oxes
aro
und
exam
ples
ofre
peti
tion
.The
n,in
the
spac
e pr
ovid
ed,d
escr
ibe
the
wri
ter’s
sty
lean
d th
em
ood
ofth
e st
ory.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
“Th
e ju
ng
le w
as h
igh
an
d t
he
jun
gle
was
bro
ad a
nd
th
e ju
ng
le w
as t
he
enti
re
wo
rld
fo
reve
r an
d f
ore
ver.
Sou
nd
s lik
e
mu
sic
and
so
un
ds
like
flyi
ng
ten
ts f
illed
the
sky,
an
d t
ho
se w
ere
pte
rod
acty
ls,
soar
ing
wit
h c
aver
no
us
gra
y w
ing
s,
giga
ntic
bat
s of
del
iriu
m a
nd n
ight
fev
er.”
De
scri
be
th
e S
tory
’s M
oo
d
De
scri
be
Bra
db
ury
’s S
tyle
Pa
ssa
ge
On
eP
ass
ag
e T
wo
“Th
e Ty
ran
t Li
zard
rai
sed
itse
lf. I
ts
arm
ore
d f
lesh
glit
tere
d li
ke a
th
ou
san
d
gre
en c
oin
s. T
he
coin
s, c
rust
ed w
ith
slim
e, s
team
ed. I
n t
he
slim
e, t
iny
inse
cts
wri
gg
led
, so
th
at t
he
enti
re b
od
y
seem
ed t
o t
wit
ch a
nd
un
du
late
, eve
n
wh
ile t
he
mo
nst
er it
self
did
no
t m
ove
.
It e
xhal
ed. T
he
stin
k o
f ra
w f
lesh
ble
w
do
wn
th
e w
ilder
nes
s.”
Sam
ple
res
po
nse
: Bra
db
ury
’s s
tyle
is v
ivid
ly d
escr
ipti
ve
and
alm
ost
po
etic
bec
ause
of
his
use
of
imag
ery
and
fig
ure
s o
f sp
eech
.
Sam
ple
res
po
nse
: Th
e m
oo
d is
aw
eso
me;
ter
rify
ing
;
mys
teri
ou
s; h
ypn
oti
c.
Ecke
ls fe
lt hi
mse
lffa
ll in
to a
cha
ir.H
e fu
mbl
ed c
razi
ly a
t
the
thic
k sl
ime
on h
is b
oots
.He
held
up
a cl
od o
fdi
rt,t
rem
-
blin
g,“N
o,it
can
’tbe
.Not
a li
ttle
thin
g lik
e th
at.N
o!”
Embe
dded
in th
e m
ud,g
liste
ning
gre
en a
nd g
old
and
blac
k,
was
a b
utte
rfly
,ver
y be
auti
ful a
nd v
ery
dead
.
“Not
a li
ttle
thin
g lik
e th
at! N
ot a
but
terf
ly!”
crie
d Ec
kels
.
It fe
ll to
the
floor
,an
exqu
isit
e th
ing,
a sm
all t
hing
that
coul
d up
set b
alan
ces
and
knoc
k do
wn
a lin
e of
smal
l dom
inoe
s
and
then
big
dom
inoe
s an
d th
en g
igan
tic
dom
inoe
s,al
l dow
n
the
year
s ac
ross
Tim
e.Ec
kels
’s m
ind
whi
rled
.It
coul
dn’t
chan
ge
thin
gs.K
illin
g on
e bu
tter
fly c
ould
n’t b
e th
atim
port
ant!
Cou
ld it
?
His
face
was
col
d.H
is m
outh
tre
mbl
ed,a
skin
g:“W
ho—
who
won
the
pres
iden
tial
ele
ctio
n ye
ster
day?
”
The
man
beh
ind
the
desk
laug
hed.
“You
joki
ng? Y
ou k
now
very
wel
l.D
euts
cher
,of
cour
se! W
ho e
lse?
Not
that
fool
wea
klin
g
Kei
th.W
e go
t an
iron
man
now
,a m
an w
ith
guts
!”T
he o
ffic
ial
stop
ped.
“Wha
t’s w
rong
?”
Ecke
ls m
oane
d.H
e dr
oppe
d to
his
kne
es.H
e sc
rabb
led
at
the
gold
en b
utte
rfly
wit
h sh
akin
g fin
gers
.“C
an’t
we,”
he p
lead
ed
to th
e w
orld
,to
him
self,
to th
e of
ficia
ls,t
o th
e M
achi
ne,“
can’
t
we
take
it b
ack,
can’
t we
mak
eit
aliv
e ag
ain?
Can
’t w
e st
art o
ver?
Can
’t w
e—”
He
did
not m
ove.
Eyes
shu
t,he
wai
ted,
shiv
erin
g.H
e he
ard
Trav
is b
reat
he lo
ud in
the
room
;he
hear
d Tr
avis
shi
ft h
is r
ifle,
clic
k th
e sa
fety
cat
ch,a
nd r
aise
the
wea
pon.
The
re w
as a
sou
nd o
fth
unde
r.
450
460
470
Copyright © by Holt,Rinehart and Winston.All rights reserved.
236
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Co
mp
are
this
sig
n w
ith
th
eo
ne
at t
he
beg
inn
ing
of
the
sto
ry. H
ow
are
th
ey t
he
sam
eo
r d
iffe
ren
t?
Pau
se a
t lin
e 46
2. W
hat
was
the
mai
n e
ffec
to
f Ec
kels
’ski
llin
g o
f th
e b
utt
erfl
y?
Wh
at is
th
e “s
ou
nd
of
thu
n-
der
” in
lin
e 47
1?
Tyme S
efari,
Inc.
Sefa
ris tu
any
yee
r en
the
past
.
Yu n
aim
the
anim
all.
Wee
taek
yuth
air.
Yu s
hoot
itt.
Pete
r B
olli
ng
er.
The
mes
sag
e is
th
e
sam
e, b
ut
the
spel
ling
is v
ery
dif
fere
nt.
The
killi
ng
set
off
a
chai
n r
eact
ion
th
at
end
ed in
th
e el
ecti
on
of
Deu
tsch
er a
s p
resi
-
den
t.
It is
a r
ifle
sh
ot.
Tra
vis
has
kill
ed E
ckel
s fo
r
chan
gin
g t
he
wo
rld
as
he
knew
it.
Collection 8Student pages 236–237
Student Pages with Answers 121
A S
ound
of
Thun
der
2
39
Skill
s Re
view
Skill
s Re
view A
Soun
d of
Thu
nder
ann
ihila
te
exp
end
able
dep
ress
ion
par
ado
x
del
iriu
m
resi
lien
t
rem
it
revo
ke
pri
mev
al
sub
limin
al
Wor
d Bo
xW
ord
Box
I hav
e b
een
wan
tin
g t
o g
o t
o t
he
(1)
fore
st,
the
old
est
pla
ce o
pen
to
tim
e tr
avel
ers.
I h
ave
mo
ney
to
pay
th
e h
efty
fee
,
tho
ug
h t
he
wo
rld
is in
an
eco
no
mic
(2)
. B
esid
es,
His
tori
c Tr
avel
s, In
c., w
ill (
3)
my
fee
if t
he
auth
ori
-
ties
(4)
th
e co
mp
any'
s lic
ense
an
d c
ance
l th
e tr
ip.
The
Tim
e Tr
avel
er p
acke
d li
gh
t, b
rin
gin
g n
oth
ing
th
at w
as n
ot
(5)
and
co
uld
be
left
beh
ind
if s
om
eth
ing
wen
t
wro
ng
. Bu
t n
oth
ing
co
uld
go
wro
ng
, co
uld
it?
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Voca
bula
rySkills
Use
pre
fixe
s to
defi
ne w
ords
.U
se w
ords
inco
ntex
t.
DIR
ECTI
ON
S:R
ead
eac
h s
ente
nce
car
efu
lly. T
hen
, wri
te t
he
def
init
ion
of
each
bo
ldfa
ce w
ord
on
th
e lin
e b
elo
w. R
efer
to
th
e ch
art
abo
ve f
or
hel
p.
Pref
ixes
3.Th
e d
ino
sau
r se
emed
imm
ort
al,l
ike
ate
rrif
yin
g p
agan
go
d.
4.A
fter
th
eir
adve
ntu
re, t
he
trav
eler
sh
ad n
o d
esir
e to
rev
isit
the
pas
t.
1.Ec
kels
to
ok
an e
xtra
ord
inar
yjo
urn
eyin
to t
he
pas
t.
2.To
kee
p t
he
wo
rld
un
chan
ged
,th
eyw
ere
ord
ered
to
sta
y o
n t
he
Path
.
in-,
im-,
or
un
-, m
ean
ing
“n
ot”
ex-,
mea
nin
g “
ou
t”ex
tra-
, mea
nin
g “
ou
tsid
e; b
eyo
nd
”
re-,
mea
nin
g “
bac
k; a
gai
n”
sub
-, m
ean
ing
“b
elo
w”
pre
-, m
ean
ing
“ca
me
bef
ore
”
Pre
fix
es
an
d M
ea
nin
gs
Voca
bula
ry i
n Co
ntex
tD
IREC
TIO
NS:
Co
mp
lete
th
e p
arag
rap
h b
elo
w b
y w
riti
ng
a w
ord
fro
m t
he
wo
rd b
ox
to f
itea
ch n
um
ber
ed b
lan
k. N
ot
all w
ord
s fr
om
th
e b
ox
will
be
use
d.
“bey
on
d o
rdin
ary”
“no
t ch
ang
ed”
“no
t m
ort
al”
“vis
it a
gai
n”
pri
mev
al
dep
ress
ion
rem
it
revo
ke
exp
end
able
Co
mp
lete
th
e sa
mp
le t
est
item
bel
ow
. Th
en, c
hec
k yo
ur
answ
er, a
nd
rea
d t
he
exp
lan
atio
n t
hat
ap
pea
rs in
th
e ri
gh
t-h
and
bo
x.
A So
und
of T
hund
er
Skill
s Re
view
Skill
s Re
view
238
Colle
ctio
n 8:
Eval
uati
ng S
tyle
Part
1
Ex
pla
na
tio
n o
f th
e C
orr
ect
An
swe
r
The
corr
ect
answ
er is
A.
The
wo
rd e
xcep
tte
lls y
ou
th
at t
he
cor-
rect
an
swer
is t
he
on
e th
at d
oes
no
tfi
t.Th
e st
ory
do
es n
ot
incl
ud
e an
y ch
arac
-te
rs w
ho
sp
eak
in a
reg
ion
al d
iale
ct.
Ban
d C
are
no
t co
rrec
t b
ecau
se w
ord
cho
ice
and
sen
ten
ce le
ng
th a
re e
le-
men
ts o
f st
yle.
Dis
wro
ng
bec
ause
th
isst
ory
is f
ull
of
fig
ura
tive
lan
gu
age,
ano
ther
co
mp
on
ent
of
styl
e.
Sa
mp
le T
est
Ite
m
In “
A S
ou
nd
of
Thu
nd
er,”
Bra
db
ury
’sst
yle
is c
reat
ed b
y al
l th
e fo
llow
ing
el
emen
ts e
xcep
t—
Are
gio
nal
dia
lect
Bd
icti
on
, or
wo
rd c
ho
ice
Cse
nte
nce
len
gth
an
d p
atte
rn
Dfi
gu
rati
ve la
ng
uag
e
3.
Ove
rall,
Bra
db
ury
's s
tyle
can
bes
tb
ed
escr
ibed
as —
Ah
um
oro
us
Bm
atte
r-o
f-fa
ct
C
spar
se
D
rich
ly d
escr
ipti
ve
4.
Wh
ich
of
the
follo
win
g w
ord
s b
est
des
crib
es t
he
mo
od
of
“A S
ou
nd
of
Thu
nd
er”?
F re
laxe
d
G
qu
iet
Hte
rrif
yin
g
Jev
il
1.
Wh
ich
pas
sag
e fr
om
th
e st
ory
co
n-
tain
s a
fig
ure
of
spee
ch?
A
“Sta
y o
n t
he
Path
.”
B
“Th
ey w
ere
read
y to
leav
e th
eM
ach
ine.
”
C“T
hat
'd b
e a
par
ado
x.”
D“E
ach
low
er le
g w
as a
pis
ton
. . .
”
2.In
th
is s
tory
, Bra
db
ury
's d
icti
on
,or
wo
rd c
ho
ice,
can
bes
tb
e d
escr
ibed
as
—
Ffl
at
Gvi
vid
Hev
eryd
ay
Jte
chn
ical
DIR
ECTI
ON
S:C
ircl
e th
e le
tter
of
each
co
rrec
t an
swer
.
Copyright © by Holt,Rinehart and Winston.All rights reserved.
Lit
erar
y Skills
Ana
lyze
elem
ents
of
styl
e, in
clud
ing
figu
rati
vela
ngua
ge a
ndm
ood.
Collection 8Student pages 238–239
Graphic Organizers 219
Co
pyr
igh
t ©
by
Ho
lt, R
ineh
art
and
Win
sto
n. A
ll ri
gh
ts r
eser
ved
.
Name Date
Selection Title
Style Chart
Style is the distinctive way a writer uses language. It is created through diction (wordchoice), sentence length and pattern, and the images and figurative language the authoruses. These elements also shape the story’s mood. The chart below lists some elements ofstyle. Give examples of each from the selection you have just read. Then, describe theireffects on the selection. Finally, describe the mood of the selection.
Element of Style Example Effect
Diction
Figures of Speech
Images
Sentence Structure
Mood: __________________________________________________________________________________
_________________________________________________________________________________________