pacing - glencoe...giants of jazz d playing jazz eek 16 the tragedy of julius , act 4, scene 1...

Pacing 35

PacingGlencoe Literature: California Treasures offers two curriculum options:

• • a 180-day course of study, which covers all the literature selections in the Student Edition

• • an Essential Course of Study, which enables you to teach the standards in a time-effective manner

This section shows you when to teach which selections, and which standards you will cover. It is divided into these parts:

• • California Treasures Student Edition

• • California Treasures Essential Course of Study

• • Weekly Pacing

PACINGCACA

38 California Treasures Standards Road Map

Pacing Calendar: 150 Days Before Test/180 Days o

f the Year

September October November

December January

Week 1An Astrologer’s Day

Tuesday Siesta

Week 5The Tucson Zoo

Week 9Speaking, Listening,

and Viewing

Workshop: Narrative

Presentation

Week 13Comparing Literature:

Dream Boogie

AND Motto AND

from Giants of Jazz

AND Playing Jazz,

continued

Week 17Writing Workshop:

Persuasive Essay

Week 2Tuesday Siesta,

continued

When Mr. Pirzada

Came to Dine

Week 6Straw into Gold, The

Metamorphosis of the

Everyday

Week 10The Print of the Paw

AND To An Aged Bear


Descriptive Essay


and Viewing

Workshop: Persuasive

Argument

The Stealing of Thor’s

Hammer

Week 3Catch the Moon

Week 7TIME: What I See in

Lincoln’s Eyes

Week 11Three Haiku


and Viewing

Workshop: Presenting

a Description

The Tragedy of Julius

Caesar, Act 2, Scene 1

Week 19The Stealing of Thor’s

Hammer, continued


Literary Criticism

Speaking, Listening,

and Viewing

Workshop: Literary

Criticism

Week 8Cinderella’s Stepsisters

Writing Workshop:

Biographical Narrative


Dream Boogie AND

Motto AND from

Giants of Jazz AND

Playing Jazz

Week 16The Tragedy of Julius

Caesar, Act 4, Scene 1

Annabel Lee


Where the Girl

Rescued Her Brother

AND John Henry AND

A Song of Greatness

California Treasures

Essential Course of Study

By teaching Glencoe Literature: California Treasures—Co

urse 5 Essential

Course of Study in the order below, you can ensure that you

cover the tested

standards in the 150 days before the test. The calendar shows

how to use the

Essential Course of Study as the backbone of your instruction

, while still having

time to teach additional selections throughout the year. The c

alendar also

includes workshops from the Student Edition that teach Calif

ornia standards.

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February MarchApril May


Where the Girl Rescued

Her Brother AND John

Henry AND A Song of

Greatness, continued

Writing Workshop:

Research Paper


Short Story

Speaking, Listening,

and Viewing

Workshop: Narrative

Presentation

Week 29Living Well. Living

Good.

Week 33I Am Offering This

Poem


and Viewing

Workshop: Multimedia

Presentation

Week 26Functional Documents:

E-Mail; Application;

Cover Letter

Week 30Living Well. Living

Good., continued

Week 34Horses Graze


What I Have Been

Doing Lately AND

People At Night AND

A Dream

Week 27Functional Documents:

Tips List; Warranty;

Product Information;

Installation Guide

Week 31Ode to My Socks

Week 35miss rosie


What I Have Been

Doing Lately AND

People At Night AND

A Dream, continued

Week 28

TEST WEEK

Week 32After great pain, a

formal feeling comes

AND Heart! We will

forget him!

Week 36TIME: We Are Family

The authentic text of each Essential Course of Study select

ion can be

found along with extra reading support in the Read and Wri

te practice

books—leveled consumable worktexts for English Learners,

On-Level, and

Approaching students.

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PACINGCACA


Week 1The Open WindowThe Californian’s TaleLiterary Perspective: Storytelling is As Old As MankindContents of a Dead Man’s Pockets

Unit IntroductionLiterary Focus: Plot and SettingVocabulary Workshop: Denotation and ConnotationVocabulary Workshop: Academic Vocabulary

Reading 1.1, Reading 1.2, Reading 3.3, Reading 3.6, Reading 3.12Writing 1.4, Writing 2.3.cListening and Speaking 1.7, Listening and Speaking 1.8 Week 2 An Astrologer’s Day

Civil PeaceThe Masque of the Red DeathTwo Kinds

Grammar Workshop: Apostrophes in PossessivesVocabulary Workshop: Dictionary UseLiterary Focus:Theme and Character

Reading 1.1, Reading 2.5, Reading 3.3, Reading 3.7, Reading 3.9, Reading 3.12Writing 1.4, Writing 2.1.c, Writing 2.2.bLanguage Conventions 1.3Week 3 The Car We Had to Push

Tuesday SiestaWhen Mr. Pirzada Came to DineTo Da-duh, in Memoriam

Vocabulary Workshop: Multiple-Meaning WordsGrammar Workshop: Sentence Combining

Reading 1.1, Reading 2.5, Reading 3.3, Reading 3.4, Reading 3.8, Reading 3.9Writing 2.1, Writing 2.1.c, Writing 2.6Language Conventions 1.3Week 4 The Book of the Dead

The CensorsTIME: Cry of the Ancient Mariner

Reading 2.5, Reading 3.6, Reading 3.8Writing 1.4, Writing 2.1

UNIT ONEUNIT ONE

California Treasures Student EditionSelections Features and Workshops Content StandardsCACA

Weekly PacingGlencoe Literature: California Treasures comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Glencoe Literature: California Treasures—Course 5 Student Edition covers the standards in 180 days.

How do I cover the standards in the 180/150 days of the year?

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Week 5 Everyday UseComparing Literature: Through the Tunnel AND The Vision Quest AND Dear Pie, from Rules to Live ByCatch the Moon

Literary Focus:Narrator and VoiceGrammar Workshop: Sentence Fragments

Reading 3.7, Reading 3.9Writing 1.9, Writing 2.1.c, Writing 2.3.a, Writing 2.5Listening and Speaking 1.1Language Conventions 1.2Week 6 And of Clay Are We Created

LullabyWriting Workshop: Literary CriticismSpeaking, Listening,and Viewing Workshop: Literary Criticism

Reading 2.5, Reading 3.0, Reading 3.9, Reading 3.11Writing 1.6, Writing 2.1.c, Writing 2.2, Writing 2.2.b, Writing 2.2.cListening and Speaking 2.4Assessment: California Standards Practice

Week 7from Farewell to Manzanarfrom Kaffir Boy

Unit IntroductionLiterary Focus: Autobiography and BiographyGrammar Workshop: Subject-Verb Agreement

Reading 3.2, Reading 3.2, Reading 3.6, Reading 3.8, Reading 3.9, Reading 3.12Writing 1.3, Writing 2.2.b, Writing 2.3Language Conventions 1.3Week 8 Living Well. Living Good.

First Impressions, from De Kooning, An American MasterTyphoid Fever, from Angela’s Ashes

Vocabulary Workshop: Jargon Reading 1.2, Reading 2.5, Reading 3.9Writing 2.4.dListening and Speaking 2.3.aWeek 9 Literary Perspective: Looking

Forward to the PastTerwilliger Bunts One, from An American ChildhoodA Swimming LessonThe Tucson Zoo

Literary Focus: Expository and Personal Essays

Reading 2.5, Reading 3.9Writing 2.1.a, Writing 2.1.c, Writing 2.4.dListening and Speaking 1.1, Listening and Speaking 1.12, Listening and Speaking 1.6Week 10 Straw into Gold, The Metamorphosis of the Everyday

On Women’s Right to VoteI’ve Been to the Mountaintop

Literary Focus: Persuasive Essay and Speech Reading 3.6, Reading 3.7Writing 2.3, Writing 2.3.b, Writing 2.4.b, Writing 2.4.dListening and Speaking 1.10Week 11 Comparing Literature: Not Just

Comic Books AND “Hamlet” Too Hard? Try a Comic Book AND The Graphic Novel Silver Anniversary

Reading 2.8Writing 2.2.d, Writing 2.5Listening and Speaking 1.1

Week 12 Address on the Anniversary of Lincoln’s BirthTIME: What I See in Lincoln’s EyesCinderella’s Stepsisters

Writing Workshop: Biographical NarrativeSpeaking, Listening, and Viewing Workshop: Narrative Presentation

Reading 2.8, Reading 3.5Writing 1.3, Writing 1.7, Writing 2.1, Writing 2.4, Writing 2.4.cListening and Speaking 2.1Assessment: California Standards Practice

UNIT TWOUNIT TWO

Selections Features and Workshops Content StandardsCACA

Selections Features and Workshops Content StandardsCACACACA

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How can I pace instruction to meet all my students’ needs?

First Proof Second Proof Third Proof PDF Proof

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PACINGCACA


Pacing Calendar: 180 Days

September October November December January

Week 1Part 1

Week 5Part 3

Week 9Part 2 Week 13

Part 1

Week 17Part 3

Week 2 Week 6 Week 10Part 3

Week 14 Week 18

Week 3Part 2 Week 7

Part 1

Week 11 Week 15Part 2 Week 19

Part 1

Week 4 Week 8 Week 12 Week 16 Week 20

UNIT ONEUNIT ONE UNIT THREEUNIT THREE

UNIT TWOUNIT TWO UNIT FOURUNIT FOUR

California Treasures Student EditionGlencoe Literature: California Treasures—Course 5 is divided into six main units, plus a shorter seventh unit that includes a variety of consumer and workplace documents. Each of the six main units is divided into parts, and includes an in-depth Writing Workshop; a Speaking, Listening, and Viewing Workshop; and an Assessment section modeled after state standardized tests. The calendar below shows how to pace your instruction in order to teach the seven units in the 180 days of the school year.

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As you follow the calendars on these pages, several options are available for formative and summative assessment. See the Assessment section of this guide for more information.

February March April May

Week 21Week 25Part 1

Week 29 Week 33

Week 22Part 2

Week 26 Week 30 Week 34

Week 23 Week 27Week 31

Week 35

Week 24 Week 28Part 2

Week 32Week 36

UNIT F IVEUNIT F IVE

UNIT SIXUNIT SIX

UNIT SEVENUNIT SEVEN

What do I teach for the 180/150 days of the year?


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PACINGCACA


Pacing Calendar: 150 Days Before Test/180 Days of the Year

September October November December January

Week 1An Astrologer’s Day

Tuesday Siesta

Week 5The Tucson Zoo

Week 9Speaking, Listening, and Viewing Workshop: Narrative Presentation

Week 13Comparing Literature: Dream Boogie AND Motto AND from Giants of Jazz AND Playing Jazz, continued

Week 17Writing Workshop: Persuasive Essay

Week 2Tuesday Siesta, continued

When Mr. Pirzada Came to Dine

Week 6Straw into Gold: The Metamorphosis of the Everyday

Week 10The Print of the Paw AND To An Aged Bear

Week 14Writing Workshop: Descriptive Essay

Week 18Speaking, Listening, and Viewing Workshop: Persuasive Argument

The Stealing of Thor’s Hammer

Week 3Catch the Moon

Week 7TIME: What I See in Lincoln’s Eyes

Week 11Three Haiku

Week 15Speaking, Listening, and Viewing Workshop: Presenting a Description

The Tragedy of Julius Caesar, Act 2, Scene 1

Week 19The Stealing of Thor’s Hammer, continued

Week 4Writing Workshop: Literary Criticism

Speaking, Listening, and Viewing Workshop: Literary Criticism

Week 8Cinderella’s Stepsisters

Writing Workshop: Biographical Narrative

Week 12Comparing Literature: Dream Boogie AND Motto AND from Giants of Jazz AND Playing Jazz

Week 16The Tragedy of Julius Caesar, Act 4, Scene 1

Week 20Comparing Literature: Where the Girl Rescued Her Brother AND John Henry AND A Song of Greatness

California Treasures Essential Course of StudyBy teaching Glencoe Literature: California Treasures—Course 5 Essential Course of Study in the order below, you can ensure that you cover the tested standards in the 150 days before the test. The calendar shows how to use the Essential Course of Study as the backbone of your instruction, while still having time to teach additional selections throughout the year. The calendar also includes workshops from the Student Edition that teach California standards.


Pacing 39

February March April May

Week 21Comparing Literature: Where the Girl Rescued Her Brother AND John Henry AND A Song of Greatness, continued

Writing Workshop: Research Paper

Week 25Writing Workshop: Short Story

Speaking, Listening, and Viewing Workshop: Narrative Presentation

Week 29Living Well. Living Good.

Week 33I Am Offering This Poem

Week 22Speaking, Listening, and Viewing Workshop: Multimedia Presentation

Week 26Functional Documents: E-Mail; Application; Cover Letter

Week 30Living Well. Living Good., continued

Week 34Horses Graze

Week 23Comparing Literature: What I Have Been Doing Lately ANDPeople At Night ANDA Dream

Week 27Functional Documents: Professional Article; Warranty; Software Product Information; Installation Guide

Week 31Ode to My Socks

Week 35miss rosie

Week 24Comparing Literature: What I Have Been Doing Lately ANDPeople At Night ANDA Dream, continued

Week 28

TEST WEEK

Week 32After Great Pain, a Formal Feeling Comes AND Heart! We Will Forget Him!

Week 36TIME: We Are Family

The authentic text of each Essential Course of Study selection can be found along with extra reading support in the Read and Write practice books—leveled consumable worktexts for English Learners, On-Level, and Approaching students.


PACINGCACA


Week 1The Open Window

The Californian’s Tale

Literary Perspective: Storytelling is As Old As Mankind

Contents of the Dead Man’s Pocket

Unit Introduction

Literary Focus: Plot and Setting

Vocabulary Workshop: Denotation and Connotation

Vocabulary Workshop: Academic Vocabulary

Reading 1.1, 1.2, 2.2, 2.3, 2.5, 3.3, 3.5, 3.6, 3.7, 3.9, 3.12

Writing 1.3, Writing 1.4, Writing 2.3.b, c

Language Conventions 1.2

Listening and Speaking 1.1, 1.6, 1.7, 2.2.a–f, 2.6.a–c

Week 2 An Astrologer’s DayCivil Peace

The Masque of the Red Death

Grammar Workshop: Apostrophes in Possessives

Vocabulary Workshop: Dictionary Use

Reading 1.1, 1.2, 1.3, 3.3, 3.4, 3.6, 3.7, 3.9, 3.12

Writing 1.1, 1.2, 1.4, 2.1.c, e, 2.2

Language Conventions 1.1, 1.3

Week 3 Two KindsThe Car We Had to Push

Tuesday Siesta

When Mr. Pirzada Came to Dine

To Da-duh, in Memoriam

Literary Focus:Theme and Character

Vocabulary Workshop: Multiple-Meaning Words

Grammar Workshop: Sentence Combining

Reading 1.1, 1.3, 2.2, 2.3, 2.4, 2.5, 3.3, 3.4, 3.7, 3.8, 3.9, 3.12

Writing 1.1, 1.2, 1.3, 1.5, 1.9, 2.1.a, b, c, e

Language Conventions 1.1, 1.2, 1.3

Listening and Speaking 1.1, 1.3, 1.6, 1.7, 1.8, 1.11, 1.12, 2.4, 2.5

Week 4 The Book of the DeadThe Censors

TIME: Cry of the Ancient Mariner

Reading 1.1, 2.5, 3.3, 3.6, 3.8, 3.11

Writing 2.1.a–e


Listening and Speaking 1.1

UNIT ONEUNIT ONE

California Treasures Student Edition


Weekly PacingGlencoe Literature: California Treasures comprehensively addresses the California English-Language Arts Content Standards. The standards can be covered completely in two ways: either by teaching the entire Student Edition, or by teaching the Essential Course of Study. The chart below shows how the Glencoe Literature: California Treasures—Course 5 Student Edition covers the standards in 180 days.

How do I cover the standards in the 180/150 days of the year?


Pacing 41

Week 5 Everyday UseComparing Literature: Through the Tunnel AND The Vision Quest AND Dear Pie, from Rules to Live By

Catch the Moon

Literary Focus:

Narrator and Voice

Grammar Workshop: Sentence Fragments

Reading 1.1, 1.2, 3.2, 3.3, 3.4, 3.5, 3.7, 3.9, 3.12

Writing 1.1, 1.2, 2.1.c, e, 2.2.c



Week 6 And of Clay Are We CreatedLullaby

Writing Workshop: Literary Criticism

Speaking, Listening, and Viewing Workshop: Literary Criticism

Reading 1.1, 3.3, 3.4, 3.6, 3.7, 3.8, 3.9, 3.11, 3.12

Writing 1.1, 1.2, 1.6, 1.8, 1.9, 2.2.a–d

Language Conventions 1.2, 1.3, 1.4, 1.5

Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.7, 1.9, 1.11, 2.1, 2.4.a–d

Assessment: California Standards Practice

Week 7

from Farewell to Manzanar

from Kaffir Boy

Living Well. Living Good.

Unit Introduction

Literary Focus: Autobiography and Biography

Grammar Workshop: Subject-Verb Agreement

Reading 1.1, 2.3, 2.4, 2.5, 3.2, 3.6, 3.9, 3.12

Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 1.9, 2.1.c, e, 2.2.c, 2.3.a–d


Week 8 First Impressions, from De Kooning, An American Master

Typhoid Fever, from Angela’s Ashes

Historical Perspective: Looking Forward to the Past

Terwilliger Bunts One, from An American Childhood

Vocabulary Workshop: Jargon Reading 1.1, 1.2, 1.3, 2.2, 2.3, 2.5, 3.4, 3.9, 3.11, 3.12

Writing 1.3, 1.4, 1.8, 1.9, 2.4.a, d


Listening and Speaking 1.7, 2.2.b, 2.6

Week 9 A Swimming LessonThe Tucson Zoo

Straw into Gold: The Metamorphosis of the Everyday

Literary Focus: Expository and Personal Essays

Reading 1.1, 2.5, 3.6, 3.7, 3.9, 3.11, 3.12

Writing 1.4, 2.1.a, 2.3.b, c


Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.9, 1.12, 1.13, 2.4, 2.5

Week 10 On Women’s Right to VoteI’ve Been to the Mountaintop

Literary Focus: Persuasive Essay and Speech

Reading 1.1, 2.5, 2.8, 3.6, 3.7, 3.12

Writing 2.3.a, b, c, e, Writing 2.4.b, c

Listening and Speaking 1.10, 1.12, 1.13

Week 11 Comparing Literature: Not Just Comic Books AND “Hamlet” Too Hard? Try a Comic Book AND The Graphic Novel Silver Anniversary

Reading 2.8, Reading 3.8

Writing 2.5

Listening and Speaking 1.1, 1.13

Week 12 Address on the Anniversary of Lincoln’s Birth

TIME: What I See in Lincoln’s Eyes

Cinderella’s Stepsisters

Writing Workshop: Biographical Narrative

Speaking, Listening, and Viewing Workshop: Narrative Presentation

Reading 1.1, 1.2, 2.8, 3.5, 3.7

Writing 1.1, 1.2, 1.8, 1.9, 2.1.a–e


Listening and Speaking 1.1, 1.7, 1.9, 1.11, 1.12, 2.1.a–d


UNIT TWOUNIT TWO




PACINGCACA


Week 13Those Winter Sundays

Creatures

Shall I Compare Thee to a Summer’s Day?

Reapers

Unit Introduction

Literary Focus: Form and Structure

Vocabulary Workshop: Homonyms and Homophones

Reading 1.1, 1.3, 2.5, 3.5, 3.6, 3.7, 3.11, 3.12

Writing 1.9, Writing 2.3.b, c

Week 14 Ode to My Socks A Storm in the Mountains

The Print of the Paw AND To An Aged Bear

Three Haiku

Two Tanka

Woman with Kite

Grammar Workshop: Pronoun-Antecedent Agreement

Reading 1.1, 1.3, 2.2, 3.7, 3.9, 3.11, 3.12

Writing 1.1, 1.2, 1.4, 2.1.c, e, Writing 2.3.a –d


Listening and Speaking 1.4, 1.5, 1.6, 1.8, 1.9, 1.12, 2.2, 2.4

Week 15 After Great Pain, a Formal Feeling Comes AND Heart! We Will Forget Him!

The Meadow Mouse

Down by the Salley Gardens AND He Wishes for the Cloths of Heaven

Literary Focus: The Language of Poetry

Reading 1.1, 1.2, 2.5, 3.7, 3.11, 3.12

Writing 1.4, 1.9, 2.2.a–c, 2.3.a–d


Listening and Speaking 1.7, 1.9, 1.11, 2.4

Week 16 I Am Offering This Poemsince feeling is first

Horses Graze

Parlor

Secondhand Grief

Ballad of Birmingham

Historical Perspective: 4 Little Girls

Media Workshop: Compare Media Genres

Reading 1.1, 1.2, 1.3, 2.8, 3.2, 3.6, 3.7, 3.8, 3.11, 3.12

Writing 1.2, Writing 2.2.c


Week 17 miss rosieAfter Apple Picking AND Fire and Ice

Arabic Coffee

TIME: We Are Family

Literary Focus: Sound Devices Reading 1.2, 2.5, 3.7, 3.11

Writing 1.1, 1.2, 1.4, 1.9, 2.1.e, 2.3.a


Week 18 Comparing Literature: Dream Boogie AND Motto AND from Giants of Jazz AND Playing Jazz

Writing Workshop: Descriptive Essay

Speaking, Listening, and Viewing Workshop: Presenting a Description

Reading 1.1, 3.2, 3.5, 3.12

Writing 1.1, 1.2, 1.8, 1.9, 2.3.a–c, 2.6


Listening and Speaking 1.7, 1.8, 1.11, 2.6.a–c


UNIT THREEUNIT THREE



Pacing 43

Week 19Antigone

TIME: Ever Alluring

Unit Introduction

Literary Focus: Tragedy

Literary History: Classical Greek Drama

Vocabulary Workshop: Denotation and Connotation

Reading 1.1, Reading 1.2, 2.8, 3.1, 3.3, 3.4, 3.7, 3.10, 3.12

Writing 1.4, 1.9, 2.4.a–d


Week 20 The Tragedy of Julius Caesar, Act 1The Tragedy of Julius Caesar, Act 2

Literary History: Shakespearean Drama

Reading 1.1, 2.5, 3.1, 3.3, 3.4, 3.6, 3.7, 3.10, 3.12

Week 21 The Tragedy of Julius Caesar, Act 3The Tragedy of Julius Caesar, Act 4

The Tragedy of Julius Caesar, Act 5

Reading 1.1, 1.2, 3.1, 3.3, 3.4, 3.6, 3.7, 3.10, 3.11

Writing 2.1.a–e, Writing 2.5


Week 22 A Marriage Proposal Literary Focus: Comedy and Modern Drama

Grammar Workshop: Commas with Interjections and Parenthetical Expressions

Reading 1.1, 1.3, 3.1, 3.3, 3.4, 3.8, 3.10

Writing 1.1, 1.2, 2.1.c, e, 2.2.c


Week 23 That’s Your TroubleLiterary Perspective: Writing for the Theater

Reading 1.2, 2.8, 3.1, 3.3, 3.8, 3.11

Week 24 Comparing Literature: The Ring of General Macías AND Marked AND The Ring

Writing Workshop: Persuasive Essay

Speaking, Listening, and Viewing Workshop: Persuasive Argument

Reading 3.1, 3.2, 3.4, 3.6

Writing 1.1, 1.2, 1.8, 1.9, 2.4.a–d


Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.8, 1.12, 1.13, 2.5.a –d


UNIT FOURUNIT FOUR


Week 25

from Le Morte d’Arthur Unit Introduction

Literary Focus: The Legendary Hero

Grammar Workshop: Phrases and Clauses

Reading 1.1, 1.3, 2.5, 3.2, 3.4, 3.6, 3.12

Writing 1.1, Writing 1.2, Writing 2.1


Week 26 from Don QuixoteTIME: What Makes a Hero

Reading 2.5, 3.3, 3.4, 3.7, 3.8

Listening and Speaking 1.3, 1.8, 1.9, 1.12, 2.3.a–g

UNIT F IVEUNIT F IVE



PACINGCACA


Week 27 from SundiataVisual Perspective: The Lion of Mali from Sundiata, A Legend of Africa

Reading 1.2, 3.2, 3.3, 3.4


Week 28 The Stealing of Thor’s Hammerfrom Theseus

Literary Focus: Myth and the Oral Tradition

Vocabulary Workshop: Word Origins: Norse Mythology

Vocabulary Workshop: Word Origins: Greek and Roman Mythology

Reading 1.1, 1.3, 2.5, 3.3, 3.4, 3.6, 3.7, 3.12

Writing 1.4, 1.9, 2.3.a, b


Listening and Speaking 1.7, 1.9, 1.11, 1.12, 2.1

Week 29 Comparing Literature: Where the Girl Rescued Her Brother AND John Henry AND A Song of Greatness

Reading 2.4, 3.2, 3.5, 3.7, 3.12

Week 30 Writing Workshop: Research PaperSpeaking, Listening, and Viewing Workshop: Multimedia Presentation

Reading 2.3

Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9, 2.3.a–f


Listening and Speaking 1.7, 1.11, 2.2.a, d




Pacing 45

Week 36

Unit Introduction

Functional Documents: Lessons 1–4

Reading 2.1, Reading 2.2, Reading 2.5, Reading 2.6, Reading 2.7, Reading 2.8

Writing 2.5.a–d, Writing 2.6.a–d


UNIT SEVENUNIT SEVEN


Week 31A Sound of Thunder Unit Introduction

Literary Focus: Description and Style

Reading 1.1, Reading 2.5, Reading 3.2, Reading 3.5, Reading 3.6, Reading 3.7, Reading 3.9, Reading 3.11

Writing 2.4.a, b


Week 32 By the Waters of BabylonComparing Literature: What I Have Been Doing Lately AND People at Night AND A Dream

Grammar Workshop: Dangling Participles

Reading 1.1, Reading 3.2, Reading 3.4, Reading 3.5, Reading 3.6, Reading 3.7, Reading 3.12

Language Conventions 1.1, Language Conventions 1.2, Language Conventions 1.3

Listening and Speaking 1.3, Listening and Speaking 1.4, Listening and Speaking 1.5, Listening and Speaking 1.9, Listening and Speaking 1.12, Listening and Speaking 2.5.a–d

Week 33 Scientific Perspective: One Legend Found, Many Still to Go

Robot Dreams

TIME: The Machine

Nurturer

Reading 1.1, Reading 2.5, Reading 3.2, Reading 3.7

Listening and Speaking 1.1, Listening and Speaking 1.7, Listening and Speaking 1.9, Listening and Speaking 1.12, Listening and Speaking 2.4, Listening and Speaking 2.5

Week 34 BreadThe Witness for the Prosecution

Grammar Workshop: Semicolons as Connectors

Vocabulary Workshop: Thesaurus Use

Reading 1.1, Reading 1.2, Reading 1.3, Reading 2.5, Reading 3.3, Reading 3.6, Reading 3.9, Reading 3.11

Writing 1.4, Writing 2.3.a–e


Week 35 Writing Workshop: Short StorySpeaking, Listening, and Viewing Workshop: Narrative Presentation

Writing 1.2, Writing 1.8, Writing 1.9, Writing 2.1.a–e

Language Conventions 1.4, Language Conventions 1.5

Listening and Speaking 1.7, Listening and Speaking 1.11, Listening and Speaking 2.1.a–d


UNIT SIXUNIT SIX



PACINGCACA


Weekly PacingAll the tested California standards are addressed by teaching the selections in the Essential Course of Study. The chart below shows how the Essential Course of Study can be taught in 180 days while covering the tested standards in the 150 days before the test.

Week 1 An Astrologer’s DayTuesday Siesta

Reading 1.1, Reading 1.3, Reading 2.2, Reading 2.3, Reading 2.4, 3.4, 3.6, 3.8, 3.9

Writing 1.1, 1.2, 1.3, 1.5, 2.1.c, e


Week 2 Tuesday Siesta, continuedWhen Mr. Pirzada Came to Dine

Reading 1.1, Reading 2.2, Reading 2.3, Reading 2.4, Reading 2.5, 3.3, 3.4, 3.8, 3.12

Writing 1.3, Writing 1.5, Writing 1.9, Writing 2.1.a, b


Listening and Speaking 1.1, Listening and Speaking 1.7

Week 3 Catch the Moon Reading 1.2, Reading 3.3, Reading 3.7, Reading 3.9Writing 1.1, Writing 1.2, Writing 2.1.c, e, Writing 2.2.c

Week 4 Writing Workshop: Literary CriticismSpeaking, Listening, and Viewing Workshop: Literary Criticism

Reading 3.12

Writing 1.1, 1.2, 1.6, 1.8, 1.9, 2.2.a–d


Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.7, 1.11, 2.4.a–d

Week 5 The Tucson Zoo Reading 2.5, Reading 3.6, Reading 3.9 Writing 1.4


Week 6 Straw into Gold: The Metamorphosis of the Everyday Reading 1.1, Reading 3.6, Reading 3.7, Reading 3.11Writing 2.3.b, c


Week 7 TIME: What I See in Lincoln’s Eyes Reading 3.7

Week 8 Cinderella’s StepsistersWriting Workshop: Biographical Narrative

Reading 1.1, Reading 2.8, Reading 3.5

Writing 1.1, 1.2, 1.8, 1.9, 2.1.a–e


California Treasures Essential Course of Study

Selections Content StandardsCACACACA


Pacing 47

Week 9 Speaking, Listening, and Viewing Workshop: Narrative Presentation

Listening and Speaking 1.7, Listening and Speaking 1.11, Listening and Speaking 2.1.a–d

Week 10 The Print of the Paw AND To An Aged Bear Reading 1.1, 1.3, 3.7, 3.9, 3.11Listening and Speaking 1.8, 1.9, 1.12, 2.4

Week 11 Three Haiku Reading 3.7Writing 1.1, Writing 1.2, Writing 2.1.c, e

Week 12 Comparing Literature: Dream Boogie AND Motto AND from Giants of Jazz AND Playing Jazz


Writing 2.6

Week 13 Comparing Literature: Dream Boogie AND Motto AND from Giants of Jazz AND Playing Jazz, continued


Writing 2.6

Week 14 Writing Workshop: Descriptive Essay Writing 1.1, 1.2, 1.8, 1.9, 2.3.a–cLanguage Conventions 1.3, Language Conventions 1.4

Week 15 Speaking, Listening, and Viewing Workshop: Presenting a Description

The Tragedy of Julius Caesar, Act 2, Scene 1

Reading 1.1, Reading 3.1, Reading 3.4, Reading 3.6, Reading 3.10

Listening and Speaking 1.7, 1.8, 1.11, 2.6.a–c

Week 16 The Tragedy of Julius Caesar, Act 4, Scene 1 Reading 1.2, 3.1, 3.3, 3.4, 3.10

Week 17 Writing Workshop: Persuasive Speech Writing 1.1, 1.2, 1.8, 1.9, 2.4.a–dLanguage Conventions 1.2, 1.3, 1.4, 1.5

Week 18 Speaking, Listening, and Viewing Workshop:Persuasive Argument

The Stealing of Thor’s Hammer

Reading 1.1, 2.5, 3.3, 3.4, 3.7, 3.12

Listening and Speaking 1.1, 1.3, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9, 1.11, 1.12, 1.13, 2.1, 2.5.a–d

Week 19 The Stealing of Thor’s Hammer, continued Reading 1.1, 3.3, 3.4, 3.7, 3.12Listening and Speaking 1.7, 1.9, 1.11, 1.12, 2.1

Week 20 Comparing Literature: Where the Girl Rescued Her Brother AND John Henry AND A Song of Greatness


Week 21 Comparing Literature: Where the Girl Rescued Her Brother AND John Henry AND A Song of Greatness, continued

Writing Workshop: Research Paper

Reading 2.3, Reading 2.4, Reading 3.2, Reading 3.5, Reading 3.7, Reading 3.12

Writing 1.1, 1.2, 1.3, 1.4, 1.5, 1.6, 1.7, 1.8, 1.9, 2.3.a–f


Week 22 Speaking, Listening, and Viewing Workshop:Multimedia Presentation

Listening and Speaking 1.7, Listening and Speaking 1.11, Listening and Speaking 2.2.a, d

Week 23 Comparing Literature: What I Have Been Doing Lately AND People At Night AND A Dream


Week 24 Comparing Literature: What I Have Been Doing Lately AND People At Night AND A Dream, continued




PACINGCACA


Week 25 Writing Workshop: Short StorySpeaking, Listening, and Viewing Workshop: Narrative Presentation

Writing 1.2, Writing 1.8, Writing 1.9, Writing 2.1.a–e

Language Conventions 1.4, Language Conventions 1.5

Listening and Speaking 1.7, 1.11, 2.1.a–d

Week 26 Functional Documents: E-Mail; Application; Cover Letter Reading 2.1, Reading 2.5, Reading 2.6, Reading 2.8Writing 2.5.a–d

Week 27 Functional Documents: Professional Article; Warranty;Software Product Information; Installation Guide

Reading 2.1, Reading 2.5, Reading 2.6, Reading 2.7, Writing 2.6.a–d

Week 28 Test Week

Week 29 Living Well. Living Good. Reading 1.1, Reading 2.5Writing 1.1, Writing 1.2, Writing 2.1.c, e, Writing 2.2.c

Week 30 Living Well. Living Good., continued Reading 1.1, Reading 2.5Writing 1.1, Writing 1.2, Writing 2.1.c, e, Writing 2.2.c

Week 31 Ode to My Socks Reading 3.7, Reading 3.11Writing 1.4, Writing 2.3.a–d


Week 32 After Great Pain, a Formal Feeling ComesAND Heart! We Will Forget Him!

Reading 3.7, Reading 3.11, Reading 3.12

Writing 1.4, Writing 2.3.a–d

Week 33 I Am Offering This Poem Reading 1.2, Reading 3.7Writing 1.2, Writing 2.2.c

Week 34 Horses Graze Reading 1.1, Reading 3.7, Reading 3.11

Week 35 miss rosie Reading 3.7, Reading 3.11Listening and Speaking 1.1, 1.4, 1.5, 1.6, 1.9, 1.11, 1.12, 2.4

Week 36 TIME: We Are Family Reading 2.5



ON LEVEL

ADVANCED

APPROACHING

ENGLISH LEARNERS

Universal Access 49

These students read and comprehend at a grade-appropriate level.

Approaching-level (struggling) learners are experiencing various degrees of learning difficulties. Benchmark Group: These students are generally making good progress toward the standards but may be experiencing temporary or minor difficulties. Strategic Group: These students may be one to two standard deviations below the mean according to the results of standardized testing.

English learners are nonnative speakers of English who require additional instructional support in reading, vocabulary, and comprehension. Levels of English learners addressed: Beginning, Early Intermediate, Intermediate, and Early Advanced.

These learners read one to two grade levels above their on-level peers. These gifted students need extra enrichment to maximize their instruction.

Universal AccessGlencoe Literature: California Treasures provides leveled instruction and resources to ensure learning for all students. This section explains how and when to use the components of Glencoe Literature to teach English learners, on-level, approaching-level (struggling), and advanced learners. It is divided into the following sections:

• • On Level

• • Approaching

• • English Learners

• • Advanced

• • Differentation in the Teacher Edition

• • Enrichment Projects

First Proof Second Proof Third Proof PDF ProofGrade 10

How do I differentiate my instruction?

049-061_G9-11_Universal_CA.indd 49049-061_G9-11_Universal_CA.indd 49 6/6/08 9:35:32 AM6/6/08 9:35:32 AM

ON LEVEL


FOCUS

TEACH

ASSESS

EXTEND

Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment

Day 1 Day 2 Day 3 Day 4 Day 5

Motivating and Building Background

Pacing Chart: The diagram below shows how to pace a single week for on-level learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson.


UNIVERSAL ACCESSCACA


ON LEVEL

Universal Access 51

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward on-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Literature Launchers: Pre-Reading Videos DVD• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Media Workshop DVD

Vocabulary• California Treasures SE and TE• On-Level Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com)• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)

Assessment• Unit Teaching Resources• Assessment Resources• Standardized Test Preparation and Practice• ExamView Assessment Suite CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)• Literature Online: Assessment Resources (glencoe.com)

Reteaching• California Treasures SE and TE• On-Level Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)

Enrichment• Ethnic Anthologies• The Novel Companion• inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE

First Proof Second Proof Third Proof PDF Proof Grade 10


FOCUS

TEACH

ASSESS

EXTEND


APPROACHING


Pacing Chart: The diagram below shows how to pace a single week for approaching-level, or struggling, learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Approaching-level learners need to spend more time on Motivating and Building Background and Reteaching.

Vocabulary

Reading Skills

Writing and Grammar

Reteaching

Assessment

Enrichment





APPROACHING

Universal Access 53

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward approaching-level learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• California Treasures SE and TE• Interactive Vocabulary CD-ROM• Approaching Read and Write SE and TE• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• Approaching Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com)• Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM • Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Approaching Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• Approaching Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Progress Reporter Online Assessment (glencoelitpr.com)

Enrichment• Ethnic Anthologies• inTIME• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• World Literature SE and TE



FOCUS

TEACH

ASSESS

EXTEND

Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment



ENGLISH LEARNERS


Pacing Chart: The diagram below shows how to pace a single week for English learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. English learners need to spend more time on Building Background and Vocabulary.




ENGLISH LEARNERS

Universal Access 55

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• California Treasures SE and TE • English Learners Read and Write SE and TE• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• English Learners Read and Write SE and TE• Unit Teaching Resources• Listening Library Audio CD-ROMs• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com) • Fluency, Practice, and Assessment • Read Aloud, Think Aloud Transparencies• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies• English Language Coach

Writing and Grammar• California Treasures SE and TE• English Learners Read and Write SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Spelling Power Workbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• English Learners Read and Write TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM• English Language Coach

Enrichment• Ethnic Anthologies• inTIME• World Literature SE and TE

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward English learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.



FOCUS

TEACH

ASSESS

EXTEND


ADVANCED


Pacing Chart: The diagram below shows how to pace a single week for advanced learners. Each arrow shows the suggested length of time for each type of instruction, assuming a week in total per selection lesson. Since advanced learners will work at an accelerated pace, a large portion of their instruction can be devoted to Enrichment.


Vocabulary

Reading Skills

Writing and Grammar

Enrichment

Reteaching

Assessment




ADVANCED

Universal Access 57

Resources: For each type of instruction, Glencoe offers a wide array of resources geared toward advanced learners. Motivating and Building Background components help students understand context and activate prior knowledge. Vocabulary components help students build vocabulary and vocabulary skills. Reading Skills components strengthen students’ understanding of reading strategies and literary elements. Writing and Grammar resources help build additional skills. Reteaching materials revisit skills students haven’t fully grasped. Assessment and Enrichment options are available after students read.

Motivating and Building Background• California Treasures SE and TE• StudentWorks Plus CD-ROM or DVD-ROM• Online Student Edition (glencoe.com)• The Novel Companion SE and TG• Bellringer Transparencies• TeacherWorks Plus CD-ROM• Classroom Presentation Toolkit CD-ROM or DVD-ROM• Literature Launchers: Pre-Reading Videos DVD

Vocabulary• Interactive Vocabulary CD-ROM• Vocabulary Puzzlemaker• Literature Online: Vocabulary and Spelling Resources

(glencoe.com)

Reading Skills• California Treasures SE and TE• The Novel Companion SE and TG• On-Level Read and Write SE and TE• Unit Teaching Resources• Literature Online: Literature, Reading, and Selection Resources

(glencoe.com) • Skill Level Up! A Skills-Based Language Arts Game CD-ROM• Fine Art Transparencies• Literary Elements Transparencies• Read Aloud, Think Aloud Transparencies

Writing and Grammar• California Treasures SE and TE• Writing Constructed Responses• Success in Writing: Research and Reports• Grammar and Language Workbook• Grammar and Composition Handbook• Grammar and Writing Transparencies• Glencoe Online Essay Grader (glencoewriting.com)


Reteaching• California Treasures TE• On-Level Read and Write SE and TE• Unit Teaching Resources• Skill Level Up! A Skills-Based Language Arts Game CD-ROM

Enrichment• Ethnic Anthologies • inTIME • Literature Library• Literature Library Teacher Resources CD-ROM• BookLink K-12 CD-ROM• Literature Classics• Enrichment Projects• World Literature SE and TE




Differentiation in the Teacher EditionThe Teacher Edition of Glencoe Literature: California Treasures provides a variety of features to help with differentiated instruction, all labeled and wrapped around reduced pages of the Student Edition.

These features include:

• • leveled skills instruction for English learners, on-level, approaching-level (struggling), and advanced learners

• • teaching notes for speakers of African American vernacular English

• • resource suggestions at point-of-use to help differentiate your instruction

• • vocabulary teaching activities

• • grouping suggestions

• • in-depth activities and teaching strategies for English learners, on-level, approaching-level, and advanced learners

• • Progress Checks to help assess the performance of struggling students

The following pages show where to fi nd these features in the Teacher Edition.




Universal Access 59

EDGAR ALLAN POE 75

the pest ban3 which shut him out from the aid and from the sympathy of his fellow-men. And the whole seizure, progress, and termination of the disease, were the inci-dents of half an hour.

But the Prince Prospero was happy and dauntless4 and sagacious.5 When his dominions6 were half depopulated, he summoned to his presence a thousand hale and light-hearted friends from

Edgar Allan PoeBodiam Castle, 1906. Wilfred Ball.

1. In Hinduism, an Avatar is a god that takes on human form. Here, the word means a visible form, or embodiment, of the disease.

2. Here, dissolution is death.3. A pest ban is an official declaration that a person has

been stricken with plague. Here, the blood stains on the victim’s body became his or her own pest ban.

4. Dauntless means “fearless” or “courageous.”5. Sagacious means “wise.”6. The prince’s dominions are the territories he rules.

Encountering the Unexpected From the grim descrip-tion of the Red Death, why do you suppose Prince Prospero and his friends seem so light-hearted?profuse (prə fŪ s�) adj. great in amount, plentiful

Vocabulary

he “Red Death” had long devastated the country. No pestilence had ever been so fatal, or so hideous. Blood was its Avatar1 and its seal—the redness and the horror of blood. There were sharp pains, and sudden dizziness, and then pro-fuse bleeding at the pores, with dissolu-tion.2 The scarlet stains upon the body and especially upon the face of the victim, were

75

Readability ScoresDale-Chall: 9.5DRP: 66Lexile: 1240

Teach Big Idea 1

Encountering the Unexpected Say: As you read, keep the following ques-tions in mind: What does Prince Prospero expect will happen as a result of his plan? (He and his friends will be safe from the Red Death.) What do you think will happen to frustrate his expecta-tions? (The prince’s safety might be threatened by an enemy locked inside the abbey.)

Big Idea 2

Encountering the Unexpected Answer: The prince and his friends may think they are healthy enough to avoid the disease.

Writer’s Technique S Repetition Poe repeats variations on the words blood and red sev-eral times. Have students discuss the eff ects of such repetition.

For an audio recording of this selection, use Listening Library Audio CD-ROM.

UNIVERSAL ACCESS

Approaching Level

AAVE Approaching-level students who use African American Vernacular English (AAVE) may be accustomed to using singular verbs with plural subjects. On the board, write the following excerpts from the text: Blood was its Avatar and its seal . . .; The scarlet stains upon the body and especially upon the face of the victim, were the pest ban. . . .

Underline the verbs was and were in the quoted sentences. Explain that was is a singular verb and that were is a plural verb. Tell students that singular verbs have singular subjects and that plural verbs have plural subjects. Work with students to identify the subject of each sentence. Have students write original sentences contain-ing was and were.

CACA ELA WOELC 1.2 Understand sentence construction (e.g., parallel structure, subordination, proper placement of modifi ers) and proper English usage (e.g., consistency of verb tenses).

1

2

Living Well. Living Good.

Maya Angelou

Interior at Ciboure, 1912. Henri Matisse. Canvas. Musee Toulouse-Lautrec, Albi, France © ARS, NY.

MAYA ANGELOU 323

unt Tee was a Los Angeles mem-ber of our extended family.1 She was seventy-nine when I met

her, sinewy,2 strong, and the color of old lemons. She wore her coarse, straight hair, which was slightly streaked with gray, in a long braided rope across the top of her head. With her high cheekbones, old gold skin, and almond eyes, she looked more like an Indian chief than an old black woman. (Aunt Tee described herself and any favored member of her race as Negroes. Black was saved for those who had incurred her disapproval.)

She had retired and lived alone in a dead, neat ground-floor apartment. Wax flowers and china figurines sat on elabo-

rately embroidered and heavily starched doilies. Sofas and chairs were tautly upholstered. The only thing at ease in Aunt Tee’s apartment was Aunt Tee.

I used to visit her often and perch on her uncomfortable sofa just to hear her stories. She was proud that after working thirty years as a maid, she spent the next thirty years as a live-in housekeeper, carrying the keys to rich houses and keeping meticulous accounts.

“Living in lets the white folks know Negroes are as neat and clean as they are, sometimes more so. And it gives the Negro maid a chance to see white folks ain’t no

1. Parents and their children make up what is called the nuclear family. One’s extended family includes other relatives who are related by blood or marriage.

2. Here, sinewy (sin�Ū ē ) could mean “physically powerful” or “vigorously healthy.”

Memoir How does this passage suggest that the essay is an example of a memoir and not an autobiography?

meticulous (mi tik�yə ləs) adj. characterized by great or excessive concern about details

Vocabulary

323

Intermediate English learners may fi nd it diffi cult to visualize Aunt Tee’s apartment as Angelou describes it in the second paragraph. For example, students may not know what a doily is, so point out that a doily is a small lace covering that is used to protect furniture. Tell students that wax fl owers are artifi cial. Use the painting as an example of a formal room like the one Angelou describes. Explain that the painting

is similar to Aunt Tee’s apartment but that it is not an exact representation because it does not depict the sofa that the narrator sits on or the china fi gurines mentioned in the memoir. Encourage students to draw pictures showing their images of the apartment.

TeachBig Idea 1

The Power of Memory Ask: How might this memory have aff ected Angelou’s life? How might it have aff ected Aunt Tee’s life? (Angelou learned to enjoy life. Aunt Tee could appreciate the things she had.)

Literary Element 2

Memoir Answer: In a memoir, the author usually looks back on a specifi c incident. An autobiography covers a longer period. Ask: Why might an author write a mem-oir instead of or in addition to an autobiography? (The author has a particular lesson or story to share.) APPROACHING Explain to

approaching-level students that authors use the framework of a memoir when they relate their own interesting, meaningful, or humorous experiences to family or friends.

For additional literary element practice, see Unit 2 Teaching Resources Book, p. 54.

For an audio recording of this selection, use Listening Library Audio CD-ROM.

Readability ScoresDale-Chall: 7.7DRP: 59Lexile: 1110

UNIVERSAL ACCESS

English Learners

CACA ELA R 3.2 Compare and contrast the presen-tation of a similar theme or topic across genres to explain how the selection of genre shapes the theme or topic.

1

2

Resource Suggestions at Point-of-Use Helpful suggestions for using Glencoe Literature ancillary material to differentiate instruction.

Skills InstructionThese notes provide additional instruction and support for the skills taught in a lesson. They are geared toward English learners, on-level, advanced, and approaching-level students.

Proficiency LevelsNotes provide leveled practice and activities for two levels of approaching-level students—benchmark and strategic—and for three levels of English learners—beginning/early intermediate, intermediate, and early advanced.

Teaching NotesNotes provide support for students who are speakers of African American vernacular English.




Before You ReadLiterature and Reading PreviewConnect to the Short StoryHas your first impression of someone ever turned out to be wrong? Freewrite for a few minutes about a time when you were mistaken about a first impression.

Build Background“The Open Window” takes place in the early 1900s at an English country house set on an estate with hunting grounds. At the time of this story, it was not unusual for upper-class families to welcome into their homes strangers who brought with them a letter of introduction from a mutual acquaintance.

Set Purposes for Reading Big Idea Encountering the UnexpectedAs you read “The Open Window,” ask yourself, how does Saki use the twists and turns in the story to manipulate not only the story characters, but his readers as well?

Literary Element FlashbackA flashback is an interruption of the chronological order of the story to show an event that happened earlier. As you read, ask yourself, How does Saki use flashback to give information that helps explain the main events of the story?

Reading Strategy Identify SequenceTo identify sequence is to recognize the order of events in a literary work. As you read, ask yourself, What clues or signal words point to the chronological, or time, order of events?

Tip: Organize Events Use a sequence chart to put important events in the story in chronological order.

Sequence of EventsSequence of Events

After that: Vera asks Nuttel if he knows anything about her aunt, and he says, “Only her name and address.”

➧➧

Next: Vera tells Nuttel about her aunt’s “great tragedy.”

The first thing that happens is: Framton Nuttel waits for Mrs. Sappleton with her niece Vera.

SAKI 11

Content StandardsCACAFor pages 10–16

Reading: 3.6 Analyze and trace an author’s development of time and sequence, including the use of complex literary devices (e.g., foreshadowing, flashbacks).

self-possessed (self́ pə zest�) adj. in control of oneself; com-posed; p. 12 Many people were nervous, but she was completely self-possessed.

duly (dōṓ̄̄ le) adv. rightfully; suitably; p. 12 He was duly impressed with the grand house.

infirmity (in fur� mə tē ) n. a weakness or ailment; p. 13 He once was a vibrant, energetic man, but age and infirmity had slowed him down.

imminent (im� ə nənt) adj. likely to happen soon; p. 14 Dark, thick clouds are gathering, and rain seems imminent.

Vocabulary

11

FocusSummaryFramton Nuttel calls on Mrs. Sap-pleton. As he awaits Mrs. Sapple-ton, her niece tells him that it is the third anniversary of the disappear-ance of a hunting party led by Mrs. Sappleton’s husband and that the distraught Mrs. Sappleton refuses to accept the loss and keeps the French window open for the party’s return. Nuttel fl ees in fear when he sees the supposedly long-missing hunting party approach the house.

VocabularyContext Clues Remind students that context clues may defi ne an unfamiliar word, provide examples of the word, or off er contrasts to the word. Point out in the Vocabu-lary box the example sentence for the word infi rmity. Ask: What words in this sentence contrast with the word infi rmity? (vibrant, energetic).

Beginning Review with English learners that traditional short stories have a begin-ning, a middle, and an end. In the beginning of a story, the author provides background information about characters and setting and hints at the action to come. Most of the action of a story takes place in the middle of a story. The end of the story reveals the results of the action. Explain that in the beginning of this story, Framton Nuttel arrives at Mrs. Sappleton’s home and meets

her niece. In the middle of the story, the niece reveals information about her aunt. At the end of the story, this information causes Nuttel to run away. Have students create charts with the headings Beginning, Middle, and End, and note details of the story under each heading. After reading, discuss with students the details they recorded.

For summaries in languages other than English, see Unit 1 Resources Book, pp. 21–24.

For additional context, see Glencoe Visual Vocabulary CD-ROM.

For additional vocabulary practice, see Unit 1 Teaching Resources Book, p. 27.

CACA ELA R 1.1 Identify and use the literal and fi gurative meanings of words and understand word derivations

UNIVERSAL ACCESS

English Learners

Universal AccessActivities for your diverse classrooms are clearly labeled. These activities build students’ proficiency by targeting content area knowledge and by providing strategies to introduce, teach, and reinforce concepts.

Vocabulary Preteaching Because vocabulary is a key component of reading success, we provide additional vocabulary preteaching activities for struggling students and English learners in your classroom.




Universal Access 61

80 UNIT 1 THE SHORT STORY

When the eyes of Prince Prospero fell upon this spectral image (which, with a slow and solemn movement, as if more fully to sustain its rôle, stalked to and fro among the waltzers) he was seen to be convulsed, in the first moment with a strong

spectral (spek� trəl) adj. ghostlike

Vocabulary

Eyes in Darkness. Artist Unknown.

In Eyes in Darkness, the artist creates a shadowy figure who gazes directly at the viewer in an almost confrontational manner. How does the directness that this figure exhibits compare with the demeanor of the intruder who brings the Red Death?

shudder either of terror or distaste; but, in the next, his brow reddened with rage.

“Who dares”—he demanded hoarsely of the courtiers who stood near him—“who dares insult us with this blasphemous

blasphemous (blas� fə məs) adj. showing disrespect or scorn for God or anything sacred

Vocabulary

80

Teach Big Idea 1

Encountering the Unexpected Ask: Who might this guest be? (Answers might include a disgruntled guest who wants to punish the prince for his immoral behavior.)

Cultural History S Black Death As is true in this story, the plague in Europe during the mid-1300s did not discrimi-nate between the upper and lower classes. For example, both Queen Eleanor of Aragon and King Alfonso XI of Castile both died of plague. Religious fi gures such as priests and bishops also fell victim to the plague.

Create Dialogue Poe’s story has little dialogue. Help students brainstorm guide-

lines for adding and presenting dialogue. Guidelines might include the following:

Use language appropriate to the charac-ter, time, and setting.Provide information about events, as well as reactions to them or questions about them.

•

•

Use voice infl ections appropriate to the mood and tone.

Have small groups of students write a dialogue to go with the appearance of the mysterious guest. Suggest that each group write the dialogue, practice it, and present it to the class. Remind students to practice the type of voice and any hand gestures they wish to use in their performances.

•SMALL GROUP

S Answer: Students may point out that both the shadowy fi gure in the painting and the intruder who brings the Red Death are “creepy.” Students should also mention that the fi gure in the painting and the intruder exhibit a similar directness and confrontational manner.

REVIEWSPIRAL

Speaking Practice

CACA ELA LS 1.9 Analyze the occasion and the interests of the audience and choose eff ective verbal and nonverbal techniques (e.g., voice, gestures, eye contact) for presentations.

1

1

Progress Check

26 UNIT 1 THE SHORT STORY

After You Read

Respond and Think CriticallyRespond and Interpret1. Did the ending of the story surprise you? Why

or why not?

2. (a)Describe how the narrator comes upon Henry’s cottage. How is his cottage different from the other dwellings that the narrator has seen in the area? (b)Why is this difference surprising?

3. (a)Explain what the narrator learns at the end of the story about the woman. (b)Why do Henry’s friends wait so long to reveal the truth to the narrator?

Analyze and Evaluate4. What is the narrator’s attitude toward the men

who live in the log cabins? Support your answer with evidence from the story.

5. (a)Identify three or more ways that Twain builds suspense. (b)Which do you think was most effective?

6. (a)Why do you think Twain decides not to reveal Henry’s wife’s name? (b)Do you think this makes the story more effective? Explain.

Connect7. Big Idea Encountering the Unexpected

(a)In what ways does the fi nal twist in the plot change the way you think about the characters? (b)Do you think Twain intended you to change your ideas about the character? Why or why not?

8. Connect to Today If “The Californian’s Tale” were set in today’s society, how would you expect Henry’s friends to react on the anniver-sary of his wife’s death?

Review: PlotAs you learned on page 8– 9, writers use exposi-tion to introduce the setting, the characters, and the plot of a story. In “The Californian’s Tale,” the exposition helps readers picture the land along the Stanislaus River, the cottage, and Henry. The expo-sition also helps readers enter into the events wit-nessed by the narrator once he enters the cottage. Turn to the beginning of “The Californian’s Tale” and reread Twain’s exposition.

Partner Activity Work with another classmate to fill in a graphic organizer like the one shown. In the graphic organizer, record details of the story that help readers gain their first impressions of the set-ting, characters, and plot. Share your organizer with the class.

Setting CharactersThe narrator, a prospector

for gold

Plot

Exposition

➞ ➞

Literary Element Foreshadowing

1. Which detail foreshadows the ending of the story?

A Henry’s wife was nineteen when she married.

B The house is perfectly in order and spotlessly clean.

C Tom, Joe, and Charley all speak very highly of Henry’s wife.

D Henry’s wife wrote a letter remembering all of her friends at home.

2. Which plot event helps foreshadow the story’s conclusion?

A Henry’s increasing anxiety as the hour of his wife’s return approaches

B Henry’s hospitality to a complete stranger

C the young wife’s capture by Indians

D the narrator’s delight in Henry’s beautiful house

Standards Practice R 3.6CACA

26

After You Read

Assess1. Answers will vary.2. (a) He is prospecting when he

fi nds Henry’s cozy, well-kept cottage. Miners’ cottages are dirty and uncomfortable. (b) Other cottages are deserted and overgrown.

3. (a) Henry’s wife is dead. (b) They may be afraid that the narrator will tell Henry and upset him.

4. The narrator pities them, calling them “living dead men” and “poor fellows.”

5. (a) Descriptions of the cottage, the woman, and Henry; the nar-rator’s desire to see her; Henry’s waiting; and Tom’s statement, “One more drink and she’ll be here.” (b) Students should give one example of suspense.

6. (a)To increase the suspense, or to make her a symbol for women (b) Students may respond to her universality, or say that a named character would make Henry’s grief more poignant.

7. (a) The miners are kind and sensitive. (b) Answers will vary.

8. Answers will vary. Some stu-dents may say that friends in today’s society would be less likely to lie to Henry every year, and would probably help him to fi nd psychological help.

Can students understand the signifi cance of foreshadowing in this selection?

If No ➔ See Unit 1 Teaching Resources Book, p 40.

Literary Element

1. B is the correct answer. The immacu-late condition of the home seems too perfect and creates an uneasy feeling in the reader.

2. A is the correct answer. Henry seems apprehensive without reason.

Review: PlotEncourage students to identify the mood that Twain conveys through the details of plot and setting.

Progress CheckThis feature helps you to monitor your students’ progress and provides strategies to reinforce concepts. IF a student needs help (based on a quick and informal assessment), THEN we provide a suggestion for reteaching.

Grouping IconsFlexible grouping is an effective way to provide instruction to a diverse classroom. These symbols suggest grouping options.

Enrichment NotesEnrichment notes provide cultural and historical information that helps students build a more sophisticated understanding of the literature.





Enrichment ProjectsThe Needs of Advanced LearnersAll teachers know that their students bring different interests and ability levels to the classroom. They have different motivations and needs. In some classrooms, however, every student is asked to do the same tasks at the same pace. For advanced learners, who are capable of undertaking more sophisticated projects and are perhaps insufficiently challenged by both the content and pacing of average classroom work, this situation can be very frustrating. Inquiry-based enrichment projects can help address the needs of advanced learners.

What Is Inquiry-Based Learning?Inquiry is the problem-oriented, researched-based exploration of basic questions that drive and organize disciplines. Through inquiry, students learn essential concepts and strategies for applying those concepts in the real world. They engage the same problems and questions that real practitioners of a given discipline engage, and therefore learn to think, read, and write like experts in that area. Inquiry-based instruction is central to Glencoe Literature: California Treasures. This approach gives students significant reasons or purposes for reading. In Glencoe Literature, reading, writing, and language activities are organized around Big Ideas, designed to make learning matter to students in immediate ways. When students practice a skill or create a writing product, they are also learning to ask and think through important real-life issues. These same Big Ideas are addressed by the inquiry-based projects for advanced learners that follow.

Using the ProjectsEach of the six projects described in the following pages relates to one of the units in Glencoe Literature: California Treasures—Course 5. Each project offers the following:

• • a focus on the unit’s Big Ideas

• • connections to the unit’s literature

• • a schedule to guide a student’s work

• • criteria for self-assessment

• • two options for developing the project


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What projects are available for my advanced learners?

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Project Development OptionsEach project offers the student two different options for developing and presenting the results of his or her inquiry. These options include:

• • print (such as narrative, poem, or essay)

• • oral (such as speech or discussion)

• • performance (such as drama or music)

• • visual (such as drawing or collage)

• • technological (such as computer-based presentations)

• • functional (such as a handbook or survey)

Big Ideas Project Option 1 Option 2U N I T O N E

The Short Story

Encountering the UnexpectedMaking ChoicesLife Transitions

Author Study print performance

U N I T T W O

NonfictionThe Power of MemoryQuests and EncountersKeeping Freedom Alive

Graphic Story visual print

U N I T T H R E E

PoetryThe Energy of the EverydayLoves and LossesIssues of Identity

Survey oral functional

U N I T F O U R

DramaLoyalty and BetrayalPortraits of Real Life

Set Design technological visual

U N I T F I V E

Epic and Myth

Acts of CourageRescuing and Conquering

Informative Presentation

performance technological

U N I T S I X

Genre Fiction

The Extraordinary and Fantastic Travel Guide functional oral


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UNIVERSAL ACCESSCACA Author Study

The Short StoryBig Idea 1 Big Idea 2 Big Idea 3

Encountering the Unexpected Making Choices Life Transitions

U N I T O N EU N I T O N E

ProjectConduct an author study on a writer in the unit, focusing on his or her response to one of the Big Ideas. Develop your author study in a print form or as a performance.

ScheduleConnect and Explore (Weeks 1–2)

• Read literary works in Unit One. • Focus on the Big Ideas.• Explore ideas for your author

study.

Develop Your Project (Weeks 3–4)

• Identify the author you will study. • Research your author’s life and

written works. • Choose a medium and create a

draft of your project.

Revise and Present (Weeks 5–6)

• Revise your author study.• Refine your project. • Present your project.

CriteriaYour project should

• relate to one of the three Big Ideas• show an understanding of the literary works in

Unit One• present a thoughtful analysis of an author’s life and

writing

• show evidence of research• show creativity and attention to detail


Connect and ExploreConnect to the Literature As you read the literary works in Unit One, explore your own thoughts on the three Big Ideas. Use the texts as springboards to exploring other questions that interest you and help you focus on the Big Ideas. Record these questions as they occur to you. For example:

• What part of my life this week could be written as a short story?• What part of my life this week could be written as a short story?• When have I encountered the unexpected?• When have I encountered the unexpected?• What sorts of choices do authors make when they write short stories?• What sorts of choices do authors make when they write short stories?• What periods of transition have I already experienced in my life? • What periods of transition have I already experienced in my life? • What transitions do I expect to experience in the future?• What transitions do I expect to experience in the future?


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Explore and Develop Ideas To understand how an author’s life experiences affect his or her writing, first consider your own thoughts on the Big Ideas. Take time to respond to the questions you developed while reading Unit One. When you encounter these Big Ideas in your life, do the experiences affect your overall attitude or outlook? For example, if you have gone through a period of transition in your life, how has this given you a better understanding of others who experience the same sort of change?

Connect to the Big Ideas As you read, focus on the Big Ideas as well as the texts themselves. Reread the author biographies that precede the selections, noticing how these writers encountered the unexpected, made choices, or experienced periods of transition in their lives. Begin to reflect on how the lives of these authors affected the development of their writing. Here are some examples of links between the authors, their biographies, and the Big Ideas.

• • Encountering the Unexpected Throughout his life, Mark Twain sought new experiences that later served as raw material for his stories and sketches. You could present “The Californian’s Tale” as one result of Twain’s adventures in the West in the early 1860s.

• • Making Choices When Amy Tan went to college, she and her mother disagreed over what course of study she should follow. Using “Two Kinds” as a point of departure, you could explore the crucial role of choice in Tan’s career as a writer.

• • Life Transitions One of the important experiences of Alice Walker’s life was her involvement with the civil rights movement in the South during the 1960s. Using her story “Everyday Use” as background, you could explore how this period helped shaped Walker’s writing.

Also remember that any author in the unit can be paired with any Big Idea; for example, you might explore the role of encountering the unexpected or making choices in the life and work of Alice Walker.





Develop Your ProjectSelect an Author After reflecting upon the Big Ideas, select one writer for your author study. Be sure to choose the author of a story you enjoyed, because your project will involve reading more of his or her work. You will also be researching the life of the author, so pick an author who has a background that you would like to learn more about.

• • Research your author Find out as much as you can about your author. Remember that your aim in this project is to give your audience a fuller understanding of the writer’s life. Use the library and reliable Internet resources for biographical and autobiographical material, interviews, and critical articles dealing with your author. If your author is living, look online to see if he or she has a Web site. Throughout your research, pay special attention to any life transitions, unexpected encounters, or important choices that you discover in your author’s past. During this process of research you can decide which Big Idea to focus on in your author study.

• • Research your author’s work Now that you know more about your author, find out where you see traces of autobiography within his or her body of work. Online sources may help you decide where to begin your reading by providing lists and summaries of your author’s writing. You may decide to reference several works by your author, or to do a more thorough reading of a single story. Remember that the events of the story you choose and of your author’s history do not have to perfectly align; you should just be able to connect the author’s life to the story in some significant way.

Choose a Medium Think of what medium you would like to use for your project. Consider your talents, what you are trying to say in your author study, and the needs of your audience. If you want to include a lot of your own voice to do a close reading of a story, an essay may be the best choice. If the story you choose (or an episode of your author’s life) has potential for being acted out, think about working with a group to do a performance. Once you have chosen a medium, begin creating a draft of your report or a script and plan for your performance.



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Revise and PresentRevise Your Author Study At this point, you have created a rough draft of your print project, or are well into development of your performance. Now take some time to think about what is working in your project so far, and what still needs to be done.

• • Check your organization Make sure your project has an organization that will help your reader or audience understand and enjoy your author study. In a report, you may decide to first present background information on your author’s life, and then move on to talking about the story you choose. For a performance, you might choose to overlap a story from your author’s life with a story he or she wrote. Or you might have someone act the part of your author, and do a “behind the scenes” narration of a scene from a story.

• • Check your schedule Look ahead and make sure to schedule your time appropriately to complete your project. If you will need to rehearse your performance, have you made sure that everyone involved is available? If you are creating a print project, have you left time for an outside reader to check your work?

Refine and Polish Your Project Have a partner read your current draft or see a rehearsal of your performance. Ask your partner to give you feedback on the following questions:

• • How does my author study provide insight into my chosen writer’s life?

• • How does my author study provide insight into this writer’s work?

• • How does my project relate to one of the Big Ideas?

Share Your Project After using your partner’s feedback to make any final changes, share your author study. If you are doing a performance piece for your project, think about inviting other classes to view your work. Be prepared to talk about your author study and answer questions.

Look Back After completing your author study, think back on the entire process. What insight into the Big Ideas did this project reveal? After learning more about an author, are you inspired to read more of his or her work? Or is there another author you would like to learn more about? Consider writing a summary or journal entry to capture your thoughts and reactions.



UNIVERSAL ACCESSCACA Graphic Story

NonfictionBig Idea 1 Big Idea 2 Big Idea 3

The Power of Memory Ques