Appendix B: Text Exemplars and Sample Performance Tasks

COMMON CORE STATE STANDARDS FOR

English Language Arts

Literacy in

History/Social Studies,

Science, and Technical Subjects

Appendix B: Text Exemplars and

Sample Performance Tasks



COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Exemplars of Reading Text Complexity, Quality, and Range

& Sample Performance Tasks Related to Core Standards

Selecting Text Exemplars

The following text samples primarily serve to exemplify the level of complexity and quality that the Standards require

all students in a given grade band to engage with. Additionally, they are suggestive of the breadth of texts that stu-

dents should encounter in the text types required by the Standards. The choices should serve as useful guideposts in

helping educators select texts of similar complexity, quality, and range for their own classrooms. They expressly do

not represent a partial or complete reading list.

The process of text selection was guided by the following criteria:

• Complexity. Appendix A describes in detail a three-part model of measuring text complexity based on quali-

tative and quantitative indices of inherent text difﬁculty balanced with educators’ professional judgment in

matching readers and texts in light of particular tasks. In selecting texts to serve as exemplars, the work group

began by soliciting contributions from teachers, educational leaders, and researchers who have experience

working with students in the grades for which the texts have been selected. These contributors were asked to

recommend texts that they or their colleagues have used successfully with students in a given grade band. The

work group made ﬁnal selections based in part on whether qualitative and quantitative measures indicated

that the recommended texts were of sufﬁcient complexity for the grade band. For those types of texts—par-

ticularly poetry and multimedia sources—for which these measures are not as well suited, professional judg-

ment necessarily played a greater role in selection.

• Quality. While it is possible to have high-complexity texts of low inherent quality, the work group solicited only

texts of recognized value. From the pool of submissions gathered from outside contributors, the work group

selected classic or historically signiﬁcant texts as well as contemporary works of comparable literary merit,

cultural signiﬁcance, and rich content.

• Range. After identifying texts of appropriate complexity and quality, the work group applied other criteria to

ensure that the samples presented in each band represented as broad a range of sufﬁciently complex, high-

quality texts as possible. Among the factors considered were initial publication date, authorship, and subject

matter.

For those exemplar texts not in the public domain, we secured permissions and in some cases employed a conser-

vative interpretation of Fair Use, which allows limited, partial use of copyrighted text for a nonproﬁt educational

purpose as long as that purpose does not impair the rights holder’s ability to seek a fair return for his or her work.

In instances where we could not employ Fair Use and have been unable to secure permission, we have listed a title

without providing an excerpt. Thus, some short texts are not excerpted here, as even short passages from them would

constitute a substantial portion of the entire work. In addition, illustrations and other graphics in texts are generally

not reproduced here. Such visual elements are particularly important in texts for the youngest students and in many

informational texts for readers of all ages. (Using the qualitative criteria outlined in Appendix A, the work group con-

sidered the importance and complexity of graphical elements when placing texts in bands.)

When excerpts appear, they serve only as stand-ins for the full text. The Standards require that students engage with

appropriately complex literary and informational works; such complexity is best found in whole texts rather than pas-

sages from such texts.

Please note that these texts are included solely as exemplars in support of the Standards. Any additional use of those

texts that are not in the public domain, such as for classroom use or curriculum development, requires independent

permission from the rights holders. The texts may not be copied or distributed in any way other than as part of the

overall Common Core State Standards Initiative documents.

Sample Performance Tasks

The text exemplars are supplemented by brief performance tasks that further clarify the meaning of the Standards.

These sample tasks illustrate speciﬁcally the application of the Standards to texts of sufﬁcient complexity, quality,

and range. Relevant Reading standards are noted in brackets following each task, and the words in italics in the task

reﬂect the wording of the Reading standard itself. (Individual grade-speciﬁc Reading standards are identiﬁed by their

strand, grade, and number, so that RI.4.3, for example, stands for Reading, Informational Text, grade 4, standard 3.)

APPENDIX B | 2

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

How to Read This Document

The materials that follow are divided into text complexity grade bands as deﬁned by the Standards: K–1, 2–3, 4–5, 6–8,

9–10, and 11–CCR. Each band’s exemplars are divided into text types matching those required in the Standards for

a given grade. K–5 exemplars are separated into stories, poetry, and informational texts (as well as read-aloud texts

in kindergarten through grade 3). The 6–CCR exemplars are divided into English language arts (ELA), history/social

studies, and science, mathematics, and technical subjects, with the ELA texts further subdivided into stories, drama,

poetry, and informational texts. (The history/social studies texts also include some arts-related texts.) Citations intro-

duce each excerpt, and additional citations are included for texts not excerpted in the appendix. Within each grade

band and after each text type, sample performance tasks are included for select texts.

Media Texts

Selected excerpts are accompanied by annotated links to related media texts freely available online at the time of the

publication of this document.

APPENDIX B | 3

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Table of Contents

K–1 Text Exemplars ...........................................................................................................14

Stories ...............................................................................................................................14

Minarik, Else Holmelund. Little Bear.............................................................................. 14

Eastman, P. D. Are You My Mother?............................................................................... 15

Seuss, Dr. Green Eggs and Ham...................................................................................... 15

Lopshire, Robert. Put Me in the Zoo ............................................................................. 15

Lobel, Arnold. Frog and Toad Together ...................................................................... 15

Lobel, Arnold. Owl at Home............................................................................................. 16

DePaola, Tomie. Pancakes for Breakfast...................................................................... 17

Arnold, Tedd. Hi! Fly Guy................................................................................................... 17

Poetry................................................................................................................................ 17

Anonymous. “As I Was Going to St. Ives.” .................................................................. 17

Rossetti, Christina. “Mix a Pancake.” ............................................................................ 17

Fyleman, Rose. “Singing-Time.” ..................................................................................... 18

Milne, A. A. “Halfway Down.”............................................................................................ 18

Chute, Marchette. “Drinking Fountain.” ....................................................................... 18

Hughes, Langston. “Poem.” .............................................................................................. 18

Ciardi, John. “Wouldn’t You?”.......................................................................................... 18

Wright, Richard. “Laughing Boy.”................................................................................... 18

Greenﬁeld, Eloise. “By Myself.”........................................................................................ 18

Giovanni, Nikki. “Covers.”................................................................................................... 18

Merriam, Eve. “It Fell in the City.” ................................................................................... 19

Lopez, Alonzo. “Celebration.”.......................................................................................... 19

Agee, Jon. “Two Tree Toads.”........................................................................................... 19

Read-Aloud Stories .......................................................................................................20

Baum, L. Frank. The Wonderful Wizard of Oz..........................................................20

Wilder, Laura Ingalls. Little House in the Big Woods.............................................20

Atwater, Richard and Florence. Mr. Popper’s Penguins......................................... 21

Jansson, Tove. Finn Family Moomintroll ...................................................................... 21

Haley, Gail E. A Story, A Story.......................................................................................... 21

Bang, Molly. The Paper Crane ......................................................................................... 22

Young, Ed. Lon Po Po: A Red-Riding Hood Story from China............................ 23

Garza, Carmen Lomas. Family Pictures ...................................................................... 23

Mora, Pat. Tomás and the Library Lady....................................................................... 23

Henkes, Kevin. Kitten’s First Full Moon ....................................................................... 24

Read-Aloud Poetry........................................................................................................ 25

Anonymous. “The Fox’s Foray.” ..................................................................................... 25

Langstaff, John. Over in the Meadow. ......................................................................... 26

Lear, Edward. “The Owl and the Pussycat.” .............................................................. 27

Hughes, Langston. “April Rain Song.”.......................................................................... 27

Moss, Lloyd. Zin! Zin! Zin! a Violin ................................................................................. 27

APPENDIX B | 4

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Sample Performance Tasks for Stories and Poetry ............................................... 28

Informational Texts ...................................................................................................... 28

Bulla, Clyde Robert. A Tree Is a Plant .......................................................................... 28

Aliki. My Five Senses .......................................................................................................... 29

Hurd, Edith Thacher. Starﬁsh ..........................................................................................30

Aliki. A Weed is a Flower: The Life of George Washington Carver ..................30

Crews, Donald. Truck..........................................................................................................30

Hoban, Tana. I Read Signs................................................................................................30

Reid, Mary Ebeltoft. Let’s Find Out About Ice Cream ............................................ 31

“Garden Helpers.” National Geographic Young Explorers .................................... 31

“Wind Power.” National Geographic Young Explorers ........................................... 31

Read-Aloud Informational Texts ................................................................................. 31

Provensen, Alice and Martin. The Year at Maple Hill Farm.................................... 31

Gibbons, Gail. Fire! Fire!..................................................................................................... 31

Dorros, Arthur. Follow the Water from Brook to Ocean....................................... 32

Rauzon, Mark, and Cynthia Overbeck Bix. Water, Water Everywhere ............ 33

Llewellyn, Claire. Earthworms......................................................................................... 33

Jenkins, Steve, and Robin Page. What Do You Do With a Tail Like This? ...... 33

Pfeffer, Wendy. From Seed to Pumpkin...................................................................... 33

Thomson, Sarah L. Amazing Whales!........................................................................... 34

Hodgkins, Fran, and True Kelley. How People Learned to Fly............................34

Sample Performance Tasks for Informational Texts.............................................. 36

Grades 2–3 Text Exemplars ........................................................................................... 37

Stories .............................................................................................................................. 37

Gannett, Ruth Stiles. My Father’s Dragon.................................................................. 37

Averill, Esther. The Fire Cat.............................................................................................. 37

Steig, William. Amos & Boris........................................................................................... 38

Shulevitz, Uri. The Treasure.............................................................................................. 38

Cameron, Ann. The Stories Julian Tells ....................................................................... 38

MacLachlan, Patricia. Sarah, Plain and Tall ................................................................ 38

Rylant, Cynthia. Henry and Mudge: The First Book of Their Adventures....... 39

Stevens, Janet. Tops and Bottoms................................................................................40

LaMarche, Jim. The Raft....................................................................................................40

Rylant, Cynthia. Poppleton in Winter...........................................................................40

Rylant, Cynthia. The Lighthouse Family: The Storm ............................................... 41

Osborne, Mary Pope. The One-Eyed Giant

(Book One of Tales from the Odyssey).................................................................. 41

Silverman, Erica. Cowgirl Kate and Cocoa.................................................................42

Poetry............................................................................................................................... 43

Dickinson, Emily. “Autumn.”.............................................................................................43

Rossetti, Christina. “Who Has Seen the Wind?” ...................................................... 43

Millay, Edna St. Vincent. “Afternoon on a Hill.”.........................................................43

APPENDIX B | 5

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Frost, Robert. “Stopping by Woods on a Snowy Evening.” ................................44

Field, Rachel. “Something Told the Wild Geese.”....................................................44

Hughes, Langston. “Grandpa’s Stories.” .....................................................................44

Jarrell, Randall. “A Bat Is Born.” .....................................................................................44

Giovanni, Nikki. “Knoxville, Tennessee.” ......................................................................44

Merriam, Eve. “Weather.” ..................................................................................................45

Soto, Gary. “Eating While Reading.” ............................................................................45

Read-Aloud Stories .......................................................................................................46

Kipling, Rudyard. “How the Camel Got His Hump.” ...............................................46

Thurber, James. The Thirteen Clocks ...........................................................................46

White, E. B. Charlotte’s Web ........................................................................................... 47

Selden, George. The Cricket in Times Square........................................................... 47

Babbitt, Natalie. The Search for Delicious .................................................................48

Curtis, Christopher Paul. Bud, Not Buddy..................................................................48

Say, Allen. The Sign Painter .............................................................................................49

Read-Aloud Poetry........................................................................................................49

Lear, Edward. “The Jumblies.” ........................................................................................49

Browning, Robert. The Pied Piper of Hamelin........................................................... 51

Johnson, Georgia Douglas. “Your World.” ................................................................. 52

Eliot, T. S. “The Song of the Jellicles.” ......................................................................... 52

Fleischman, Paul. “Fireﬂies.”............................................................................................ 52

Sample Performance Tasks for Stories and Poetry ............................................... 53

Informational Texts........................................................................................................ 53

Aliki. A Medieval Feast....................................................................................................... 53

Gibbons, Gail. From Seed to Plant................................................................................54

Milton, Joyce. Bats: Creatures of the Night ............................................................... 54

Beeler, Selby. Throw Your Tooth on the Roof:

Tooth Traditions Around the World........................................................................54

Leonard, Heather. Art Around the World ................................................................... 55

Rufﬁn, Frances E. Martin Luther King and the March on Washington ............ 55

St. George, Judith. So You Want to Be President?................................................. 55

Einspruch, Andrew. Crittercam ...................................................................................... 55

Kudlinski, Kathleen V. Boy, Were We Wrong About Dinosaurs.......................... 56

Davies, Nicola. Bat Loves the Night.............................................................................. 56

Floca, Brian. Moonshot: The Flight of Apollo 11 ....................................................... 56

Thomson, Sarah L. Where Do Polar Bears Live?...................................................... 57

Read-Aloud Informational Texts ................................................................................ 57

Freedman, Russell. Lincoln: A Photobiography ....................................................... 57

Coles, Robert. The Story of Ruby Bridges ................................................................. 58

Wick, Walter. A Drop of Water: A Book of Science and Wonder...................... 58

Smith, David J. If the World Were a Village:

A Book about the World’s People........................................................................... 59

Aliki. Ah, Music! .................................................................................................................... 59

APPENDIX B | 6

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Mark, Jan. The Museum Book:

A Guide to Strange and Wonderful Collections ................................................ 59

D’Aluisio, Faith. What the World Eats..........................................................................60

Arnosky, Jim. Wild Tracks! A Guide to Nature’s Footprints.................................60

Deedy, Carmen Agra. 14 Cows for America...............................................................60

Sample Performance Tasks for Informational Texts............................................... 61

Grades 4–5 Text Exemplars ........................................................................................... 63

Stories .............................................................................................................................. 63

Carroll, Lewis. Alice’s Adventures in Wonderland................................................... 63

Burnett, Frances Hodgson. The Secret Garden ....................................................... 63

Farley, Walter. The Black Stallion...................................................................................64

Saint-Exupéry, Antoine de. The Little Prince ............................................................64

Babbitt, Natalie. Tuck Everlasting..................................................................................64

Singer, Isaac Bashevis. “Zlateh the Goat.”..................................................................64

Hamilton, Virginia. M. C. Higgins, the Great...............................................................64

Erdrich, Louise. The Birchbark House.......................................................................... 65

Curtis, Christopher Paul. Bud, Not Buddy.................................................................. 65

Lin, Grace. Where the Mountain Meets the Moon................................................... 66

Poetry............................................................................................................................... 66

Blake, William. “The Echoing Green.” ..........................................................................66

Lazarus, Emma. “The New Colossus.” ......................................................................... 67

Thayer, Ernest Lawrence. “Casey at the Bat.”........................................................... 67

Dickinson, Emily. “A Bird Came Down the Walk.” ...................................................68

Sandburg, Carl. “Fog.” ....................................................................................................... 69

Frost, Robert. “Dust of Snow.”........................................................................................69

Dahl, Roald. “Little Red Riding Hood and the Wolf.”.............................................69

Nichols, Grace. “They Were My People.” .................................................................... 69

Mora, Pat. “Words Free As Confetti.”...........................................................................69

Sample Performance Tasks for Stories and Poetry ...............................................70

Informational Texts........................................................................................................70

Berger, Melvin. Discovering Mars: The Amazing Story of the Red Planet......70

Carlisle, Madelyn Wood. Let’s Investigate Marvelously Meaningful Maps....... 71

Lauber, Patricia. Hurricanes: Earth’s Mightiest Storms........................................... 71

Otﬁnoski, Steve. The Kid’s Guide to Money: Earning It,

Saving It, Spending It, Growing It, Sharing It....................................................... 71

Wulffson, Don. Toys!: Amazing Stories Behind Some Great Inventions .......... 71

Schleichert, Elizabeth. “Good Pet, Bad Pet.” ............................................................. 71

Kavash, E. Barrie. “Ancient Mound Builders.” ............................................................ 71

Koscielniak, Bruce. About Time: A First Look at Time and Clocks .................... 71

Banting, Erinn. England the Land.................................................................................. 72

Hakim, Joy. A History of US............................................................................................. 72

Ruurs, Margriet. My Librarian Is a Camel: How Books

Are Brought to Children Around the World........................................................ 72

Simon, Seymour. Horses ................................................................................................... 73

APPENDIX B | 7

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Montgomery, Sy. Quest for the Tree Kangaroo:

An Expedition to the Cloud Forest of New Guinea .......................................... 73

Simon, Seymour. Volcanoes ............................................................................................ 74

Nelson, Kadir. We Are the Ship: The Story of Negro League Baseball............ 74

Cutler, Nellie Gonzalez. “Kenya’s Long Dry Season.”............................................. 74

Hall, Leslie. “Seeing Eye to Eye.”.................................................................................... 74

Ronan, Colin A. “Telescopes.” ......................................................................................... 75

Buckmaster, Henrietta. “Underground Railroad.”.................................................... 76

Sample Performance Tasks for Informational Texts.............................................. 76

Grades 6–8 Text Exemplars ........................................................................................... 77

Stories .............................................................................................................................. 77

Alcott, Louisa May. Little Women.................................................................................. 77

Twain, Mark. The Adventures of Tom Sawyer ........................................................... 77

L’Engle, Madeleine. A Wrinkle in Time......................................................................... 79

Cooper, Susan. The Dark Is Rising................................................................................. 79

Yep, Laurence. Dragonwings...........................................................................................80

Taylor, Mildred D. Roll of Thunder, Hear My Cry.......................................................80

Hamilton, Virginia. “The People Could Fly.”...............................................................80

Paterson, Katherine. The Tale of the Mandarin Ducks ............................................ 81

Cisneros, Sandra. “Eleven.” ............................................................................................... 81

Sutcliff, Rosemary. Black Ships Before Troy: The Story of the Iliad................... 81

Drama ............................................................................................................................... 82

Fletcher, Louise. Sorry, Wrong Number ...................................................................... 82

Goodrich, Frances and Albert Hackett. The Diary of Anne Frank: A Play ..... 83

Poetry............................................................................................................................... 83

Longfellow, Henry Wadsworth. “Paul Revere’s Ride.” ........................................... 83

Whitman, Walt. “O Captain! My Captain!” ................................................................. 85

Carroll, Lewis. “Jabberwocky.”........................................................................................ 85

Navajo tradition. “Twelfth Song of Thunder.” ........................................................... 86

Dickinson, Emily. “The Railway Train.” ......................................................................... 86

Yeats, William Butler. “The Song of Wandering Aengus.” ................................... 87

Frost, Robert. “The Road Not Taken.”.......................................................................... 87

Sandburg, Carl. “Chicago.”............................................................................................... 87

Hughes, Langston. “I, Too, Sing America.”................................................................. 88

Neruda, Pablo. “The Book of Questions.”...................................................................88

Soto, Gary. “Oranges.” ....................................................................................................... 88

Giovanni, Nikki. “A Poem for My Librarian, Mrs. Long.” ........................................ 88

Sample Performance Tasks for Stories, Drama, and Poetry................................ 89

Informational Texts: English Language Arts ...........................................................90

Adams, John. “Letter on Thomas Jefferson.” ..........................................................90

Douglass, Frederick. Narrative of the Life of Frederick Douglass

an American Slave, Written by Himself.................................................................. 91

APPENDIX B | 8

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Churchill, Winston. “Blood, Toil, Tears and Sweat:

Address to Parliament on May 13th, 1940.” .......................................................... 91

Petry, Ann. Harriet Tubman: Conductor on the Underground Railroad.......... 92

Steinbeck, John. Travels with Charley: In Search of America ............................. 92

Sample Performance Tasks for Informational Texts:

English Language Arts ................................................................................................. 93

Informational Texts: History/Social Studies ............................................................ 93

United States. Preamble and First Amendment

to the United States Constitution. (1787, 1791)................................................... 93

Isaacson, Phillip. A Short Walk through the Pyramids

Greenberg, Jan, and Sandra Jordan. Vincent Van Gogh:

Partridge, Elizabeth. This Land Was Made for You and Me:

Monk, Linda R. Words We Live By:

Freedman, Russell. Freedom Walkers:

Lord, Walter. A Night to Remember............................................................................. 93

and through the World of Art................................................................................... 93

Murphy, Jim. The Great Fire.............................................................................................94

Portrait of an Artist.......................................................................................................94

The Life and Songs of Woody Guthrie ..................................................................94

Your Annotated Guide to the Constitution.......................................................... 95

The Story of the Montgomery Bus Boycott......................................................... 95

Informational Texts: Science, Mathematics, and Technical Subjects ................ 96

Macaulay, David. Cathedral: The Story of Its Construction ................................. 96

Mackay, Donald. The Building of Manhattan ............................................................. 96

Enzensberger, Hans Magnus. The Number Devil:

A Mathematical Adventure ........................................................................................ 96

Peterson, Ivars and Nancy Henderson. Math Trek:

Adventures in the Math Zone.................................................................................... 97

Katz, John. Geeks: How Two Lost Boys Rode the Internet out of Idaho........ 97

Petroski, Henry. “The Evolution of the Grocery Bag.” ...........................................98

“Geology.” U*X*L Encyclopedia of Science ...............................................................98

“Space Probe.” Astronomy & Space:

From the Big Bang to the Big Crunch...................................................................98

“Elementary Particles.” New Book of Popular Science.........................................99

California Invasive Plant Council. Invasive Plant Inventory.................................. 99

Sample Performance Tasks for Informational Texts:

History/Social Studies & Science, Mathematics, and Technical Subjects....... 100

Grades 9–10 Text Exemplars ........................................................................................ 101

Stories ............................................................................................................................. 101

Homer. The Odyssey.......................................................................................................... 101

Ovid. Metamorphoses....................................................................................................... 101

Gogol, Nikolai. “The Nose.” .............................................................................................102

De Voltaire, F. A. M. Candide, Or The Optimist ...................................................... 103

Turgenev, Ivan. Fathers and Sons................................................................................ 104

Henry, O. “The Gift of the Magi.”.................................................................................. 104

Kafka, Franz. The Metamorphosis ............................................................................... 105

APPENDIX B | 9

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Steinbeck, John. The Grapes of Wrath...................................................................... 105

Bradbury, Ray. Fahrenheit 451 ...................................................................................... 106

Olsen, Tillie. “I Stand Here Ironing.”............................................................................ 106

Achebe, Chinua. Things Fall Apart...............................................................................107

Lee, Harper. To Kill A Mockingbird...............................................................................107

Shaara, Michael. The Killer Angels............................................................................... 108

Tan, Amy. The Joy Luck Club ........................................................................................ 108

Álvarez, Julia. In the Time of the Butterﬂies ........................................................... 108

Zusak, Marcus. The Book Thief..................................................................................... 109

Drama .............................................................................................................................. 110

Sophocles. Oedipus Rex .................................................................................................. 110

Shakespeare, William. The Tragedy of Macbeth .......................................................111

Ibsen, Henrik. A Doll’s House ..........................................................................................113

Williams, Tennessee. The Glass Menagerie ................................................................114

Ionesco, Eugene. Rhinoceros..........................................................................................115

Fugard, Athol. “Master Harold”…and the boys .........................................................116

Poetry.............................................................................................................................. 116

Shakespeare, William. “Sonnet 73.”..............................................................................116

Donne, John. “Song.” .........................................................................................................116

Shelley, Percy Bysshe. “Ozymandias.”.........................................................................117

Poe, Edgar Allan. “The Raven.” ......................................................................................117

Dickinson, Emily. “We Grow Accustomed to the Dark.”.......................................119

Houseman, A. E. “Loveliest of Trees.” ........................................................................ 120

Johnson, James Weldon. “Lift Every Voice and Sing.” ....................................... 120

Cullen, Countee. “Yet Do I Marvel.”............................................................................. 120

Auden, Wystan Hugh. ”Musée des Beaux Arts.” ................................................... 120

Walker, Alice. “Women.”.................................................................................................. 120

Baca, Jimmy Santiago. “I Am Offering This Poem to You.” ................................121

Sample Performance Tasks for Stories, Drama, and Poetry................................121

Informational Texts: English Language Arts ..........................................................122

Henry, Patrick. “Speech to the Second Virginia Convention.”...........................122

Smith, Margaret Chase. “Remarks to the Senate in Support

King, Jr., Martin Luther. “I Have a Dream: Address Delivered at the

Washington, George. “Farewell Address.” ...............................................................123

Lincoln, Abraham. “Gettysburg Address.” ...............................................................123

Lincoln, Abraham. “Second Inaugural Address.” ...................................................124

Roosevelt, Franklin Delano. “State of the Union Address.” ...............................124

Hand, Learned. “I Am an American Day Address.” ..............................................125

of a Declaration of Conscience.” ...........................................................................125

King, Jr., Martin Luther. “Letter from Birmingham Jail.” ......................................127

March on Washington, D.C., for Civil Rights on August 28, 1963.” ............127

Angelou, Maya. I Know Why the Caged Bird Sings...............................................128

Wiesel, Elie. “Hope, Despair and Memory.”...............................................................128

Reagan, Ronald. “Address to Students at Moscow State University.”............128

Quindlen, Anna. “A Quilt of a Country.”.....................................................................129

APPENDIX B | 10

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Sample Performance Tasks for Informational Texts:

English Language Arts ................................................................................................129

Informational Texts: History/Social Studies .......................................................... 130

Brown, Dee. Bury My Heart at Wounded Knee:

An Indian History of the American West............................................................ 130

Connell, Evan S. Son of the Morning Star: Custer and the Little Bighorn.... 130

Gombrich, E. H. The Story of Art, 16th Edition .........................................................131

Kurlansky, Mark. Cod: A Biography of the Fish That Changed the World .....131

Haskins, Jim. Black, Blue and Gray: African Americans in the Civil War ........131

Dash, Joan. The Longitude Prize ..................................................................................132

Thompson, Wendy. The Illustrated Book of Great Composers.........................132

Mann, Charles C. Before Columbus: The Americas of 1491.................................133

Informational Texts: Science, Mathematics, and Technical Subjects ...............133

Euclid. Elements..................................................................................................................133

Cannon, Annie J. “Classifying the Stars.” ..................................................................135

Walker, Jearl. “Amusement Park Physics.”................................................................136

Preston, Richard. The Hot Zone: A Terrifying True Story.....................................136

Devlin, Keith. Life by the Numbers ..............................................................................137

Hoose, Phillip. The Race to Save Lord God Bird ..................................................... 137

Hakim, Joy. The Story of Science: Newton at the Center....................................137

Nicastro, Nicholas. Circumference: Eratosthenes and the

Ancient Quest to Measure the Globe....................................................................137

U.S. Environmental Protection Agency/U.S. Department of Energy.

Recommended Levels of Insulation.......................................................................138

Sample Performance Tasks for Informational Texts:

History/Social Studies & Science, Mathematics, and Technical Subjects........138

Grades 11–CCR Text Exemplars................................................................................... 140

Stories ............................................................................................................................ 140

Chaucer, Geoffrey. The Canterbury Tales ................................................................ 140

de Cervantes, Miguel. Don Quixote ............................................................................ 140

Austen, Jane. Pride and Prejudice ...............................................................................142

Poe, Edgar Allan. “The Cask of Amontillado.”.........................................................143

Brontë, Charlotte. Jane Eyre ......................................................................................... 144

Hawthorne, Nathaniel. The Scarlet Letter .................................................................145

Dostoevsky, Fyodor. Crime and Punishment .......................................................... 146

Jewett, Sarah Orne. “A White Heron.”....................................................................... 146

Melville, Herman. Billy Budd, Sailor .............................................................................147

Chekhov, Anton. “Home.” ................................................................................................148

Fitzgerald, F. Scott. The Great Gatsby....................................................................... 149

Faulkner, William. As I Lay Dying................................................................................. 149

Hemingway, Ernest. A Farewell to ............................................................................. 150

Hurston, Zora Neale. Their Eyes Were Watching God......................................... 150

Borges, Jorge Luis. “The Garden of Forking Paths.”............................................ 150

Bellow, Saul. The Adventures of Augie March ..........................................................151

Morrison, Toni. The Bluest Eye.......................................................................................152

APPENDIX B | 11

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Garcia, Cristina. Dreaming in Cuban ...........................................................................152

Lahiri, Jhumpa. The Namesake......................................................................................152

Drama ..............................................................................................................................153

Shakespeare, William. The Tragedy of Hamlet ........................................................153

Molière, Jean-Baptiste Poquelin. Tartue .................................................................153

Wilde, Oscar. The Importance of Being Earnest.....................................................154

Wilder, Thornton. Our Town: A Play in Three Acts.................................................156

Miller, Arthur. Death of a Salesman..............................................................................156

Hansberry, Lorraine. A Raisin in the Sun....................................................................156

Soyinka, Wole. Death and the King’s Horseman: A Play......................................157

Poetry.............................................................................................................................. 157

Li Po. “A Poem of Changgan.” ....................................................................................... 157

Donne, John. “A Valediction Forbidding Mourning.” ............................................ 157

Wheatley, Phyllis. “On Being Brought From Africa to America.”.....................158

Keats, John. “Ode on a Grecian Urn.”.........................................................................158

Whitman, Walt. “Song of Myself.” ................................................................................159

Dickinson, Emily. “Because I Could Not Stop for Death.” .................................. 160

Tagore, Rabindranath. “Song VII.”............................................................................... 160

Eliot, T. S. “The Love Song of J. Alfred Prufrock.”................................................. 160

Pound, Ezra. “The River Merchant’s Wife: A Letter.”............................................ 160

Frost, Robert. “Mending Wall.”.......................................................................................161

Neruda, Pablo. “Ode to My Suit.” .................................................................................162

Bishop, Elizabeth. “Sestina.”...........................................................................................162

Ortiz Cofer, Judith. “The Latin Deli: An Ars Poetica.”...........................................162

Dove, Rita. “Demeter’s Prayer to Hades.”..................................................................163

Collins, Billy. “Man Listening to Disc.” .........................................................................163

Sample Performance Tasks for Stories, Drama, and Poetry...............................163

Informational Texts: English Language Arts ......................................................... 164

Paine, Thomas. Common Sense................................................................................... 164

Jefferson, Thomas. The Declaration of Independence........................................ 164

United States. The Bill of Rights (Amendments One through Ten

of the United States Constitution). .......................................................................166

Thoreau, Henry David. Walden......................................................................................167

Emerson, Ralph Waldo. “Society and Solitude.”.....................................................167

Porter, Horace. “Lee Surrenders to Grant, April 9th, 1865.” ...............................168

Chesterton, G. K. “The Fallacy of Success.”..............................................................169

Mencken, H. L. The American Language, 4th Edition ...........................................169

Wright, Richard. Black Boy.............................................................................................170

Orwell, George. “Politics and the English Language.”..........................................170

Hofstadter, Richard. “Abraham Lincoln and the Self-Made Myth.”..................170

Tan, Amy. “Mother Tongue.” ...........................................................................................170

Anaya, Rudolfo. “Take the Tortillas Out of Your Poetry.” .....................................171

Sample Performance Tasks for Informational Texts:

English Language Arts .................................................................................................171

APPENDIX B | 12

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Informational Texts: History/Social Studies ...........................................................172

Tocqueville, Alexis de. Democracy in America........................................................172

Declaration of Sentiments by the Seneca Falls Conference ..............................172

Douglass, Frederick. “What to the Slave Is the Fourth of July?:

An Address Delivered in Rochester, New York, on 5 July 1852.”................173

An American Primer. Edited by Daniel J. Boorstin ................................................175

Lagemann, Ellen Condliffe. “Education.”...................................................................175

McPherson, James M. What They Fought For 1861–1865 ....................................175

The American Reader: Words that Moved a Nation, 2nd Edition.....................175

Amar, Akhil Reed. America’s Constitution: A Biography.....................................176

McCullough, David. 1776 ..................................................................................................176

Bell, Julian. Mirror of the World: A New History of Art ........................................176

FedViews by the Federal Reserve Bank of San Francisco..................................177

Informational Texts: Science, Mathematics, and Technical Subjects ...............179

Paulos, John Allen. Innumeracy:

Mathematical Illiteracy and Its Consequences ..................................................179

Gladwell, Malcolm. The Tipping Point: How Little Things

Tyson, Neil deGrasse. “Gravity in Reverse:

Calishain, Tara, and Rael Dornfest. Google Hacks:

Can Make a Big Dierence........................................................................................179

The Tale of Albert Einstein’s ‘Greatest Blunder.’”.............................................179

Tips & Tools for Smarter Searching, 2nd Edition ............................................. 180

Kane, Gordon. “The Mysteries of Mass.” ................................................................... 180

Fischetti, Mark. “Working Knowledge: Electronic Stability Control.”..............181

U.S. General Services Administration. Executive Order 13423:

Strengthening Federal Environmental, Energy,

and Transportation Management ............................................................................181

Kurzweil, Ray. “The Coming Merger of Mind and Machine.” ..............................182

Gibbs, W. Wayt. “Untangling the Roots of Cancer.”..............................................182

Gawande, Atul. “The Cost Conundrum:

Health Care Costs in McAllen, Texas.” ..................................................................183

Sample Performance Tasks for Informational Texts:

History/Social Studies & Science, Mathematics, and Technical Subjects........183

APPENDIX B | 13

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

K–1 Text Exemplars

Stories

Minarik, Else Holmelund. Little Bear. Illustrated by Maurice Sendak. New York: HarperCollins, 1957. (1957)

From “Birthday Soup”

“Mother Bear, Mother Bear, Where are you?” calls Little Bear.

“Oh, dear, Mother Bear is not here, and today is my birthday.

“I think my friends will come, but I do not see a birthday cake. My goodness – no birthday cake. What can I do?

The pot is by the ﬁre. The water in the pot is hot. If I put something in the water, I can make Birthday Soup. All my

friends like soup.

Let me see what we have. We have carrots and potatoes, peas and tomatoes; I can make soup with carrots, potatoes,

peas and tomatoes.”

So Little Bear begins to make soup in the big black pot. First, Hen comes in. “Happy Birthday, Little Bear,” she says.

“Thank you, Hen,” says Little Bear.

Hen says, “My! Something smells good here. Is it in the big black pot?”

“Yes,” says Little Bear, “I am making Birthday Soup. Will you stay and have some?”

“Oh, yes, thank you,” says Hen. And she sits down to wait.

Next, Duck comes in. “Happy Birthday, Little bear,” says Duck. “My, something smells good. Is it in the big black

pot?”

“Thank you, Duck,” says Little Bear. “Yes, I am making Birthday Soup. Will you stay and have some with us?”

“Thank you, yes, thank you,” says Duck. And she sits down to wait.

Next, Cat comes in.

“Happy Birthday, Little Bear,” he says.

“Thank you, Cat,” says Little Bear. “I hope you like Birthday Soup. I am making Birthday Soup.

Cat says, “Can you really cook? If you can really make it, I will eat it.”

“Good,” says Little Bear. “The Birthday Soup is hot, so we must eat it now. We cannot wait for Mother Bear. I do not

know where she is.”

“Now, here is some soup for you, Hen,” says Little Bear. “And here is some soup for you, Duck, and here is some soup

for you, Cat, and here is some soup for me. Now we can all have some Birthday Soup.”

Cat sees Mother Bear at the door, and says, “Wait, Little Bear. Do not eat yet. Shut your eyes, and say one, two,

three.”

Little Bear shuts his eyes and says, “One, two, three.”

Mother Bear comes in with a big cake.

“Now, look,” says Cat.

“Oh, Mother Bear,” says Little Bear, “what a big beautiful Birthday Cake! Birthday Soup is good to eat, but not as

good as Birthday Cake. I am so happy you did not forget.”

APPENDIX B | 14

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

“Yes, Happy Birthday, Little Bear!” says Mother Bear. “This Birthday Cake is a surprise for you. I never did forget your

birthday, and I never will.”

DAK. Used by permission of HarperCollins Publishers.

Eastman, P. D. Are You My Mother? New York: Random House, 1960. (1960)

A mother bird sat on her egg.

The egg jumped.

“Oh oh!” said the mother bird. “My baby will be here! He will want to eat.”

“I must get something for my baby bird to eat!” she said. “I will be back!”

So away she went.

L. Eastman. Used by permission of Random House Children’s Books, a division of Random House, Inc.

Seuss, Dr. Green Eggs and Ham. New York: Random House, 1960. (1960)

Lopshire, Robert. Put Me in the Zoo. New York: Random House, 1960. (1960)

I will go into the zoo.

I want to see it.

Yes, I do.

I would like to live this way.

This is where I want to stay.

Will you keep me in the zoo?

I want to stay in here with you.

this text, such as for classroom use or curriculum development, requires independent permission from Random House,

Inc.

Mayer, Mercer. A Boy, a Dog and a Frog. New York: Dial, 2003. (1967)

This is a wordless book appropriate for kindergarten.

Lobel, Arnold. Frog and Toad Together. New York: HarperCollins, 1971. (1971)

From “The Garden”

Frog was in his garden. Toad came walking by.

“What a ﬁne garden you have, Frog,” he said.

“Yes,” said Frog. “It is very nice, but it was hard work.”

“I wish I had a garden,” said Toad.

“Here are some ﬂower seeds. Plant them in the ground,” said Frog, “and soon you will have a garden.”

“How soon?” asked Toad.

“Quite soon,” said Frog.

Toad ran home. He planted the ﬂower seeds.

APPENDIX B | 15

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

“Now seeds,” said Toad, “start growing.”

Toad walked up and down a few times. The seeds did not start to grow. Toad put his head close to the ground and

said loudly, “Now seeds, start growing!” Toad looked at the ground again. The seeds did not start to grow.

Toad put his head very close to the ground and shouted, “NOW SEEDS, START GROWING!”

Frog came running up the path. “What is all this noise?” he asked. “My seeds will not grow,” said Toad. “You are

shouting too much,” said Frog. “These poor seeds are afraid to grow.”

“My seeds are afraid to grow?” asked Toad.

“Of course,” said Frog. “Leave them alone for a few days. Let the sun shine on them, let the rain fall on them. Soon

your seeds will start to grow.”

That night, Toad looked out of his window. “Drat!” said Toad. “My seeds have not started to grow. They must be

afraid of the dark.”

Toad went out to his garden with some candles. “I will read the seeds a story,” said Toad. “Then they will not be

afraid.” Toad read a long story to his seeds.

All the next day Toad sang songs to his seeds.

And all the next day Toad read poems to his seeds.

And all the next day Toad played music for his seeds.

Toad looked at the ground. The seeds still did not start to grow. “What shall I do?” cried Toad. “These must be the

most frightened seeds in the whole world!”

Then Toad felt very tired and he fell asleep.

“Toad, Toad, wake up,” said Frog. “Look at your garden!”

Toad looked at his garden. Little green plants were coming up out of the ground.

“At last,” shouted Toad, “my seeds have stopped being afraid to grow!”

“And now you will have a nice garden too,” said Frog.

“Yes,” said Toad, “but you were right, Frog. It was very hard work.”

Lobel, Arnold. Owl at Home. New York: HarperCollins, 1975. (1975)

From “Owl and the Moon”

One night Owl went down to the seashore. He sat on a large rock and looked out at the waves. Everything was dark.

Then a small tip of the moon came up over the edge of the sea.

Owl watched the moon. It climbed higher and higher into the sky. Soon the whole, round moon was shining. Owl sat

on the rock and looked up at the moon for a long time. “If I am looking at you, moon, then you must be looking back

at me. We must be very good friends.”

The moon did not answer, but Owl said, “I will come back and see you again, moon. But now I must go home.” Owl

walked down the path. He looked up at the sky. The moon was still there. It was following him.

“No, no, moon,” said Owl. “It is kind of you to light my way. But you must stay up over the sea where you look so

ﬁne.” Owl walked on a little farther. He looked at the sky again. There was the moon coming right along with him.

“Dear moon,” said Owl, “you really must not come home with me. My house is small. You would not ﬁt through the

door. And I have nothing to give you for supper.”

Owl kept on walking. The moon sailed after him over the tops of the trees. “Moon,” said Owl, “I think that you do not

hear me.” Owl climbed to the top of a hill. He shouted as loudly as he could, “Good-bye, moon!”

The moon went behind some clouds. Owl looked and looked. The moon was gone. “It is always a little sad to say

good-bye to a friend,” said Owl.

APPENDIX B | 16

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Owl came home. He put on his pajamas and went to bed. The room was very dark. Owl was still feeling sad. All at

once, Owl’s bedroom was ﬁlled with silver light. Owl looked out of the window. The moon was coming from behind

the clouds. “Moon, you have followed me all the way home. What a good, round friend you are!” said Owl.

Then Owl put his head on the pillow and closed his eyes. The moon was shining down through the window. Owl did

not feel sad at all.

DePaola, Tomie. Pancakes for Breakfast. New York: Houghton Mifﬂin, 1978. (1978)

This is a wordless book appropriate for kindergarten.

Arnold, Tedd. Hi! Fly Guy. New York: Scholastic, 2006. (2006)

From Chapter 1

A ﬂy went ﬂying.

He was looking for something to eat—something tasty, something slimy.

A boy went walking

He was looking for something to catch—something smart, something for The Amazing Pet Show.

They met.

The boy caught the ﬂy in a jar.

“A pet!” He said.

The ﬂy was mad.

He wanted to be free.

He stomped his foot and said—Buzz!

The boy was surprised.

He said, “You know my name! You are the smartest pet in the world!”

mission.

Poetry

Anonymous. “As I Was Going to St. Ives.” The Oxford Dictionary of Nursery Rhymes. Edited by Iona and Peter Opie.

Oxford: Oxford University Press, 1997. (c1800, traditional)

As I was going to St. Ives,

I met a man with seven wives,

Each wife had seven sacks,

Each sack had seven cats,

Each cat had seven kits:

Kits, cats, sacks, and wives,

How many were there going to St. Ives?

Rossetti, Christina. “Mix a Pancake.” Read-Aloud Rhymes for the Very Young. Selected by Jack Prelutsky. Illustrated

by Marc Brown. New York: Knopf, 1986. (1893)

Mix a pancake,

Stir a pancake,

Pop it in the pan;

Fry the pancake,

Toss the pancake—

Catch it if you can.

APPENDIX B | 17

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Fyleman, Rose. “Singing-Time.” Read-Aloud Rhymes for the Very Young. Selected by Jack Prelutsky. Illustrated by

Marc Brown. New York: Knopf, 1986. (1919)

I wake in the morning early

And always, the very ﬁrst thing,

I poke out my head and I sit up in bed

And I sing and I sing and I sing.

Milne, A. A. “Halfway Down.” When We Were Very Young. Illustrated by Ernest H. Shepard. New York: Dutton, 1988.

(1924)

Chute, Marchette. “Drinking Fountain.” Read-Aloud Rhymes for the Very Young. Selected by Jack Prelutsky.

Illustrated by Marc Brown. New York: Knopf, 1986. (1957)

When I climb up

To get a drink,

It doesn’t work

The way you’d think.

I turn it up,

The water goes

And hits me right

Upon the nose.

I turn it down

To make it small

And don’t get any

Drink at all.

From Around and About by Marchette Chute, published 1957 by E.P. Dutton. Copyright renewed by Marchette Chute,

1985. Reprinted by permission of Elizabeth Hauser.

Hughes, Langston. “Poem.” The Collected Poems of Langston Hughes. New York: Knopf, 1994. (1958)

Ciardi, John. “Wouldn’t You?” Read-Aloud Rhymes for the Very Young. Selected by Jack Prelutsky. Illustrated by

Marc Brown. New York: Knopf, 1986. (1961)

If I

Could go

As high

And low

As the wind

Can blow—

I’d go!

Wright, Richard. “Laughing Boy.” Winter Poems. Selected by Barbara Rogasky. Illustrated by Trina Schart Hyman.

New York: Scholastic, 1994. (1973) [Note: This poem was originally titled “In the Falling Snow.”]

Greenﬁeld, Eloise. “By Myself.” Honey, I Love, and Other Love Poems. Illustrated by Leo and Diane Dillon. New York:

Crowell, 1978. (1978)

Giovanni, Nikki. “Covers.” The 20th Century Children’s Poetry Treasury. Selected by Jack Prelutsky. Illustrated by

Meilo So. New York: Knopf, 1999. (1980)

Glass covers windows

to keep the cold away

Clouds cover the sky

to make a rainy day

APPENDIX B | 18

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Nighttime covers

all the things that creep

Blankets cover me

when I’m asleep

Merriam, Eve. “It Fell in the City.” Read-Aloud Rhymes for the Very Young. Selected by Jack Prelutsky. Illustrated by

Marc Brown. New York: Knopf, 1986. (1985)

Lopez, Alonzo. “Celebration.” Song and Dance. Selected by Lee Bennett Hopkins. Illustrated by Cheryl Munro

Taylor. New York: Simon & Schuster, 1997. (1993)

I shall dance tonight.

When the dusk comes crawling,

There will be dancing

and feasting.

I shall dance with the others

in circles,

in leaps,

in stomps.

Laughter and talk

Will weave into the night,

Among the ﬁres

of my people.

Games will be played

And I shall be

a part of it.

classroom use or curriculum development, requires independent permission from Random House, Inc.

Agee, Jon. “Two Tree Toads.” Orangutan Tongs. New York: Hyperion, 2009. (2009)

A three-toed tree toad tried to tie

A two-toed tree toad’s shoe.

But tying two-toed shoes is hard

For three-toed toads to do,

Since three-toed shoes each have three toes,

And two-toed shoes have two.

“Please tie my two-toed tree toad shoe!”

The two-toed tree toad cried.

“I tried my best. Now I must go,”

The three-toed tree toad sighed.

The two-toed tree toad’s two-toed shoe,

Alas, remained untied.

APPENDIX B | 19

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Read-Aloud Stories

Baum, L. Frank. The Wonderful Wizard of Oz. Illustrated by W. W. Denslow. New York: HarperCollins, 2000. (1900)

From Chapter 1: “The Cyclone”

Dorothy lived in the midst of the great Kansas prairies, with Uncle Henry, who was a farmer, and Aunt Em, who was the

farmer’s wife. Their house was small, for the lumber to build it had to be carried by wagon many miles. There were four

walls, a ﬂoor and a roof, which made one room; and this room contained a rusty looking cookstove, a cupboard for the

dishes, a table, three or four chairs, and the beds. Uncle Henry and Aunt Em had a big bed in one corner, and Dorothy a

little bed in another corner. There was no garret at all, and no cellar—except a small hole dug in the ground, called a cy-

clone cellar, where the family could go in case one of those great whirlwinds arose, mighty enough to crush any building

in its path. It was reached by a trap door in the middle of the ﬂoor, from which a ladder led down into the small, dark hole.

When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every

side. Not a tree nor a house broke the broad sweep of ﬂat country that reached to the edge of the sky in all direc-

tions. The sun had baked the plowed land into a gray mass, with little cracks running through it. Even the grass was

not green, for the sun had burned the tops of the long blades until they were the same gray color to be seen every-

where. Once the house had been painted, but the sun blistered the paint and the rains washed it away, and now the

house was as dull and gray as everything else.

When Aunt Em came there to live she was a young, pretty wife. The sun and wind had changed her, too. They had

taken the sparkle from her eyes and left them a sober gray; they had taken the red from her cheeks and lips, and

they were gray also. She was thin and gaunt, and never smiled now. When Dorothy, who was an orphan, ﬁrst came to

her, Aunt Em had been so startled by the child’s laughter that she would scream and press her hand upon her heart

whenever Dorothy’s merry voice reached her ears; and she still looked at the little girl with wonder that she could ﬁnd

anything to laugh at.

Uncle Henry never laughed. He worked hard from morning till night and did not know what joy was. He was gray also,

from his long beard to his rough boots, and he looked stern and solemn, and rarely spoke.

It was Toto that made Dorothy laugh, and saved her from growing as gray as her other surroundings. Toto was not

gray; he was a little black dog, with long silky hair and small black eyes that twinkled merrily on either side of his

funny, wee nose. Toto played all day long, and Dorothy played with him, and loved him dearly.

Today, however, they were not playing. Uncle Henry sat upon the doorstep and looked anxiously at the sky, which

was even grayer than usual. Dorothy stood in the door with Toto in her arms, and looked at the sky too. Aunt Em was

washing the dishes.

Wilder, Laura Ingalls. Little House in the Big Woods. Illustrated by Garth Williams. New York: HarperCollins, 2007.

(1932)

From “Two Big Bears”

The Story of Pa and the Bear in the Way

When I went to town yesterday with the furs I found it hard walking in the soft snow. It took me a long time to get

to town, and other men with furs had come in earlier to do their trading. The storekeeper was busy, and I had to wait

until he could look at my furs.

Then we had to bargain about the price of each one, and then I had to pick out the things I wanted to take in trade.

So it was nearly sundown before I could start home.

I tried to hurry, but the walking was hard and I was tired, so I had not gone far before night came. And I was alone in

the Big Woods without my gun.

There were still six miles to walk, and I came along as fast as I could. The night grew darker and darker, and I wished

for my gun, because I knew that some of the bears had come out of their winter dens. I had seen their tracks when I

went to town in the morning.

Bears are hungry and cross at this time of year; you know they have been sleeping in their dens all winter long with

nothing to eat, and that makes them thin and angry when they wake up. I did not want to meet one.

I hurried along as quick as I could in the dark. By and by the stars gave a little light. It was still black as pitch where

the woods were thick, but in the open places I could see, dimly. I could see the snowy road ahead a little way, and I

could see the dark woods standing all around me. I was glad when I came into an open place where the stars gave me

this faint light.

APPENDIX B | 20

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

All the time I was watching, as well as I could, for bears. I was listening for the sounds they make when they go care-

lessly through the bushes.

Then I came again into an open place, and there, right in the middle of my road, I saw a big black bear.

Atwater, Richard and Florence. Mr. Popper’s Penguins. Illustrated by Robert Lawson. New York: Little, Brown, 1988.

(1938)

From Chapter 1: “Stillwater”

It was an afternoon in late September. In the pleasant little city of Stillwater, Mr. Popper, the house painter was going

home from work.

He was carrying his buckets, his ladders, and his boards so that he had rather a hard time moving along. He was spat-

tered here and there with paint and calcimine, and there were bits of wallpaper clinging to his hair and whiskers, for

he was rather an untidy man.

The children looked up from their play to smile at him as he passed, and the housewives, seeing him, said, “Oh dear,

there goes Mr. Popper. I must remember to ask John to have the house painted over in the spring.”

No one knew what went on inside of Mr.Popper’s head, and no one guessed that he would one day be the most fa-

mous person in Stillwater.

He was a dreamer. Even when he was busiest smoothing down the paste on the wallpaper, or painting the outside of

other people’s houses, he would forget what he was doing. Once he had painted three sides of a kitchen green, and

the other side yellow. The housewife, instead of being angry and making him do it over, had liked it so well that she

had made him leave it that way. And all the other housewives, when they saw it, admired it too, so that pretty soon

everybody in Stillwater had two-colored kitchens.

The reason Mr. Popper was so absent-minded was that he was always dreaming about far-away countries. He had

never been out of Stillwater. Not that he was unhappy. He had a nice little house of his own, a wife whom he loved

dearly, and two children, named Janie and Bill. Still, it would have been nice, he often thought, if he could have seen

something of the world before he met Mrs. Popper and settled down. He had never hunted tigers in India, or climbed

the peaks of the Himalayas, or dived for pearls in the South Seas. Above all, he had never seen the Poles.

Jansson, Tove. Finn Family Moomintroll. Translated by Elizabeth Portch. New York: Farrar, Straus and Giroux, 1990.

(1948)

From “Preface”

One grey morning the ﬁrst snow began to fall in the Valley of the Moomins. It fell softly and quietly, and in a few hours

everything was white.

Moomintroll stood on his doorstep and watched the valley nestle beneath its winter blanket. “Tonight,” he thought,

“we shall settle down for our long winter’s sleep.” (All Moomintrolls go to sleep about November. This is a good idea,

too if you don’t like the cold and the long winter darkness.) Shutting the door behind him, Moomintroll stole in to his

mother and said:

“The snow has come!”

“I know,” said Moominmamma. “I have already made up all your beds with the warmest blankets. You’re to sleep in the

little room under the eaves with Sniff.”

“But Sniff snores so horribly,” said Moomintroll. “Couldn’t I sleep with Snufkin instead?”

“As you like, dear,” said Moominmamma. “Sniff can sleep in the room that faces east.”

So the Moomin family, their friends, and all their acquaintances began solemnly and with great ceremony to prepare

for the long winter. Moominmamma laid the table for them on the verandah but they only had pine-needles for sup-

per. (It’s important to have your tummy full of pine if you intend to sleep all the winter.) When the meal was over,

and I’m afraid it didn’t taste very nice, they all said good-night to each other, rather more cheerfully than usual, and

Moominmamma encouraged them to clean their teeth.

Haley, Gail E. A Story, A Story. New York: Atheneum, 1970. (1970)

Once, oh small children round my knee, there were no stories on earth to hear. All the stories belonged to Nyame, the

APPENDIX B | 21

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Sky God. He kept them in a golden box next to his royal stool.

Ananse, the Spider Man, wanted to buy the Sky God’s stories. So he spun a web up to the sky.

When the Sky God heard what Ananse wanted, he laughed: “Twe, twe, twe. The price of my stories is that you bring

me Osebo the leopard of-the-terrible-teeth, Mmboro the hornet who-stings-like-ﬁre, and Mmoatia the fairy whom-

men-never-see.”

Ananse bowed and answered: “I shall gladly pay the price.”

“Twe, twe, twe,” chuckled the Sky God. “How can a weak old man like you, so small, so small, so small, pay my price?”

But Ananse merely climbed down to earth to ﬁnd the things that the Sky God demanded.

Ananse ran along the jungle path – yiridi, yiridi, yiridi – till he came to Osebo the leopard-of-the-terrible-teeth.

“Oho, Ananse,” said the leopard, “you are just in time to be my lunch.”

Ananse replied: “As for that, what will happen will happen. But ﬁrst let us play the binding binding game.”

The leopard, who was fond of games, asked: “How is it played?”

“With vine creepers,” explained Ananse. “I will bind you by your foot and foot. Then I will untie you, and you can tie

me up.”

“Very well,” growled the leopard, who planned to eat Ananse as soon as it was his turn to bind him.

So Ananse tied the leopard

by his foot

by his foot, with the vine creeper.

Then he said: “Now, Osebo, you are ready to meet the Sky God.” And he hung the tied leopard in a tree in the jungle.

Reprinted with the permission of Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Pub-

Bang, Molly. The Paper Crane. New York: Greenwillow, 1987. (1985)

A man once owned a restaurant on a busy road. He loved to cook good food and he loved to serve it. He worked

from morning until night, and he was happy.

But a new highway was built close by. Travelers drove straight from one place to another and no longer stopped at

the restaurant. Many days went by when no guests came at all. The man became very poor, and had nothing to do

but dust and polish his empty plates and tables.

One evening a stranger came into the restaurant. His clothes were old and worn, but he had an unusual, gentle man-

ner.

Though he said he had not money to pay for food, the owner invited him to sit down. He cooked the best meal he

could make and served him like a king. When the stranger had ﬁnished, he said to his host, “I cannot pay you with

money, but I would like to thank you in my own way.”

He picked up a paper napkin from the table and folded it into the shape of a crane. “You have only to clap your

hands,” he said, “and this bird will come to life and dance for you. Take it, and enjoy it while it is with you.” With

these words the stranger left.

It happened just as the stranger had said. The owner had only to clap his hands and the paper crane became a living

bird, ﬂew down to the ﬂoor, and danced.

APPENDIX B | 22

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Soon word of the dancing crane spread, and people came from far and near to see the magic bird perform.

The owner was happy again, for his restaurant was always full of guests. He cooked and served and had company

from morning until night.

The weeks passed. And the months.

One evening a man came into the restaurant. His clothes were old and worn, but had an unusual, gentle manner. The

owner knew him at once and was overjoyed.

The stranger, however, said nothing. He took a ﬂute from his pocket, raised it to his lips, and began to play.

The crane ﬂew down from its place on the shelf and danced as it had never danced before.

The stranger ﬁnished playing, lowered the ﬂute from his lips, and returned it to his pocket. He climbed on the back of

the crane, and they ﬂew out of the door and away.

The restaurant still stands by the side of the road, and guests still come to eat the good food and hear the story of

the gentle stranger and the magic crane made from a paper napkin. But neither the stranger nor the dancing crane

has ever been seen again.

Young, Ed. Lon Po Po: A Red-Riding Hood Story from China. New York: Putnam, 1989. (1989)

“Po Po,” Shang shouted, but there was no answer.

“Po Po,” Tao shouted, but there was no answer.

“Po Po,” Paotze shouted. There was still no answer. The children climbed to the branches just above the wolf and saw

that he was truly dead. Then they climbed down, went into the house, closed the door, locked the door with the latch

and fell peacefully asleep.

On the next day their mother returned with baskets of food from their real Po Po, and the three sisters told her the

story of the Po Po who had come.

Garza, Carmen Lomas. Family Pictures. San Francisco: Children’s Book Press, 1990. (1990)

From “The Fair in Reynosa”

My friends and I once went to a very big fair across the border in Reynosa, Mexico. The fair lasted a whole week.

Artisans and entertainers came from all over Mexico. There were lots of booths with food and crafts. This is one little

section where everybody is ordering and eating tacos.

I painted a father buying tacos and the rest of the family sitting down at the table. The little girl is the father’s favorite

and that’s why she gets to tag along with him. I can always recognize little girls who are their fathers’ favorites.

From “Birthday Party”

That’s me hitting the piñata at my sixth birthday party. It was also my brother’s fourth birthday. My mother made a

big birthday party for us and invited all kinds of friends, cousins and neighborhood kids.

You can’t see the piñata when you’re trying to hit it, because your eyes are covered with a handkerchief. My father

is pulling the rope that makes the piñata go up and down. He will make sure that everybody has a chance to hit it at

least once. Somebody will end up breaking it, and that’s when all the candies will fall out and all the kids will run and

try to grab them.

Reprinted with permission of the publisher, Children’s Book Press. Excerpts from Family Pictures/Cuadros de Familia

Mora, Pat. Tomás and the Library Lady. Illustrated by Raúl Colón. New York: Knopf, 1997. (1997)

When they got hot, they sat under a tree with Papá Grande. “Tell us the story about the man in the forest,” said

Tomás.

APPENDIX B | 23

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Tomás liked to listen to Papá Grande tell stories in Spanish. Papá Grande was the best storyteller in the family.

“En un tiempo pasado,” Papá Grande began. “Once upon a time…on a windy night a man was riding a horse through a

forest. The wind was howling, whoooooooo, and the leaves were blowing, whish, whish…

“All of a sudden something grabbed the man. He couldn’t move. He was too scared to look around. All night long he

wanted to ride away. But he couldn’t.

“How the wind howled, whoooooooo. How the leaves blew. How his teeth chattered!

“Finally the sun came up. Slowly the man turned around. And who do you think was holding him?

Tomás smiled and said, “A thorny tree.”

Papá Grande laughed. “Tomás, you know all my stories,” he said. “There are many more in the library. You are big

enough to go by yourself. Then you can teach us new stories.”

The next morning Tomás walked downtown. He looked at the big library. Its tall windows were like eyes glaring at him.

Tomás walked all around the big building. He saw children coming out carrying books. Slowly he started climbing up,

up the steps. He counted them to himself in Spanish. Uno, dos, tres, cuatro…His mouth felt full of cotton.

Tomás stood in front of the library doors. He pressed his nose against the glass and peeked in. The library was huge!

Raúl Colón. Used by permission of Alfred A. Knopf, an imprint of Random House Children’s Books, a division of Ran-

ment, requires independent permission from Random House, Inc.

Henkes, Kevin. Kitten’s First Full Moon. New York: Greenwillow, 2004. (2004)

It was Kitten’s ﬁrst full moon.

When she saw it, she thought.

There’s a little bowl of milk in the sky.

And she wanted it.

So she closed her eyes

and stretched her neck

and opened her mouth and licked.

But Kitten only ended up

with a bug on her tongue.

Poor Kitten!

Still, there was the little bowl of milk, just waiting.

So she pulled herself together

and wiggled her bottom

and sprang from the top step of the porch.

But Kitten only tumbled—

bumping her nose and banging her ear

and pinching her tail.

Poor Kitten!

Still, there was the little bowl of milk, just waiting.

So she chased it—

down the sidewalk,

through the garden,

past the ﬁeld,

and by the pond.

But Kitten never seemed to get closer.

Poor Kitten!

Still, there was the little bowl of milk, just waiting.

APPENDIX B | 24

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

So she ran

to the tallest tree

she could ﬁnd,

and she climbed

and climbed

to the very top.

But Kitten

still couldn’t reach

the bowl of milk,

and now she was

scared.

Poor Kitten!

What could she do?

Then, in the pond, Kitten saw

another bowl of milk.

And it was bigger.

What a night!

So she raced down the tree

and raced through the grass

and raced to the edge of the pond.

She leaped with all her might—

Poor Kitten!

She was wet and sad and tired

and hungry.

So she went

back home—

and there was

a great big

bowl of milk

on the porch,

just waiting for her.

Lucky Kitten!

Read-Aloud Poetry

Anonymous. “The Fox’s Foray.” The Oxford Nursery Rhyme Book. Edited by Peter and Iona Opie. Oxford: Oxford

University Press, 1955. (c1800, traditional)

A fox jumped out one winter’s night,

And begged the moon to give him light.

For he’d many miles to trot that night

Before he reached his den O!

Den O! Den O!

For he’d many miles to trot that night before he reached his den O!

The ﬁrst place he came to was a farmer’s yard,

Where the ducks and the geese declared it hard

That their nerves should be shaken and their rest so marred

By a visit from Mr. Fox O!

Fox O! Fox O!

APPENDIX B | 25

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

That their nerves should be shaken and their rest so marred

By a visit from Mr. Fox O!

He took the grey goose by the neck,

And swung him right across his back;

The grey goose cried out, Quack, quack, quack,

With his legs hanging dangling down O!

Down O! Down O!

The grey goose cried out, Quack, quack, quack,

With his legs hanging dangling down O!

Old Mother Slipper Slopper jumped out of bed,

And out of the window she popped her head:

Oh, John, John, the grey goose is gone,

And the fox is off to his den O!

Den O! Den O!

Oh, John, John, the grey goose is gone,

And the fox is off to his den O!

John ran up to the top of the hill.

And blew his whistle loud and shrill;

Said the fox, That is very pretty music still –

I’d rather be in my den O!

Den O! Den O!

Said the fox, That is very pretty music still –

I’d rather be in my den O!

The fox went back to his hungry den,

And his dear little foxes, eight, nine, ten;

Quoth they, Good daddy, you must go there again,

If you bring such god cheer from the farm O!

Farm O! Farm O!

Quoth they, Good daddy, you must go there again,

If you bring such god cheer from the farm O!

The fox and his wife, without any strife,

Said they never ate a better goose in all their life:

They did very well without fork or knife,

And the little ones chewed on the bones O!

Bones O! Bones O!

They did very well without fork or knife,

And the little ones chewed on the bones O!

Langstaff, John. Over in the Meadow. Illustrated by Feodor Rojankovsky. Orlando: Houghton Mifﬂin, 1973. (c1800,

traditional)

Over in the meadow in a new little hive

Lived an old mother queen bee and her honeybees ﬁve.

“Hum,” said the mother,

“We hum,” said the ﬁve;

So they hummed and were glad in their new little hive.

Over in the meadow in a dam built of sticks

Lived an old mother beaver and her little beavers six.

“Build,” said the mother,

“We build,” said the six;

So they built and were glad in the dam built of sticks.

Over in the meadow in the green wet bogs

Lived an old mother froggie and her seven polliwogs.

“Swim,” said the mother.

“We swim,” said the ‘wogs;

So they swam and were glad in the green wet bogs.

Over in the meadow as the day grew late

Lived an old mother owl and her little owls eight.

APPENDIX B | 26

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

“Wink,” said the mother,

“We wink,” said the eight;

So they winked and were glad as the day grew late.

Lear, Edward. “The Owl and the Pussycat.” (1871)

The Owl and the Pussy-cat went to sea

In a beautiful pea-green boat,

They took some honey, and plenty of money,

Wrapped up in a ﬁve-pound note.

The Owl looked up to the stars above,

And sang to a small guitar,

‘O lovely Pussy! O Pussy, my love,

What a beautiful Pussy you are,

You are,

You are!

What a beautiful Pussy are!’

Pussy said to the Owl, ‘You elegant fowl!

How charmingly sweet you sing!

O let us be married! Too long we have tarried:

But what shall we do for a ring?’

They sailed away, for a year and a day,

To the land where the Bong-tree grows

And there in a wood a Piggy-wig stood

With a ring at the end of his nose,

His nose,

With a ring at the end of his nose.

‘Dear Pig, are you willing to sell for one shilling

Your ring?’ Said the Piggy, ‘I will.’

So they took it away, and were married next day

By the turkey who lives on the hill.

They dined on mince, and slices of quince,

Which they ate with a runcible spoon;

And hand in hand, on the edge of the sand,

They danced by the light of the moon,

The moon,

They danced by the light of the moon.

Hughes, Langston. “April Rain Song.” The 20th Century Children’s Poetry Treasury. Selected by Jack Prelutsky.

Illustrated by Meilo So. New York: Knopf, 1999. (1932)

Moss, Lloyd. Zin! Zin! Zin! a Violin. Illustrated by Marjorie Priceman. New York: Simon & Schuster, 2000. (1995)

With mournful moan and silken tone,

Itself alone comes ONE TROMBONE.

Gliding, sliding, high notes go low;

ONE TROMBONE is playing SOLO.

Next a TRUMPET comes along,

And sings and stings its swinging song.

It joins TROMBONE, no more alone,

And ONE and TWO-O, they’re a DUO.

The STRINGS all soar, the REEDS implore,

The BRASSES roar with notes galore.

It’s music that we all adore.

APPENDIX B | 27



COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

It’s what we go to concerts for.

The minutes ﬂy, the music ends,

And so, good-bye to our new friends.

But when they’ve bowed and left the ﬂoor,

If we clap loud and shout, “Encore!”

They may come out and play once more.

And that would give us great delight

Before we say a late good night.

Reprinted with the permission of Simon & Schuster Books for Young Readers, an imprint of Simon & Schuster Chil-

Sample Performance Tasks for Stories and Poetry

• Students (with prompting and support from the teacher) describe the relationship between key events of the

overall story of Little Bear by Else Holmelund Minarik to the corresponding scenes illustrated by Maurice Sen-

dak. [RL.K.7]

• Students retell Arnold Lobel’s Frog and Toad Together while demonstrating their understanding of a central

message or lesson of the story (e.g., how friends are able to solve problems together or how hard work pays

off). [RL.1.2]

• Students (with prompting and support from the teacher) compare and contrast the adventures and experi-

ences of the owl in Arnold Lobel’s Owl at Home to those of the owl in Edward Lear’s poem “The Owl and the

Pussycat.” [RL.K.9]

• Students read two texts on the topic of pancakes (Tomie DePaola’s Pancakes for Breakfast and Christina

Rossetti’s “Mix a Pancake”) and distinguish between the text that is a storybook and the text that is a poem.

[RL.K.5]

• After listening to L. Frank Baum’s The Wonderful Wizard of Oz, students describe the characters of Dorothy,

Auntie Em, and Uncle Henry, the setting of Kansan prairie, and major events such as the arrival of the cyclone.

[RL.1.3]

• Students (with prompting and support from the teacher) when listening to Laura Ingalls Wilder’s Little House

in the Big Woods ask questions about the events that occur (such as the encounter with the bear) and answer

by offering key details drawn from the text. [RL.1.1]

• Students identify the points at which different characters are telling the story in the Finn Family Moomintroll by

Tove Jansson. [RL.1.6]

• Students identify words and phrases within Molly Bang’s The Paper Crane that appeal to the senses and

suggest the feelings of happiness experienced by the owner of the restaurant (e.g., clapped, played, loved,

overjoyed). [RL.1.4]

Informational Texts

Bulla, Clyde Robert. A Tree Is a Plant. Illustrated by Stacey Schuett. New York: HarperCollins, 2001. (1960)

A tree is a plant. A tree is the biggest plant that grows. Most kinds of trees grow from seeds the way most small

plants do. There are many kinds of trees. Here are a few of them. How many do you know? [illustration is labeled

with Maple, Conifer, Persimmon, Palms, Lemon, Willow]

APPENDIX B | 28

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

This tree grows in the country. It might grow in your yard, too. Do you know what kind it is? This is an apple tree.

This apple tree came from a seed. The seed was small. It grew inside an apple. Have you ever seen an apple seed?

Ask an adult to help you cut an apple in two. The seeds are in the center. They look like this.

Most apple trees come from seeds that are planted. Sometimes an apple tree grows from a seed that falls to the

ground. The wind blows leaves over the seed. The wind blows soil over the seed.

All winter the seed lies under the leaves and the soil. All winter the seed lies under the ice and snow and is pushed

into the ground. Spring comes. Rain falls. The sun comes out and warms the earth. The seed begins to grow.

At ﬁrst the young plant does not look like a tree. The tree is very small. It is only a stem with two leaves. It has no ap-

ples on it. A tree must grow up before it has apples on it. Each year the tree grows. It grows tall. In seven years it is so

tall that you can stand under its branches. In the spring there are blossoms on the tree. Spring is apple-blossom time.

[…]

We cannot see the roots. They are under the ground. Some of the roots are large. Some of them are as small as

hairs. The roots grow like branches under the ground. A tree could not live without roots.

Roots hold the trunk in the ground. Roots keep the tree from falling when the wind blows. Roots keep the rain from

washing the tree out of the ground.

Roots do something more. They take water from the ground. They carry the water into the trunk of the tree. The

trunk carries the water to the branches. The branches carry the water to the leaves.

Hundreds and hundreds of leaves grow on the branches. The leaves make food from water and air. They make food

when the sun shines. The food goes into the branches. It goes into the trunk and roots. It goes to every part of the

tree.

Fall comes and winter is near. The work of the leaves is over. The leaves turn yellow and brown. The leaves die and

fall to the ground.

Now the tree is bare. All winter it looks dead. But the tree is not dead. Under its coat of bark, the tree is alive.

Aliki. My Five Senses. New York: HarperCollins, 1989. (1962)

I can see! I see with my eyes.

I can hear! I hear with my ears.

I can smell! I smell with my nose.

I can taste! I taste with my tongue.

I can touch! I touch with my ﬁngers.

I do all this with my senses.

I have ﬁve senses.

When I see the sun or a frog or my baby sister, I use my sense of sight. I am seeing.

When I hear a drum or a ﬁre engine or a bird, I use my sense of hearing. I am hearing.

When I smell soap or a pine tree or cookies just out of the oven, I use my sense of smell. I am smelling.

When I drink my milk and eat my food, I use my sense of taste. I am tasting.

When I touch a kitten or a balloon or water, I use my sense of touch. I am touching.

Sometimes I use all my senses at once.

Sometimes I use only one.

I often play a game with myself.

I guess how many senses I am using at that time.

APPENDIX B | 29

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

When I look at the moon and the stars, I use one sense. I am seeing.

When I laugh and play with my puppy, I use four senses. I see, hear, smell, and touch.

When I bounce a ball, I use three senses. I see, hear, touch.

Sometimes I use more of one sense and less of another.

But each sense is very important to me, because it makes me aware.

To be aware is to see all there is to see…

hear all there is to hear…

smell all there is to smell…

taste all there is to taste…

touch all there is to touch.

Wherever I go, whatever I do, every minute of the day, my senses are working.

They make me aware.

Hurd, Edith Thacher. Starﬁsh. Illustrated by Robin Brickman. New York: HarperCollins, 2000. (1962)

Starﬁsh live in the sea. Starﬁsh live deep down in the sea. Starﬁsh live in pools by the sea.

Some starﬁsh are purple. Some starﬁsh are pink.

This is the sunﬂower starﬁsh. It is the biggest of all. Starﬁsh have many arms. The arms are called rays. Starﬁsh have

arms, but no legs.

Starﬁsh have feet, but no toes. They glide and slide on tiny tube feet. They move as slowly as a snail.

The basket star looks like a starﬁsh, but it is a little different. It doesn’t have tube feet. It moves with its rays. It has

rays that go up and rays that go down.

Tiny brittle stars are like the basket star. They hide under rocks in pools by the sea.

The mud star hides in the mud. It is a starﬁsh. It has tiny tube feet.

A starﬁsh has no eyes. A starﬁsh has no ears or nose. Its tiny mouth is on its underside. When a starﬁsh is hungry, it

slides and it glides on its tiny tube feet.

It hunts for mussels and oysters and clams. It feels for the mussels, It feels for the oysters. It feels for the clams. It

feels for something to eat.

The starﬁsh crawls over a clam. Its rays go over it. Its rays go under it. Its rays go all over the clam. The starﬁsh pulls

and pulls. It pulls the shells open. It eats the clam inside.

Sometimes a starﬁsh loses a ray. A crab may pull it off. A rock may fall on it. But this does not hurt. It does not

bother the starﬁsh. The starﬁsh just grows another ray.

In the spring when the sun shines warm, and the sea grows warm, starﬁsh lay eggs. Starﬁsh lay eggs in the water.

They lay many, many, many tiny eggs. The eggs look like sand in the sea. The tiny eggs ﬂoat in the water. They ﬂoat

up and down. They move with the waves and the tide, up and down, up and down.

Used by permission of HarperCollins Publishers.

Aliki. A Weed is a Flower: The Life of George Washington Carver. New York: Prentice Hall, 1965. (1965)

Crews, Donald. Truck. New York: HarperCollins, 1980. (1980)

This is a largely wordless book appropriate for kindergarten.

APPENDIX B | 30

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Hoban, Tana. I Read Signs. New York: HarperCollins, 1987 (1987)

This is a largely wordless book appropriate for kindergarten.

Reid, Mary Ebeltoft. Let’s Find Out About Ice Cream. Photographs by John Williams. New York: Scholastic, 1996.

(1996)

“Garden Helpers.” National Geographic Young Explorers September 2009. (2009)

Not all bugs and worms are pests.

Some help your garden grow.

Earthworms make soil rich and healthy.

This helps plants grow strong!

A ladybug eats small bugs.

The bugs can’t eat the plants.

This keeps your garden safe.

A praying mantis eats any bug it can catch.

Not many bugs can get past this quick hunter!

This spider catches bugs in its sticky web.

It keeps bugs away from your garden.

“Wind Power.” National Geographic Young Explorers November/December 2009. (2009)

Wind is air on the move.

See what wind can do.

Wind can whip up some fun!

Wind starts with the sun.

The sun warms land and water.

The air above warms up too.

Warm air rises.

Cooler air rushes in.

That moving air is wind.

Wind is energy.

It can push a sailboat.

Look at the windmills spin!

They turn wind energy into electricity.

What else can wind do?

Read-Aloud Informational Texts

Provensen, Alice and Martin. The Year at Maple Hill Farm. New York: Simon & Schuster, 2001. (1978)

Gibbons, Gail. Fire! Fire! New York: HarperCollins, 1987. (1984)

From “Fire! Fire! In the city…”

In an apartment house, a breeze has blown a towel up into the ﬂame of a hot stove. A ﬁre begins. The smoke alarm

screams.

APPENDIX B | 31

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

A phone call alerts the ﬁre-dispatch center. Instantly, a dispatcher calls the ﬁrehouse nearest the ﬁre.

A loudspeaker blares out the address of the ﬁre, and the ﬁreﬁghters go into action. They slide down brass poles to

the ground ﬂoor, where the ﬁre engines are, and hurry into their ﬁre-ﬁghting gear. Then they take their positions on

their engines.

The big trucks roar out of the ﬁrehouse. Sirens scream and lights ﬂash.

The ﬁre engines arrive at the scene. The ﬁre is bigger now. The ﬁre chief is in charge. He decides the best way to

ﬁght this ﬁre.

Hoses are pulled from the trucks. Each separate ﬁre truck is called a “company.” Each separate company has an of-

ﬁcer in charge. The ﬁre chief tells each ofﬁcer in charge what he wants the ﬁreﬁghters to do.

Fireﬁghters are ordered to search the building to make sure no one is still inside. A man is trapped. A ladder tower is

swung into action. The man is rescued quickly.

At the same time, an aerial ladder is taking other ﬁreﬁghters to the ﬂoor above the ﬁre. Inside, the ﬁreﬁghters attach

a hose to the building’s standpipe. Water is sprayed onto the ﬁre to keep it from moving up through the apartment

house.

Now the aerial ladder is swung over to the roof of the burning building. Fireﬁghters break holes in the roof and win-

dows to let out poisonous gases, heat, and smoke before they can cause a bad explosion. There’s less danger now for

the ﬁreﬁghters working inside the building.

Fireﬁghters are battling the blaze from the outside of the building, too. Fire hoses carry water from the ﬁre hydrants

to the trucks.

Pumps in the ﬁre trucks control the water pressure and push the water up through the discharge hoses. Streams of

water hit the burning building and buildings next door to keep the ﬁre from spreading.

The ﬁre is under control.

The ﬁre is out. The ﬁreﬁghters clean up the rubble. Back at the ﬁrehouse, they clean their equipment and make an

ofﬁcial report on the ﬁre.

Dorros, Arthur. Follow the Water from Brook to Ocean. New York: HarperCollins, 1993. (1991)

After the next big rain storm, put your boots on and go outside. Look at the water dripping from your roof. Watch it

gush out of the drainpipes. You can see water ﬂowing down your street too.

Water is always ﬂowing. It trickles in the brook near your house.

Sometimes you see water rushing along in a stream or in a big river.

Water always ﬂows downhill. It ﬂows from high places to low places, just the way you and your skateboard move

down a hill.

Sometimes water collects in a low spot in the land – a puddle, a pond, or a lake. The water’s downhill journey may

end there. Most of the time, though, the water will ﬁnd a way to keep ﬂowing downhill. Because water ﬂows down-

hill, it will keep ﬂowing until it can’t go any lower. The lowest parts of the earth are the oceans. Water will keep ﬂow-

ing until it reaches an ocean.

Where does the water start? Where does the water in a brook or a stream or a river come from? The water comes

from rain. And it comes from melting snow. The water from rain and melting snow runs over the ground. Some of it

soaks into the ground, and some water is soaked up by trees and other plants. But a lot of the water keeps traveling

over the ground, ﬂowing downhill.

The water runs along, ﬂowing over the ground. Trickles of water ﬂow together to form a brook. A brook isn’t very

deep or wide. You could easily step across a brook to get to the other side.

The brook ﬂows over small stones covered with algae. Algae are tiny plants. They can be green, red, or brown.

Green algae make the water look green. Plop! A frog jumps into the brook. A salamander wiggles through leafy

APPENDIX B | 32

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

water plants. Slap! A trout’s tail hits the water. Lots of creatures live in the moving water.

Rauzon, Mark, and Cynthia Overbeck Bix. Water, Water Everywhere. San Francisco: Sierra Club, 1994. (1994)

Llewellyn, Claire. Earthworms. New York: Franklin Watts, 2002. (2002)

Jenkins, Steve, and Robin Page. What Do You Do With a Tail Like This? Orlando: Houghton Mifﬂin, 2003. (2003)

What do you do with a nose like this?

If you’re a platypus, you use your nose to dig in the mud.

If you’re a hyena, you ﬁnd your next meal with your nose.

If you’re an elephant, you use your nose to give yourself a bath.

If you’re a mole, you use your nose to ﬁnd your way underground.

If you’re an alligator, you breathe through your nose while hiding in the water.

What do you do with ears like these?

If you’re a jackrabbit, you use your ears to keep cool.

If you’re a bat you “see” with your ears.

If you’re a cricket, you hear with ears that are on your knees.

If you’re a humpback whale, you hear sounds hundreds of miles away.

If you’re a hippopotamus, you close your ears when you’re under water.

What do you do with a tail like this?

If you’re a giraffe, you brush off pesky ﬂies with your tail.

If you’re a skunk, you lift your tail to warn that a stinky spray is on the way.

If you’re a lizard, you break off your tail to get away.

If you’re a scorpion, your tail can give a nasty sting.

If you’re a monkey, you hang from a tree by your tail.

What do you do with eyes like these?

If you’re an eagle, you spot tiny animals from high in the air.

If you’re a chameleon, you look two ways at once.

If you’re a four-eye ﬁsh, you look above and below the water at the same time.

If you’re a bush baby, you use your large eyes to see clearly at night.

If you’re a horned lizard, you squirt blood out of your eyes.

What do you do with feet like these?

If you’re a chimpanzee, you feed yourself with your feet.

If you’re a water strider, you walk on water.

If you’re a blue-footed booby, you do a dance.

If you’re a gecko, you use your sticky feet to walk on the ceiling.

If you’re a mountain goat, you leap from ledge to ledge.

What do you do with a mouth like this?

If you’re a pelican, you use your mouth as a net to scoop up ﬁsh.

If you’re an egg-eating snake, you use your mouth to swallow eggs larger than your head.

If you’re a mosquito, you use your mouth to suck blood.

If you’re an anteater, you capture termites with your long tongue.

If you’re an archerﬁsh, you catch insects by shooting them down with a stream of water.

by Steve Jenkins and Robin Page. Used by Permission of Houghton Miin Harcourt Publishing Company. All rights

reserved.

Pfeffer, Wendy. From Seed to Pumpkin. Illustrated by James Graham Hale. New York: HarperCollins, 2004. (2004)

When spring winds warm the earth, a farmer plants hundreds of pumpkin seeds.

Every pumpkin seed can become a baby pumpkin plant. Underground, covered with dark, moist soil, the baby plants

begin to grow.

As the plants get bigger, the seeds crack open. Stems sprout up. Roots dig down. Inside the roots are tubes. Water

travels up these tubes the way juice goes up a straw.

In less than two weeks from planting time, green shoots poke up through the earth.

APPENDIX B | 33

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

These shoots grow into tiny seedlings. Two leaves, called seed leaves, uncurl on each stem. They reach up toward

the sun.

Sunlight gives these leaves energy to make food. Like us, plants need food to grow. But green plants do not eat food

as we do. Their leaves make it.

To make food, plants need light, water, and air. Leaves catch the sunlight. Roots soak up rainwater. And little open-

ings in the leaves let air in. Using energy from the sun, the leaves mix the air with water from the soil to make sugar.

This feeds the plant.

Soon broad, prickly leaves with jagged edges unfold on the stems.

The seed leaves dry up. Now the new leaves make food for the pumpkin plant.

Each pumpkin stem has many sets of tubes. One tube in each set takes water from the soil up to the leaves so they

can make sugar. The other tube in each set sends food back down so the pumpkin can grow.

The days grow warmer. The farmer tends the pumpkin patch to keep weeds out. Weeds take water from the soil.

Pumpkin plants need that water to grow.

Thomson, Sarah L. Amazing Whales! New York: HarperCollins, 2006. (2005)

A blue whale is as long as a basketball court. Its eyes are as big as softballs. Its tongue weighs as much as an el-

ephant.

It is the biggest animal that has ever lived on Earth – bigger than any dinosaur.

But not all whales are this big. A killer whale is about as long as a ﬁre truck. Dolphins and porpoises are whales too,

very small whales. The smallest dolphin is only ﬁve feet long. That’s probably shorter than your mom.

There are about 80 kinds of whales. All of them are mammals. Dogs and monkeys and people are mammals, too.

They are warm-blooded. This means that their blood stays at the same temperature even if the air or water around

them gets hot or cold.

Mammal babies drink milk from their mothers. Whale babies are called calves.

And mammals breathe air. A whale must swim to the ocean’s surface to breathe or it will drown. After a whale calf is

born, its mother may lift it up for its ﬁrst breath of air.

A whale uses its blowholes to breathe. It can have one blowhole or two. The blowholes are on the top of its head.

When a whale breathes out, the warm breath makes a cloud called a blow. Then the whale breathes in. Its blowholes

squeeze shut. The whale dives under the water. It holds its breath until it comes back up.

When sperm whales hunt, they dive deeper than any other whale. They can hold their breath for longer than an hour

and dive down more than a mile.

Deep in the ocean, where the water is dark and cold, sperm whales hunt for giant squid and other animals.

Some whales, like sperm whales, have teeth to catch their food. They are called toothed whales. Other whales have

no teeth. They are called baleen whales. (Say it like this: bay-LEEN.) Blue whales and humpback whales are baleen

whales. They have strips of baleen in their mouths. Baleen is made of the same stuff as your ﬁngernails. It is strong

but it can bend.

A baleen whale ﬁlls its mouth with water. In the water there might be ﬁsh or krill. Krill are tiny animals like shrimp.

The whale closes its mouth. The water ﬂows back out between the strips of baleen.

The ﬁsh or krill are trapped inside its mouth for the whale to eat.

Some whales, like killer whales, hunt in groups to catch their food. These groups are called pods. A whale mother

and her children, and even her grandchildren sometimes live in one pod.

Used by permission of HarperCollins Publishers.

APPENDIX B | 34

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Hodgkins, Fran, and True Kelley. How People Learned to Fly. New York: HarperCollins, 2007. (2007)

When you see a bird ﬂying, do you dream about ﬂying too?

Do you run with your arms out, imagining that you’re soaring among the clouds? Do you make paper airplanes? Do

you ﬂy kites?

If you do, you aren’t alone. For thousands of years, people have dreamed of being able to ﬂy.

They watched birds and bats soar.

They imagined people and other animals that could ﬂy and told stories about them.

They designed machines that they thought would be able to ﬂy.

They had many ideas. As they tried each new idea, they learned a lot.

They learned about gravity. Gravity is the force that keeps everything on the Earth’s surface. Because of gravity,

things have weight.

If there were no gravity, people, dogs, cats, and everything else would go ﬂoating off into space. Gravity keeps us on

the ground, even if we would rather be ﬂying.

People also learned about air. Air is made of tiny particles called molecules. When you walk or run, you push through

air molecules. They push back on you, too, even though you don’t really feel the push unless the wind blows.

People learned that wind could push a kite into the sky.

When air molecules push back on a moving object, that is a force called drag. You can feel drag for yourself. Hold

out your arms. Now spin around. Feel the push of air on your arms and hands? That’s drag. Like gravity, drag works

against objects that are trying to ﬂy.

Kites were useful and fun, but people wanted more. They wanted to ﬂy like birds.

Birds had something that kites didn’t: Birds had wings.

People made wings and strapped them to their arms. They ﬂapped their arms but couldn’t ﬂy.

They built gliders, light aircraft with wings. Some didn’t work, but some did.

The gliders that worked best had special wings. These wings were arched on both the top and the bottom. The air

pulled the wings from above and pushed the wings from below. When the wings went up, so did the glider! Arched

wings help create a force called lift. Lift is the force that keeps birds and gliders in the air.

Most gliders have long, thin wings. The wings create enough lift to carry the aircraft and its passengers. Gliders usu-

ally ride currents of air the same way a hawk soars.

Gliders are very light, and long wings and air currents can give them enough lift to ﬂy. But to carry more than just a

passenger or two, an aircraft needs a lot more lift. The question is: How do you create more lift?

The engine is the answer!

The engine is a machine that changes energy into movement. The forward movement that an airplane needs to ﬂy is

called thrust. More thrust makes an airplane move forward faster. Moving faster creates more lift. And with more lift,

an airplane can carry more weight. So an aircraft with an engine can carry passengers or cargo.

In 1903 the Wright brothers ﬁgured out how to get wings and an engine to work together in order to give an airplane

enough thrust to ﬂy. They made the ﬁrst powered ﬂight at Kitty Hawk, North Carolina.

Since then, people have made airplanes that can ﬂy faster than sound can travel. They have made airplanes that can

ﬂy all the way around the world without stopping.

Today, thousands of people travel in airplanes every day. People really have learned how to ﬂy!

Used by permission of HarperCollins Publishers.

Nivola, Claire A. Planting the trees of Kenya: the story of Wangari Maathai. New York: Farrar, Straus & Giroux, 2008.

(2008)

APPENDIX B | 35



COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Sample Performance Tasks for Informational Texts

• Students identify the reasons Clyde Robert Bulla gives in his book A Tree Is a Plant in support of his point

about the function of roots in germination. [RI.1.8]

• Students identify Edith Thacher Hurd as the author of Starﬁsh and Robin Brickman as the illustrator of the text

and deﬁne the role and materials each contributes to the text. [RI.K.6]

• Students (with prompting and support from the teacher) read “Garden Helpers” in National Geographic Young

Explorers and demonstrate their understanding of the main idea of the text—not all bugs are bad—by retelling

key details. [RI.K.2]

• After listening to Gail Gibbons’ Fire! Fire!, students ask questions about how ﬁreﬁghters respond to a ﬁre and

answer using key details from the text. [RI.1.1]

• Students locate key facts or information in Claire Llewellyn’s Earthworms by using various text features (head-

ings, table of contents, glossary) found in the text. [RI.1.5]

• Students ask and answer questions about animals (e.g., hyena, alligator, platypus, scorpion) they encounter in

Steve Jenkins and Robin Page’s What Do You Do With a Tail Like This? [RI.K.4]

• Students use the illustrations along with textual details in Wendy Pfeffer’s From Seed to Pumpkin to describe

the key idea of how a pumpkin grows. [RI.1.7]

• Students (with prompting and support from the teacher) describe the connection between drag and ﬂying

in Fran Hodgkins and True Kelley’s How People Learned to Fly by performing the “arm spinning” experiment

described in the text. [RI.K.3]

APPENDIX B | 36

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Grades 2–3 Text Exemplars

Stories

Gannett, Ruth Stiles. My Father’s Dragon. Illustrated by Ruth Chrisman Gannett. New York: Random House, 1948.

(1948).

From Chapter Seven “My Father Meets a Lion”

“Who are you?” the lion yelled at my father.

“My name is Elmer Elevator.”

“Where do you think you are going?”

“I’m going home,” said my father.

“That’s what you think!” said the lion. “Ordinarily I’d save you for afternoon tea, but I happen to be upset enough and

hungry enough to eat you right now.” And he picked up my father in his front paws to feel how fat he was.

My father said, “Oh, please, Lion, before you eat me, tell me why you are so particularly upset today.”

“It’s my mane,” said the lion, as he was ﬁguring out how many bites a little boy would make. “You see what a dreadful

mess it is, and I don’t seem to be able to do anything about it. My mother is coming over on the dragon this after-

noon, and if she sees me this way I’m afraid she’ll stop my allowance. She can’t stand messy manes! But I’m going to

eat you now, so it won’t make any difference to you.”

“Oh, wait a minute,” said my father, “and I’ll give you just the things you need to make your mane a tidy and beautiful.

I have them here in my pack.”

“You do?” said the lion, “Well, give them to me, and perhaps I’ll save you for afternoon tea after all,” and he put my

father down on the ground.”

My father opened the pack and took out the comb and the brush and the seven hair ribbons of different colors.

“Look,” he said, “I’ll show you what to do on your forelock, where you can watch me. First you brush a while, and then

you comb, and then you brush again until all the twigs and snarls are gone. Then you divide it up into three and braid

it like this and tie a ribbon around the end.”

Ad my father was doing this, the lion watched very carefully and began to look much happier. When my father tied

the ribbon he was all smiles. “Oh, that’s wonderful, really wonderful!” said the lion. “Let me have the comb and brush

and see if I can do it.” So my father gave him the comb and brush and the lion began busily grooming his mane. As a

matter of fact, he was so busy that he didn’t even know when my father left.

such as for classroom use or curriculum development, requires independent permission from Random House, Inc.

Averill, Esther. The Fire Cat. New York: HarperCollins, 1960. (1960)

From “The Fire Cat”

Joe took Pickles to the Chief, who was sitting at his desk.

“Oh!” said the Chief. “I know this young cat. He is the one who chases little cats.”

“How do you know?” asked Joe.

The Chief answered, “A Fire Chief knows many things.”

Just then the telephone began to ring. “Hello,” said the Chief. “Oh, hello, Mrs. Goodkind. Yes, Pickles is here. He

came with Joe. What did you say? You think Pickles would like to live in our ﬁrehouse? Well, we shall see. Thank

you, Mrs. Goodkind. Good-bye.”

APPENDIX B | 37

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

The Chief looked at Pickles and said, “Mrs. Goodkind says you are not a bad cat. And Joe likes you. I will let you live

here IF you will learn to be a good ﬁrehouse cat.”

Pickles walked quietly up the stairs after Joe. Joe and Pickles went into a room where the ﬁremen lived.

The men were pleased to have a cat. They wanted to play with Pickles. But suddenly the ﬁre bell rang. All the ﬁre-

men ran to a big pole and down they went. The pole was the fast way to get to their trucks. Pickles could hear the

trucks start up and rush off to the ﬁre.

Pickles said to himself, “I must learn to do what the ﬁremen do, I must learn to slide down the pole.”

He jumped and put his paws around the pole. Down he fell with a BUMP.

“Bumps or no bumps, I must try again,” said Pickles. Up the stairs he ran. Down the pole he came – and bumped.

But by the time the ﬁremen came back from the ﬁre, Pickles could slide down the pole.

“What a wonderful cat you are!” said the ﬁremen. The Chief did not say anything.

Pickles said to himself, “I must keep learning everything I can.” So he learned to jump up on one of the big trucks.

And he learned to sit up straight on the seat while the truck raced to a ﬁre.

“What a wonderful cat you are!” said the ﬁremen. The Chief did not say anything.

Pickles said to himself, “Now I must learn to help the ﬁremen with their work.”

At the next ﬁre, he jumped down from the truck. He ran to a big hose, put his paws around it, and tried to help a ﬁre-

man shoot water at the ﬂames.

“What a wonderful cat you are!” said the ﬁremen. The Chief did not say anything.

The next day the Chief called all the ﬁremen to his desk. Then he called for Pickles. Pickles did not know what was

going to happen. He said to himself, “Maybe the Chief does not like the way I work. Maybe he wants to send me back

to my old yard.” But Pickles went to the Chief.

At the Chief’s desk stood all the ﬁremen – and Mrs. Goodkind! The Chief said to Pickles, “I have asked Mrs. Goodkind

to come because she was your ﬁrst friend. Pickles, jump up on my desk. I have something to say to you.”

Pickles jumped up on the desk and looked at the Chief. Out of the desk the Chief took – a little ﬁre hat!

“Pickles,” said the Chief, “I have watched you at your work. You have worked hard. The time has come for you to

know that you are now our Fire Cat.”

And with these words, the Chief put the little hat on Pickles’ head.

Steig, William. Amos & Boris. New York: Farrar, Straus and Giroux, 1971. (1971)

Shulevitz, Uri. The Treasure. New York: Farrar, Straus and Giroux, 1978. (1978)

Cameron, Ann. The Stories Julian Tells. New York: Random House, 1981. (1981)

MacLachlan, Patricia. Sarah, Plain and Tall. New York: HarperCollins, 1985. (1985)

From Chapter I

“Did Mama sing every day?” asked Caleb. “Every-single-day?” He sat close to the ﬁre, his chin in his hand. It was dusk,

and the dogs lay beside him on the warm hearthstones.

“Every-single-day,” I told him for the second time this week. For the twentieth time this month. The hundredth time

this year? And the past few years?

“And did Papa sing, too?”

“Yes. Papa sang, too. Don’t get so close, Caleb. You’ll heat up.”

APPENDIX B | 38

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

He pushed his chair back. It made a hollow scraping sound on the hearthstones. And the dogs stirred. Lottie, small

and black, wagged her tail and lifted her head. Nick slept on.

I turned the bread dough over and over on the marble slab on the kitchen table.

“Well, Papa doesn’t sing anymore,” said Caleb very softly. A log broke apart and crackled in the ﬁreplace. He looked

up at me. “What did I look like when I was born?”

“You didn’t have any clothes on,” I told him.

“I know that,” he said.

“You looked like this.” I held the bread dough up in a round pale ball.

“I had hair,” said Caleb seriously.

“Not enough to talk about,” I said.

“And she named me Caleb,” he went on, ﬁlling in the old familiar story.

“I would have named you Troublesome,” I said, making Caleb smile.

“And Mama handed me to you in the yellow blanket and said…” He waited for me to ﬁnish the story. “And said…?”

I sighed. “And Mama said. ‘Isn’t he beautiful, Anna?’”

“And I was,” Caleb ﬁnished.

Caleb thought the story was over, and I didn’t tell him what I had really thought. He was homely and plain, and he had

a terrible holler and a horrid smell. But these were not the worst of him. Mama died the next morning. That was the

worst thing about Caleb.

“Isn’t he beautiful, Anna?” her last words to me. I had gone to bed thinking how wretched he looked. And I forgot to

say good night.

I wiped my hands on my apron and went to the window. Outside, the prairie reached out and touched the places

where the sky came down. Though the winter was nearly over, there were patches of snow everywhere. I looked at

the long dirt road that crawled across the plains, remembering the morning that Mama had died, cruel and sunny.

They had come for her in a wagon and taken her away to be buried. And then the cousins and aunts and uncles had

come and tried to ﬁll up the house. But they couldn’t.

Slowly, one by one, they left. And then the days seemed long and dark like winter days, even though it wasn’t winter.

And Papa didn’t sing.

Rylant, Cynthia. Henry and Mudge: The First Book of Their Adventures. Illustrated by Suçie Stevenson. New York:

Atheneum, 1996. (1987)

From “Henry and Mudge”

Every day when Henry woke up, he saw Mudge’s big head. And every day when Mudge woke up, he saw Henry’s

small face.

They ate breakfast at the same time; they ate supper at the same time.

And when Henry was at school, Mudge just lay around and waited. Mudge never went for a walk without Henry again.

And Henry never worried that Mudge would leave.

Because sometimes, in their dreams, they saw long silent roads, big wide ﬁelds, deep streams, and pine trees.

In those dreams, Mudge was alone and Henry was alone. So when Mudge woke up and knew Henry was with him, he

remembered the dream and stayed closer.

And when Henry woke up and knew Mudge was with him, he remembered the dream

and the looking

and the calling

and the fear

and he knew he would never lose Mudge again.

APPENDIX B | 39

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Reprinted with the permission of Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Pub-

Stevens, Janet. Tops and Bottoms. New York: Harcourt, 1985. (1995)

Once upon a time there lived a very lazy bear who had lots of money and lots of land. His father had been a hard

worker and a smart business bear, and he had given all of his wealth to his son.

But all Bear wanted to do was sleep.

Not far down the road lived a hare. Although Hare was clever, he sometimes got into trouble. He had once owned

land, too, but now he had nothing. He had lost a risky bet with a tortoise and had sold off all of his land to Bear to pay

off the debt.

Hare and his family were in very bad shape.

“The children are so hungry Father Hare! We must think of something!” Mrs. Hare cried one day. So Hare and Mrs.

Hare put their heads together and cooked up a plan.

[…]

Bear stared at his pile. “But, Hare, all the best parts are in your half!”

“You chose the tops, Bear,” Hare said.

“Now, Hare, you’ve tricked me. You plant this ﬁeld again—and this season I want the bottoms!”

Hare agreed. “It’s a done deal, Bear.”

LaMarche, Jim. The Raft. New York: HarperCollins, 2000. (2000)

Somehow, on the river, it seemed like summer would never end. But of course it did.

On my last day, I got up extra early and crept down to the dock. The air was cool and a low pearly fog hung over the

river. I untied the raft and quietly drifted downstream.

Ahead of me, through the fog, I saw two deer moving across the river, a doe and a fawn. When they reached the

shore, the doe leaped easily up the steep bank, then turned to wait for her baby. But the fawn was in trouble. It kept

slipping down the muddy bank, The doe returned to the water to help, but the more the fawn struggled, the deeper it

got stuck in the mud.

I pushed off the river bottom and drove the raft hard onto the muddy bank, startling the doe. Then I dropped into the

water. I was ankle-deep in mud.

You’re okay,” I whispered to the fawn, praying that the raft would calm it. “I won’t hurt you.”

Gradually the fawn stopped struggling, as if it understood that I was there to help. I put my arms around it and pulled.

It barely moved. I pulled again, then again. Slowly the fawn eased out of the mud, and ﬁnally it was free. Carefully I

carried the fawn up the bank to its mother.

Then, quietly, I returned to the raft. From there I watched the doe nuzzle and clean her baby, and I knew what I had

to do. I pulled the stub of a crayon from my pocket, and drew the fawn, in all its wildness, onto the old gray boards of

the raft. When I had ﬁnished, I knew it was just right.

Rylant, Cynthia. Poppleton in Winter. Illustrated by Mark Teague. New York: Scholastic, 2001. (2001)

From “The Sleigh Ride”

It was a very snowy day and Poppleton felt like a sleigh ride. He called his friend Cherry Sue.

“Would you like to go for a sleigh ride?” Poppleton asked.

“Sorry, Poppleton, I’m making cookies,” said Cherry Sue.

APPENDIX B | 40

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Poppleton called his friend Hudson.

“Would you like to go for a sleigh ride?” Poppleton asked.

“Sorry,” said Hudson, “I’m baking a cake.”

Poppleton called his friend Fillmore.

“Would you like to go for a sleigh ride?” Poppleton asked.

“Sorry,” said Fillmore. “I’m stirring some fudge.”

Poppleton was disappointed. He couldn’t ﬁnd one friend for a sleigh ride. And besides that, they were all making

such good things to eat!

He sat in front of his window, feeling very sorry for himself. Suddenly the doorbell rang.

“SURPRISE!”

There stood all of Poppleton’s friends! With cookies and cake and fudge and presents! “HAPPY BIRTHDAY, POPPLE-

TON!”

He had forgotten his own birthday! Everyone ate and laughed and played games with Poppleton.

Then, just before midnight, they all took him on a sleigh ride.

The moon was full and white. The stars twinkled. The owls hooted in the trees. Over the snow went the sleigh ﬁlled

with Poppleton and all of his friends.

Poppleton didn’t even make a birthday wish. He had everything already.

Used by permission.

Rylant, Cynthia. The Lighthouse Family: The Storm. Illustrated by Preston McDaniels. New York: Simon & Schuster,

2002. (2002)

In a lonely lighthouse, far from city and town, far from the comfort of friends, lived a kindhearted cat named Pandora.

She had been living in this lighthouse all alone for four long years, and it was beginning to wear. She found herself

sighing long, deep, lonely sighs. She sat on the rocks overlooking the waves far too long. Sometimes her nose got a

sunburn.

And at night, when she tried to read by the lantern light, her mind wandered and she would think for hours on her

childhood when she had friends and company.

Why did Pandora accept this lonely lighthouse life?

Because a lighthouse had once saved her.

Reprinted with the permission of Simon & Schuster Books for Young Readers, an imprint of Simon & Schuster Chil-

Cynthia Rylant.

Osborne, Mary Pope. The One-Eyed Giant (Book One of Tales from the Odyssey). New York: Disney Hyperion, 2002.

(2002)

From Chapter Five: “The One-Eyed Giant”

A hideous giant lumbered into the clearing. He carried nearly half a forest’s worth of wood on his back. His monstrous

head jutted from his body like a shaggy mountain peak. A single eye bulged in the center of his forehead.

The monster was Polyphemus. He was the most savage of all the Cyclopes, a race of ﬁerce one-eyed giants who lived

without laws or leader. The Cyclopes were ruthless creatures who were known to capture and devour any sailors who

happened near their shores.

APPENDIX B | 41

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Polyphemus threw down his pile of wood. As it crashed to the ground, Odysseus and his men ﬂed to the darkest

corners of the cave.

Unaware that the Greeks were hiding inside, Polyphemus drove his animals into the cave. Then he rolled a huge boul-

der over its mouth to block out the light of day and imprison his ﬂock inside.

Twenty-four wagons could not haul that rock away, Odysseus thought desperately. How will we escape this monster?

Odysseus’ men trembled with terror as the giant made a small ﬁre and milked his goats in the shadowy light. His milk-

ing done, he threw more wood on his ﬁre. The ﬂame blazed brightly, lighting up the corners of the cave where Odys-

seus and his men were hiding.

“What’s this? Who are you? From where do you come?” the giant boomed. He glared at the Greeks with his single

eye. “Are you pirates who steal the treasure of others?”

Odysseus’ men were frozen with terror. But Odysseus hid his own fear and stepped toward the monster.

“We are not pirates,” he said, “We are Greeks blown off course by storm winds. Will you offer us the gift of hospitality

like a good host? If you do, mighty Zeus, king of the gods, will be pleased. Zeus is the guardian of all strangers.”

“Fool!” the giant growled. “Who are you to tell me to please Zeus? I am a son of Poseidon, god of the seas! I am not

afraid of Zeus!”

Odysseus men cowered in fear.

Polyphemus moved closer to Odysseus. He spoke in a soft, terrible voice. “But tell me, stranger, where is your ship?

Near or far from shore?”

Odysseus knew Polyphemus was trying to trap him. “Our ship was destroyed in the storm,” he lied. “It was dashed

against the rocks. With these good men I escaped, I ask you again, will you welcome us?”

Silverman, Erica. Cowgirl Kate and Cocoa. Illustrated by Betsy Lewin. Orlando: Harcourt, 2005. (2005)

From Chapter 1: “A Story for Cocoa”

Cowgirl Kate rode her horse, Cocoa, out to the pasture.

“It’s time to herd cows,” said Cowgirl Kate.

“I am thirsty,” said Cocoa.

He stopped at the creek and took a drink.

“Are you ready now?” asked Cowgirl Kate.

“No,” said Cocoa. “Now I am hungry.”

Cowgirl Kate gave him an apple. He ate it in one bite. Then he sniffed the saddlebag.

Cowgirl Kate gave him another apple. He ate that in one bite, too. He sniffed the saddlebag again.

“You are a pig,” said Cowgirl Kate.

“No,” said Cocoa. “I am a horse.”

“A cowhorse?” she asked.

“Of course,” he said.

“But a cowhorse herds cows,” she said.

“Just now, I am too full,” he said.

APPENDIX B | 42

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Cowgirl Kate smiled. “Then I will tell you a story.”

“Once there was a cowgirl who needed a cowhorse. She went to a ranch and saw lots and lots of horses. Then she

saw a horse whose coat was the color of chocolate. His tail and mane were the color of caramel. ‘Yum,’ said the cow-

girl, ‘you are the colors of my favorite candy.’ The horse looked at her. He snied her.”

“’Are you a real cowgirl?’ he asked. ‘I am a cowgirl from the boots up,’ she said. ‘Well, I am a cowhorse from the mane

down,’ he said. ‘Will you work hard every day?’ the cowgirl asked.. The horse raised his head high. ‘Of course,’ he

said, ‘a cowhorse always does his job.’ ‘At last,’ said the cowgirl, ‘I have found my horse.’”

“That was a good story,” said Cocoa. He raised his head high. “And now I am ready to herd cows.”

Poetry

Dickinson, Emily. “Autumn.” The Compete Poems of Emily Dickinson. Boston: Little, Brown, 1960. (1893)

The morns are meeker than they were.

The nuts are getting brown;

The berry’s cheek is plumper,

The rose is out of town.

The maple wears a gayer scarf,

The ﬁeld a scarlet gown.

Lest I should be old-fashioned,

I’ll put a trinket on.

Rossetti, Christina. “Who Has Seen the Wind?” Sing a Song of Popcorn: Every Child’s Book of Poems. Selected by

Beatrice Schenk de Regniers et al. Illustrated by Marcia Brown et al. New York: Scholastic, 1988. (1893)

Who has seen the wind?

Neither I nor you;

But when the leaves hang trembling

The wind is passing through.

Who has seen the wind?

Neither you nor I;

But when the trees bow down their heads

The wind is passing by.

Millay, Edna St. Vincent. “Afternoon on a Hill.” The Selected Poetry of Edna St. Vincent Millay. Edited by Nancy

Milford. New York: Modern Library, 2001. (1917)

I will be the gladdest thing

Under the sun!

I will touch a hundred ﬂowers

And not pick one.

I will look at cliffs and clouds

With quiet eyes,

Watch the wind bow down the grass,

And the grass rise.

And when lights begin to show

Up from the town,

I will mark which must be mine,

And then start down!

APPENDIX B | 43

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Frost, Robert. “Stopping by Woods on a Snowy Evening.” The Poetry of Robert Frost: The Collected Poems. Edited

by Edward Connery Lathem. New York: Henry Holt, 1979. (1923)

Field, Rachel. “Something Told the Wild Geese.” Branches Green. New York: Macmillan, 1934. (1934)

Hughes, Langston. “Grandpa’s Stories.” The Collected Poems of Langston Hughes. New York: Knopf, 1994. (1958)

Jarrell, Randall. “A Bat Is Born.” The Bat Poet. New York: HarperCollins, 1964. (1964)

A bat is born

Naked and blind and pale.

His mother makes a pocket of her tail

And catches him. He clings to her long fur

By his thumbs and toes and teeth.

And them the mother dances through the night

Doubling and looping, soaring, somersaulting—

Her baby hangs on underneath.

All night, in happiness, she hunts and ﬂies

Her sharp cries

Like shining needlepoints of sound

Go out into the night and, echoing back,

Tell her what they have touched.

She hears how far it is, how big it is,

Which way it’s going:

She lives by hearing.

The mother eats the moths and gnats she catches

In full ﬂight; in full ﬂight

The mother drinks the water of the pond

She skims across. Her baby hangs on tight.

Her baby drinks the milk she makes him

In moonlight or starlight, in mid-air.

Their single shadow, printed on the moon

Or ﬂuttering across the stars,

Whirls on all night; at daybreak

The tired mother ﬂaps home to her rafter.

The others are all there.

They hang themselves up by their toes,

They wrap themselves in their brown wings.

Bunched upside down, they sleep in air.

Their sharp ears, their sharp teeth, their

quick sharp faces

Are dull and slow and mild.

All the bright day, as the mother sleeps,

She folds her wings about her sleeping child.

permission of HarperCollins Publishers.

Giovanni, Nikki. “Knoxville, Tennessee.” Sing a Song of Popcorn: Every Child’s Book of Poems. Selected by Beatrice

Schenk de Regniers et al. Illustrated by Marcia Brown et al. New York: Scholastic, 1988. (1968)

I always like summer

best

you can eat fresh corn

from daddy’s garden

and okra

and greens

and cabbage

and lots of

barbecue

and buttermilk

APPENDIX B | 44

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

and homemade ice-cream

at the church picnic

and listen to

gospel music

outside

at the church

homecoming

and you go to the mountains

with

your grandmother

and go barefooted

and be warm

all the time

not only when you go to bed

and sleep

Merriam, Eve. “Weather.” Sing a Song of Popcorn: Every Child’s Book of Poems. Selected by Beatrice Schenk de

Regniers et al. Illustrated by Marcia Brown et al. New York: Scholastic, 1988. (1969)

Soto, Gary. “Eating While Reading.” The 20th Century Children’s Poetry Treasury. Selected by Jack Prelutsky.

Illustrated by Meilo So. New York: Knopf, 1999. (1995)

What is better

Than this book

And the churn of candy

In your mouth,

Or the balloon of bubble gum,

Or the crack of sunﬂower seeds,

Or the swig of soda,

Or the twist of beef jerky,

Or the slow slither

Of snow cone syrup

Running down your arms?

What is better than

This sweet dance

On the tongue,

And this book

That pulls you in?

It yells, “Over here!”

And you hurry along

With a red, sticky face.

Read-Aloud Stories

Kipling, Rudyard. “How the Camel Got His Hump.” Just So Stories. New York: Pufﬁn, 2008. (1902)

Now this is the next tale, and it tells how the Camel got his big hump.

In the beginning of years, when the world was so new and all, and the Animals were just beginning to work for Man,

there was a Camel, and he lived in the middle of a Howling Desert because he did not want to work; and besides, he

was a Howler himself. So he ate sticks and thorns and tamarisks and milkweed and prickles, most ‘scruciating idle; and

when anybody spoke to him he said “Humph!” Just “Humph!” and no more.

APPENDIX B | 45

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Presently the Horse came to him on Monday morning, with a saddle on his back and a bit in his mouth, and said,

“Camel, O Camel, come out and trot like the rest of us.”

“Humph!” said the Camel; and the Horse went away and told the Man.

Presently the Dog came to him, with a stick in his mouth, and said, “Camel, O Camel, come and fetch and carry like

the rest of us.”

“Humph !” said the Camel; and the Dog went away and told the Man.

Presently the Ox came to him, with the yoke on his neck and said, “Camel, O Camel, come and plough like the rest of

us.”

“Humph!” said the Camel; and the Ox went away and told the Man.

At the end of the day the Man called the Horse and the Dog and the Ox together, and said, “Three, O Three, I’m very

sorry for you (with the world so new-and-all); but that Humph-thing in the Desert can’t work, or he would have been

here by now, so I am going to leave him alone, and you must work double-time to make up for it.”

That made the Three very angry (with the world so new-and-all), and they held a palaver, and an indaba, and

a punchayet, and a pow-wow on the edge of the Desert; and the Camel came chewing milkweed most ’scruciating

idle, and laughed at them. Then he said “Humph!” and went away again.

Presently there came along the Djinn in charge of All Deserts, rolling in a cloud of dust (Djinns always travel that way

because it is Magic), and he stopped to palaver and pow-wow with the Three.

“Djinn of All Deserts,” said the Horse, “is it right for any one to be idle, with the world so new-and-all?”

“Certainly not,” said the Djinn.

“Well,” said the Horse, “there’s a thing in the middle of your Howling Desert (and he’s a Howler himself) with a long

neck and long legs, and he hasn’t done a stroke of work since Monday morning. He won’t trot.”

“Whew!” said the Djinn, whistling, “that’s my Camel, for all the gold in Arabia! What does he say about it?”

“He says ‘Humph!’” said the Dog; “and he won’t fetch and carry.”

“Does he say anything else?”

“Only ‘Humph!’; and he won’t plough,” said the Ox.

“Very good,” said the Djinn. “I’ll humph him if you will kindly wait a minute.”

Thurber, James. The Thirteen Clocks. Illustrated by Marc Simont. New York: New York Review Children’s Collection,

2008. (1950)

From Chapter 1

Once upon a time, in a gloomy castle on a lonely hill, where there were thirteen clocks that wouldn’t go, there lived

a cold aggressive Duke, and his niece, the Princess Saralinda. She was warm in every wind and weather, but he was

always cold. His hands were as cold as his smile and almost as cold as his heart. He wore gloves when he was asleep,

and he wore gloves when he was awake, which made it difﬁcult for him to pick up pins or coins or kernels of nuts, or

to tear the wings from nightingales. He was six feet four, and forty-six, and even colder than he thought he was. One

eye wore a velvet patch; the other glittered through a monocle, which made half of his body seem closer to you than

the other half. He had lost one eye when he was twelve, for he was fond of peering into nests and lairs in search of

birds and animals to maul. One afternoon, a mother shrike had mauled him ﬁrst. His nights were spent in evil dreams,

and his days were given to wicked schemes.

Wickedly scheming, he would limp and cackle through the cold corridors of the castle, planning new impossible

feats for the suitors of Saralinda to perform. He did not wish to give her hand in marriage, since her hand was the

only warm hand in the castle. Even the hands of his watch and the hands of all the thirteen clocks were frozen. They

had all frozen at the same time, on a snowy night, seven years before, and after that it was always ten to ﬁve in the

castle. Travelers and mariners would look up at the gloomy castle on the lonely hill and say, “Time lies frozen there. It’s

always Then. It’s never Now.”

APPENDIX B | 46

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

White, E. B. Charlotte’s Web. Illustrated by Garth Williams. New York: HarperCollins, 2001. (1952)

From Chapter 1: “Before Breakfast”

“Where’s Papa going with that ax?” said Fern to her mother as they were setting the table for breakfast.

“Out to the hoghouse,” replied Mrs. Arable. “Some pigs were born last night.”

“I don’t see why he needs an ax,” continued Fern, who was only eight.

“Well,” said her mother, “one of the pigs is a runt. It’s very small and weak, and it will never amount to anything. So

your father has decided to do away with it.”

“Do away with it?” shrieked Fern. “You mean kill it? Just because it’s smaller than the others?”

Mrs. Arable put a pitcher of cream on the table. “Don’t yell, Fern!” she said. “Your father is right. The pig would prob-

ably die anyway.”

Fern pushed a chair out of the way and ran outdoors. The grass was wet and the earth smelled of springtime. Fern’s

sneakers were sopping by the time she caught up with her father.

“Please don’t kill it!” she sobbed. “It’s unfair.” Mr. Arable stopped walking.

“Fern,” he said gently, “you will have to learn to control yourself.”

“Control myself?” yelled Fern. “This is a matter of life and death, and you talk about controlling myself.”

Tears ran down her cheeks and she took hold of the ax and tried to pull it out of her father’s hand.

“Fern,” said Mr. Arable, “I know more about raising a litter of pigs than you do. A weakling makes trouble. Now run

along!”

“But it’s unfair,” cried Fern. “The pig couldn’t help being born small, could it? If I had been very small at birth, would

you have killed me?”

Mr. Arable smiled. “Certainly not,” he said, looking down at his daughter with love. “But this is different. A little girl is

one thing, a little runty pig is another.”

“I see no difference,” replied Fern, still hanging on to the ax. “This is the most terrible case of injustice I ever heard of.”

Selden, George. The Cricket in Times Square. Illustrated by Garth Williams. New York: Farrar, Straus and Giroux,

1960. (1960)

From Chapter Three: “Chester”

Tucker Mouse had been watching the Bellinis and listening to what they said. Next to scrounging, eaves-dropping on

human beings was what he enjoyed most. That was one of the reasons he lived in the Times Square subway station.

As soon as the family disappeared, he darted out across the ﬂoor and scooted up to the newsstand. At one side

the boards had separated and there was a wide space he could jump through. He’d been in a few times before—just

exploring. For a moment he stood under the three-legged stool, letting his eyes get used to the darkness. Then he

jumped up on it.

“Psst!” he whispered. “Hey, you up there—are you awake?”

There was no answer.

“Psst! Psst! Hey!” Tucker whispered again, louder this time.

From the shelf above came a scufﬂing, like little feet feeling their way to the edge. “Who is that going ‘psst’?” said a

voice.

“It’s me,” said Tucker. “Down here on the stool.”

A black head, with two shiny black eyes, peered down at him. “Who are you?”

“A mouse,” said Tucker. “Who are you?”

APPENDIX B | 47

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

“I’m Chester Cricket, said the cricket. He had a high, musical voice. Everything he said seemed spoken in an unheard

melody.

“My name’s Tucker,” said Tucker Mouse. “Can I come up?”

“I guess so,” said Chester Cricket. “This isn’t my house anyway.”

Tucker jumped up beside the cricket and looked him all over. “A cricket,” he said admiringly. “So you’re a cricket. I

never saw one before.”

I’ve seen mice before,” the cricket said. “I knew quite a few back in Connecticut.”

“Is that where you’re from?” asked Tucker.

“Yes,” said Chester. “I guess I’ll never see it again,” he added wistfully.

Babbitt, Natalie. The Search for Delicious. New York: Farrar, Straus and Giroux, 1969. (1969)

From the Prologue

There was a time once when the earth was still very young, a time some call the oldest days. This was long before

there were any people about to dig parts of it up and cut parts of it off. People came along much later, building their

towns and castles (which nearly always fell down after a while) and plaguing each other with quarrels and supper par-

ties. The creatures who lived on earth in that early time stayed each in his own place and kept it beautiful. There were

dwarfs in the mountains, woldwellers in the forests, mermaids in the lakes, and, of course, winds in the air.

There was one particular spot on the earth where a ring of mountains enclosed a very dry and dusty place. There

were winds and dwarfs there, but no mermaids because there weren’t any lakes, and there were no woldwellers either

because forests couldn’t grow in so dry a place.

Then a remarkable thing happened. Up in the mountains one day a dwarf was poking about with a sharp tool, looking

for a good spot to begin mining. He poked and poked until he had made a very deep hole in the earth. Then he poked

again and clear spring water came spurting up in the hole. He hurried in great excitement to tell the other dwarfs and

they all came running to see the water. They were so pleased that they built over it a ﬁne house of heavy stones and

they made a special door out of a ﬂat rock and balanced it in its place very carefully on carved hinges. Then one of

them made a whistle out of a small stone which blew a certain very high note tuned to just the right warble so that

when you blew it, the door of the rock house would open, and when you blew it again, the door would shut. They

took turns being in charge of the whistle and they worked hard to keep the spring clean and beautiful.

Curtis, Christopher Paul. Bud, Not Buddy. New York: Random House, 1999. (1999)

(Also listed as a narrative for grades 4–5)

From Chapter 1

Here we go again. We were all standing in line waiting for breakfast when one of the caseworkers came in and tap-

tap-taped down the line. Uh-oh, this meant bad news, either they’d found a foster home for somebody or somebody

was about to get paddled. All the kids watched the woman as she moved along the line, her high-heeled shoes

sounding like little ﬁre-crackers going off on the wooden ﬂoor.

Shoot! She stopped at me and said, “Are you Buddy Caldwell?”

I said, “It’s Bud, not Buddy, ma’am.”

She put her hand on my shoulder and took me out of the line. Then she pulled Jerry, one of the littler boys, over.

“Aren’t you Jerry Clark?” He nodded.

“Boys, good news! Now that the school year has ended, you both have been accepted in new temporary-care homes

starting this afternoon!”

Jerry asked the same thing I was thinking, “Together?”

She said, “Why no, Jerry, you’ll be in a family with three little girls…”

Jerry looked like he’d just found out they were going to dip him in a pot of boiling milk.

“…and Bud…” She looked at some papers she was holding. “Oh, yes, the Amoses, you’ll be with Mr. and Mrs. Amos and

their son, who’s twelve years old, that makes him just two years older than you, doesn’t it, Bud?”

APPENDIX B | 48

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Yes, ma’am.”

She said, “I’m sure you’ll both be very happy.”

Me and Jerry looked at each other.

The woman said, “Now, now, boys, no need to look so glum, I know you don’t understand what it means, but there’s a

depression going on all over this country. People can’t ﬁnd jobs and these are very, very difﬁcult times for everybody.

We’ve been lucky enough to ﬁnd two wonderful families who’ve opened their doors for you. I think it’s best that we

show our new foster families that we’re very…”

She dragged out the word very, waiting for us to ﬁnish her sentence for her.

Jerry said, “Cheerful, helpful and grateful.” I moved my lips and mumbled.

She smiled and said, “Unfortunately, you won’t have time for breakfast. I’ll have a couple of pieces of fruit put in a bag.

In the meantime go to the sleep room and strip your beds and gather all of your things.”

Here we go again. I felt like I was walking in my sleep as I followed Jerry back to the room where all the boys’ beds

were jim-jammed together. This was the third foster home I was going to and I’m used to packing up and leaving, but

it still surprises me that there are always a few seconds, right after they tell you you’ve got to go, when my nose gets

all runny and my throat gets all choky and my eyes get all sting-y. But the tears coming out doesn’t happen to me

anymore, I don’t know when it ﬁrst happened, but is seems like my eyes don’t cry anymore.

Say, Allen. The Sign Painter. New York: Houghton Mifﬂin, 2000. (2000)

“Are you lost, son?” the man asked.

“Yes . . . I mean no. I need a job,” the young man stammered looking not much more than a boy.

“Tell me what you can do.”

“I can paint.”

“Ah, an artist. Are you good at faces?”

“I think so.”

“Can you paint them big?”

“Yes.”

“All right, I’m interested.” The man put down the brush, and said, “Come with me.”

Read-Aloud Poetry

Lear, Edward. “The Jumblies.” Sing a Song of Popcorn: Every Child’s Book of Poems. Selected by Beatrice Schenk

de Regniers et al. Illustrated by Marcia Brown et al. New York: Scholastic, 1988. (1871)

They went to sea in a sieve, they did;

In a sieve they went to sea:

In spite of all their friends could say,

On a winter’s morn, on a stormy day,

In a sieve they went to sea.

And when the sieve turned round and round,

And every one cried, “You’ll all be drowned!”

APPENDIX B | 49

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

They called aloud, “Our sieve ain’t big;

But we don’t care a button, we don’t care a ﬁg:

In a sieve we’ll go to sea!”

Far and few, far and few,

Are the lands where the Jumblies live:

Their heads are green, and their hands are blue

And they went to sea in a sieve.

They sailed away in a sieve, they did,

In a sieve they sailed so fast,

With only a beautiful pea-green veil

Tied with a ribbon, by way of a sail,

To a small tobacco-pipe mast.

And every one said who saw them go,

“Oh! won’t they be soon upset, you know?

For the sky is dark, and the voyage is long;

And, happen what may, it’s extremely wrong

In a sieve to sail so fast.”

Far and few, far and few,

Are the lands where the Jumblies live:

Their heads are green, and their hands are blue

And they went to sea in a sieve.

The water it soon came in, it did;

The water it soon came in:

So, to keep them dry, they wrapped their feet

In a pinky paper all folded neat;

And they fastened it down with a pin.

And they passed the night in a crockery-jar;

And each of them said, “How wise we are!

Though the sky be dark, and the voyage be long,

Yet we never can think we were rash or wrong,

While round in our sieve we spin.”

Far and few, far and few,

Are the lands where the Jumblies live:

Their heads are green, and their hands are blue

And they went to sea in a sieve.

And all night long they sailed away;

And when the sun went down,

They whistled and warbled a moony song

To the echoing sound of a coppery gong,

In the shade of the mountains brown.”

O Timballoo! How happy we are

When we live in a sieve and a crockery-jar!

And all night long, in the moonlight pale,

We sail away with a pea-green sail

In the shade of the mountains brown

Far and few, far and few,

Are the lands where the Jumblies live:

Their heads are green, and their hands are blue

And they went to sea in a sieve.

They sailed to the Western Sea, they did,—

To a land all covered with trees:

And they bought an owl, and a useful cart,

And a pound of rice, and a cranberry-tart,

And a hive of silvery bees;

And they bought a pig, and some green jackdaws,

And a lovely monkey with lollipop paws,

And forty bottles of ring-bo-ree,

And no end of Stilton cheese.

APPENDIX B | 50

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Far and few, far and few,

Are the lands where the Jumblies live:

Their heads are green, and their hands are blue

And they went to sea in a sieve.

And in twenty years they all came back,—

In twenty years or more;

And every one said, “How tall they’ve grown!

For they’ve been to the Lakes, and the Torrible Zone,

And the hills of the Chankly Bore.

“And they drank their health, and gave them a feast

Of dumplings made of beautiful yeast;

And every one said, “If we only live,

We, too, will go to sea in a sieve,

To the hills of the Chankly Bore.

Far and few, far and few,

Are the lands where the Jumblies live:

Their heads are green, and their hands are blue

And they went to sea in a sieve.

Browning, Robert. The Pied Piper of Hamelin. Illustrated by Kate Greenaway. New York: Knopf, 1993. (1888)

Hamelin Town’s in Brunswick,

By famous Hanover city;

The river Weser, deep and wide,

Washes its wall on the southern side;

A pleasanter spot you never spied;

But, when begins my ditty,

Almost ﬁve hundred years ago,

To see the townsfolk suffer so

From vermin, was a pity.

Rats!

They fought the dogs and killed the cats,

And bit the babies in the cradles,

And ate the cheeses out of the vats.

And licked the soup from the cook’s own ladles,

Split open the kegs of salted sprats,

Made nests inside men’s Sunday hats,

And even spoiled the women’s chats,

By drowning their speaking

With shrieking and squeaking

In ﬁfty different sharps and ﬂats.

At last the people in a body

To the Town Hall came ﬂocking:

“Tis clear,” cried they, “our Mayor’s a noddy;

And as for our Corporation—shocking

To think we buy gowns lined with ermine

For dolts that can’t or won’t determine

What’s best to rid us of our vermin!

You hope, because you’re old and obese,

To ﬁnd in the furry civic robe ease?

Rouse up, sirs! Give your brains a racking

To ﬁnd the remedy we’re lacking,

Or, sure as fate, we’ll send you packing!”

At this the Mayor and Corporation

Quaked with a mighty consternation.

APPENDIX B | 51

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Johnson, Georgia Douglas. “Your World.” Words with Wings: A Treasury of African-American Poetry and Art.

Selected by Belinda Rochelle. New York: HarperCollins, 2001. (1918)

Your world is as big as you make it.

I know, for I used to abide

In the narrowest nest in a corner,

My wings pressing close to my side.

But I sighted the distant horizon

Where the skyline encircled the sea

And I throbbed with a burning desire

To travel this immensity.

I battered the cordons around me

And cradled my wings on the breeze,

Then soared to the uttermost reaches

With rapture, with power, with ease!

Eliot, T. S. “The Song of the Jellicles.” Old Possum’s Book of Practical Cats. Illustrated by Edward Gorey. Orlando:

Harcourt, 1982. (1939)

Fleischman, Paul. “Fireﬂies.” Joyful Noise: Poems for Two Voices. Illustrated by Eric Beddows. New York:

HarperCollins, 1988. (1988)

Light Light

is the ink we use

Night Night

is our parchment

We’re

ﬁreﬂies

ﬁreﬂies ﬂickering

ﬂitting

ﬂashing

ﬁreﬂies

glimmering ﬁreﬂies

gleaming

glowing

Insect calligraphers Insect calligraphers

practicing penmanship

copying sentences

Six-legged scribblers Six-legged scribblers

of vanishing messages,

ﬂeeting grafﬁti

Fine artists in ﬂight Fine artists in ﬂight

adding dabs of light

bright brush strokes

Signing the June nights Signing the June nights

as if they were paintings as if they were paintings

We’re

ﬂickering ﬁreﬂies

ﬁreﬂies ﬂickering

ﬁreﬂies. ﬁreﬂies.

Sample Performance Tasks for Stories and Poetry

• Students ask and answer questions regarding the plot of Patricia MacLachlan’s Sarah, Plain and Tall, explicitly

referring to the book to form the basis for their answers. [RL.3.1]

APPENDIX B | 52

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

• Students explain how Mark Teague’s illustrations contribute to what is conveyed in Cynthia Rylant’s Poppleton

in Winter to create the mood and emphasize aspects of characters and setting in the story. [RL.3.7]

• Students read fables and folktales from diverse cultures that represent various origin tales, such as Rudyard

Kipling’s “How the Camel Got His Hump” and Natalie Babbitt’s The Search for Delicious, and paraphrase their

central message, lesson, or moral. [RL.2.2]

• Students describe the overall story structure of The Thirteen Clocks by James Thurber, describing how the

interactions of the characters of the Duke and Princess Saralinda introduce the beginning of the story and how

the suspenseful plot comes to an end. [RL.2.5]

• When discussing E. B. White’s book Charlotte’s Web, students distinguish their own point of view regarding

Wilbur the Pig from that of Fern Arable as well as from that of the narrator. [RL.3.6]

• Students describe how the character of Bud in Christopher Paul Curtis’ story Bud, Not Buddy responds to a

major event in his life of being placed in a foster home. [RL.2.3]

• Students read Paul Fleischman’s poem “Fireﬂies,” determining the meaning of words and phrases in the poem,

particularly focusing on identifying his use of nonliteral language (e.g., “light is the ink we use”) and talking

about how it suggests meaning. [RL.3.4]

Informational Texts

Aliki. A Medieval Feast. New York: HarperCollins, 1986. (1983)

It was announced from the palace that the King would soon make a long journey.

On the way to his destination, the King and his party would spend a few nights at Camdenton Manor. The lord of the

manor knew what this meant. The king traveled with his Queen, his knights, squires, and other members of his court.

There could be a hundred mouths to feed!

Preparations for the visit began at once. The lord and lady of the manor had their serfs to help them. The serfs lived

in huts provided for them on the lord’s estate, each with its own plot of land. In return, they were bound to serve the

lord. They farmed his land, managed his manor house, and if there was a war, they had to go to battle with the lord

and the King.

But now they prepared.

The manor had its own church, which was attended by everyone on the estate.

The manor house had to be cleaned, the rooms readied, tents set up for the horsemen, ﬁelds fenced for the horses.

And above all, provisions had to be gathered for the great feast.

The Royal Suite was redecorated.

Silk was spun, new fabric was woven.

The Royal Crest was embroidered on linen and painted on the King’s chair.

The lord and his party went hunting and hawking for fresh meat.

Hunting was a sport for the rich only. The wild animals that lived on the lord’s estate belonged to him. Anyone caught

poaching—hunting illegally—was severely punished.

Falcons and hawks were prizeds pets. They were trained to attack birds for their masters to capture.

They trapped rabbits and birds of all kinds, and ﬁshed for salmon and eels and trout.

APPENDIX B | 53

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Serfs hid in bushes and caught birds in traps. They set ferrets in burrows to chase out rabbits.

There were fruits and vegetables growing in the garden, herbs and ﬂowers for sauces and salads, and bees made

honey for sweetening.

Gibbons, Gail. From Seed to Plant. New York: Holiday House, 1993. (1991)

From “A ‘From Seed to Plant’ Project”

How to raise bean plants

1. Find a clean glass jar. Take a piece of black construction paper and roll it up.

2. Slide the paper into the jar. Fill the jar with water.

3. Wedge the bean seeds between the black paper and the glass. Put the jar in a warm place.

4. In a few days the seeds will begin to sprout. Watch the roots grow down. The shoots will grow up.

5. Put dirt into a big clay pot.

6. Carefully remove the small plants from the glass jar. Place them in the soil, covering them up to the base of their

shoots.

7. Water them…and watched them grow.

Milton, Joyce. Bats: Creatures of the Night. Illustrated by Joyce Moffatt. New York: Grosset & Dunlap, 1993. (1993)

No one has lived on this farm for years.

The barn looks empty.

But it isn’t!

Strange creatures are sleeping in the loft.

As the sun goes down, they take to the air.

Moatt. Used by permission of Grosset & Dunlap, A Division of Penguin Young Readers Group, A Member of Penguin

Beeler, Selby. Throw Your Tooth on the Roof: Tooth Traditions Around the World. Illustrated by G. Brian Karas. New

York: Houghton Mifﬂin, 2001. (1998)

Has this ever happened to you?

You ﬁnd a loose tooth in your mouth.

Yikes! You can wiggle it with your ﬁnger.

You can push it back and forth with your tongue.

Then one day it falls out.

There you are with your old baby tooth in your hand and a big hole in your mouth.

It happens to everyone, everywhere, all over the world.

“Look! Look! My tooth fell out! My tooth fell out!”

But what happens next?

What in the world do you do with your tooth?

North America

United States

I put my tooth under my pillow. While I’m sound asleep, the Tooth Fairy will come into my room, take my tooth, and

leave some money in its place.

Mexico

When I go to sleep, I leave my tooth in a box on the bedside table. I hope El Ratón, the magic mouse, will take my

tooth and bring me some money. He leaves more money for a front tooth.

APPENDIX B | 54

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Yupik

My mother wraps my tooth in a food, like meat or bread. Then I feed it to a female dog and say, “Replace this tooth

with a better one.”

Yellowknife Déné

My mother or grandmother takes my tooth and puts it in a tree and then my family dances around it. This makes cer-

tain that my new tooth will grow in as straight as a tree.

Navajo

My mother saves my tooth until my mouth stops hurting. Then we take my tooth to the southeast, away from our

house. We bury the tooth on the east side of a healthy young sagebrush, rabbit bush, or pinyon tree because we be-

lieve that east is the direction associated with childhood.

Leonard, Heather. Art Around the World. New York: Rigby, 1998. (1998)

Rufﬁn, Frances E. Martin Luther King and the March on Washington. Illustrated by Stephen Marchesi. New York:

Grosset & Dunlap, 2000. (2000)

August 28, 1963

It is a hot summer day in Washington, D.C.

More than 250,000 people are pouring into the city.

They have come by plane, by train, by car, and by bus.

From MARTIN LUTHER KING, JR. AND THE MARCH ON WASHINGTON: ALL ABOARD READING by Frances E. Run,

permission of Grosset & Dunlap, A Division of Penguin Young Readers Group, A Member of Penguin Group (USA) Inc.

St. George, Judith. So You Want to Be President? Illustrated by David Small. New York: Philomel, 2000. (2000)

Every single President has taken this oath: “I do solemnly swear (or afﬁrm) that I will faithfully execute the ofﬁce of

President of the United States, and will to the best of my ability, preserve, protect, and defend the Constitution of the

United States.”

Only thirty-ﬁve words! But it’s a big order if you’re President of this country. Abraham Lincoln was tops at ﬁlling that

order. “I know very well that many others might in this matter or as in others, do better than I can,” he said. “But…I am

here. I must do the best I can, and bear the responsibility of taking the course which I feel I ought to take.”

That’s the bottom line. Tall, short, fat, thin, talkative, quiet, vain, humble, lawyer, teacher, or soldier—this is what most

of our Presidents have tried to do, each in his own way. Some succeeded. Some failed. If you want to be President—

a good President—pattern your self after the best. Our best have asked more of themselves than they thought they

could give. They have had the courage, spirit, and will to do what they knew was right. Most of all, their ﬁrst priority

has always been the people and the country they served.

Einspruch, Andrew. Crittercam. National Geographic Windows on Literacy Series. Washington, D.C.: National

Geographic, 2004. (2004)

Kudlinski, Kathleen V. Boy, Were We Wrong About Dinosaurs. Illustrated by S. D. Schindler. New York: Dutton, 2005.

(2005)

Long, long ago, before people knew anything about dinosaurs, giant bones were found in China. Wise men who saw

the bones tried to guess what sort of enormous animal they could have come from.

APPENDIX B | 55

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

After they studied the fossil bones, the ancient Chinese decided that they came from dragons. They thought these

dragons must have been magic dragons to be so large. And they believed that dragons could still be alive.

Boy, were they wrong!

No one knows exactly what dinosaurs looked like. All that is left of them are fossil bones and a few other clues. Now

that we think that many of our own past guesses about dinosaurs were just as wrong as those of ancient China.

Some of our mistakes were little ones. When the ﬁrst fossil bones of Iguanodon were found, one was shaped like a

rhino’s horn. Scientists guessed that the strange horn ﬁt like a spike on Iguanodon’s nose

Boy, were we wrong about Iguanodon!

When a full set of fossil bones was found later, there were two pointed bones, they were part of Iguanodon’s hands,

not its nose!

Other new clues show us that we may have been wrong about every kind of dinosaur.

Some of our ﬁrst drawings of dinosaurs showed them with their elbows and knees pointing out to the side, like a

lizard’s. With legs like that, big dinosaurs could only waddle clumsily on all fours or ﬂoat underwater.

Now we know that their legs were straight under them, like a horse’s. Dinosaurs were not clumsy. The sizes and

shapes of their leg bones see to show that some were as fast and graceful as deer.

From BOY, WERE WE WRONG ABOUT DINOSAURS by Kathleen Kudlinski, illustrated by S.D. Schindler. Text copy-

Davies, Nicola. Bat Loves the Night. Illustrated by Sarah Fox-Davies. Cambridge, Mass.: Candlewick, 2001. (2001)

Floca, Brian. Moonshot: The Flight of Apollo 11. New York: Atheneum, 2009. (2009)

High above there is the Moon, cold and quiet, no air, no life, but glowing in the sky.

Here below there are three men who close themselves in special clothes, who—click—lock hands in heavy gloves,

who—click—lock heads in large round helmets.

It is summer here in Florida, hot, and near the sea. But now these men are dressed for colder, stranger places. They

walk with stiff and awkward steps in suits not made for Earth.

They have studied and practiced and trained, and said good-bye to family and friends. If all goes well, they will be

gone for one week, gone where no one has been.

Their two small spaceships are Columbia and Eagle. They sit atop the rocket that will raise them into space, a monster

of a machine: It stands thirty stories, it weighs six million pounds, a tower full of fuel and ﬁre and valves and pipes and

engines, too big to believe, but built to ﬂy—the mighty, massive Saturn V.

The astronauts squeeze in to Columbia’s sideways seats, lying on their backs, facing toward the sky—Neil Armstrong

on the left, Michael Collins in the right, Buzz Aldrin in the middle.

Click and they fasten straps.

Click and the hatch is sealed.

There they wait, while the Saturn hums beneath them.

Near the rocket, in Launch Control, and far away in Houston, in Mission Control, there are numbers, screens, and

charts, ways of watching and checking every piece of the rocket and ships, the fuel, the valves, the pipes, the engines,

the beats of the astronauts’ hearts.

As the countdown closes, each man watching is asked the question: GO/NO GO?

And each man answers back: “GO.” “GO.” “GO.”

Apollo 11 is GO for launch.

Reprinted with the permission of Atheneum Books for Young Readers, an imprint of Simon & Schuster Children’s Pub-

APPENDIX B | 56

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Thomson, Sarah L. Where Do Polar Bears Live? Illustrated by Jason Chin. New York: HarperCollins, 2010. (2010)

This island is covered with snow. No trees grow. Nothing has green leaves. The land is white as far as you can see.

Then something small and round and black pokes up out of the snow.

A black nose sniffs the air. Then a smooth white head appears. A mother polar bear heaves herself out of her den.

A cub scrambles after her.

When the cub was born four months ago, he was no bigger than a guinea pig. Blind and helpless, he snuggled in his

mother’s fur. He drank her milk and grew, safe from the long Arctic winter.

Outside the den, on some days, it was ﬁfty degrees below zero. From October to February, the sun never rose.

Now it is spring—even though snow still covers the land. The cub is about the size of a cocker spaniel. He’s ready to

leave the den. For the ﬁrst time, he sees bright sunlight and feels the wind rufﬂe his fur

The cub tumbles and slides down icy hills. His play makes him strong and teaches him to walk and run in snow.

Like his mother, he cub is built to survive in the Arctic. Hi white fur will grow to be six inches thick—longer than your

hand. The skin beneath the cub’s fur is black. It soaks up the heat of the sun. Under the skin is a layer of fat. Like a

snug blanket, this blubber keeps in the heat of the bear’s body.

Polar bears get too hot more easily than they get too cold. They stretch out on the ice to cool off.

Used by permission of HarperCollins Publishers.

Read-Aloud Informational Texts

Freedman, Russell. Lincoln: A Photobiography. New York: Houghton Mifﬂin, 1989. (1987)

From Chapter One: “The Mysterious Mr. Lincoln”

Abraham Lincoln wasn’t the sort of man who could lose himself in a crowd. After all, he stood six feet four inches tall.

And to top it off, he wore a high silk hat.

His height was mostly in his long bony legs. When he sat in a chair, he seemed no taller than anyone else. I was only

when he stood up that he towered over other men.

At ﬁrst glance, most people thought he was homely. Lincoln thought so too, once referring to his “poor, lean, lank

face.” As a young man he was sensitive about his gawky looks, but in time, he learned to laugh at himself. When a

rival called him “two-faced” during a political debate, Lincoln replied: “I leave it to my audience. If I had another face,

do you think I’d wear this one?”

According to those who knew him, Lincoln was a man of many faces. In repose, he often seemed sad and gloomy.

But when he began to speak, his expression changed. “The dull, listless features dropped like a mask,” said a Chicago

newspaperman. “The eyes began to sparkle, the mouth to smile, the whole countenance was wreathed in animation,

so that a stranger would have said, ‘Why, this man, so angular and solemn a moment ago, is really handsome.’”

Lincoln was the most photographed man of his time, but his friends insisted that no photo ever did him justice. It’s no

wonder. Back then cameras required long exposures. The person being photographed had to “freeze” as the seconds

ticked by. If he blinked an eye, the picture would be blurred. That’s why Lincoln looks so stiff and formal in his photos.

We never see him laughing or joking.

Coles, Robert. The Story of Ruby Bridges. Illustrated by George Ford. New York: Scholastic, 1995. (1995)

Ruby Bridges was born in a small cabin near Tylertown, Mississippi.

“We were very poor, very, very poor,” Ruby said. “My daddy worked picking crops. We just barely got by. There were

APPENDIX B | 57

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

times when we didn’t have much to eat. The people who owned the land were bringing in machines to pick the crops,

so my daddy lost his job, and that’s when we had to move.

“I remember us leaving. I was four, I think.”

In 1957, the family moved to New Orleans. Ruby’s father became a janitor. Her mother took care of the children dur-

ing the day. After they were tucked in bed, Ruby’s mother went to work scrubbing ﬂoors in a bank.

Every Sunday, the family went to church.

“We wanted our children to be near God’s spirit,” Ruby’s mother said. “We wanted them to start feeling close to Him

from the start.”

At that time, black children and white children went to separate schools in New Orleans. The black children were not

able to receive the same education as the white children. It wasn’t fair. And it was against the nation’s law.

In 1960, a judge ordered four black girls to go to two white elementary schools. Three of the girls were sent to Mc-

Donogh 19. Six-year-old Ruby Bridges was sent to ﬁrst grade in the William Frantz Elementary School.

Ruby’s parents were proud that their daughter had been chosen to take part in an important event in American his-

tory. They went to church.

“We sat there and prayed to God,” Ruby’s mother said, “that we’d all be strong and we’d have courage and we’d get

through any trouble; and Ruby would be a good girl and she’d hold her head up high and be a credit to her own

people and a credit to all the American people. We prayed long and we prayed hard.”

On Ruby’s ﬁrst day, a large crowd of angry white people gathered outside the Frantz Elementary School. The people

carried signs that said they didn’t want black children in a white school. People called Ruby names; some wanted to

hurt her. The city and state police did not help Ruby.

The President of the United States ordered federal marshals to walk with Ruby into the school building. The marshals

carried guns.

Every day, for weeks that turned into months, Ruby experienced that kind of school day.

She walked to the Frantz School surrounded by marshals. Wearing a clean dress and a bow in her hair and carry-

ing her lunch pail, Ruby walked slowly for the ﬁrst few blocks. As Ruby approached the school, she saw a crowd of

people marching up and down the street. Men and women and children shouted at her. They pushed toward her.

The marshals kept them from Ruby by threatening to arrest them.

Ruby would hurry through the crowd and not say a word.

Scholastic Inc.

Wick, Walter. A Drop of Water: A Book of Science and Wonder. New York: Scholastic, 1997. (1997)

From “Soap Bubbles”

There are few objects you can make that have both the dazzling beauty and delicate precision of a soap bubble.

Shown here at actual size, this bubble is a nearly perfect sphere. Its shimmering liquid skin is ﬁve hundred times thin-

ner than a human hair.

Bubbles made of plain water break almost as quickly as they form. That’s because surface tension is so strong the

bubbles collapse. Adding soap to water weakens water’s surface tension. This allows a ﬁlm of soapy water to stretch

and stretch without breaking.

When you blow a bubble, it looks somewhat like a drop of water emerging from a faucet. And just like the surface of

a drop of water, the bubble’s surface shrinks to form a sphere. Spheres and circles are mathematical shapes. Because

they can form spontaneously, they are also shapes of nature.

From A DROP OF WATER: A BOOK OF SCIENCE AND WONDER by Walter Wick. Scholastic Inc./Scholastic Press.

APPENDIX B | 58

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Smith, David J. If the World Were a Village: A Book about the World’s People. Illustrated by Shelagh Armstrong.

Toronto: Kids Can Press, 2002. (2002)

From “Welcome to the Global Village”

Earth is a crowded place and it is getting more crowded all the time. As for January 1, 2002 the world’s population

was 6 billion, 200 million—that’s 6,200,000,000. Twenty-three countries have more than ﬁfty million (50,000,000)

people. Ten countries each have more than one hundred million (100,000,000) people. China has nearly one billion,

three hundred million people (1,3000,000,000).

Numbers like this are hard to understand, but what if we imagined the whole population of the world as a village of

just 100 people? In this imaginary village, each person would represent about sixty-two million (62,000,000) people

from the real world.

One hundred people would ﬁt nicely into a small village. By learning about the villagers—who they are and how they

live—perhaps we can ﬁnd out more about our neighbors in the real world and the problems our planet may face in the

future.

Ready to enter the global village? Go down into the valley and walk through the gates. Dawn is chasing away the

night shadows. The smell of wood smoke hangs in the air. A baby awakes and cries.

Come and meet the people of the global village.

Material from If the World Were a Village: A Book about the World’s People written by David J. Smith is used by per-

Aliki. Ah, Music! New York: Harper Collins, 2005. (2003)

What is music?

Music is sound.

If you hum a tune, play an instrument, or clap out a rhythm, you are making music. You are listening to it, too.

[…]

Music through the Ages

Music grew from one century to the next. In the early and middle ages, new forms of music developed. Christianity

inspired church music. Music became polyphonic—played and sung in two or more melodic parts. Notations were

invented. Music was no longer a one-time performance. Now it would be written and preserved for other musicians

and generations.

Used by permission of HarperCollins Publishers.

Mark, Jan. The Museum Book: A Guide to Strange and Wonderful Collections. Illustrated by Richard Holland.

Cambridge, Mass.: Candlewick, 2007. (2007)

From Chapter One

Suppose you went into a museum and you didn’t know what it was. Imagine: it’s raining, there’s a large building

nearby with an open door, and you don’t have to pay to go in. It looks like an ancient Greek temple. Temples are

places of worship, so you’d better go in quietly.

But inside it doesn’t seem much like any temple or mosque or church you have ever been in. That is, it looks like all of

them, but the furniture is out of place. Perhaps it’s a hotel; it has ﬁfty rooms, but there is only one bed, although it is

a very splendid bed. Apparently Queen Elizabeth I slept in it. Or perhaps there are ﬁfty beds, but they are all in one

room and you can’t sleep in any of them. There are red velvet ropes to keep you out.

Farther down the corridor you notice a steam locomotive. It’s a train station! But there is no track except for a few

yards that the engine is resting on, and already you have seen something else. Across the hall is a totem pole that

goes right up to the roof, standing next to a Viking ship. Beyond it is a room full of glass cases displaying rocks, more

kinds of rocks than you ever knew existed, from diamonds to meteorites. From where you are standing, you can see

into the next room, where the glass cases are full of stuffed ﬁsh; and the next, which is lined with shelves of Roman

pottery; and the next, which is crowded with birds; and after that, lions and giraffes and pandas and whales.

It must be a zoo.

[…]

APPENDIX B | 59

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Just then you see someone walking toward you who isn’t dead—you hope. He is wearing a uniform with a badge on it

that reads Guide.

“Enjoying yourself?” he says.

You say, “Where did you get all this stuff?”

“All?” he says. “These are just the things we show to the public. Down in the basement there’s a hundred thousand

times more. Do you know,” he murmurs, “we’ve got twenty-seven two-headed sheep?”

“But why?” you ask. “Why do you have any two-headed sheep.

“Because people give them to us,” he says. “And so that you can look at them. Where else would you see one?

Where else would you be able to see the mummy case of King Tutankhamun, the ﬁrst plane to ﬂy the Atlantic, the

ﬁrst train engine, the last dodo, a diplodocus, the astrolabe of Ahmad of Isfahan (an example of the oldest scientiﬁc

instrument in the world), chicken-skin gloves, the lantern carried by Guy Fawkes when he went to blow up the British

Parliament buildings, a murderer’s trigger ﬁnger—?”

“But where am I?” you say. “What is this place?”

And he says, “It’s a museum.”

Somerville, MA.

D’Aluisio, Faith. What the World Eats. Photographed by Peter Menzel. New York: Random House, 2008. (2008)

Arnosky, Jim. Wild Tracks! A Guide to Nature’s Footprints. New York: Sterling, 2008. (2008)

“Feline Tracks”

Of all the larger predators, wildcats are the most likely to use the same trails again and again. In deep snow, their

habitual routes become gully trails in which the feline tracks going to and coming from their hunting grounds are

preserved, down out of the wind, away from blowing snow.

A cat’s sharp retractable claws do not show in its track unless the cat has lunged to catch its prey or scratched the

ground to cover its droppings. Only cats thoroughly cover their droppings.

Bobcat, lion, and jaguar paws all have three-lobed heels. The lynx, the ocelot, and the jaguarondi have single lobed-

heels.

The wildcats we have in North America are, from the smallest to the largest: ocelot, jaguarondi, bobcat, lynx, Ameri-

can lion, and jaguar.

ing Co., Inc.

Deedy, Carmen Agra. 14 Cows for America. In collaboration with Wilson Kimeli Naiyomah. Illustrated by Thomas

Gonzalez. Atlanta: Peachtree, 2009. (2009)

The remote village waits for a story to be told. News travels slowly to this corner of Kenya. As Kimeli nears his vil-

lage, he watches a herd of bull giraffes cross the open grassland. He smiles. He has been away a long time.

A girl sitting under a guava tree sees him ﬁrst and cries out to the others. The children run to him with the speed and

grace of cheetahs. He greets them with a gentle touch on his head, a warrior’s blessing.

The rest of the tribe soon surrounds Kimeli. These are his people. These are the Maasai.

Once they were feared warriors. Now they live peaceably as nomadic cattle herders. They treat their cows as kindly

as they do their children. They sign to them. They give them names. They shelter the young ones in their homes.

Without the herd, the tribe might starve. To the Maasai, the cow is life.

“Súpa. Hello,” Kimeli hears again and again. Everyone wants to greet him. His eyes ﬁnd his mother across the en-

káng, the ring of huts with their roofs of sun-baked dung. She spreads her arms and calls to him, “Aakúa. Welcome,

my son.” Kimeli sighs. He is home.

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This is sweeter and sadder because he cannot stay. He must return to the faraway country where he is learning to be

a doctor. He thinks of New York then. He remembers September.

A child asks if he has brought any stories. Kimeli nods. He has brought with him one story. It has burned a hole in his

heart.

But ﬁrst he must speak with the elders.

Later, in a tradition as old as the Maasai, the rest of the tribe gathers under an acacia tree to hear the story. There is

a terrible stillness in the air as the tale unfolds. With growing disbelief, men, women, and children listen. Buildings so

tall they can touch the sky? Fires so hot they can melt iron? Smoke and dust so thick they can block out the sun?

The story ends. More than three thousand souls are lost. A great silence falls over the Maasai. Kimeli waits. He

knows his people. They are ﬁerce when provoked, but easily moved to kindness when they hear of suffering or injus-

tice.

At last, an elder speaks. He is shaken, but above all, he is sad. “What can we do for these poor people?” Nearby, a

cow lows. Heads turn toward the herd. “To the Maasai,” Kimeli says softly, “the cow is life.”

Turning to the elders, Kimeli offers his only cow, Enkarûs. He asks for their blessing. They give it gladly. But they

want to offer something more.

The tribe sends word to the United States Embassy in Nairobi. In response, the embassy sends a diplomat. His jeep

jounces along the dusty, rugged roads. He is hot and tired. He thinks he is going to meet with Maasai elders. He can-

not be more wrong. As the jeep nears the edge of the village the man sits up. Clearly, this is no ordinary diplomatic

visit. This is…

…a ceremony. Hundreds of Maasai greet the American in full tribal splendor. At the sight of the brilliant blood-red

tunics and spectacular beaded collars, he can only marvel.

It is a day of sacred ritual. Young warriors dance, leaping into the air like ﬁsh from a stream. Women sing mournful

songs. Children ﬁll their bellies with milk. Speeches are exchanged. And now it is time.

Kimeli and his people gather on a sacred knoll, far from the village. The only sound is the gentle chiming of cowbells.

The elders chant a blessing in Maa as the Maasai people of Kenya present…

…fourteen cows for America.

Because there is no nation so powerful it cannot be wounded, nor a people so small they cannot offer mighty com-

fort.

Sample Performance Tasks for Informational Texts

• Students read Aliki’s description of A Medieval Feast and demonstrate their understanding of all that goes into

such an event by asking questions pertaining to who, what, where, when, why, and how such a meal happens

and by answering using key details. [RI.2.1]

• Students describe the reasons behind Joyce Milton’s statement that bats are nocturnal in her Bats: Creatures

of the Night and how she supports the points she is making in the text. [RI.2.8]

• Students read Selby Beeler’s Throw Your Tooth on the Roof: Tooth Traditions Around the World and identify

what Beeler wants to answer as well as explain the main purpose of the text. [RI.2.6]

• Students determine the meanings of words and phrases encountered in Sarah L. Thomson’s Where Do Polar

Bears Live?, such as cub, den, , and the Arctic. [RI.2.4]

• Students explain how the main idea that Lincoln had “many faces” in Russell Freedman’s Lincoln: A Photobiog-

raphy is supported by key details in the text. [RI.3.2]

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• Students read Robert Coles’s retelling of a series of historical events in The Story of Ruby Bridges. Using their

knowledge of how cause and eect gives order to events, they use speciﬁc language to describe the sequence

of events that leads to Ruby desegregating her school. [RI.3.3]

• Students explain how the speciﬁc image of a soap bubble and other accompanying illustrations in Walter

Wick’s A Drop of Water: A Book of Science and Wonder contribute to and clarify their understanding of

bubbles and water. [RI.2.7]

• Students use text features, such as the table of contents and headers, found in Aliki’s text Ah, Music! to identify

relevant sections and locate information relevant to a given topic (e.g., rhythm, instruments, harmony) quickly

and eciently. [RI.3.5]

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Grades 4–5 Text Exemplars

Stories

Carroll, Lewis. Alice’s Adventures in Wonderland. Illustrated by John Tenniel. New York: William Morrow, 1992.

(1865)

From Chapter 1: “Down the Rabbit-Hole”

Alice was beginning to get very tired of sitting by her sister on the bank, and of having nothing to do: once or twice

she had peeped into the book her sister was reading, but it had no pictures or conversations in it, ‘and what is the use

of a book,’ thought Alice ‘without pictures or conversation?’

So she was considering in her own mind (as well as she could, for the hot day made her feel very sleepy and stupid),

whether the pleasure of making a daisy-chain would be worth the trouble of getting up and picking the daisies, when

suddenly a White Rabbit with pink eyes ran close by her.

There was nothing so VERY remarkable in that; nor did Alice think it so VERY much out of the way to hear the Rabbit

say to itself, ‘Oh dear! Oh dear! I shall be late!’ (when she thought it over afterwards, it occurred to her that she ought

to have wondered at this, but at the time it all seemed quite natural); but when the Rabbit actually TOOK A WATCH

OUT OF ITS WAISTCOAT-POCKET, and looked at it, and then hurried on, Alice started to her feet, for it ﬂashed across

her mind that she had never before seen a rabbit with either a waistcoat-pocket, or a watch to take out of it, and

burning with curiosity, she ran across the ﬁeld after it, and fortunately was just in time to see it pop down a large

rabbit-hole under the hedge.

In another moment down went Alice after it, never once considering how in the world she was to get out again.

Burnett, Frances Hodgson. The Secret Garden. New York: HarperCollins, 1985. (1911)

From “There’s No One Left”

When Mary Lennox was sent to Misselthwaite Manor to live with her uncle everybody said she was the most disagree-

able-looking child ever seen. It was true, too. She had a little thin face and a little thin body, thin light hair and a sour

expression. Her hair was yellow, and her face was yellow because she had been born in India and had always been ill

in one way or another. Her father had held a position under the English Government and had always been busy and ill

himself, and her mother had been a great beauty who cared only to go to parties and amuse herself with gay people.

She had not wanted a little girl at all, and when Mary was born she handed her over to the care of an Ayah, who was

made to understand that if she wished to please the Mem Sahib she must keep the child out of sight as much as pos-

sible. So when she was a sickly, fretful, ugly little baby she was kept out of the way, and when she became a sickly,

fretful, toddling thing she was kept out of the way also. She never remembered seeing familiarly anything but the dark

faces of her Ayah and the other native servants, and as they always obeyed her and gave her her own way in every-

thing, because the Mem Sahib would be angry if she was disturbed by her crying, by the time she was six years old

she was as tyrannical and selﬁsh a little pig as ever lived. The young English governess who came to teach her to read

and write disliked her so much that she gave up her place in three months, and when other governesses came to try

to ﬁll it they always went away in a shorter time than the ﬁrst one. So if Mary had not chosen to really want to know

how to read books she would never have learned her letters at all.

One frightfully hot morning, when she was about nine years old, she awakened feeling very cross, and she became

crosser still when she saw that the servant who stood by her bedside was not her Ayah.

“Why did you come?” she said to the strange woman. “I will not let you stay. Send my Ayah to me.”

The woman looked frightened, but she only stammered that the Ayah could not come and when Mary threw herself

into a passion and beat and kicked her, she looked only more frightened and repeated that it was not possible for the

Ayah to come to Missie Sahib.

There was something mysterious in the air that morning. Nothing was done in its regular order and several of the

native servants seemed missing, while those whom Mary saw slunk or hurried about with ashy and scared faces. But

no one would tell her anything and her Ayah did not come. She was actually left alone as the morning went on, and

at last she wandered out into the garden and began to play by herself under a tree near the veranda. She pretended

that she was making a ﬂower-bed, and she stuck big scarlet hibiscus blossoms into little heaps of earth, all the time

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growing more and more angry and muttering to herself the things she would say and the names she would call Saidie

when she returned.

Farley, Walter. The Black Stallion. New York: Random House Books for Young Readers, 2008. (1941)

From Chapter 1: “Homeward Bound”

The tramp steamer Drake plowed away from the coast of India and pushed its blunt prow into the Arabian Sea, home-

ward bound. Slowly it made its way west toward the Gulf of Aden. Its hold was loaded with coffee, rice, tea, oil seeds

and jute. Black smoke poured from its one stack, darkening the hot cloudless sky.

Alexander Ramsay, Jr., known to his friends back home in New York City as Alec, leaned over the rail and watched the

water slide away from the sides of the boat. His red hair blazed redder than ever in the hot sun, his tanned elbows

rested heavily on the rail as he turned his freckled face back toward the fast-disappearing shore.

Saint-Exupéry, Antoine de. The Little Prince. Translated by Richard Howard. Orlando: Harcourt, 2000. (1943)

Babbitt, Natalie. Tuck Everlasting. New York: Farrar, Straus and Giroux, 1975. (1975)

From Chapter 12

The sky was a ragged blaze of red and pink and orange, and its double trembled on the surface of the pond like color

spilled from a paintbox. The sun was dropping fast now, a soft red sliding egg yolk, and already to the east there was

a darkening to purple. Winnie, newly brave with her thoughts of being rescued, climbed boldly into the rowboat. The

hard heels of her buttoned boots made a hollow banging sound against its wet boards, loud in the warm and breath-

less quiet. Across the pond a bullfrog spoke a deep note of warning. Tuck climbed in, too, pushing off, and, settling

the oars into their locks, dipped them into the silty bottom in one strong pull. The rowboat slipped from the bank

then, silently, and glided out, tall water grasses whispering away from its sides, releasing it.

Here and there the still surface of the water dimpled, and bright rings spread noiselessly and vanished. “Feeding

time,” said Tuck softly. And Winnie, looking down, saw hosts of tiny insects skittering and skating on the surface.

“Best time of all for ﬁshing,” he said, “when they come up to feed.”

He dragged on the oars. The rowboat slowed and began to drift gently toward the farthest end of the pond. It was so

quiet that Winnie almost jumped when the bullfrog spoke again. And then, from the tall pines and birches that ringed

the pond, a wood thrush caroled. The silver notes were pure and clear and lovely.

“Know what that is, all around us, Winnie?” said Tuck, his voice low. “Life. Moving, growing, changing, never the same

two minutes together. This water, you look out at it every morning, and it looks the same, but it ain’t. All night long it’s

been moving, coming in through the stream back there to the west, slipping out through the stream down east here,

always quiet, always new, moving on. You can’t hardly see the current, can you? And sometimes the wind makes it

look like it’s going the other way. But it’s always there, the water’s always moving on, and someday, after a long while,

it comes to the ocean.”

Singer, Isaac Bashevis. “Zlateh the Goat.” Zlateh the Goat and Other Stories. New York: HarperCollins, 2001. (1984)

The snow fell for three days, though after the ﬁrst day it was not as thick and the wind quieted down. Sometimes

Aaron felt that there could never have been a summer, that the snow had always fallen, ever since he could remember.

He, Aaron, never had a father or mother or sisters. He was a snow child, born of the snow, and so was Zlateh. It was

so quiet in the hay that his ears rang in the stillness. Aaron and Zlateh slept all night and a good part of the day. As

for Aaron’s dreams, they were all about warm weather. He dreamed of green ﬁelds, trees covered with blossoms, clear

brooks, and singing birds. By the third night the snow had stopped, but Aaron did not dare to ﬁnd his way home in

the darkness. The sky became clear and the moon shone, casting silvery nets on the snow. Aaron dug his way out and

looked at the world. It was all white, quiet, dreaming dreams of heavenly splendor. The stars were large and close. The

moon swam in the sky as in a sea.

Hamilton, Virginia. M. C. Higgins, the Great. New York: Simon & Schuster, 1999. (1993)

From Chapter 1

Mayo Cornelius Higgins raised his arms high to the sky and spread them wide. He glanced furtively around. It was all

right. There was no one to see him greeting the coming sunrise. But the motion of his arms caused a ﬂutter of lettuce

leaves he had bound to his wrists with rubber bands. Like bracelets of green feathers, the leaves commenced to wave.

M. C., as he was called, felt warm, moist air surround him. Humidity trapped in the hills clung to the mountainside

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as the night passed on. In seconds, his skin grew clammy. But he paid no attention to the oppressive heat with its

odors of summer growth and decay. For he was staring out over a grand sweep of hill, whose rolling outlines grew

clearer by the minute. As he stood on the gallery of his home, the outcropping on which he lived on the mountainside

seemed to fade out from under him.

I’m standing in midair, he thought.

He saw dim light touch clouds clustered behind the eastern hills.

Bounce the sun beside me if I want.

All others of his family were still asleep in the house. To be by himself in the perfect quiet was reason enough for

him to wake up way early. Alone for half an hour, he could believe he had been chosen to remain forever suspended,

facing the hills. He could pretend there was nothing terrible behind him, above his head. Arms outstretched, picture-

framed by pine uprights supporting the gallery roof, he was M.C. Higgins, higher than everything.

Erdrich, Louise. The Birchbark House. New York: Hyperion, 1999. (1999)

From Chapter 1: “The Birchbark House”

She was named Omakayas, or Little Frog, because her ﬁrst step was a hop. She grew into a nimble young girl of seven

winters, a thoughtful girl with shining brown eyes and a wide grin, only missing her two top front teeth. She touched

her upper lip. She wasn’t used to those teeth gone, and was impatient for new, grown-up teeth to complete her smile.

Just like her namesake, Omakayas now stared long at a silky patch of bog before she gathered herself and jumped.

One hummock. Safety. Omaykayas sprang wide again. This time she landed on the very tip-top of a pointed old

stump. She balanced there, looking all around. The lagoon water moved in sparkling crescents. Thick swales of swamp

grass rippled. Mud turtles napped in the sun. The world was so calm that Omakayas could hear herself blink. Only the

sweet call of a solitary white-throated sparrow pierced the cool of the woods beyond.

All of a sudden Grandma yelled.

“I found it!”

Startled, Omakayas slipped and spun her arms in wheels. She teetered, but somehow kept her balance. Two big, skip-

ping hops, another leap, and she was on dry land. She stepped over spongy leaves and moss, into the woods where

the sparrows sang nesting songs in delicate relays.

“Where are you?” Nokomis yelled again. “I found the tree!”

“I’m coming,” Omakayas called back to her grandmother.

It was spring, time to cut Birchbark.

Curtis, Christopher Paul. Bud, Not Buddy. New York: Delacorte Books for Young Readers, 1999. (1999)

(Also listed as a read-aloud narrative for grades 2–3)

From Chapter 1

Here we go again. We were all standing in line waiting for breakfast when one of the caseworkers came in and tap-

tap-tapped down the line. Uh-oh, this meant bad news, either they’d found a foster home for somebody or some-

body was about to get paddled. All the kids watched the woman as she moved along the line, her high-heeled shoes

sounding like little ﬁre-crackers going off on the wooden ﬂoor.

Shoot! She stopped at me and said, “Are you Buddy Caldwell?”

I said, “It’s Bud, not Buddy, ma’am.”

She put her hand on my shoulder and took me out of the line. Then she pulled Jerry, one of the littler boys, over.

“Aren’t you Jerry Clark?” He nodded.

“Boys, good news! Now that the school year has ended, you both have been accepted in new temporary-care homes

starting this afternoon!”

Jerry asked the same thing I was thinking, “Together?”

She said, “Why no, Jerry, you’ll by in a family with three little girls…”

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Jerry looked like he’d just found out they were going to dip him in a pot of boiling milk.

“…and Bud…” She looked at some papers she was holding. “Oh, yes, the Amoses, you’ll be with Mr. and Mrs. Amos and

their son, who’s twelve years old, that makes him just two years older than you, doesn’t it, Bud?”

“Yes, ma’am.”

She said, “I’m sure you’ll both be very happy.”

Me and Jerry looked at each other.

The woman said, “Now, now, boys, no need to look so glum, I know you don’t understand what it means, but there’s a

depression going on all over this country. People can’t ﬁnd jobs and these are very, very difﬁcult times for everybody.

We’ve been lucky enough to ﬁnd two wonderful families who’ve opened their doors for you. I think it’s best that we

show our new foster families that we’re very…”

She dragged out the word very, waiting for us to ﬁnish her sentence for her.

Jerry said, “Cheerful, helpful and grateful.” I moved my lips and mumbled.

Lin, Grace. Where the Mountain Meets the Moon. New York: Little, Brown, 2009. (2009)

From Chapter 1

Far away from here, following the Jade River, there was once a black mountain that cut into the sky like a jagged

piece of rough metal. The villagers called it Fruitless Mountain because nothing grew on it and birds and animals did

not rest there.

Crowded in the corner of where Fruitless Mountain and the Jade River met was a village that was a shade of faded

brown. This was because the land around the village was hard and poor. To coax rice out of the stubborn land, the

ﬁeld had to be ﬂooded with water. The villagers had to tramp in the mud, bending and stooping and planting day

after day. Working in the mud so much made it spread everywhere and the hot sun dried it onto their clothes and hair

and homes. Over time, everything in the village had become the dull color of dried mud.

One of the houses in this village was so small that its wood boards, held together by the roof, made one think of a

bunch of matches tied with a piece of twine. Inside, there was barely enough room for three people to sit around the

table—which was lucky because only three people lived there. One of them was a young girl called Minli.

Minli was not brown and dull like the rest of the village. She had glossy black hair with pink cheeks, shining eyes al-

ways eager for adventure, and a fast smile that ﬂashed from her face. When people saw her lively and impulsive spirit,

they thought her name, which meant quick thinking, suited her well. “Too well,” her mother sighed, as Minli had a habit

of quick acting as well.

Poetry

Blake, William. “The Echoing Green.” Songs of Innocence. New York: Dover, 1971. (1789)

The sun does arise,

And make happy the skies;

The merry bells ring

To welcome the Spring;

The skylark and thrush,

The birds of the bush,

Sing louder around

To the bells’ cheerful sound;

While our sports shall be seen

On the echoing green.

Old John, with white hair,

Does laugh away care,

Sitting under the oak,

Among the old folk.

They laugh at our play,

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

And soon they all say,

‘Such, such were the joys

When we all—girls and boys—

In our youth-time were seen

On the echoing green.’

Till the little ones, weary,

No more can be merry:

The sun does descend,

And our sports have an end.

Round the laps of their mothers

Many sisters and brothers,

Like birds in their nest,

Are ready for rest,

And sport no more seen

On the darkening green.

Lazarus, Emma. “The New Colossus.” Favorite Poems Old and New. Edited by Helen Ferris. New York: Doubleday,

1957. (1883)

Not like the brazen giant of Greek fame

With conquering limbs astride from land to land;

Here at our sea-washed, sunset gates shall stand

A mighty woman with a torch, whose ﬂame

Is the imprisoned lightning, and her name

Mother of Exiles. From her beacon-hand

Glows world-wide welcome; her mild eyes command

The air-bridged harbor that twin cities frame.

“Keep, ancient lands, your storied pomp!” cries she

With silent lips. “Give me your tired, your poor,

Your huddled masses yearning to breathe free,

The wretched refuse of your teeming shore.

Send these, the homeless, tempest-tossed to me,

I lift my lamp beside the golden door!”

Media Text

Photos, multimedia, and a virtual tour of the Statue of Liberty, hosted on the National Parks Service’s Web site: http://

www.nps.gov/stli/photosmultimedia/index.htm

Thayer, Ernest Lawrence. “Casey at the Bat.” Favorite Poems Old and New. Edited by Helen Ferris. New York:

Doubleday, 1957. (1888)

The outlook wasn’t brilliant for the Mudville nine that day;

The score stood four to two with but one inning more to play.

And then when Cooney died at ﬁrst, and Barrows did the same,

A sickly silence fell upon the patrons of the game.

A straggling few got up to go in deep despair. The rest

Clung to that hope which springs eternal in the human breast;

They thought if only Casey could but get a whack at that–

We’d put up even money now with Casey at the bat.

But Flynn preceded Casey, as did also Jimmy Blake,

And the former was a lulu and the latter was a cake;

So upon that stricken multitude grim melancholy sat,

For there seemed but little chance of Casey’s getting to the bat.

But Flynn let drive a single, to the wonderment of all,

And Blake, the much despis-ed, tore the cover off the ball;

And when the dust had lifted, and the men saw what had occurred,

There was Johnnie safe at second and Flynn a-hugging third.

Then from 5,000 throats and more there rose a lusty yell;

It rumbled through the valley, it rattled in the dell;

It knocked upon the mountain and recoiled upon the ﬂat,

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

For Casey, mighty Casey, was advancing to the bat.

There was ease in Casey’s manner as he stepped into his place;

There was pride in Casey’s bearing and a smile on Casey’s face.

And when, responding to the cheers, he lightly doffed his hat,

No stranger in the crowd could doubt ‘twas Casey at the bat.

Ten thousand eyes were on him as he rubbed his hands with dirt;

Five thousand tongues applauded when he wiped them on his shirt.

Then while the writhing pitcher ground the ball into his hip,

Deﬁance ﬂashed in Casey’s eye, a sneer curled Casey’s lip.

And now the leather-covered sphere came hurtling through the air,

And Casey stood a-watching it in haughty grandeur there.

Close by the sturdy batsman the ball unheeded sped–

“That ain’t my style,” said Casey. “Strike one,” the umpire said.

From the benches, black with people, there went up a mufﬂed roar,

Like the beating of the storm-waves on a stern and distant shore.

“Kill him! Kill the umpire!” shouted some one on the stand;

And it’s likely they’d have killed him had not Casey raised his hand.

With a smile of Christian charity great Casey’s visage shone;

He stilled the rising tumult; he bade the game go on;

He signaled to the pitcher, and once more the sphereoid ﬂew;

But Casey still ignored it, and the umpire said, “Strike two.”

“Fraud!” cried the maddened thousands, and echo answered fraud;

But one scornful look from Casey and the audience was awed.

They saw his face grow stern and cold, they saw his muscles strain,

And they knew that Casey wouldn’t let that ball go by again.

The sneer is gone from Casey’s lip, his teeth are clenched in hate;

He pounds with cruel violence his bat upon the plate.

And now the pitcher holds the ball, and now he lets it go,

And now the air is shattered by the force of Casey’s blow.

Oh, somewhere in this favored land the sun is shining bright;

The band is playing somewhere, and somewhere hearts are light,

And somewhere men are laughing, and somewhere children shout;

But there is no joy in Mudville–mighty Casey has struck out.

Dickinson, Emily. “A Bird Came Down the Walk.” The Compete Poems of Emily Dickinson. Boston: Little, Brown,

1960. (1893)

A Bird came down the walk—

He did not know I saw;

He bit an angleworm in halves

And ate the fellow, raw.

And then he drank a dew

From a convenient grass,

And then hopped sidewise to the wall

To let a beetle pass.

He glanced with rapid eyes

That hurried all abroad—

They looked like frightened beads, I thought—

He stirred his velvet head —

Like one in danger; cautious,

I offered him a crumb,

And he unrolled his feathers

APPENDIX B | 68

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

And rowed him softer home

Than oars divide the ocean,

Too silver for a seam,

Or butterﬂies, off banks of noon,

Leap, plashless, as they swim.

Sandburg, Carl. “Fog.” Chicago Poems. New York: Henry Holt, 1916. (1916)

The fog comes

on little cat feet.

It sits looking

over harbor and city

on silent haunches

and then moves on.

Frost, Robert. “Dust of Snow.” The Poetry of Robert Frost: The Collected Poems, Complete and Unabridged. New

York: Henry Holt, 1969. (1923)

Dahl, Roald. “Little Red Riding Hood and the Wolf.” Roald Dahl’s Revolting Rhymes. New York: Knopf, 2002. (1982)

Nichols, Grace. “They Were My People.” Come On Into My Tropical Garden. New York: HarperCollins, 1990. (1988)

Mora, Pat. “Words Free As Confetti.” Confetti: Poems for Children. Illustrated by Enrique O. Sanchez. New York: Lee

and Low, 1999. (1996)

Come, words, come in your every color.

I’ll toss you in storm or breeze.

I’ll say, say, say you,

Taste you sweet as plump plums,

bitter as old lemons,

I’ll sniff you, words, warm

as almonds or tart as apple-red,

feel you green

and soft as new grass,

lightweight as dandelion plumes,

or thorngray as cactus,

heavy as black cement,

cold blue as icicles,

warm as abuelita’s yellowlap.

I’ll hear you, words, loud as searoar’s

Purple crash, hushed

as gatitos curled in sleep,

as the last goldlullaby.

I’ll see you long and dark as tunnels,

bright as rainbows,

playful as chestnutwind.

I’ll watch you, words, rise and dance and spin.

I’ll say, say, say you

in English,

in Spanish,

I’ll ﬁnd you.

Hold you.

Toss you.

I’m free too.

I say yo soy libre,

I am free

free, free,

free as confetti.

arranged with Lee & Low Books Inc, New York, NY 10016.

APPENDIX B | 69

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Sample Performance Tasks for Stories and Poetry

• Students make connections between the visual presentation of John Tenniel’s illustrations in Lewis Carroll’s

Alice’s Adventures in Wonderland and the text of the story to identify how the pictures of Alice reﬂect speciﬁc

descriptions of her in the text. [RL.4.7]

• Students explain the selﬁsh behavior by Mary and make inferences regarding the impact of the cholera out-

break in Frances Hodgson Burnett’s The Secret Garden by explicitly referring to details and examples from the

text. [RL.4.1]

• Students describe how the narrator’s point of view in Walter Farley’s The Black Stallion inﬂuences how events

are described and how the reader perceives the character of Alexander Ramsay, Jr. [RL.5.6]

• Students summarize the plot of Antoine de Saint-Exupéry’s The Little Prince and then reﬂect on the challenges

facing the characters in the story while employing those and other details in the text to discuss the value of

inquisitiveness and exploration as a theme of the story. [RL.5.2]

• Students read Natalie Babbitt’s Tuck Everlasting and describe in depth the idyllic setting of the story, draw-

ing on speciﬁc details in the text, from the color of the sky to the sounds of the pond, to describe the scene.

[RL.4.3]

• Students compare and contrast coming-of-age stories by Christopher Paul Curtis (Bud, Not Buddy) and Louise

Erdrich (The Birchbark House) by identifying similar themes and examining the stories’ approach to the topic

of growing up. [RL.5.9]

• Students refer to the structural elements (e.g., verse, rhythm, meter) of Ernest Lawrence Thayer’s “Casey at the

Bat” when analyzing the poem and contrasting the impact and dierences of those elements to a prose sum-

mary of the poem. [RL.4.5]

• Students determine the meaning of the metaphor of a cat in Carl Sandburg’s poem “Fog” and contrast that

ﬁgurative language to the meaning of the simile in William Blake’s “The Echoing Green.” [RL.5.4]

Informational Texts

Berger, Melvin. Discovering Mars: The Amazing Story of the Red Planet. New York: Scholastic, 1992. (1992)

Mars is very cold and very dry. Scattered across the surface are many giant volcanoes. Lava covers much of the land.

In Mars’ northern half, or hemisphere, is a huge raised area. It is about 2,500 miles wide. Astronomers call this the

Great Tharsis Bulge.

There are four mammoth volcanoes on the Great Tharsis Bulge. The largest one is Mount Olympus, or Olympus Mons.

It is the biggest mountain on Mars. Some think it may be the largest mountain in the entire solar system.

Mount Olympus is 15 miles high. At its peak is a 50 mile wide basin. Its base is 375 miles across. That’s nearly as big as

the state of Texas!

Mauna Loa, in Hawaii, is the largest volcano on earth. Yet, compared to Mount Olympus, Mauna Loa looks like a little

hill. The Hawaiian volcano is only 5Ð miles high. Its base, on the bottom of the Paciﬁc Ocean, is just 124 miles wide.

Each of the three other volcanoes in the Great Tharsis Bulge are over 10 miles high. They are named Arsia Mons, Pa-

vonis Mons, and Ascraeus Mons.

Media Text

NASA’s illustrated fact sheet on Mars: http://www.nasa.gov/worldbook/mars_worldbook.html

APPENDIX B | 70

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Carlisle, Madelyn Wood. Let’s Investigate Marvelously Meaningful Maps. Hauppauge, New York: Barrons, 1992.

(1992)

Lauber, Patricia. Hurricanes: Earth’s Mightiest Storms. New York: Scholastic, 1996. (1996)

From “The Making of a Hurricane”

Great whirling storms roar out of the oceans in many parts of the world. They are called by several names—hurricane,

typhoon, and cyclone are the three most familiar ones. But no matter what they are called, they are all the same sort

of storm. They are born in the same way, in tropical waters. They develop the same way, feeding on warm, moist air.

And they do the same kind of damage, both ashore and at sea. Other storms may cover a bigger area or have higher

winds, but none can match both the size and the fury of hurricanes. They are earth’s mightiest storms.

Like all storms, they take place in the atmosphere, the envelope of air that surrounds the earth and presses on its

surface. The pressure at any one place is always changing. There are days when air is sinking and the atmosphere

presses harder on the surface. These are the times of high pressure. There are days when a lot of air is rising and the

atmosphere does not press down as hard. These are times of low pressure. Low-pressure areas over warm oceans

give birth to hurricanes.

permission of Scholastic, Inc.

Otﬁnoski, Steve. The Kid’s Guide to Money: Earning It, Saving It, Spending It, Growing It, Sharing It. New York:

Scholastic, 1996. (1996)

Wulffson, Don. Toys!: Amazing Stories Behind Some Great Inventions. New York: Henry Holt, 2000. (2000)

Schleichert, Elizabeth. “Good Pet, Bad Pet.” Ranger Rick June 2002. (2002)

Kavash, E. Barrie. “Ancient Mound Builders.” Cobblestone October 2003. (2003)

Koscielniak, Bruce. About Time: A First Look at Time and Clocks. Orlando: Houghton Mifﬂin, 2004. (2004)

Sometime around 1440, the spring-powered clock was invented. Instead of depending on the pull of weights for pow-

er, this type of clock used a ﬂat metal spring wound tightly into a coil. The escapement allowed the spring to unwind

by turning one gear tooth at a time. With the use of a spring, smaller, truly portable clocks could be made.

The ﬁrst well-known watches, made in Germany around 1510 by Peter Henlein, were so named because guards or

“watchmen” carried small clocks to keep track of how long to stay at a particular duty post.

Many different skills went into making a clock, and new tools and methods were constantly being invented to make

ever smaller, more complicated mechanisms that worked with greater precision.

Founders melted and poured metal into a mold to make clock parts.

Spring makers hand-forged (heated and pounded into shape) and polished steel clock springs.

Screw makers cut screws used to fasten clocks together by using a small lathe devised by a German clockmaker in

1480. Earlier, only wedges or pegs were used.

Gear-tooth cutting had been done by hand until the mid-1500s, when Giannelo Torriano of Cremona, Italy, invented a

machine that could cut perfect gear teeth. Brass replaced iron for clock making.

Engravers, gilders, and enamellers decorated clock cases and dials.

Glass -making shops made and cut glass.

Woodworkers made clock cases.

APPENDIX B | 71

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Banting, Erinn. England the Land. New York: Crabtree, 2004. (2004)

From “Living Fences”

Low fences, some of which are thousands of years old, divide much of England’s countryside. These fences, called

hedgerows, were ﬁst build by the Anglo-Saxons, a group of warriors from Germany and Scandinavia who arrived in

England around 410 A.D. As they gained control of sections of land, they protected their property with walls made

from wooden stakes and spiny plants. Dead hedgerows, as these fences were called, were eventually replaced by

fences made from live bushes and trees.

Recently, people building large farms and homes in the countryside have destroyed many live hedgerows. Other

people are working to save the hedgerows, which are home to a variety of wildlife, including birds, butterﬂies, hedge-

hogs, and hares.

Hakim, Joy. A History of US. Oxford: Oxford University Press, 2005. (2005)

From Book 1: The First Americans, Prehistory to 1600; Chapter 7: “The Show-Offs”

In case you forgot, you’re still in that time-and-space capsule, but you’re not a baby anymore. You’re 10 years old and

able to work the controls yourself. So get going; we want to head northwest, to the very edge of the land, to the re-

gion that will be the states of Washington and Oregon. The time? We were in the 13

century; let’s try the 14

century

for this visit.

Life is easy for the Indians here in the Northwest near the great ocean. They are afﬂuent (AF-ﬂew-ent –it means

“wealthy”) Americans. For them the world is bountiful: the rivers hold salmon and sturgeon; the ocean is full of seals,

whales, ﬁsh, and shellﬁsh; the woods are swarming with game animals. And there are berries and nuts and wild roots

to be gathered. They are not farmers. They don’t need to farm.

Those Americans go to sea in giant canoes; some are 60 feet long. (How long is your bedroom? Your schoolroom?)

Using stone tools and ﬁre, Indians of the Northwest cut down gigantic ﬁr trees and hollow out the logs to make their

boats. The trees tower 200 feet and are 10 feet across at the base. There are so many of them, so close together, with

a tangle of undergrowth, that it is sometimes hard for hunters to get through the forest. Tall as these trees are, there

are not as big as the redwoods that grow in a vast forest to the south (in the land that will become California).

Media Text

“American Indians of the Paciﬁc Northwest Collection,” a digital archive of images and documents hosted by the Uni-

versity of Washington: http://content.lib.washington.edu/aipnw/

Ruurs, Margriet. My Librarian Is a Camel: How Books Are Brought to Children Around the World. Honesdale, Penn.:

Boyds Mills Press, 2005. (2005)

From “Peru”

Children in Peru can receive their book in several different, innovative ways.

CEDILI-IBBY Peru is an institution that delivers books in bags to families in Lima. Each bag contains twenty books,

which families can keep for a month. The books come in four different reading levels so that children really learn how

to read. This project in Spanish is called El Libro Compartido en Familia and enables parents to share the joy of books

with their children.

In small, rural communities, books are delivered in wooden suitcases and plastic bags. These suitcases and bags con-

tain books that the community can keep and share for the next three months. The number of books in each suitcase

depends on the size of the community. There are no library buildings in these small towns, and people gather outside,

in the plaza, to see books they can check out. In the coastal regions, books are sometimes delivered by donkey cart.

The books are stored in the reading promoter’s home.

In the ancient city of Cajamarca, reading promoters from various rural areas select and receive a large collection of

books for their area. The program is called Aspaderuc. The reading promoter lends these books to his or her neigh-

bors, and after three months, a new selection of books goes out to each area. Books in this system are for children

and adults.

And last but not least, Fe Y Alegria brings a collection of children’s books to rural schools. The books are brought

from school to school by wagon. The children, who are excited about browsing through the books when they arrive,

are turning into avid readers.

APPENDIX B | 72

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Simon, Seymour. Horses. New York: HarperCollins, 2006. (2006)

Horses move in four natural ways, called gaits or paces. They walk, trot, canter, and gallop. The walk is the slowest

gait and the gallop is the fastest.

When a horse walks, each hoof leaves the ground at a different time. It moves one hind leg ﬁrst, and then the front

leg on the same side; then the other hind leg and the other front leg. When a horse walks, its body swings gently with

each stride.

When a horse trots, its legs move in pairs, left front leg with right hind leg, and right front leg with left hind leg. When

a horse canters, the hind legs and one front leg move together, and then the hind legs and the other foreleg move

together.

The gallop is like a much faster walk, where each hoof hits the ground one after another. When a horse gallops, all

four of its hooves may be ﬂying off the ground at the same time.

Horses are usually described by their coat colors and by the white markings on their faces, bodies, legs, and hooves.

Brown horses range in color from dark brown bays and chestnuts to golden browns, such as palominos, and lighter

browns such as roans and duns.

Partly colored horses are called pintos or paints. Colorless, pure-white horses—albinos—are rare. Most horses that look

white are actually gray.

Skewbalds have brown-and-white patches. Piebalds have black and white patches. Spotteds have dark spots on a

white coat or white spots on a dark coat.

Used by permission of HarperCollins Publishers.

Montgomery, Sy. Quest for the Tree Kangaroo: An Expedition to the Cloud Forest of New Guinea. Orlando:

Houghton Mifﬂin, 2006. (2006)

From “Marsupial Mania”

Stuart Little, the small mouse with big parents, had nothing on baby marsupials. Marsupials (“mar-SOUP-ee-ulz”) are

special kinds of mammals. Even the biggest ones give birth to babies that are incredibly small. A two-hundred-pound

six-foot mother kangaroo, for instance, gives birth to a baby as small as a lima bean. That’s what makes marsupials

marsupials. Their babies are born so tiny that in order to survive they must live in a pouch on the mother’s tummy.

The pouch is called a marsupium. (Don’t you wish you had one?)

A baby marsupial lives hidden in the mother’s warm moist pouch for months. There it sucks milk from a nipple like

other baby mammals. One day it’s big enough to poke its head out to see the world. The European explorers who saw

kangaroos for the ﬁrst time in Australia reported they had discovered a two-headed animal—with one head on the

neck and another in the belly.

North America has only one marsupial. You may have seen it: The Virginia opossum actually lives in most of the

United States, not just Virginia. South America also has marsupials. But most marsupials live in or near Australia. They

include the koala (which is not a bear), two species of wombat, the toothy black Tasmania devil, four species of black

and white spotted “native cats” (though they’re not cats at all), and many others.

The most famous marsupials, however, are the kangaroos. All kangaroos hop—some of them six feet high and faster

than forty miles an hour. More than ﬁfty different species of kangaroo hop around on the ground—from the big red

kangaroo to the musky rat kangaroo.

Excerpt from QUEST FOR THE TREE KANGAROO: An Expedition to the Cloud Forest of New Guinea by Sy Montgom-

Simon, Seymour. Volcanoes. New York: HarperCollins, 2006. (2006)

In early times, no one knew how volcanoes formed or why they spouted red-hot molten rock. In modern times, scien-

tists began to study volcanoes. They still don’t know all the answers, but they know much about how a volcano works.

Our planet is made up of many layers of rock. The top layers of solid rock are called the crust. Deep beneath the crust

is the mantle, where it is so hot that some rock melts. The melted, or molten, rock is called magma.

APPENDIX B | 73

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Volcanoes are formed when magma pushes its way up through the crack in Earth’s crust. This is called a volcanic

eruption. When magma pours forth on the surface, it is called lava.

Nelson, Kadir. We Are the Ship: The Story of Negro League Baseball. New York: Jump at the Sun, 2008. (2008)

From “4th Inning: Racket Ball: Negro League Owners”

Most of the owners didn’t make much money from their teams. Baseball was just a hobby for them, a way to make

their illegal money look good. To save money, each team would only carry ﬁfteen or sixteen players. The major league

teams each carried about twenty-ﬁve. Average salary for each player started at roughly $125 per month back in ‘34,

and went up to $500-$800 during the forties, though there were some who made much more than that, like Satchel

Paige and Josh Gibson. The average major league player’s salary back then was $7,000 per month. We also got

around ﬁfty cents to a dollar per day for food allowance. Back then you could get a decent meal for about twenty-ﬁve

cents to seventy-ﬁve cents.

Some of the owners didn’t treat their players very well. Didn’t pay them enough or on time. That’s why we would

jump from team to team. Other owners would offer us more money, and we would leave our teams and go play for

them. We were some of the ﬁrst unrestricted free agents.

There were, however, a few owners who did know how to treat their ballplayers. Cum Posey was one of them. He

always took care of his ballplayers, put them in the best hotels, and paid them well and on time. Buck Leonard said

Posey never missed a payday in the seventeen years he played for the Grays.

Cutler, Nellie Gonzalez. “Kenya’s Long Dry Season.” Time for Kids September 25, 2009. (2009)

Hall, Leslie. “Seeing Eye to Eye.” National Geographic Explorer September 2009. (2009)

A hungry falcon soars high above Earth. Its sharp eyes scan the ground. Suddenly, it spies something moving in the

grass. The falcon dives toward it.

Far below, a gray ﬁeld mouse scurries through the grass. Its dark, beady eyes search constantly for danger. With eyes

on either side of its head, the mouse can see almost everything around it.

Will the mouse see the falcon in time to escape? Or, will the speedy falcon catch the prey it spied from far above?

Whatever happens, one thing is clear: Without eyes, neither animal has a good chance.

Why? Eyes help many animals make sense of the world around them - and survive. Eyes can guide the falcon to din-

ner or help the mouse see a perfect place to hide.

Animal eyes come in many different shapes, sizes, colors, and even numbers. Yet they do the same job. They all catch

light. With help from the brain, eyes turn light into sight.

Eyes work in the same way for people. Look at this page. You may think you see words and pictures. Believe it or not,

you don’t. All you see is light bouncing off the page. How is this possible? The secret is in the rules of light.

Light Rules

Light is a form of energy, like heat or sound. It can come from a natural source, like the sun, or artiﬁcial sources, like a

lamp or a ﬂashlight.

Light is the fastest known thing. It travels in waves and in nearly straight lines. In air, it can speed 299,700 kilometers

(186,200 miles) per second. It can race from the sun to Earth in just over eight minutes! Light doesn’t always travel so

fast. For example, water or glass can slow light down, but just a bit.

Light may seem to break all driving speed laws. Yet there are certain rules it always follows. Light reﬂects, or bounces

off objects. It also refracts, or bends. And it can be absorbed, or soaked up, by objects. These rules of light affect

what, and how, we see.

APPENDIX B | 74

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Light! Eyes!

Imagine this scene: You’re at your desk happily reading Explorer magazine. Light from your desk lamp scatters in all

directions.

Light hits the page. Some bounces off the page, or reﬂects. It changes direction. It’s a little like how sound bounces

off a wall. Now some of this reﬂected light is traveling right toward your face. Don’t duck! For you to see Explorer,

some of this light has to enter your eyes. Objects become visible when light bounces off them.

Your eyes are light catchers. Yet it takes more than catching light to see an image. Your eyes also have to bend light.

Here’s how.

First, light hits your cornea. That’s the clear covering on the front of your eyeball. The cornea refracts, or bends, light.

And Action!

Is your cornea super strong? No! Think about how light travels more slowly through water. The same thing happens in

your cornea. As light passes through the cornea, it slows down. That makes the light change direction, or bend.

Next, light enters your pupil, the dark center part of your eye. It passes through your lens. The lens bends light, too.

What’s the big deal about bending light? That’s how your eyes focus, or aim the light to make a clear image.

The image appears on your retina at the back of your eyeball. It’s like a movie. Playing Today at a Theater in Your Eye:

Explorer magazine! There’s only one problem. The image is upside down. Luckily, your brain ﬂips the image right side

up. That’s pretty smart!

Ronan, Colin A. “Telescopes.” The New Book of Knowledge. New York: Scholastic, 2010. (2010)

You can see planets, stars, and other objects in space just by looking up on a clear night. But to really see them--to

observe the craters on the moon, the rings around Saturn, and the countless other wonders in our sky--you must use

a telescope.

A telescope is an instrument used to produce magniﬁed (enlarged) images of distant objects. It does this by gather-

ing and focusing the light or other forms of electromagnetic radiation emitted or reﬂected by those objects. The word

“telescope” comes from two Greek words meaning “far” and “see.”

Kinds of Telescopes

There are many different types of telescopes, both optical and non-optical. Optical telescopes are designed to focus

visible light. Non-optical telescopes are designed to detect kinds of electromagnetic radiation that are invisible to

the human eye. These include radio waves, infrared radiation, X rays, ultraviolet radiation, and gamma rays. The word

“optical” means “making use of light.”

Some telescopes are launched into space. These telescopes gain clearer views. And they can collect forms of electro-

magnetic radiation that are absorbed by the Earth’s atmosphere and do not reach the ground.

Optical Telescopes

Different types of optical telescopes gather and focus light in different ways. Refracting telescopes, or refractors, use

lenses. Reﬂecting telescopes, or reﬂectors, use mirrors. And catadioptric telescopes, or catadioptrics, use a combina-

tion of lenses and mirrors. The main lens or mirror in an optical telescope is called the objective.

Refracting Telescopes. A refracting telescope is typically a long, tube-shaped instrument. The objective is a system

of lenses at the front end of the tube (the end facing the sky). When light strikes the lenses, it is bent and brought to

a focus within the tube. This forms an image of a distant object. This image can be magniﬁed by the eyepiece. This

consists of a group of small lenses at the back of the tube. A camera can replace or be added to the eyepiece. Then

photographs can be taken of celestial objects. For many years, these cameras used ﬁlm. Today most are equipped

with charge-coupled devices (CCD’s). These devices use semiconductor chips to electronically capture images. CCD’s

are similar to the devices in home digital cameras and video camcorders. However, the CCD’s used by astronomers

are usually extremely sensitive to light.

APPENDIX B | 75

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Buckmaster, Henrietta. “Underground Railroad.” The New Book of Knowledge. New York: Scholastic, 2010. (2010)

Sample Performance Tasks for Informational Texts

• Students explain how Melvin Berger uses reasons and evidence in his book Discovering Mars: The Amazing

Story of the Red Planet to support particular points regarding the topology of the planet. [RI.4.8]

• Students identify the overall structure of ideas, concepts, and information in Seymour Simon’s Horses (based

on factors such as their speed and color) and compare and contrast that scheme to the one employed by

Patricia Lauber in her book Hurricanes: Earth’s Mightiest Storms. [RI.5.5]

• Students interpret the visual chart that accompanies Steve Otﬁnoski’s The Kid’s Guide to Money: Earning It,

Saving It, Spending It, Growing It, Sharing It and explain how the information found within it contributes to an

understanding of how to create a budget. [RI.4.7]

• Students explain the relationship between time and clocks using speciﬁc information drawn from Bruce Kosci-

elniak’s About Time: A First Look at Time and Clocks. [RI.5.3]

• Students determine the meaning of domain-speciﬁc words or phrases, such as crust, mantle, magma, and lava,

and important general academic words and phrases that appear in Seymour Simon’s Volcanoes. [RI.4.4]

• Students compare and contrast a ﬁrsthand account of African American ballplayers in the Negro Leagues to

a secondhand account of their treatment found in books such as Kadir Nelson’s We Are the Ship: The Story of

Negro League Baseball, attending to the focus of each account and the information provided by each. [RI.4.6]

• Students quote accurately and explicitly from Leslie Hall’s “Seeing Eye to Eye” to explain statements they make

and ideas they infer regarding sight and light. [RI.5.1]

• Students determine the main idea of Colin A. Ronan’s “Telescopes” and create a summary by explaining how

key details support his distinctions regarding different types of telescopes. [RI.4.2]

APPENDIX B | 76

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Grades 6–8 Text Exemplars

Stories

Alcott, Louisa May. Little Women. New York: Penguin, 1989. (1868)

From Chapter 2: “A Merry Christmas”

“Merry Christmas, little daughters! I’m glad you began at once, and hope you will keep on. But I want to say one word

before we sit down. Not far away from here lies a poor woman with a little newborn baby. Six children are huddled

into one bed to keep from freezing, for they have no ﬁre. There is nothing to eat over there, and the oldest boy came

to tell me they were suffering hunger and cold. My girls, will you give them your breakfast as a Christmas present?”

They were all unusually hungry, having waited nearly an hour, and for a minute no one spoke, only a minute, for Jo

exclaimed impetuously, “I’m so glad you came before we began!”

“May I go and help carry the things to the poor little children?” asked Beth eagerly.

“I shall take the cream and the mufﬁns,” added Amy, heroically giving up the article she most liked.

Meg was already covering the buckwheats, and piling the bread into one big plate.

“I thought you’d do it,” said Mrs. March, smiling as if satisﬁed. “You shall all go and help me, and when we come back

we will have bread and milk for breakfast, and make it up at dinnertime.”

They were soon ready, and the procession set out. Fortunately it was early, and they went through back streets, so

few people saw them, and no one laughed at the queer party.

A poor, bare, miserable room it was, with broken windows, no ﬁre, ragged bedclothes, a sick mother, wailing baby,

and a group of pale, hungry children cuddled under one old quilt, trying to keep warm.

How the big eyes stared and the blue lips smiled as the girls went in.

“Ach, mein Gott! It is good angels come to us!” said the poor woman, crying for joy.

“Funny angels in hoods and mittens,” said Jo, and set them to laughing.

In a few minutes it really did seem as if kind spirits had been at work there. Hannah, who had carried wood, made a

ﬁre, and stopped up the broken panes with old hats and her own cloak. Mrs. March gave the mother tea and gruel,

and comforted her with promises of help, while she dressed the little baby as tenderly as if it had been her own. The

girls meantime spread the table, set the children round the ﬁre, and fed them like so many hungry birds, laughing,

talking, and trying to understand the funny broken English.

“Das ist gut!” “Die Engel-kinder!” cried the poor things as they ate and warmed their purple hands at the comfortable

blaze. The girls had never been called angel children before, and thought it very agreeable, especially Jo, who had been

considered a ‘Sancho’ ever since she was born. That was a very happy breakfast, though they didn’t get any of it. And

when they went away, leaving comfort behind, I think there were not in all the city four merrier people than the hungry

little girls who gave away their breakfasts and contented themselves with bread and milk on Christmas morning.

“That’s loving our neighbor better than ourselves, and I like it,” said Meg, as they set out their presents while their

mother was upstairs collecting clothes for the poor Hummels.

Media Text

Composer Mark Adamo details for an Opera America online course the process of adapting the novel to operatic form:

http://www.markadamo.com/course.pdf

Twain, Mark. The Adventures of Tom Sawyer. New York: Modern Library, 2001. (1876)

From Chapter 2: “The Glorious Whitewasher”

But Tom’s energy did not last. He began to think of the fun he had planned for this day, and his sorrows multiplied.

Soon the free boys would come tripping along on all sorts of delicious expeditions, and they would make a world of

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fun of him for having to work—the very thought of it burnt him like ﬁre. He got out his worldly wealth and examined

it—bits of toys, marbles, and trash; enough to buy an exchange of WORK, maybe, but not half enough to buy so much

as half an hour of pure freedom. So he returned his straitened means to his pocket, and gave up the idea of trying to

buy the boys. At this dark and hopeless moment an inspiration burst upon him! Nothing less than a great, magniﬁcent

inspiration.

He took up his brush and went tranquilly to work. Ben Rogers hove in sight presently—the very boy, of all boys, whose

ridicule he had been dreading. Ben’s gait was the hop-skip-and-jump—proof enough that his heart was light and his

anticipations high. He was eating an apple, and giving a long, melodious whoop, at intervals, followed by a deep-

toned ding-dong-dong, ding-dong-dong, for he was personating a steamboat. As he drew near, he slackened speed,

took the middle of the street, leaned far over to starboard and rounded to ponderously and with laborious pomp and

circumstance—for he was personating the Big Missouri, and considered himself to be drawing nine feet of water. He

was boat and captain and engine-bells combined, so he had to imagine himself standing on his own hurricane-deck

giving the orders and executing them:

“Stop her, sir! Ting-a-ling-ling!” The headway ran almost out, and he drew up slowly toward the sidewalk.

“Ship up to back! Ting-a-ling-ling!” His arms straightened and stiffened down his sides.

“Set her back on the stabboard! Ting-a-ling-ling! Chow! ch-chow-wow! Chow!” His right hand, meantime, describing

stately circles—for it was representing a forty-foot wheel.

“Let her go back on the labboard! Ting-a-lingling! Chow-ch-chow-chow!” The left hand began to describe circles.

“Stop the stabboard! Ting-a-ling-ling! Stop the labboard! Come ahead on the stabboard! Stop her! Let your outside

turn over slow! Ting-a-ling-ling! Chow-ow-ow! Get out that head-line! LIVELY now! Come—out with your spring-line—

what’re you about there! Take a turn round that stump with the bight of it! Stand by that stage, now—let her go! Done

with the engines, sir! Ting-a-ling-ling! SH’T! S’H’T! SH’T!” (trying the gauge-cocks).”

Tom went on whitewashing—paid no attention to the steamboat. Ben stared a moment and then said: “Hi-YI! YOU’RE

up a stump, ain’t you!”

No answer. Tom surveyed his last touch with the eye of an artist, then he gave his brush another gentle sweep and

surveyed the result, as before. Ben ranged up alongside of him. Tom’s mouth watered for the apple, but he stuck to

his work. Ben said:

“Hello, old chap, you got to work, hey?”

Tom wheeled suddenly and said:

“Why, it’s you, Ben! I warn’t noticing.”

“Say—I’m going in a-swimming, I am. Don’t you wish you could? But of course you’d druther WORK—wouldn’t you?

Course you would!”

Tom contemplated the boy a bit, and said:

“What do you call work?”

“Why, ain’t THAT work?”

Tom resumed his whitewashing, and answered carelessly:

“Well, maybe it is, and maybe it ain’t. All I know, is, it suits Tom Sawyer.”

“Oh come, now, you don’t mean to let on that you LIKE it?”

The brush continued to move.

“Like it? Well, I don’t see why I oughtn’t to like it. Does a boy get a chance to whitewash a fence every day?”

That put the thing in a new light. Ben stopped nibbling his apple. Tom swept his brush daintily back and forth—

stepped back to note the effect—added a touch here and there—criticised the effect again—Ben watching every move

and getting more and more interested, more and more absorbed. Presently he said:

“Say, Tom, let ME whitewash a little.”

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Tom considered, was about to consent; but he altered his mind:

“No—no—I reckon it wouldn’t hardly do, Ben. You see, Aunt Polly’s awful particular about this fence—right here on the

street, you know—but if it was the back fence I wouldn’t mind and SHE wouldn’t. Yes, she’s awful particular about this

fence; it’s got to be done very careful; I reckon there ain’t one boy in a thousand, maybe two thousand, that can do it

the way it’s got to be done.”

“No—is that so? Oh come, now—lemme just try. Only just a little—I’d let YOU, if you was me, Tom.”

“Ben, I’d like to, honest injun; but Aunt Polly—well, Jim wanted to do it, but she wouldn’t let him; Sid wanted to do it,

and she wouldn’t let Sid. Now don’t you see how I’m ﬁxed? If you was to tackle this fence and anything was to happen

to it—”

“Oh, shucks, I’ll be just as careful. Now lemme try. Say—I’ll give you the core of my apple.”

“Well, here—No, Ben, now don’t. I’m afeard—”

“I’ll give you ALL of it!”

Tom gave up the brush with reluctance in his face, but alacrity in his heart. And while the late steamer Big Missouri

worked and sweated in the sun, the retired artist sat on a barrel in the shade close by, dangled his legs, munched

his apple, and planned the slaughter of more innocents. There was no lack of material; boys happened along every

little while; they came to jeer, but remained to whitewash. By the time Ben was fagged out, Tom had traded the next

chance to Billy Fisher for a kite, in good repair; and when he played out, Johnny Miller bought in for a dead rat and a

string to swing it with—and so on, and so on, hour after hour. And when the middle of the afternoon came, from be-

ing a poor poverty-stricken boy in the morning, Tom was literally rolling in wealth. He had besides the things before

mentioned, twelve marbles, part of a jews-harp, a piece of blue bottle-glass to look through, a spool cannon, a key

that wouldn’t unlock anything, a fragment of chalk, a glass stopper of a decanter, a tin soldier, a couple of tadpoles,

six ﬁre-crackers, a kitten with only one eye, a brass doorknob, a dog-collar—but no dog—the handle of a knife, four

pieces of orange-peel, and a dilapidated old window sash.

He had had a nice, good, idle time all the while—plenty of company—and the fence had three coats of whitewash on

it! If he hadn’t run out of whitewash he would have bankrupted every boy in the village.

Tom said to himself that it was not such a hollow world, after all. He had discovered a great law of human action,

without knowing it—namely, that in order to make a man or a boy covet a thing, it is only necessary to make the thing

difﬁcult to attain. If he had been a great and wise philosopher, like the writer of this book, he would now have com-

prehended that Work consists of whatever a body is OBLIGED to do, and that Play consists of whatever a body is not

obliged to do. And this would help him to understand why constructing artiﬁcial ﬂowers or performing on a tread-mill

is work, while rolling ten-pins or climbing Mont Blanc is only amusement. There are wealthy gentlemen in England

who drive four-horse passenger-coaches twenty or thirty miles on a daily line, in the summer, because the privilege

costs them considerable money; but if they were offered wages for the service, that would turn it into work and then

they would resign.

The boy mused awhile over the substantial change which had taken place in his worldly circumstances, and then

wended toward headquarters to report.

L’Engle, Madeleine. A Wrinkle in Time. New York: Farrar, Straus and Giroux, 1962. (1962)

Cooper, Susan. The Dark Is Rising. New York: Margaret K. McElderry Books, 1973. (1973)

From “Midwinter Day”

He was woken by music. It beckoned him, lilting and insistent; delicate music, played by delicate instruments that he

could not identify, with one rippling, bell-like phrase running through it in a gold thread of delight. There was in this

music so much of the deepest enchantment of all his dreams and imaginings that he woke smiling in pure happiness

at the sound. In the moment of his waking, it began to fade, beckoning as it went, and then as he opened his eyes it

was gone. He had only the memory of that one rippling phrase still echoing in his head, and itself fading so fast that

he sat up abruptly in bed and reached his arm out to the air, as if he could bring it back.

The room was very still, and there was no music, and yet Will knew that it had not been a dream.

He was in the twins’ room still; he could hear Robin’s breathing, slow and deep, from the other bed. Cold light glim-

mered round the edge of the curtains, but no one was stirring anywhere; it was very early. Will pulled on his rumpled

clothes from the day before, and slipped out of the room. He crossed the landing to the central window, and looked

down.

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

In the ﬁrst shining moment he saw the whole strange-familial world, glistening white; the roofs of the outbuildings

mounded into square towers of snow, and beyond them all the ﬁelds and hedge: buried, merged into one great ﬂat

expanse, unbroken white to the horizon’s brim. Will drew in a long, happy breath, silently rejoicing. Then, very faintly,

he heard the music again, the same phrase. He swung round vainly searching for it in the air, as if he might see it

somewhere like a ﬂickering light.

“Where are you?”

Yep, Laurence. Dragonwings. New York: HarperCollins, 1975. (1975)

From Chapter IX: “The Dragon Wakes (December, 1905—April, 1906)”

By the time the winter rains came to the city, we were not becoming rich, but we were doing well. Each day we put a

little money away in our cold tin can. Father never said anything, but I knew he was thinking about the day when we

might be able to afford to bring Mother over. You see, it was not simply a matter of paying her passage over on the

boat. Father would probably have to go over after her and escort her across. There had to be money for bribes—tea

money, Uncle called it—at both ends of the ocean. Now that we no longer belonged to the Company, we somehow

had to acquire a thousand dollars worth of property, a faraway ﬁgure when you can only save nickels and dimes.

And yet the hope that we could start our own little ﬁx-it shop and qualify as merchants steadily grew with the collec-

tion of coins in the tin can. I was happy most of the time, even when it became the time for the New Year by the Tang

people’s reckoning. […]

We took the old picture of the Stove King and smeared some honey on it before we burned it in the stove. Later that

evening we would hang up a new picture of the Stove King that we had bought in the Tang people’s town. That was

a sign the Stove King had returned to his place above our stove. After we had ﬁnished burning the old picture, we sat

down to a lunch of meat pastries and dumplings.

Taylor, Mildred D. Roll of Thunder, Hear My Cry. New York: Phyllis Fogelman Books, 1976. (1976)

From Chapter 9

“You were born blessed, boy, with land of your own. If you hadn’t been, you’d cry out for it while you try to survive…

like Mr. Lanier and Mr. Avery. Maybe even do what they doing now. It’s hard on a man to give up, but sometimes it

seems there just ain’t nothing else he can do.”

“I… I’m sorry, Papa,” Stacey muttered.

After a moment, Papa reached out and draped his arm over Stacey’s shoulder.

“Papa,” I said, standing to join them, “we giving up too?”

Papa looked down at me and brought me closer, then waved his hand toward the drive. “You see that ﬁg tree over

yonder, Cassie? Them other trees all around… that oak and walnut, they’re a lot bigger and they take up more room

and give so much shade they almost overshadow that little ole ﬁg. But that ﬁg tree’s got roots that run deep, and it

belongs in that yard as much as that oak and walnut. It keeps blooming, bearing fruit year after year, knowing all the

time it’ll never get as big as them other trees. Just keeps on growing and doing what it gotta do. It don’t give up. It

give up, it’ll die. There’s a lesson to be learned from that little tree, Cassie girl, ‘cause we’re like it. We keep doing what

we gotta do, and we don’t give up. We can’t.”

Hamilton, Virginia. “The People Could Fly.” The People Could Fly: American Black Folktales. New York: Knopf

Books for Young Readers, 1985. (1985)

They say the people could ﬂy. Say that long ago in Africa, some of the people knew magic. And they would walk up

on the air like climbin up on a gate. And they ﬂew like blackbirds over the ﬁelds. Black, shiny wings ﬂappin against the

blue up there.

Then, many of the people were captured for Slavery. The ones that could ﬂy shed their wings. They couldn’t take their

wings across the water on slave ships. Too crowded, don’t you know.

The folks were full of misery, then. Got sick with the up and down of the sea. So they forgot about ﬂyin when they

could no longer breathe the sweet scent of Africa.

Say the people who could ﬂy kept their power, although they shed their wings. They looked the same as the other

people from Africa who had been coming over, who had dark skin. Say you couldn’t tell anymore one who could ﬂy

from one who couldn’t.

APPENDIX B | 80

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

One such who could was an old man, call him Toby. And standin tall, yet afraid, was a young woman who once had

wings. Call her Sarah. Now Sarah carried a babe tied to her back. She trembled to be so hard worked and scorned.

The slaves labored in the ﬁelds from sunup to sundown. The owner of the slaves callin himself their Master. Say he was

a hard lump of clay. A hard, glinty coal. A hard rock pile, wouldn’t be moved. His Overseer on horseback pointed out

the slaves who were slowin down. So the one called Driver cracked his whip over the slow ones to make them move

faster. That whip was a slice-open cut of pain. So they did move faster. Had to.

Paterson, Katherine. The Tale of the Mandarin Ducks. Illustrated by Leo and Diane Dillon. New York: Lodestar Books,

1990. (1990)

Long ago and far away in the Land of the Rising Sun, there lived together a pair of mandarin ducks. Now, the drake

was a magniﬁcent bird with plumage of colors so rich that the emperor himself would have envied it. But his mate,

the duck, wore the quiet tones of the wood, blending exactly with the hole in the tree where the two had made their

nest.

One day while the duck was sitting on her eggs, the drake ﬂew down to a nearby pond to search for food. While he

was there, a hunting party entered the woods. The hunters were led by the lord of the district, a proud and cruel man

who believed that everything in the district belonged to him to do with as he chose. The lord was always looking for

beautiful things to adorn his manor house and garden. And when he saw the drake swimming gracefully on the sur-

face of the pond, he determined to capture him.

The lord’s chief steward, a man named Shozo, tried to discourage his master. “The drake is a wild spirit, my lord,” he

said. “Surely he will die in captivity.” But the lord pretended not to hear Shozo. Secretly he despised Shozo, because

although Shozo had once been his mightiest samurai, the warrior had lost an eye in battle and was no longer hand-

some to look upon.

The lord ordered his servants to clear a narrow way through the undergrowth and place acorns along the path. When

the drake came out of the water he saw the acorns. How pleased he was! He forgot to be cautious, thinking only of

what a feast they would be to take home to his mate.

Just as he was bending to pick up an acorn in his scarlet beak, a net fell over him, and the frightened bird was carried

back to the lord’s manor and placed in a small bamboo cage.

Cisneros, Sandra. “Eleven.” Woman Hollering Creek and Other Stories. New York: Random House, 1991. (1991)

What they don’t understand about birthdays and what they never tell you is that when you’re eleven, you’re also ten,

and nine, and eight, and seven, and six, and ﬁve, and four, and three, and two, and one. And when you wake up on

your eleventh birthday you expect to feel eleven, but you don’t. You open your eyes and everything’s just like yester-

day, only it’s today. And you don’t feel eleven at all. You feel like you’re still ten. And you are — underneath the year

that makes you eleven.

Like some days you might say something stupid, and that’s the part of you that’s still ten. Or maybe some days you

might need to sit on your mama’s lap because you’re scared, and that’s the part of you that’s ﬁve.

And maybe one day when you’re all grown up maybe you will need to cry like if you’re three, and that’s okay. That’s

what I tell Mama when she’s sad and needs to cry. Maybe she’s feeling three.

Because the way you grow old is kind of like an onion or like the rings inside a tree trunk or like my little wooden dolls

that ﬁt one inside the other, each year inside the next one. That’s how being eleven years old is.

You don’t feel eleven. Not right away. It takes a few days, weeks even, sometimes even months before you say Eleven

when they ask you. And you don’t feel smart eleven, not until you’re almost twelve. That’s the way it is.

Sutcliff, Rosemary. Black Ships Before Troy: The Story of the Iliad. New York: Delacorte Press, 1993. (1993)

From “The Golden Apple”

In the high and far-off days when men were heroes and walked with the gods, Peleus, king of the Myrmidons, took for

his wife a sea nymph called Thetis, Thetis of the Silver Feet. Many guests came to their wedding feast, and among the

mortal guests came all the gods of high Olympus.

APPENDIX B | 81

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

But as they sat feasting, one who had not been invited was suddenly in their midst: Eris, the goddess of discord, had

been left out because wherever she went she took trouble with her; yet here she was, all the same, and in her blackest

mood, to avenge the insult.

All she did—it seemed a small thing—was to toss down on the table a golden apple. Then she breathed upon the

guests once, and vanished.

The apple lay gleaming among the piled fruits and the brimming wine cups; and bending close to look at it, everyone

could see the words “To the fairest” traced on its side.

Then the three greatest of the goddesses each claimed that it was hers. Hera claimed it as wife to Zeus, the All-father,

and queen of all the gods. Athene claimed that she had the better right, for the beauty of wisdom such as hers sur-

passed all else. Aphrodite only smiled, and asked who had a better claim to beauty’s prize than the goddess of beauty

herself.

They fell to arguing among themselves; the argument became a quarrel, and the quarrel grew more and more bitter,

and each called upon the assembled guests to judge between them. But the other guests refused, for they knew well

enough that, whichever goddess they chose to receive the golden apple, they would make enemies of the other two.

Drama

Fletcher, Louise. Sorry, Wrong Number. New York: Dramatists Play Service, 1948. (1948)

[SCENE: As curtain rises, we see a divided stage, only the center part of which is lighted and furnished as MRS. STE-

VENSON’S bedroom. Expensive, rather fussy furnishings. A large bed, on which MRS. STEVESON, clad in bed-jacket,

is lying. A night-table close by, with phone, lighted lamp, and pill bottles. A mantle, with clock, R. A closed door. R. A

window, with curtains closed, rear. The set is lit by one lamp on night-table. It is enclosed by three ﬂats. Beyond this

central set, the stage, on either side, is in darkness.

MRS. STEVENSON is dialing a number on the phone, as curtain rises. She listens to phone, slams down receiver in irri-

tation. As she does so, we hear sound of a train roaring by in the distance. She reaches for her pill bottle, pours herself

a glass of water, shakes out pill, swallows it, then reaches for the phone again, dials number nervously.]

SOUND: Number being dialed on phone: Busy signal.

MRS. STEVENSON. (A querulous, self-centered neurotic.) Oh—dear! (Slams down receiver, Dials OPERATOR.)

[Scene: A spotlight, L. of side ﬂat, picks up out of peripheral darkness, ﬁgure of 1

OPERATOR, sitting with head-

phones at a small table. If spotlight not available, use ﬂashlight, clicked on by 1

OPERATOR, illuminating her face.]

OPERATOR. Your call, please?

MRS. STEVENSON. Operator? I’ve been dialing Murray Hill 4-0098 now for the last three-quarters of an hour, and the

line is always busy. But I don’t see how it could be that busy that long. Will you try it for me please?

OPERATOR. Murray Hill 4-0098? One moment, please.

[SCENE: She makes gesture of plugging in call through switchboard.]

MRS. STEVENSON. I don’t see how it could be busy all this time. It’s my husband’s ofﬁce. He’s working late tonight,

and I’m all alone.

CAUTION: The excerpt from SORRY, WRONG NUMBER included herein is reprinted by permission of William Mor-

ris Endeavor Entertainment, LLC. The English language amateur stage performance rights in this Play are controlled

exclusively by Dramatists Play Service, Inc., 440 Park Avenue South, New York, NY 10016. No nonprofessional perfor-

mance of the Play may be given without obtaining, in advance, the written permission of Dramatists Play Service, Inc.,

and paying the requisite fee. Inquiries concerning all other rights should be addressed to William Morris Endeavor

Entertainment, LLC.

APPENDIX B | 82

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Goodrich, Frances and Albert Hackett. The Diary of Anne Frank: A Play. New York: Random House, 1956. (1956)

Poetry

Longfellow, Henry Wadsworth. “Paul Revere’s Ride.” (1861)

Listen, my children, and you shall hear

Of the midnight ride of Paul Revere,

On the eighteenth of April, in Seventy-ﬁve;

Hardly a man is now alive

Who remembers that famous day and year.

He said to his friend, “If the British march

By land or sea from the town to-night,

Hang a lantern aloft in the belfry arch

Of the North Church tower as a signal light,—

One, if by land, and two, if by sea;

And I on the opposite shore will be,

Ready to ride and spread the alarm

Through every Middlesex village and farm,

For the country-folk to be up and to arm.”

Then he said, “Good night!” and with mufﬂed oar

Silently rowed to the Charlestown shore,

Just as the moon rose over the bay,

Where swinging wide at her moorings lay

The Somerset, British man-of-war;

A phantom ship, with each mast and spar

Across the moon like a prison bar,

And a huge black hulk, that was magniﬁed

By its own reﬂection in the tide.

Meanwhile, his friend, through alley and street,

Wanders and watches with eager ears,

Till in the silence around him he hears

The muster of men at the barrack door,

The sound of arms, and the tramp of feet,

And the measured tread of the grenadiers,

Marching down to their boats on the shore.

Then he climbed to the tower of the church,

Up the wooden stairs, with stealthy tread,

To the belfry-chamber overhead,

And startled the pigeons from their perch

On the sombre rafters, that round him made

Masses and moving shapes of shade,—

Up the trembling ladder, steep and tall,

To the highest window in the wall,

Where he paused to listen and look down

A moment on the roofs of the town,

And the moonlight ﬂowing over all.

Beneath, in the churchyard, lay the dead,

In their night-encampment on the hill,

Wrapped in silence so deep and still

That he could hear, like a sentinel’s tread,

The watchful night-wind, as it went

Creeping along from tent to tent,

And seeming to whisper, “All is well!”

A moment only he feels the spell

Of the place and the hour, and the secret dread

Of the lonely belfry and the dead;

For suddenly all his thoughts are bent

On a shadowy something far away,

APPENDIX B | 83

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Where the river widens to meet the bay,—

A line of black that bends and ﬂoats

On the rising tide, like a bridge of boats.

Meanwhile, impatient to mount and ride,

Booted and spurred, with a heavy stride

On the opposite shore walked Paul Revere.

Now he patted his horse’s side,

Now gazed at the landscape far and near,

Then, impetuous, stamped the earth,

And turned and tightened his saddle-girth;

But mostly he watched with eager search

The belfry-tower of the Old North Church,

As it rose above the graves on the hill,

Lonely and spectral and sombre and still.

And lo! as he looks, on the belfry’s height

A glimmer, and then a gleam of light!

He springs to the saddle, the bridle he turns,

But lingers and gazes, till full on his sight

A second lamp in the belfry burns!

A hurry of hoofs in a village street,

A shape in the moonlight, a bulk in the dark,

And beneath, from the pebbles, in passing, a spark

Struck out by a steed ﬂying fearless and ﬂeet;

That was all! And yet, through the gloom and the light,

The fate of a nation was riding that night;

And the spark struck out by that steed, in his ﬂight,

Kindled the land into ﬂame with its heat.

He has left the village and mounted the steep,

And beneath him, tranquil and broad and deep,

Is the Mystic, meeting the ocean tides;

And under the alders, that skirt its edge,

Now soft on the sand, now loud on the ledge,

Is heard the tramp of his steed as he rides.

It was twelve by the village clock

When he crossed the bridge into Medford town.

He heard the crowing of the cock,

And the barking of the farmer’s dog,

And felt the damp of the river fog,

That rises after the sun goes down.

It was one by the village clock,

When he galloped into Lexington.

He saw the gilded weathercock

Swim in the moonlight as he passed,

And the meeting-house windows, blank and bare,

Gaze at him with a spectral glare,

As if they already stood aghast

At the bloody work they would look upon.

It was two by the village clock,

When he came to the bridge in Concord town.

He heard the bleating of the ﬂock,

And the twitter of birds among the trees,

And felt the breath of the morning breeze

Blowing over the meadows brown.

And one was safe and asleep in his bed

Who at the bridge would be ﬁrst to fall,

Who that day would be lying dead,

Pierced by a British musket-ball.

You know the rest. In the books you have read,

How the British Regulars ﬁred and ﬂed,—

How the farmers gave them ball for ball,

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

From behind each fence and farm-yard wall,

Chasing the red-coats down the lane,

Then crossing the ﬁelds to emerge again

Under the trees at the turn of the road,

And only pausing to ﬁre and load.

So through the night rode Paul Revere;

And so through the night went his cry of alarm

To every Middlesex village and farm,—

A cry of deﬁance and not of fear,

A voice in the darkness, a knock at the door,

And a word that shall echo forevermore!

For, borne on the night-wind of the Past,

Through all our history, to the last,

In the hour of darkness and peril and need,

The people will waken and listen to hear

The hurrying hoof-beats of that steed,

And the midnight message of Paul Revere.

Media Text

“The Midnight Ride,” an extensive resource, including audio, images, and maps, provided by the Paul Revere Memorial

Association:

http://www.paulreverehouse.org/ride/

Whitman, Walt. “O Captain! My Captain!” Leaves of Grass. Oxford: Oxford University Press, 1990. (1865)

O Captain! my Captain! our fearful trip is done;

The ship has weather’d every rack, the prize we sought is won;

The port is near, the bells I hear, the people all exulting,

While follow eyes the steady keel, the vessel grim and daring:

But O heart! heart! heart!

O the bleeding drops of red,

Where on the deck my Captain lies,

Fallen cold and dead.

O Captain! my Captain! rise up and hear the bells;

Rise up—for you the ﬂag is ﬂung—for you the bugle trills;

For you bouquets and ribbon’d wreaths—for you the shores a-crowding;

For you they call, the swaying mass, their eager faces turning;

Here Captain! dear father!

This arm beneath your head;

It is some dream that on the deck,

You’ve fallen cold and dead.

My Captain does not answer, his lips are pale and still;

My father does not feel my arm, he has no pulse nor will;

The ship is anchor’d safe and sound, its voyage closed and done;

From fearful trip, the victor ship, comes in with object won;

Exult, O shores, and ring, O bells!

But I, with mournful tread,

Walk the deck my Captain lies,

Fallen cold and dead.

Carroll, Lewis. “Jabberwocky.” Alice Through the Looking Glass. Cambridge, Mass.: Candlewick, 2005. (1872)

From Chapter 1: “Looking-Glass House”

‘Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogoves,

And the mome raths outgrabe.

‘Beware the Jabberwock, my son!

The jaws that bite, the claws that catch!

APPENDIX B | 85

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Beware the Jubjub bird, and shun

The frumious Bandersnatch!’

He took his vorpal sword in hand:

Long time the manxome foe he sought

So rested he by the Tumtum tree,

And stood awhile in thought.

And as in ufﬁsh thought he stood,

The Jabberwock, with eyes of ﬂame,

Came whifﬂing through the tulgey wood,

And burbled as it came!

One, two! One, two! And through and through

The vorpal blade went snicker-snack!

He left it dead, and with its head

He went galumphing back.

‘And hast thou slain the Jabberwock?

Come to my arms, my beamish boy!

O frabjous day! Callooh! Callay!’

He chortled in his joy.

‘Twas brillig, and the slithy toves

Did gyre and gimble in the wabe;

All mimsy were the borogoves,

And the mome raths outgrabe.

Navajo tradition. “Twelfth Song of Thunder.” The Mountain Chant: A Navajo Ceremony. Forgotten Books, 2008.

(1887)

The voice that beautiﬁes the land!

The voice above,

The voice of thunder

Within the dark cloud

Again and again it sounds,

The voice that beautiﬁes the land.

The voice that beautiﬁes the land!

The voice below,

The voice of the grasshopper

Among the plants

Again and again it sounds,

The voice that beautiﬁes the land.

Dickinson, Emily. “The Railway Train.” The Compete Poems of Emily Dickinson. Boston: Little, Brown, 1960. (1893)

I like to see it lap the miles,

And lick the valleys up,

And stop to feed itself at tanks;

And then, prodigious, step

Around a pile of mountains,

And, supercilious, peer

In shanties by the sides of roads;

And then a quarry pare

To ﬁt its sides, and crawl between,

Complaining all the while

In horrid, hooting stanza;

Then chase itself down hill

And neigh like Boanerges;

Then, punctual as a star,

Stop—docile and omnipotent—

At its own stable door.

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Yeats, William Butler. “The Song of Wandering Aengus.” W. B. Yeats Selected Poetry. London: Macmillan, 1962.

(1899)

I WENT out to the hazel wood,

Because a ﬁre was in my head,

And cut and peeled a hazel wand,

And hooked a berry to a thread;

And when white moths were on the wing,

And moth-like stars were ﬂickering out,

I dropped the berry in a stream

And caught a little silver trout.

When I had laid it on the ﬂoor

I went to blow the ﬁre a-ﬂame,

But something rustled on the ﬂoor,

And someone called me by my name:

It had become a glimmering girl

With apple blossom in her hair

Who called me by my name and ran

And faded through the brightening air.

Though I am old with wandering

Through hollow lands and hilly lands,

I will ﬁnd out where she has gone,

And kiss her lips and take her hands;

And walk among long dappled grass,

And pluck till time and times are done,

The silver apples of the moon,

The golden apples of the sun.

Frost, Robert. “The Road Not Taken.” The Poetry of Robert Frost: The Collected Poems. Edited by Edward Connery

Lathem. New York: Henry Holt, 1979. (1915)

Two roads diverged in a yellow wood,

And sorry I could not travel both

And be one traveler, long I stood

And looked down one as far as I could

To where it bent in the undergrowth;

Then took the other, as just as fair,

And having perhaps the better claim,

Because it was grassy and wanted wear;

Though as for that the passing there

Had worn them really about the same,

And both that morning equally lay

In leaves no step had trodden black.

Oh, I kept the ﬁrst for another day!

Yet knowing how way leads on to way,

I doubted if I should ever come back.

I shall be telling this with a sigh

Somewhere ages and ages hence:

Two roads diverged in a wood, and I—

I took the one less traveled by,

And that has made all the difference.

Sandburg, Carl. “Chicago.” Chicago Poems. New York: Henry Holt, 1916. (1916)

Hog Butcher for the World,

Tool Maker, Stacker of Wheat,

Player with Railroads and the Nation’s Freight Handler;

Stormy, husky, brawling,

City of the Big Shoulders:

They tell me you are wicked and I believe them, for I have seen your painted

women under the gas lamps luring the farm boys.

APPENDIX B | 87

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

And they tell me you are crooked and I answer: Yes, it is true I have seen

the gunman kill and go free to kill again.

And they tell me you are brutal and my reply is: On the faces of women and

children I have seen the marks of wanton hunger.

And having answered so I turn once more to those who sneer at this my city,

and I give them back the sneer and say to them:

Come and show me another city with lifted head singing so proud to be alive

and coarse and strong and cunning.

Flinging magnetic curses amid the toil of piling job on job, here is a tall bold

slugger set vivid against the little soft cities;

Fierce as a dog with tongue lapping for action, cunning as a savage pitted

against the wilderness,

Bareheaded,

Shoveling,

Wrecking,

Planning,

Building, breaking, rebuilding,

Under the smoke, dust all over his mouth, laughing with white teeth,

Under the terrible burden of destiny laughing as a young man laughs,

Laughing even as an ignorant ﬁghter laughs who has never lost a battle,

Bragging and laughing that under his wrist is the pulse, and under his ribs

the heart of the people,

Laughing!

Laughing the stormy, husky, brawling laughter of Youth, half-naked,

sweating, proud to be Hog Butcher, Tool Maker, Stacker of Wheat,

Player with Railroads and Freight Handler to the Nation.

Hughes, Langston. “I, Too, Sing America.” The Collected Poems of Langston Hughes. New York: Knopf, 1994. (1925)

Neruda, Pablo. “The Book of Questions.” The Book of Questions. Translated by William O’Daly. Port Townsend,

Wash.: Copper Canyon Press, 1991. (1973)

Soto, Gary. “Oranges.” Black Hair. Pittsburgh: University of Pittsburgh Press, 1985. (1985)

Giovanni, Nikki. “A Poem for My Librarian, Mrs. Long.” Acolytes. New York: William Morrow, 2007. (2007)

A Poem for My Librarian, Mrs. Long

(You never know what troubled little girl needs a book)

At a time when there was not tv before 3:00 P.M.

And on Sunday none until 5:00

We sat on the front porches watching

The jfg sign go on and off greeting

The neighbors, discussion the political

Situation congratulating the preacher

On his sermon

There was always the radio which brought us

Songs from wlac in nashville and what we would now call

Easy listening or smooth jazz but when I listened

Late at night with my portable (that I was so proud of)

Tucked under my pillow

I heard nat king cole and matt dennis, june christy and ella ﬁtzgerald

And sometimes sarah vaughan sing black coffee

Which I now drink

It was just called music

There was a bookstore uptown on gay street

Which I visited and inhaled that wonderful odor

Of new books

Even today I read hardcover as a preference paperback only

As a last resort

And up the hill on vine street

APPENDIX B | 88

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

(The main black corridor) sat our carnegie library

Mrs. Long always glad to see you

The stereoscope always ready to show you faraway

Places to dream about

Mrs. Long asking what are you looking for today

When I wanted Leaves of Grass or alfred north whitehead

She would go to the big library uptown and I now know

Hat in hand to ask to borrow so that I might borrow

Probably they said something humiliating since southern

Whites like to humiliate southern blacks

But she nonetheless brought the books

Back and I held them to my chest

Close to my heart

And happily skipped back to grandmother’s house

Where I would sit on the front porch

In a gray glider and dream of a world

Far away

I love the world where I was

I was safe and warm and grandmother gave me neck kissed

When I was on my way to bed

But there was a world

Somewhere

Out there

And Mrs. Long opened that wardrobe

But no lions or witches scared me

I went through

Knowing there would be

Spring

Sample Performance Tasks for Stories, Drama, and Poetry

• Students summarize the development of the morality of Tom Sawyer in Mark Twain’s novel of the same name

and analyze its connection to themes of accountability and authenticity by noting how it is conveyed through

characters, setting, and plot. [RL.8.2]

• Students compare and contrast Laurence Yep’s ﬁctional portrayal of Chinese immigrants in turn-of-the-twenti-

eth-century San Francisco in Dragonwings to historical accounts of the same period (using materials detailing

the 1906 San Francisco earthquake) in order to glean a deeper understanding of how authors use or alter his-

torical sources to create a sense of time and place as well as make ﬁctional characters lifelike and real. [RL.7.9]

• Students cite explicit textual evidence as well as draw inferences about the drake and the duck from Katherine

Paterson’s The Tale of the Mandarin Ducks to support their analysis of the perils of vanity. [RL.6.1]

• Students explain how Sandra Cisneros’s choice of words develops the point of view of the young speaker in

her story “Eleven.” [RL.6.6]

• Students analyze how the playwright Louise Fletcher uses particular elements of drama (e.g., setting and dia-

logue) to create dramatic tension in her play Sorry, Wrong Number. [RL.7.3]

• Students compare and contrast the effect Henry Wadsworth Longfellow’s poem “Paul Revere’s Ride” has on

them to the effect they experience from a multimedia dramatization of the event presented in an interactive

digital map (http://www.paulreverehouse.org/ride/), analyzing the impact of different techniques employed

that are unique to each medium. [RL.6.7]

APPENDIX B | 89

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

• Students analyze Walt Whitman’s “O Captain! My Captain!” to uncover the poem’s analogies and allusions.

They analyze the impact of speciﬁc word choices by Whitman, such as rack and grim, and determine how they

contribute to the overall meaning and tone of the poem. [RL.8.4]

• Students analyze how the opening stanza of Robert Frost’s “The Road Not Taken” structures the rhythm

and meter for the poem and how the themes introduced by the speaker develop over the course of the text.

[RL.6.5]

Informational Texts: English Language Arts

Adams, John. “Letter on Thomas Jefferson.” Adams on Adams. Edited by Paul M. Zall. Lexington: University Press

of Kentucky, 2004. (1776)

From Chapter 6: “Declaring Independence 1775–1776”

Mr. Jefferson came into Congress, in June, 1775, and brought with him a reputation for literature, science, science, and

a happy talent of composition. Writings of his were handed about, remarkable for the peculiar felicity of expression.

Though a silent member in Congress, he was so prompt, frank, explicit, and decisive upon committees and in conver-

sation, not even Samuel Adams was more so, that he soon seized upon my heart; and upon this occasion I gave him

my vote, and did all in my power to procure the votes of others. I think he had one more vote than any other, and that

placed him at the head of the committee. I had the next highest number, and that placed me second. The commit-

tee met, discussed the subject, and then appointed Mr. Jefferson and me to make the draught, I suppose because we

were the two ﬁrst on the list.

The subcommittee met. Jefferson proposed to me to make the draft. I said, ‘I will not.’

‘You should do it.’

‘Oh! no.’

‘Why will you not? You ought to do it.’

‘I will not.’

‘Why?’

‘Reasons enough.’

‘What can be your reasons?’

‘Reason ﬁrst, you are a Virginian, and a Virginian ought to appear at the head of this business. Reason second, I am

obnoxious, suspected, and unpopular. You are very much otherwise. Reason third, you can write ten times better than

I can.’

‘Well,’ said Jefferson, ‘if you are decided, I will do as well as I can.’

‘Very well. When you have drawn it up, we will have a meeting.’

Media Text

Adams Family Papers: An Electronic Archive, hosted by the Massachusetts Historical Society, includes transcriptions of

letters between John and Abigail Adams as well as John Adams’s diary and autobiography: http://www.masshist.org/

digitaladams/aea/index.html

Douglass, Frederick. Narrative of the Life of Frederick Douglass an American Slave, Written by Himself. Boston:

Anti-Slavery Ofﬁce, 1845. (1845)

The plan which I adopted, and the one by which I was most successful, was that of making friends of all the little

white boys whom I met in the street. As many of these as I could, I converted into teachers. With their kindly aid,

obtained at different times and in different places, I ﬁnally succeeded in learning to read. When I was sent of errands,

I always took my book with me, and by going one part of my errand quickly, I found time to get a lesson before my

APPENDIX B | 90

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

return. I used also to carry bread with me, enough of which was always in the house, and to which I was always wel-

come; for I was much better off in this regard than many of the poor white children in our neighborhood. This bread I

used to bestow upon the hungry little urchins, who, in return, would give me that more valuable bread of knowledge.

I am strongly tempted to give the names of two or three of those little boys, as a testimonial of the gratitude and af-

fection I bear them; but prudence forbids;—not that it would injure me, but it might embarrass them; for it is almost

an unpardonable offence to teach slaves to read in this Christian country. It is enough to say of the dear little fellows,

that they lived on Philpot Street, very near Durgin and Bailey’s ship-yard. I used to talk this matter of slavery over with

them. I would sometimes say to them, I wished I could be as free as they would be when they got to be men. “You

will be free as soon as you are twenty-one, but I am a slave for life! Have not I as good a right to be free as you have?”

These words used to trouble them; they would express for me the liveliest sympathy, and console me with the hope

that something would occur by which I might be free.

I was now about twelve years old, and the thought of being a slave for life began to bear heavily upon my heart. Just

about this time, I got hold of a book entitled “The Columbian Orator.” Every opportunity I got, I used to read this

book. Among much of other interesting matter, I found in it a dialogue between a master and his slave. The slave

was represented as having run away from his master three times. The dialogue represented the conversation which

took place between them, when the slave was retaken the third time. In this dialogue, the whole argument in behalf

of slavery was brought forward by the master, all of which was disposed of by the slave. The slave was made to say

some very smart as well as impressive things in reply to his master—things which had the desired though unexpected

effect; for the conversation resulted in the voluntary emancipation of the slave on the part of the master.

In the same book, I met with one of Sheridan’s mighty speeches on and in behalf of Catholic emancipation. These

were choice documents to me. I read them over and over again with unabated interest. They gave tongue to interest-

ing thoughts of my own soul, which had frequently ﬂashed through my mind, and died away for want of utterance.

The moral which I gained from the dialogue was the power of truth over the conscience of even a slaveholder. What

I got from Sheridan was a bold denunciation of slavery, and a powerful vindication of human rights. The reading of

these documents enabled me to utter my thoughts, and to meet the arguments brought forward to sustain slavery;

but while they relieved me of one difﬁculty, they brought on another even more painful than the one of which I was

relieved. The more I read, the more I was led to abhor and detest my enslavers. I could regard them in no other light

than a band of successful robbers, who had left their homes, and gone to Africa, and stolen us from our homes, and

in a strange land reduced us to slavery. I loathed them as being the meanest as well as the most wicked of men. As I

read and contemplated the subject, behold! that very discontentment which Master Hugh had predicted would fol-

low my learning to read had already come, to torment and sting my soul to unutterable anguish. As I writhed under

it, I would at times feel that learning to read had been a curse rather than a blessing. It had given me a view of my

wretched condition, without the remedy. It opened my eyes to the horrible pit, but to no ladder upon which to get

out. In moments of agony, I envied my fellow-slaves for their stupidity. I have often wished myself a beast. I preferred

the condition of the meanest reptile to my own. Any thing, no matter what, to get rid of thinking! It was this ever-

lasting thinking of my condition that tormented me. There was no getting rid of it. It was pressed upon me by every

object within sight or hearing, animate or inanimate. The silver trump of freedom had roused my soul to eternal wake-

fulness. Freedom now appeared, to disappear no more forever. It was heard in every sound, and seen in every thing. It

was ever present to torment me with a sense of my wretched condition. I saw nothing without seeing it, I heard noth-

ing without hearing it, and felt nothing without feeling it. It looked from every star, it smiled in every calm, breathed in

every wind, and moved in every storm.

Churchill, Winston. “Blood, Toil, Tears and Sweat: Address to Parliament on May 13th, 1940.” Lend Me Your Ears:

Great Speeches in History, 3rd Edition. Edited by William Saﬁre. New York: W. W. Norton, 2004. (1940)

From “Winston Churchill Braces Britons to Their Task”

I say to the House as I said to ministers who have joined this government, I have nothing to offer but blood, toil, tears,

and sweat. We have before us an ordeal of the most grievous kind. We have before us many, many months of struggle

and suffering.

You ask, what is our policy? I say it is to wage war by land, sea, and air. War with all our might and with all the

strength God has given us, and to wage war against a monstrous tyranny never surpassed in the dark and lamentable

catalogue of human crime. That is our policy.

You ask, what is our aim? I can answer in one word. It is victory. Victory at all costs - Victory in spite of all terrors -

Victory, however long and hard the road may be, for without victory there is no survival.

I take up my task in buoyancy and hope. I feel sure that our cause will not be suffered to fail among men. I feel en-

titled at this juncture, at this time, to claim the aid of all and to say, “Come then, let us go forward together with our

united strength.”

APPENDIX B | 91

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Petry, Ann. Harriet Tubman: Conductor on the Underground Railroad. New York: HarperCollins, 1983. (1955)

From Chapter 3: “Six Years Old”

By the time Harriet Ross was six years old, she had unconsciously absorbed many kinds of knowledge, almost with

the air she breathed. She could not, for example, have said how or at what moment she knew that she was a slave.

She knew that her brothers and sisters, her father and mother, and all the other people who lived in the quarter, men,

women and children were slaves.

She had been taught to say, “Yes, Missus,” “No, Missus,” to white women, “Yes, Mas’r,” “No, Mas’r” to white men. Or,

“Yes, sah,” “No, sah.”

At the same time someone had taught her where to look for the North Star, the star that stayed constant, not rising in

the east and setting in the west as the other stars appeared to do; and told her that anyone walking toward the North

could use that star as a guide.

She knew about fear, too. Sometimes at night, or during the day, she heard the furious galloping of horses, not just

one horse, several horses, thud of the hoofbeats along the road, jingle of harness. She saw the grown folks freeze into

stillness, not moving, scarcely breathing, while they listened. She could not remember who ﬁrst told her that those

furious hoofbeats meant that patrollers were going in pursuit of a runaway. Only the slaves said patterollers, whisper-

ing the word.

Steinbeck, John. Travels with Charley: In Search of America. New York: Penguin, 1997. (1962)

From pages 27–28

I soon discovered that if a wayfaring stranger wishes to eavesdrop on a local population the places for him to slip

in and hold his peace are bars and churches. But some New England towns don’t have bars, and church is only on

Sunday. A good alternative is the roadside restaurant where men gather for breakfast before going to work or going

hunting. To ﬁnd these places inhabited one must get up very early. And there is a drawback even to this. Early-rising

men not only do not talk much to strangers, they barely talk to one another. Breakfast conversation is limited to a

series of laconic grunts. The natural New England taciturnity reaches its glorious perfection at breakfast.

[…]

I am not normally a breakfast eater, but here I had to be or I wouldn’t see anybody unless I stopped for gas. At the

ﬁrst lighted roadside restaurant I pulled in and took my seat at a counter. The customers were folded over their coffee

cups like ferns. A normal conversation is as follows:

WAITRESS: “Same?”

CUSTOMER: “Yep.”

WAITRESS: “Cold enough for you?”

CUSTOMER: “Yep.”

(Ten minutes.)

WAITRESS: “Reﬁll?”

CUSTOMER: “Yep.”

This is a really talkative customer.

Sample Performance Tasks for Informational Texts: English Language Arts

• Students determine the point of view of John Adams in his “Letter on Thomas Jefferson” and analyze how he

distinguishes his position from an alternative approach articulated by Thomas Jefferson. [RI.7.6]

APPENDIX B | 92

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

• Students provide an objective summary of Frederick Douglass’s Narrative. They analyze how the central idea

regarding the evils of slavery is conveyed through supporting ideas and developed over the course of the text.

[RI.8.2]

• Students trace the line of argument in Winston Churchill’s “Blood, Toil, Tears and Sweat” address to Parliament

and evaluate his speciﬁc claims and opinions in the text, distinguishing which claims are supported by facts,

reasons, and evidence, and which are not. [RI.6.8]

• Students analyze in detail how the early years of Harriet Tubman (as related by author Ann Petry) contributed

to her later becoming a conductor on the Underground Railroad, attending to how the author introduces, il-

lustrates, and elaborates upon the events in Tubman’s life. [RI.6.3]

• Students determine the ﬁgurative and connotative meanings of words such as wayfaring, laconic, and tacitur-

nity as well as of phrases such as hold his peace in John Steinbeck’s Travels with Charley: In Search of America.

They analyze how Steinbeck’s speciﬁc word choices and diction impact the meaning and tone of his writing

and the characterization of the individuals and places he describes. [RI.7.4]

Informational Texts: History/Social Studies

United States. Preamble and First Amendment to the United States Constitution. (1787, 1791)

Preamble

We, the People of the United States, in Order to form a more perfect Union, establish Justice, insure domestic Tran-

quility, provide for the common defence, promote the general Welfare, and secure the Blessings of Liberty to our-

selves and our Posterity, do ordain and establish this Constitution of the United States of America.

Amendment I

Congress shall make no law respecting the establishment of religion, or prohibiting the free exercise thereof; or

abridging the freedom of speech, or of the press; or the right of people peaceably to assemble, and to petition the

Government for a redress of grievances.

Lord, Walter. A Night to Remember. New York: Henry Holt, 1955. (1955)

Isaacson, Phillip. A Short Walk through the Pyramids and through the World of Art. New York: Knopf, 1993. (1993)

From Chapter 1

At Giza, a few miles north of Saqqara, sit three great pyramids, each named for the king – or Pharaoh – during whose

reign it was built. No other buildings are so well known, yet the ﬁrst sight of them sitting in their ﬁeld is breathtaking.

When you walk among them, you walk in a place made for giants. They seem too large to have been made by human

beings, too perfect to have been formed by nature, and when the sun is overhead, not solid enough to be attached

to the sand. In the minutes before sunrise, they are the color of faded roses, and when the last rays of the desert sun

touch them, they turn to amber. But whatever the light, their broad proportions, the beauty of the limestone, and the

care with which it is ﬁtted into place create three unforgettable works of art.

What do we learn about art when we look at the pyramids?

First, when all of the things that go into a work – its components – complement one another, they create and object

that has a certain spirit, and we can call that spirit harmony. The pyramids are harmonious because limestone, a warm,

quiet material, is a cordial companion for a simple, logical, pleasing shape. In fact, the stone and the shape are so

comfortable with each other that the pyramids seem inevitable – as though they were bound to have the form, color,

and texture that they do have.

From A SHORT WALK AROUND THE PYRAMIDS & THROUGH THE WORLD OF ART by Philip M. Isaacson, copyright

riculum development, requires independent permission from Random House, Inc.

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Media Text

National Geographic mini-site on the pyramids, which includes diagrams, pictures, and a time line:

http://www.nationalgeographic.com/pyramids/pyramids.html

Murphy, Jim. The Great Fire. New York: Scholastic, 1995. (1995)

From Chapter 1: “A City Ready to Burn”

Chicago in 1871 was a city ready to burn. The city boasted having 59,500 buildings, many of them—such as the Court-

house and the Tribune Building—large and ornately decorated. The trouble was that about two-thirds of all these

structures were made entirely of wood. Many of the remaining buildings (even the ones proclaimed to be “ﬁreproof”)

looked solid, but were actually jerrybuilt affairs; the stone or brick exteriors hid wooden frames and ﬂoors, all topped

with highly ﬂammable tar or shingle roofs. It was also a common practice to disguise wood as another kind of build-

ing material. The fancy exterior decorations on just about every building were carved from wood, then painted to look

like stone or marble. Most churches had steeples that appeared to be solid from the street, but a closer inspection

would reveal a wooden framework covered with cleverly painted copper or tin.

The situation was worst in the middle-class and poorer districts. Lot sizes were small, and owners usually ﬁlled them

up with cottages, barns, sheds, and outhouses—all made of fast-burning wood, naturally. Because both Patrick and

Catherine O’Leary worked, they were able to put a large addition on their cottage despite a lot size of just 25 by 100

feet. Interspersed in these residential areas were a variety of businesses—paint factories, lumberyards, distilleries,

gasworks, mills, furniture manufacturers, warehouses, and coal distributors.

Wealthier districts were by no means free of ﬁre hazards. Stately stone and brick homes had wood interiors, and

stood side by side with smaller wood-frame houses. Wooden stables and other storage buildings were common, and

trees lined the streets and ﬁlled the yards.

Media Text

The Great Chicago Fire, an exhibit created by the Chicago Historical Society that includes essays and images:

http://www.chicagohs.org/ﬁre/intro/gcf-index.html

Greenberg, Jan, and Sandra Jordan. Vincent Van Gogh: Portrait of an Artist. New York: Random House, 2001. (2001)

From Chapter 1: “A Brabant Boy 1853–75”

I have nature and art and poetry, if that is not enough what is?

—Letter to Theo, January 1874

On March 30, 1853, the handsome, soberly dressed Reverend Theodorus van Gogh entered the ancient town hall of

Groot-Zundert, in the Brabant, a province of the Netherlands. He opened the birth register to number twenty-nine,

where exactly one year earlier he had sadly written “Vincent Willem van Gogh, stillborn.” Beside the inscription he

wrote again “Vincent Willem van Gogh,” the name of his new, healthy son, who was sleeping soundly next to his

mother in the tiny parsonage across the square. The baby’s arrival was an answered prayer for the still-grieving family.

The ﬁrst Vincent lay buried in a tiny grave by the door of the church where Pastor van Gogh preached. The Vincent

who lived grew to be a sturdy redheaded boy. Every Sunday on his way to church, young Vincent would pass the

headstone carved with the name he shared. Did he feel as if his dead brother where the rightful Vincent, the one who

would remain perfect in his parents’ hearts, and that he was merely an unsatisfactory replacement? That might have

been one of the reasons he spent so much of his life feeling like a lonely outsider, as if he didn’t ﬁt anywhere in the

world.

Despite his dramatic beginning, Vincent had an ordinary childhood, giving no hint of the painter he would become.

The small parsonage, with an upstairs just two windows wide under a slanting roof, quickly grew crowded. By the

time he was six he had two sisters, Anna and Elizabeth, and one brother, Theo, whose gentle nature made him their

mother’s favorite.

Media Text

The Van Gogh Gallery, a commercial Web resource with links to Van Gogh’s art and information about his life:

http://www.vangoghgallery.com/

Partridge, Elizabeth. This Land Was Made for You and Me: The Life and Songs of Woody Guthrie. New York: Viking,

2002. (2002)

From the Preface: “Ramblin ’Round”

“I hate a song that makes you think that you’re not any good. I hate a song that makes you think you are just born to

lose. I am out to ﬁght those kind of songs to my very last breath of air and my last drop of blood.”

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Woody Guthrie could never cure himself of wandering off. One minute he’d be there, the next he’d be gone, vanishing

without a word to anyone, abandoning those he loved best. He’d throw on a few extra shirts, one on top of the other,

sling his guitar over his shoulder, and hit the road. He’d stick out his thumb and hitchhike, swing onto moving freight

trains, and hunker down with other traveling men in ﬂophouses, hobo jungles, and Hoovervilles across Depression

America.

He moved restlessly from state to state, soaking up some songs: work songs, mountain and cowboy songs, sea chan-

teys, songs from the southern chain gangs. He added them to the dozens he already knew from his childhood until he

was bursting with American folk songs. Playing the guitar and singing, he started making up new ones: hard-bitten,

rough-edged songs that told it like it was, full of anger and hardship and hope and love. Woody said the best songs

came to him when he was walking down a road. He always had ﬁfteen or twenty songs running around in his mind,

just waiting to be put together. Sometimes he knew the words, but not the melody. Usually he’d borrow a tune that

was already well known—the simpler the better. As he walked along, he tried to catch a good, easy song that people

could sing the ﬁrst time they heard it, remember, and sing again later.

Monk, Linda R. Words We Live By: Your Annotated Guide to the Constitution. New York: Hyperion, 2003. (2003)

From “We the People … ”

The ﬁrst three word of the Constitution are the most important. They clearly state that the people—not the king, not

the legislature, not the courts—are the true rulers in American government. This principle is known as popular sover-

eignty.

But who are “We the People”? This question troubled the nation for centuries. As Lucy Stone, one of America’s ﬁrst

advocates for women’s rights, asked in 1853, “‘We the People’? Which ‘We the People’? The women were not in-

cluded.” Neither were white males who did not own property, American Indians, or African Americans—slave or free.

Justice Thurgood Marshall, the ﬁrst African American on the Supreme Court, described the limitation:

For a sense of the evolving nature of the Constitution, we need look no further than the ﬁrst three words of the docu-

ment’s preamble: ‘We the People.’ When the Founding Fathers used this phrase in 1787, they did not have in mind

the majority of America’s citizens . . . The men who gathered in Philadelphia in 1787 could not . . . have imagined, nor

would they have accepted, that the document they were drafting would one day be construed by a Supreme court to

which had been appointed a woman and the descendant of an African slave.

Through the Amendment process, more and more Americans were eventually included in the Constitution’s deﬁni-

tion of “We the People.” After the Civil War, the Thirteenth Amendment ended slavery, the Fourteenth Amendment

gave African Americans citizenship, and the Fifteenth Amendment gave black men the vote. In 1920, the Nineteenth

Amendment gave women the right to vote nationwide, and in 1971, the Twenty-sixth Amendment extended suffrage

to eighteen-year-olds.

Freedman, Russell. Freedom Walkers: The Story of the Montgomery Bus Boycott. New York: Holiday House, 2006.

(2006)

From the Introduction: “Why They Walked”

Not so long ago in Montgomery, Alabama, the color of your skin determined where you could sit on a public bus. If

you happened to be an African American, you had to sit in the back of the bus, even if there were empty seats up

front.

Back then, racial segregation was the rule throughout the American South. Strict laws—called “Jim Crow” laws—en-

forced a system of white supremacy that discriminated against blacks and kept them in their place as second-class

citizens.

People were separated by race from the moment they were born in segregated hospitals until the day they were

buried in segregated cemeteries. Blacks and whites did not attend the same schools, worship in the same churches,

eat in the same restaurants, sleep in the same hotels, drink from the same water fountains, or sit together in the same

movie theaters.

In Montgomery, it was against the law for a white person and a Negro to play checkers on public property or ride

together in a taxi.

Most southern blacks were denied their right to vote. The biggest obstacle was the poll tax, a special tax that was

required of all voters but was too costly for many blacks and for poor whites as well. Voters also had to pass a literacy

test to prove that they could read, write, and understand the U.S. Constitution. These tests were often rigged to dis-

qualify even highly educated blacks. Those who overcame the obstacles and insisted on registering as voters faced

threats, harassment. And even physical violence. As a result, African Americans in the South could not express their

grievances in the voting booth, which for the most part, was closed to them. But there were other ways to protest,

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and one day a half century ago, the black citizens in Montgomery rose up in protest and united to demand their

rights—by walking peacefully.

It all started on a bus.

Informational Texts: Science, Mathematics, and Technical Subjects

Macaulay, David. Cathedral: The Story of Its Construction. Boston: Houghton Mifﬂin, 1973. (1973)

From pages 51–56

In order to construct the vaulted ceiling a wooden scaffold was erected connecting the two walls of the choir one

hundred and thirty feet above ground. On the scaffolding wooden centerings like those used for the ﬂying buttresses

were installed. They would support the arched stone ribs until the mortar was dry, at which times the ribs could sup-

port themselves. The ribs carried the webbing, which was the ceiling itself. The vaults were constructed one bay at a

time, a bay being the rectangular area between four piers.

One by one, the cut stones of the ribs, called voussoirs, were hoisted onto the centering and mortared into place by

the masons. Finally the keystone was lowered into place to lock the ribs together at the crown, the highest point of

the arch.

The carpenters then installed pieces of wood, called lagging, that spanned the space between two centerings. On top

of the lagging the masons laid one course or layer of webbing stones. The lagging supported the course of webbing

until the mortar was dry. The webbing was constructed of the lightest possible stone to lessen the weight on the ribs.

Two teams, each with a mason and a carpenter, worked simultaneously from both sides of the vault – installing ﬁrst

the lagging, then the webbing. When they met in the center the vault was complete. The vaulting over the aisle was

constructed in the same way and at the same time.

When the mortar in the webbing had set, a four-inch layer of concrete was poured over the entire vault to prevent

any cracking between the stones. Once the concrete had set, the lagging was removed and the centering was low-

ered and moved onto the scaffolding of the next bay. The procedure was repeated until eventually the entire choir

was vaulted.

Mackay, Donald. The Building of Manhattan. New York: Harper & Row, 1987. (1987)

Media Text

Manhattan on the Web: History, a Web portal hosted by the New York Public Library:

http://legacy.www.nypl.org/branch/manhattan/index2.cfm?Trg=1&d1=865

Enzensberger, Hans Magnus. The Number Devil: A Mathematical Adventure. Illustrated by Rotraut Susanne Berner.

Translated by Michael Henry Heim. New York: Henry Holt, 1998. (1998)

From “The First Night”

. . . “I see,” said the number devil with a wry smile. “I have nothing against your Mr. Bockel, but that kind of problem

has nothing whatever to do with what I’m interested in. Do you want to know something? Most genuine mathemati-

cians are bad at sums. Besides, they have no time to waste on them. That’s what pocket calculators are for. I assume

you have one.

“Sure, but we’re not allowed to use them in school.”

“I see,” said the number devil. “That’s all right. There’s nothing wrong with a little addition and subtraction. You never

know when your battery will die on you. But mathematics, my boy, that’s something else again!” . . .

. . . “The thing that makes numbers so devilish is precisely that they are simple. And you don’t need a calculator to

prove it. You need one thing and one thing only: one. With one—I am speaking of the numeral of course—you can do

almost anything. If you are afraid of large numbers—let’s say ﬁve million seven hundred and twenty-three thousand

eight hundred and twelve—all you have to do is start with

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1 + 1

1+1+1

1+1+1+1

1+1+1+1+1

. . . and go on until you come to ﬁve million etcetera. You can’t tell me that’s too complicated for you, can you?

Peterson, Ivars and Nancy Henderson. Math Trek: Adventures in the Math Zone. San Francisco: Jossey-Bass, 2000.

(2000)

From “Trek 7, The Fractal Pond Race”

From the meanderings of a pond’s edge to the branching of trees and the intricate forms of snowﬂakes, shapes in

nature are often more complicated than geometrical shapes such as circles, spheres, angles, cones, rectangles, and

cubes. Benoit Mandelbrot, a mathematics professor at Yale University and an IBM fellow, was the ﬁrst person to rec-

ognize how amazingly common this type of structure is in nature. In 1975, he coined the term fractal for shapes that

repeat themselves within an object. The word fractal comes from the Latin term for “broken.”

In 1904, long before Mandelbrot conceived of fractals, Swedish mathematician Helge von Koch created and intrigu-

ing but puzzling curve. It zigzags in such an odd pattern that it seems impossible to start at one point and follow the

curve to reach another point.

Like many ﬁgures now known to be fractals, Koch’s curve is easy to generate by starting with a simple ﬁgure and

turning it into an increasingly crinkly form.

What to Do

1. Draw an equilateral triangle with each side measuring 9 centimeters. (Remember, each angle of an equilateral tri-

angle measures 60˚.)

2. Divide each 9-centimeter side into three parts, each measuring three centimeters. At the middle of each side, add

an equilateral triangle one third the size of the original, facing outward. Because each side of the original triangle is 9

centimeters, the new triangles will have 3-centimeter sides. When you examine the outer edge of your diagram you

should see a six-pointed star made up of 12 line segments.

3. At the middle of each segment of the star, add a triangle one ninth the side of the original triangle. The new tri-

angles will have sides 1 centimeter in length so divide each 3-centimeter segment into thirds, and use the middle third

to form a new triangle.

4. Going one step farther, you create a shape that begins to resemble a snowﬂake. If you were to continue the process

by endlessly adding smaller and smaller triangles to every new side, you would produce the Koch snowﬂake curve.

Between any two points, the snowﬂake would have an inﬁnite number of zigzags.

Katz, John. Geeks: How Two Lost Boys Rode the Internet out of Idaho. New York: Broadway Books, 2001. (2001)

Jesse and Eric lived in a cave-an airless two-bedroom apartment in a dank stucco-and-brick complex on the outskirts

of Caldwell. Two doors down, chickens paraded around the street.

The apartment itself was dominated by two computers that sat across from the front door like twin shrines. Every-

thing else-the piles of dirty laundry, the opened Doritos bags, the empty cans of generic soda pop, two ratty old

chairs, and a moldering beanbag chair-was dispensable, an afterthought, props.

Jesse’s computer was a Pentium 11 300, Asus P2B (Intel BX chipset) motherboard; a Matrix Milleniurn II AGP; 160 MB

SDRAM with a 15.5 GB total hard-drive space; a 4X CD-recorder; 24X CD-ROM; a 17-inch Micron monitor. Plus a scan-

ner and printer. A well-thumbed paperback-Katherine Dunn’s novel Geek Love-served as his mousepad.

Eric’s computer: an AMD K-6 233 with a generic motherboard; an S3 video card, a 15-inch monitor; a 2.5 GB hard

drive with 36 MB SDRAM. Jesse wangled the parts for both from work.

They stashed their bikes and then Jesse blasted in through the door, which was always left open since he can never

hang on to keys, and went right to his PC, which was always on. He yelled a question to Eric about the new operating

system. “We change them like cartons of milk,” he explained. At the moment, he had NT 5, NT 4, Work Station, Win-

dows 98, and he and Eric had begun fooling around with Linux, the complex, open-source software system rapidly

spreading across the world.

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Petroski, Henry. “The Evolution of the Grocery Bag.” American Scholar 72.4 (Autumn 2003). (2003)

That much-reviled bottleneck known as the American supermarket checkout lane would be an even greater exercise

in frustration were it not for several technological advances. The Universal Product Code and the decoding laser

scanner, introduced in 1974, tally a shopper’s groceries far more quickly and accurately than the old method of input-

ting each purchase manually into a cash register. But beeping a large order past the scanner would have led only to

a faster pileup of cans and boxes down the line, where the bagger works, had it not been for the introduction, more

than a century earlier, of an even greater technological masterpiece: the square-bottomed paper bag.

The geometry of paper bags continues to hold a magical appeal for those of us who are fascinated by how ordinary

things are designed and made. Originally, grocery bags were created on demand by storekeepers, who cut, folded,

and pasted sheets of paper, making versatile containers into which purchases could be loaded for carrying home. The

ﬁrst paper bags manufactured commercially are said to have been made in Bristol, England, in the 1840s. In 1852, a

“Machine for Making Bags of Paper” was patented in America by Francis Wolle, of Bethlehem, Pennsylvania. Accord-

ing to Wolle’s own description of the machine’s operation, “pieces of paper of suitable length are given out from a

roll of the required width, cut off from the roll and otherwise suitably cut to the required shape, folded, their edges

pasted and lapped, and formed into complete and perfect bags.” The “perfect bags” produced at the rate of eighteen

hundred per hour by Wolle’s machine were, of course, not perfect, nor was his machine. The history of design has

yet to see the development of a perfect object, though it has seen many satisfactory ones and many substantially

improved ones. The concept of comparative improvement is embedded in the paradigm for invention, the better

mousetrap. No one is ever likely to lay claim to a “best” mousetrap, for that would preclude the inventor himself

from coming up with a still better mousetrap without suffering the embarrassment of having previously declared the

search complete. As with the mousetrap, so with the bag.

“Geology.” U*X*L Encyclopedia of Science. Edited by Rob Nagel. Farmington Hills, Mich.: Gale Cengage Learning,

2007. (2007)

Geology is the scientiﬁc study of Earth. Geologists study the planet—its formation, its internal structure, its materials,

its chemical and physical processes, and its history. Mountains, valleys, plains, sea ﬂoors, minerals, rocks, fossils, and

the processes that create and destroy each of these are all the domain of the geologist. Geology is divided into two

broad categories of study: physical geology and historical geology.

Physical geology is concerned with the processes occurring on or below the surface of Earth and the materials on

which they operate. These processes include volcanic eruptions, landslides, earthquakes, and ﬂoods. Materials include

rocks, air, seawater, soils, and sediment. Physical geology further divides into more speciﬁc branches, each of which

deals with its own part of Earth’s materials, landforms, and processes. Mineralogy and petrology investigate the com-

position and origin of minerals and rocks. Volcanologists study lava, rocks, and gases on live, dormant, and extinct

volcanoes. Seismologists use instruments to monitor and predict earthquakes and volcanic eruptions.

Historical geology is concerned with the chronology of events, both physical and biological, that have taken place

in Earth’s history. Paleontologists study fossils (remains of ancient life) for evidence of the evolution of life on Earth.

Fossils not only relate evolution, but also speak of the environment in which the organism lived. Corals in rocks at the

top of the Grand Canyon in Arizona, for example, show a shallow sea ﬂooded the area around 290 million years ago.

In addition, by determining the ages and types of rocks around the world, geologists piece together continental and

oceanic history over the past few billion years. Plate tectonics (the study of the movement of the sections of Earth’s

crust) adds to Earth’s story with details of the changing conﬁguration of the continents and oceans.

From UXL ENCY SKI V10, 2E. © Gale, a part of Cengage Learning, Inc. Reproduced by permission.

“Space Probe.” Astronomy & Space: From the Big Bang to the Big Crunch. Edited by Phillis Engelbert. Farmington

Hills, Mich.: Gale Cengage Learning, 2009. (2009)

A space probe is an unpiloted spacecraft that leaves Earth’s orbit to explore the Moon, planets, asteroids, comets, or

other objects in outer space as directed by onboard computers and/or instructions send from Earth. The purpose of

such missions is to make scientiﬁc observations, such as taking pictures, measuring atmospheric conditions, and col-

lecting soil samples, and to bring or report the data back to Earth.

Numerous space probes have been launched since the former Soviet Union ﬁrst ﬁred Luna 1 toward the Moon in 1959.

Probes have now visited each of the eight planets in the solar system.

In fact, two probes—Voyager 1 and Voyager 2—are approaching the edge of the solar system, for their eventual trip

into the interstellar medium. By January 2008 Voyager 1 was about 9.4 billion miles (15.2 billion kilometers) from the

Sun and in May 2008 it entered the heliosheath (the boundary where the solar wind is thought to end), which is the

area that roughly divides the solar system from interstellar space. Voyager 2 is not quite as far as its sister probe. Voy-

ager 1 is expected to be the ﬁrst human space probe to leave the solar system. Both Voyager probes are still transmit-

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ting signals back to Earth. They are expected to help gather further information as to the true boundary of the solar

system.

The earliest probes traveled to the closest extraterrestrial target, the Moon. The former Soviet Union launched a series

of Luna probes that provided humans with ﬁrst pictures of the far side of the Moon. In 1966, Luna 9 made the ﬁrst

successful landing on the Moon and sent back television footage from the Moon’s surface.

The National Aeronautics and Space Administration (NASA) initially made several unsuccessful attempts to send a

probe to the Moon. Not until 1964 did a Ranger probe reach its mark and send back thousands of pictures. Then, a

few months after Luna 9, NASA landed Surveyor on the Moon.

In the meantime, NASA was moving ahead with the ﬁrst series of planetary probes, called Mariner. Mariner 2 ﬁrst

reached the planet Venus in 1962. Later Mariner spacecrafts ﬂew by Mars in 1964 and 1969, providing detailed images

of that planet. In 1971, Mariner 9 became the ﬁrst spacecraft to orbit Mars. During its year in orbit, Mariner 9’s two tele-

vision cameras transmitted footage of an intense Martian dust storm, as well as images of 90 percent of the planet’s

surface and the two Martian natural satellites (moons).

Encounters were also made with Mars in 1976 by the U.S. probes Viking 1 and Viking 2. Each Viking spacecraft con-

sisted of both an orbiter and a lander. Viking 1 made the ﬁrst successful soft landing on Mars on July 20, 1976. Soon

after, Viking 2 landed on the opposite side of the planet. The Viking orbiters made reports on the Martian weather and

photographed almost the entire surface of the planet.

“Elementary Particles.” New Book of Popular Science. New York: Scholastic, 2010. (2010)

California Invasive Plant Council. Invasive Plant Inventory. http://www.cal-ipc.org/ip/inventory/index.php. 2006–

2010. (2010)

The Inventory categorizes plants as High, Moderate, or Limited, reﬂecting the level of each species’ negative ecologi-

cal impact in California. Other factors, such as economic impact or difﬁculty of management, are not included in this

assessment. It is important to note that even Limited species are invasive and should be of concern to land managers.

Although the impact of each plant varies regionally, its rating represents cumulative impacts statewide. Therefore, a

plant whose statewide impacts are categorized as Limited may have more severe impacts in a particular region. Con-

versely, a plant categorized as having a High cumulative impact across California may have very little impact in some

regions.

The Inventory Review Committee, Cal-IPC staff, and volunteers drafted assessments for each plant based on the

formal criteria system described below. The committee solicited information from land managers across the state

to complement the available literature. Assessments were released for public review before the committee ﬁnalized

them. The 2006 list includes 39 High species, 65 Moderate species, and 89 Limited species. Additional information,

including updated observations, will be added to this website periodically, with revisions tracked and dated.

Deﬁnitions

The Inventory categorizes “invasive non-native plants that threaten wildlands” according to the deﬁnitions below.

Plants were evaluated only if they invade California wildlands with native habitat values. The Inventory does not in-

clude plants found solely in areas of human-caused disturbance such as roadsides and cultivated agricultural ﬁelds.

• Wildlands are public and private lands that support native ecosystems, including some working landscapes

such as grazed rangeland and active timberland.

• Non-native plants are species introduced to California after European contact and as a direct or indirect result

of human activity.

• Invasive non-native plants that threaten wildlands are plants that 1) are not native to, yet can spread into,

wildland ecosystems, and that also 2) displace native species, hybridize with native species, alter biological

communities, or alter ecosystem processes.

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Sample Performance Tasks for Informational Texts: History/Social Studies & Science,

Mathematics, and Technical Subjects

• Students analyze the governmental structure of the United States and support their analysis by citing speciﬁc

textual evidence from primary sources such as the Preamble and First Amendment of the U.S. Constitution as

well as secondary sources such as Linda R. Monk’s Words We Live By: Your Annotated Guide to the Constitu-

tion. [RH.6–8.1]

• Students evaluate Jim Murphy’s The Great Fire to identify which aspects of the text (e.g., loaded language

and the inclusion of particular facts) reveal his purpose; presenting Chicago as a city that was “ready to burn.”

[RH.6–8.6]

• Students describe how Russell Freedman in his book Freedom Walkers: The Story of the Montgomery Bus Boy-

cott integrates and presents information both sequentially and causally to explain how the civil rights move-

ment began. [RH.6–8.5]

• Students integrate the quantitative or technical information expressed in the text of David Macaulay’s Ca-

thedral: The Story of Its Construction with the information conveyed by the diagrams and models Macaulay

provides, developing a deeper understanding of Gothic architecture. [RST.6–8.7]

• Students construct a holistic picture of the history of Manhattan by comparing and contrasting the information

gained from Donald Mackay’s The Building of Manhattan with the multimedia sources available on the “Man-

hattan on the Web” portal hosted by the New York Public Library (http://legacy.www.nypl.org/branch/manhat-

tan/index2.cfm?Trg=1&d1=865). [RST.6–8.9]

• Students learn about fractal geometry by reading Ivars Peterson and Nancy Henderson’s Math Trek: Adven-

tures in the Math Zone and then generate their own fractal geometric structure by following the multistep

procedure for creating a Koch’s curve. [RST.6–8.3]

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Grades 9–10 Text Exemplars

Stories

Homer. The Odyssey. Translated by Robert Fagles. New York: Viking, 1996. (8th century BCE)

From Book One

Sing to me of the man, Muse, the man of twists and turns

driven time and again off course, once he had plundered

the hallowed heights of Troy.

Many cities of men he saw and learned their minds,

many pains he suffered, heartsick on the open sea,

ﬁghting to save his life and bring his comrades home.

But he could not save them from disaster, hard as he strove—

the recklessness of their own ways destroyed them all,

the blind fools, they devoured the cattle of the Sun

and the Sungod blotted out the day of their return.

Launch out on his story, Muse, daughter of Zeus.

Start from where you will—sing for our time too.

By now,

all the survivors, all who avoided headlong death

were safe at home, escaped the wars and waves.

But one man alone…

his heart set on his wife and his return—Calypso,

the bewitching nymph, the lustrous goddess, held him back,

deep in her arching caverns, craving him for a husband.

But then, when the wheeling seasons brought the year around.

That year spun out by the gods when he should reach his home,

Ithaca—though not even there would he be free of trials,

even among his loved ones—then every god took pity,

all except Poseidon. He raged on, seething against

the great Odysseus till he reached his native land.

“Book 1: Athena Inspires the Prince” by Homer, from THE ODYSSEY by Homer, translated by Robert Fagles, copyright

Ovid. Metamorphoses. Translated by A. S. Kline. Ann Arbor: Borders Classics, 2004 (AD 8).

From “Daphne”

‘Wait nymph, daughter of Peneus, I beg you! I who am chasing you am not your enemy. Nymph, Wait! This is the way

a sheep runs from the wolf, a deer from the mountain lion, and a dove with ﬂuttering wings ﬂies from the eagle: ev-

erything ﬂies from its foes, but it is love that is driving me to follow you! Pity me! I am afraid you might fall headlong

or thorns undeservedly scar your legs and I be a cause of grief to you! These are rough places you run through. Slow

down, I ask you, check your ﬂight, and I too will slow. At least enquire whom it is you have charmed. I am no mountain

man, no shepherd, no rough guardian of the herds and ﬂocks. Rash girl, you do not know, you cannot realise, who

you run from, and so you run. Delphi’s lands are mine, Claros and Tenedos, and Patara acknowledges me king. Jupiter

is my father. Through me what was, what is, and what will be, are revealed. Through me strings sound in harmony,

to song. My aim is certain, but an arrow truer than mine, has wounded my free heart! The whole world calls me the

bringer of aid; medicine is my invention; my power is in herbs. But love cannot be healed by any herb, nor can the arts

that cure others cure their lord!’

He would have said more as timid Peneïs ran, still lovely to see, leaving him with his words unﬁnished. The winds

bared her body, the opposing breezes in her way ﬂuttered her clothes, and the light airs threw her streaming hair

behind her, her beauty enhanced by ﬂight. But the young god could no longer waste time on further blandishments,

urged on by Amor, he ran on at full speed. Like a hound of Gaul starting a hare in an empty ﬁeld, that heads for its

prey, she for safety: he, seeming about to clutch her, thinks now, or now, he has her fast, grazing her heels with his

outstretched jaws, while she uncertain whether she is already caught, escaping his bite, spurts from the muzzle touch-

ing her. So the virgin and the god: he driven by desire, she by fear. He ran faster, Amor giving him wings, and allowed

her no rest, hung on her ﬂeeing shoulders, breathed on the hair ﬂying round her neck. Her strength was gone, she

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grew pale, overcome by the effort of her rapid ﬂight, and seeing Peneus’s waters near cried out ‘Help me father! If

your streams have divine powers change me, destroy this beauty that pleases too well!’ Her prayer was scarcely done

when a heavy numbness seized her limbs, thin bark closed over her breast, her hair turned into leaves, her arms into

branches, her feet so swift a moment ago stuck fast in slow-growing roots, her face was lost in the canopy. Only her

shining beauty was left.

Even like this Phoebus loved her and, placing his hand against the trunk, he felt her heart still quivering under the new

bark. He clasped the branches as if they were parts of human arms, and kissed the wood. But even the wood shrank

from his kisses, and the god said ‘Since you cannot be my bride, you must be my tree! Laurel, with you my hair will

be wreathed, with you my lyre, with you my quiver. You will go with the Roman generals when joyful voices acclaim

their triumph, and the Capitol witnesses their long processions. You will stand outside Augustus’s doorposts, a faith-

ful guardian, and keep watch over the crown of oak between them. And just as my head with its un-cropped hair is

always young, so you also will wear the beauty of undying leaves.’ Paean had done: the laurel bowed her newly made

branches, and seemed to shake her leafy crown like a head giving consent.

Gogol, Nikolai. “The Nose.” Translated by Ronald Wilks. Diary of a Madman, and Other Stories. New York: Penguin,

1972. (1836)

An extraordinarily strange thing happened in St. Petersburg on 25 March. Ivan Yakovlevich, a barber who lived on

Voznesensky Avenue (his surname has got lost and all that his shop-front signboard shows is a gentleman with a

lathered cheek and the inscription ‘We also let blood’) woke up rather early one morning and smelt hot bread. As he

sat up in bed he saw his wife, who was a quite respectable lady and a great coffee-drinker, taking some freshly baked

rolls out of the oven.

‘I don’t want any coffee today, Praskovya Osipovna,’ said Ivan Yakovlevich. ‘I’ll make do with some hot rolls and onion

instead.’ (Here I must explain that Ivan Yakovlevich would really have liked to have had some coffee as well, but knew

it was quite out of the question to expect both coffee and rolls, since Praskovya Osipovna did not take very kindly to

these whims of his.) ‘Let the old fool have his bread, I don’t mind,’ she thought. ‘That means extra coffee for me!’ And

she threw a roll on to the table.

Ivan pulled his frock-coat over his nightshirt for decency’s sake, sat down at the table, poured out some salt, peeled

two onions, took a knife and with a determined expression on his face started cutting one of the rolls.

When he had sliced the roll in two, he peered into the middle and was amazed to see something white there. Ivan

carefully picked at it with his knife, and felt it with his ﬁnger. ‘Quite thick,’ he said to himself. ‘What on earth can it be?’

He poked two ﬁngers in and pulled out—a nose!

He ﬂopped back in his chair, and began rubbing his eyes and feeling around in the roll again. Yes, it was a nose all

right, no mistake about that. And, what’s more, it seemed a very familiar nose. His face ﬁlled with horror. But this hor-

ror was nothing compared with his wife’s indignation.

‘You beast, whose nose is that you’ve cut off?’ she cried furiously. ‘You scoundrel! You drunkard! I’ll report it to the

police myself, I will. You thief! Come to think of it, I’ve heard three customers say that when they come in for a shave

you start pulling their noses about so much it’s a wonder they stay on at all!’

But Ivan felt more dead than alive. He knew that the nose belonged to none other than Collegiate Assessor Kovalyov,

whom he shaved on Wednesdays and Sundays.

‘Wait a minute, Praskovya! I’ll wrap it up in a piece of cloth and dump it in the corner. Let’s leave it there for a bit, then

I’ll try and get rid of it.’

‘I don’t want to know! Do you think I’m going to let a sawn-off nose lie about in my room ... you fathead! All you can

do is strop that blasted razor of yours and let everything else go to pot. Layabout! Night-bird! And you expect me to

cover up for you with the police! You ﬁlthy pig! Blockhead! Get that nose out of here, out! Do what you like with it, but

I don’t want that thing hanging around here a minute longer!’

Ivan Yakovlevich was absolutely stunned. He thought and thought, but just didn’t know what to make of it.

‘I’m damned if I know what’s happened!’ he said at last, scratching the back of his ear. ‘I can’t say for certain if I came

home drunk or not last night. All I know is, it’s crazy. After all, bread is baked in an oven, and you don’t get noses in

bakeries. Can’t make head or tail of it! ...’

Ivan Yakovlevich lapsed into silence. The thought that the police might search the place, ﬁnd the nose and afterwards

bring a charge against him, very nearly sent him out of his mind. Already he could see that scarlet collar beautifully

embroidered with silver, that sword ... and he began shaking all over. Finally he put on his scruffy old trousers and

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shoes and with Praskovya Osipovna’s vigorous invective ringing in his ears, wrapped the nose up in a piece of cloth

and went out into the street.

All he wanted was to stuff it away somewhere, either hiding it between two curb-stones by someone’s front door

or else ‘accidentally’ dropping it and slinking off down a side street. But as luck would have it, he kept bumping into

friends, who would insist on asking: ‘Where are you off to?’ or ‘It’s a bit early for shaving customers, isn’t it?’ with the

result that he didn’t have a chance to get rid of it. Once he did manage to drop it, but a policeman pointed with his

halberd and said: ‘Pick that up! Can’t you see you dropped something!’ And Ivan Yakovlevich had to pick it up and

hide it in his pocket. Despair gripped him, especially as the streets were getting more and more crowded now as the

shops and stalls began to open.

He decided to make his way to St. Isaac’s Bridge and see if he could throw the nose into the River Neva without

anyone seeing him. But here I am rather at fault for not telling you before something about Ivan Yakovlevich, who in

many ways was a man you could respect.

De Voltaire, F. A. M. Candide, Or The Optimist. Translated by H. Morley. London: George Routledge and Sons, Ltd.,

1888. (1759)

In the country of Westphalia, in the castle of the most noble Baron of Thunder-ten-tronckh, lived a youth whom

Nature had endowed with a most sweet disposition. His face was the true index of his mind. He had a solid judgment

joined to the most unaffected simplicity; and hence, I presume, he had his name of Candide. The old servants of the

house suspected him to have been the son of the Baron’s sister, by a very good sort of a gentleman of the neigh-

borhood, whom that young lady refused to marry, because he could produce no more than threescore and eleven

quarterings in his arms; the rest of the genealogical tree belonging to the family having been lost through the injuries

of time.

The Baron was one of the most powerful lords in Westphalia, for his castle had not only a gate, but even windows,

and his great hall was hung with tapestry. He used to hunt with his mastiffs and spaniels instead of greyhounds; his

groom served him for huntsman; and the parson of the parish ofﬁciated as his grand almoner. He was called “My

Lord” by all his people, and he never told a story but everyone laughed at it.

My Lady Baroness, who weighed three hundred and ﬁfty pounds, consequently was a person of no small consider-

ation; and then she did the honors of the house with a dignity that commanded universal respect. Her daughter was

about seventeen years of age, fresh-colored, comely, plump, and desirable. The Baron’s son seemed to be a youth

in every respect worthy of the father he sprung from. Pangloss, the preceptor, was the oracle of the family, and little

Candide listened to his instructions with all the simplicity natural to his age and disposition.

Master Pangloss taught the metaphysico-theologo-cosmolo-nigology. He could prove to admiration that there is no

effect without a cause; and, that in this best of all possible worlds, the Baron’s castle was the most magniﬁcent of all

castles, and My Lady the best of all possible baronesses.

“It is demonstrable,” said he, “that things cannot be otherwise than as they are; for as all things have been created for

some end, they must necessarily be created for the best end. Observe, for instance, the nose is formed for spectacles,

therefore we wear spectacles. The legs are visibly designed for stockings, accordingly we wear stockings. Stones were

made to be hewn and to construct castles, therefore My Lord has a magniﬁcent castle; for the greatest baron in the

province ought to be the best lodged. Swine were intended to be eaten, therefore we eat pork all the year round: and

they, who assert that everything is right, do not express themselves correctly; they should say that everything is best.”

Candide listened attentively and believed implicitly, for he thought Miss Cunegund excessively handsome, though he

never had the courage to tell her so. He concluded that next to the happiness of being Baron of Thunder-ten-tronckh,

the next was that of being Miss Cunegund, the next that of seeing her every day, and the last that of hearing the doc-

trine of Master Pangloss, the greatest philosopher of the whole province, and consequently of the whole world.

One day when Miss Cunegund went to take a walk in a little neighboring wood which was called a park, she saw,

through the bushes, the sage Doctor Pangloss giving a lecture in experimental philosophy to her mother’s chamber-

maid, a little brown wench, very pretty, and very tractable.

As Miss Cunegund had a great disposition for the sciences, she observed with the utmost attention the experiments

which were repeated before her eyes; she perfectly well understood the force of the doctor’s reasoning upon causes

and effects. She retired greatly ﬂurried, quite pensive and ﬁlled with the desire of knowledge, imagining that she

might be a sufﬁcing reason for young Candide, and he for her.

In her way back she happened to meet the young man; she blushed, he blushed also; she wished him a good morning

in a ﬂattering tone, he returned the salute, without knowing what he said. The next day, as they were rising from din-

ner, Cunegund and Candide slipped behind the screen. The miss dropped her handkerchief, the young man picked it

up. She innocently took hold of his hand, and he as innocently kissed hers with a warmth, a sensibility, a grace-all very

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particular; their lips met; their eyes sparkled; their knees trembled; their hands strayed. The Baron chanced to come

by; he beheld the cause and effect, and, without hesitation, saluted Candide with some notable kicks on the breech

and drove him out of doors. The lovely Miss Cunegund fainted away, and, as soon as she came to herself, the Baroness

boxed her ears. Thus a general consternation was spread over this most magniﬁcent and most agreeable of all pos-

sible castles.

Turgenev, Ivan. Fathers and Sons. Translated by Constance Garnett. New York: Dover, 1998. (1862)

“WELL, Piotr, not in sight yet?” was the question asked on May the 20th, 1859, by a gentleman of a little over forty, in

a dusty coat and checked trousers, who came out without his hat on to the low steps of the posting station at S ?. He

was addressing his servant, a chubby young fellow, with whitish down on his chin, and little, lack-lustre eyes.

The servant, in whom everything--the turquoise ring in his ear, the streaky hair plastered with grease, and the civil-

ity of his movements--indicated a man of the new, unproved generation, glanced with an air of indulgence along the

road, and made answer:

“No, sir; not in sight.”

“Not in sight?” repeated his master.

“No, sir,” responded the man a second time.

His master sighed, and sat down on a little bench. We will introduce him to the reader while he sits, his feet tucked

under him, gazing thoughtfully round.

His name was Nikolai Petrovitch Kirsanov. He had twelve miles from the posting station, a ﬁne property of two

hundred souls, or, as he expressed it--since he had arranged the division of his land with the peasants, and started a

?farm?--of nearly ﬁve thousand acres. His father, a general in the army, who served in 1812, a coarse, half-educated,

but not ill-natured man, a typical Russian, had been in harness all his life, ﬁrst in command of a brigade, and then of

a division, and lived constantly in the provinces, where, by virtue of his rank, he played a fairly important part. Nikolai

Petrovitch was born in the south of Russia like his elder brother, Pavel, of whom more hereafter. He was educated at

home till he was fourteen, surrounded by cheap tutors, free-and-easy but toadying adjutants, and all the usual regi-

mental and staff set. His mother, one of the Kolyazin family, as a girl called Agathe, but as a general’s wife Agathok-

leya Kuzminishna Kirsanov, was one of those military ladies who take their full share of the duties and dignities of of-

ﬁce. She wore gorgeous caps and rustling silk dresses; in church she was the ﬁrst to advance to the cross; she talked

a great deal in a loud voice, let her children kiss her hand in the morning, and gave them her blessing at night--in fact,

she got everything out of life she could. Nikolai Petrovitch, as a general’s son--though so far from being distinguished

by courage that he even deserved to be called ?a funk?--was intended, like his brother Pavel, to enter the army; but

he broke his leg on the very day when the news of his commission came, and, after being two months in bed, re-

tained a slight limp to the end of his day. His father gave him up as a bad job, and let him go into the civil service. He

took him to Petersburg directly he was eighteen, and placed him in the university. His brother happened about the

same time to be made an ofﬁcer in the Guards. The young men started living together in one set of rooms, under the

remote supervision of a cousin on their mother’s side, Ilya Kolyazin, an ofﬁcial of high rank. Their father returned to

his division and his wife, and only rarely sent his sons large sheets of grey paper, scrawled over in a bold clerkly hand.

At the bottom of these sheets stood in letters, enclosed carefully in scroll-work, the words, “Piotr Kirsanov, General-

Major.”

Henry, O. “The Gift of the Magi.” The Best Short Stories of O. Henry. New York: Modern Library, 1994. (1906)

White ﬁngers and nimble tore at the string and paper. And then an ecstatic scream of joy; and then, alas! a quick

feminine change to hysterical tears and wails, necessitating the immediate employment of all the comforting powers

of the lord of the ﬂat.

For there lay The Combs—the set of combs, side and back, that Della had worshipped long in a Broadway window.

Beautiful combs, pure tortoise shell, with jewelled rims—just the shade to wear in the beautiful vanished hair. They

were expensive combs, she knew, and her heart had simply craved and yearned over them without the least hope of

possession. And now, they were hers, but the tresses that should have adorned the coveted adornments were gone.

But she hugged them to her bosom, and at length she was able to look up with dim eyes and a smile and say: “My

hair grows so fast, Jim!”

And then Della leaped up like a little singed cat and cried, “Oh, oh!”

Jim had not yet seen his beautiful present. She held it out to him eagerly upon her open palm. The dull precious metal

seemed to ﬂash with a reﬂection of her bright and ardent spirit.

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“Isn’t it a dandy, Jim? I hunted all over town to ﬁnd it. You’ll have to look at the time a hundred times a day now. Give

me your watch. I want to see how it looks on it.”

Instead of obeying, Jim tumbled down on the couch and put his hands under the back of his head and smiled.

“Dell,” said he, “let’s put our Christmas presents away and keep ‘em a while. They’re too nice to use just at present. I

sold the watch to get the money to buy your combs. And now suppose you put the chops on.”

The magi, as you know, were wise men—wonderfully wise men—who brought gifts to the Babe in the manger. They

invented the art of giving Christmas presents. Being wise, their gifts were no doubt wise ones, possibly bearing the

privilege of exchange in case of duplication. And here I have lamely related to you the uneventful chronicle of two

foolish children in a ﬂat who most unwisely sacriﬁced for each other the greatest treasures of their house. But in a last

word to the wise of these days let it be said that of all who give gifts these two were the wisest. Of all who give and

receive gifts, such as they are wisest. Everywhere they are wisest. They are the magi.

Kafka, Franz. The Metamorphosis. Translated by Stanley Corngold. New York: Bantam, 1972. (1915)

When Gregor Samsa woke up one morning from unsettling dreams, he found himself changed in his bed into a mon-

strous vermin. He was lying on his back as hard as armor plate, and when he lifted his head a little, he saw his vaulted

brown belly, sectioned by arch-shaped ribs, to whose dome the cover, about to slide off completely, could barely

cling. His many legs, pitifully thin compared with the size of the rest of him, were waving helplessly before his eyes.

“What’s happened to me?” he thought. It was no dream. His room, a regular human room, only a little on the small

side, lay quiet between the four familiar walls. Over the table, on which an unpacked line of fabric samples was all

spread out--Samsa was a traveling salesman--hung the picture which he had recently cut out of a glossy magazine

and lodged in a pretty gilt frame. It showed a lady done up in a fur hat and a fur boa, sitting upright and raising up

against the viewer a heavy fur muff in which her whole forearm had disappeared.

Gregor’s eyes then turned to the window, and the overcast weather--he could hear raindrops hitting against the

metal window ledge--completely depressed him. “How about going back to sleep for a few minutes and forgetting

all this nonsense,” he thought, but that was completely impracticable, since he was used to sleeping on his right side

and in his present state could not get into that position. No matter how hard he threw himself onto his right side, he

always rocked onto his back again. He must have tried it a hundred times, closing his eyes so as not to have to see his

squirming legs, and stopped only when he began to feel a slight, dull pain in his side, which he had never felt before.

Steinbeck, John. The Grapes of Wrath. New York: Viking, 1967. (1939)

From Chapter 15

The man took off his dark, stained hat and stood with a curious humility in front of the screen. “Could you see your

way to sell us a loaf of bread, ma’am?”

Mae said, “This ain’t a grocery store. We got bread to make san’widges.”

“I know, ma’am.” His humility was insistent. “We need bread and there ain’t nothin’ for quite a piece, they say.”

“‘F we sell bread we gonna run out.” Mae’s tone was faltering.

“We’re hungry,” the man said.

“Whyn’t you buy a san’widge? We got nice san’widges, hamburgs.”

“We’d sure admire to do that, ma’am. But we can’t. We got to make a dime do all of us.” And he said embarrassedly,

“We ain’t got but a little.”

Mae said, “You can’t get no loaf a bread for a dime. We only got ﬁfteen-cent loafs.”

From behind her Al growled, “God Almighty, Mae, give ‘em bread.”

“We’ll run out ‘fore the bread truck comes.”

“Run out then, goddamn it,” said Al. He looked sullenly down at the potato salad he was mixing.

Mae shrugged her plump shoulders and looked to the truck drivers to show them what she was up against.

She held the screen door open and the man came in, bringing a smell of sweat with him. The boys edged behind him

and they went immediately to the candy case and stared in—not with craving or with hope or even with desire, but

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just with a kind of wonder that such things could be. They were alike in size and their faces were alike. One scratched

his dusty ankle with the toe nails of his other foot. The other whispered some soft message and then they straight-

ened their arms so that their clenched ﬁsts in the overall pockets showed through the thin blue cloth.

Mae opened a drawer and took out a long waxpaper-wrapped loaf. “This here is a ﬁfteen-cent loaf.”

The man put his hat back on his head. He answered with inﬂexible humility, “Won’t you—can’t you see your way to cut

off ten cents’ worth?”

Al said snarlingly, “Goddamn it, Mae. Give ‘em the loaf.”

The man turned toward Al. “No, we want ta buy ten cents’ worth of it. We got it ﬁggered awful close, mister, to get to

California.”

Mae said resignedly, “You can have this for ten cents.”

“That’d be robbin’ you, ma’am.”

“Go ahead—Al says to take it.” She pushed the waxpapered loaf across the counter. The man took a deep leather

pouch from his rear pocket, untied the strings, and spread it open. It was heavy with silver and with greasy bills.

“May soun’ funny to be so tight,” he apologized. “We got a thousan’ miles to go, an’ we don’ know if we’ll make it.” He

dug in the pouch with a foreﬁnger, located a dime, and pinched in for it. When he put it down on the counter he had

a penny with it. He was about to drop the penny back into the pouch when his eye fell on the boys frozen before the

candy counter. He moved slowly down to them. He pointed in the case at big long sticks of striped peppermint. “Is

them penny candy, ma’am?”

Mae moved down and looked in. “Which ones?”

“There, them stripy ones.”

The little boys raised their eyes to her face and they stopped breathing; their mouths were partly opened, their half-

naked bodies were rigid.

“Oh—them. Well, no—them’s two for a penny.”

“Well, gimme two then, ma’am.” He placed the copper cent carefully on the counter. The boys expelled their held

breath softly. Mae held the big sticks out.

Bradbury, Ray. Fahrenheit 451. New York: Ballantine, 1987. (1953)

From Part 1: “The Hearth and the Salamander”

It was a pleasure to burn.

It was a special pleasure to see things eaten, to see things blackened and changed. With the brass nozzle in his

ﬁsts, with this great python spitting its venomous kerosene upon the world, the blood pounded in his head, and his

hands were the hands of some amazing conductor playing all the symphonies of blazing and burning to bring down

the tatters and charcoal ruins of history. With his symbolic helmet numbered 451 on his stolid head, and his eyes all

orange ﬂame with the thought of what came next, he ﬂicked the igniter and the house jumped up in a gorging ﬁre

that burned the evening sky red and yellow and black. He strode in a swarm of ﬁreﬂies. He wanted above all, like the

old joke, to shove a marshmallow on a stick in the furnace, while the ﬂapping pigeon-winged books died on the porch

and lawn of the house. While the books went up in sparkling whirls and blew away on a wind turned dark with burn-

ing.

Montag grinned the ﬁerce grin of all men singed and driven back by ﬂame.

He knew that when he returned to the ﬁrehouse, he might wink at himself, a minstrel man, burnt-corked, in the mirror.

Later, going to sleep, he would feel the ﬁery smile still gripped by his face muscles, in the dark. It never went away,

that smile, it never ever went away, as long as he remembered.

Olsen, Tillie. “I Stand Here Ironing.” Tell Me a Riddle. New York: Dell, 1956. (1956)

From “I Stand Here Ironing”

I stand here ironing, and what you asked me moves tormented back and forth with the iron.

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“I wish you would manage the time to come in and talk with me about your daughter. I’m sure you can help me under-

stand her. She’s a youngster who needs help and whom I’m deeply interested in helping.”

“Who needs help”…Even if I came, what good would it do? You think because I am her mother I have a key, or that in

some way you could use me as a key? She has lived for nineteen years. There is all that like that has happened outside

of me, beyond me.

And when is there time to remember, to sift, to weigh, to estimate, to total? I will start and there will be an interrup-

tion and I will have to gather it all together again. Or I will become engulfed with all I did or did not do, with what

should have been and what cannot be helped.

She was a beautiful baby. The ﬁrst and only one of our ﬁve that was beautiful at birth. You do not guess how new and

uneasy her tenancy in her now-loveliness. You did not know her all those years she was thought homely, or see her

peering over her baby pictures, making me tell her over and over how beautiful she had been—and would be, I would

tell her—and was now, to the seeing eye. But the seeing eyes were few or non-existent. Including mine.

Achebe, Chinua. Things Fall Apart. New York: Anchor, 1994. (1958)

Okonkwo was well known throughout the nine villages and even beyond. His fame rested on solid personal achieve-

ments. As a young man of eighteen he had brought honor to his village by throwing Amalinze the Cat. Amalinze was

the great wrestler who for seven years was unbeaten, from Umuoﬁa to Mbaino. He was called the Cat because his

back would never touch the earth. It was this man that Okonkwo threw in a ﬁght which the old men agreed was one

of the ﬁercest since the founder of their town engaged a spirit of the wild for seven days and seven nights.

The drums beat and the ﬂutes sang and the spectators held their breath. Amalinze was a wily craftsman, but Okonk-

wo was as slippery as a ﬁsh in water. Every nerve and every muscle stood out on their arms, on their backs and their

thighs, and one almost heard them stretching to breaking point. In the end Okonkwo threw the Cat.

That was many years ago, twenty years or more, and during this time Okonkwo’s fame had grown like a bush-ﬁre in

the harmattan. He was tall and huge, and his bushy eyebrows and wide nose gave him a very severe look. He breathed

heavily, and it was said that, when he slept, his wives and children in their houses could hear him breathe. When he

walked, his heels hardly touched the ground and he seemed to walk on springs, as if he was going to pounce on

somebody. And he did pounce on people quite often. He had a slight stammer and whenever he was angry and could

not get his words out quickly enough, he would use his ﬁsts. He had no patience with unsuccessful men. He had had

no patience with his father.

Unoka, for that was his father’s name, had died ten years ago. In his day he was lazy and improvident and was quite

incapable of thinking about tomorrow. If any money came his way, and it seldom did, he immediately bought gourds

of palm-wine, called round his neighbors and made merry. He always said that whenever he saw a dead man’s mouth

he saw the folly of not eating what one had in one’s lifetime. Unoka was, of course, a debtor, and he owed every

neighbor some money, from a few cowries to quite substantial amounts.

He was tall but very thin and had a slight stoop. He wore a haggard and mournful look except when he was drinking

or playing on his ﬂute. He was very good on his ﬂute, and his happiest moments were the two or three moons after

the harvest when the village musicians brought down their instruments, hung above the ﬁreplace. Unoka would play

with them, his face beaming with blessedness and peace. Sometimes another village would ask Unoka’s band and

their dancing egwugwu to come and stay with them and teach them their tunes. They would go to such hosts for as

long as three or four markets, making music and feasting. Unoka loved the good fare and the good fellowship, and he

loved this season of the year, when the rains had stopped and the sun rose every morning with dazzling beauty. And

it was not too hot either, because the cold and dry harmattan wind was blowing down from the north. Some years the

harmattan was very severe and a dense haze hung on the atmosphere. Old men and children would then sit round log

ﬁres, warming their bodies. Unoka loved it all, and he loved the ﬁrst kites that returned with the dry season, and the

children who sang songs of welcome to them. He would remember his own childhood, how he had often wandered

around looking for a kite sailing leisurely against the blue sky. As soon as he found one he would sing with his whole

being, welcoming it back from its long, long journey, and asking it if it had brought home any lengths of cloth.

Lee, Harper. To Kill A Mockingbird. New York: HarperCollins Publishers, 2006. (1960)

From Chapter One

When he was nearly thirteen, my brother Jem got his arm badly broken at the elbow. When it healed, and Jem’s fears

of never being able to play football were assuaged, he was seldom self-conscious about his injury. His left arm was

somewhat shorter than his right; when he stood or walked, the back of his hand was at right angles to his body, his

thumb parallel to his thigh. He couldn’t have cared less, so long as he could pass and punt.

When enough years had gone by to enable us to look back on them, we sometimes discussed the events leading to

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his accident. I maintain that the Ewells started it all, but Jem, who was four years my senior, said it started long before

that. He said it began the summer Dill came to us, when Dill ﬁrst gave us the idea of making Boo Radley come out.

I said if he wanted to take a broad view of the thing, it really began with Andrew Jackson. If General Jackson hadn’t

run the Creeks up the creek, Simon Finch would never have paddled up the Alabama, and where would we be if he

hadn’t? We were far too old to settle an argument with a ﬁst-ﬁght, so we consulted Atticus. Our father said we were

both right.

Shaara, Michael. The Killer Angels. New York: Ballantine, 1996. (1975)

From “Longstreet”

“. . . have no doubt,” Fremantle was saying, “that General Lee shall become the world’s foremost authority on military

matters when this war is over, which would appear now to be only a matter of days, or at most a few weeks. I suspect

all Europe will be turning to him for lessons.”

Lessons?

“I have been thinking, I must confess, of setting some brief thoughts to paper,” Fremantle announced gravely. “Some

brief remarks of my own, appended to an account of this battle, and perhaps others this army has fought. Some notes

as to tactics.”

Tactics?

“General Lee’s various stratagems will be most instructive, most illuminating. I wonder, sir, if I might enlist your aid in

this, ah, endeavor. As one most closely concerned? That is, to be brief, may I come to you when in need?”

“Sure,” Longstreet said. Tactics? He chuckled. The tactics were simple: ﬁnd the enemy, ﬁght him. He shook his head,

snorting. Fremantle spoke softly, in tones of awe.

“One would not think of General Lee, now that one has met him, now that one has looked him, so to speak, in the eye,

as it were, one would not think him, you know, to be such a devious man.”

“Devious?” Longstreet swung to stare at him, aghast.

“Oh my word,” Fremantle went on devoutly, “but he’s a tricky one. The Old Gray Fox, as they say. Charming phrase.

American to the hilt.”

“Devious?” Longstreet stopped dead in the road. “Devious.” He laughed aloud. Fremantle stared an owlish stare.

“Why, Colonel, bless your soul, there ain’t a devious bone in Robert Lee’s body, don’t you know that?”

Tan, Amy. The Joy Luck Club. New York: Ballantine, 1989. (1989)

From “Jing-Mei Woo: Two Kinds”

My mother believed you could be anything you wanted to be in America. You could open a restaurant. You could work

for the government and get good retirement. You could buy a house with almost no money down. You could become

rich. You could become instantly famous.

“Of course you can be prodigy, too,” my mother told me when I was nine. “You can be best anything. What does Aun-

tie Lindo know? Her daughter, she is only best tricky.”

America was where all my mother’s hopes lay. She had come here in 1949 after losing everything in China: her mother

and father, her family home, her ﬁrst husband, and two daughters, twin baby girls. But she never looked back with

regret. There were so many ways for things to get better.

We didn’t immediately pick the right kind of prodigy. At ﬁrst my mother thought I could be a Chinese Shirley Temple.

We’d watch Shirley’s old movies on TV as though they were training ﬁlms. My mother would poke my arm and say,

“Ni kan”—You watch. And I would see Shirley tapping her feet, or singing a sailor song, or pursing her lips into a very

round O while saying, “Oh my goodness.”

“Ni kan,” said my mother as Shirley’s eyes ﬂooded with tears. “You already know how. Don’t need talent for crying!”

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Álvarez, Julia. In the Time of the Butterﬂies. Chapel Hill: Algonquin, 1994. (1994)

From Chapter 1: “Dedé 1994 and circa 1943”

She remembers a clear moonlit night before the future began. They are sitting in the cool darkness under the anaca-

huita tree in the front yard, in the rockers, telling stories, drinking guanabana juice. Good for the nerves, Mamá always

says.

They’re all there, Mamá, Papá, Patria-Minerva-Dedé. Bang-bang-bang, their father likes to joke, aiming a pistol ﬁnger

at each one, as if he were shooting them, not boasting about having sired them, Three girls, each born within a year of

each other! And then, nine years later, Maria Teresa, his ﬁnal desperate attempt at a boy misﬁring.

Their father has his slippers on, one foot hooked behind the other. Every once in a while Dedé hears the clink of the

rum bottle against the rim of his glass.

Many a night, and this night is no different, a shy voice calls out of the darkness, begging their pardon. Could they

spare a calmante for a sick child out of their stock of kindness? Would they have some tobacco for a tired old man

who spent the day grating yucca?

Their father gets up, swaying a little with drink and tiredness, and opens up the store. The campesino goes off with his

medicine, a couple of cigars, a few mints for the godchildren. Dedé tells her father that she doesn’t know how they do

as well as they do, the way he gives everything away. But her father just puts his arm around her, and says, “Ay, Dedé,

that’s why I have you. Every soft foot needs a hard shoe.”

She’ll bury us all,” her father adds, laughing, “in silk and pearls.” Dedé hears again the clink of the rum bottle. “Yes, for

sure, our Dedé here is going to be the millionaire in the family.”

Zusak, Marcus. The Book Thief. New York: Knopf, 2005. (2005)

From “The Flag”

The last time I saw her was red. The sky was like soup, boiling and stirring. In some places it was burned. There were

black crumbs, and pepper, streaked amongst the redness.

Earlier, kids had been playing hopscotch there, on the street that looked like oil-stained pages. When I arrived I could

still hear the echoes. The feet tapping the road. The children-voices laughing, and the smiles like salt, but decaying

fast.

Then, bombs.

This time, everything was too late.

The sirens. The cuckoo shrieks in the radio. All too late.

Within minutes, mounds of concrete and earth were stacked and piled. The streets were ruptured veins. Blood

streamed till it was dried on the road, and the bodies were stuck there, like driftwood after the ﬂood.

They were glued down, every last one of them. A packet of souls.

Was it fate?

Misfortune?

Is that what glued them down like that?

Of course not.

Let’s not be stupid.

It probably had more to do with the hurled bombs, thrown down by humans hiding in the clouds.

For hours, the sky remained a devastating, home-cooked red. The small German town had been ﬂung apart

one more time. Snowﬂakes of ash fell so lovelily you were tempted to stretch out your tongue to catch them, taste

them. Only, they would have scorched your lips. They would have cooked your mouth.

Clearly, I see it.

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I was just about to leave when I found her kneeling there.

A mountain range of rubble was written, designed, erected around her. She was clutching at a book.

Apart from everything else, the book thief wanted desperately to go back to the basement, to write, or read through

her story one last time. In hindsight, I see it so obviously on her face. She was dying for it—the safety, the home of it—

but she could not move. Also, the basement no longer existed. It was part of the mangled landscape.

Drama

Sophocles. Oedipus Rex. From The Theban Plays (also known as The Oedipus Trilogy). Translated by F. Storr. Dodo

Press, 2009. (429 BC)

OEDIPUS

My children, latest born to Cadmus old,

Why sit ye here as suppliants, in your hands

Branches of olive ﬁlleted with wool?

What means this reek of incense everywhere,

And everywhere laments and litanies?

Children, it were not meet that I should learn

From others, and am hither come, myself,

I Oedipus, your world-renowned king.

Ho! aged sire, whose venerable locks

Proclaim thee spokesman of this company,

Explain your mood and purport. Is it dread

Of ill that moves you or a boon ye crave?

My zeal in your behalf ye cannot doubt;

Ruthless indeed were I and obdurate

If such petitioners as you I spurned.

PRIEST

Yea, Oedipus, my sovereign lord and king,

Thou seest how both extremes of age besiege

Thy palace altars--ﬂedglings hardly winged,

And greybeards bowed with years, priests, as am I

Of Zeus, and these the ﬂower of our youth.

Meanwhile, the common folk, with wreathed boughs

Crowd our two market-places, or before

Both shrines of Pallas congregate, or where

Ismenus gives his oracles by ﬁre.

For, as thou seest thyself, our ship of State,

Sore buffeted, can no more lift her head,

Foundered beneath a weltering surge of blood.

A blight is on our harvest in the ear,

A blight upon the grazing ﬂocks and herds,

A blight on wives in travail; and withal

Armed with his blazing torch the God of Plague

Hath swooped upon our city emptying

The house of Cadmus, and the murky realm

Of Pluto is full fed with groans and tears.

Therefore, O King, here at thy hearth we sit,

I and these children; not as deeming thee

A new divinity, but the ﬁrst of men;

First in the common accidents of life,

And ﬁrst in visitations of the Gods.

Art thou not he who coming to the town

Of Cadmus freed us from the tax we paid

To the fell songstress? Nor hadst thou received

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Prompting from us or been by others schooled;

No, by a god inspired (so all men deem,

And testify) didst thou renew our life.

And now, O Oedipus, our peerless king,

All we thy votaries beseech thee, ﬁnd

Some succor, whether by a voice from heaven

Whispered, or haply known by human wit.

Tried counselors, methinks, are aptest found

To furnish for the future pregnant rede.

Upraise, O chief of men, upraise our State!

Look to thy laurels! for thy zeal of yore

Our country’s savior thou art justly hailed:

O never may we thus record thy reign:--

“He raised us up only to cast us down.”

Uplift us, build our city on a rock.

Thy happy star ascendant brought us luck,

O let it not decline! If thou wouldst rule

This land, as now thou reignest, better sure

To rule a peopled than a desert realm.

Nor battlements nor galleys aught avail,

If men to man and guards to guard them tail.

OEDIPUS

Ah! my poor children, known, ah, known too well,

The quest that brings you hither and your need.

Ye sicken all, well wot I, yet my pain,

How great soever yours, outtops it all.

Your sorrow touches each man severally,

Him and none other, but I grieve at once

Both for the general and myself and you.

Therefore ye rouse no sluggard from day-dreams.

Many, my children, are the tears I’ve wept,

And threaded many a maze of weary thought.

Thus pondering one clue of hope I caught,

And tracked it up; I have sent Menoeceus’ son,

Creon, my consort’s brother, to inquire

Of Pythian Phoebus at his Delphic shrine,

How I might save the State by act or word.

And now I reckon up the tale of days

Since he set forth, and marvel how he fares.

‘Tis strange, this endless tarrying, passing strange.

But when he comes, then I were base indeed,

If I perform not all the god declares.

PRIEST

Thy words are well timed; even as thou speakest

That shouting tells me Creon is at hand.

Shakespeare, William. The Tragedy of Macbeth. New Haven: Yale University Press, 1954. (c1611)

ACT V. SCENE I.

Dunsinane. Anteroom in the castle.

Enter a Doctor of Physic and a Waiting Gentlewoman.

Doctor. I have two nights watch’d with you, but can perceive no truth in your report. When was it she last walk’d?

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Gentlewoman. Since his majesty went into the ﬁeld, have seen her rise from her bed, throw her nightgown upon her,

unlock her closet, take forth paper, fold it, write upon’t, read it, afterwards seal it, and again return to bed; yet all this

while in a most fast sleep.

Doctor. A great perturbation in nature, to receive at once the beneﬁt of sleep and do the effects of watching! In this

slumbery agitation, besides her walking and other actual performances, what, at any time, have you heard her say?

Gentlewoman. That, sir, which I will not report after her.

Doctor. You may to me, and ‘tis most meet you should.

Gentlewoman. Neither to you nor anyone, having no witness to conﬁrm my speech.

Enter Lady Macbeth, with a taper.

Lo you, here she comes. This is her very guise, and upon my life, fast asleep. Observe her; stand close.

Doctor. How came she by that light?

Gentlewoman. Why, it stood by her. She has light by her continually; ‘tis her command.

Doctor. You see her eyes are open.

Gentlewoman. Ay, but their sense are shut.

Doctor. What is it she does now? Look how she rubs her hands.

Gentlewoman. It is an accustom’d action with her, to seem thus washing her hands. I have known her continue in this

a quarter of an hour.

Lady Macbeth. Yet here’s a spot.

Doctor. Hark! She speaks. I will set down what comes from her, to satisfy my remembrance the more strongly.

Lady Macbeth. Out, damned spot! Out, I say! One; two. Why, then, ‘tis time to do’t. Hell is murky. Fie, my lord, ﬁe! A

soldier, and afeard? What need we fear who knows it, when none can call our power to accompt? Yet who would have

thought the old man to have had so much blood in him?

Doctor. Do you mark that?

Lady Macbeth. The Thane of Fife had a wife. Where is she now? What, will these hands ne’er be clean? No more o’

that, my lord, no more o’ that! You mar all with this starting.

Doctor. Go to, go to! You have known what you should not.

Gentlewoman. She has spoke what she should not, I am sure of that. Heaven knows what she has known.

Lady Macbeth. Here’s the smell of the blood still. All the perfumes of Arabia will not sweeten this little hand. Oh, oh,

oh!

Doctor. What a sigh is there! The heart is sorely charg’d.

Gentlewoman. I would not have such a heart in my bosom for the dignity of the whole body.

Doctor. Well, well, well.

Gentlewoman. Pray God it be, sir.

Doctor. This disease is beyond my practice. Yet I have known those which have walked in their sleep who have died

holily in their beds.

Lady Macbeth. Wash your hands, put on your nightgown, look not so pale. I tell you yet again, Banquo’s buried; he

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cannot come out on’s grave.

Doctor. Even so?

Lady Macbeth. To bed, to bed! There’s knocking at the gate. Come, come, come, come, give me your hand. What’s

done cannot be undone. To bed, to bed, to bed! Exit Lady.

Doctor. Will she go now to bed?

Gentlewoman. Directly.

Doctor. Foul whisp’rings are abroad. Unnatural deeds

Do breed unnatural troubles. Infected minds

To their deaf pillows will discharge their secrets.

More needs she the divine than the physician.

God, God, forgive us all! Look after her;

Remove from her the means of all annoyance,

And still keep eyes upon her. So, good night.

My mind she has mated, and amaz’d my sight.

I think, but dare not speak.

Gentlewoman. Good night, good doctor.

Exeunt.

Media Text

Judi Dench (Lady Macbeth) performs this scene in a 1979 production with Ian McKellen:

http://www.youtube.com/watch?v=IOkyZWQ2bmQ

McKellen analyzes the “To-morrow and to-morrow and to-morrow” speech from Act V, Scene 5:

http://video.google.com/videoplay?docid=883718043846080512#docid=7225091828250988008

Ibsen, Henrik. A Doll’s House. New York: Signet Classics, 2006. (1879)

From Act I

Helmer (in his room). Is that my lark twittering there ?

Nora (busy opening some of her parcels). Yes, it is.

Helmer. Is it the squirrel frisking around ?

Nora. Yes !

Helmer. When did the squirrel get home ?

Nora. Just this minute. (Hides the bag of macaroons in her pocket and wipes her mouth.) Come here, Torvald, and see

what I’ve been buying.

Helmer. Don’t interrupt me. (A little later he opens the door and looks in, pen in hand.) Buying, did you say ? What !

All that ? Has my little spendthrift been making the money ﬂy again ?

Nora. Why, Torvald, surely we can afford to launch out a little now. It’s the ﬁrst Christmas we haven’t had to pinch.

Helmer. Come, come ; we can’t afford to squander money.

Nora. Oh yes, Torvald, do let us squander a little, now — just the least little bit ! You know you’ll soon be earning heaps

of money.

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Helmer. Yes, from New Year’s Day. But there’s a whole quarter before my ﬁrst salary is due.

Nora. Never mind ; we can borrow in the meantime.

Helmer. Nora ! (He goes up to her and takes her playfully by the ear.) Still my little featherbrain ! Supposing I bor-

rowed a thousand crowns to-day, and you made ducks and drakes of them during Christmas week, and

then on New Year’s Eve a tile blew off the roof and knocked my brains out

Nora (laying her hand on his mouth). Hush ! How can you talk so horridly ?

Helmer. But supposing it were to happen — what then ?

Nora. If anything so dreadful happened, it would be all the same to me whether I was in debt or not.

Helmer. But what about the creditors ?

Nora. They ! Who cares for them ? They’re only strangers.

Helmer. Nora, Nora ! What a woman you are ! But seriously, Nora, you know my principles on these points. No debts

! No borrowing ! Home life ceases to be free and beautiful as soon as it is founded on borrowing and debt. We two

have held out bravely till now, and we are not going to give in at the last.

Nora (going to the ﬁreplace). Very well — as you please, Torvald.

Williams, Tennessee. The Glass Menagerie. New York: New Directions, 1966. (1944)

From Scene 5

TOM: What are you doing?

AMANDA: I’m brushing that cowlick down! [She attacks his hair with the brush.] What is this young man’s position at

the warehouse?

TOM [submitting grimly to the brush and interrogation]: This young man’s position is that of a shipping clerk, Mother.

AMANDA: Sounds to me like a fairly responsible job, the sort of a job you would be in if you had more get-up. What is

his salary? Have you any idea?

TOM: I would judge it to be approximately eighty-ﬁve dollars a month.

AMANDA: Well—not princely—but—

TOM: Twenty more than I make.

AMANDA: Yes, how well I know! But for a family man, eighty-ﬁve dollars a month is not much more than you can just

get by on....

TOM: Yes, but Mr. O’Connor is not a family man.

AMANDA: He might be, mightn’t he? Some time in the future?

TOM: I see. Plans and provisions.

AMANDA: You are the only young man that I know of who ignores the fact that the future becomes the present, the

present the past, and the past turns into everlasting regret if you don’t plan for it!

TOM: I will think that over and see what I can make of it.

AMANDA: Don’t be supercilious with your mother! Tell me some more about this—what do you call him?

TOM: James D. O’Connor. The D. is for Delaney.

AMANDA: Irish on both sides! Gracious! And doesn’t drink?

TOM: Shall I call him up and ask him right this minute?

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AMANDA: The only way to ﬁnd out about those things is to make discreet inquiries at the proper moment. When

I was a girl in Blue Mountain and it was suspected that a young man drank, the girl whose attentions he had been

receiving, if any girl was, would sometimes speak to the minister of his church, or rather her father would if her father

was living, and sort of feel him out on the young man’s character. That is the way such things are discreetly handled

to keep a young woman from making a tragic mistake!

TOM: Then how did you happen to make a tragic mistake?

AMANDA: That innocent look of your father’s had everyone fooled! He smiled—the world was enchanted! No girl can

do worse than put herself at the mercy of a handsome appearance! I hope that Mr. O’Connor is not too good-looking.

Ionesco, Eugene. “Rhinoceros.” Translated by Derek Prouse. Rhinoceros and Other Plays. New York: Grove Press,

1960. (1959)

From Act Two

BERENGER: [coming in] Hello Jean!

JEAN: [in bed] What time is it? Aren’t you at the ofﬁce?

BERENGER: You’re still in bed; you’re not at the ofﬁce, then? Sorry if I’m disturbing you.

JEAN: [still with his back turned] Funny, I didn’t recognize your voice.

BERENGER: I didn’t recognize yours either.

JEAN: [still with his back turned] Sit down!

BERENGER: Aren’t you feeling well?

[JEAN replies with a grunt.]

You know, Jean, it was stupid of me to get so upset yesterday over a thing like that.

JEAN: A thing like what?

BERENGER: Yesterday ...

JEAN: When yesterday? Where yesterday?

BERENGER: Don’t you remember? It was about that wretched rhinoceros.

JEAN: What rhinoceros?

BERENGER: The rhinoceros, or rather, the two wretched rhinoceroses we saw.

JEAN: Oh yes, I remember ... How do you know they were wretched?

BERENGER: Oh I just said that.

JEAN: Oh. Well let’s not talk any more about it.

BERENGER: That’s very nice of you.

JEAN: Then that’s that.

BERENGER: But I would like to say how sorry I am for being so insistent ... and so obstinate ... and getting so angry ...

in fact ... I acted stupidly.

JEAN: That’s not surprising with you.

BERENGER: I’m very sorry.

JEAN: I don’t feel very well. [He coughs.]

BERENGER: That’s probably why you’re in bed. [With a change of tone:] You know, Jean, as it turned out, we were

both right.

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JEAN: What about?

BERENGER: About ... well, you know, the same thing. Sorry to bring it up again, but I’ll only mention it brieﬂy. I just

wanted you to know that in our different ways we were both right. It’s been proved now. There are some rhinoceroses

in the town with two horns and some with one.

Fugard, Athol. “Master Harold”…and the boys. New York: Penguin, 1982. (1982)

From “Master Harold”…and the boys

Sam: Of course it is. That’s what I’ve been trying to say to you all afternoon. And it’s beautiful because that is what

we want life to be like. But instead, like you said, Hally, we’re bumping into each other all the time. Look at the three

of us this afternoon: I’ve bumped into Willie, the two of us have bumped into you, you’ve bumped into your mother,

she bumping into your Dad. . . . None of us knows the steps and there’s no music playing. And it doesn’t stop with us.

The whole world is doing it all the time. Open a newspaper and what do you read? America has bumped into Russia,

England is bumping into India, rich man bumps into poor man. Those are big collisions, Hally. They make for a lot of

bruises. People get hurt in all that bumping, and we’re sick and tired of it now. It’s been going on for too long. Are we

never going to get it right? . . . Learn to dance life like champions instead of always being just a bunch of beginners at

it?

Hally: (Deep and sincere admiration of the man) You’ve got a vision, Sam!

Sam: Not just me. What I’m saying to you is that everybody’s got it. That’s why there’s only standing room left for the

Centenary Hall in two weeks’ time. For as long as the music lasts, we are going to see six couples get it right, the way

we want life to be.

Hally: But is that the best we can do, Sam . . . watch six ﬁnalists dreaming about the way it should be?

Sam: I don’t know. But it starts with that. Without the dream we won’t know what we’re going for. And anyway I

reckon there are a few people who have got past just dreaming about it and are trying for something real. Remember

that thing we read once in the paper about the Mahatma Gandhi? Going without food to stop those riots in India?

Poetry

Shakespeare, William. “Sonnet 73.” Shakespeare: The Poems. Edited by David Bevington. New York: Bantam, 1988.

(1609)

That time of year thou mayst in me behold

When yellow leaves, or none, or few, do hang

Upon those boughs which shake against the cold,

Bare ruined choirs, where late the sweet birds sang.

In me thou see’st the twilight of such day

As after sunset fadeth in the west;

Which by and by black night doth take away,

Death’s second self, that seals up all in rest.

In me thou see’st the glowing of such ﬁre,

That on the ashes of his youth doth lie,

As the deathbed whereon it must expire,

Consumed with that which it was nourished by.

This thou perceiv’st, which makes thy love more strong,

To love that well which thou must leave ere long.

Donne, John. “Song.” The Complete Poetry of John Donne. Edited by John T. Shawcross. New York: Anchor Books,

1967. (1635)

Goe, and catche a falling starre,

Get with child a mandrake roote,

Tell me, where all past yeares are,

Or who cleft the Divels foot,

Teach me to heare Mermaides singing,

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Or to keep off envies stinging,

And ﬁnde

What winde

Serves to advance an honest minde.

If thou beest borne to strange sights,

Things invisible to see,

Ride ten thousand daies and nights,

Till age snow white haires on thee,

Thou, when thou return’st, wilt tell mee

All strange wonders that befell thee,

And sweare

No where

Lives a woman true, and faire.

If thou ﬁndst one, let mee know,

Such a Pilgrimage were sweet;

Yet doe not, I would not goe,

Though at next doore wee might meet,

Though shee were true, when you met her,

And last, till you write your letter,

Yet shee

Will bee

False, ere I come, to two, or three.

Shelley, Percy Bysshe. “Ozymandias.” The Complete Poems of Percy Bysshe Shelley. New York: Modern Library,

1994. (1817)

I met a traveller from an antique land

Who said—”Two vast and trunkless legs of stone

Stand in the desert ... Near them, on the sand,

Half sunk, a shattered visage lies, whose frown,

And wrinkled lip, and sneer of cold command,

Tell that its sculptor well those passions read

Which yet survive, stamped on these lifeless things,

The hand that mocked them, and the heart that fed;

And on the pedestal these words appear:

‘My name is Ozymandias, King of Kings:

Look on my works, ye Mighty, and despair!’

Nothing beside remains. Round the decay

Of that colossal wreck, boundless and bare

The lone and level sands stretch far away.”

Poe, Edgar Allan. “The Raven.” Complete Stories and Poems of Edgar Allan Poe. New York: Doubleday, 1984. (1845)

Once upon a midnight dreary, while I pondered, weak and weary,

Over many a quaint and curious volume of forgotten lore —

While I nodded, nearly napping, suddenly there came a tapping,

As of some one gently rapping, rapping at my chamber door.

“‘T is some visitor,” I muttered, “tapping at my chamber door —

Only this and nothing more.”

Ah, distinctly I remember it was in the bleak December;

And each separate dying ember wrought its ghost upon the ﬂoor.

Eagerly I wished the morrow;—vainly I had sought to borrow

From my books surcease of sorrow—sorrow for the lost Lenore —

For the rare and radiant maiden whom the angels name Lenore —

Nameless here for evermore.

And the silken, sad, uncertain rustling of each purple curtain

Thrilled me—ﬁlled me with fantastic terrors never felt before;

So that now, to still the beating of my heart, I stood repeating

“‘T is some visitor entreating entrance at my chamber door —

Some late visitor entreating entrance at my chamber door; —

This it is and nothing more.”

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Presently my soul grew stronger; hesitating then no longer,

“Sir,” said I, “or Madam, truly your forgiveness I implore;

But the fact is I was napping, and so gently you came rapping,

And so faintly you came tapping, tapping at my chamber door,

That I scarce was sure I heard you”—here I opened wide the door;—

Darkness there and nothing more.

Deep into that darkness peering, long I stood there wondering, fearing,

Doubting, dreaming dreams no mortal ever dared to dream before;

But the silence was unbroken, and the stillness gave no token,

And the only word there spoken was the whispered word, “Lenore?”

This I whispered, and an echo murmured back the word, “Lenore!”

Merely this and nothing more.

Back into the chamber turning, all my soul within me burning,

Soon again I heard a tapping somewhat louder than before.

“Surely,” said I, “surely that is something at my window lattice;

Let me see, then, what thereat is, and this mystery explore —

Let my heart be still a moment and this mystery explore; —

‘Tis the wind and nothing more!”

Open here I ﬂung the shutter, when, with many a ﬂirt and ﬂutter,

In there stepped a stately Raven of the saintly days of yore;

Not the least obeisance made he; not a minute stopped or stayed he;

But with mien of lord or lady, perched above my chamber door —

Perched upon a bust of Pallas just above my chamber door —

Perched, and sat, and nothing more.

Then this ebony bird beguiling my sad fancy into smiling,

By the grave and stern decorum of the countenance it wore,

“Though thy crest be shorn and shaven, thou,” I said, “art sure no craven,

Ghastly grim and ancient Raven wandering from the Nightly shore —

Tell me what thy lordly name is on the Night’s Plutonian shore!”

Quoth the Raven “Nevermore.”

Much I marvelled this ungainly fowl to hear discourse so plainly,

Though its answer little meaning—little relevancy bore;

For we cannot help agreeing that no living human being

Ever yet was blessed with seeing bird above his chamber door —

Bird or beast upon the sculptured bust above his chamber door,

With such name as “Nevermore.”

But the Raven, sitting lonely on the placid bust, spoke only

That one word, as if his soul in that one word he did outpour.

Nothing farther then he uttered—not a feather then he ﬂuttered —

Till I scarcely more than muttered “Other friends have ﬂown before —

On the morrow he will leave me, as my Hopes have ﬂown before.”

Then the bird said “Nevermore.”

Startled at the stillness broken by reply so aptly spoken,

“Doubtless,” said I, “what it utters is its only stock and store

Caught from some unhappy master whom unmerciful Disaster

Followed fast and followed faster till his songs one burden bore —

Till the dirges of his Hope that melancholy burden bore

Of ‘Never—nevermore.’”

But the Raven still beguiling my sad fancy into smiling,

Straight I wheeled a cushioned seat in front of bird, and bust and door;

Then, upon the velvet sinking, I betook myself to linking

Fancy unto fancy, thinking what this ominous bird of yore —

What this grim, ungainly, ghastly, gaunt, and ominous bird of yore

Meant in croaking “Nevermore.”

This I sat engaged in guessing, but no syllable expressing

To the fowl whose ﬁery eyes now burned into my bosom’s core;

This and more I sat divining, with my head at ease reclining

On the cushion’s velvet lining that the lamp-light gloated o’er,

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But whose velvet-violet lining with the lamp-light gloating o’er,

She shall press, ah, nevermore!

Then, methought, the air grew denser, perfumed from an unseen censer

Swung by seraphim whose foot-falls tinkled on the tufted ﬂoor.

“Wretch,” I cried, “thy God hath lent thee—by these angels he hath sent thee

Respite—respite and nepenthe from thy memories of Lenore;

Quaff, oh quaff this kind nepenthe and forget this lost Lenore!’’

Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil! —

Whether Tempter sent, or whether tempest tossed thee here ashore,

Desolate yet all undaunted, on this desert land enchanted —

On this home by Horror haunted—tell me truly, I implore —

Is there—is there balm in Gilead?—tell me—tell me, I implore!”

Quoth the Raven “Nevermore.”

“Prophet!” said I, “thing of evil!—prophet still, if bird or devil!

By that Heaven that bends above us—by that God we both adore —

Tell this soul with sorrow laden if, within the distant Aidenn,

It shall clasp a sainted maiden whom the angels name Lenore —

Clasp a rare and radiant maiden whom the angels name Lenore.”

Quoth the Raven “Nevermore.”

“Be that word our sign of parting, bird or ﬁend!” I shrieked, upstarting —

“Get thee back into the tempest and the Night’s Plutonian shore!

Leave no black plume as a token of that lie thy soul hath spoken!

Leave my loneliness unbroken!—quit the bust above my door!

Take thy beak from out my heart, and take thy form from off my door!”

Quoth the Raven “Nevermore.”

And the Raven, never ﬂitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;

And his eyes have all the seeming of a demon’s that is dreaming,

And the lamp-light o’er him streaming throws his shadow on the ﬂoor;

And my soul from out that shadow that lies ﬂoating on the ﬂoor

Shall be lifted—nevermore!

Dickinson, Emily. “We Grow Accustomed to the Dark.” The Complete Poems of Emily Dickinson. Boston: Little,

Brown, 1960. (1890)

We grow accustomed to the Dark,

When Light is put away,

As when the Neighbor holds the Lamp

To witness her Goodbye.

A Moment—We uncertain step

For newness of the night,

Then ﬁt our Vision to the Dark,

And meet the Road erect.

And so of larger Darknesses,

Those Evenings of the Brain,

When not a Moon disclose a sign,

Or Star, come out, within.

The Bravest grope a little

And sometimes hit a Tree

Directly in the Forehead,

But as they learn to see,

Either the Darkness alters

Or something in the sight

Adjusts itself to Midnight,

And Life steps almost straight.

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Houseman, A. E. “Loveliest of Trees.” A Shropshire Lad. New York: Penguin, 1999. (1896)

Loveliest of Trees, the cherry now

Is hung with bloom along the bough,

And stands about the woodland ride

Wearing white for Eastertide.

Now, of my threescore years and ten,

Twenty will not come again,

And take from seventy springs a score,

It only leaves me ﬁfty more.

And since to look at things in bloom

Fifty springs are little room,

About the woodlands I will go

To see the cherry hung with snow.

Johnson, James Weldon. “Lift Every Voice and Sing.” Lift Every Voice and Sing. New York: Penguin, 1993. (1900)

Lift every voice and sing,

Till earth and heaven ring,

Ring with the harmonies of Liberty,

Let our rejoicing rise

High as the list’ning skies,

Let it resound loud as the rolling sea.

Sing a song full of the faith that the dark past has taught us

Sing a song full of the hope that the present has brought us

Facing the rising sun of our new day begun,

Let us march on till victory is won.

Stony the road we trod

Bitter the chast’ning rod,

Felt in the days when hope unborn had died;

Yet with a steady beat

Have not our weary feet

Come to the place for which our fathers sighed?

We have come over a way that with tears has been watered

We have come, treading our path thro’ the blood of the slaughtered,

Out from the gloomy past, till now we stand at last

Where the white gleam of our bright star is cast.

God of our weary years,

God of our silent tears,

Thou who hast brought us thus far on the way;

Thou who hast by Thy might,

Led us into the light, Keep us forever in the path, we pray.

Lest our feet stray from the places, our God, where we meet Thee,

Lest our hearts, drunk with the wine of the world we forget Thee;

Shadowed beneath Thy hand, may we forever stand,

True to our God, true to our native land.

Cullen, Countee. “Yet Do I Marvel.” The Norton Anthology of African American Literature. Edited by Henry Louis

Gates, Jr., and Nellie Y. McKay. New York: Norton, 1997. (1925)

Auden, Wystan Hugh. ”Musée des Beaux Arts.” The Collected Poetry of W. H. Auden. New York: Random House,

1945. (1938)

Walker, Alice. “Women.” Revolutionary Petunias and Other Poems. New York: Harcourt Brace, 1973. (1970)

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Baca, Jimmy Santiago. “I Am Offering This Poem to You.” Immigrants in Our Own Land and Selected Early Poems.

New York: New Directions, 1977. (1977)

I am offering this poem to you,

since I have nothing else to give.

Keep it like a warm coat

when winter comes to cover you,

or like a pair of thick socks

the cold cannot bite through,

I love you,

I have nothing else to give you,

so it is a pot full of yellow corn

to warm your belly in winter,

it is a scarf for your head, to wear

over your hair, to tie up around your face,

I love you,

Keep it, treasure this as you would

if you were lost, needing direction,

in the wilderness life becomes when mature;

and in the corner of your drawer,

tucked away like a cabin or hogan

in dense trees, come knocking,

and I will answer, give you directions,

and let you warm yourself by this ﬁre,

rest by this ﬁre, and make you feel safe

I love you,

It’s all I have to give,

and all anyone needs to live,

and to go on living inside,

when the world outside

no longer cares if you live or die;

remember,

I love you

ed by permission of New Directions Publishing Corp.

Sample Performance Tasks for Stories, Drama, and Poetry

• Students analyze how the character of Odysseus from Homer’s Odyssey—a “man of twists and turns”—reﬂects

conﬂicting motivations through his interactions with other characters in the epic poem. They articulate how his

conﬂicting loyalties during his long and complicated journey home from the Trojan War both advance the plot

of Homer’s epic and develop themes. [RL.9–10.3]

• Students analyze how Michael Shaara in his Civil War novel The Killer Angels creates a sense of tension and

even surprise regarding the outcome of events at the Battle of Gettysburg through pacing, ordering of events,

and the overarching structure of the novel. [RL.9–10.5]

• Students analyze in detail the theme of relationships between mothers and daughters and how that theme de-

velops over the course of Amy Tan’s The Joy Luck Club. Students search the text for speciﬁc details that show

how the theme emerges and how it is shaped and reﬁned over the course of the novel. [RL.9–10.2]

• Students analyze how the Japanese ﬁlmmaker Akira Kurosawa in his ﬁlm Throne of Blood draws on and trans-

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forms Shakespeare’s play Macbeth in order to develop a similar plot set in feudal Japan. [RL.9–10.9]

• Students analyze how artistic representations of Ramses II (the pharaoh who reigned during the time of Mo-

ses) vary, basing their analysis on what is emphasized or absent in dierent treatments of the pharaoh in works

of art (e.g., images in the British Museum) and in Percy Bysshe Shelley’s poem “Ozymandias.” [RL.9–10.7]

Informational Texts: English Language Arts

Henry, Patrick. “Speech to the Second Virginia Convention.” (1775)

MR. PRESIDENT: No man thinks more highly than I do of the patriotism, as well as abilities, of the very worthy

gentlemen who have just addressed the House. But different men often see the same subject in different lights; and,

therefore, I hope it will not be thought disrespectful to those gentlemen if, entertaining as I do, opinions of a character

very opposite to theirs, I shall speak forth my sentiments freely, and without reserve. This is no time for ceremony. The

question before the House is one of awful moment to this country. For my own part, I consider it as nothing less than

a question of freedom or slavery; and in proportion to the magnitude of the subject ought to be the freedom of the

debate. It is only in this way that we can hope to arrive at truth, and fulﬁll the great responsibility which we hold to

God and our country. Should I keep back my opinions at such a time, through fear of giving offence, I should consider

myself as guilty of treason towards my country, and of an act of disloyalty toward the majesty of heaven, which I

revere above all earthly kings.

Mr. President, it is natural to man to indulge in the illusions of hope. We are apt to shut our eyes against a painful

truth, and listen to the song of that siren till she transforms us into beasts. Is this the part of wise men, engaged in a

great and arduous struggle for liberty? Are we disposed to be of the number of those who, having eyes, see not, and,

having ears, hear not, the things which so nearly concern their temporal salvation? For my part, whatever anguish of

spirit it may cost, I am willing to know the whole truth; to know the worst, and to provide for it.

I have but one lamp by which my feet are guided; and that is the lamp of experience. I know of no way of judging of

the future but by the past. And judging by the past, I wish to know what there has been in the conduct of the British

ministry for the last ten years, to justify those hopes with which gentlemen have been pleased to solace themselves,

and the House? Is it that insidious smile with which our petition has been lately received? Trust it not, sir; it will prove

a snare to your feet. Suffer not yourselves to be betrayed with a kiss. Ask yourselves how this gracious reception of

our petition comports with these war-like preparations which cover our waters and darken our land. Are ﬂeets and

armies necessary to a work of love and reconciliation? Have we shown ourselves so unwilling to be reconciled, that

force must be called in to win back our love? Let us not deceive ourselves, sir. These are the implements of war and

subjugation; the last arguments to which kings resort. I ask, gentlemen, sir, what means this martial array, if its pur-

pose be not to force us to submission? Can gentlemen assign any other possible motive for it? Has Great Britain any

enemy, in this quarter of the world, to call for all this accumulation of navies and armies? No, sir, she has none. They

are meant for us; they can be meant for no other. They are sent over to bind and rivet upon us those chains which

the British ministry have been so long forging. And what have we to oppose to them? Shall we try argument? Sir, we

have been trying that for the last ten years. Have we anything new to offer upon the subject? Nothing. We have held

the subject up in every light of which it is capable; but it has been all in vain. Shall we resort to entreaty and humble

supplication? What terms shall we ﬁnd which have not been already exhausted? Let us not, I beseech you, sir, deceive

ourselves. Sir, we have done everything that could be done, to avert the storm which is now coming on. We have

petitioned; we have remonstrated; we have supplicated; we have prostrated ourselves before the throne, and have im-

plored its interposition to arrest the tyrannical hands of the ministry and Parliament. Our petitions have been slighted;

our remonstrances have produced additional violence and insult; our supplications have been disregarded; and we

have been spurned, with contempt, from the foot of the throne. In vain, after these things, may we indulge the fond

hope of peace and reconciliation. There is no longer any room for hope. If we wish to be free, if we mean to preserve

inviolate those inestimable privileges for which we have been so long contending, if we mean not basely to abandon

the noble struggle in which we have been so long engaged, and which we have pledged ourselves never to abandon

until the glorious object of our contest shall be obtained, we must ﬁght! I repeat it, sir, we must ﬁght! An appeal to

arms and to the God of Hosts is all that is left us!

They tell us, sir, that we are weak; unable to cope with so formidable an adversary. But when shall we be stronger?

Will it be the next week, or the next year? Will it be when we are totally disarmed, and when a British guard shall be

stationed in every house? Shall we gather strength by irresolution and inaction? Shall we acquire the means of ef-

fectual resistance, by lying supinely on our backs, and hugging the delusive phantom of hope, until our enemies shall

have bound us hand and foot? Sir, we are not weak if we make a proper use of those means which the God of nature

hath placed in our power. Three millions of people, armed in the holy cause of liberty, and in such a country as that

which we possess, are invincible by any force which our enemy can send against us. Besides, sir, we shall not ﬁght our

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battles alone. There is a just God who presides over the destinies of nations; and who will raise up friends to ﬁght our

battles for us. The battle, sir, is not to the strong alone; it is to the vigilant, the active, the brave. Besides, sir, we have

no election. If we were base enough to desire it, it is now too late to retire from the contest. There is no retreat but in

submission and slavery! Our chains are forged! Their clanking may be heard on the plains of Boston! The war is inevi-

table and let it come! I repeat it, sir, let it come.

It is in vain, sir, to extenuate the matter. Gentlemen may cry, Peace, Peace but there is no peace. The war is actually

begun! The next gale that sweeps from the north will bring to our ears the clash of resounding arms! Our brethren are

already in the ﬁeld! Why stand we here idle? What is it that gentlemen wish? What would they have? Is life so dear,

or peace so sweet, as to be purchased at the price of chains and slavery? Forbid it, Almighty God! I know not what

course others may take; but as for me, give me liberty or give me death!

Washington, George. “Farewell Address.” (1796)

Against the insidious wiles of foreign inﬂuence (I conjure you to believe me, fellow-citizens) the jealousy of a free

people ought to be constantly awake, since history and experience prove that foreign inﬂuence is one of the most

baneful foes of republican government. But that jealousy to be useful must be impartial; else it becomes the instru-

ment of the very inﬂuence to be avoided, instead of a defense against it. Excessive partiality for one foreign nation

and excessive dislike of another cause those whom they actuate to see danger only on one side, and serve to veil and

even second the arts of inﬂuence on the other. Real patriots who may resist the intrigues of the favorite are liable to

become suspected and odious, while its tools and dupes usurp the applause and conﬁdence of the people, to sur-

render their interests.

The great rule of conduct for us in regard to foreign nations is in extending our commercial relations, to have with

them as little political connection as possible. So far as we have already formed engagements, let them be fulﬁlled

with perfect good faith. Here let us stop. Europe has a set of primary interests which to us have none; or a very

remote relation. Hence she must be engaged in frequent controversies, the causes of which are essentially foreign to

our concerns. Hence, therefore, it must be unwise in us to implicate ourselves by artiﬁcial ties in the ordinary vicissi-

tudes of her politics, or the ordinary combinations and collisions of her friendships or enmities.

Our detached and distant situation invites and enables us to pursue a different course. If we remain one people under

an efﬁcient government. the period is not far off when we may defy material injury from external annoyance; when we

may take such an attitude as will cause the neutrality we may at any time resolve upon to be scrupulously respected;

when belligerent nations, under the impossibility of making acquisitions upon us, will not lightly hazard the giving us

provocation; when we may choose peace or war, as our interest, guided by justice, shall counsel.

Why forego the advantages of so peculiar a situation? Why quit our own to stand upon foreign ground? Why, by

interweaving our destiny with that of any part of Europe, entangle our peace and prosperity in the toils of European

ambition, rivalship, interest, humor or caprice?

It is our true policy to steer clear of permanent alliances with any portion of the foreign world; so far, I mean, as we

are now at liberty to do it; for let me not be understood as capable of patronizing inﬁdelity to existing engagements.

I hold the maxim no less applicable to public than to private affairs, that honesty is always the best policy. I repeat it,

therefore, let those engagements be observed in their genuine sense. But, in my opinion, it is unnecessary and would

be unwise to extend them.

Lincoln, Abraham. “Gettysburg Address.” (1863)

Fourscore and seven years ago, our fathers brought forth upon this continent a new nation, conceived in liberty, and

dedicated to the proposition that all men are created equal.

Now we are engaged in a great civil war, testing whether that nation, or any nation so conceived and so dedicated,

can long endure. We are met on a great battleﬁeld of that war. We are met to dedicate a portion of it as the ﬁnal

resting-place of those who here gave their lives that that nation might live. It is altogether ﬁtting and proper that we

should do this.

But in a large sense we cannot dedicate,—we cannot consecrate,—we cannot hallow this ground. The brave men,

living and dead, who struggled here, have consecrated it far above our power to add or detract. The world will little

note, nor long remember, what we say here, but it can never forget what they did here. It is for us, the living, rather

to be dedicated here to the unﬁnished work that they have thus far so nobly carried on. It is, rather for us to be here

dedicated to the great task remaining before us, that from these honored dead we take increased devotion to that

cause for which they here gave the last full measure of devotion; that we here highly resolve that these dead shall not

have died in vain; that this nation, under God, shall have a new birth of freedom, and that Government of the people,

by the people and for the people, shall not perish from the earth.

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Lincoln, Abraham. “Second Inaugural Address.” (1865)

Fellow-Countrymen:

At this second appearing to take the oath of the Presidential ofﬁce there is less occasion for an extended address

than there was at the ﬁrst. Then a statement somewhat in detail of a course to be pursued seemed ﬁtting and proper.

Now, at the expiration of four years, during which public declarations have been constantly called forth on every point

and phase of the great contest which still absorbs the attention and engrosses the energies of the nation, little that is

new could be presented. The progress of our arms, upon which all else chieﬂy depends, is as well known to the public

as to myself, and it is, I trust, reasonably satisfactory and encouraging to all. With high hope for the future, no predic-

tion in regard to it is ventured.

On the occasion corresponding to this four years ago all thoughts were anxiously directed to an impending civil war.

All dreaded it, all sought to avert it. While the inaugural address was being delivered from this place, devoted alto-

gether to saving the Union without war, urgent agents were in the city seeking to destroy it without war—seeking to

dissolve the Union and divide effects by negotiation. Both parties deprecated war, but one of them would make war

rather than let the nation survive, and the other would accept war rather than let it perish, and the war came.

One-eighth of the whole population were colored slaves, not distributed generally over the Union, but localized in the

southern part of it. These slaves constituted a peculiar and powerful interest. All knew that this interest was some-

how the cause of the war. To strengthen, perpetuate, and extend this interest was the object for which the insurgents

would rend the Union even by war, while the Government claimed no right to do more than to restrict the territorial

enlargement of it. Neither party expected for the war the magnitude or the duration which it has already attained.

Neither anticipated that the cause of the conﬂict might cease with or even before the conﬂict itself should cease.

Each looked for an easier triumph, and a result less fundamental and astounding. Both read the same Bible and pray

to the same God, and each invokes His aid against the other. It may seem strange that any men should dare to ask

a just God’s assistance in wringing their bread from the sweat of other men’s faces, but let us judge not, that we be

not judged. The prayers of both could not be answered. That of neither has been answered fully. The Almighty has

His own purposes. “Woe unto the world because of offenses; for it must needs be that offenses come, but woe to

that man by whom the offense cometh.” If we shall suppose that American slavery is one of those offenses which, in

the providence of God, must needs come, but which, having continued through His appointed time, He now wills to

remove, and that He gives to both North and South this terrible war as the woe due to those by whom the offense

came, shall we discern therein any departure from those divine attributes which the believers in a living God always

ascribe to Him? Fondly do we hope, fervently do we pray, that this mighty scourge of war may speedily pass away.

Yet, if God wills that it continue until all the wealth piled by the bondsman’s two hundred and ﬁfty years of unrequited

toil shall be sunk, and until every drop of blood drawn with the lash shall be paid by another drawn with the sword, as

was said three thousand years ago, so still it must be said “the judgments of the Lord are true and righteous alto-

gether.”

With malice toward none, with charity for all, with ﬁrmness in the right as God gives us to see the right, let us strive

on to ﬁnish the work we are in, to bind up the nation’s wounds, to care for him who shall have borne the battle and for

his widow and his orphan, to do all which may achieve and cherish a just and lasting peace among ourselves and with

all nations.

Roosevelt, Franklin Delano. “State of the Union Address.” (1941)

For there is nothing mysterious about the foundations of a healthy and strong democracy. The basic things expected

by our people of their political and economic systems are simple. They are:

Equality of opportunity for youth and for others.

Jobs for those who can work.

Security for those who need it.

The ending of special privilege for the few.

The preservation of civil liberties for all.

The enjoyment of the fruits of scientiﬁc progress in a wider and constantly rising standard of living.

These are the simple, basic things that must never be lost sight of in the turmoil and unbelievable complexity of our

modern world. The inner and abiding strength of our economic and political systems is dependent upon the degree

to which they fulﬁll these expectations.

Many subjects connected with our social economy call for immediate improvement. As examples:

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We should bring more citizens under the coverage of old-age pensions and unemployment insurance.

We should widen the opportunities for adequate medical care.

We should plan a better system by which persons deserving or needing gainful employment may obtain it.

I have called for personal sacriﬁce. I am assured of the willingness of almost all Americans to respond to that call.

A part of the sacriﬁce means the payment of more money in taxes. In my Budget Message I shall recommend that a

greater portion of this great defense program be paid for from taxation than we are paying today. No person should

try, or be allowed, to get rich out of this program; and the principle of tax payments in accordance with ability to pay

should be constantly before our eyes to guide our legislation.

If the Congress maintains these principles, the voters, putting patriotism ahead of pocketbooks, will give you their

applause.

In the future days, which we seek to make secure, we look forward to a world founded upon four essential human

freedoms.

The ﬁrst is freedom of speech and expression—everywhere in the world.

The second is freedom of every person to worship God in his own way—everywhere in the world.

The third is freedom from want—which, translated into world terms, means economic understandings which will se-

cure to every nation a healthy peacetime life for its inhabitants-everywhere in the world.

The fourth is freedom from fear—which, translated into world terms, means a world-wide reduction of armaments to

such a point and in such a thorough fashion that no nation will be in a position to commit an act of physical aggres-

sion against any neighbor—anywhere in the world.

Hand, Learned. “I Am an American Day Address.” (1944)

We have gathered here to afﬁrm a faith, a faith in a common purpose, a common conviction, a common devotion.

Some of us have chosen America as the land of our adoption; the rest have come from those who did the same. For

this reason we have some right to consider ourselves a picked group, a group of those who had the courage to break

from the past and brave the dangers and the loneliness of a strange land. What was the object that nerved us, or

those who went before us, to this choice? We sought liberty; freedom from oppression, freedom from want, freedom

to be ourselves. This we then sought; this we now believe that we are by way of winning. What do we mean when

we say that ﬁrst of all we seek liberty? I often wonder whether we do not rest our hopes too much upon constitu-

tions, upon laws and upon courts. These are false hopes; believe me, these are false hopes. Liberty lies in the hearts of

men and women; when it dies there, no constitution, no law, no court can even do much to help it. While it lies there

it needs no constitution, no law, no court to save it. And what is this liberty which must lie in the hearts of men and

women? It is not the ruthless, the unbridled will; it is not freedom to do as one likes. That is the denial of liberty, and

leads straight to its overthrow. A society in which men recognize no check upon their freedom soon becomes a soci-

ety where freedom is the possession of only a savage few; as we have learned to our sorrow.

What then is the spirit of liberty? I cannot deﬁne it; I can only tell you my own faith. The spirit of liberty is the spirit

which is not too sure that it is right; the spirit of liberty is the spirit which seeks to understand the mind of other men

and women; the spirit of liberty is the spirit which weighs their interests alongside its own without bias; the spirit of

liberty remembers that not even a sparrow falls to earth unheeded; the spirit of liberty is the spirit of Him who, near

two thousand years ago, taught mankind that lesson it has never learned but never quite forgotten; that there may be

a kingdom where the least shall be heard and considered side by side with the greatest. And now in that spirit, that

spirit of an America which has never been, and which may never be; nay, which never will be except as the conscience

and courage of Americans create it; yet in the spirit of that America which lies hidden in some form in the aspirations

of us all; in the spirit of that America for which our young men are at this moment ﬁghting and dying; in that spirit of

liberty and of America I ask you to rise and with me pledge our faith in the glorious destiny of our beloved country.

Smith, Margaret Chase. “Remarks to the Senate in Support of a Declaration of Conscience.” (1950)

Mr. President:

I would like to speak brieﬂy and simply about a serious national condition. It is a national feeling of fear and frustra-

tion that could result in national suicide and the end of everything that we Americans hold dear. It is a condition that

comes from the lack of effective leadership in either the Legislative Branch or the Executive Branch of our Govern-

ment.

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That leadership is so lacking that serious and responsible proposals are being made that national advisory commis-

sions be appointed to provide such critically needed leadership.

I speak as brieﬂy as possible because too much harm has already been done with irresponsible words of bitterness

and selﬁsh political opportunism. I speak as brieﬂy as possible because the issue is too great to be obscured by elo-

quence. I speak simply and brieﬂy in the hope that my words will be taken to heart.

I speak as a Republican. I speak as a woman. I speak as a United States Senator. I speak as an American.

The United States Senate has long enjoyed worldwide respect as the greatest deliberative body in the world. But

recently that deliberative character has too often been debased to the level of a forum of hate and character assas-

sination sheltered by the shield of congressional immunity.

It is ironical that we Senators can in debate in the Senate directly or indirectly, by any form of words, impute to any

American who is not a Senator any conduct or motive unworthy or unbecoming an American—and without that

non-Senator American having any legal redress against us—yet if we say the same thing in the Senate about our col-

leagues we can be stopped on the grounds of being out of order.

It is strange that we can verbally attack anyone else without restraint and with full protection and yet we hold our-

selves above the same type of criticism here on the Senate Floor. Surely the United States Senate is big enough to

take self-criticism and self-appraisal. Surely we should be able to take the same kind of character attacks that we

“dish out” to outsiders.

I think that it is high time for the United States Senate and its members to do some soul-searching—for us to weigh

our consciences—on the manner in which we are performing our duty to the people of America—on the manner in

which we are using or abusing our individual powers and privileges.

I think that it is high time that we remembered that we have sworn to uphold and defend the Constitution. I think that

it is high time that we remembered that the Constitution, as amended, speaks not only of the freedom of speech but

also of trial by jury instead of trial by accusation.

Whether it be a criminal prosecution in court or a character prosecution in the Senate, there is little practical distinc-

tion when the life of a person has been ruined.

Those of us who shout the loudest about Americanism in making character assassinations are all too frequently those

who, by our own words and acts, ignore some of the basic principles of Americanism:

The right to criticize;

The right to hold unpopular beliefs;

The right to protest;

The right of independent thought.

The exercise of these rights should not cost one single American citizen his reputation or his right to a livelihood nor

should he be in danger of losing his reputation or livelihood merely because he happens to know someone who holds

unpopular beliefs. Who of us doesn’t? Otherwise none of us could call our souls our own. Otherwise thought control

would have set in.

The American people are sick and tired of being afraid to speak their minds lest they be politically smeared as “Com-

munists” or “Fascists” by their opponents. Freedom of speech is not what it used to be in America. It has been so

abused by some that it is not exercised by others.

The American people are sick and tired of seeing innocent people smeared and guilty people whitewashed. But there

have been enough proved cases, such as the Amerasia case, the Hiss case, the Coplon case, the Gold case, to cause

the nationwide distrust and strong suspicion that there may be something to the unproved, sensational accusations.

I doubt if the Republican Party could—simply because I don’t believe the American people will uphold any political

party that puts political exploitation above national interest. Surely we Republicans aren’t that desperate for victory.

I don’t want to see the Republican Party win that way. While it might be a ﬂeeting victory for the Republican Party, it

would be a more lasting defeat for the American people. Surely it would ultimately be suicide for the Republican Par-

ty and the two-party system that has protected our American liberties from the dictatorship of a one party system.

As members of the Minority Party, we do not have the primary authority to formulate the policy of our Government.

But we do have the responsibility of rendering constructive criticism, of clarifying issues, of allaying fears by acting as

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responsible citizens.

As a woman, I wonder how the mothers, wives, sisters, and daughters feel about the way in which members of their

families have been politically mangled in the Senate debate—and I use the word “debate” advisedly.

As a United States Senator, I am not proud of the way in which the Senate has been made a publicity platform for ir-

responsible sensationalism. I am not proud of the reckless abandon in which unproved charges have been hurled from

the side of the aisle. I am not proud of the obviously staged, undigniﬁed countercharges that have been attempted in

retaliation from the other side of the aisle.

I don’t like the way the Senate has been made a rendezvous for viliﬁcation, for selﬁsh political gain at the sacriﬁce of

individual reputations and national unity. I am not proud of the way we smear outsiders from the Floor of the Senate

and hide behind the cloak of congressional immunity and still place ourselves beyond criticism on the Floor of the

Senate.

As an American, I am shocked at the way Republicans and Democrats alike are playing directly into the Communist

design of “confuse, divide, and conquer.” As an American, I don’t want a Democratic Administration “whitewash” or

“cover-up” any more than a want a Republican smear or witch hunt.

As an American, I condemn a Republican “Fascist” just as much I condemn a Democratic “Communist.” I condemn a

Democrat “Fascist” just as much as I condemn a Republican “Communist.” They are equally dangerous to you and me

and to our country. As an American, I want to see our nation recapture the strength and unity it once had when we

fought the enemy instead of ourselves.

It is with these thoughts that I have drafted what I call a “Declaration of Conscience.” I am gratiﬁed that Senator

Tobey, Senator Aiken, Senator Morse, Senator Ives, Senator Thye, and Senator Hendrickson have concurred in that

declaration and have authorized me to announce their concurrence.

King, Jr., Martin Luther. “Letter from Birmingham Jail.” Why We Can’t Wait. New York: Signet Classics, 2000. (1963)

My Dear Fellow Clergymen:

While conﬁned here in the Birmingham city jail, I came across your recent statement calling my present activities

“unwise and untimely.” Seldom do I pause to answer criticism of my work and ideas. If I sought to answer all the criti-

cisms that cross my desk, my secretaries would have little time for anything other than such correspondence in the

course of the day, and I would have no time for constructive work. But since I feel that you are men of genuine good

will and that your criticisms are sincerely set forth, I want to try to answer your statements in what I hope will be

patient and reasonable terms.

I think I should indicate why I am here In Birmingham, since you have been inﬂuenced by the view which argues

against “outsiders coming in.” I have the honor of serving as president of the Southern Christian Leadership Confer-

ence, an organization operating in every southern state, with headquarters in Atlanta, Georgia. We have some eighty-

ﬁve afﬁliated organizations across the South, and one of them is the Alabama Christian Movement for Human Rights.

Frequently we share staff, educational and ﬁnancial resources with our afﬁliates. Several months ago the afﬁliate here

in Birmingham asked us to be on call to engage in a nonviolent direct-action program if such were deemed necessary.

We readily consented, and when the hour came we lived up to our promise. So I, along with several members of my

staff, am here because I was invited here I am here because I have organizational ties here.

But more basically, I am in Birmingham because injustice is here. Just as the prophets of the eighth century B.C. left

their villages and carried their “thus saith the Lord” far beyond the boundaries of their home towns, and just as the

Apostle Paul left his village of Tarsus and carried the gospel of Jesus Christ to the far corners of the Greco-Roman

world, so am I. compelled to carry the gospel of freedom beyond my own home town. Like Paul, I must constantly

respond to the Macedonian call for aid.

Moreover, I am cognizant of the interrelatedness of all communities and states. I cannot sit idly by in Atlanta and not

be concerned about what happens in Birmingham. Injustice anywhere is a threat to justice everywhere. We are caught

in an inescapable network of mutuality, tied in a single garment of destiny. Whatever affects one directly, affects all in-

directly. Never again can we afford to live with the narrow, provincial “outside agitator” idea. Anyone who lives inside

the United States can never be considered an outsider anywhere within its bounds.

License granted by Intellectual Properties Management, Atlanta, Georgia, as exclusive licensor of the King Estate.

King, Jr., Martin Luther. “I Have a Dream: Address Delivered at the March on Washington, D.C., for Civil Rights on

August 28, 1963.” (1963)

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Angelou, Maya. I Know Why the Caged Bird Sings. New York: Random House, 1970. (1969)

From Chapter 14

She said she was going to give me some books and that I not only must read them, I must read them aloud. She sug-

gested that I try to make a sentence sound in as many different ways as possible.

“I’ll accept no excuse if you return a book to me that has been badly handled.” My imagination boggled at the punish-

ment I would deserve if in fact I did abuse a book of Mrs. Flowers’. Death would be too kind and brief.

The odors in the house surprised me. Somehow I had never connected Mrs. Flowers with food or eating or any other

common experience of common people. There must have been an outhouse, too, but my mind never recorded it.

The sweet scent of vanilla had met us as she opened the door.

“I made tea cookies this morning. You see, I had planned to invite you for cookies and lemonade so we could have this

little chat. The lemonade is in the icebox.”

It followed that Mrs. Flowers would have ice on an ordinary day, when most families in our town bought ice late on

Saturdays only a few times during the summer to be used in the wooden ice-cream freezers.

She took the bags from me and disappeared through the kitchen door. I looked around the room that I had never in

my wildest fantasies imagined I would see. Browned photographs leered or threatened from the walls and the white,

freshly done curtains pushed against themselves and against the wind. I wanted to gobble up the room entire and

take it to Bailey, who would help me analyze and enjoy it.

Wiesel, Elie. “Hope, Despair and Memory.” Nobel Lectures in Peace 1981–1990. Singapore: World Scientiﬁc, 1997.

(1986)

It is with a profound sense of humility that I accept the honor - the highest there is - that you have chosen to bestow

upon me. I know your choice transcends my person.

Do I have the right to represent the multitudes who have perished? Do I have the right to accept this great honor on

their behalf? I do not. No one may speak for the dead, no one may interpret their mutilated dreams and visions. And

yet, I sense their presence. I always do - and at this moment more than ever. The presence of my parents, that of my

little sister. The presence of my teachers, my friends, my companions...

This honor belongs to all the survivors and their children and, through us to the Jewish people with whose destiny I

have always identiﬁed.

I remember: it happened yesterday, or eternities ago. A young Jewish boy discovered the Kingdom of Night. I remem-

ber his bewilderment, I remember his anguish. It all happened so fast. The ghetto. The deportation. The sealed cattle

car. The ﬁery altar upon which the history of our people and the future of mankind were meant to be sacriﬁced.

I remember he asked his father: “Can this be true? This is the twentieth century, not the Middle Ages. Who would al-

low such crimes to be committed? How could the world remain silent?”

And now the boy is turning to me. “Tell me,” he asks, “what have you done with my future, what have you done with

your life?” And I tell him that I have tried. That I have tried to keep memory alive, that I have tried to ﬁght those who

would forget. Because if we forget, we are guilty, we are accomplices.

And then I explain to him how naïve we were, that the world did know and remained silent. And that is why I swore

never to be silent whenever wherever human beings endure suffering and humiliation. We must take sides. Neutrality

helps the oppressor, never the victim. Silence encourages the tormentor, never the tormented. Sometimes we must

interfere. When human lives are endangered, when human dignity is in jeopardy, national borders and sensitivities

become irrelevant. Wherever men and women are persecuted because of their race, religion, or political views, that

place must— at that moment—become the center of the universe.

Reagan, Ronald. “Address to Students at Moscow State University.” The American Reader: Words that Moved a

Nation, 2nd Edition. Edited by Diane Ravitch. New York: HarperCollins, 2000. (1988)

From “Ronald Reagan: Speech at Moscow State University”

But progress is not foreordained. The key is freedom—freedom of thought, freedom of information, freedom of com-

munication. The renowned scientist, scholar, and founding father of this university, Mikhail Lomonosov, knew that. “It

is common knowledge,” he said, “that the achievements of science are considerable and rapid, particularly once the

yoke of slavery is cast off and replaced by the freedom of philosophy.” […]

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The explorers of the modern era are the entrepreneurs, men with vision, with the courage to take risks and faith

enough to brave the unknown. These entrepreneurs and their small enterprises are responsible for almost all the

economic growth in the United States. They are the prime movers of the technological revolution. In fact, one of the

largest personal computer ﬁrms in the United States was started by two college students, no older than you, in the

garage behind their home. Some people, even in my own country, look at the riot of experiment that is the free mar-

ket and see only waste. What of all the entrepreneurs that fail? Well, many do, particularly the successful ones; often

several times. And if you ask them the secret of their success, they’ll tell you it’s all that they learned in their struggles

along the way; yes, it’s what they learned from failing. Like an athlete in competition or a scholar in pursuit of the

truth, experience is the greatest teacher. […]

We Americans make no secret of our belief in freedom. In fact, it’s something of a national pastime. Every 4 years the

American people choose a new President, and 1988 is one of those years. At one point there were 13 major candidates

running in the two major parties, not to mention all the others, including the Socialist and Libertarian candidates—all

trying to get my job.

About 1,000 local television stations, 8,500 radio stations, and 1,700 daily newspapers—each one an independent, pri-

vate enterprise, ﬁercely independent of the Government—report on the candidates, grill them in interviews, and bring

them together for debates. In the end, the people vote; they decide who will be the next President.

But freedom doesn’t begin or end with elections. Go to any American town, to take just an example, and you’ll see

dozens of churches, representing many different beliefs—in many places, synagogues and mosques—and you’ll see

families of every conceivable nationality worshiping together. Go into any schoolroom, and there you will see chil-

dren being taught the Declaration of Independence, that they are endowed by their Creator with certain unalienable

rights—among them life, liberty, and the pursuit of happiness—that no government can justly deny; the guarantees in

their Constitution for freedom of speech, freedom of assembly, and freedom of religion.

Go into any courtroom, and there will preside an independent judge, beholden to no government power. There every

defendant has the right to a trial by a jury of his peers, usually 12 men and women—common citizens; they are the

ones, the only ones, who weigh the evidence and decide on guilt or innocence. In that court, the accused is innocent

until proven guilty, and the word of a policeman or any ofﬁcial has no greater legal standing than the word of the ac-

cused.

Go to any university campus, and there you’ll ﬁnd an open, sometimes heated discussion of the problems in American

society and what can be done to correct them. Turn on the television, and you’ll see the legislature conducting the

business of government right there before the camera, debating and voting on the legislation that will become the

law of the land. March in any demonstration, and there are many of them; the people’s right of assembly is guaran-

teed in the Constitution and protected by the police. Go into any union hall, where the members know their right to

strike is protected by law.

But freedom is more even than this. Freedom is the right to question and change the established way of doing things.

It is the continuing revolution of the marketplace. It is the understanding that allows us to recognize shortcomings

and seek solutions. It is the right to put forth an idea, scoffed at by the experts, and watch it catch ﬁre among the

people. It is the right to dream—to follow your dream or stick to your conscience, even if you’re the only one in a sea

of doubters. Freedom is the recognition that no single person, no single authority or government has a monopoly on

the truth, but that every individual life is inﬁnitely precious, that every one of us put on this world has been put there

for a reason and has something to offer.

Quindlen, Anna. “A Quilt of a Country.” Newsweek September 27, 2001. (2001)

America is an improbable idea. A mongrel nation built of ever-changing disparate parts, it is held together by a no-

tion, the notion that all men are created equal, though everyone knows that most men consider themselves better

than someone. “Of all the nations in the world, the United States was built in nobody’s image,” the historian Daniel

Boorstin wrote. That’s because it was built of bits and pieces that seem discordant, like the crazy quilts that have

been one of its great folk-art forms, velvet and calico and checks and brocades. Out of many, one. That is the ideal.

Sample Performance Tasks for Informational Texts: English Language Arts

• Students compare George Washington’s Farewell Address to other foreign policy statements, such as the

Monroe Doctrine, and analyze how both texts address similar themes and concepts regarding “entangling alli-

ances.” [RI.9–10.9]

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• Students analyze how Abraham Lincoln in his “Second Inaugural Address” unfolds his examination of the ideas

that led to the Civil War, paying particular attention to the order in which the points are made, how Lincoln

introduces and develops his points, and the connections that are drawn between them. [RI.9–10.3]

• Students evaluate the argument and speciﬁc claims about the “spirit of liberty” in Learned Hand’s “I Am an

American Day Address,” assessing the relevance and suciency of the evidence and the validity of his reason-

ing. [RI.9–10.8]

• Students determine the purpose and point of view in Martin Luther King, Jr.’s, “I Have a Dream” speech and

analyze how King uses rhetoric to advance his position. [RI.9–10.6]

Informational Texts: History/Social Studies

Brown, Dee. Bury My Heart at Wounded Knee: An Indian History of the American West. New York: Holt Rinehart

Winston, 1970. (1970)

From Chapter 1: “Their Manners Are Decorous and Praiseworthy”

The decade following establishment of the “permanent Indian frontier” was a bad time for the eastern tribes. The

great Cherokee nation had survived more than a hundred years of the white man’s wars, diseases, and whiskey, but

now it was to be blotted out. Because the Cherokees numbered several thousands, their removal to the West was

planned to be in gradual stages, but the discovery of Appalachian gold within their territory brought on a clamor for

their immediate wholesale exodus. During the autumn of 1838, General Winﬁeld Scott’s soldiers rounded them up and

concentrated them into camps. (A few hundred escaped to the Smoky Mountains and many years later where given

a small reservation in North Carolina.) From the prison camps they were started westward to Indian Territory. On the

long winter trek, one of every four Cherokees died from the cold, hunger, or disease. They called the march their “trail

of tears.” The Choctaws, Chickasaws, Creeks, and Seminoles also gave up their homelands in the South. In the North,

surviving remnants of the Shawnees, Miamis, Ottawas, Hurons, Delawares, and many other once mighty tribes walked

or traveled by horseback and wagon beyond the Mississippi, carrying their shabby goods, their rusty farming tools,

and bags of seed corn. All of them arrived as refugees, poor relations, in the country of the proud and free Plains

Indians.

Scarcely were the refugees settled behind the security of the “permanent Indian frontier” when soldiers began march-

ing westward through Indian country. The white men of the United States—who talked so much of peace but rarely

seemed to practice it—were marching to war with the white men who had conquered the Indians of Mexico. When the

war with Mexico ended in 1847, the United States took possession of a vast expanse of territory reaching from Texas

to California. All of it was west of the “permanent Indian frontier.”

Connell, Evan S. Son of the Morning Star: Custer and the Little Bighorn. New York: Harper Perennial, 1985. (1984)

Sitting Bull. Sitting Bull.

In English this name sounds a little absurd, and to whites of the nineteenth century is was still more so; they alluded

to him as Slightly Recumbent Gentleman Cow.

Exact Translation from the Sioux is impossible, but his name may be better understood if one realizes how plains

Indians respected and honored the bull buffalo. Whites considered this animal to be exceptionally stupid. Col. Dodge

states without equivocation that the buffalo is the dullest creature of which he has any knowledge. A herd of buffalo

would graze complacently while every member was shot down. He himself shot two cows and thirteen calves while

the survivors grazed and watched. He and others in his party had to shout and wave their hats to drive the herd away

so the dead animals could be butchered.

Indians, however, regarded buffalo as the wisest and most powerful of creatures, nearest to the omnipresent Spirit.

Furthermore if one says in English that somebody is sitting it means he is seated, balanced on the haunches; but the

Sioux expression has an additional sense, not equivalent to but approximating the English words situate and locate

and reside.

Thus from an Indian point of view, the name Sitting Bull signiﬁed a wise and powerful being who had taken up resi-

dence among them.

As a boy, he was called Slow, Hunkesni, because of his deliberate manner, and it has been alleged that his parents

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thought him ordinary, perhaps even a bit slow in the head. Most biographies state that he was known also as Jumping

Badger; but Stanley Vestal, after talking to many Indians who knew his, said that none of them nor any member of Sit-

ting Bull’s family could remember his being called Jumping Badger. In any event, Slow he was called, and Slow would

sufﬁce until he distinguished himself.

Gombrich, E. H. The Story of Art, 16th Edition. London: Phaidon, 1995. (1995)

From Chapter 27: “Experimental Art: The First Half of the Twentieth Century”

In one of his letters to a young painter, Cézanne had advised him to look at nature in terms of spheres, cones and

cylinders. He presumably meant that he should always keep these basic solid shapes in mind when organizing his

pictures. But Picasso and his friends decided to take this advice literally. I suppose that they reasoned somewhat like

this: ‘We have long given up claiming that we represent things as they appear to our eyes. That was a will-o’-the-wisp

which it is useless to pursue. We do not want to ﬁx on the canvas the imaginary impression of a ﬂeeting moment.

Let us follow Cézanne’s example, and build up the picture of our motifs as solidly and enduringly as we can. Why not

be consistent and accept the fact that our real aim is rather to construct something, rather than to copy something?

If we think of an object, let us say a violin, it does not appear before the eye of our mind the way it would appear

before our bodily eyes. We can, and in fact do, think of its various aspects at the same time. Some of them stand out

so clearly that we feel we can touch them and handle them; others are somehow blurred. And this strange medley of

images represents more of the “real” violin than any single snapshot or meticulous painting could ever contain.’ This,

I suppose, was the reasoning which led to such paintings as Picasso’s still life of a violin, ﬁgure 374. In some respects,

it represents a return to what we have called Egyptian principles, in which an object was drawn from the angle from

which its characteristic form came out most clearly.

[Figure 374]

Pablo Picasso, Violin and Grapes, 1912

Oil on canvas, 50.6 x 61 cm, 20 x 24 in;

The Museum of Modern Art, New York

Mrs. David M. Levy Bequest

Kurlansky, Mark. Cod: A Biography of the Fish That Changed the World. New York: Walker, 1997. (1997)

From Chapter 1: “The Race to Codlandia”

A medieval ﬁsherman is said to have hauled up a three-foot-long cod, which was common enough at the time. And

the fact that the cod could talk was not especially surprising. But what was astonishing was that it spoke an unknown

language. It spoke Basque.

This Basque folktale shows not only the Basque attachment to their orphan language, indecipherable to the rest of

the world, but also their tie to the Atlantic cod, Gadus morhua, a ﬁsh that has never been found in Basque or even

Spanish waters.

The Basques are enigmatic. They have lived in what is now the northwest corner of Spain and a nick of the French

southwest for longer than history records, and not only is the origin of their language unknown, but also the origin of

the people themselves remains a mystery also. According to one theory, these rosy-cheeked, dark-haired, long-nosed

people where the original Iberians, driven by invaders to this mountainous corner between the Pyrenees, the Canta-

brian Sierra, and the Bay of Biscay. Or they may be indigenous to this area.

They graze sheep on impossibly steep, green slopes of mountains that are thrilling in their rare, rugged beauty. They

sing their own songs and write their own literature in their own language, Euskera. Possibly Europe’s oldest living

language, Euskera is one of only four European languages—along with Estonian, Finnish, and Hungarian—not in the In-

do-European family. They also have their own sports, most notably jai alai, and even their own hat, the Basque beret,

which is bigger than any other beret.

Haskins, Jim. Black, Blue and Gray: African Americans in the Civil War. New York: Simon & Schuster, 1998. (1998)

From “Introduction: A ‘White Man’s War?’”

In 1775 the ﬁrst shots were ﬁred in the war between the thirteen American colonies and Great Britain that ended in a

victory for the colonists and the founding of a new nation, the United States of America. Only eighty-ﬁve years later,

in 1861, the ﬁrst shots were ﬁred in a different war—a war between the states that became known as the Civil War. It

was a war fought between the Confederate States of America and the states that remained in the Union—each side

representing a distinct economy, labor system, and philosophy of government. The southern states that formed the

Confederacy had agricultural economies that depended on a slave workforce and believed that any rights not granted

to the federal government by the United States Constitution belonged to the states. The northern states were under-

going rapid industrialization, which depended on wage labor, and while northerners disagreed among themselves

about slavery, most believed it represented a direct challenge to their own rights and freedoms. Most also believed

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that a strong federal government, with the ability to legislate behavior in areas not speciﬁcally set forth in the Con-

stitution, was key to the growth and strength of the American republic. It was inevitable that these two very distinct

societies would clash. For the Confederates, nicknamed Rebels, the Civil War was a new war of Independence. For

the Unionists, nicknamed Yankees, it was a war to preserve the Union that had been so dearly won in the American

Revolution.

In the eyes of the four and an half million African Americans, enslaved and free, it was a war about slavery; and they

wanted to be part of the ﬁght. But many northern whites did not want blacks to serve in the northern military. They

called it a “white man’s war” and said that slavery was not the main point of the conﬂict. At ﬁrst, northern generals

actually sent escaped slaves back to their southern masters. Eventually, the Union did accept blacks into its army and

navy.

A total of 178,895 black men served in 120 infantry regiments, twelve heavy artillery regiments, ten light artillery bat-

teries, and seven cavalry regiments. Black soldiers constituted twelve percent of the North’s ﬁghting forces, and they

suffered a disproportionate number of casualties.

Dash, Joan. The Longitude Prize. New York: Farrar, Straus and Giroux, 2000. (2000)

From Chapter 1: “A Most Terrible Sea”

At six in the morning I was awaked by a great shock, and a confused noise of the men on deck. I ran up, think-

ing some ship had run foul of us, for by my own reckoning, and that of every other person in the ship, we were

at least thirty-ﬁve leagues distant from land; but, before I could reach the quarter-deck, the ship gave a great

stroke upon the ground, and the sea broke over her. Just after this I could perceive the land, rocky, rugged and

uneven, about two cables’ length from us…the masts soon went overboard, carrying some men with them…

notwithstanding a most terrible sea, one of the [lifeboats] was launched, and eight of the best men jumped

into her; but she had scarcely got to the ship’s stern when she was hurled to the bottom, and every soul in her

perished. The rest of the boats were soon washed to pieces on the deck. We then made a raft…and waited with

resignation for Providence to assist us.

—From an account of the wreck of HMS Litchﬁeld off the coast of North Africa, 1758

The Litchﬁeld came to grief because no one aboard knew where they were. As the narrator tells us, by his own reck-

oning and that of everyone else they were supposed to be thirty-ﬁve leagues, about a hundred miles, from land. The

word “reckoning” was short for “dead reckoning”—the system used by ships at sea to keep track of their position,

meaning their longitude and latitude. It was an intricate system, a craft, and like every other craft involved the mas-

tery of certain tools, in this case such instruments as compass, hourglass, and quadrant. It was an art as well.

Latitude, the north-south position, had always been the navigator’s faithful guide. Even in ancient times, a Greek or

Roman sailor could tell how far north of the equator he was by observing the North Star’s height above the horizon,

or the sun’s at noon. This could be done without instruments, trusting in experience and the naked eye, although it is

believed that an ancestor of the quadrant called the astrolabe—”star-measurer”—was known to the ancients, and used

by them to measure the angular height of the sun or a star above the horizon.

Phoenicians, Greeks, and Romans tended to sail along the coasts and were rarely out of sight of land. As later naviga-

tors left the safety of the Mediterranean to plunge into the vast Atlantic—far from shore, and from the shorebirds that

led them to it—they still had the sun and the North Star. And these enabled them to follow imagined parallel lines

of latitude that circle the globe. Following a line of latitude—”sailing the parallel”—kept a ship on a steady east-west

course. Christopher Columbus, who sailed the parallel in 1492, held his ships on such a safe course, west and west

again, straight on toward Asia. When they came across an island off the coast of what would later be called America,

Columbus compelled his crew to sign an afﬁdavit stating that this island was no island but mainland Asia.

Thompson, Wendy. The Illustrated Book of Great Composers. London: Anness, 2004. (2004)

From “Composition through the Ages”

Music as a Language Music as a language is the most mysterious of all art forms. People who can easily come to

terms with a work of literature or a painting are still often bafﬂed by the process by which a piece of music – appear-

ing in material form as notation – must then be translated back into sound through the medium of a third party – the

performer. Unlike a painting, a musical composition cannot be owned (except by its creator); and although a score

may be published, like a book, it may remain incomprehensible to the general public until it is performed. Although a

piece may be played thousands of times each repetition is entirely individual, and interpretations by different players

may vary widely.

Origins of musical notation The earliest musical compositions were circumscribed by the range of the human voice.

People from all cultures have always sung, or used primitive instruments to make sounds. Notation, or the writing

down of music, developed to enable performers to remember what they had improvised, to preserve what they had

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created, and to facilitate interaction between more than one performer. Musical notation, like language, has ancient

origins, dating back to the Middle East in the third millennium BC. The ancient Greeks appear to have been the ﬁrst to

try to represent variations of musical pitch through the medium of the alphabet, and successive civilizations all over

the world attempted to formulate similar systems of recognizable musical notation.

Neumatic notation The earliest surviving Western European notational system was called “neumatic notation”—a

system of symbols which attempted to portray the rise and fall of a melodic line. These date back to the 9

cen-

tury AD, and were associated with the performance of sacred music particularly plainsong—in monastic institutions.

Several early manuscript sources contain sacred texts with accompanying notation, although there was no standard

system. The ﬁrst appearance of staff notation, in which pitch was indicated by noteheads on or between lines with

a symbol called a clef at the beginning to ﬁx the pitch of one note, was in the 9

century French treatise Musica

enchiriadis. At the same time music for instruments (particularly organ and lute) was beginning to be written down in

diagrammatic form known as tablature, which indicated the positions of the player’s ﬁngers.

Mann, Charles C. Before Columbus: The Americas of 1491. New York: Atheneum, 2009. (2009)

From Chapter 2

If you asked modern scientists to name the world’s greatest achievements in genetic engineering, you might be sur-

prised by one of their low-tech answers: maize.

Scientists know that maize, called “corn” in the United States, was created more than 6,000 years ago. Although

exactly how this well-know plant was invented is still a mystery, they do know where it was invented—in the nar-

row “waist” of southern Mexico. This jumble of mountains, beaches, wet tropical forests, and dry plains is the most

ecologically diverse part of Mesoamerica. Today it is the home of more than a dozen different Indian groups, but the

human history of these hills and valleys stretches far into the past.

From Hunting to Gathering to Farming

About 11,500 years ago a group of Paleoindians was living in caves in what is now the Mexican state of Puebla. These

people were hunters, but they did not bring down mastodons and mammoths. Those huge species were already

extinct. Now and then they even feasted on giant turtles (which were probably a lot easier to catch than the fast-

moving deer and rabbits.)

Over the next 2,000 years, though, game animals grew scarce. Maybe the people of the area had been too successful

at hunting. Maybe, as the climate grew slowly hotter and drier, the grasslands where the animals lived shrank, and so

the animal populations shrank, as well. Perhaps the situation was a combination of these two reasons. Whatever the

explanation, hunters of Puebla and the neighboring state of Oaxaca turned to plants for more of their food.

Informational Texts: Science, Mathematics, and Technical Subjects

Euclid. Elements. Translated by Richard Fitzpatrick. Austin: Richard Fitzpatrick, 2005. (300 BCE)

From Elements, Book 1

Deﬁnitions

1. A point is that of which there is no part.

2. And a line is a length without breadth.

3. And the extremities of a line are points.

4. A straight-line is whatever lies evenly with points upon itself.

5. And a surface is that which has length and breadth alone.

6. And the extremities of a surface are lines.

7. A plane surface is whatever lies evenly with straight-lines upon itself.

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8. And a plane angle is the inclination of the lines, when two lines in a plane meet one another, and are not laid

down straight-on with respect to one another.

9. And when the lines containing the angle are straight then the angle is called rectilinear.

10. And when a straight-line stood upon (another) straight-line makes adjacent angles (which are) equal to one an-

other, each of the equal angles is a right-angle, and the former straight-line is called perpendicular to that upon

which it stands.

11. An obtuse angle is greater than a right-angle.

12. And an acute angle is less than a right-angle.

13. A boundary is that which is the extremity of something.

14. A ﬁgure is that which is contained by some boundary or boundaries.

15. A circle is a plane ﬁgure contained by a single line [which is called a circumference], (such that) all of the

straight-lines radiating towards [the circumference] from a single point lying inside the ﬁgure are equal to one

another.

16. And the point is called the center of the circle.

17. And a diameter of the circle is any straight-line, being drawn through the center, which is brought to an end in

each direction by the circumference of the circle. And any such (straight-line) cuts the circle in half.

18. And a semi-circle is the ﬁgure contained by the diameter and the circumference it cuts off. And the center of the

semi-circle is the same (point) as the (center of) the circle.

19. Rectilinear ﬁgures are those ﬁgures contained by straight-lines: trilateral ﬁgures being contained by three

straight-lines, quadrilateral by four, and multilateral by more than four.

20. And of the trilateral ﬁgures: an equilateral triangle is that having three equal sides, an isosceles (triangle) that

having only two equal sides, and a scalene (triangle) that having three unequal sides.

21. And further of the trilateral ﬁgures: a right-angled triangle is that having a right-angle, an obtuse-angled (trian-

gle) that having an obtuse angle, and an acute-angled (triangle) that having three acute angles.

22. And of the quadrilateral ﬁgures: a square is that which is right-angled and equilateral, a rectangle that which is

right-angled but not equilateral, a rhombus that which is equilateral but not right-angled, and a rhomboid that

having opposite sides and angles equal to one another which is neither right-angled nor equilateral. And let

quadrilateral ﬁgures besides these be called trapezia.

23. Parallel lines are straight-lines which, being in the same plane, and being produced to inﬁnity in each direction,

meet with one another in neither (of these directions).

Postulates

1. Let it have been postulated to draw a straight-line from any point to any point.

2. And to produce a ﬁnite straight-line continuously in a straight-line.

3. And to draw a circle with any center and radius.

4. And that all right-angles are equal to one another.

5. And that if a straight-line falling across two (other) straight-lines makes internal angles on the same side (of

itself) less than two right-angles, being produced to inﬁnity, the two (other) straight-lines meet on that side (of

the original straight-line) that the (internal angles) are less than two right-angles (and do not meet on the other

side).

Common Notions

1. Things equal to the same thing are also equal to one another.

2. And if equal things are added to equal things then the wholes are equal.

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3. And if equal things are subtracted from equal things then the remainders are equal.

4. And things coinciding with one another are equal to one another.

5. And the whole [is] greater than the part.

Proposition 1

To construct an equilateral triangle on a given ﬁnite straight-line.

Let AB be the given ﬁnite straight-line.

So it is required to construct an equilateral triangle on the straight-line AB.

Let the circle BCD with center A and radius AB have been drawn [Post. 3], and again let the circle ACE with center

B and radius BA have been drawn [Post. 3]. And let the straight-lines CA and CB have been joined from the point C,

where the circles cut one another, to the points A and B (respectively) [Post. 1].

And since the point A is the center of the circle CDB, AC is equal to AB [Def. 1.15]. Again, since the point B is the

center of the circle CAE, BC is equal to BA [Def. 1.15]. But CA was also shown to be equal to AB. Thus, CA and CB are

each equal to AB. But things equal to the same thing are also equal to one another [C.N.1]. Thus, CA is also equal to

CB. Thus, the three (straight-lines) CA, AB, and BC are equal to one another.

Thus, the triangle ABC is equilateral, and has been constructed on the given ﬁnite straight-line AB. (Which is) the very

thing it was required to do.

Media Text

Translator Robert Fitzpatrick’s complete version of Euclid’s Elements of Geometry, in bookmarked PDF form, with

side-by-side Greek and English text:

http://farside.ph.utexas.edu/euclid/Elements.pdf

Cannon, Annie J. “Classifying the Stars.” The Universe of Stars. Edited by Harlow Shapeley and Cecilia H. Payne.

Cambridge, Mass.: Harvard Observatory, 1926. (1926)

Sunlight and starlight are composed of waves of various lengths, which the eye, even aided by a telescope, is unable

to separate. We must use more than a telescope. In order to sort out the component colors, the light must be dis-

persed by a prism, or split up by some other means. For instance, sunbeams passing through rain drops, are trans-

formed into the myriad-tinted rainbow. The familiar rainbow spanning the sky is Nature’s most glorious demonstration

that light is composed of many colors.

The very beginning of our knowledge of the nature of a star dates back to 1672, when Isaac Newton gave to the world

the results of his experiments on passing sunlight through a prism. To describe the beautiful band of rainbow tints,

produced when sunlight was dispersed by his three-cornered piece of glass, he took from the Latin the word spec-

trum, meaning an appearance. The rainbow is the spectrum of the Sun.

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[…]

In 1814, more than a century after Newton, the spectrum of the Sun was obtained in such purity that an amazing

detail was seen and studied by the German optician, Fraunhofer. He saw that the multiple spectral tings, ranging from

delicate violet to deep red, were crossed by hundreds of ﬁne dark lines. In other words, there were narrow gaps in the

spectrum where certain shades were wholly blotted out.

We must remember that the word spectrum is applied not only to sunlight, but also to the light of any glowing sub-

stance when its rays are sorted out by a prism or a grating.

Bronowski, Jacob, and Millicent Selsam. Biography of an Atom. New York: Harper, 1965. (1965)

The birth began in a young star. A young star is a mass of hydrogen nuclei. Because the star is hot (about thirteen

million degrees at the center), the nuclei cannot hold on to their electrons. The electrons wander around. The nuclei

of hydrogen—that is, the protons—are moving about very fast too. From time to time one proton runs headlong into

another. When this happens, one of the protons loses its electric charge and changes into a neutron. The pair then

cling together as a single nucleus of heavy hydrogen. This nucleus will in time capture another proton. Now there is a

nucleus with two protons and one neutron, called light helium. When two of these nuclei smash into each other, two

protons are expelled in the process. This creates a nucleus of helium with two protons and two neutrons.

This is the fundamental process of fusion by which the primitive hydrogen of the universe is built up into a new basic

material, helium. In this process, energy is given off in the form of heat and light that make the stars shine. It is the

ﬁrst stage in the birth of the heavier atoms.

Walker, Jearl. “Amusement Park Physics.” Roundabout: Readings from the Amateur Scientist in Scientiﬁc American.

New York: Scientiﬁc American, 1985. (1985)

From “Amusement Park Physics: Thinking About Physics While Scared to Death (on a Falling Roller Coaster)”

The rides in an amusement park not only are fun but also demonstrate principles of physics. Among them are rota-

tional dynamics and energy conversion. I have been exploring the rides at Geauga Lake Amusement Park near Cleve-

land and have found that nearly every ride offers a memorable lesson.

To me the scariest rides at the park are the roller coasters. The Big Dipper is similar to many of the roller coasters that

have thrilled passengers for most of this century. The cars are pulled by chain t the top of the highest hill along the

track, Released from the chain as the front of the car begins its descent, the unpowered cars have almost no speed

and only a small acceleration. As more cars get onto the downward slope the acceleration increases. It peaks when all

the cars are headed downward. The peak value is the product of the acceleration generated by gravity and the sine of

the slope of the track. A steeper descent generates a greater acceleration, but packing the coaster with heavier pas-

sengers does not.

When the coaster reaches the bottom of the valley and starts up the next hill, there is an instant when the cars are

symmetrically distributed in the valley. The acceleration is zero. As more cars ascend the coaster begins to slow,

reaching its lowest speed just as it is symmetrically positioned at the top of the hill.

A roller coaster functions by means of transfers of energy. When the chain hauls the cars to the top of the ﬁrst hill,

it does work on the cars, endowing them with gravitational potential energy, the energy of a body in a gravitational

ﬁeld with respect to the distance of the body from some reference level such as the ground. As the cars descend into

the ﬁrst valley, much of the stored energy is transferred into kinetic energy, the energy of motion.

Preston, Richard. The Hot Zone: A Terrifying True Story. New York: Anchor, 1995. (1995)

From “Something in the Forest”

1980 New Year’s Day

Charles Monet was a loner. He was a Frenchman who live by himself in a little wooden bungalow on the private lands

of the Nzoia Sugar Factory, a plantation in western Kenya that spread along the Nzoiz Rover within sight of Mount

Elgon, a huge, solitary, extinct volcano that rises to a height of fourteen thousand feet near the edge of the Rift Valley.

Monet’s history is a little obscure. As with so many expatriates who end up in Africa, it is not clear what brought him

there. Perhaps he had been in some kind of trouble in France. Or perhaps he had been drawn to Kenya by the beauty

of the country. He was an amateur naturalist, fond of birds and animals but not of humanity in general. He was ﬁfty-

six years old, of medium height and medium build with smooth, straight brown hair; a good-looking man. It seems

that his only close friends were women who lived in towns around the mountain, yet even they could not recall much

about him for the doctors who investigated his death. His job was to take care of the sugar factory’s water-pumping

machinery, which drew water from the Nzoia River and delivered it to many miles of sugar-cane ﬁelds. They say that

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he spent most of his day inside the pump house by the river as if it pleased him to watch and listen to the machines

doing their work.

Devlin, Keith. Life by the Numbers. New York: John Wiley & Sons, 1999. (1999)

From Chapter 3: “Patterns of Nature”

Though animals come in many shapes and sizes, there are deﬁnite limits on the possible size of an animal of a par-

ticular shape. King Kong simply could not exist, for instance. As Labarbara has calculated, if you were to take a gorilla

and blow it up to the size of King Kong, its weight would increase by more than 14,000 times but the size of its bones

would increase by only a few hundred times. Kong’s bones would simply not be able to support his body. He would

collapse under his own weight!

And the same is true for all those giant locusts, giant ants, and the like. Imagining giants—giant people, giant animals,

or giant insects—might prove the basis for an entertaining story, but the rules of science say that giants could not

happen. You can’t have a giant anything. If you want to change size, you have to change to overall design.

The reason is quite simple. Suppose you double the height (or length) of any creature, say, a gorilla. The weight will

increase 8 times (i.e., 2 cubed), but the cross section of the bones will increase only fourfold (2 squared). Or, if you in-

crease the height of the gorilla 10 times, the weight will increase, 1,000 times (10 cubed), but the cross-sectional area

of the bones will increase only 100 times (10 squared). In general, when you increase the height by a certain factor,

the weight will increase by the cube of that factor but the cross section of the bone will increase only by the square

of that factor.

Hoose, Phillip. The Race to Save Lord God Bird. New York: Farrar, Straus and Giroux, 2004. (2004)

Hakim, Joy. The Story of Science: Newton at the Center. Washington, D.C.: Smithsonian Books, 2005. (2005)

Probability, a branch of mathematics, began with gambling. Pierre de Fermat (of the famous Last Theorem), Blaise

Pascal, and the Bernoullis wanted to know the mathematical odds of winning at the card table. Probability didn’t tell

them for certain that they would or wouldn’t draw an ace; it just told them how likely it was. A deck of 52 cards has 4

aces, so the odds of the ﬁrst drawn card being an ace are 4 in 52 (or 1in 13).

If 20 cards have been played and not an ace among them, those odds improve to 4 in 32 (1in 8). Always keep in mind

that probability is about the likelihood of outcomes, not the certainty. If there are only 4 cards left in the deck, and no

aces have been played, you can predict with certainty that the next card will be an ace—but you’re not using prob-

ability; you’re using fact. Probability is central to the physics that deals with the complex world inside atoms. We can’t

determine the action of an individual particle, but with a large number of atoms, predictions based on probability

become very accurate.

Nicastro, Nicholas. Circumference: Eratosthenes and the Ancient Quest to Measure the Globe. New York: St. Martin’s

Press, 2008. (2008)

From “The Astrolabe”

The astrolabe (in Greek, “star reckoner”) is a manual computing and observation device with myriad uses in as-

tronomy, time keeping, surveying, navigation, and astrology. The principles behind the most common variety, the

planispheric astrolabe, were ﬁrst laid down in antiquity by the Greeks, who pioneered the notion of projecting three-

dimensional images on ﬂat surfaces. The device reached a high degree of reﬁnement in the medieval Islamic world,

where it was invaluable for determining prayer times and the direction of Mecca from anywhere in the Muslim world.

The astrolabe was introduced to Europe by the eleventh century, where is saw wide use until the Renaissance.

The fundamental innovation underlying the astrolabe was the projection of an image of the sky (usually the northern

hemisphere, centered on Polaris) on a plane corresponding to the earth’s equator. This image, which was typically

etched on a brass plate, was inserted into a round frame (the mater) whose circumference was marked in degrees

or hours. Over the plate was ﬁtted a lattice-work disk, the rete, with pointers to indicate the positions of major stars.

A metal hand, similar to those on a clock, was hinged with the rete at the center of the instrument, as was a sighting

vane (the alidade) for determining the angular height of the stars or other features, such as mountaintops. The entire

device was usually not more than six to eight inches in diameter and half an inch thick.

One common use of the astrolabe was to determine the time of day, even after dark.

Other uses included determination of sunrise, and sunset times for any date past or future, predicting eclipses, ﬁnding

important stars or constellations, and measuring the height of earthbound objects and the circumference of the earth.

For this and other reasons, the astrolabe has been called “the world’s ﬁrst personal computer.”

APPENDIX B | 137

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U.S. Environmental Protection Agency/U.S. Department of Energy. Recommended Levels of Insulation.

http://www.energystar.gov/index.cfm?c=home_sealing.hm_improvement_insulation_table 2010. (2010)

Recommended Levels of Insulation

Insulation level are speciﬁed by R-Value. R-Value is a measure of insulation’s ability to resist heat traveling through it.

The higher the R-Value the better the thermal per

Zone

Add Insulation to Attic

Floor

Uninsulated Attic

Existing 3–4 Inches of

Insulation

1 R30 to R49 R25 to R30 R13

2 R30 to R60 R25 to R38 R13 to R19

3 R30 to R60 R25 to R38 R19 to R25

4 R38 to R60 R38 R25 to R30

5 to 8 R49 to R60 R38 to R49 R25 to R30

Wall Insulation:Whenever exterior siding is removed on an

Uninsulated wood-frame wall:

· Drill holes in the sheathing and blow insulation into the empty wall cavity before

installing the new siding, and

· Zones 3–4: Add R5 insulative wall sheathing beneath the new siding

· Zones 5–8: Add R5 to R6 insulative wall sheathing beneath the new siding.

·

Insulated wood-frame wall:

· For Zones 4 to 8: Add R5 insulative sheathing before installing the new siding.

Sample Performance Tasks for Informational Texts: History/Social Studies & Science,

Mathematics, and Technical Subjects

• Students compare the similarities and differences in point of view in works by Dee Brown and Evan Connell

regarding the Battle of Little Bighorn, analyzing how the authors treat the same event and which details they

include and emphasize in their respective accounts. [RH.9–10.6]

• Students analyze the role of African American soldiers in the Civil War by comparing and contrasting primary

source materials against secondary syntheses such as Jim Haskins’s Black, Blue and Gray: African Americans in

the Civil War. [RH.9–10.9]

• Students determine the meaning of words such as quadrant, astrolabe, equator, and horizon line in Joan

Dash’s The Longitude Prize as well as phrases such as dead reckoning and sailing the parallel that reﬂect social

aspects of history. [RH.9–10.4]

• Students cite speciﬁc textual evidence from Annie J. Cannon’s “Classifying the Stars” to support their analysis

of the scientiﬁc importance of the discovery that light is composed of many colors. Students include in their

analysis precise details from the text (such as Cannon’s repeated use of the image of the rainbow) to buttress

their explanation. [RST.9–10.1].

• Students determine how Jearl Walker clariﬁes the phenomenon of acceleration in his essay “Amusement Park

Physics,” accurately summarizing his conclusions regarding the physics of roller coasters and tracing how sup-

APPENDIX B | 138



COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

porting details regarding the processes of rotational dynamics and energy conversion are incorporated in his

explanation. [RST.9–10.2]

• Students read in Phillip Hoose’s Race to Save Lord God Bird about the attempts scientists and bird-lovers

made to save the ivory-billed woodpecker from extinction and assess the extent to which the reasoning and

evidence Hoose presents supports his scientiﬁc analysis of why protecting this particular species was so chal-

lenging. [RST.9–10.8]

APPENDIX B | 139

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Grades 11–CCR Text Exemplars

Stories

Chaucer, Geoffrey. The Canterbury Tales. Translated into modern English by Neville Coghill. Harmondsworth:

Penguin, 1951. (Late 14th Century)

From The General Prologue

When in April the sweet showers fall

That pierce March’s drought to the root and all

And bathed every vein in liquor that has power

To generate therein and sire the ﬂower;

When Zephyr also has with his sweet breath,

Filled again, in every holt and heath,

The tender shoots and leaves, and the young sun

His half-course in the sign of the Ram has run,

And many little birds make melody

That sleep through all the night with open eye

(So Nature pricks them on to ramp and rage)

Then folk do long to go on pilgrimage,

And palmers to go seeking out strange strands,

To distant shrines well known in distant lands.

And specially from every shire’s end

Of England they to Canterbury went,

The holy blessed martyr there to seek

Who helped them when they lay so ill and weak

It happened that, in that season, on a day

In Southwark, at the Tabard, as I lay

Ready to go on pilgrimage and start

To Canterbury, full devout at heart,

There came at nightfall to that hostelry

Some nine and twenty in a company

Of sundry persons who had chanced to fall

In fellowship, and pilgrims were they all

That toward Canterbury town would ride.

The rooms and stables spacious were and wide,

And well we there were eased, and of the best.

And brieﬂy, when the sun had gone to rest,

So had I spoken with them, every one,

That I was of their fellowship anon,

And made agreement that we’d early rise

To take the road, as I will to you apprise.

But none the less, whilst I have time and space,

Before yet further in this tale I pace,

It seems to me in accord with reason

To describe to you the state of every one

Of each of them, as it appeared to me,

And who they were, and what was their degree,

And even what clothes they were dressed in;

And with a knight thus will I ﬁrst begin.

de Cervantes, Miguel. Don Quixote: The Ormsby Translation, Revised Backgrounds and Sources Criticism. New York:

W. W. Norton, 1981. (1605)

In a village of La Mancha, the name of which I have no desire to call to mind, there lived not long since one of those

gentlemen that keep a lance in the lance-rack, an old buckler, a lean hack, and a greyhound for coursing. An olla of

rather more beef than mutton, a salad on most nights, scraps on Saturdays, lentils on Fridays, and a pigeon or so ex-

tra on Sundays, made away with three-quarters of his income. The rest of it went in a doublet of ﬁne cloth and velvet

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breeches and shoes to match for holidays, while on week-days he made a brave ﬁgure in his best homespun. He had

in his house a housekeeper past forty, a niece under twenty, and a lad for the ﬁeld and market-place, who used to

saddle the hack as well as handle the bill-hook. The age of this gentleman of ours was bordering on ﬁfty; he was of a

hardy habit, spare, gaunt-featured, a very early riser and a great sportsman. They will have it his surname was Quixa-

da or Quesada (for here there is some difference of opinion among the authors who write on the subject), although

from reasonable conjectures it seems plain that he was called Quexana. This, however, is of but little importance to

our tale; it will be enough not to stray a hair’s breadth from the truth in the telling of it.

You must know, then, that the above-named gentleman whenever he was at leisure (which was mostly all the year

round) gave himself up to reading books of chivalry with such ardour and avidity that he almost entirely neglected

the pursuit of his ﬁeld-sports, and even the management of his property; and to such a pitch did his eagerness and

infatuation go that he sold many an acre of tillageland to buy books of chivalry to read, and brought home as many of

them as he could get. But of all there were none he liked so well as those of the famous Feliciano de Silva’s composi-

tion, for their lucidity of style and complicated conceits were as pearls in his sight, particularly when in his reading

he came upon courtships and cartels, where he often found passages like “the reason of the unreason with which my

reason is afﬂicted so weakens my reason that with reason I murmur at your beauty;” or again, “the high heavens, that

of your divinity divinely fortify you with the stars, render you deserving of the desert your greatness deserves.” Over

conceits of this sort the poor gentleman lost his wits, and used to lie awake striving to understand them and worm

the meaning out of them; what Aristotle himself could not have made out or extracted had he come to life again for

that special purpose. He was not at all easy about the wounds which Don Belianis gave and took, because it seemed

to him that, great as were the surgeons who had cured him, he must have had his face and body covered all over with

seams and scars. He commended, however, the author’s way of ending his book with the promise of that interminable

adventure, and many a time was he tempted to take up his pen and ﬁnish it properly as is there proposed, which

no doubt he would have done, and made a successful piece of work of it too, had not greater and more absorbing

thoughts prevented him.

Many an argument did he have with the curate of his village (a learned man, and a graduate of Siguenza) as to which

had been the better knight, Palmerin of England or Amadis of Gaul. Master Nicholas, the village barber, however, used

to say that neither of them came up to the Knight of Phoebus, and that if there was any that could compare with him

it was Don Galaor, the brother of Amadis of Gaul, because he had a spirit that was equal to every occasion, and was

no ﬁnikin knight, nor lachrymose like his brother, while in the matter of valour he was not a whit behind him. In short,

he became so absorbed in his books that he spent his nights from sunset to sunrise, and his days from dawn to dark,

poring over them; and what with little sleep and much reading his brains got so dry that he lost his wits. His fancy

grew full of what he used to read about in his books, enchantments, quarrels, battles, challenges, wounds, wooings,

loves, agonies, and all sorts of impossible nonsense; and it so possessed his mind that the whole fabric of invention

and fancy he read of was true, that to him no history in the world had more reality in it. He used to say the Cid Ruy

Diaz was a very good knight, but that he was not to be compared with the Knight of the Burning Sword who with one

back-stroke cut in half two ﬁerce and monstrous giants. He thought more of Bernardo del Carpio because at Ronces-

valles he slew Roland in spite of enchantments, availing himself of the artiﬁce of Hercules when he strangled Antaeus

the son of Terra in his arms. He approved highly of the giant Morgante, because, although of the giant breed which

is always arrogant and ill-conditioned, he alone was affable and well-bred. But above all he admired Reinaldos of Mon-

talban, especially when he saw him sallying forth from his castle and robbing everyone he met, and when beyond the

seas he stole that image of Mahomet which, as his history says, was entirely of gold. To have a bout of kicking at that

traitor of a Ganelon he would have given his housekeeper, and his niece into the bargain.

In short, his wits being quite gone, he hit upon the strangest notion that ever madman in this world hit upon, and

that was that he fancied it was right and requisite, as well for the support of his own honour as for the service of his

country, that he should make a knight-errant of himself, roaming the world over in full armour and on horseback in

quest of adventures, and putting in practice himself all that he had read of as being the usual practices of knights-

errant; righting every kind of wrong, and exposing himself to peril and danger from which, in the issue, he was to reap

eternal renown and fame. Already the poor man saw himself crowned by the might of his arm Emperor of Trebizond

at least; and so, led away by the intense enjoyment he found in these pleasant fancies, he set himself forthwith to put

his scheme into execution.

The ﬁrst thing he did was to clean up some armour that had belonged to his great-grandfather, and had been for ages

lying forgotten in a corner eaten with rust and covered with mildew. He scoured and polished it as best he could, but

he perceived one great defect in it, that it had no closed helmet, nothing but a simple morion. This deﬁciency, howev-

er, his ingenuity supplied, for he contrived a kind of half-helmet of pasteboard which, ﬁtted on to the morion, looked

like a whole one. It is true that, in order to see if it was strong and ﬁt to stand a cut, he drew his sword and gave it a

couple of slashes, the ﬁrst of which undid in an instant what had taken him a week to do. The ease with which he had

knocked it to pieces disconcerted him somewhat, and to guard against that danger he set to work again, ﬁxing bars

of iron on the inside until he was satisﬁed with its strength; and then, not caring to try any more experiments with it,

he passed it and adopted it as a helmet of the most perfect construction.

He next proceeded to inspect his hack, which, with more quartos than a real and more blemishes than the steed of

Gonela, that “tantum pellis et ossa fuit,” surpassed in his eyes the Bucephalus of Alexander or the Babieca of the Cid.

Four days were spent in thinking what name to give him, because (as he said to himself) it was not right that a horse

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belonging to a knight so famous, and one with such merits of his own, should be without some distinctive name, and

he strove to adapt it so as to indicate what he had been before belonging to a knight-errant, and what he then was;

for it was only reasonable that, his master taking a new character, he should take a new name, and that it should be a

distinguished and full-sounding one, beﬁtting the new order and calling he was about to follow. And so, after having

composed, struck out, rejected, added to, unmade, and remade a multitude of names out of his memory and fancy, he

decided upon calling him Rocinante, a name, to his thinking, lofty, sonorous, and signiﬁcant of his condition as a hack

before he became what he now was, the ﬁrst and foremost of all the hacks in the world.

Having got a name for his horse so much to his taste, he was anxious to get one for himself, and he was eight days

more pondering over this point, till at last he made up his mind to call himself “Don Quixote,” whence, as has been al-

ready said, the authors of this veracious history have inferred that his name must have been beyond a doubt Quixada,

and not Quesada as others would have it. Recollecting, however, that the valiant Amadis was not content to call him-

self curtly Amadis and nothing more, but added the name of his kingdom and country to make it famous, and called

himself Amadis of Gaul, he, like a good knight, resolved to add on the name of his, and to style himself Don Quixote of

La Mancha, whereby, he considered, he described accurately his origin and country, and did honour to it in taking his

surname from it.

So then, his armour being furbished, his morion turned into a helmet, his hack christened, and he himself conﬁrmed,

he came to the conclusion that nothing more was needed now but to look out for a lady to be in love with; for a

knight-errant without love was like a tree without leaves or fruit, or a body without a soul. As he said to himself, “If,

for my sins, or by my good fortune, I come across some giant hereabouts, a common occurrence with knights-errant,

and overthrow him in one onslaught, or cleave him asunder to the waist, or, in short, vanquish and subdue him, will

it not be well to have some one I may send him to as a present, that he may come in and fall on his knees before my

sweet lady, and in a humble, submissive voice say, ‘I am the giant Caraculiambro, lord of the island of Malindrania,

vanquished in single combat by the never sufﬁciently extolled knight Don Quixote of La Mancha, who has com-

manded me to present myself before your Grace, that your Highness dispose of me at your pleasure’?” Oh, how our

good gentleman enjoyed the delivery of this speech, especially when he had thought of some one to call his Lady!

There was, so the story goes, in a village near his own a very good-looking farm-girl with whom he had been at one

time in love, though, so far as is known, she never knew it nor gave a thought to the matter. Her name was Aldonza

Lorenzo, and upon her he thought ﬁt to confer the title of Lady of his Thoughts; and after some search for a name

which should not be out of harmony with her own, and should suggest and indicate that of a princess and great lady,

he decided upon calling her Dulcinea del Toboso—she being of El Toboso—a name, to his mind, musical, uncommon,

and signiﬁcant, like all those he had already bestowed upon himself and the things belonging to him.

Austen, Jane. Pride and Prejudice. New York: Oxford University Press, 1990. (1813)

From Chapter 1

It is a truth universally acknowledged that a single man in possession of a good fortune, must be in want of a wife.

However little known the feelings or views of such a man may be on his ﬁrst entering a neighbourhood, this truth is so

well ﬁxed in the minds of the surrounding families that he is considered as the rightful property of someone or other

of their daughters.

“My dear Mr. Bennet,” said his lady to him one day, “have you heard that Netherﬁeld Park is let at last?”

Mr. Bennet replied that he had not.

“But it is,” returned she; “for Mrs. Long has just been here, and she told me all about it.”

Mr. Bennet made no answer.

“Do not you want to know who has taken it?” cried his wife impatiently.

“You want to tell me, and I have no objection to hearing it.”

This was invitation enough.

“Why, my dear, you must know, Mrs. Long says that Netherﬁeld is taken by a young man of large fortune from the

north of England; that he came down on Monday in a chaise and four to see the place, and was so much delighted

with it, that he agreed with Mr. Morris immediately; that he is to take possession before Michaelmas, and some of his

servants are to be in the house by the end of next week.”

“What is his name?”

“Bingley.”

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“Is he married or single?”

“Oh! single, my dear, to be sure! A single man of large fortune; four or ﬁve thousand a year. What a ﬁne thing for our

girls!”

“How so? how can it affect them?”

“My dear Mr. Bennet,” replied his wife, “how can you be so tiresome! You must know that I am thinking of his marrying

one of them.”

“Is that his design in settling here?”

“Design! nonsense, how can you talk so! But it is very likely that he may fall in love with one of them, and therefore

you must visit him as soon as he comes.”

“I see no occasion for that. You and the girls may go, or you may send them by themselves, which perhaps will be still

better, for as you are as handsome as any of them, Mr. Bingley might like you the best of the party.”

“My dear, you ﬂatter me. I certainly have had my share of beauty, but I do not pretend to be anything extraordinary

now. When a woman has ﬁve grown-up daughters she ought to give over thinking of her own beauty.”

“In such cases a woman has not often much beauty to think of.”

“But, my dear, you must indeed go and see Mr. Bingley when he comes into the neighbourhood.”

“It is more than I engage for, I assure you.”

“But consider your daughters. Only think what an establishment it would be for one of them. Sir William and Lady

Lucas are determined to go, merely on that account, for in general, you know, they visit no new-comers. Indeed you

must go, for it will be impossible for us to visit him if you do not.”

“You are over-scrupulous surely. I dare say Mr. Bingley will be very glad to see you; and I will send a few lines by you

to assure him of my hearty consent to his marrying whichever he chooses of the girls: though I must throw in a good

word for my little Lizzy.”

“I desire you will do no such thing. Lizzy is not a bit better than the others; and I am sure she is not half so handsome

as Jane, nor half so good-humoured as Lydia. But you are always giving her the preference.”

“They have none of them much to recommend them,” replied he; “they are all silly and ignorant, like other girls; but

Lizzy has something more of quickness than her sisters.”

“Mr. Bennet, how can you abuse your own children in such a way! You take delight in vexing me. You have no compas-

sion on my poor nerves.”

“You mistake me, my dear. I have a high respect for your nerves. They are my old friends. I have heard you mention

them with consideration these twenty years at least.”

“Ah! you do not know what I suffer.”

“But I hope you will get over it, and live to see many young men of four thousand a year come into the neighbour-

hood.”

“It will be no use to us if twenty such should come, since you will not visit them.”

“Depend upon it, my dear, that when there are twenty, I will visit them all.”

Mr. Bennet was so odd a mixture of quick parts, sarcastic humour, reserve, and caprice, that the experience of three-

and-twenty years had been insufﬁcient to make his wife understand his character. Her mind was less difﬁcult to

develop. She was a woman of mean understanding, little information, and uncertain temper. When she was discon-

tented she fancied herself nervous. The business of her life was to get her daughters married; its solace was visiting

and news.

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Poe, Edgar Allan. “The Cask of Amontillado.” Complete Stories and Poems of Edgar Allan Poe. New York:

Doubleday, 1984. (1846)

The thousand injuries of Fortunato I had borne as I best could, but when he ventured upon insult I vowed revenge.

You, who so well know the nature of my soul, will not suppose, however, that gave utterance to a threat. At length I

would be avenged; this was a point deﬁnitely, settled --but the very deﬁnitiveness with which it was resolved pre-

cluded the idea of risk. I must not only punish but punish with impunity. A wrong is unredressed when retribution

overtakes its redresser. It is equally unredressed when the avenger fails to make himself felt as such to him who has

done the wrong.

It must be understood that neither by word nor deed had I given Fortunato cause to doubt my good will. I continued,

as was my in to smile in his face, and he did not perceive that my smile now was at the thought of his immolation.

He had a weak point --this Fortunato --although in other regards he was a man to be respected and even feared. He

prided himself on his connoisseurship in wine. Few Italians have the true virtuoso spirit. For the most part their enthu-

siasm is adopted to suit the time and opportunity, to practise imposture upon the British and Austrian millionaires. In

painting and gemmary, Fortunato, like his countrymen, was a quack, but in the matter of old wines he was sincere. In

this respect I did not differ from him materially; --I was skilful in the Italian vintages myself, and bought largely when-

ever I could.

It was about dusk, one evening during the supreme madness of the carnival season, that I encountered my friend. He

accosted me with excessive warmth, for he had been drinking much. The man wore motley. He had on a tight-ﬁtting

parti-striped dress, and his head was surmounted by the conical cap and bells. I was so pleased to see him that I

thought I should never have done wringing his hand.

I said to him --”My dear Fortunato, you are luckily met. How remarkably well you are looking to-day. But I have re-

ceived a pipe of what passes for Amontillado, and I have my doubts.”

“How?” said he. “Amontillado, A pipe? Impossible! And in the middle of the carnival!”

“I have my doubts,” I replied; “and I was silly enough to pay the full Amontillado price without consulting you in the

matter. You were not to be found, and I was fearful of losing a bargain.”

“Amontillado!”

“I have my doubts.”

“Amontillado!”

“And I must satisfy them.”

“Amontillado!”

“As you are engaged, I am on my way to Luchresi. If any one has a critical turn it is he. He will tell me --”

“Luchresi cannot tell Amontillado from Sherry.”

“And yet some fools will have it that his taste is a match for your own.

“Come, let us go.”

Brontë, Charlotte. Jane Eyre. Oxford: Oxford University Press, 2000. (1848)

From Chapter 1

There was no possibility of taking a walk that day. We had been wandering, indeed, in the leaﬂess shrubbery an hour

in the morning; but since dinner (Mrs. Reed, when there was no company, dined early) the cold winter wind had

brought with it clouds so sombre, and a rain so penetrating, that further out-door exercise was now out of the ques-

tion.

I was glad of it: I never liked long walks, especially on chilly afternoons: dreadful to me was the coming home in the

raw twilight, with nipped ﬁngers and toes, and a heart saddened by the chidings of Bessie, the nurse, and humbled by

the consciousness of my physical inferiority to Eliza, John, and Georgiana Reed.

The said Eliza, John, and Georgiana were now clustered round their mama in the drawing-room: she lay reclined on

a sofa by the ﬁreside, and with her darlings about her (for the time neither quarrelling nor crying) looked perfectly

happy. Me, she had dispensed from joining the group; saying, “She regretted to be under the necessity of keeping

me at a distance; but that until she heard from Bessie, and could discover by her own observation, that I was endea-

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vouring in good earnest to acquire a more sociable and childlike disposition, a more attractive and sprightly man-

ner—something lighter, franker, more natural, as it were—she really must exclude me from privileges intended only for

contented, happy, little children.”

“What does Bessie say I have done?” I asked.

“Jane, I don’t like cavillers or questioners; besides, there is something truly forbidding in a child taking up her elders in

that manner. Be seated somewhere; and until you can speak pleasantly, remain silent.”

A breakfast-room adjoined the drawing-room, I slipped in there. It contained a bookcase: I soon possessed myself of a

volume, taking care that it should be one stored with pictures. I mounted into the window-seat: gathering up my feet,

I sat cross-legged, like a Turk; and, having drawn the red moreen curtain nearly close, I was shrined in double retire-

ment.

Folds of scarlet drapery shut in my view to the right hand; to the left were the clear panes of glass, protecting, but

not separating me from the drear November day. At intervals, while turning over the leaves of my book, I studied the

aspect of that winter afternoon. Afar, it offered a pale blank of mist and cloud; near a scene of wet lawn and storm-

beat shrub, with ceaseless rain sweeping away wildly before a long and lamentable blast.

Hawthorne, Nathaniel. The Scarlet Letter: A Romance. New York: Penguin, 2003. (1850)

From Chapter 16

The road, after the two wayfarers had crossed from the Peninsula to the mainland, was no other than a foot-path.

It straggled onward into the mystery of the primeval forest. This hemmed it in so narrowly, and stood so black and

dense on either side, and disclosed such imperfect glimpses of the sky above, that, to Hester’s mind, it imaged not

amiss the moral wilderness in which she had so long been wandering. The day was chill and sombre. Overhead was

a gray expanse of cloud, slightly stirred, however, by a breeze; so that a gleam of ﬂickering sunshine might now and

then be seen at its solitary play along the path. This ﬂitting cheerfulness was always at the further extremity of some

long vista through the forest. The sportive sunlight--feebly sportive, at best, in the predominant pensiveness of the

day and scene--withdrew itself as they came nigh, and left the spots where it had danced the drearier, because they

had hoped to ﬁnd them bright.

“Mother,” said little Pearl, “the sunshine does not love you. It runs away and hides itself, because it is afraid of some-

thing on your bosom. Now, see! There it is, playing a good way off. Stand you here, and let me run and catch it. I am

but a child. It will not ﬂee from me--for I wear nothing on my bosom yet!”

“Nor ever will, my child, I hope,” said Hester.

“And why not, mother?” asked Pearl, stopping short, just at the beginning of her race. “Will not it come of its own ac-

cord when I am a woman grown?”

“Run away, child,” answered her mother, “and catch the sunshine. It will soon be gone “

Pearl set forth at a great pace, and as Hester smiled to perceive, did actually catch the sunshine, and stood laughing

in the midst of it, all brightened by its splendor, and scintillating with the vivacity excited by rapid motion. The light

lingered about the lonely child, as if glad of such a playmate, until her mother had drawn almost nigh enough to step

into the magic circle too.

“It will go now,” said Pearl, shaking her head.

“See!” answered Hester, smiling; “now I can stretch out my hand and grasp some of it.”

As she attempted to do so, the sunshine vanished; or, to judge from the bright expression that was dancing on Pearl’s

features, her mother could have fancied that the child had absorbed it into herself, and would give it forth again, with

a gleam about her path, as they should plunge into some gloomier shade. There was no other attribute that so much

impressed her with a sense of new and untransmitted vigor in Pearl’s nature, as this never failing vivacity of spirits:

she had not the disease of sadness, which almost all children, in these latter days, inherit, with the scrofula, from the

troubles of their ancestors. Perhaps this, too, was a disease, and but the reﬂex of the wild energy with which Hester

had fought against her sorrows before Pearl’s birth. It was certainly a doubtful charm, imparting a hard, metallic lustre

to the child’s character. She wanted--what some people want throughout life--a grief that should deeply touch her,

and thus humanize and make her capable of sympathy. But there was time enough yet for little Pearl.

“Come, my child!” said Hester, looking about her from the spot where Pearl had stood still in the sunshine--”we will sit

down a little way within the wood, and rest ourselves.”

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Dostoevsky, Fyodor. Crime and Punishment. Translated by Constance Black Garnett. New York: Dover, 2001. (1866)

On an exceptionally hot evening early in July a young man came out of the garret in which he lodged in S. Place and

walked slowly, as though in hesitation, towards K. bridge.

He had successfully avoided meeting his landlady on the staircase. His garret was under the roof of a high, ﬁve-sto-

ried house and was more like a cupboard than a room. The landlady who provided him with garret, dinners, and at-

tendance, lived on the ﬂoor below, and every time he went out he was obliged to pass her kitchen, the door of which

invariably stood open. And each time he passed, the young man had a sick, frightened feeling, which made him scowl

and feel ashamed. He was hopelessly in debt to his landlady, and was afraid of meeting her.

This was not because he was cowardly and abject, quite the contrary; but for some time past he had been in an over-

strained irritable condition, verging on hypochondria. He had become so completely absorbed in himself, and isolated

from his fellows that he dreaded meeting, not only his landlady, but anyone at all. He was crushed by poverty, but

the anxieties of his position had of late ceased to weigh upon him. He had given up attending to matters of practi-

cal importance; he had lost all desire to do so. Nothing that any landlady could do had a real terror for him. But to be

stopped on the stairs, to be forced to listen to her trivial, irrelevant gossip, to pestering demands for payment, threats

and complaints, and to rack his brains for excuses, to prevaricate, to lie—no, rather than that, he would creep down

the stairs like a cat and slip out unseen.

This evening, however, on coming out into the street, he became acutely aware of his fears.

“I want to attempt a thing like that and am frightened by these triﬂes,” he thought, with an odd smile. “Hm... yes, all is

in a man’s hands and he lets it all slip from cowardice, that’s an axiom. It would be interesting to know what it is men

are most afraid of. Taking a new step, uttering a new word is what they fear most.... But I am talking too much. It’s

because I chatter that I do nothing. Or perhaps it is that I chatter because I do nothing. I’ve learned to chatter this last

month, lying for days together in my den thinking... of Jack the Giant-killer. Why am I going there now? Am I capable

of that? Is that serious? It is not serious at all. It’s simply a fantasy to amuse myself; a plaything! Yes, maybe it is a

plaything.”

The heat in the street was terrible: and the airlessness, the bustle and the plaster, scaffolding, bricks, and dust all

about him, and that special Petersburg stench, so familiar to all who are unable to get out of town in summer—all

worked painfully upon the young man’s already overwrought nerves. The insufferable stench from the pot-houses,

which are particularly numerous in that part of the town, and the drunken men whom he met continually, although it

was a working day, completed the revolting misery of the picture. An expression of the profoundest disgust gleamed

for a moment in the young man’s reﬁned face. He was, by the way, exceptionally handsome, above the average in

height, slim, well-built, with beautiful dark eyes and dark brown hair. Soon he sank into deep thought, or more accu-

rately speaking into a complete blankness of mind; he walked along not observing what was about him and not caring

to observe it. From time to time, he would mutter something, from the habit of talking to himself, to which he had just

confessed. At these moments he would become conscious that his ideas were sometimes in a tangle and that he was

very weak; for two days he had scarcely tasted food.

He was so badly dressed that even a man accustomed to shabbiness would have been ashamed to be seen in the

street in such rags. In that quarter of the town, however, scarcely any shortcoming in dress would have created sur-

prise. Owing to the proximity of the Hay Market, the number of establishments of bad character, the preponderance

of the trading and working class population crowded in these streets and alleys in the heart of Petersburg, types so

various were to be seen in the streets that no ﬁgure, however queer, would have caused surprise. But there was such

accumulated bitterness and contempt in the young man’s heart, that, in spite of all the fastidiousness of youth, he

minded his rags least of all in the street. It was a different matter when he met with acquaintances or with former fel-

low students, whom, indeed, he disliked meeting at any time. And yet when a drunken man who, for some unknown

reason, was being taken somewhere in a huge waggon dragged by a heavy dray horse, suddenly shouted at him as he

drove past: “Hey there, German hatter” bawling at the top of his voice and pointing at him—the young man stopped

suddenly and clutched tremulously at his hat. It was a tall round hat from Zimmerman’s, but completely worn out,

rusty with age, all torn and bespattered, brimless and bent on one side in a most unseemly fashion. Not shame, how-

ever, but quite another feeling akin to terror had overtaken him.

Jewett, Sarah Orne. “A White Heron.” A White Heron and Other Stories. Boston: Houghton Mifﬂin, 1886. (1886)

Half a mile from home, at the farther edge of the woods, where the land was highest, a great pine-tree stood, the

last of its generation. Whether it was left for a boundary mark, or for what reason, no one could say; the woodchop-

pers who had felled its mates were dead and gone long ago, and a whole forest of sturdy trees, pines and oaks and

maples, had grown again. But the stately head of this old pine towered above them all and made a landmark for sea

and shore miles and miles away. Sylvia knew it well. She had always believed that whoever climbed to the top of it

could see the ocean; and the little girl had often laid her hand on the great rough trunk and looked up wistfully at

those dark boughs that the wind always stirred, no matter how hot and still the air might be below. Now she thought

of the tree with a new excitement, for why, if one climbed it at break of day, could not one see all the world, and easily

discover from whence the white heron ﬂew, and mark the place, and ﬁnd the hidden nest?

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What a spirit of adventure, what wild ambition! What fancied triumph and delight and glory for the later morning

when she could make known the secret! It was almost too real and too great for the childish heart to bear.

All night the door of the little house stood open and the whippoorwills came and sang upon the very step. The young

sportsman and his old hostess were sound asleep, but Sylvia’s great design kept her broad awake and watching.

She forgot to think of sleep. The short summer night seemed as long as the winter darkness, and at last when the

whippoorwills ceased, and she was afraid the morning would after all come too soon, she stole out of the house and

followed the pasture path through the woods, hastening toward the open ground beyond, listening with a sense of

comfort and companionship to the drowsy twitter of a half-awakened bird, whose perch she had jarred in passing.

Alas, if the great wave of human interest which ﬂooded for the ﬁrst time this dull little life should sweep away the

satisfactions of an existence heart to heart with nature and the dumb life of the forest!

There was the huge tree asleep yet in the paling moonlight, and small and silly Sylvia began with utmost bravery to

mount to the top of it, with tingling, eager blood coursing the channels of her whole frame, with her bare feet and

ﬁngers, that pinched and held like bird’s claws to the monstrous ladder reaching up, up, almost to the sky itself. First

she must mount the white oak tree that grew alongside, where she was almost lost among the dark branches and the

green leaves heavy and wet with dew; a bird ﬂuttered off its nest, and a red squirrel ran to and fro and scolded pet-

tishly at the harmless housebreaker. Sylvia felt her way easily. She had often climbed there, and knew that higher still

one of the oak’s upper branches chafed against the pine trunk, just where its lower boughs were set close together.

There, when she made the dangerous pass from one tree to the other, the great enterprise would really begin.

She crept out along the swaying oak limb at last, and took the daring step across into the old pine-tree. The way was

harder than she thought; she must reach far and hold fast, the sharp dry twigs caught and held her and scratched her

like angry talons, the pitch made her thin little ﬁngers clumsy and stiff as she went round and round the tree’s great

stem, higher and higher upward. The sparrows and robins in the woods below were beginning to wake and twitter

to the dawn, yet it seemed much lighter there aloft in the pine-tree, and the child knew she must hurry if her project

were to be of any use.

The tree seemed to lengthen itself out as she went up, and to reach farther and farther upward. It was like a great

main-mast to the voyaging earth; it must truly have been amazed that morning through all its ponderous frame as it

felt this determined spark of human spirit wending its way from higher branch to branch. Who knows how steadily

the least twigs held themselves to advantage this light, weak creature on her way! The old pine must have loved his

new dependent. More than all the hawks, and bats, and moths, and even the sweet voiced thrushes, was the brave,

beating heart of the solitary gray-eyed child. And the tree stood still and frowned away the winds that June morning

while the dawn grew bright in the east.

Sylvia’s face was like a pale star, if one had seen it from the ground, when the last thorny bough was past, and she

stood trembling and tired but wholly triumphant, high in the tree-top. Yes, there was the sea with the dawning sun

making a golden dazzle over it, and toward that glorious east ﬂew two hawks with slow-moving pinions. How low

they looked in the air from that height when one had only seen them before far up, and dark against the blue sky.

Their gray feathers were as soft as moths; they seemed only a little way from the tree, and Sylvia felt as if she too

could go ﬂying away among the clouds. Westward, the woodlands and farms reached miles and miles into the dis-

tance; here and there were church steeples, and white villages, truly it was a vast and awesome world.

Melville, Herman. Billy Budd, Sailor. New York: Penguin, 1986. (1886)

From Chapter 26

At sea in the old time, the execution by halter of a military sailor was generally from the fore-yard. In the present

instance, for special reasons the main-yard was assigned. Under an arm of that lee-yard the prisoner was presently

brought up, the Chaplain attending him. It was noted at the time and remarked upon afterwards, that in this ﬁnal

scene the good man evinced little or nothing of the perfunctory. Brief speech indeed he had with the condemned

one, but the genuine Gospel was less on his tongue than in his aspect and manner towards him. The ﬁnal prepara-

tions personal to the latter being speedily brought to an end by two boatswain’s mates, the consummation impended.

Billy stood facing aft. At the penultimate moment, his words, his only ones, words wholly unobstructed in the ut-

terance were these -- “God bless Captain Vere!” Syllables so unanticipated coming from one with the ignominious

hemp about his neck -- a conventional felon’s benediction directed aft towards the quarters of honor; syllables too

delivered in the clear melody of a singing-bird on the point of launching from the twig, had a phenomenal effect, not

unenhanced by the rare personal beauty of the young sailor spiritualized now thro’ late experiences so poignantly

profound.

Without volition as it were, as if indeed the ship’s populace were but the vehicles of some vocal current electric, with

one voice from alow and aloft came a resonant sympathetic echo -- “God bless Captain Vere!” And yet at that instant

Billy alone must have been in their hearts, even as he was in their eyes.

At the pronounced words and the spontaneous echo that voluminously rebounded them, Captain Vere, either thro’

stoic self-control or a sort of momentary paralysis induced by emotional shock, stood erectly rigid as a musket in the

ship-armorer’s rack.

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The hull deliberately recovering from the periodic roll to leeward was just regaining an even keel, when the last signal,

a preconcerted dumb one, was given. At the same moment it chanced that the vapory ﬂeece hanging low in the East,

was shot thro’ with a soft glory as of the ﬂeece of the Lamb of God seen in mystical vision, and simultaneously there-

with, watched by the wedged mass of upturned faces, Billy ascended; and, ascending, took the full rose of the dawn.

In the pinioned ﬁgure, arrived at the yard-end, to the wonder of all no motion was apparent, none save that created

by the ship’s motion, in moderate weather so majestic in a great ship ponderously cannoned.

Chekhov, Anton. “Home.” Translated by Constance Garnett. Early Short Stories 1883–1888. New York: Modern

Library, 1999. 352–361. (1887)

‘Somebody came from the Grigorievs’ to fetch a book, but I said you were not at home. The postman has brought the

newspapers and two letters. And, by the way, sir, I wish you would give your attention to Seriozha. I saw him smoking

today and also the day before yesterday. When I told him how wrong it was he put his ﬁngers in his ears, as he always

does, and began to sing loudly so as to drown my voice.’

Eugene Bilovsky, an attorney of the circuit court, who had just come home from a session and was taking off his

gloves in his study, looked at the governess who was making this statement and laughed.

‘So Seriozha has been smoking!’ he said with a shrug of his shoulders. ‘Fancy the little beggar with a cigarette in his

mouth! How old is he?’

‘Seven years old. It seems of small consequence to you, but at his age smoking is a bad, a harmful habit; and bad

habits should be nipped in the bud.’

‘You are absolutely right. Where does he get the tobacco?’

‘From your table.’

‘He does? In that case, send him to me.’

When the governess had gone, Bilovsky sat down in an easy-chair before his writing-table and began to think. For

some reason he pictured to himself his Seriozha enveloped in clouds of tobacco smoke, with a huge, yard-long ciga-

rette in his mouth, and this caricature made him smile. At the same time the earnest, anxious face of the governess

awakened in him memories of days long past and half-forgotten, when smoking at school and in the nursery aroused

in masters and parents a strange, almost incomprehensible horror. It really was horror. Children were unmercifully

ﬂogged, and expelled from school, and their lives were blighted, although not one of the teachers nor fathers knew

exactly what constituted the harm and offence of smoking. Even very intelligent people did not hesitate to combat

the vice they did not understand. Bilovsky called to mind the principal of his school, a highly educated, good-natured

old man, who was so shocked when he caught a scholar with a cigarette that he would turn pale and immediately

summon a special session of the school board and sentence the offender to expulsion. No doubt that is one of the

laws of society—the less an evil is understood the more bitterly and harshly it is attacked.

The attorney thought of the two or three boys who had been expelled and of their subsequent lives, and could not

but reﬂect that punishment is, in many cases, more productive of evil than crime itself. The living organism possesses

the faculty of quickly adapting itself to every condition; if it were not so man would be conscious every moment of

the unreasonable foundations on which his reasonable actions rest and how little of justice and assurance are to be

found even in those activities which are fraught with so much responsibility and which are so appalling in their conse-

quences, such as education, literature, the law—

And thoughts such as these came ﬂoating into Bilovsky’s head; light, evanescent thoughts such as only enter weary,

resting brains. One knows not whence they are nor why they come; they stay but a short while and seem to spread

across the surface of the brain without ever sinking very far into its depths. For those whose minds for hours and days

together are forced to be occupied with business and to travel always along the same lines, these homelike, untram-

melled musings bring a sort of comfort and a pleasant restfulness of their own.

It was nine o’clock. On the ﬂoor overhead someone was pacing up and down, and still higher up, on the third storey,

four hands were playing scales on the piano. The person who was pacing the ﬂoor seemed, from his nervous strides,

to be the victim of tormenting thoughts or of the toothache; his footsteps and the monotonous scales added to the

quiet of the evening something somnolent that predisposed the mind to idle reveries.

In the nursery, two rooms away, Seriozha and his governess were talking.

‘Pa–pa has come!” sang the boy. “Papa has co–ome! Pa! Pa! Pa!’

‘Votre père vous appelle, allez vite!’ cried the governess, twittering like a frightened bird.

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‘What shall I say to him?’ thought Bilovsky.

But before he had time to think of anything to say his son Seriozha had already entered the study. This was a little

person whose sex could only be divined from his clothes—he was so delicate, and fair, and frail. His body was as

languid as a hot-house plant and everything about him looked wonderfully dainty and soft—his movements, his curly

hair, his glance, his velvet tunic.

‘Good evening, papa,’ he said in a gentle voice, climbing on to his father’s knee and swiftly kissing his neck. ‘Did you

send for me?’

‘Wait a bit, wait a bit, master,’ answered the lawyer, putting him aside. ‘Before you and I kiss each other we must have

a talk, a serious talk. I am angry with you, and I don’t love you any more; do you understand that, young man? I don’t

love you, and you are no son of mine.’

Seriozha looked steadfastly at his father and then turned his regard to the table and shrugged his shoulders.

‘What have I done?’ he asked, perplexed, and blinked. ‘I didn’t go into your study once today, and I haven’t touched a

thing.’

‘Miss Natalie has just been complaining to me that you have been smoking; is that so? Have you been smoking?’

‘Yes, I smoked once. That is so.’

‘There! So now you have told a lie into the bargain!’ said the lawyer, disguising his smile by a frown. ‘Miss Natalie saw

you smoking twice. That means that you have been caught doing three naughty things: smoking, taking tobacco that

doesn’t belong to you off my table, and telling a lie. Three accusations!’

Fitzgerald, F. Scott. The Great Gatsby. New York: Scribner, 2000. (1925)

From Chapter 3

There was music from my neighbor’s house through the summer nights. In his blue gardens men and girls came and

went like moths among the whisperings and the champagne and the stars. At high tide in the afternoon I watched

his guests diving from the tower of his raft, or taking the sun on the hot sand of his beach while his two motorboats

slit the waters of the Sound, drawing aquaplanes over cataracts of foam. On week ends his Rolls-Royce became an

omnibus, bearing parties to and from the city between nine in the morning and long past midnight, while his station

wagon scampered like a brisk yellow bug to meet all trains. And on Mondays eight servants, including an extra gar-

dener, toiled all day with mops and scrubbing brushes and hammers and garden shears, repairing the ravages of the

night before.

Every Friday ﬁve crates of oranges and lemons arrived from a fruiterer in New York—every Monday these same or-

anges and lemons left his back door in a pyramid of pulpless halves. There was a machine in the kitchen which could

extract the juice of two hundred oranges in half an hour if a little button was pressed two hundred times by a butler’s

thumb.

At least once a fortnight a corps of caterers came down with several hundred feet of canvas and enough colored

lights to make a Christmas tree of Gatsby’s enormous garden. On buffet tables, garnished with glistening hors

d’oeuvres, spiced baked hams crowded against salads of harlequin designs and pastry pigs and turkeys bewitched to

a dark gold. In the main hall a bar with a real brass rail was set up, and stocked with gins and liquors and with cordials

so long forgotten that most of his female guests were too young to know one from another.

Faulkner, William. As I Lay Dying. New York: Vintage, 1990. (1930)

From “Darl”

Jewel and I come up from the ﬁeld, following the path in single ﬁle. Although I am ﬁfteen feet ahead of him, anyone

watching us from the cottonhouse can see Jewel’s frayed and broken straw hat a full head above my own.

The path runs straight as a plumb-line, worn smooth by feet and baked brick-hard by July, between the green rows of

laidby cotton, to the cottonhouse at four soft right angles and goes on across the ﬁeld again, worn so by feet in fad-

ing precision.

The cottonhouse is of rough logs, from between which the chinking has long fallen. Square, with a broken roof set at

a single pitch, it leans in empty and shimmering dilapidation in the sunlight, a single broad window in two opposite

walls giving onto the approaches of the path. When we reach it I turn and follow the path which circles the house.

Jewel, ﬁfteen feet behind me, looking straight ahead, steps in a single stride through the window. Still staring straight

ahead, his pale eyes like wood set into his wooden face, he crosses the ﬂoor in four strides with the rigid gravity of

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a cigar store Indian dressed in patched overalls and endued with life from the hips down, and steps in a single stride

through the opposite window and into the path again just as I come around the corner. In single ﬁle and ﬁve feet

apart and Jewel now in front, we go on up the path toward the foot of the bluff.

Tull’s wagon stands beside the spring, hitched to the rail, the reins wrapped about the seat stanchion. In the wagon

bed are two chairs. Jewel stops at the spring and takes the gourd from the willow branch and drinks. I pass him and

mount the path, beginning to hear Cash’s saw.

When I reach the top he has quit sawing. Standing in a litter of chips, he is ﬁtting two of the boards together. Be-

tween the shadow spaces they are yellow as gold, like soft gold, bearing on their ﬂanks in smooth undulations the

marks of the adze blade: a good carpenter, Cash is. He holds the two planks on the trestle, ﬁtted along the edges in

a quarter of the ﬁnished box. He kneels and squints along the edge of them, then he lowers them and takes up the

adze. A good carpenter. Addie Bundren could not want a better one, a better box to lie in. It will give her conﬁdence

and comfort. I go on to the house, followed by the

Chuck. Chuck. Chuck.

of the adze.

Hemingway, Ernest. A Farewell to Arms. New York: Scribner, 1995. (1929)

Sometimes in the dark we heard the troops marching under the window and guns going past pulled by motor-trac-

tors. There was much trafﬁc at night and many mules on the roads with boxes of ammunition on each side of their

pack-saddles and gray motor trucks that carried men, and other trucks with loads covered with canvas that moved

slower in the trafﬁc. There were big guns too that passed in the day drawn by tractors, the long barrels of the guns

covered with green branches and green leafy branches and vines laid over the tractors. To the north we could look

across a valley and see a forest of chestnut trees and behind it another mountain on this side of the river. There was

ﬁghting for that mountain too, but it was not successful, and in the fall when the rains came the leaves all fell from the

chestnut trees and the branches were bare and the trunks black with rain. The vineyards were thin and bare-branched

too and all the country wet and brown and dead with the autumn. There were mists over the river and clouds on the

mountain and the trucks splashed mud on the road and the troops were muddy and wet in their capes; their riﬂes

were wet and under their capes the two leather cartridge-boxes on the front of the belts, gray leather boxes heavy

with the packs of clips of thin, long 6.5 mm. cartridges, bulged forward under the capes so that the men, passing on

the road, marched as though they were six months gone with child.

Hurston, Zora Neale. Their Eyes Were Watching God. New York: Harper Perennial, 1990. (1937)

From Chapter 1

Ships at a distance have every man’s wish on board. For some they come in with the tide. For others they sail forever

on the horizon, never out of sight, never landing until the Watcher turns his eyes away in resignation, his dreams

mocked to death by Time. That is the life of men.

Now, women forget all those things they don’t want to remember, and remember everything they don’t want to for-

get. The dream is the truth. Then they act and do things accordingly.

So the beginning of this was a woman and she had come back from burying the dead. Not the dead of sick and ailing

with friends at the pillow and the feet. She had come back from the sodden and the bloated; the sudden dead, their

eyes ﬂung wide open in judgment.

The people all saw her come because it was sundown. The sun was gone, but he had left his footprints in the sky. It

was the time for sitting on porches beside the road. It was the time to hear things and talk. These sitters had been

tongueless, earless, eyeless conveniences all day long. Mules and other brutes had occupied their skins. But now,

the sun and the bossman were gone, so the skins felt powerful and human. They became lords of sounds and lesser

things. They passed nations through their mouths. They sat in judgment.

Seeing the woman as she was made them remember the envy they had stored up from other times. So they chewed

up the back parts of their minds and swallowed with relish. They made burning statements with questions, and killing

tools out of laughs. It was mass cruelty. A mood come alive, Words walking without masters; walking altogether like

harmony in a song.

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Borges, Jorge Luis. “The Garden of Forking Paths.” From Labyrinths: Selected Stories and Other Writings. New

York: New Directions, 1964. (1941)

“Before unearthing this letter, I had questioned myself about the ways in which a book can be inﬁnite. I could think of

nothing other than a cyclic volume, a circular one. A book whose last page was identical with the ﬁrst, a book which

had the possibility of continuing indeﬁnitely. I remembered too that night which is at the middle of the Thousand and

One Nights when Scheherazade (through a magical oversight of the copyist) begins to relate word for word the story

of the Thousand and One Nights, establishing the risk of coming once again to the night when she must repeat it, and

thus on to inﬁnity. I imagined as well a Platonic, hereditary work, transmitted from father to son, in which each new

individual adds a chapter or corrects with pious care the pages of his elders. These conjectures diverted me; but none

seemed to correspond, not even remotely, to the contradictory chapters of Ts’ui Pen. In the midst of this perplexity, I

received from Oxford the manuscript you have examined. I lingered, naturally, on the sentence: I leave to the various

futures (not to all) my garden o f forking paths. Almost instantly, I understood: `the garden of forking paths’ was the

chaotic novel; the phrase `the various futures (not to all)’ suggested to me the forking in time, not in space. A broad

rereading of the work conﬁrmed the theory. In all ﬁctional works, each time a man is confronted with several alterna-

tives, he chooses one and eliminates the others; in the ﬁction of Ts’ui Pen, he chooses simultaneously-all of them. He

creates, in this way, diverse futures, diverse times which themselves also proliferate and fork. Here, then, is the ex-

planation of the novel’s contradictions. Fang, let us say, has a secret; a stranger calls at his door; Fang resolves to kill

him. Naturally, there are several possible outcomes: Fang can kill the intruder, the intruder can kill Fang, they both can

escape, they both can die, and so forth. In the work of Ts’ui Pen, all possible outcomes occur; each one is the point of

departure for other forkings. Sometimes, the paths of this labyrinth converge: for example, you arrive at this house,

but in one of the possible pasts you are my enemy, in another, my friend. If you will resign yourself to my incurable

pronunciation, we shall read a few pages.”

Bellow, Saul. The Adventures of Augie March. New York: Viking, 1953. (1949)

From Chapter 10

“I haven’t been wasting my time,” he said. “I’ve been working on something. I think I’m getting married soon,” he said,

and didn’t allow himself to smile with the announcement or temper it in some pleasant way.

“When? To whom?”

“To a woman with money.”

“A woman? An older woman?” That was how I interpreted it.

“Well, what’s the matter with you? Yes, I’d marry an older woman. Why not?”

“I bet you wouldn’t.” He was still able to amaze me, as though we had remained kids.

“We don’t have to argue about it because she’s not old. She’s about twenty-two, I’m told.”

“By whom? And you haven’t even seen her?”

“No, I haven’t. You remember the buyer, my old boss? He’s ﬁxing me up. I have her picture. She’s not bad. Heavy—but

I’m getting heavy too. She’s sort of pretty. Anyhow, even if she weren’t pretty, and if the buyer isn’t lying about the

dough—her family is supposed to have a mountain of dough—I’d marry her.”

“You’ve already made up your mind?”

“I’ll say I have!”

“And suppose she doesn’t want to marry you?”

“I’ll see that she does. Don’t you think I can?”

“Maybe you can, but I don’t like it. It’s cold-blooded.”

“Cold-blooded!” he said with sudden emotion. “What’s cold-blooded about it? I’d be cold-blooded if I stayed as I am.

I see around this marriage and beyond it. I’ll never again go for all the nonsense about marriage. Everybody you lay

eyes on, except perhaps a few like you and me, is born of marriage. Do you see anything so exceptional or wonderful

about it that it makes it such a big deal? Why be fooling around to make this perfect great marriage? What’s it going

to save you from? Has it saved anybody—the jerks, the fools, the morons, the schleppers, the jag-offs, the monkeys,

rats, rabbits, or the decent unhappy people or what you call nice people? They’re all married or are born of marriages,

so how can you pretend to me that it makes a difference that Bob loves Mary who loves Jerry? That’s for the movies.

Don’t you see people pondering how to marry for love and getting the blood gypped out of them? Because while

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they’re looking for the best there is—and I ﬁgure that’s what’s wrong with you—everything else gets lost. It’s sad. It’s a

pity, but it’s that way.”

I was all the same strongly against him; that he saw. Even if I couldn’t just then consider myself on the active list of

lovers and wasn’t carrying a live torch any more for Esther Fenchel. I recognized his face as the face of a man in the

wrong.

Morrison, Toni. The Bluest Eye. New York: Random House, 2007. 121–122. (1970)

One winter Pauline discovered she was pregnant. When she told Cholly, he surprised her by being pleased. He began

to drink less and come home more often. They eased back into a relationship more like the early days of their mar-

riage, when he asked if she were tired or wanted him to bring her something from the store. In this state of ease,

Pauline stopped doing day work and returned to her own housekeeping. But the loneliness in those two rooms had

not gone away. When the winter sun hit the peeling green paint of the kitchen chairs, when the smoked hocks were

boiling in the pot, when all she could hear was the truck delivering furniture downstairs, she thought about back

home, about how she had been all alone most of the time then too, but that this lonesomeness was different. Then

she stopped staring at the green chairs, at the delivery truck; she went to the movies instead. There in the dark her

memory was refreshed, and she succumbed to her earlier dreams. Along with the idea of romantic love, she was

introduced to another—physical beauty. Probably the most destructive ideas in the history of human thought. Both

originated in envy, thrived in insecurity, and ended in disillusion. In equating physical beauty with virtue, she stripped

her mind, bound it, and collected self-contempt by the heap. She forgot lust and simple caring for. She regarded love

as possessive mating, and romance as the goal of the spirit. It would be for her a well-spring from which she would

draw the most destructive emotions, deceiving the lover and seeking to imprison the beloved, curtailing freedom in

every way.

Garcia, Cristina. Dreaming in Cuban. New York: Random House, 1993. (1992)

From “The Languages Lost: Six Days in April”

Abuela gives me a box of letters she wrote to her onetime lover in Spain, but never sent. She shows me his photo-

graph, too. It’s very well preserved. He’d be good-looking by today’s standards, well built with a full beard and kind

eyes, almost professorial. He wore a crisp linen suit and a boater tilted slightly to the left. Abuela tells me she took the

picture herself one Sunday on the Malecón,

She also gives me a book of poems she’s had since 1930, we she heard García Lorca read at the Principal de la Come-

dia Theater. Abuela knows each poem by heart, and recites them quite dramatically.

I’ve started dreaming in Spanish, which has never happened before. I wake up feeling different, like something inside

me is changing, something chemical and irreversible. There’s a magic here working its way through my veins. There’s

something about the vegetation, too, that I respond to instinctively—the stunning bougainvillea, the ﬂamboyants and

jacarandas, the orchids growing from the trunks of the mysterious ceiba trees. And I love Havana, its noise and decay

and painted ladyness. I could happily sit on one of those wrought-iron balconies for days, or keep my grandmother

company on her porch, with its ringside view of the sea. I’m afraid to lose all this. To lose Abuela Celia again. But I

know that sooner or later I’d have to return to New York. I know now it’s where I belong—not instead of here, but

more than here. How can I tell my grandmother this?

Media Text

Portal to selected interviews with author Cristina García:

http://www.cristinagarcianovelist.com/index.php?page=selectedinterviews

Lahiri, Jhumpa. The Namesake. New York: Houghton Mifﬂin, 2004. (2003)

From Chapter 5

One day he attends a panel discussion about Indian novels written in English. He feels obligated to attend; one of

the presenters on the panel, Amit, is a distant cousin who lives in Bombay, whom Gogol has never met. His mother

has asked him to greet Amit on her behalf. Gogol is bored by the panelists, who keep referring to something called

“marginality,” as if it were some sort of medical condition. For most of the hour, he sketches portraits of the panelists,

who sit hunched over their papers along a rectangular table. “Teleologically speaking, ABCDs are unable to answer

the question ‘Where are you from?’” the sociologist on the panel declares. Gogol has never heard the term ABCD. He

eventually gathers that it stands for “American-born confused deshi.” In other words, him. He learns that the C could

also stand for “conﬂicted.” He knows that deshi, a generic word for “countryman,” means “Indian,” knows that his

parents and all their friends always refer to India simply as desh. But Gogol never thinks of India as desh. He thinks of

it as Americans do, as India.

Gogol slouches in his seat and ponders certain awkward truths. For instance, although he can understand his mother

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tongue, and speak it ﬂuently, he cannot read or write it with even modest proﬁciency. On trips to India his American-

accented English is a source of endless amusement to his relatives, and when he and Sonia speak to each other, aunts

and uncles and cousins always shake their heads in disbelief and say, “I didn’t understand a word!” Living with a pet

name and a good name, in a place where such distinctions do not exist—surely that was emblematic of the greatest

confusion of all. He searches the audience for someone he knows, but it isn’t his crowd—lots of lit majors with leather

satchels and gold-rimmed glasses and fountain pens, lots of people Ruth would have waved to. There are also lots of

ABCDs. He has no idea there are this many on campus. He has no ABCD friends at college. He avoids them, for they

remind him too much of the way his parents choose to live, befriending people not so much because they like them,

but because of a past they happen to share. “Gogol, why aren’t you a member of the Indian association here?” Amit

asks later when they go for a drink at the Anchor. “I just don’t have the time,” Gogol says, not telling his well-meaning

cousin that he can think of no greater hypocrisy than joining an organization that willingly celebrates occasions his

parents forced him, throughout his childhood and adolescence, to attend. “I’m Nikhil now,” Gogol says, suddenly

depressed by how many more times he will have to say this, asking people to remember, reminding them to forget,

feeling as if an errata slip were perpetually pinned to his chest.

Drama

Shakespeare, William. The Tragedy of Hamlet. New Haven: Yale University Press, 2003. (1599)

From Act III, Scene 3

KING CLAUDIUS

O, my offence is rank it smells to heaven;

It hath the primal eldest curse upon’t,

A brother’s murder. Pray can I not,

Though inclination be as sharp as will:

My stronger guilt defeats my strong intent;

And, like a man to double business bound,

I stand in pause where I shall ﬁrst begin,

And both neglect. What if this cursed hand

Were thicker than itself with brother’s blood,

Is there not rain enough in the sweet heavens

To wash it white as snow? Whereto serves mercy

But to confront the visage of offence?

And what’s in prayer but this two-fold force,

To be forestalled ere we come to fall,

Or pardon’d being down? Then I’ll look up;

My fault is past. But, O, what form of prayer

Can serve my turn? ‘Forgive me my foul murder’?

That cannot be; since I am still possess’d

Of those effects for which I did the murder,

My crown, mine own ambition and my queen.

May one be pardon’d and retain the offence?

In the corrupted currents of this world

Offence’s gilded hand may shove by justice,

And oft ‘tis seen the wicked prize itself

Buys out the law: but ‘tis not so above;

There is no shufﬂing, there the action lies

In his true nature; and we ourselves compell’d,

Even to the teeth and forehead of our faults,

To give in evidence. What then? what rests?

Try what repentance can: what can it not?

Yet what can it when one can not repent?

O wretched state! O bosom black as death!

O limed soul, that, struggling to be free,

Art more engaged! Help, angels! Make assay!

Bow, stubborn knees; and, heart with strings of steel,

Be soft as sinews of the newborn babe!

All may be well.

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Molière, Jean-Baptiste Poquelin. Tartuffe. The Project Gutenberg eBook of Tartue. Translated by Jeffrey D. Hoeper.

Release Date: April 3, 2009 [eBook #28488] (1664)

From Act III, Scene VI

Orgon. What do I hear? Good God! Is it credible?

Tartuffe. Yes, brother, I’m wicked and culpable,

A sorry sinner, full of iniquity,

As great a wretch as there ever could be.

My entire life has been soiled with evil;

It’s nothing but a mass of sinful upheaval.

And I see that God has, for my punishment,

Chosen to mortify me with this event.

Let them connect any crime with my name;

I waive all defense and take all the blame.

Believe what they tell you, stoke up your wrath,

And drive me like a felon from your path.

The shame that I bear cannot be too great,

For I know I deserve a much worse fate.

Orgon [to his son]. Traitor! Do you dare, by your duplicity,

To taint both his virtue and purity?

Damis. What? Can the false meekness of this hypocrite

Cause you to belie . . .

Orgon. Shut up, you misﬁt.

Tartuffe. Oh, let him go on. You are wrong to scold,

And you’d be wise to believe the story he’s told.

In light of his claims, why should you favor me?

What do you know of my culpability?

Why put your faith in my exterior?

Why should you think that I’m superior?

No, no, appearances are fooling you,

I am the kind of man you should eschew.

The whole world thinks that I have earned God’s blessing,

But the plain truth is . . . that I’m worth nothing.

Wilde, Oscar. The Importance of Being Earnest. Cambridge: Cambridge University Press, 1999. (1895)

From Act II, Part 2

Cecily [rather shy and conﬁdingly]: Dearest Gwendolen, there is no reason why I should make a secret of it to you.

Our little county newspaper is sure to chronicle the fact next week. Mr. Ernest Worthing and I are engaged to be mar-

ried.

Gwendolen [quite politely, rising]: My darling Cecily, I think there must be some slight error. Mr. Ernest Worthing is

engaged to me. The announcement will appear in the Morning Post on Saturday at the latest.

Cecily [very politely, rising]: I am afraid you must be under some misconception. Ernest proposed to me exactly ten

minutes ago. [Shows diary.]

Gwendolen [examines diary through her lorgnettte carefully]: It is certainly very curious, for he asked me to be his

wife yesterday afternoon at 5.30. If you would care to verify the incident, pray do so. [Produces diary of her own.] I

never travel without my diary. One should always have something sensational to read in the train. I am so sorry, dear

Cecily, if it is any disappointment to you, but I am afraid I have the prior claim.

Cecily: It would distress me more than I can tell you, dear Gwendolen, if it caused you any mental or physical anguish,

but I feel bound to point out that since Ernest proposed to you he clearly has changed his mind.

Gwendolen [meditatively]: If the poor fellow has been entrapped into any foolish promise I shall consider it my duty

to rescue him at once, and with a ﬁrm hand.

Cecily [thoughtfully and sadly]: Whatever unfortunate entanglement my dear boy may have got into, I will never

reproach him with it after we are married.

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Gwendolen: Do you allude to me, Miss Cardew, as an entanglement? You are presumptuous. On an occasion of this

kind it becomes more than a moral duty to speak one’s mind. It becomes a pleasure.

Cecily: Do you suggest, Miss Fairfax, that I entrapped Ernest into an engagement? How dare you? This is no time for

wearing the shallow mask of manners. When I see a spade I call it a spade.

Gwendolen [satirically]: I am glad to say that I have never seen a spade. It is obvious that our social spheres have

been widely different.

[Enter Merriman, followed by the footman. He carries a salver, table cloth, and plate stand. Cecily is about to retort.

The presence of the servants exercises a restraining inﬂuence, under which both girls chafe.]

Merriman: Shall I lay tea here as usual, Miss?

Cecily [sternly, in a calm voice]: Yes, as usual. [Merriman begins to clear table and lay cloth. A long pause. Cecily and

Gwendolen glare at each other.]

Gwendolen: Are there many interesting walks in the vicinity, Miss Cardew?

Cecily: Oh! yes! a great many. From the top of one of the hills quite close one can see ﬁve counties.

Gwendolen: Five counties! I don’t think I should like that; I hate crowds.

Cecily [sweetly]: I suppose that is why you live in town? [Gwendolen bites her lip, and beats her foot nervously with

her parasol.]

Gwendolen: [Looking round.] Quite a well-kept garden this is, Miss Cardew.

Cecily: So glad you like it, Miss Fairfax.

Gwendolen: I had no idea there were any ﬂowers in the country.

Cecily: Oh, ﬂowers are as common here, Miss Fairfax, as people are in London.

Gwendolen: Personally I cannot understand how anybody manages to exist in the country, if anybody who is anybody

does. The country always bores me to death.

Cecily: Ah! This is what the newspapers call agricultural depression, is it not? I believe the aristocracy are suffering

very much from it just at present. It is almost an epidemic amongst them, I have been told. May I offer you some tea,

Miss Fairfax?

Gwendolen [with elaborate politeness]: Thank you. [Aside.] Detestable girl! But I require tea!

Cecily [sweetly]: Sugar?

Gwendolen [superciliously]: No, thank you. Sugar is not fashionable any more. [Cecily looks angrily at her, takes up

the tongs and puts four lumps of sugar into the cup.]

Cecily [severely]: Cake or bread and butter?

Gwendolen [in a bored manner]: Bread and butter, please. Cake is rarely seen at the best houses nowadays.

Cecily [cuts a very large slice of cake, and puts it on the tray]: Hand that to Miss Fairfax.

[Merriman does so, and goes out with footman. Gwendolen drinks the tea and makes a grimace. Puts down cup at

once, reaches out her hand to the bread and butter, looks at it, and ﬁnds it is cake. Rises in indignation.]

Gwendolen: You have ﬁlled my tea with lumps of sugar, and though I asked most distinctly for bread and butter, you

have given me cake. I am known for the gentleness of my disposition, and the extraordinary sweetness of my nature,

but I warn you, Miss Cardew, you may go too far.

Cecily [rising]: To save my poor, innocent, trusting boy from the machinations of any other girl there are no lengths to

which I would not go.

Gwendolen: From the moment I saw you I distrusted you. I felt that you were false and deceitful. I am never deceived

in such matters. My ﬁrst impressions of people are invariably right.

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Cecily: It seems to me, Miss Fairfax, that I am trespassing on your valuable time. No doubt you have many other calls

of a similar character to make in the neighbourhood.

Wilder, Thornton. Our Town: A Play in Three Acts. New York: Perennial, 2003. (1938)

Emily: (softly, more in wonder than in grief) I can’t bear it. They’re so young and beautiful. Why did they ever have

to get old? Mama, I’m here. I’m grown up. I love you all, everything.— I cant look at everything hard enough. (pause,

talking to her mother who does not hear her. She speaks with mounting urgency) Oh, Mama, just look at me one min-

ute as though you really saw me. Mama, fourteen years have gone by. I’m dead. You’re a grandmother, Mama. I mar-

ried George Gibbs, Mama. Wally’s dead, too. Mama, his appendix burst on a camping trip to North Conway. We felt

just terrible about it - don’t you remember? But, just for a moment now we’re all together. Mama, just for a moment

we’re happy. Let’s look at one another. (pause, looking desperate because she has received no answer. She speaks in

a loud voice, forcing herself to not look at her mother) I can’t. I can’t go on. It goes so fast. We don’t have time to look

at one another. (she breaks down sobbing, she looks around) I didn’t realize. All that was going on in life and we never

noticed. Take me back - up the hill - to my grave. But ﬁrst: Wait! One more look. Good-by, Good-by, world. Good-by,

Grover’s Corners? Mama and Papa. Good-bye to clocks ticking? and Mama’s sunﬂowers. And food and coffee. And

new-ironed dresses and hot baths? and sleeping and waking up. Oh, earth, you’re too wonderful for anybody to real-

ize you. (she asks abruptly through her tears) Do any human beings ever realize life while they live it? - every, every

minute? (she sighs) I’m ready to go back. I should have listened to you. That’s all human beings are! Just blind people.

Miller, Arthur. Death of a Salesman. New York: Viking, 1996. (1949)

From Act II

Willy: Oh, yeah, my father lived many years in Alaska. He was an adventurous man. We’ve got quite a little streak of

self-reliance in our family. I thought I’d go out with my older brother and try to locate him, and maybe settle in the

North with the old man. And I was almost decided to go, when I met a salesman in the Parker House. His name was

Dave Singleman. And he was eighty-four years old, and he’d drummed merchandise in thirty-one states. And old

Dave, he’d go up to his room, y’understand, put on his green velvet slippers—I’ll never forget—and pick up his phone

and call the buyers, and without ever leaving is room, at the age of eighty-four, he made his living. And when I saw

that, I realized that selling was the greatest career a man could want. ‘Cause what could be more satisfying than to be

able to go, at the age of eighty-four, into twenty or thirty different cities, and pick up a phone, and be remembered

and loved and helped by so many different people? Do you know? When he died—and by the way he died the death

of a salesman, in his green velvet slippers in the smoker of the New York, New Haven and Hartford, going into Bos-

ton—when he died, hundreds of salesmen and buyers were at his funeral. Things were sad on a lotta trains for months

after that. He stands up. Howard has not looked at him. In those days there was personality in it, Howard. There was

respect, and comradeship, and gratitude in it. Today, it’s all cut and dried, and there’s no chance for bringing friend-

ship to bear—or personality. You see what I mean? They don’t know me anymore.

Hansberry, Lorraine. A Raisin in the Sun. New York: Vintage, 1994. (1959)

From Act III

BENEATHA: He’s no brother of mine.

MAMA: What you say?

BENEATHA: I said that that individual is that room is no brother of mine.

MAMA: That’s what I thought you said. You feeling like you better than he is today? [BENEATHA does not answer.]

Yes? What you tell him a minute ago? That he wasn’t a man? Yes? You give him up for me? You done wrote his epi-

taph too—like the rest of the world? Well who give you the privilege?

BENEATHA: Be on my side for once! You say what he just did, Mama! You saw him—down on his knees. Wasn’t it you

who taught me—to despise any man who would do that. Do what he’s going to do.

MAMA: Yes—I taught you that. Me and your daddy. But I thought I taught you something else too…I thought I taught

you to love him.

BENEATHA: Love him? There is nothing left to love.

MAMA: There is always something left to love. And if you ain’t learned that you ain’t learned nothing. [Looking at her.]

Have you cried for that boy today? I don’t mean for yourself and for the family ‘cause we lost the money. I mean for

him; what he been through and what it done to him. Child, when do you think is the time to love somebody the most;

when they done good and made things easy for everybody? Well then, you ain’t through learning—because that ain’t

the time at all. It’s when he’s at him lowest and can’t believe in hisself ‘cause the world done whipped him so. When

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you starts measuring somebody, measure him right, child, measure him right. Make sure you done taken into account

what hills and valleys he come through before he got to wherever he is.

Soyinka, Wole. Death and the King’s Horseman: A Play. New York: W. W. Norton, 2002. (1976)

From Act I, Scene 1

ELESIN:

Where the storm pleases, and when, it directs

The giants of the forest. When friendship summons

Is when the true comrade goes.

WOMEN:

Nothing will hold you back?

ELESIN:

Nothing. What! Has no one told you yet?

I go to keep my friend and master company.

Who says the mouth does not believe in

‘No, I have chewed all that before?’ I say I have.

The world is not a constant honey-pot.

Poetry

Li Po. “A Poem of Changgan.” The Jade Mountain: A Chinese Anthology. Translated by Witter Bynner. New York:

Knopf, 1929. (circa 700)

My hair had hardly covered my forehead.

I was picking ﬂowers, playing by my door,

When you, my lover, on a bamboo horse,

Came trotting in circles and throwing green plums.

We lived near together on a lane in Ch’ang-kan,

Both of us young and happy-hearted.

...At fourteen I became your wife,

So bashful that I dared not smile,

And I lowered my head toward a dark corner

And would not turn to your thousand calls;

But at ﬁfteen I straightened my brows and laughed,

Learning that no dust could ever seal our love,

That even unto death I would await you by my post

And would never lose heart in the tower of silent watching.

...Then when I was sixteen, you left on a long journey

Through the Gorges of Ch’u-t’ang, of rock and whirling water.

And then came the Fifth-month, more than I could bear,

And I tried to hear the monkeys in your lofty far-off sky.

Your footprints by our door, where I had watched you go,

Were hidden, every one of them, under green moss,

Hidden under moss too deep to sweep away.

And the ﬁrst autumn wind added fallen leaves.

And now, in the Eighth-month, yellowing butterﬂies

Hover, two by two, in our west-garden grasses

And, because of all this, my heart is breaking

And I fear for my bright cheeks, lest they fade.

...Oh, at last, when you return through the three Pa districts,

Send me a message home ahead!

And I will come and meet you and will never mind the distance,

All the way to Chang-feng Sha.

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Donne, John. “A Valediction Forbidding Mourning.” The Complete Poetry of John Donne. Edited by John T.

Shawcross. New York: Anchor Books, 1967. (1633)

As virtuous men pass mildly’ away,

And whisper to their souls to go,

Whilst some of their sad friends do say

The breath goes now, and some say, no;

So let us melt, and make no noise,

No tear ﬂoods, nor sigh-tempests move,

‘Twere profanation of our joys

To tell the laity our love.

Moving of th’ earth brings harms and fears,

Men reckon what it did and meant;

But trepidation of the spheres,

Though greater far, is innocent.

Dull sublunary lovers’ love

(Whose soul is sense) cannot admit

Absence, because it doth remove

Those things which elemented it.

But we by’ a love so much reﬁned

That our selves know not what it is,

Inter-assured of the mind,

Care less, eyes, lips, and hands to miss.

Our two souls therefore, which are one,

Though I must go, endure not yet

A breach, but an expansion,

Like gold to airy thinness beat.

If they be two, they are two so

As stiff twin compasses are two;

Thy soul, the ﬁxed foot, makes no show

To move, but doth, if th’ other do.

And though it in the center sit,

Yet when the other far doth roam,

It leans and hearkens after it,

And grows erect, as that comes home.

Such wilt thou be to me, who must

Like th’ other foot, obliquely run.

Thy ﬁrmness makes my circle just.

And makes me end where I begun.

Wheatley, Phyllis. “On Being Brought From Africa to America.” New Anthology of American Poetry: Traditions and

Revolutions, Beginnings to 1900 (Vol 1). Edited by Steven Gould Axelrod, Camille Roman, and Thomas J. Travisano.

Piscataway, New Jersey: Rutgers University Press, 2003. (1773)

‘Twas mercy brought me from my Pagan land,

Taught my benighted soul to understand

That there’s a God, that there’s a Saviour too:

Once I redemption neither sought nor knew.

Some view our sable race with scornful eye,

“Their colour is a diabolic die.”

Remember, Christians, Negros, black as Cain,

May be reﬁn’d, and join th’ angelic train.

Keats, John. “Ode on a Grecian Urn.” The Complete Poems of John Keats. New York: Modern Library, 1994. (1820)

Thou still unravish’d bride of quietness,

Thou foster-child of silence and slow time,

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Sylvan historian, who canst thus express

A ﬂowery tale more sweetly than our rhyme:

What leaf-fring’d legend haunts about thy shape

Of deities or mortals, or of both,

In Tempe or the dales of Arcady?

What men or gods are these? What maidens loth?

What mad pursuit? What struggle to escape?

What pipes and timbrels? What wild ecstasy?

Heard melodies are sweet, but those unheard

Are sweeter; therefore, ye soft pipes, play on;

Not to the sensual ear, but, more endear’d,

Pipe to the spirit ditties of no tone:

Fair youth, beneath the trees, thou canst not leave

Thy song, nor ever can those trees be bare;

Bold Lover, never, never canst thou kiss,

Though winning near the goal—yet, do not grieve;

She cannot fade, though thou hast not thy bliss,

For ever wilt thou love, and she be fair!

Ah, happy, happy boughs! that cannot shed

Your leaves, nor ever bid the Spring adieu;

And, happy melodist, unwearied,

For ever piping songs for ever new;

More happy love! more happy, happy love!

For ever warm and still to be enjoy’d,

For ever panting, and for ever young;

All breathing human passion far above,

That leaves a heart high-sorrowful and cloy’d,

A burning forehead, and a parching tongue.

Who are these coming to the sacriﬁce?

To what green altar, O mysterious priest,

Lead’st thou that heifer lowing at the skies,

And all her silken ﬂanks with garlands drest?

What little town by river or sea shore,

Or mountain-built with peaceful citadel,

Is emptied of this folk, this pious morn?

And, little town, thy streets for evermore

Will silent be; and not a soul to tell

Why thou art desolate, can e’er return.

O Attic shape! Fair attitude! with brede

Of marble men and maidens overwrought,

With forest branches and the trodden weed;

Thou, silent form, dost tease us out of thought

As doth eternity: Cold Pastoral!

When old age shall this generation waste,

Thou shalt remain, in midst of other woe

Than ours, a friend to man, to whom thou say’st,

“Beauty is truth, truth beauty,”—that is all

Ye know on earth, and all ye need to know.

Whitman, Walt. “Song of Myself.” Leaves of Grass. Oxford: Oxford University Press, 1990. (c1860)

From “Song of Myself” 1

I celebrate myself, and sing myself,

And what I assume you shall assume,

For every atom belonging to me as good belongs to you.

I loafe and invite my soul,

I lean and loafe at my ease observing a spear of summer grass.

My tongue, every atom of my blood, form’d from this soil, this air,

Born here of parents born here from parents the same, and their parents the same,

I, now thirty-seven years old in perfect health begin,

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Hoping to cease not till death.

Creeds and schools in abeyance,

Retiring back a while sufﬁced at what they are, but never forgotten,

I harbor for good or bad, I permit to speak at every hazard,

Nature without check with original energy.

Dickinson, Emily. “Because I Could Not Stop for Death.” The Complete Poems of Emily Dickinson. Boston: Little,

Brown, 1960. (1890)

Because I could not stop for Death—

He kindly stopped for me—

The Carriage held but just Ourselves—

And Immortality.

We slowly drove—He knew no haste

And I had put away

My labor and my leisure too,

For His Civility—

We passed the School, where Children strove

At Recess—in the Ring—

We passed the Fields of Grazing Grain—

We passed the Setting Sun—

We paused before a House that seemed

A Swelling of the Ground—

The Room was scarcely visible—

The Cornice—in the Ground—

Since then—’tis Centuries—and yet

Feels shorter than the Day

I ﬁrst surmised the Horses’ Heads

Were toward Eternity—

Tagore, Rabindranath. “Song VII.” The Complete Text of Rabindranath Tagore’s Gitanjali: Text and Critical

Evaluation by S. K. Paul. Translated by Rabindranath Tagore. New Dehli: Sarup and Sons, 2006. (1913)

My song has put off her adornments.

She has no pride of dress and decoration.

Ornaments would mar our union;

they would come between thee and me;

their jingling would drown thy whispers.

My poet’s vanity dies in shame before thy sight.

O master poet, I have sat down at thy feet.

Only let me make my life simple and straight,

like a ﬂute of reed for thee to ﬁll with music.

Eliot, T. S. “The Love Song of J. Alfred Prufrock.” T. S. Eliot: The Complete Poems and Plays, 1909–1950. Orlando:

Harcourt Brace & Company, 1952. (1917)

Let us go then, you and I,

When the evening is spread out against the sky

Like a patient etherised upon a table;

Let us go, through certain half-deserted streets,

The muttering retreats

Of restless nights in one-night cheap hotels

And sawdust restaurants with oyster-shells:

Streets that follow like a tedious argument

Of insidious intent

To lead you to an overwhelming question...

Oh, do not ask, “What is it?”

Let us go and make our visit.

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Pound, Ezra. “The River Merchant’s Wife: A Letter.” Anthology of Modern American Poetry. Edited by Cary Nelson.

New York: Oxford University Press, 2000. (1917)

While my hair was still cut straight across my forehead

I played about the front gate, pulling ﬂowers.

You came by on bamboo stilts, playing horse;

You walked about my seat, playing with blue plums.

And we went on living in the village of Chokan:

Two small people, without dislike or suspicion.

At fourteen I married My Lord you.

I never laughed, being bashful.

Lowering my head, I looked at the wall.

Called to, a thousand times, I never looked back.

At ﬁfteen I stopped scowling,

I desired my dust to be mingled with yours

Forever and forever and forever.

Why should I climb the lookout?

At sixteen you departed,

You went into far Ku-to-en, by the river of swirling eddies,

And you have been gone ﬁve months.

The monkeys make sorrowful noise overhead.

You dragged your feet when you went out.

By the gate now, the moss is grown, the different mosses,

Too deep to clear them away!

The leaves fall early this autumn, in wind.

The paired butterﬂies are already yellow with August

Over the grass in the West garden --

They hurt me.

I grow older.

If you are coming down through the narrows of the river,

Please let me know beforehand,

And I will come out to meet you

As far as Cho-fo-Sa.

Frost, Robert. “Mending Wall.” The Complete Poems of Robert Frost. New York: Holt, Rinehart and Winston, 1949.

(1914)

SOMETHING there is that doesn’t love a wall,

That sends the frozen-ground-swell under it,

And spills the upper boulders in the sun;

And makes gaps even two can pass abreast.

The work of hunters is another thing:

I have come after them and made repair

Where they have left not one stone on stone,

But they would have the rabbit out of hiding,

To please the yelping dogs. The gaps I mean,

No one has seen them made or heard them made,

But at spring mending-time we ﬁnd them there.

I let my neighbor know beyond the hill;

And on a day we meet to walk the line

And set the wall between us once again.

We keep the wall between us as we go.

To each the boulders that have fallen to each.

And some are loaves and some so nearly balls

We have to use a spell to make them balance:

“Stay where you are until our backs are turned!”

We wear our ﬁngers rough with handling them.

Oh, just another kind of outdoor game,

One on a side. It comes to little more:

He is all pine and I am apple-orchard.

My apple trees will never get across

And eat the cones under his pines, I tell him.

He only says, “Good fences make good neighbors.”

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Spring is the mischief in me, and I wonder

If I could put a notion in his head:

“Why do they make good neighbors? Isn’t it

Where there are cows? But here there are no cows.

Before I built a wall I’d ask to know

What I was walling in or walling out,

And to whom I was like to give offence.

Something there is that doesn’t love a wall,

That wants it down!” I could say “Elves” to him,

But it’s not elves exactly, and I’d rather

He said it for himself. I see him there,

Bringing a stone grasped ﬁrmly by the top

In each hand, like an old-stone savage armed.

He moves in darkness as it seems to me,

Not of woods only and the shade of trees.

He will not go behind his father’s saying,

And he likes having thought of it so well

He says again, “Good fences make good neighbors.”

Media Text

The Frost Free Library, with essays, interviews, and audio:

http://www.frostfriends.org/library.html

Neruda, Pablo. “Ode to My Suit.” Translated by Margaret Sayers Peden. Selected Odes of Pablo Neruda. Berkeley:

University of California Press, 1990. (1954)

Bishop, Elizabeth. “Sestina.” The Complete Poems of Elizabeth Bishop, 1927–1979. New York: Farrar, Straus and

Giroux, 1983. (1965)

Ortiz Cofer, Judith. “The Latin Deli: An Ars Poetica.” The Latin Deli: Telling the Lives of Barrio Women. New York:

Norton, 1995. (1988)

Presiding over a formica counter,

Plastic Mother and Child magnetized

to the top of an ancient register,

the heady mix of smells from the open bins

of dried codﬁsh, the green plantains

hanging in stalks like votive offerings,

she is the Patroness of Exiles,

a woman of no-age who was never pretty,

who spends her days selling canned memories

while listening to the Puerto Ricans complain

that it would be cheaper to ﬂy to San Juan

than to by a pound of Bustelo coffee here,

and to the Cubans perfecting their speech

of a “glorious return” to Havana—where no one

has been allowed to die and nothing to change until then;

to Mexicans who pass through, talking lyrically

of dólares to be made in El Norte—

all wanting the comfort

of spoken Spanish, to gaze upon the family portrait

of her plain wide face, her ample bosom

resting on her plump arms, her look of maternal interest

as they speak to her and each other

of their dreams and their disillusions—

how she smiles understanding,

when they walk down the narrow aisles of her store

reading the labels of the packages aloud, s if

they were the names of lost lovers: Suspiros,

Merengues, the stale candy of everyone’s childhood.

She spends her days

Slicing jamón y queso and wrapping it in wax paper

tied with string: plain ham and cheese

that would cost less at the A&P, but it would not satisfy

the hunger of the fragile old man lost in the folds

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of his winter coat, who brings her lists of items

that he reads to her like poetry, or the others,

whose needs she must divine, conjuring up products

from places that now exist only in their hearts—

closed ports she must trade with.

press - University of Houston).

Dove, Rita. “Demeter’s Prayer to Hades.” Mother Love: Poems. New York: Norton, 1996. (1995)

This alone is what I wish for you: knowledge.

To understand each desire has an edge,

To know we are responsible for the lives

we change. No faith comes without cost,

no one believes without dying.

Now for the ﬁrst time

I see clearly the trail you planted,

What ground opened to waste,

though you dreaded a wealth

of ﬂowers.

There are no curses—only mirrors

held up to the souls of gods and mortals.

And so I give up this fate, too.

Believe in yourself,

go ahead—see where it gets you.

W.W. Norton & Company, Inc.

Collins, Billy. “Man Listening to Disc.” Sailing Alone Around the Room. New York: Random House, 2001. (2001)

Sample Performance Tasks for Stories, Drama, and Poetry

• Students analyze the ﬁrst impressions given of Mr. and Mrs. Bennet in the opening chapter of Pride and Preju-

dice based on the setting and how the characters are introduced. By comparing these ﬁrst impressions with

their later understanding based on how the action is ordered and the characters develop over the course of

the novel, students understand the impact of Jane Austen’s choices in relating elements of a story. [RL.11–12.3]

• Students compare and contrast how the protagonists of Herman Melville’s Billy Budd and Nathaniel Haw-

thorne’s Scarlet Letter maintain their integrity when confronting authority, and they relate their analysis of that

theme to other portrayals in nineteenth- and early-twentieth-century foundational works of American literature

they have read. [RL.11–12.9]

• Students analyze how Anton Chekhov’s choice of structuring his story “Home” by beginning in “midstream”

shapes the meaning of the text and contributes to its overall narrative arc. [RL.11–12.5]

• Students provide an objective summary of F. Scott’s Fitzgerald’s Great Gatsby wherein they analyze how over

the course of the text different characters try to escape the worlds they come from, including whose help they

get and whether anybody succeeds in escaping. [RL.11–12.2]

• Students analyze Miguel de Cervantes’s Don Quixote and Jean-Baptiste Poquelin Molière’s Tartue for how

what is directly stated in a text diers from what is really meant, comparing and contrasting the point of view

adopted by the protagonist in each work. [RL.11–12.6]

• Students compare two or more recorded or live productions of Arthur Miller’s Death of a Salesman to the

written text, evaluating how each version interprets the source text and debating which aspects of the enacted

interpretations of the play best capture a particular character, scene, or theme. [RL.11–12.7]

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• Students compare and contrast the ﬁgurative and connotative meanings as well as speciﬁc word choices in

John Donne’s “Valediction Forbidding Mourning” and Emily Dickinson’s “Because I Would Not Stop for Death”

in order to determine how the metaphors of the carriage and the compass shape the meaning and tone of

each poem. Students analyze the ways both poets use language that is particularly fresh, engaging, or beauti-

ful to convey the multiple meanings regarding death contained in each poem. [RL.11–12.4]

• Students cite strong and thorough textual evidence from John Keats’s “Ode on a Grecian Urn” to support their

analysis of what the poem says explicitly about the urn as well as what can be inferred about the urn from

evidence in the poem. Based on their close reading, students draw inferences from the text regarding what

meanings the ﬁgures decorating the urn convey as well as noting where the poem leaves matters about the

urn and its decoration uncertain. [RL.11–12.1]

Informational Texts: English Language Arts

Paine, Thomas. Common Sense. New York: Penguin, 2005. (1776)

A government of our own is our natural right: And when a man seriously reﬂects on the precariousness of human

affairs, he will become convinced, that it is inﬁnitely wiser and safer, to form a constitution of our own in a cool

deliberate manner, while we have it in our power, than to trust such an interesting event to time and chance. If we

omit it now, some Massenello* may hereafter arise, who laying hold of popular disquietudes, may collect together the

desperate and the discontented, and by assuming to themselves the powers of government, may sweep away the

liberties of the continent like a deluge. Should the government of America return again into the hands of Britain, the

tottering situation of things, will be a temptation for some desperate adventurer to try his fortune; and in such a case,

what relief can Britain give? Ere she could hear the news the fatal business might be done, and ourselves suffering like

the wretched Britons under the oppression of the Conqueror. Ye that oppose independence now, ye know not what

ye do; ye are opening a door to eternal tyranny, by keeping vacant the seat of government.

(*Thomas Anello, otherwise Massenello, a ﬁsherman of Naples, who after spiriting up his countrymen in the public

market place, against the oppression of the Spaniards, to whom the place was then subject, prompted them to revolt,

and in the space of a day became king.)

Jefferson, Thomas. The Declaration of Independence. (1776)

IN CONGRESS, July 4, 1776

The unanimous Declaration of the thirteen united States of America

When in the Course of human events, it becomes necessary for one people to dissolve the political bands which have

connected them with another, and to assume, among the Powers of the earth, the separate and equal station to which

the Laws of Nature and of Nature’s God entitle them, a decent respect to the opinions of mankind requires that they

should declare the causes which impel them to the separation.

We hold these truths to be self-evident, that all men are created equal, that they are endowed by their Creator with

certain unalienable Rights, that among these are Life, Liberty, and the pursuit of Happiness.—That to secure these

rights, Governments are instituted among Men, deriving their just powers from the consent of the governed,—That

whenever any Form of Government becomes destructive of these ends, it is the Right of the People to alter or to

abolish it, and to institute new Government, laying its foundation on such principles and organizing its powers in

such form, as to them shall seem most likely to effect their Safety and Happiness. Prudence, indeed, will dictate that

Governments long established should not be changed for light and transient causes; and accordingly all experience

hath shown, that mankind are more disposed to suffer, while evils are sufferable, than to right themselves by abolish-

ing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing invariably the

same Object evinces a design to reduce them under absolute Despotism, it is their right, it is their duty, to throw off

such Government, and to provide new Guards for their future security.—Such has been the patient sufferance of these

Colonies; and such is now the necessity which constrains them to alter their former Systems of Government. The his-

tory of the present King of Great Britain is a history of repeated injuries and usurpations, all having in direct object the

establishment of an absolute Tyranny over these States. To prove this, let Facts be submitted to a candid world.

He has refused his Assent to Laws, the most wholesome and necessary for the public good.

He has forbidden his Governors to pass Laws of immediate and pressing importance, unless suspended in their

operation till his

APPENDIX B | 164

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Assent should be obtained; and when so suspended, he has utterly neglected to attend to them.

He has refused to pass other Laws for the accommodation of large districts of people, unless those people would

relinquish the right of Representation in the Legislature, a right inestimable to them and formidable to tyrants only.

He has called together legislative bodies at places unusual, uncomfortable, and distant from the depository of

their Public Records, for the sole purpose of fatiguing them into compliance with his measures.

He has dissolved Representative Houses repeatedly, for opposing with manly ﬁrmness his invasions on the rights

of the people.

He has refused for a long time, after such dissolutions, to cause others to be elected; whereby the Legislative

Powers, incapable of Annihilation, have returned to the People at large for their exercise; the State remaining in the

mean time exposed to all the dangers of invasion from without, and convulsions within.

He has endeavoured to prevent the population of these States; for that purpose obstructing the Laws of Natural-

ization of Foreigners; refusing to pass others to encourage their migration hither, and raising the conditions of new

Appropriations of Lands.

He has obstructed the Administration of Justice, by refusing his Assent to Laws for establishing Judiciary Powers.

He has made judges dependent on his Will alone, for the tenure of their ofﬁces, and the amount and payment of

their salaries.

He has erected a multitude of New Ofﬁces, and sent hither swarms of Ofﬁcers to harass our People, and eat out

their substance.

He has kept among us, in times of peace, Standing Armies without the Consent of our legislatures.

He has affected to render the Military independent of and superior to the Civil Power.

He has combined with others to subject us to a jurisdiction foreign to our constitution, and unacknowledged by

our laws; giving his Assent to their Acts of pretended legislation:

For quartering large bodies of armed troops among us:

For protecting them, by a mock Trial, from Punishment for any Murders which they should commit on the Inhabit-

ants of these States:

For cutting off our Trade with all parts of the world:

For imposing taxes on us without our Consent:

For depriving us, in many cases, of the beneﬁts of Trial by Jury:

For transporting us beyond Seas to be tried for pretended offences:

For abolishing the free System of English Laws in a neighbouring Province, establishing therein an Arbitrary

government, and enlarging its Boundaries so as to render it at once an example and ﬁt instrument for introducing the

same absolute rule into these Colonies:

For taking away our Charters, abolishing our most valuable Laws, and altering fundamentally the Forms of our

Governments:

For suspending our own Legislatures and declaring themselves invested with Power to legislate for us in all cases

whatsoever.

He has abdicated Government here, by declaring us out of his Protection and waging War against us.

He has plundered our seas, ravaged our Coasts, burnt our towns, and destroyed the lives of our people.

He is at this time transporting large armies of foreign mercenaries to complete the works of death, desolation and

tyranny, already begun with circumstances of Cruelty & perﬁdy scarcely paralleled in the most barbarous ages, and

totally unworthy of the Head of a civilized nation.

He has constrained our fellow Citizens taken Captive on the high Seas to bear Arms against their Country, to be-

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

come the executioners of their friends and Brethren, or to fall themselves by their Hands.

He has excited domestic insurrections amongst us, and has endeavoured to bring on the inhabitants of our fron-

tiers, the merciless Indian Savages, whose known rule of warfare is an undistinguished destruction of all ages, sexes

and conditions.

In every stage of these Oppressions We have Petitioned for Redress in the most humble terms: Our repeated Petitions

have been answered only by repeated injury. A Prince, whose character is thus marked by every act which may deﬁne

a Tyrant, is unﬁt to be the ruler of a free People.

Nor have We been wanting in attention to our British brethren. We have warned them from time to time of attempts

by their legislature to extend an unwarrantable jurisdiction over us. We have reminded them of the circumstances of

our emigration and settlement here. We have appealed to their native justice and magnanimity, and we have conjured

them by the ties of our common kindred to disavow these usurpations, which would inevitably interrupt our connec-

tions and correspondence. They too have been deaf to the voice of justice and of consanguinity. We must, therefore,

acquiesce in the necessity, which denounces our Separation, and hold them, as we hold the rest of mankind, Enemies

in War, in Peace Friends.

We, therefore, the Representatives of the United States of America, in General Congress, Assembled, appealing to the

Supreme Judge of the world for the rectitude of our intentions, do, in the Name, and by the Authority of the good

People of these Colonies, solemnly publish and declare, That these United Colonies are, and of Right ought to be Free

and Independent States; that they are Absolved from all Allegiance to the British Crown, and that all political connec-

tion between them and the State of Great Britain, is and ought to be totally dissolved; and that as Free and Indepen-

dent States, they have full Power to levy War, conclude Peace, contract Alliances, establish Commerce, and to do all

other Acts and Things which Independent States may of right do. And for the support of this Declaration, with a ﬁrm

reliance on the Protection of Divine Providence, we mutually pledge to each other our Lives, our Fortunes and our

sacred Honor.

United States. The Bill of Rights (Amendments One through Ten of the United States Constitution). (1791)

Amendment I

Congress shall make no law respecting an establishment of religion, or prohibiting the free exercise thereof; or abridg-

ing the freedom of speech, or of the press, or the right of the people peaceably to assemble, and to petition the

Government for a redress of grievances.

Amendment II

A well regulated Militia, being necessary to the security of a free State, the right of the people to keep and bear Arms,

shall not be infringed.

Amendment III

No Soldier shall, in time of peace be quartered in any house, without the consent of the Owner, nor in time of war, but

in a manner to be prescribed by law.

Amendment IV

The right of the people to be secure in their persons, houses, papers, and effects, against unreasonable searches and

seizures, shall not be violated, and no Warrants shall issue, but upon probable cause, supported by Oath or afﬁrma-

tion, and particularly describing the place to be searched, and the persons or things to be seized.

Amendment V

No person shall be held to answer for a capital, or otherwise infamous crime, unless on a presentment or indictment

of a Grand Jury, except in cases arising in the land or naval forces, or in the Militia, when in actual service in time of

War or public danger; nor shall any person be subject for the same offence to be twice put in jeopardy of life or limb,

nor shall be compelled in any criminal case to be a witness against himself, nor be deprived of life, liberty, or property,

without due process of law; nor shall private property be taken for public use, without just compensation.

Amendment VI

In all criminal prosecutions, the accused shall enjoy the right to a speedy and public trial, by an impartial jury of the

State and district wherein the crime shall have been committed; which district shall have been previously ascertained

by law, and to be informed of the nature and cause of the accusation; to be confronted with the witnesses against

him; to have compulsory process for obtaining witnesses in his favor, and to have the assistance of counsel for his

defence.

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Amendment VII

In Suits at common law, where the value in controversy shall exceed twenty dollars, the right of trial by jury shall be

preserved, and no fact tried by a jury shall be otherwise re-examined in any Court of the United States, than accord-

ing to the rules of the common law.

Amendment VIII

Excessive bail shall not be required, nor excessive ﬁnes imposed, nor cruel and unusual punishments inﬂicted.

Amendment IX

The enumeration in the Constitution of certain rights shall not be construed to deny or disparage others retained by

the people.

Amendment X

The powers not delegated to the United States by the Constitution, nor prohibited by it to the States, are reserved to

the States respectively, or to the people.

Thoreau, Henry David. Walden; or, Life in the Woods. Boston: Houghton, 1893. (1854)

I went to the woods because I wished to live deliberately, to front only the essential facts of life, and see if I could not

learn what it had to teach, and not, when I came to die, discover that I had not lived. I did not wish to live what was

not life, living is so dear; nor did I wish to practise resignation, unless it was quite necessary. I wanted to live deep and

suck out all the marrow of life, to live so sturdily and Spartan-like as to put to rout all that was not life, to cut a broad

swath and shave close, to drive life into a corner, and reduce it to its lowest terms, and, if it proved to be mean, why

then to get the whole and genuine meanness of it, and publish its meanness to the world; or if it were sublime, to

know it by experience, and be able to give a true account of it in my next excursion. For most men, it appears to me,

are in a strange uncertainty about it, whether it is of the devil or of God, and have somewhat hastily concluded that it

is the chief end of man here to “glorify God and enjoy him forever.”

Emerson, Ralph Waldo. “Society and Solitude.” Essays and Poems. New York: Library of America, 1996. (1857)

‘Tis hard to mesmerize ourselves, to whip our own top; but through sympathy we are capable of energy and endur-

ance. Concert ﬁres people to a certain fury of performance they can rarely reach alone. Here is the use of society: it is

so easy with the great to be great; so easy to come up to an existing standard;—as easy as it is to the lover to swim to

his maiden through waves so grim before. The beneﬁts of affection are immense; and the one event which never loses

its romance, is the encounter with superior persons on terms allowing the happiest intercourse.

It by no means follows that we are not ﬁt for society, because soirées are tedious, and because the soirée ﬁnds us

tedious. A backwoodsman, who had been sent to the university, told me that, when he heard the best-bred young

men at the law school talk together, he reckoned himself a boor; but whenever he caught them apart, and had one to

himself alone, then they were the boors, and he the better man. And if we recall the rare hours when we encountered

the best persons, we then found ourselves, and then ﬁrst society seemed to exist. That was society, though in the

transom of a brig, or on the Florida Keys.

A cold, sluggish blood thinks it has not facts enough to the purpose, and must decline its turn in the conversation.

But they who speak have no more,—have less. ‘Tis not new facts that avail, but the heat to dissolve everybody’s facts.

The capital defect of cold, arid natures is the want of animal spirits. They seem a power incredible, as if God should

raise the dead. The recluse witnesses what others perform by their aid, with a kind of fear. It is as much out of his

possibility as the prowess of Cœur-de-Lion, or an Irishman’s day’s-work on the railroad. ‘Tis said, the present and the

future are always rivals. Animal spirits constitute the power of the present, and their feats are like the structure of a

pyramid. Their result is a lord, a general, or a boon companion. Before these, what a base mendicant is Memory with

his leathern badge! But this genial heat is latent in all constitutions, and is disengaged only by the friction of society.

As Bacon said of manners, “To obtain them, it only needs not to despise them,” so we say of animal spirits, that they

are the spontaneous product of health and of a social habit. “For behavior, men learn it, as they take diseases, one of

another.”

But the people are to be taken in very small doses. If solitude is proud, so is society vulgar. In society, high advan-

tages are set down to the individual as disqualiﬁcations. We sink as easily as we rise, through sympathy. So many men

whom I know are degraded by their sympathies, their native aims being high enough, but their relation all too tender

to the gross people about them. Men cannot afford to live together by their merits, and they adjust themselves by

their demerits,—by their love of gossip, or by sheer tolerance and animal good-nature. They untune and dissipate the

brave aspirant.

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The remedy is, to reinforce each of these moods from the other. Conversation will not corrupt us, if we come to the

assembly in our own garb and speech, and with the energy of health to select what is ours and reject what is not.

Society we must have; but let it be society, and not exchanging news, or eating from the same dish. Is it society to sit

in one of your chairs? I cannot go into the houses of my nearest relatives, because I do not wish to be alone. Society

exists by chemical afﬁnity, and not otherwise.

Put any company of people together with freedom for conversation, and a rapid self-distribution takes place, into

sets and pairs. The best are accused of exclusiveness. It would be more true to say, they separate as oil from water,

as children from old people, without love or hatred in the matter, each seeking his like; and any interference with the

afﬁnities would produce constraint and suffocation. All conversation is a magnetic experiment. I know that my friend

can talk eloquently; you know that he cannot articulate a sentence: we have seen him in different company. Assort

your party, or invite none. Put Stubbs and Coleridge, Quintilian and Aunt Miriam, into pairs, and you make them all

wretched. ‘Tis an extempore Sing-Sing built in a parlor. Leave them to seek their own mates, and they will be as merry

as sparrows.

A higher civility will re-establish in our customs a certain reverence which we have lost. What to do with these brisk

young men who break through all fences, and make themselves at home in every house? I ﬁnd out in an instant if my

companion does not want me, and ropes cannot hold me when my welcome is gone. One would think that the afﬁni-

ties would pronounce themselves with a surer reciprocity.

Here again, as so often, Nature delights to put us between extreme antagonisms, and our safety is in the skill with

which we keep the diagonal line. Solitude is impracticable, and society fatal. We must keep our head in the one and

our hands in the other. The conditions are met, if we keep our independence, yet do not lose our sympathy. These

wonderful horses need to be driven by ﬁne hands. We require such a solitude as shall hold us to its revelations when

we are in the street and in palaces; for most men are cowed in society, and say good things to you in private, but will

not stand to them in public. But let us not be the victims of words. Society and solitude are deceptive names. It is not

the circumstance of seeing more or fewer people, but the readiness of sympathy, that imports; and a sound mind will

derive its principles from insight, with ever a purer ascent to the sufﬁcient and absolute right, and will accept society

as the natural element in which they are to be applied.

Porter, Horace. “Lee Surrenders to Grant, April 9th, 1865.” Eyewitness to America: 500 Years of American History in

the Words of Those Who Saw It Happen. Edited by David Colbert. New York: Vintage, 1998. (1865)

From “Lee Surrenders to Grant, April 9th, 1865”

When Lee came to the sentence about the ofﬁcers’ side-arms, private horses & baggage, he showed for the ﬁrst time

during the reading of the letter a slight change of countenance & was evidently touched by this act of generosity. It

was doubtless the condition mentioned to which he particularly alluded when he looked toward General Grant, as he

ﬁnished reading & said with some degree of warmth in his manner, ‘This will have a very happy effect upon my army.’”

General Grant then said: “Unless you have some suggestions to make in regard to the form in which I have stated the

terms, I will have a copy of the letter made in ink, and sign it.”

“There is one thing I should like to mention,” Lee replied, after a short pause. “The cavalrymen and artillerists own

their own horses in our army. Its organization in this respect differs from that of the United States.” This expression

attracted the notice of our ofﬁcers present, as showing how ﬁrmly the conviction was grounded in his mind that we

were two distinct countries. He continued: “I should like to understand whether these men will be permitted to retain

their horses.”

“You will ﬁnd that the terms as written do not allow this,” General Grant replied; “only the ofﬁcers are permitted to

take their private property.”

Lee read over the second page of the letter again, and then said: “No, I see the terms do not allow it; that is clear.”

His face showed plainly that he was quite anxious to have this concession made; and Grant said very promptly, and

without giving Lee time to make a direct request:

“Well, the subject is quite new to me. Of course I did not know that any private soldiers owned their animals; but I

think we have fought the last battle of the war,—I sincerely hope so,—and that the surrender of this army will be fol-

lowed soon by that of all the others; and I take it that most of the men in the ranks are small farmers, and as the coun-

try has been so raided by the two armies, it is doubtful whether they will be able to put in a crop to carry themselves

and their families through the next winter without the aid of the horses they are now riding, and I will arrange it in this

way: I will not change the terms as now written, but I will instruct the ofﬁcers I shall appoint to receive the paroles to

let all the men who claim to own a horse or mule take the animals home with them to work their little farms.”

APPENDIX B | 168

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Chesterton, G. K. “The Fallacy of Success.” Selected Essays. London: Methuen, 1949. (1909)

There has appeared in our time a particular class of books and articles which I sincerely and solemnly think may be

called the silliest ever known among men. They are much more wild than the wildest romances of chivalry and much

more dull than the dullest religious tract. Moreover, the romances of chivalry were at least about chivalry; the reli-

gious tracts are about religion. But these things are about nothing; they are about what is called Success. On every

bookstall, in every magazine, you may ﬁnd works telling people how to succeed. They are books showing men how to

succeed in everything; they are written by men who cannot even succeed in writing books. To begin with, of course,

there is no such thing as Success. Or, if you like to put it so, there is nothing that is not successful. That a thing is suc-

cessful merely means that it is; a millionaire is successful in being a millionaire and a donkey in being a donkey. Any

live man has succeeded in living; any dead man may have succeeded in committing suicide. But, passing over the

bad logic and bad philosophy in the phrase, we may take it, as these writers do, in the ordinary sense of success in

obtaining money or worldly position. These writers profess to tell the ordinary man how he may succeed in his trade

or speculation—how, if he is a builder, he may succeed as a builder; how, if he is a stockbroker, he may succeed as a

stockbroker. They profess to show him how, if he is a grocer, he may become a sporting yachtsman; how, if he is a

tenth-rate journalist, he may become a peer; and how, if he is a German Jew, he may become an Anglo-Saxon. This

is a deﬁnite and business-like proposal, and I really think that the people who buy these books (if any people do buy

them) have a moral, if not a legal, right to ask for their money back. Nobody would dare to publish a book about elec-

tricity which literally told one nothing about electricity; no one would dare publish an article on botany which showed

that the writer did not know which end of a plant grew in the earth. Yet our modern world is full of books about Suc-

cess and successful people which literally contain no kind of idea, and scarcely and kind of verbal sense.

It is perfectly obvious that in any decent occupation (such as bricklaying or writing books) there are only two ways (in

any special sense) of succeeding. One is by doing very good work, the other is by cheating. Both are much too simple

to require any literary explanation. If you are in for the high jump, either jump higher than any one else, or manage

somehow to pretend that you have done so. If you want to succeed at whist, either be a good whist-player, or play

with marked cards. You may want a book about jumping; you may want a book about whist; you may want a book

about cheating at whist. But you cannot want a book about Success. Especially you cannot want a book about Suc-

cess such as those which you can now ﬁnd scattered by the hundred about the book-market. You may want to jump

or to play cards; but you do not want to read wandering statements to the effect that jumping is jumping, or that

games are won by winners. If these writers, for instance, said anything about success in jumping it would be some-

thing like this: ‘The jumper must have a clear aim before him. He must desire deﬁnitely to jump higher than the other

men who are in for the same competition. He must let no feeble feelings of mercy (sneaked from the sickening Little

Englanders and Pro-Boers) prevent him from trying to do his best. He must remember that a competition in jumping

is distinctly competitive, and that, as Darwin has gloriously demonstrated, THE WEAKEST GO TO THE WALL.’ That is

the kind of thing the book would say, and very useful it would be, no doubt, if read out in a low and tense voice to a

young man just about to take the high jump. Or suppose that in the course of his intellectual rambles the philosopher

of Success dropped upon our other case, that of playing cards, his bracing advice would run—’In playing cards it is

very necessary to avoid the mistake (commonly made by maudlin humanitarians and Free Traders) of permitting your

opponent to win the game. You must have grit and snap and go in to win. The days of idealism and superstition are

over. We live in a time of science and hard common sense, and it has now been deﬁnitely proved that in any game

where two are playing IF ONE DOES NOT WIN THE OTHER WILL.’ It is all very stirring, of course; but I confess that if I

were playing cards I would rather have some decent little book which told me the rules of the game. Beyond the rules

of the game it is all a question either of talent or dishonesty; and I will undertake to provide either one or the other—

which, it is not for me to say.

Mencken, H. L. The American Language, 4th Edition. New York: Knopf, 1938. (1938)

From Chapter XI: “American Slang,” Section I: “The Nature of Slang”

What chieﬂy lies behind (slang) is simply a kind of linguistic exuberance, an excess of word-making energy. It relates

itself to the standard language a great deal as dancing relates itself to music. But there is also something else. The

best slang is not only ingenious and amusing; it also embodies a kind of social criticism. It not only provides new

names for a series of every-day concepts, some new and some old; it also says something about them. “Words which

produce the slang effect,” observes Frank Sechrist, “arouse associations what are incongruous or incompatible with

those of customary thinking.”

Everyone, including the metaphysician in his study or the eremite in his cell, has a large vocabulary of slang, but the

vocabulary of the vulgar is likely to be larger than that of the cultured, and it is harder worked. Its content may be di-

vided into two categories: (a) old words, whether used singly or in combination, that have been put to new uses, usu-

ally metaphorical, and (b) new words that have not yet been admitted to the standard vocabulary. Examples of the

ﬁrst type are rubberneck, for a gaping and prying person, and iceberg, for a cold woman; examples of the second are

hoosegow, ﬂim-ﬂam, blurb, bazoo and blah. There is a constant movement of slang into accepted usage. Nice, as an

adjective of all work, signifying anything satisfactory, was once used in slang only, but today no one would question “a

nice day,” “a nice time,” or “a nice hotel.”…The verb-phrase to hold up is now perfectly good American, but so recently

as 1901 the late Brander Matthews was sneering at it as slang. In the same way many other verb-phrases, e.g., to cave

in, ﬁll the bill and to ﬂy off the handle, once viewed askance, have gradually worked their way to a relatively high level

of the standard speech. On some indeterminate tomorrow to stick up and to take for a ride may follow them.

APPENDIX B | 169

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Wright, Richard. Black Boy. New York: Harper Perennial, 1998. (1945)

From Part One: Southern Night

That night in my rented room, while letting the hot water run over my can of pork and beans in the sink, I opened

A Book of Prefaces and began to read. I was jarred and shocked by the style, the clear, clean, sweeping sentences.

Why did he write like that? And how did one write like that? I pictured the man as a raging demon, slashing with his

pen, consumed with hate, denouncing everything American, extolling everything European or German, laughing at

the weakness of people, mocking God, authority. What was this? I stood up, trying to realize what reality lay behind

the meaning of the words…Yes, this man was ﬁghting, ﬁghting with words. He was using words as a weapon, using

them as one would use a club. Could words be weapons? Well, yes, for here they were. Then maybe, perhaps, I could

use them as a weapon? No. It frightened me. I read on and what amazed me was not what he said, but how on earth

anybody had the courage to say it.

Occasionally I glance up to reassure myself that I was alone in the room. Who were these men about whom Mencken

was talking so passionately? Who was Anatole France? Joseph Conrad? Sinclair Lewis, Sherwood Anderson, Dos-

toevski, George Moore, Gustave Flaubert, Maupassant, Tolstoy, Frank Harris, Mark Twain, Thomas Hardy, Arnold Ben-

nett, Stephen Crane, Zola, Norris, Gorky, Bergson, Ibsen, Balzac, Bernard Shaw, Dumas, Poe, Thomas Mann, O. Henry,

Dreiser, H.G. Wells, Gogol, T.S. Eliot, Gide, Baudelaire, Edgar Lee masters, Stendhal, Turgenev, Huneker, Nietzsche, and

scores of others? Were these men real? Did they exist or had they existed? And how did one pronounce their names?

Orwell, George. “Politics and the English Language.” All Art Is Propaganda: Critical Essays. New York: Mariner,

2009. (1946)

Hofstadter, Richard. “Abraham Lincoln and the Self-Made Myth.” The American Political Tradition and the Men Who

Made It. New York: Vintage, 1974. (1948)

Lincoln was shaken by the presidency. Back in Springﬁeld, politics had been a sort of exhilarating game; but in the

White House, politics was power, and power was responsibility. Never before had Lincoln held executive ofﬁce. In

public life he had always been an insigniﬁcant legislator whose votes were cast in concert with others and whose de-

cisions in themselves had neither ﬁnality nor importance. As President he might consult with others, but innumerable

grave decisions were in the end his own, and with them came a burden of responsibility terrifying in its dimensions.

Lincoln’s rage for personal success, his external and worldly ambition, was quieted when he entered the White House,

and he was at last left alone to reckon with himself. To be confronted with the fruits of his victory only to ﬁnd that it

meant choosing between life and death for others was immensely sobering. That Lincoln should have shouldered the

moral burden of the war was characteristic of the high seriousness into which he had grown since 1854; and it may be

true, as Professor Charles W. Ramsdell suggested, that he was stricken by an awareness of his own part in whipping

up the crisis. This would go far to explain the desperation with which he issued pardons and the charity that he want-

ed to extend to the conquered South at the war’s close. In one of his rare moments of self-revelation he is reported to

have said: “Now I don’t know what the soul is, but whatever it is, I know that it can humble itself.” The great prose of

the presidential years came from a soul that had been humbled. Lincoln’s utter lack of personal malice during these

years, his humane detachment, his tragic sense of life, have no parallel in political history.

Tan, Amy. “Mother Tongue.” The Opposite of Fate: Memories of a Writing Life. New York: G. P. Putnam’s Sons, 2003.

(1990)

Just last week, I was walking down the street with my mother, and I again found myself conscious of the English I was

using, the English I do use with her. We were talking about the price of new and used furniture and I heard myself say-

ing this: “Not waste money that way.” My husband was with us as well, and he didn’t notice any switch in my English.

And then I realized why. It’s because over the twenty years we’ve been together I’ve often used that same kind of

English with him, and sometimes he even uses it with me. It has become our language of intimacy, a different sort of

English that relates to family talk, the language I grew up with.

So you’ll have some idea of what this family talk I heard sounds like, I’ll quote what my mother said during a recent

conversation which I videotaped and then transcribed. During this conversation, my mother was talking about a

political gangster in Shanghai who had the same last name as her family’s, Du, and how the gangster in his early years

wanted to be adopted by her family, which was rich by comparison. Later, the gangster became more powerful, far

richer than my mother’s family, and one day showed up at my mother’s wedding to pay his respects. Here’s what

she said in part: “Du Yusong having business like fruit stand. Like off the street kind. He is Du like Du Zong—but not

Tsung-ming Island people. The local people call putong, the river east side, he belong to that side local people. That

man want to ask Du Zong father take him in like become own family. Du Zong father wasn’t look down on him, but

didn’t take seriously, until that man big like become a maﬁa. Now important person, very hard to inviting him. Chinese

way, came only to show respect, don’t stay for dinner. Respect for making big celebration, he shows up. Mean gives

lots of respect. Chinese custom. Chinese social life that way. If too important won’t have to stay too long. He come to

my wedding. I didn’t see, I heard it. I gone to boy’s side, they have YMCA dinner. Chinese age I was nineteen.”

APPENDIX B | 170



COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Anaya, Rudolfo. “Take the Tortillas Out of Your Poetry.” The Anaya Reader. New York: Warner Books, 1995. (1995)

In a recent lecture, “Is Nothing Sacred?”, Salman Rushdie, one of the most censored authors of our time, talked about

the importance of books. He grew up in a household in India where books were as sacred as bread. If anyone in the

household dropped a piece of bread or a book, the person not only picked it up, but also kissed the object by way of

apologizing for clumsy disrespect.

He goes on to say that he had kissed many books before he had kissed a girl. Bread and books were for his house-

hold, and for many like his, food for the body and the soul. This image of the kissing of the book one had accidentally

dropped made an impression on me. It speaks to the love and respect many people have for them.

I grew up in a small town in New Mexico, and we had very few books in our household. The ﬁrst one I remember read-

ing was my catechism book. Before I went to school to learn English, my mother taught me catechism in Spanish.

I remember the questions and answers I had to learn, and I remember the well-thumbed, frayed volume which was

sacred to me.

Growing up with few books in the house created in me a desire and a need for them. When I started school, I remem-

ber visiting the one room library of our town and standing in front of the dusty shelves. In reality there were only a

few shelves and not over a thousand books, but I wanted to read them all. There was food for my soul in the books,

that much I realized.

FOR USE WITH THE COMMON CORE STAT STANDARDS INITIATIVE ONLY. FURTHER PERMISSION IS REQUIRED FOR

by Warner Books, New York. Originally published in CENSORED BOOKS: CRITICAL VIEWPOINTS, Eds. Karolides,

Burres, Kean, Scarecrow Press, May 1993, Metuchen, NJ. By permission of Susan Bergholz Literary Services, New York,

Sample Performance Tasks for Informational Texts: English Language Arts

• Students delineate and evaluate the argument that Thomas Paine makes in Common Sense. They assess the

reasoning present in his analysis, including the premises and purposes of his essay. [RI.11–12.8]

• Students analyze Thomas Jefferson’s Declaration of Independence, identifying its purpose and evaluating

rhetorical features such as the listing of grievances. Students compare and contrast the themes and argument

found there to those of other U.S. documents of historical and literary signiﬁcance, such as the Olive Branch

Petition. [RI.11–12.9]

• Students provide an objective summary of Henry David Thoreau’s Walden wherein they analyze how he ar-

ticulates the central ideas of living simply and being self-reliant and how those ideas interact and build on one

another (e.g., “According to Thoreau, how speciﬁcally does moving toward complexity in one’s life undermine

self-reliance?”) [RI.11–12.2]

• Students analyze how the key term success is interpreted, used, and reﬁned over the course of G. K. Chester-

ton’s essay “The Fallacy of Success.” [RI.11–12.4]

• Students determine Richard Hofstadter’s purpose and point of view in his “Abraham Lincoln and the Self-Made

Myth,” analyzing how both Hofstadter’s style and content contribute to the eloquent and powerful contrast

he draws between the younger, ambitious Lincoln and the sober, more reﬂective man of the presidential

years. [RI.11–12.6]

APPENDIX B | 171

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Informational Texts: History/Social Studies

Tocqueville, Alexis de. Democracy in America. Translated by Henry Reeve. (1835)

From Chapter 2: “The Origins of the Anglo-Americans”

The remarks I have made will sufﬁce to display the character of Anglo-American civilization in its true light. It is the

result (and this should be constantly present to the mind of two distinct elements), which in other places have been in

frequent hostility, but which in America have been admirably incorporated and combined with one another. I allude to

the spirit of Religion and the spirit of Liberty.

The settlers of New England were at the same time ardent sectarians and daring innovators. Narrow as the limits of

some of their religious opinions were, they were entirely free from political prejudices. Hence arose two tendencies,

distinct but not opposite, which are constantly discernible in the manners as well as in the laws of the country.

It might be imagined that men who sacriﬁced their friends, their family, and their native land to a religious convic-

tion were absorbed in the pursuit of the intellectual advantages which they purchased at so dear a rate. The energy,

however, with which they strove for the acquirement of wealth, moral enjoyment, and the comforts as well as liberties

of the world, is scarcely inferior to that with which they devoted themselves to Heaven.

Political principles and all human laws and institutions were moulded and altered at their pleasure; the barriers of the

society in which they were born were broken down before them; the old principles which had governed the world for

ages were no more; a path without a turn and a ﬁeld without an horizon were opened to the exploring and ardent

curiosity of man: but at the limits of the political world he checks his researches, he discreetly lays aside the use of

his most formidable faculties, he no longer consents to doubt or to innovate, but carefully abstaining from raising the

curtain of the sanctuary, he yields with submissive respect to truths which he will not discuss. Thus, in the moral world

everything is classed, adapted, decided, and foreseen; in the political world everything is agitated, uncertain, and

disputed: in the one is a passive, though a voluntary, obedience; in the other an independence scornful of experience

and jealous of authority.

These two tendencies, apparently so discrepant, are far from conﬂicting; they advance together, and mutually support

each other. Religion perceives that civil liberty affords a noble exercise to the faculties of man, and that the political

world is a ﬁeld prepared by the Creator for the efforts of the intelligence. Contented with the freedom and the power

which it enjoys in its own sphere, and with the place which it occupies, the empire of religion is never more surely es-

tablished than when it reigns in the hearts of men unsupported by aught beside its native strength. Religion is no less

the companion of liberty in all its battles and its triumphs; the cradle of its infancy, and the divine source of its claims.

The safeguard of morality is religion, and morality is the best security of law and the surest pledge of freedom.

Declaration of Sentiments by the Seneca Falls Conference. An American Primer. Edited by Daniel J. Boorstin.

Chicago: University of Chicago Press, 1966. (1848)

When, in the course of human events, it becomes necessary for one portion of the family of man to assume among

the people of the earth a position different from that which they have hitherto occupied, but one to which the laws

of nature and of nature’s God entitle them, a decent respect to the opinions of mankind requires that they should

declare the causes that impel them to such a course.

We hold these truths to be self-evident: that all men and women are created equal; that they are endowed by their

Creator with certain inalienable rights; that among these are life, liberty, and the pursuit of happiness; that to secure

these rights governments are instituted, deriving their just powers from the consent of the governed. Whenever any

form of government becomes destructive of these ends, it is the right of those who suffer from it to refuse allegiance

to it, and to insist upon the institution of a new government, laying its foundation on such principles, and organizing

its powers in such form, as to them shall seem most likely to effect their safety and happiness. Prudence, indeed, will

dictate that governments long established should not be changed for light and transient causes; and accordingly all

experience hath shown that mankind are more disposed to suffer while evils are sufferable, than to right themselves

by abolishing the forms to which they are accustomed. But when a long train of abuses and usurpations, pursuing in-

variably the same object, evinces a design to reduce them under absolute despotism, it is their duty to throw off such

government, and to provide new guards for their future security. Such has been the patient sufferance of the women

under this government, and such is now the necessity which constrains them to demand the equal station to which

they are entitled. The history of mankind is a history of repeated injuries and usurpations on the part of man toward

woman, having in direct object the establishment of an absolute tyranny over her. To prove this, let facts be submitted

to a candid world.

The history of mankind is a history of repeated injuries and usurpations on the part of man toward woman, having

in direct object the establishment of an absolute tyranny over her. To prove this, let facts be submitted to a candid

world.

He has never permitted her to exercise her inalienable right to the elective franchise.

APPENDIX B | 172

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

He has compelled her to submit to laws, in the formation of which she had no voice.

He has withheld from her rights which are given to the most ignorant and degraded men—both natives and foreign-

ers.

Having deprived her of this ﬁrst right of a citizen, the elective franchise, thereby leaving her without representation in

the halls of legislation, he has oppressed her on all sides.

He has made her, if married, in the eye of the law, civilly dead.

He has taken from her all right in property, even to the wages she earns.

He has made her, morally, an irresponsible being, as she can commit many crimes with impunity, provided they be

done in the presence of her husband. In the covenant of marriage, she is compelled to promise obedience to her

husband, he becoming, to all intents and purposes, her master—the law giving him power to deprive her of her liberty,

and to administer chastisement.

He has so framed the laws of divorce, as to what shall be the proper causes, and in case of separation, to whom the

guardianship of the children shall be given, as to be wholly regardless of the happiness of women—the law, in all

cases, going upon a false supposition of the supremacy of man, and giving all power into his hands.

After depriving her of all rights as a married woman, if single, and the owner of property, he has taxed her to support

a government which recognizes her only when her property can be made proﬁtable to it.

He has monopolized nearly all the proﬁtable employments, and from those she is permitted to follow, she receives

but a scanty remuneration. He closes against her all the avenues to wealth and distinction which he considers most

honorable to himself. As a teacher of theology, medicine, or law, she is not known.

He has denied her the facilities for obtaining a thorough education, all colleges being closed against her.

He allows her in church, as well as state, but a subordinate position, claiming apostolic authority for her exclusion

from the ministry, and, with some exceptions, from any public participation in the affairs of the church.

He has created a false public sentiment by giving to the world a different code of morals for men and women, by

which moral delinquencies which exclude women from society are not only tolerated, but deemed of little account in

man.

He has usurped the prerogative of Jehovah himself, claiming it as his right to assign for her a sphere of action, when

that belongs to her conscience and to her God.

He has endeavored, in every way that he could, to destroy her conﬁdence in her own powers, to lessen her self-re-

spect, and to make her willing to lead a dependent and abject life.

Now, in view of this entire disfranchisement of one-half the people of this country, their social and religious degrada-

tion—in view of the unjust laws above mentioned, and because women do feel themselves aggrieved, oppressed, and

fraudulently deprived of their most sacred rights, we insist that they have immediate admission to all the rights and

privileges which belong to them as citizens of the United States.

Douglass, Frederick. “What to the Slave Is the Fourth of July?: An Address Delivered in Rochester, New York, on 5

July 1852.” The Oxford Frederick Douglass Reader. Oxford: Oxford University Press, 1996. (1852)

Fellow Citizens, I am not wanting in respect for the fathers of this republic. The signers of the Declaration of Indepen-

dence were brave men. They were great men, too great enough to give frame to a great age. It does not often happen

to a nation to raise, at one time, such a number of truly great men. The point from which I am compelled to view them

is not, certainly, the most favorable; and yet I cannot contemplate their great deeds with less than admiration. They

were statesmen, patriots and heroes, and for the good they did, and the principles they contended for, I will unite with

you to honor their memory....

...Fellow-citizens, pardon me, allow me to ask, why am I called upon to speak here to-day? What have I, or those I

represent, to do with your national independence? Are the great principles of political freedom and of natural justice,

embodied in that Declaration of Independence, extended to us? And am I, therefore, called upon to bring our humble

offering to the national altar, and to confess the beneﬁts and express devout gratitude for the blessings resulting from

your independence to us?

Would to God, both for your sakes and ours, that an afﬁrmative answer could be truthfully returned to these ques-

tions! Then would my task be light, and my burden easy and delightful. For who is there so cold, that a nation’s

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sympathy could not warm him? Who so obdurate and dead to the claims of gratitude, that would not thankfully

acknowledge such priceless beneﬁts? Who so stolid and selﬁsh, that would not give his voice to swell the hallelujahs

of a nation’s jubilee, when the chains of servitude had been torn from his limbs? I am not that man. In a case like that,

the dumb might eloquently speak, and the “lame man leap as an hart.”

But such is not the state of the case. I say it with a sad sense of the disparity between us. I am not included within the

pale of glorious anniversary! Your high independence only reveals the immeasurable distance between us. The

blessings in which you, this day, rejoice, are not enjoyed in common. The rich inheritance of justice, liberty, prosperity

and independence, bequeathed by your fathers, is shared by you, not by me. The sunlight that brought light and

healing to you, has brought stripes and death to me. This Fourth July is yours, not mine. You may rejoice, I must

mourn. To drag a man in fetters into the grand illuminated temple of liberty, and call upon him to join you in joyous

anthems, were inhuman mockery and sacrilegious irony. Do you mean, citizens, to mock me, by asking me to speak

to-day? If so, there is a parallel to your conduct. And let me warn you that it is dangerous to copy the example of a

nation whose crimes, towering up to heaven, were thrown down by the breath of the Almighty, burying that nation in

irrevocable ruin! I can to-day take up the plaintive lament of a peeled and woe-smitten people!

“By the rivers of Babylon, there we sat down. Yea! We wept when we remembered Zion. We hanged our harps upon

the willows in the midst thereof. For there, they that carried us away captive, required of us a song; and they who

wasted us required of us mirth, saying, Sing us one of the songs of Zion. How can we sing the Lord’s song in a strange

land? If I forget thee, O Jerusalem, let my right hand forget her cunning. If I do not remember thee, let my tongue

cleave to the roof of my mouth.”

Fellow-citizens, above your national, tumultuous joy, I hear the mournful wail of millions! whose chains, heavy and

grievous yesterday, are, to-day, rendered more intolerable by the jubilee shouts that reach them. If I do forget, if I do

not faithfully remember those bleeding children of sorrow this day, “may my right hand forget her cunning, and may

my tongue cleave to the roof of my mouth!” To forget them, to pass lightly over their wrongs, and to chime in with the

popular theme, would be treason most scandalous and shocking, and would make me a reproach before God and the

world. My subject, then, fellow-citizens, is American slavery. I shall see this day and its popular characteristics from

the slave’s point of view. Standing there identiﬁed with the American bondman, making his wrongs mine, I do not

hesitate to declare, with all my soul, that the character and conduct of this nation never looked blacker to me than on

this 4th of July! Whether we turn to the declarations of the past, or to the professions of the present, the conduct of

the nation seems equally hideous and revolting. America is false to the past, false to the present, and solemnly binds

herself to be false to the future. Standing with God and the crushed and bleeding slave on this occasion, I will, in the

name of humanity which is outraged, in the name of liberty which is fettered, in the name of the constitution and the

Bible which are disregarded and trampled upon, dare to call in question and to denounce, with all the emphasis I can

command, everything that serves to perpetuate slavery the great sin and shame of America! “I will not equivocate; I

will not excuse”; I will use the severest language I can command; and yet not one word shall escape me that any man,

whose judgment is not blinded by prejudice, or who is not at heart a slaveholder, shall not confess to be right and just.

But I fancy I hear some one of my audience say, “It is just in this circumstance that you and your brother abolitionists

fail to make a favorable impression on the public mind. Would you argue more, an denounce less; would you persuade

more, and rebuke less; your cause would be much more likely to succeed.” But, I submit, where all is plain there is

nothing to be argued. What point in the anti-slavery creed would you have me argue? On what branch of the subject

do the people of this country need light? Must I undertake to prove that the slave is a man? That point is conceded

already. Nobody doubts it. The slaveholders themselves acknowledge it in the enactment of laws for their govern-

ment. They acknowledge it when they punish disobedience on the part of the slave. There are seventy-two crimes in

the State of Virginia which, if committed by a black man (no matter how ignorant he be), subject him to the punish-

ment of death; while only two of the same crimes will subject a white man to the like punishment. What is this but the

acknowledgment that the slave is a moral, intellectual, and responsible being? The manhood of the slave is conceded.

It is admitted in the fact that Southern statute books are covered with enactments forbidding, under severe ﬁnes and

penalties, the teaching of the slave to read or to write. When you can point to any such laws in reference to the beasts

of the ﬁeld, then I may consent to argue the manhood of the slave. When the dogs in your streets, when the fowls of

the air, when the cattle on your hills, when the ﬁsh of the sea, and the reptiles that crawl, shall be unable to distinguish

the slave from a brute, then will I argue with you that the slave is a man!

For the present, it is enough to afﬁrm the equal manhood of the Negro race. Is it not astonishing that, while we are

ploughing, planting, and reaping, using all kinds of mechanical tools, erecting houses, constructing bridges, building

ships, working in metals of brass, iron, copper, silver and gold; that, while we are reading, writing and ciphering, acting

as clerks, merchants and secretaries, having among us lawyers, doctors, ministers, poets, authors, editors, orators and

teachers; that, while we are engaged in all manner of enterprises common to other men, digging gold in California,

capturing the whale in the Paciﬁc, feeding sheep and cattle on the hill-side, living, moving, acting, thinking, planning,

living in families as husbands, wives and children, and, above all, confessing and worshipping the Christian’s God, and

looking hopefully for life and immortality beyond the grave, we are called upon to prove that we are men!

Would you have me argue that man is entitled to liberty? That he is the rightful owner of his own body? You have

already declared it. Must I argue the wrongfulness of slavery? Is that a question for Republicans? Is it to be settled by

the rules of logic and argumentation, as a matter beset with great difﬁculty, involving a doubtful application of the

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principle of justice, hard to be understood? How should I look to-day, in the presence of Americans, dividing, and

subdividing a discourse, to show that men have a natural right to freedom? Speaking of it relatively and positively,

negatively and afﬁrmatively. To do so, would be to make myself ridiculous, and to offer an insult to your understand-

ing. There is not a man beneath the canopy of heaven that does not know that slavery is wrong for him.

What, am I to argue that it is wrong to make men brutes, to rob them of their liberty, to work them without wages, to

keep them ignorant of their relations to their fellow men, to beat them with sticks, to ﬂay their ﬂesh with the lash, to

load their limbs with irons, to hunt them with dogs, to sell them at auction, to sunder their families, to knock out their

teeth, to burn their ﬂesh, to starve them into obedience and submission to their masters? Must I argue that a system

thus marked with blood, and stained with pollution, is wrong? No! I will not. I have better employment for my time

and strength than such arguments would imply.

What, then, remains to be argued? Is it that slavery is not divine; that God did not establish it; that our doctors of

divinity are mistaken? There is blasphemy in the thought. That which is inhuman, cannot be divine! Who can reason

on such a proposition? They that can, may; I cannot. The time for such argument is passed.

At a time like this, scorching irony, not convincing argument, is needed. O! Had I the ability, and could reach the

nation’s ear, I would, to-day, pour out a ﬁery stream of biting ridicule, blasting reproach, withering sarcasm, and stern

rebuke. For it is not light that is needed, but ﬁre; it is not the gentle shower, but thunder. We need the storm, the

whirlwind, and the earthquake. The feeling of the nation must be quickened; the conscience of the nation must be

roused; the propriety of the nation must be startled; the hypocrisy of the nation must be exposed; and its crimes

against God and man must be proclaimed and denounced.

What, to the American slave, is your 4th of July? I answer; a day that reveals to him, more than all other days in the

year, the gross injustice and cruelty to which he is the constant victim. To him, your celebration is a sham; your

boasted liberty, an unholy license; your national greatness, swelling vanity; your sounds of rejoicing are empty and

heartless; your denunciation of tyrants, brass fronted impudence; your shouts of liberty and equality, hollow mockery;

your prayers and hymns, your sermons and thanksgivings, with all your religious parade and solemnity, are, to Him,

mere bombast, fraud, deception, impiety, and hypocrisy — a thin veil to cover up crimes which would disgrace a

nation of savages. There is not a nation on the earth guilty of practices more shocking and bloody than are the people

of the United States, at this very hour.

Go where you may, search where you will, roam through all the monarchies and despotisms of the Old World, travel

through South America, search out every abuse, and when you have found the last, lay your facts by the side of the

everyday practices of this nation, and you will say with me, that, for revolting barbarity and shameless hypocrisy,

America reigns without a rival.

An American Primer. Edited by Daniel J. Boorstin. Chicago: University of Chicago Press, 1966. (1966)

Lagemann, Ellen Condliffe. “Education.” The Reader’s Companion to American History. Edited by Eric Foner and

John A. Garraty. New York: Houghton Mifﬂin, 1991. (1991)

McPherson, James M. What They Fought For 1861–1865. New York: Anchor, 1995. (1994)

From Chapter 2: “The Best Government on God’s Footstool”

One of the questions often asked a Civil War historian is, “Why did the North ﬁght?” Southern motives seem easier

to understand. Confederates fought for independence, for their own property and way of life, for their very survival

as a nation. But what did the Yankees ﬁght for? Why did they persist through four years of the bloodiest conﬂict in

American history, costing 360,000 northern lives—not to mention 260,000 southern lives and untold destruction of

resources? Puzzling over this question in 1863, Confederate War Department clerk John Jones wrote in his diary: “Our

men must prevail in combat, or lose their property, country, freedom, everything…. On the other hand the enemy, in

yielding the contest, may retire into their own country, and possess everything they enjoyed before the war began.”

If that was true, why did the Yankees keep ﬁghting? We can ﬁnd much of the answer in Abraham Lincoln’s notable

speeches: the Gettysburg Address, his ﬁrst and second inaugural addresses, the peroration of his message to Con-

gress on December 1, 1862. But we can ﬁnd even more of the answer in the wartime letters and diaries of the men

who did the ﬁghting. Confederates who said that they fought for the same goals as their forebears of 1776 would

have been surprised by the intense conviction of the northern soldiers that they were upholding the legacy of the

American Revolution.

The American Reader: Words that Moved a Nation, 2nd Edition. Edited by Diane Ravitch. New York: HarperCollins,

2000. (2000)

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Amar, Akhil Reed. America’s Constitution: A Biography. New York: Random House, 2005. (2005)

From Chapter 2: “New Rules for a New World”

Let’s begin with two tiny puzzles posed by the Article I command that “Representatives and direct Taxes shall be

apportioned among the several States…by adding to the whole Number of free Persons…three ﬁfths of all other

Persons.” First, although this language speciﬁed the apportionment formula “among the several states,” it failed to

specify the formula within each state.

[…]

A second small puzzle: why did Article I peg the number of representatives to the underlying number of persons,

instead of the underlying number of eligible voters, a là New York?

[…]

These two small problems, centering on the seemingly innocent words “among” and “Persons” quickly spiral out into

the most vicious words of the apportionment clause: “adding three ﬁfths of all other persons.” Other persons here

meant other than free persons – that is, slaves. Thus, the more slaves a given state’s master class bred or bought, the

more seats the state could claim in Congress, for every decade in perpetuity.

The Philadelphia draftsmen camouﬂaged this ugly point as best they could, euphemistically avoiding the S-word and

simultaneously introducing the T-word – taxes – into the equation (Representatives and direct Taxes shall be appor-

tioned).

[…]

The full import of the camouﬂaged clause eluded many readers in the late 1780s. In the wake of two decades of

debate about taxation and burdens under the empire and confederation, many Founding-era Americans confronting

the clause focused on taxation rather than on representation. Some Northern critics grumbled that three-ﬁfths should

have been ﬁve-ﬁfths so as to oblige the South to pay more taxes, without noticing that ﬁve-ﬁfths would have also

enabled the South to gain more House seats.

McCullough, David. 1776. New York: Simon & Schuster, 2005. (2005)

From Chapter 3: “Dorchester Heights”

On January 14, two weeks into the new year, George Washington wrote one of the most forlorn, despairing letters of

his life. He had been suffering sleepless nights in the big house by the Charles. “The reﬂection upon my situation and

that of this army produces many an uneasy hour when all around me are wrapped in sleep,” he told the absent Joseph

Reed. “Few people know the predicament we are in.”

Filling page after page, he enumerated the same troubles and woes he had been reporting persistently to Congress

for so long, and that he would report still again to John Hancock that same day. There was too little powder, still no

money. (Money was useful in the common affairs of life but in war it was essential, Washington would remind the

wealthy Hancock.) So many of the troops who had given up and gone home had, against orders, carried off muskets

that were not their own that the supply of arms was depleted to the point where there were not enough for the new

recruits. “We have not at this time 100 guns in the stores of all that have been taken in the prize ship [the captured

British supply ship Nancy],” he wrote to Reed. On paper his army numbered between 8,000 and 10,000. In reality

only half that number where ﬁt for duty.

It was because he had been unable to attack Boston that things had come to such a pass, he was convinced, The

changing of one army to another in the midst of winter, with the enemy so close at hand, was like nothing, “in the

pages of history.” That the British were so “blind” to what was going on and the true state of his situation he consid-

ered nearly miraculous.

He was downcast and feeling quite sorry for himself. Had he known what he was getting into, he told Reed, he would

never have accepted the command.

Bell, Julian. Mirror of the World: A New History of Art. New York: Thames & Hudson, 2007. (2007)

From Chapter 7: “Theatrical Realities”

The idea that artists are transforming the cultures around them and imagining the previously unimaginable – Mi-

chelangelo painting the Sistine Chapel, for instance—makes for a more exciting story. But if we insist on looking for

innovation, we may go against the historical grain. Art cultures always move, but not always in leaps. Westerners are

used to thinking that small-scale societies (Aboriginal Australia, for instance) have changed their terms of reference

relatively slowly, but the same might be said of the largest of all regional civilizations. Through the 16th century—as

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

through most of the last two millennia—the world’s wealthiest and most populous state was China, then ruled by the

Ming dynasty. Far from Beijing, the empire’s capital, a landed elite had converged for three centuries around the lake-

side city of Souzhou. In this agreeably sophisticated environment, Weng Zhingming was one of hundreds devoting

himself to painting scrolls with landscape or plant studies accompanied by poetic inscriptions. It was a high-minded

pursuit, in so far as literati like Wen would not (in principle at least) take money for their work.

Wen’s Seven Junipers of 1532 stands out among the throng of such works on account of its whip-crack dynamism,

a wild, irregular rhythm bounding over the length of three and a half metres (twelve feet) of paper. It seems to do

things with pictorial space that Western painters would not attempt until the 20th century. But its force—unlike that

of contemporary works by Michelangelo—is by no means a matter of radicalism. Wen, painting the scroll in his sixties,

was returning to an image painted by his revered predecessor in Suzhou, Shen Zhou, and looking back beyond Shen

to the style of Zhao Mengfu, who had painted around 1300. His accompanying poem, written ‘in admiration of antiq-

uity’, identiﬁes the junipers as morally encouraging emblems of resilience as ‘magic witnesses of days gone by’. ‘Who

knows’, he adds wistfully, ‘what is to come hereafter?’ In other words, the momentum here is one of nostalgia: in the

hands of a distinguished exponent in a privileged location in a politically unrufﬂed era, backwards-looking might have

a creative force of its own.

FedViews by the Federal Reserve Bank of San Francisco (2009)

The opinions expressed in this article do not necessarily reﬂect the views of the management of the Federal Reserve

Bank of San Francisco, or of the Board of Governors of the Federal Reserve System.

Mary C. Daly, vice president and director of the Center for the Study of Innovation and Productivity at the Federal

Reserve Bank of San Francisco, states her views on the current economy and the outlook.

• Financial markets are improving, and the crisis mode that has characterized the past year is subsiding. The

adverse feedback loop, in which losses by banks and other lenders lead to tighter credit availability, which

then leads to lower spending by households and businesses, has begun to slow. As such, investors’ appetite for

risk is returning, and some of the barriers to credit that have been constraining businesses and households are

diminishing.

• Income from the federal ﬁscal stimulus, as well as some improvement in conﬁdence, has helped stabilize con-

sumer spending. Since consumer spending accounts for two-thirds of all economic activity, this is a key factor

affecting our forecast of growth in the third quarter.

• The gradual nature of the recovery will put additional pressure on state and local budgets. Following a difﬁcult

2009, especially in the West, most states began the 2010 ﬁscal year on July 1 with even larger budget gaps to

solve.

• Still, many remain worried that large ﬁscal deﬁcits will eventually be inﬂationary. However, a look at the empiri-

cal link between ﬁscal deﬁcits and inﬂation in the United States shows no correlation between the two. Indeed,

during the 1980s, when the United States was running large deﬁcits, inﬂation was coming down.

APPENDIX B | 177

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Informational Texts: Science, Mathematics, and Technical Subjects

Paulos, John Allen. Innumeracy: Mathematical Illiteracy and Its Consequences. New York: Vintage, 1988. (1988)

From Chapter 1: “Examples and Principles”

Archimedes and Practically Inﬁnite Numbers

There is a fundamental property of numbers named after the Greek mathematician Archimedes which states that any

number, no matter how huge, can be exceeded by adding together sufﬁciently many of any smaller number, no mat-

ter how tiny. Though obvious in principle, the consequences are sometimes resisted, as they were by the student of

mine who maintained that human hair just didn’t grow in miles per hour. Unfortunately, the nanoseconds used up in a

simple computer operation do add up to lengthy bottlenecks on intractable problems, many of which would require

millennia to solve in general. It takes some getting accustomed to the fact that the minuscule times and distances of

microphysics as well as the vastness of astronomical phenomena share the dimensions of our human world.

It’s clear how the above property of numbers led to Archimedes’ famous pronouncement that given a fulcrum, a long

enough lever, and a place to stand, he alone could physically lift the earth. An awareness of the additivity of small

quantities is lacking in innumerates, who don’t seem to believe that their little aerosol cans of hairspray could play any

role in the depletion of the ozone layer of the atmosphere, or that their individual automobile contributes anything to

the problem of acid rain.

Gladwell, Malcolm. The Tipping Point: How Little Things Can Make a Big Dierence. New York: Back Bay Books,

2002. (2002)

From “The Three Rules of Epidemics”

The three rules of the Tipping Point—the Law of the few, the Stickiness Factor, the Power of Context—offer a way of

making sense of epidemics. They provide us with direction for how to go about reaching a Tipping Point. The balance

of this book will take these ideas and apply them to other puzzling situations and epidemics from the world around

us. How do these three rules help us understand teenage smoking, for example, or the phenomenon of word of

mouth, or crime, or the rise of a bestseller? The answers may surprise you.

Tyson, Neil deGrasse. “Gravity in Reverse: The Tale of Albert Einstein’s ‘Greatest Blunder.’” Natural History. 112.10

(Dec 2003). (2003)

Sung to the tune of “The Times They Are A-Changin’”:

Come gather ‘round, math phobes,

Wherever you roam

And admit that the cosmos

Around you has grown

And accept it that soon

You won’t know what’s worth knowin’

Until Einstein to you

Becomes clearer.

So you’d better start listenin’

Or you’ll drift cold and lone

For the cosmos is weird, gettin’ weirder.

—The Editors (with apologies to Bob Dylan)

Cosmology has always been weird. Worlds resting on the backs of turtles, matter and energy coming into existence

out of much less than thin air. And now, just when you’d gotten familiar, if hot really comfortable, with the idea of a

big bang, along comes something new to worry about. A mysterious and universal pressure pervades all of space and

acts against the cosmic gravity that has tried to drag the universe back together ever since the big bang. On top of

that, “negative gravity” has forced the expansion of the universe to accelerate exponentially, and cosmic gravity is

losing the tug-of-war.

For these and similarly mind-warping ideas in twentieth-century physics, just blame Albert Einstein.

Einstein hardly ever set foot in the laboratory; he didn’t test phenomena or use elaborate equipment. He was a theo-

rist who perfected the “thought experiment,” in which you engage nature through your imagination, inventing a situa-

tion or a model and then working out the consequences of some physical principle.

If—as was the case for Einstein—a physicist’s model is intended to represent the entire universe, then manipulating

the model should be tantamount to manipulating the universe itself. Observers and experimentalists can then go out

and look for the phenomena predicted by that model. If the model is ﬂawed, or if the theorists make a mistake in their

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

calculations, the observers will detect a mismatch between the model’s predictions and the way things happen in the

real universe. That’s the ﬁrst cue to try again, either by adjusting the old model or by creating a new one.

Media Text

NOVA animation of an Einstein “thought experiment”:

http://www.pbs.org/wgbh/nova/einstein/relativity/

Calishain, Tara, and Rael Dornfest. Google Hacks: Tips & Tools for Smarter Searching, 2nd Edition. Sebastopol, Calif.:

O’Reilly Media, 2004. (2004)

From Chapter 1: “Web: Hacks 1–20,” Google Web Search Basics

Whenever you search for more than one keyword at a time, a search engine has a default strategy for handling and

combining those keywords. Can those words appear individually in a page, or do they have to be right next to each

other? Will the engine search for both keywords or for either keyword?

Phrase Searches

Google defaults to searching for occurrences of your speciﬁed keywords anywhere on the page, whether side-by-side

or scattered throughout. To return results of pages containing speciﬁcally ordered words, enclose them in quotes,

turning your keyword search into a phrase search, to use Google’s terminology.

On entering a search for the keywords:

to be or not to be

Google will ﬁnd matches where the keywords appear anywhere on the page. If you want Google to ﬁnd you matches

where the keywords appear together as a phrase, surround them with quotes, like this:

“to be or not to be”

Google will return matches only where those words appear together (not to mention explicitly including stop words

such as “to” and “or” […]).

Phrase searches are also useful when you want to ﬁnd a phrase but aren’t sure of the exact wording. This is accom-

plished in combination with wildcards […])

Basic Boolean

Whether an engine searches for all keywords or any of them depends on what is called its Boolean default. Search

engines can default to Boolean AND (searching for all keywords) or Boolean OR (searching for any keywords). Of

course, even if a search engine defaults to searching for all keywords, you can usually give it a special command to

instruct it to search for any keyword. Lacking speciﬁc instructions, the engine falls back on its default setting.

Google’s Boolean default is AND, which means that, if you enter query words without modiﬁers, Google will search or

all of your query words. For example if you search for:

snowblower Honda “Green Bay”

Google will search for all the words. If you prefer to specify that any one word or phrase is acceptable, put an OR

between each:

snowblower OR Honda OR “Green Bay”

Kane, Gordon. “The Mysteries of Mass.” Scientiﬁc American Special Edition December 2005. (2005)

Physicists are hunting for an elusive particle that would reveal the presence of a new kind of ﬁeld that permeates all

of reality. Finding that Higgs ﬁeld will give us a more complete understanding about how the universe works.

Most people think they know what mass is, but they understand only part of the story. For instance, an elephant is

clearly bulkier and weighs more than an ant. Even in the absence of gravity, the elephant would have greater mass—it

would be harder to push and set in motion. Obviously the elephant is more massive because it is made of many more

atoms than the ant is, but what determines the masses of the individual atoms? What about the elementary particles

that make up the atoms—what determines their masses? Indeed, why do they even have mass?

We see that the problem of mass has two independent aspects. First, we need to learn how mass arises at all. It turns

out mass results from at least three different mechanisms, which I will describe below. A key player in physicists’

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tentative theories about mass is a new kind of ﬁeld that permeates all of reality, called the Higgs ﬁeld. Elementary

particle masses are thought to come about from the interaction with the Higgs ﬁeld. If the Higgs ﬁeld exists, theory

demands that it have an associated particle, the Higgs boson. Using particle accelerators, scientists are now hunting

for the Higgs.

Fischetti, Mark. “Working Knowledge: Electronic Stability Control.” Scientiﬁc American April 2007. (2007)

Steer Clear

Automakers are offering electronic stability control on more and more passenger vehicles to help prevent them from

sliding, veering off the road, or even rolling over. The technology is a product of an ongoing evolution stemming from

antilock brakes.

When a driver jams the brake pedal too hard, anti-lock hydraulic valves subtract brake pressure at a given wheel so

the wheel does not lock up. As these systems proliferated in the 1990s, manufacturers tacked on traction-control

valves that help a spinning drive wheel grip the road.

For stability control, engineers mounted more hydraulics that can apply pressure to any wheel, even if the driver is

not braking. When sensors indicate the car is sliding forward instead of turning or is turning too sharply, the actuators

momentarily brake certain wheels to correct the trajectory. “Going to electronic stability control was a big step,” says

Scott Dahl, director of chassis-control strategy at supplier Robert Bosch in Farmington Hills, Michigan. “We had to

add sensors that can determine what the driver intends to do and compare that with what the car is actually doing.”

Most systems also petition the engine-control computer to reduce engine torque to dampen wayward movement.

U.S. General Services Administration. Executive Order 13423: Strengthening Federal Environmental, Energy, and

Transportation Management.

http://www.gsa.gov/Portal/gsa/ep/contentView.do?contentType=GSA_BASIC&contentId=22395 2010 (2007)

Executive Order 13423

Strengthening Federal Environmental, Energy, and Transportation Management

The President Strengthening Federal Environmental, Energy, and Transportation Management

By the authority vested in me as President by the Constitution and the laws of the United States of America, and to

strengthen the environmental, energy, and transportation management of Federal agencies, it is hereby ordered as

follows:

Section 1. Policy. It is the policy of the United States that Federal agencies conduct their environmental, transporta-

tion, and energy-related activities under the law in support of their respective missions in an environmentally, eco-

nomically and ﬁscally sound, integrated, continuously improving, efﬁcient, and sustainable manner.

Sec. 2. Goals for Agencies. In implementing the policy set forth in section 1 of this order, the head of each agency

shall:

(a) improve energy efﬁciency and reduce greenhouse gas emissions of the agency, through reduction of energy

intensity by (i) 3 percent annually through the end of ﬁscal year 2015, or (ii) 30 percent by the end of ﬁscal year 2015,

relative to the baseline of the agency’s energy use in ﬁscal year 2003;

(b) ensure that (i) at least half of the statutorily required renewable energy consumed by the agency in a ﬁscal year

comes from new renewable sources, and (ii) to the extent feasible, the agency implements renewable energy genera-

tion projects on agency property for agency use;

sumption in ﬁscal year 2007, through life-cycle cost-effective measures by 2 percent annually through the end of

ﬁscal year 2015 or 16 percent by the end of ﬁscal year 2015;

(d) require in agency acquisitions of goods and services (i) use of sustainable environmental practices, including

acquisition of biobased, environmentally preferable, energy-efﬁcient, water-efﬁcient, and recycled-content products,

and (ii) use of paper of at least 30 percent post-consumer ﬁber content;

(e) ensure that the agency (i) reduces the quantity of toxic and hazardous chemicals and materials acquired, used,

or disposed of by the agency, (ii) increases diversion of solid waste as appropriate, and (iii) maintains cost-effective

waste prevention and recycling programs in its facilities;

(f) ensure that (i) new construction and major renovation of agency buildings comply with the Guiding Principles for

APPENDIX B | 181

COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Federal Leadership in High Performance and Sustainable Buildings set forth in the Federal Leadership in High Perfor-

mance and Sustainable Buildings Memorandum of Understanding (2006), and (ii) 15 percent of the existing Federal

capital asset building inventory of the agency as of the end of ﬁscal year 2015 incorporates the sustainable practices

in the Guiding Principles;

(g) ensure that, if the agency operates a ﬂeet of at least 20 motor vehicles, the agency, relative to agency baselines

for ﬁscal year 2005, (i) reduces the ﬂeet’s total consumption of petroleum products by 2 percent annually through

the end of ﬁscal year 2015, (ii) increases the total fuel consumption that is non-petroleum-based by 10 percent an-

nually, and (iii) uses plug-in hybrid (PIH) vehicles when PIH vehicles are commercially available at a cost reasonably

comparable, on the basis of life-cycle cost, to non-PIH vehicles; and

(h) ensure that the agency (i) when acquiring an electronic product to meet its requirements, meets at least 95 per-

cent of those requirements with an Electronic Product Environmental Assessment Tool (EPEAT)-registered electronic

product, unless there is no EPEAT standard for such product,

(ii) enables the Energy Star feature on agency computers and monitors,

(iii) establishes and implements policies to extend the useful life of agency electronic equipment, and (iv) uses envi-

ronmentally sound practices with respect to disposition of agency electronic equipment that has reached the end of

its useful life.

Kurzweil, Ray. “The Coming Merger of Mind and Machine.” Scientiﬁc American Special Edition January 2008.

(2008)

The accelerating pace of technological progress means that our intelligent creations will soon eclipse us—and that

their creations will eventually eclipse them.

Sometime early in this century the intelligence of machines will exceed that of humans. Within a quarter of a century,

machines will exhibit the full range of human intellect, emotions and skills, ranging from musical and other creative

aptitudes to physical movement. They will claim to have feelings and, unlike today’s virtual personalities, will be very

convincing when they tell us so. By around 2020 a $1,000 computer will at least match the processing power of the

human brain. By 2029 the software for intelligence will have been largely mastered, and the average personal com-

puter will be equivalent to 1,000 brains.

Once computers achieve a level of intelligence comparable to that of humans, they will necessarily soar past it. For

example, if I learn French, I can’t readily download that learning to you. The reason is that for us, learning involves

successions of stunningly complex patterns of interconnections among brain cells (neurons) and among the concen-

trations of biochemicals known as neurotransmitters that enable impulses to travel from neuron to neuron. We have

no way of quickly downloading these patterns. But quick downloading will allow our nonbiological creations to share

immediately what they learn with billions of other machines. Ultimately, nonbiological entities will master not only the

sum total of their own knowledge but all of ours as well.

Gibbs, W. Wayt. “Untangling the Roots of Cancer.” Scientiﬁc American Special Edition June 2008. (2008)

Recent evidence challenges long-held theories of how cells turn malignant—and suggests new ways to stop tumors

before they spread.

What causes cancer?

Tobacco smoke, most people would say. Probably too much alcohol, sunshine or grilled meat; infection with cervi-

cal papillomaviruses; asbestos. All have strong links to cancer, certainly. But they cannot be root causes. Much of the

population is exposed to these carcinogens, yet only a tiny minority suffers dangerous tumors as a consequence.

A cause, by deﬁnition, leads invariably to its effect. The immediate cause of cancer must be some combination of

insults and accidents that induces normal cells in a healthy human body to turn malignant, growing like weeds and

sprouting in unnatural places.

At this level, the cause of cancer is not entirely a mystery. In fact, a decade ago many geneticists were conﬁdent that

science was homing in on a ﬁnal answer: cancer is the result of cumulative mutations that alter speciﬁc locations in

a cell’s DNA and thus change the particular proteins encoded by cancer-related genes at those spots. The mutations

affect two kinds of cancer genes. The ﬁrst are called tumor suppressors. They normally restrain cells’ ability to divide,

and mutations permanently disable the genes. The second variety, known as oncogenes, stimulate growth—in other

words, cell division. Mutations lock oncogenes into an active state. Some researchers still take it as axiomatic that

such growth-promoting changes to a small number of cancer genes are the initial event and root cause of every hu-

man cancer.

APPENDIX B | 182

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COMMON CORE STATE STANDARDS for ENGLISH LANGUAGE ARTS & LITERACY IN HISTORY/SOCIAL STUDIES, SCIENCE, AND TECHNICAL SUBJECTS

Gawande, Atul. “The Cost Conundrum: Health Care Costs in McAllen, Texas.” The New Yorker June 1, 2009. (2009)

It is spring in McAllen, Texas. The morning sun is warm. The streets are lined with palm trees and pickup trucks. McAl-

len is in Hidalgo County, which has the lowest household income in the country, but it’s a border town, and a thriving

foreign-trade zone has kept the unemployment rate below ten per cent. McAllen calls itself the Square Dance Capital

of the World. “Lonesome Dove” was set around here.

McAllen has another distinction, too: it is one of the most expensive health-care markets in the country. Only Miami—

which has much higher labor and living costs—spends more per person on health care. In 2006, Medicare spent ﬁf-

teen thousand dollars per enrollee here, almost twice the national average. The income per capita is twelve thousand

dollars. In other words, Medicare spends three thousand dollars more per person here than the average person earns.

The explosive trend in American medical costs seems to have occurred here in an especially intense form. Our coun-

try’s health care is by far the most expensive in the world. In Washington, the aim of health-care reform is not just to

extend medical coverage to everybody but also to bring costs under control. Spending on doctors, hospitals, drugs,

and the like now consumes more than one of every six dollars we earn. The ﬁnancial burden has damaged the global

competitiveness of American businesses and bankrupted millions of families, even those with insurance. It’s also

devouring our government. “The greatest threat to America’s ﬁscal health is not Social Security,” President Barack

Obama said in a March speech at the White House. “It’s not the investments that we’ve made to rescue our economy

during this crisis. By a wide margin, the biggest threat to our nation’s balance sheet is the skyrocketing cost of health

care. It’s not even close.”

Sample Performance Tasks for Informational Texts: History/Social Studies & Science,

Mathematics, and Technical Subjects

• Students determine the central ideas found in the Declaration of Sentiments by the Seneca Falls Conference,

noting the parallels between it and the Declaration of Independence and providing a summary that makes

clear the relationships among the key details and ideas of each text and between the texts. [RH.11–12.2]

• Students evaluate the premises of James M. McPherson’s argument regarding why Northern soldiers fought in

the Civil War by corroborating the evidence provided from the letters and diaries of these soldiers with other

primary and secondary sources and challenging McPherson’s claims where appropriate. [RH.11–12.8]

• Students integrate the information provided by Mary C. Daly, vice president at the Federal Reserve Bank of

San Francisco, with the data presented visually in the FedViews report. In their analysis of these sources of

information presented in diverse formats, students frame and address a question or solve a problem raised by

their evaluation of the evidence. [RH.11–12.7]

• Students analyze the hierarchical relationships between phrase searches and searches that use basic Boolean

operators in Tara Calishain and Rael Dornfest’s Google Hacks: Tips & Tools for Smarter Searching, 2nd Edition.

[RST.11–12.5]

• Students analyze the concept of mass based on their close reading of Gordon Kane’s “The Mysteries of Mass”

and cite speciﬁc textual evidence from the text to answer the question of why elementary particles have mass

at all. Students explain important distinctions the author makes regarding the Higgs ﬁeld and the Higgs boson

and their relationship to the concept of mass. [RST.11–12.1]

• Students determine the meaning of key terms such as hydraulic, trajectory, and torque as well as other

domain-speciﬁc words and phrases such as actuators, antilock brakes, and traction control used in Mark Fisch-

etti’s “Working Knowledge: Electronic Stability Control.” [RST.11–12.4]

APPENDIX B | 183