Mypna Te g10 U1 Web PDF

UNIT 1 AT A GLANCE
Pacing /
Contents Genre / Lexile Vocabulary / Word Study
# of Days
Unit Introduction Academic Vocabulary (L.9–10.6)

INTRO
1*
Explanatory Essay
Launch Text: My Introduction to Gothic Literature
900L
Whole-Class Learning Introduction
WHOLE-CLASS LEARNING
6 Concept Vocabulary
The Fall of the House of Usher Short Story
Word Study: Denotation and
Edgar Allan Poe 1410L
COMPARE
Connotation (L.9–10.5, 5.b)
Concept Vocabulary
House Taken Over Short Story
5 Word Study: Patterns of Word
Julio Cortázar 1030L
Changes (L.9–10.4.b)
from How to Tell You’re Reading a Gothic Novel—In Pictures Informational Graphic Concept Vocabulary
1
Adam Frost and Zhenia Vasiliev NP (L.9–10.6)
Performance Task
2
Writing
Small-Group Learning Introduction
3 Concept Vocabulary (L.9–10.4.a)

Where Is Here? Short Story
Word Study: Adverbs (L.9–10.2.c;
Joyce Carol Oates 950L
SMALL-GROUP LEARNING
L.9–10.4.b)
from The Dream Collector Media: Photo Gallery

2 Media Vocabulary (L.9–10.6)
Arthur Tress NP
Concept Vocabulary (L.9–10.4.b)

Why Do Some Brains Enjoy Fear? Interview
2 Word Study: Patterns of Word
Allegra Ringo 1180L
Changes (L.9–10.4.b)
Concept Vocabulary (L.9–10.4.b)

beware: do not read this poem • The Raven • Windigo Poetry Collection
2 Word Study: Anglo-Saxon Prefix:
Ishmael Reed • Edgar Allan Poe • Louise Erdrich NP; NP; NP
be-(L.9–10.4.b, d)
Performance Task
2
Speaking and Listening
Independent Learning Introduction

INDEPENDENT LEARNING
How Maurice Sendak’s “Wild Things” Moved Children’s

Criticism
Books Toward Realism
1420L
Gloria Goodale
Independent Learning provides
Sleep Paralysis: A Waking Nightmare 2 Explanatory Nonfiction students with the opportunity to
Lexi Tucker 1090L analyze a selection independently.
To facilitate students’
The Feather Pillow Short Story independence, no skills have been
Horacio Quiroga, translated by Margaret Sayers Peden 990L assigned.
Stone Age Man’s Terrors Still Stalk Modern Nightmares Newspaper Article
Robin McKie 1180L
END OF UNIT
Performance-Based Assessment
Writing 2
Unit Reflection
Unit Test 1
* Pacing is suggested for a 40- to 50-minute class period. If you use block scheduling, you may combine days to meet your schedule needs.
2A UNIT 1 • INSIDE THE NIGHTMARE

INSIDE THE NIGHTMARE
Analyze Craft and Conventions / Author’s Composition / Research /

Structure Style Speaking and Listening
Objective or Critical Summary

(RI.9–10.2)
Literary Style Conventions: Sentence Structure

(RL.9–10.5; RL.9–10.1) (L.9–10.1, 1.b)
Writing to Compare: Explanatory Essay
(W.9–10.2; W.9–10.9)
Literary Style Conventions: Types of Phrases
(RL.9–10.5) (L.9–10.1, 1.b)
Speaking and Listening: Informational

Graphic (SL.9–10.2; SL.9–10.4; SL.9–10.5)
Write an Explanatory Essay (W.9–10.2;

W.9–10.3; W.9–10.4)
Literary Style Author’s Style: Character

Writing to Sources: Narrative (W.9–10.3)
(RL.9–10.5) Development (RL.9–10.3)
Speaking and Listening: Visual

Presentation (SL.9–10.5; SL.9–10.6)
Speaker’s Claims
Author’s Style: Scientific and Research: Group Presentation
and Evidence
Technical Diction (RI.9–10.4) (W.9–10.7; SL.9–10.5)
(RI.9–10.3)
Speaking and Listening: Visual
Development of Theme Author’s Style: Point of View
Presentation (SL.9–10.1; SL.9–10.5;
(RL.9–10.2) (RL.9–10.5)
SL.9–10.6)
Deliver an Explanatory Presentation
(SL.9–10.1, 1.b; SL.9–10.4)
Independent Learning provides students with the

opportunity to analyze a selection independently. To Share Your Independent Learning
facilitate students’ independence, no skills have been (SL.9–10.1)
assigned.
Writing to Sources: Explanatory Essay

(W.9–10.2; W.9–10.9)
Speaking and Listening: Informal Talk
(SL.9–10.1.a; SL.9–10.4)
Reflect on the Unit
UNIT 1 • AT A GLANCE 2B
INTRODUCTION UNIT
1
Jump Start
Engage students in a discussion based on the
following questions: “How do you react to
Inside the Nightmare
horror movies? What have you learned from
your own experiences when scared by films, Spine-tingling movies, books,
television shows, or books?” Have each student
write three answers, and poll the class to select and experiences are everywhere.
the five favorites.
What draws us to explore—and
Inside the Nightmare to enjoy—frightening themes?
Ask students what the phrase Inside the
Nightmare suggests to them. Point out that as
they work through this unit, they will read many
examples of what scares people and why people
enjoy being scared.
Video
Project the introduction video in class and ask
students to open the video in their interactive
textbooks.
Discuss It If you want to make this a digital

activity, go online and navigate to the Discussion
Board. Alternatively, students can share their
responses in a class discussion.
Copyright © SAVVAS Learning Company LLC. All Rights Reserved.

Block Scheduling
Each day in this pacing calendar represents
a 40–50 minute class period. Teachers using
block scheduling may combine days to reflect
their class schedule. In addition, teachers may
revise pacing to differentiate and support core Discuss It Why is Halloween big business?
instruction by integrating components and Write your response before sharing your ideas.
resources as students require.
Spooky Business:
American Economy
2
Pacing Plan
Introduce
Whole-Class
Learning LIT22_SE10_U01_UOP.indd 2 Media: from How to 20/03/21 4:31 PM
Tell You’re Reading a
Gothic Novel
Unit
Introduction The Fall of the House of Usher House Taken Over Performance Task
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
2 UNIT 1 • INSIDE THE NIGHTMARE

Digital
perspectives Audio Video Document Annotation EL Online
Highlights Highlights Assessment
UNIT 1
UNIT INTRODUCTION
eSSentiaL QueStion: LauncH teXt Essential Question
eXpLanatorY ModeL
What is the allure of fear? My Introduction to

Gothic Literature
Introduce the Essential Question and point out
that students will respond to related prompts.
WHOLE-CLASS SMALL-GROUP INDEPENDENT • Whole-Class Learning How and when does
LEARNING LEARNING LEARNING imagination overcome reason?
• Small-Group Learning In literature, how
ANCHOR TEXT: SHORT STORY SHORT STORY CRITICISM does a sense of uncertainty help to create an
The Fall of the Where Is Here? How Maurice atmosphere of fear?
House of Usher Joyce Carol Oates Sendak’s “Wild
Edgar Allan Poe Things” Moved • Performance-Based Assessment In what
Children’s Books
Toward Realism
ways does transformation play a role in stories
coMpare
Gloria Goodale meant to scare us?

ANCHOR TEXT: SHORT STORY MEDIA: PHOTO GALLERY
EXPLANATORY NONFICTION
House Taken Over from The Dream
Julio Cortázar Collector Sleep Paralysis: A
Arthur Tress Waking Nightmare
Using Trade Books
Refer to the Teaching with Trade Books
MEDIA: INFORMATIONAL GRAPHIC INTERVIEW
SHORT STORY
section for suggestions on how to incorporate
from How to Tell Why Do Some Brains
You’re Reading a Enjoy Fear? The Feather Pillow the following thematically related novels into
Gothic Novel—In Allegra Ringo Horacio Quiroga, translated this unit.
Pictures by Margaret Sayers Peden
Adam Frost and • The Haunting of Hill House by
Zhenia Vasiliev
Shirley Jackson
POETRY COLLECTION
beware: do not read NEWSPAPER ARTICLE
• The Invisible Man by H.G. Wells
this poem Stone Age Man’s
Ishmael Reed Terrors Still Stalk • Something Wicked This Way Comes by
Modern Nightmares Ray Bradbury
The Raven Robin McKie
Edgar Allan Poe
Windigo
Louise Erdrich
Current Perspectives
To increase student engagement, search
© Pearson Education, Inc., or its affiliates. All rights reserved.
online for stories about the allure of fear, and

invite your students to recommend stories
they find. Always preview content before
sharing it with your class.
PERFORMANCE TASK PERFORMANCE TASK PERFORMANCE-BASED ASSESSMENT PREP • Video: “What REALLY Happens
Writing focuS: Speaking and LiStening focuS: Review Evidence for an When You See a Ghost?” (Daily Mail)
Write an Explanatory Essay Deliver an Explanatory Presentation Explanatory Essay Examining the brain functions of people
who claim to see ghosts
PERFORMANCE-BASED ASSESSMENT
• News Story: “Why Do We Watch Horror
Explanatory Text: Essay and Informal Talk
Films?” (Medical Daily) The psychological
proMpt:
reasons behind our enjoyment of
In what ways does transformation play a role in stories meant to scare us? horror films
Introduce Introduce
LIT17_SE10_U01_UOP.indd 3
Small-Group 4/6/16 11:00 AM
Independent
Learning Learning
• beware: do
not read this Performance-Based
poem Assessment
Media: from
The Dream Why Do Some • The Raven Independent
Where Is Here? Collector Brains Enjoy Fear? • Windigo Performance Task Learning
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
Unit Introduction 3
INTRODUCTION UNIT
1 INTRODUCTION
Unit Goals
About the Unit Goals Throughout this unit, you will deepen your understanding of scary literature
These unit goals were backward designed by reading, writing, speaking, presenting, and listening. These goals will help
you succeed on the Unit Performance-Based Assessment.
from the Performance-Based Assessment at
the end of the unit and the Whole-Class and Rate how well you meet these goals right now. You will revisit your ratings
Small-Group Performance Tasks. Students will later when you reflect on your growth during this unit.
practice and become proficient in many more
standards over the course of this unit. 1 2 3 4 5
SCALE
NOT AT ALL NOT VERY SOMEWHAT VERY EXTREMELY
Unit Goals WELL WELL WELL WELL WELL
Review the goals with students and explain that READING GOALS 1 2 3 4 5
as they read and discuss the selections in this unit,
they will improve their skills in reading, writing, • Evaluate written narratives by analyzing
research, language, and speaking and listening. how authors introduce and develop the
events in their writing.
A video on this topic is available online in the
Professional Development Center.
• Expand your knowledge and use of
Reading Goals Tell students they will read and academic and concept vocabulary.
evaluate narratives. They will also read short
stories, poetry, and articles to better understand WRITING AND RESEARCH GOALS 1 2 3 4 5
the ways writers express ideas.
• Write an explanatory essay in which you
Writing and Research Goals Tell students that use a narrative as evidence for your main
they will learn the elements of an explanatory idea. Apply your knowledge of texts in
essay. They will write for a variety of reasons, the unit.
including organizing and sharing ideas, reflecting
on experiences, and gathering evidence. They will • Conduct research projects of various
conduct research to clarify and explore ideas. lengths to explore a topic and clarify
meaning.
Language Goal Tell students that they will
develop a deeper understanding of the use of LANGUAGE GOAL 1 2 3 4 5
figurative language, connotation, and denotation.

They will then practice using figurative language, • Use figurative language, connotation,
connotation and denotation in their own writing. and denotation to convey meaning and
add variety and interest to your writing
Speaking and Listening Explain to students that and presentations.
they will work together to build on one another’s
ideas, develop consensus, and communicate with SPEAKING AND LISTENING
GOALS 1 2 3 4 5
one another. They will also learn to incorporate  STANDARDS
audio, visuals, and text in presentations. Language • Collaborate with your team to build on
Acquire and use accurately general
the ideas of others, develop consensus,
academic and domain-specific words
and phrases, sufficient for reading, and communicate.
HOME Connection writing, speaking, and listening at
the college and career readiness
level; demonstrate independence • Integrate audio, visuals, and text in
A Home Connection letter to students’
in gathering vocabulary knowledge presentations.
parents or guardians is available in the when considering a word or phrase
Interactive Teacher’s Edition. The letter important to comprehension or
expression.
explains what students will be learning in this
unit and how they will be assessed.
AUTHOR’S PERSPECTIVE Ernest Morrell, Ph.D.

LIT22_SE10_U01_UOP.indd 4 20/03/21 4:31 PM
Why Goal Setting Matters Establishing goals • Decide What You Want: Have students skim should also include a way to measure results so
helps students take responsibility for their own the Unit 1 Table of Contents and decide what they can assess their progress.
learning and become independent scholars and they most want to learn from the unit. Guide • Set a Time Frame: Have students include a
thinkers. One way to encourage students to students to set specific, realistic goals, such realistic schedule for completion, using the
set, follow, and achieve goals is to have them as “learn and correctly use five new concept length of the selections in Unit 1 as a guide. As
write their goals down. Students can use the words from the unit.” necessary, have students break large goals into
following process for crafting well-defined and • Write the Goals Down: Have students draft smaller ones to make the goal more likely to be
measurable goals: the goals in clear, precise language. Students completed.

ESSENTIAL QUESTION: What is the allure of fear?
Academic Vocabulary: Explanatory Text Academic Vocabulary:

Academic terms appear in all subjects and can help you read, write, and
discuss with more precision. Here are five academic words that will be useful Explanatory Text
FOLLOW THROUGH
to you in this unit as you analyze and write explanatory texts. Study the words in this chart Introduce the blue academic vocabulary words in
Complete the chart.
and mark them or their forms the chart on the student page. Point out that the
wherever they appear in the root of each word provides a clue to its meaning.
1. Review each word, its root, and the mentor sentences. unit.
Discuss the mentor sentences to ensure students
2. Use the information and your own knowledge to predict the meaning of understand each word’s usage. Students should
each word. also use the mentor sentences as context to help
3. For each word, list at least two related words. them predict the meaning of each word. Check
4. Refer to a dictionary or other resources if needed. that students are able to fill the chart in correctly.
Complete pronunciations, parts of speech, and
WORD MENTOR SENTENCES PREDICT MEANING RELATED WORDS definitions are provided for you. Students are only
motivate 1. A mentor should try to motivate motivation; unmotivated expected to provide the definition.
a student to perform well.
Possible responses:
ROOT: 2. What might motivate a character motivate v. (MOH tih vayt)
-mot- to do something so deceitful?
Meaning: inspire, drive
“move”
Related words: motive, motivational
dimension 1. We have to consider every Additional words related to the root -mot-:
dimension of the problem before motion, promote, remote
ROOT: we can solve it. dimension n. (dih MEHN shuhn)
-mens- 2. That classic TV show told stories Meaning: aspect, feature, something that can be
“measure” that explored another dimension measured
of time, space, and imagination. Related words: dimensional, dimensionality
Additional words related to the root -mens-:
manipulate 1. We watch as the sculptors
immense, commensurate
manipulate the clay with great
ROOT: skill and speed. manipulate v. (muh NIHP yoo layt)
-man- 2. People often become defensive Meaning: handle, control
“hand” when they believe others are Related words: manipulated, manipulation
trying to manipulate them. Additional words related to the root -man-:
manage, maneuver, manufacture
psychological 1. The director’s new film is a

psychological thriller, and I found psychological adj. (sy koh LAHJ ih kuhl)
ROOT: it extremely suspenseful. Meaning: related to emotional state, related to
-psych- 2. The psychological effects of fear the mind
“mind”; “spirit” can last a long time. Related words: psychology, psychologically
Additional words related to the root -psych-:
psychiatric, psychedelic
perspective 1. The narrator’s perspective
was limited and left readers perspective n. (puhr SPEHK tihv)
ROOT: wondering what other characters Meaning: point of view
-spec- thought. Related words: aspect, inspection
“look”; “see” 2. Living in another part of the Additional words related to the root -spec-:
country helped to broaden my retrospect, speculation
perspective on the world.
Unit Introduction 5
LIT17_SE10_U01_UOP.indd 5 Personalize
3/23/16 1:57 PM for Learning
When students take more responsibility for
their learning, they may learn to rely more English Language Support
on themselves and take more interest in their Cognates Many of the academic words have Spanish cognates. Use
success. these cognates with students whose home language is Spanish.
empathy – empatía figurative – figurativo
interpret – interpretar inquisitive – inquisitivo
circumstance – circunstancia
Help students build their cognate awareness by pointing out that
these cognates share the same root in both English and Spanish.
ALL LEVELS
Unit Introduction 5
INTRODUCTION UNIT
1 INTRODUCTION
Purpose of the Launch Text

The Launch Text provides students with LAUNCH TEXT | EXPLANATORY MODEL
a common starting point to address the This selection is an example of an
unit topic. After reading the Launch Text, explanatory essay. In this example,
all students will be able to participate in the writer includes narrative, or
discussions about the allure of fear. storytelling, elements to help explain
Lexile: 900 The easier reading level of

a topic. This is the type of writing you
will develop in the Performance-Based
My Introduction to
this selection makes it perfect to assign for
homework. Students will need little or no
Assessment at the end of the unit.
As you read, look at the way the Gothic
support to understand it.
Additionally, “My Introduction to Gothic
writer includes both explanatory and
narrative elements to convey ideas. Literature
Literature” provides a writing model for the What important details does the writer
Performance-Based Assessment students include to convey information in a
vivid way?
complete at the end of the unit.
Launch Text: Explanatory

Model
Remind students to determine the author’s
purpose for writing and how the author achieves
that purpose.
H
1 ow does someone fall in love with a particular kind of writing
Have students pay attention to the author’s NOTES or an author who has long departed this life? What draws us to
use of descriptive language. They should note find in words the echoes of our own fears or longings? For those of us
the elements of Gothic literature that the author lucky enough to have a literary passion, the story of how we met our
mentions, such as vivid descriptions that evoke first love is probably just like tales of other first meetings—funny or
feeling and that place the reader in the narrative. quirky, full of accident and coincidence. My literary passion is Edgar
These are the same literary elements the author Allan Poe, and I met him—in print—when I was fourteen years old.
uses herself. 2 It was just after a huge storm that had featured an alarmingly
Encourage students to read this text on their beautiful display of lightning and wind. The power had been knocked

own and annotate unfamiliar words and sections out, and I was sitting at a window, watching the wet night grow darker.
of text they think are particularly important. I had been living with my grandmother for a few weeks while my
parents “figured things out.” I loved my grandmother, but I couldn’t
AUDIO SUMMARIES shake the sadness and anxiety I was feeling. The storm had been a
Audio summaries of “My Introduction to Gothic welcome diversion. As the clouds cleared, a fog rose and filtered the
Literature” are available in both English and moonlight, casting a bluish hue over the yard. The scene was moody
Spanish in the Interactive Teacher’s Edition or Unit and solemn, but beautiful. My grandmother broke my reverie by
Resources. Assigning these summaries before bustling into the room, carrying two lit candles and a book. “It’ll take
students read the Launch Text may help them hours for the electric company to get all the way out here to fix the
build additional background knowledge and set a power,” she said. “Why don’t you read? I’ll go find some batteries for
context for their reading. the flashlights.”
3 She set the book and a candle on the floor, and rushed out as
though she had to catch the batteries before they fled. I picked
up the book she had left on the floor. It was a collection of old
stories—just a paperback and not much to look at. I turned to one by
CROSS-CURRICULAR PERSPECTIVES
LIT22_SE10_U01_LT.indd 6 20/03/21 4:34 PM
Social Studies The term “Gothic” originally “uncivilized” and “barbaric.”

referred to things that were created by or related Have students research other uses of the
to the Goths, one of several Germanic tribes that term “Gothic” and how those uses came
rose to power in Europe after the collapse of the about. Ask them to prepare three slides using
Roman Empire. presentation software that illustrate uses of the
Centuries later, people romanticized Roman term. Compile these slides into a presentation
culture and felt that the role the Goths played for the class. Students should be prepared to
in the fall of Rome was uncivilized and barbaric. give a brief oral description for each of their
As a result, the word “Gothic” came to mean slides.

Poe—“The Cask of Amontillado.” Set during the carnival season in

an unnamed European city, the story features an unhinged narrator NOTES Word Network for the
named Montresor who plots revenge on an acquaintance. I liked the Literature of Fear
gruesome setting of a mysterious burial vault. In Poe’s descriptions,
Tell students that they can fill in the Word
I could practically smell the dust and mold. And I was stunned by
the horrible ending. But what struck me most was how Montresor
Network as they read texts in the unit, or they
spoke directly to the reader—to me. He expected my sympathy as can record the words elsewhere and add them
he brought his terrible revenge. Up to that point, all the stories I had later. Point out to students that people may have
ever read had set the criminal or lunatic at a distance. They didn’t personal associations with some words. A word
draw me into a mind that was a truly scary place to be. This one did. that one student thinks is related to fear might
4 I finished Poe’s story and turned to another. My grandmother not be a word another student would pick.
came back with a flashlight, and I kept reading. There were more However, students should feel free to add any
stories by Poe and others by authors whom I had never heard of word they personally think is relevant to their
but who came to feel like friends—Amelia B. Edwards, Horace Word Network. Each person’s Word Network
Walpole, Ann Radcliffe. I later learned that these stories were part will be unique. If you choose to print the Word
of the Gothic tradition, but I didn’t care about that. I fell into them Network, distribute it to students at this point so
and was carried away, like someone swimming in a river. In all of they can use it throughout the rest of the unit.
them, characters were driven by intense emotions of love or hate
or jealousy. Some featured ghosts or monsters, but others featured
regular people whose sorrow made them ghostly or monstrous. They
were tales full of darkness and light, just like the storm I had enjoyed
with its thunder and lightning. They were stories that made all I felt
and feared seem less of a burden.
5 That evening spent in darkness both real and imaginary never
left me. The stories helped me understand that life is not easy and
people are complex—simultaneously strong and weak, wonderful
and terrible. Though I could not articulate it then, I can now: The
stories helped me see that life can be a mansion full of secrets and
dark passages, but also of beauty and light. They helped me choose
to embrace it all. After another week at my grandmother’s, I went
home, armed with stories to see me through whatever might come.
 WORD NETWORK fOR THE LITERATURE Of fEAR
Vocabulary A Word Network

is a collection of words related to a
topic. As you read the selections in
this unit, identify interesting words unhinged
related to the idea of fear, and
add them to your Word Network.
For example, you might begin by vault FEAR
adding words from the Launch
Text, such as unhinged, vault, and
revenge. Continue to add words as revenge
you complete the unit.
Tool Kit Word Network Model
My Introduction to Gothic Literature 7
LIT17_SE10_U01_LT.indd 7 Author’s Perspective Elfrieda Hiebert, Ph.D. 3/30/16 5:45 AM
Word Networks Vocabulary word networks also helps students choose variety of related words, each with its own
networks enable students to learn, use, more precise words when they write and connotation, to create a word network.
and retain a large number of useful edit. Finally, forging connections among While students may not know more
words related to a particular concept. In related words, as opposed to teaching complex words at first, they do know
addition, generating vocabulary in this the words individually, allows students to common conversation words and words
way can help students appreciate the approach new words with confidence and that get at the big idea. These words can
subtleties of an author’s word choice knowledge. serve as a gateway to the more complex
and evaluate the effectiveness of an When students discuss the unit’s words they will encounter in these
author’s style. Using vocabulary word theme, they can choose from a wide selections.

introduction UNIT
1 INTRODUCTION
Summary Summary
Write a summary of “My Introduction to Gothic Literature.” A summary is
Have students read the introductory paragraph. a concise, complete, and accurate overview of a text. It should not include a
Provide them with tips for writing a summary: statement of your opinion or an analysis.
• Write in the present tense.
• Make sure to include the title of the work.
• Be concise: a summary should not be equal in
length to the original text.
• If you need to quote the words of the author,
use quotation marks. Possible response: In “My Introduction to Gothic Literature,” the author
• Don’t put your own opinions, ideas, or explains why she loves Gothic literature by describing her first experience
interpretations into the summary. The purpose reading a Gothic story.
of writing a summary is to accurately represent She is visiting her grandmother and the power goes out one night during
what the author says, not to provide a critique. a storm. Her grandmother suggests she read a book, which is full of Gothic
If necessary, students can refer to the Tool Kit for stories. The author describes how the first story she reads, “The Cask of
help in understanding the elements of a good Amontillado” by Edgar Allan Poe, is different from anything else she has read
summary. before. The insane main character, the strange setting, and vivid descriptions
See possible summary on student page. pull her in.
The author reads more Gothic stories that night. She is drawn to the strong
Launch Activity emotions and the characters, both bad and good. To her, the stories are like the
Explain to students that as they work on this storm outside. Later on, she keeps reading Gothic literature and learns more
unit they will have many opportunities to discuss about it, but she remembers that night with her grandmother as the reason
the topic of fear and the allure it holds for why she loves Gothic literature.
some people. Remind them that there are many
different characteristics a horror story “hero” can
have, but that they should think about why some
people would consider a horror story character a
hero and some would not.
Some students may not find horror stories and
Launch Activity
other materials designed to elicit fear appealing. Conduct a Horror-Story Election Consider this question: Which

character is the best horror-story hero?
Encourage students to approach the unit with
a view toward understanding why some people • Form two “parties” to gather and choose candidates for an election. You
are drawn to the Gothic and horror genres, while will be voting on the best horror-story “hero.” In this case, the heroes
are the monsters and other villains.
others are not.
• With your party, discuss the main characters from horror stories with
which you are familiar. Include characters from movies and television,
as well as books. When you feel you have discussed the characters
thoroughly, nominate a candidate who will represent your party in a
whole-class election.
• Choose a party member to deliver the campaign speech telling why your
candidate is the best horror-story “hero.”
• After both campaign speeches have been delivered, hold a class election.
Then, tally the votes for each candidate. If you vote against your own
party, be ready to explain why.
VOCABULARY DEVELOPMENT LIT17_SE10_U01_LT.indd 8 3/30/16 5:45 AM

Academic Vocabulary Reinforcement Students will Then give students these sentence prompts and 3. The movie is a psychological thriller; _______
benefit from additional examples and practice with the coach them in creating the clarification part: Possible response: it is designed to make
academic vocabulary. Reinforce their comprehension 1. Using pastels added a new dimension people think critically.
with “show-you-know” sentences. The first part of the to Robert’s artwork; _______
sentence uses the vocabulary word in an appropriate 4. Danielle tried to see the situation from
Possible response: it made his drawings
context. The second part of the sentence—the Melissa’s perspective; _______
come to life like never before.
“show-you-know” part—clarifies the first. Model the Possible response: it was hard for her to
strategy with this example for motivate: 2. The children tried to manipulate the babysitter understand how Melissa felt.
The coach gave a short speech to motivate her into letting them stay up late; _______
players before the big game; she wanted to Possible response: they promised never to
encourage them to do their best. tell their parents.

QuickWrite QuickWrite
Consider class discussions, presentations, the video, and the Launch Text as
you think about the prompt. Record your first thoughts here.
In this QuickWrite, students should present
their own response to the prompt based on the
PROMPT: In what ways does transformation play a role in stories
material they have read and viewed in the Unit
meant to scare us?
Overview and Introduction. This initial response
will help inform their work when they complete
the Performance-Based Assessment at the end
of the unit. Students should consider how
transformation can be either positive or negative.
Possible response: Stories that are designed to scare us use things that See possible QuickWrite on student page.
are unexpected or uncomfortable. Transformation can be both unexpected
and uncomfortable. When a person or an object changes or transforms Evidence Log for Inside the
unexpectedly, it startles us. It even creates feelings of fear, because once
something has transformed once, you never know when it might happen again
Nightmare
and whether the transformation will be good or bad. Students should record their initial thinking in
No matter whether a transformation is big or small, fast or slow, it their Evidence Logs along with evidence from
“My Introduction to Gothic Literature” that
can make us uncomfortable. People do not usually like change. We like things
support this thinking.
to stay the way they are because it is what we are used to and we know
If you choose to print the Evidence Log,
how to handle it. When stories include transformations, they can make us distribute it to students at this point so they can
uncomfortable, just like change makes us uncomfortable in real life. use it throughout the rest of the unit.
Performance-Based Assessment:
Refining Your Thinking
• Have students watch the video on Refining
Your Thinking.
• A video on this topic is available online in
the Professional Development Center.
 EVIDENCE LOG FOR INSIDE THE NIGHTMARE
Review your QuickWrite.

Title of Text: Date:
Summarize your initial position
in one sentence to record in CONNECTION TO PROMPT TEXT EVIDENCE/DETAILS ADDITIONAL NOTES/IDEAS
your Evidence Log. Then, record
evidence from “My Introduction
to Gothic Literature” that
supports your position.
Prepare for the Performance-
Based Assessment at the end How does this text change or add to my thinking? Date:
of the unit by completing the
Evidence Log after each selection.
Tool Kit
Evidence Log Model
Unit Introduction 9
LIT22_SE10_U01_LT.indd 9 WriteNow Express and Reflect 20/03/21 4:34 PM
Description The author of “My Introduction Was there anything about the experience that
to Gothic Literature” has fond memories of the you enjoyed? Were other people involved? Was
dark, stormy night at her grandmother’s house, their reaction similar to or different from your
even though the situation could have been own? Then, have students write a one‑page
considered scary. Ask students to think about narrative that describes the event. In their
times when they could have been scared, but description, students should analyze why they
were not. Have students consider such questions did not react with fear even though the situation
as Why weren’t you afraid? called for it.

OVERVIEW
OVERVIEW: WHOLE-CLASS LEARNING
WHOLE-CLASS LEARNING ESSENTIAL QUESTION:
What is the allure of fear?

What is it that draws us to visit haunted houses on Halloween and read stories that
What is it about scary movies, terrifying TV keep us up all night startled by every strange noise we hear? The allure of fear is a
shows, and horror stories that draw us in and powerful attraction. Similarly, the concept of “scary but fun” appeals to many of us.
leave us craving more? Can fear be fun? Have The selections you will read offer insight into why people enjoy stories that put
students discuss the power and fascination of them on the edges of their seats.
irrational fear. Reading and watching movies are
not dangerous activities, but the living room sofa
will not protect us from fear. During Whole-
Whole-Class Learning Strategies
Class Learning, students will read and review Throughout your life, in school, in your community, and in your career, you will
selections that just might leave them on the edge continue to learn and work in large-group environments.
of their seats. Review these strategies and the actions you can take to practice them as you work
with your whole class. Add ideas of your own for each step. Get ready to use these
Whole-Class Learning strategies during Whole-Class Learning.
Strategies
Review the Learning Strategies with students and STRATEGY ACTION PLAN
explain that as they work through Whole-Class
Listen actively • Eliminate distractions. For example, put your cellphone away.
Learning they will develop strategies to work in
• Keep your eyes on the speaker.
large-group environments.
• Have students watch the video on Whole-Class •
Learning Strategies.
• A video on this topic is available online in the
Professional Development Center. Clarify by asking • If you’re confused, other people probably are, too. Ask a question
You may wish to discuss some action items to add questions to help your whole class.
to the chart as a class before students complete • If you see that you are guessing, ask a question instead.
it on their own. For example, for “Listen actively,”
•
you might solicit the following from students:

• Take thorough notes to make sure you don’t
miss anything important. Monitor • Notice what information you already know, and be ready to build on it.
• Try not to interrupt the speaker. understanding • Ask for help if you are struggling.
Block Scheduling
Each day in this Pacing Plan represents a
40–50 minute class period. Teachers using Interact and • Share your ideas and answer questions, even if you are unsure.
block scheduling may combine days to reflect share ideas • Build on the ideas of others by adding details or making a connection.
revise pacing to differentiate and support core •
instruction by integrating components and

Pacing Plan
Introduce
Whole-Class
LIT22_SE10_U01_A_WCO.indd 10 20/03/21 4:36 PM
Learning
Media: from How to
Tell You’re Reading
a Gothic Novel
Unit
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15
WHOLE-CLASS
TXT1_PP_TAB
LEARNING

CONTENTS
ANCHOR TEXT: SHORT STORY
Contents
The Fall of the House of Usher
Anchor Texts Preview the anchor texts and
Edgar Allan Poe
media with students to generate interest.
In this famous Gothic tale, a visitor arrives at Encourage students to discuss other texts they
an old friend’s home and realizes that some may have read or movies or television shows they
irrational fears might turn out to be justified. may have seen that deal with the allure of fear
and why people love to be frightened.
You may wish to conduct a poll to determine
which selection students think looks more
interesting and discuss the reasons for their
COMPARE
preference. Students can return to this poll

ANCHOR TEXT: SHORT STORY after they have read the selections to see if their
preferences changed.
House Taken Over
Julio Cortázar
Performance Task
A brother and sister live in the old family Write an Explanatory Essay Explain to
home, but strange events begin to push students that after they have finished reading
them out.
the selections, they will write an explanatory
essay about what these selections suggest about
how fear can overcome reason. To help them
prepare, encourage students to think about the
topic as they progress through the selections and
as they participate in the Whole-Class Learning
MEDIA: INFORMATIONAL GRAPHIC experience.
from How to Tell You’re Reading a 1
Gothic Novel—In Pictures
Adam Frost and Zhenia Vasiliev
If the book you’re reading has a mansion that

has been in the family for years and at least one
creepy character—congratulations! You’re likely
reading a Gothic novel.
PERFORMANCE TASK
WRITING FOCUS
Write an Explanatory Text
Both Whole-Class readings involve dark, ominous settings that are full of
mysterious, unexplained forces. The informational graphic describes the elements of
Gothic literature. After reading, you will write an explanatory essay about portrayals
of fear and reason in these selections.
Overview: Whole-Class Learning 11
Introduce Introduce
LIT17_SE10_U01_A_WCO.indd 11
Small-Group 3/23/16 10:43 AM
Independent
Learning Learning
• beware: do not Performance-Based
read this poem Assessment
Media: from • The Raven
The Dream Why Do Some Independent
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
Whole-Class Learning 11
planning Whole- Cl ass learning • THE FALL OF THE HOUSE OF USHER

AUDIO SUMMARIES of Summary
“The Fall of the House of
Usher” are available in both At the beginning of Edgar Allan Poe’s “The Fall of the House of
English and Spanish and can Usher,” the narrator responds to a mysterious summons and travels
be assigned to students in the to the ancestral home of Roderick Usher, a sick friend he’s hardly
Interactive Teacher’s Edition or seen since childhood. Known as the House of Usher, the vast,
Unit Resources. Assigning these ancient structure overlooks a dark lake that intensifies its gloom.
summaries prior to reading the “House of Usher” also refers to the old and distinguished family that
selection may help students will no longer exist if Roderick dies: his twin sister Madeline is close
build additional background
to death, and he is the end of the line. The narrator establishes a
knowledge and set a context for
routine of reading and music to distract Roderick from mortal dread.
their first read.
When Madeline dies, they deposit her body in a secure vault under
the house, but when the narrator tries to resume their routine, he
inadvertently unlocks from deep within the House of Usher a force
of evil that transcends our understanding of life and death.
Insight
Reading “The Fall of the House of Usher” will expose students to some
of the classic elements of the Gothic tale: dreary weather, a depressing
and oppressive setting, a mysterious illness, and a doppelganger. These
elements work together to create a nightmarish confusion.
ESSENTIAL QUESTION:
What is the allure Connection to Essential Question
of fear? “The Fall of the House of Usher” provides a Gothic perspective on
the Essential Question, “What is the allure of fear?” Edgar Allan
Poe illustrates that allure when the narrator is mysteriously drawn to
the House of Usher, answering the summons of his friend without
an explainable reason. His gruesome fascination with the evil he
senses around the house compels him to try to see it from a different
perspective but serves only to increase his fear. Despite that fear, he
enters the house and becomes entangled in Roderick’s nightmare. He
remains both repulsed by and attracted to Roderick’s macabre world
until, in the end, he is overwhelmed with fear and must leave.
whole-class learning
Performance Task Connection to Performance Tasks
How and when does
Whole-Class Learning Performance Task In this Performance Task,
imagination overcome
students will use narrative evidence from this module’s selections, other
reason?
relevant stories, or their own experience to explain how reason can
be overruled by imagination. In “The Fall of the House of Usher,” the
Unit Performance-Based
Assessment atmosphere of fear and paranoia controls the characters far more than
In what ways does cool, calm logic, even when their worst imaginings turn out to be real.
transformation play a Unit Performance-Based Assessment In this selection, the
role in stories meant to transformations occur dramatically at the end of the story. Madeline
scare us? transforms from a beloved sister into a bloodied ghost come to kill her
brother. The house itself transforms from a run-down but solid structure
into a pile of rubble. The ultimate transformation occurs when the line
of Ushers is wiped off the face of the earth.

DIGITAL
PERSPECTIVES Audio Video Document Annotation Online
Highlights Assessment
LESSON RESOURCES
Making Meaning Language Development

Lesson First Read Concept Vocabulary
Close Read Word Study
Analyze the Text Conventions
Analyze Craft and Structure
Instructional RL.9–10.10 By the end of grade 10, read and comprehend L.9–10.1 Demonstrate command of the conventions . . .
Standards literature . . .
L.9–10.1.b Use various types of phrases and clauses . . .
RL.9–10.5 Analyze how an author’s choices . . .
L.9–10.5 Demonstrate understanding of figurative
RL.9–10.1 Cite strong and thorough textual evidence . . . language . . .
STUDENT RESOURCES
Available online in the Selection Audio Evidence Log
Interactive Student
Edition or Unit Resources Word Network
TEACHER RESOURCES
Selection Resources
Audio Summaries: English and Spanish Concept Vocabulary and Word Study
Available online in the
Interactive Teacher’s Annotation Highlights Conventions: Sentence Structure
Edition or Unit Resources
Accessible Leveled Text
First Read Extension Questions

Analyze Craft and Structure: Literary Style
Reteach/Practice (RP)
Analyze Craft and Structure: Literary Style (RP) Word Study: Denotation and Connotation (RP)
Interactive Teacher’s Conventions: Sentence Structure (RP)
Edition or Unit Resources
Assessment
Selection Test: English
Available online in
Assessments Selection Test: Spanish
Extension Selection Test
My Resources
A Unit 1 Answer Key is available online and in the Interactive Teacher’s Edition.
Whole-Class Learning 12B

personalize for learning Whole- Cl ass learning • THE FALL OF THE HOUSE OF USHER
Reading Support
Text Complexity Rubric: The Fall of the House of Usher
Quantitative Measures
Lexile: 1410 Text Length: 7,162 words
Qualitative Measures
Knowledge Demands Life experience demands: Explores complex, sophisticated themes of mental illness and
1 2 3 4 5 death that are not clearly explained and may be difficult for many readers.
Structure First person narrator, told mainly in straightforward fashion.

1 2 3 4 5
Language Conventionality and Clarity Long and ornate sentence structure. Many above-level vocabulary words. Contains
1 2 3 4 5 figurative language and complex descriptions.
Levels of Meaning/Purpose Multiple levels of meaning and symbolism may be difficult to grasp. Concepts and meanings
1 2 3 4 5 are not clearly explained.
DECIDE AND PLAN
English Language Support Strategic Support Challenge

Provide English Learners with support for Provide students with strategic support Provide students who need to be challenged
language and levels of meaning as they read to ensure that they can successfully read with ideas for how they can go beyond a
the selection. the text. simple interpretation of the text.
Language Conventionality and Language Conventionality and Clarity If Text Analysis For students that grasp the
Clarity Students may get confused reading students have difficulty understanding the symbolic nature of the author’s work, have
passages with figurative language. Direct lengthy, descriptive sentences, suggest that them identify several symbolic elements,
students to notice the personification of the students first identify the main action in for example the fungus on the decaying
house with its “vacant eye-like windows.” the long sentence, then break the rest of mansion representing the sickness of the
Have students read the first paragraph to the sentence down into smaller parts for Usher family.
identify language the author uses to create interpretation. Written Response Ask students to reread
the dark, gloomy mood of the story. Levels of Meaning/Purpose If students the narrator’s description as he enters the
Levels of Meaning/Purpose To help have difficulty understanding the multiple mansion in paragraph 10. Have students
students to sort out the events and ideas levels of meaning, focus on reading specific write a description of a different setting, for
in the story, suggest that they reread and sections. For example, have students read example the entrance of their school, using
keep a log of the main events, stating Roderick’s poem “The Haunted Palace,” and the author’s style.
them in their own words. For example, discuss how the poem describes the history
(paragraph 1) The narrator arrives at his of the House of Usher.
friend’s house and feels a sense of gloom.
Teach
Read and Respond

Have students do their first read of the selection. Then, have them complete their close read. Finally,
work with them on the Making Meaning, Language Development, and Effective Expression activities.
12C UNIT 1 • INSIDE THE NIGHTMARE

Standards Support Through Teaching and Learning Cycle
IDENTIFY NEEDS
Analyze results of the Beginning-
of-Year Assessment, focusing on
the items relating to Unit 1. Also DECIDE AND PLAN
take into consideration student
• If students have performed poorly on items matching these standards, then provide selection
performance to this point and
scaffolds before assigning them the on-level lesson provided in the Student Edition.
your observations of where
particular students struggle. • If students have done well on the Beginning-of-Year Assessment, then challenge them to
keep progressing and learning by giving them opportunities to practice the skills in depth.
• Use the Selection Resources listed on the Planning pages for “The Fall of the House of
Usher“ to help students continually improve their ability to master the standards.
Instructional Standards: The Fall of the House of Usher

Catching Up This Year Looking Forward
Reading You may wish to administer the RL.1 Cite strong and Invite students to provide
ANALYZE AND REVISE Analyze Craft and Structure: thorough textual evidence additional examples or details
Literary Style (RP) worksheet to support analysis of what that create the gloomy, eerie
• Analyze student work for to help students understand the text says explicitly as well mood of the story.
how an author’s choices create as inferences drawn from
evidence of student learning. mystery and tension in gothic the text.
• Identify whether or not literature.
students have met the
expectations in the standards.
• Identify implications for future
instruction.
Language You may wish to administer the L.5.b Analyze nuances in the You may wish to challenge
Word Study: Denotation and meaning of words with similar students to include increasingly
Connotation (RP) worksheet denotations. nuanced vocabulary in their
to help students understand writing and speaking.
that words can be used to L.1.b Use various types of
phrases and clauses to convey You may wish to challenge
express degrees of intensity.
specific meanings and add students to take an excerpt
TEACH You may wish to administer variety and interest to writing from the selection and rewrite
the Conventions: Sentence or presentations. it using various types of
Implement the planned lesson, Structure (RP) worksheet to sentences.
and gather evidence of student help students understand the
learning. differences between simple,
compound, complex, and
compound-complex sentences.
Whole-Class Learning 12D

Teaching MAKING MEANING
Comparing Texts
In this lesson, you will read and compare two stories:
Jump Start THe FAll OF THe HOUse

“The Fall of the House of Usher,” by Edgar Allan Poe,
and “House Taken Over,” by Julio Cortázar. First, you
HOUse TAKeN OveR
will complete the first-read and close-read activities for
First Read Imagine that your house looked OF UsHeR
Poe’s story. Then, you will compare that story to the
like you and mirrored your state of mind. story Cortázar wrote a little more than a century later.
What would that house look like? Poe often
used setting to mirror his characters. Engage About the Author
students in a discussion about how an author
might use setting to illuminate a character’s
state of mind. This can set the context for
reading “The Fall of the House of Usher.” Concept Vocabulary
You will encounter the following words as you read “The Fall of the House of
Usher.” Before reading, note how familiar you are with each word. Rank the
The Fall of the House Edgar Allan Poe (1809 –1849) words in order from most familiar (1) to least familiar (6).
of Usher is regarded as the first
WORD YOUR RANKING
American literary critic and the
Who is Roderick Usher? Are the events in the inventor of the detective story. annihilate
story real? What is the connection between Usher Despite his literary success, antiquity
and the house he lives in? Modeling questions Poe’s life was almost as dark
fissure
such as these will help students connect to and dismal as the fiction he
wrote. Shortly after his birth, dissolution
“The Fall of the House of Usher” and to the
his father deserted the family, rending
Performance Task assignment. Selection audio and his mother died. He was
and print capability for the selection are available tumultuous
raised by a wealthy yet miserly
in the Interactive Teacher’s Edition. merchant and lived most of his
After completing the first read, come back to the concept vocabulary and
adult life in extreme poverty.
review your rankings. Mark changes to your original rankings as needed.
Concept Vocabulary Poe died at the age of 40. The
circumstances of his death
Support students as they rank the words. Ask if remain a mystery.
they’ve ever heard, read, or used them. Reassure First Read FICTION
them that the definitions for these words are Apply these strategies as you conduct your first read. You will have an
listed in the selection. opportunity to complete the close-read notes after your first read.
Tool Kit
First Read

First-Read Guide and
Model Annotation NOTICE whom the story is ANNOTATE by marking
Students should perform the steps of the first
about, what happens, where vocabulary and key passages
read independently. and when it happens, and you want to revisit.
NOTICE: Encourage students to notice the why those involved react as
they do.
language the author uses to describe the House
of Usher.
ANNOTATE: Remind students to highlight key CONNECT ideas within RESPOND by completing
passages, such as details that illuminate the  sTANDARDs the selection to what you the Comprehension Check.
characters’ feelings and their connections to Reading Literature already know and what you
one another. Students may want to revisit these By the end of grade 10, have already read.
read and comprehend literature,
passages in their close read. including stories, dramas, and poems,
at the high end of the grades 9–10
CONNECT: Encourage students to go beyond the text complexity band independently
text to think about other stories they have read or and proficiently.
movies they have seen that share similarities with 12 UNIT 1 • INSIDE THE NIGHTMARE
the story.
RESPOND: Students will answer questions to
demonstrate understanding.
Author's Perspective
LIT17_SE10_U01_A1C_WC.indd 12 Kelly Gallagher, M.Ed. 3/23/16 9:51 AM
Point out to students that while they will always
complete the Respond step at the end of the Teacher as the Best Reader in the think alouds to show students what
first read, the other steps will probably happen Class Rather than being the wizard effective readers do when they are
somewhat concurrently. You may wish to print behind the curtain, use modeling to do confused. The Annotate Question
copies of the First-Read Guide: Fiction for the work of reading in front of students. Conclude feature and the teacher edition
students to use. When students see that even good support highlight the importance of this
readers wrestle with difficult text, they work.
Remind students that during their first read, gain confidence. Use these methods:
they should not answer the close-read • Marking the text. If students say they
• Using think-alouds. Choose a passage don’t understand, have them use a
questions that appear in the selection. yellow highlighter (or sticky notes)
from this unit and model read alouds/

ANCHOR TEXT | SHORT STORY
The
Fall CLOSER LOOK
of the Analyze Mood

Students may have marked paragraph 1
House during their first read. Use this paragraph to

help students understand how the author
establishes the mood of a text. Encourage
of them to talk about the annotations that they
Usher
marked. You may want to model a close read
with the class based on the highlights shown
in the text.
ANNOTATE: Have students mark details
Edgar Allan Poe in the first three sentences of paragraph 1
that the author uses to describe the setting
and the narrator’s feelings about the setting,
or have students participate while you
highlight them.
QUESTION: Guide students to consider
what these details might tell them. Ask
what a reader can infer from the author’s
descriptions, and accept student responses.
Possible response: By using words such as
melancholy and insufferable gloom, the author is
creating a dark and gloomy mood.
CONCLUDE: Help students to formulate
conclusions about the importance of these
details in the text. Ask students why the
BACKGROUND author might have included these details.
In this story, Edgar Allan Poe shows his sympathy for the Romantic
Possible response: These details connect the
movement, which was at its height in Europe when he was writing, in

emotional state of the narrator directly to the
the early nineteenth century. The Romantics explored themes of love and
setting of the story. The author included these
death, often with an intense interest in human psychology. For Poe, the
details to illustrate the connection between the
darkest aspects of the mind and heart were most revealing of what it
means to be human.
characters in the story and the setting in which
the story takes place. Together, these details set
the mood of the text.
1
D uring the whole of a dull, dark, and soundless day in the

autumn of the year, when the clouds hung oppressively low
in the heavens, I had been passing alone, on horseback, through a
NOTES Remind students that mood, or atmosphere, is
the overall feeling that a literary work or passage
singularly dreary tract of country; and at length found myself, as evokes in the reader. Mood is created by the
writer’s choice of words and images, by the
the shades of the evening drew on, within view of the melancholy
setting, and by events in the work. The writer’s
House of Usher. I know not how it was—but, with the first glimpse
tone also affects the mood of a literary work.
of the building, a sense of insufferable gloom pervaded my spirit.
I say insufferable; for the feeling was unrelieved by any of that
half-pleasurable, because poetic, sentiment, with which the mind
usually receives even the sternest natural images of the desolate
The Fall of the House of Usher 13
LIT22_SE10_U01_A1C_WC.indd 13 20/03/21 4:37 PM
for parts they understand and a pink these additional sentence starters: I
highlighter those they don’t. noticed…; I wonder…; I think…; I’m
• Using sentence starters. To surprised that…; I realized…; I’m not
identify where students are having sure…
comprehension problems, have them • It is also important for students to
complete this sentence starter: “I know that applying tools like these
don’t understand…” Then, as a doesn’t always work: sometimes,
class, work to resolve the issues. Use readers have to live with ambiguity.
Teaching
or terrible. I looked upon the scene before me—upon the mere
NOTES house, and the simple landscape features of the domain—upon
Close Read the bleak walls—upon the vacant eyelike windows—upon a few
Remind students to focus on how descriptive CLOSE READ rank sedges1—and upon a few white trunks of decayed trees—with
language supports imagery and sets the mood ANNOTATE: Mark words and an utter depression of soul, which I can compare to no earthly
phrases in paragraph 1 that sensation more properly than to the after-dream of the reveler upon
for the text. You may wish to model the Close refer to the imagination or opium—the bitter lapse into everyday life—the hideous dropping
Read using the following think-aloud format. altered reality, and others
off of the veil. There was an iciness, a sinking, a sickening of the
Possible responses are included. You may that refer to falling or
heart—an unredeemed dreariness of thought which no goading
also want to print copies of the Close-Read sinking.
of the imagination could torture into aught2 of the sublime. What
Guide: Fiction for students to use. QUESTION: What is was it—I paused to think—what was it that so unnerved me in the
Annotate: As I read paragraph 1, I notice happening to the narrator contemplation of the House of Usher? It was a mystery all insoluble;
as he looks at the house?
and mark details that refer to the imagination nor could I grapple with the shadowy fancies that crowded upon
or to altered reality as well as to the sense of CONCLUDE: What is the me as I pondered. I was forced to fall back upon the unsatisfactory
falling or sinking. effect of these strong conclusion, that while, beyond doubt, there are combinations of very
descriptive details? simple natural objects which have the power of thus affecting us,
Question: I wonder why the narrator is still the analysis of this power lies among considerations beyond our
becoming unsettled. It seems like his state of depth. It was possible, I reflected, that a mere different arrangement
mind is being directly affected by what he is of the particulars of the scene, of the details of the picture, would
seeing. annihilate (uh NY uh layt) v. be sufficient to modify, or perhaps to annihilate its capacity for
destroy completely sorrowful impression; and, acting upon this idea, I reined my
Conclude: These details create a dark, horse to the precipitous brink of a black and lurid tarn3 that lay
gloomy mood and give me a sense of anxiety in unruffled luster by the dwelling, and gazed down—but with a
and impending doom. shudder even more thrilling than before—upon the remodeled and
inverted images of the gray sedge, and the ghastly tree-stems, and
the vacant and eyelike windows.
2 Nevertheless, in this mansion of gloom I now proposed to myself
a sojourn of some weeks. Its proprietor, Roderick Usher, had been
one of my boon companions in boyhood; but many years had elapsed
since our last meeting. A letter, however, had lately reached me in a
distant part of the country—a letter from him—which, in its wildly
importunate nature, had admitted of no other than a personal reply.
The MS4 gave evidence of nervous agitation. The writer spoke of acute
bodily illness—of a mental disorder which oppressed him—and of

an earnest desire to see me, as his best and indeed his only personal
friend, with a view of attempting, by the cheerfulness of my society,
some alleviation of his malady. It was the manner in which all this, and
much more, was said—it was the apparent heart that went with his
request—which allowed me no room for hesitation; and I accordingly
obeyed forthwith what I still considered a very singular summons.
3 Although, as boys, we had been even intimate associates, yet
I really knew little of my friend. His reserve had been always
excessive and habitual. I was aware, however, that his very ancient
family had been noted, time out of mind, for a peculiar sensibility
1. sedges n. grasslike plants.

2. aught (awt) n. anything.
Additional English Language Support 3. tarn n. small lake.
is available in the Interactive Teacher’s 4. MS abbr. manuscript; document written by hand.
Edition.
LIT17_SE10_U01_A1C_WC.indd 14 3/30/16 5:26 AM

of temperament, displaying itself, through long ages, in many
works of exalted art, and manifested, of late, in repeated deeds NOTES
of munificent yet unobtrusive charity, as well as in a passionate

devotion to the intricacies, perhaps even more than to the orthodox
and easily recognizable beauties, of musical science. I had learned,
too, the very remarkable fact, that the stem of the Usher race, all
time-honored as it was, had put forth, at no period, any enduring
branch: in other words, that the entire family lay in the direct line
of descent, and had always, with very trifling and very temporary
variation, so lain. It was this deficiency, I considered, while
running over in thought the perfect keeping of the character of the
premises with the accredited character of the people, and while
speculating upon the possible influence which the one, in the long
lapse of centuries, might have exercised upon the other—it was
this deficiency, perhaps of collateral issue,5 and the consequent
undeviating transmission, from sire to son, of the patrimony6 with
the name, which had, at length, so identified the two as to merge the
original title of the estate in the quaint and equivocal appellation
of the “House of Usher”—an appellation which seemed to include,
in the minds of the peasantry who used it, both the family and the
family mansion.
4 I have said that the sole effect of my somewhat childish
experiment—that of looking down within the tarn—had been to
deepen the first singular impression. There can be no doubt that
the consciousness of the rapid increase of my superstition—for
why should I not so term it?—served mainly to accelerate the
increase itself. Such, I have long known, is the paradoxical law of
all sentiments having terror as a basis. And it might have been for
this reason only, that, when I again uplifted my eyes to the house
itself, from its image in the pool, there grew in my mind a strange
fancy—a fancy so ridiculous, indeed, that I but mention it to show
the vivid force of the sensations which oppressed me. I had so
worked upon my imagination as really to believe that about the
whole mansion and domain there hung an atmosphere peculiar to
themselves and their immediate vicinity—an atmosphere which

had no affinity with the air of heaven, but which had reeked up
from the decayed trees, and the gray wall, and the silent tarn—a
pestilent and mystic vapor, dull, sluggish, faintly discernible,
and leaden-hued.
5 Shaking off from my spirit what must have been a dream,
I scanned more narrowly the real aspect of the building. Its
principal feature seemed to be that of an excessive antiquity. The antiquity (an TIHK wuh tee) n.
discoloration of ages had been great. Minute fungi overspread very great age
the whole exterior, hanging in a fine tangled web-work from the
eaves. Yet all this was apart from any extraordinary dilapidation.
No portion of the masonry had fallen; and there appeared to be
5. of collateral issue descended from the same ancestors but in a different line.
6. patrimony (PA truh moh nee) n. property inherited from one’s father.
LIT17_SE10_U01_A1C_WC.indd 15 Personalize for Learning 3/24/16 7:46 AM
Strategic Support
Unfamiliar Words For students to understand the text in
paragraph 3, they will need to know the meaning of the word
appellation. Have students look up the word in a dictionary. Lead
a class discussion about types of appellations, and how the word
is used today. What are some other words that are used today to
describe appellations?
Teaching
a wild inconsistency between its still perfect adaptation of parts,
NOTES and the crumbling condition of the individual stones. In this
there was much that reminded me of the specious totality of old
woodwork which has rotted for long years in some neglected vault,
with no disturbance from the breath of the external air. Beyond this
indication of extensive decay, however, the fabric gave little token
of instability. Perhaps the eye of a scrutinizing observer might
fissure (FIHSH uhr) n. long, have discovered a barely perceptible fissure, which, extending
narrow crack or opening from the roof of the building in front, made its way down the
wall in a zigzag direction, until it became lost in the sullen waters
of the tarn.
6 Noticing these things, I rode over a short causeway to the house. A
servant in waiting took my horse, and I entered the Gothic7 archway
of the hall. A valet, of stealthy step, thence conducted me, in silence,
through many dark and intricate passages in my progress to the
studio of his master. Much that I encountered on the way contributed,
I know not how, to heighten the vague sentiments of which I have
already spoken. While the objects around me—while the carvings of
the ceilings, the somber tapestries of the walls, the ebon blackness
of the floors, and the phantasmagoric8 armorial trophies which
rattled as I strode, were but matters to which, or to such as which,
I had been accustomed from my infancy—while I hesitated not to
acknowledge how familiar was all this—I still wondered to find how
unfamiliar were the fancies which ordinary images were stirring
up. On one of the staircases, I met the physician of the family. His
countenance, I thought, wore a mingled expression of low cunning
and perplexity. He accosted me with trepidation and passed on. The
valet now threw open a door and ushered me into the presence of
his master.
7 The room in which I found myself was very large and lofty. The
windows were long, narrow, and pointed, and at so vast a distance
from the black oaken floor as to be altogether inaccessible from
within. Feeble gleams of encrimsoned light made their way through
the trellised panes, and served to render sufficiently distinct the

more prominent objects around; the eye, however, struggled in vain
to reach the remoter angles of the chamber, or the recesses of the
vaulted and fretted9 ceiling. Dark draperies hung upon the walls.
The general furniture was profuse, comfortless, antique, and tattered.
Many books and musical instruments lay scattered about, but failed
to give any vitality to the scene. I felt that I breathed an atmosphere of
sorrow. An air of stern, deep, and irredeemable gloom hung over and
pervaded all.
8 Upon my entrance, Usher arose from a sofa on which he
had been lying at full length, and greeted me with a vivacious
warmth which had much in it, I at first thought, of an overdone
7. Gothic adj. high and ornate.

8. phantasmagoric (fan taz muh GAWR ihk) adj. fantastic or dreamlike.
9. fretted adj. ornamented with a pattern of small, straight, intersecting bars.
Personalize for Learning

English Language Support

Compound-Complex Sentences Review Have students break this sentence into parts by
paragraph 5 with students. Compound- following punctuation cues, such as commas and
complex sentences can be confusing to English dashes. Then, have students analyze each part for
learners. These types of sentences contain meaning, summarizing in their own words. Finally,
two independent clauses and one or more have students write one sentence, in their own
dependent clauses. Direct students to sentence 5 words, that captures the meaning of all of the
in paragraph 6: While the objects around me . . . parts of the sentence. all levels
which ordinary images were stirring up.

cordiality—of the constrained effort of the ennuyé10 man of the
world. A glance, however, at his countenance convinced me of NOTES
his perfect sincerity. We sat down; and for some moments, while
Close Read
he spoke not, I gazed upon him with a feeling half of pity, half CLOSE READ
As students look for descriptive details, remind
of awe. Surely, man had never before so terribly altered, in so ANNOTATE: Mark details in
paragraph 8 that relate to
them to find the words that tell what something
brief a period, as had Roderick Usher! It was with difficulty that I
the absence of color and looks like, feels like, or sounds like. You may wish
could bring myself to admit the identity of the wan being before
force. to model the Close Read using the following
me with the companion of my early boyhood. Yet the character
of his face had been at all times remarkable. A cadaverousness11 QUESTION: What portrait
think-aloud format. Possible responses are
of complexion; an eye large, liquid, and luminous beyond of Usher do these details included.
comparison; lips somewhat thin and very pallid, but of a create? Annotate: As I read paragraph 8, I notice and
surpassingly beautiful curve; a nose of a delicate Hebrew model, CONCLUDE: What does this mark details that tell me that to the narrator,
but with a breadth of nostril unusual in similar formations; a finely portrayal of Usher help the Usher’s appearance has changed dramatically
molded chin, speaking, in its want of prominence, of a want of reader understand? since the narrator last saw him, and not for
moral energy; hair of a more than weblike softness and tenuity— the better.
these features, with an inordinate expansion above the regions
of the temple, made up altogether a countenance not easily to be Question: I wonder if Usher’s changed
forgotten. And now in the mere exaggeration of the prevailing appearance could have been caused by illness or
character of these features, and of the expression they were wont stress. It seems as if he never leaves the house
to convey, lay so much of change that I doubted to whom I spoke. because he is described as being pale as a ghost.
The now ghastly pallor of the skin, and the now miraculous luster His wild hair makes me think that he’s not taking
of the eye, above all things startled and even awed me. The silken care of himself.
hair, too, had been suffered to grow all unheeded, and as, in its Conclude: I can infer from the reading that
wild gossamer12 texture, it floated rather than fell about the face, I
Usher has been completely cut off from society,
could not, even with effort, connect its Arabesque13 expression with
living alone in the house with his sister, and he
any idea of simple humanity.
has become more and more mentally unstable.
9 In the manner of my friend I was at once struck with an
incoherence—an inconsistency; and I soon found this to arise from
a series of feeble and futile struggles to overcome an habitual
trepidancy—an excessive nervous agitation. For something of this
nature I had indeed been prepared, no less by his letter, than by
reminiscences of certain boyish traits, and by conclusions deduced
from his peculiar physical conformation and temperament.
His action was alternately vivacious and sullen. His voice
varied rapidly from a tremulous indecision (when the animal

spirits seemed utterly in abeyance) to that species of energetic
concision—that abrupt, weighty, unhurried, and hollow-sounding
enunciation—that leaden, self-balanced, and perfectly modulated
guttural utterance, which may be observed in the lost drunkard,
or the irreclaimable eater of opium, during the periods of his most
intense excitement.
10 It was thus that he spoke of the object of my visit, of his earnest
desire to see me, and of the solace he expected me to afford him. He
entered, at some length, into what he conceived to be the nature of
his malady. It was, he said, a constitutional and a family evil, and one
10. ennuyé (on wee AY) adj. French for “bored.”
11. cadaverousness (kuh DAV uhr uhs nihs) n. quality of being like a dead body.
12. gossamer (GOS uh muhr) adj. very delicate and light, like a cobweb.
13. Arabesque (ar uh BEHSK) adj. of complex and elaborate design.
Teaching
for which he despaired to find a remedy—a mere nervous affection,14
NOTES he immediately added, which would undoubtedly soon pass off. It
displayed itself in a host of unnatural sensations. Some of these, as
he detailed them, interested and bewildered me; although, perhaps,
the terms and the general manner of the narration had their weight.
He suffered much from a morbid acuteness of the senses; the most
insipid food was alone endurable; he could wear only garments of
certain texture; the odors of all flowers were oppressive; his eyes
were tortured by even a faint light; and there were but peculiar
sounds, and these from stringed instruments, which did not inspire
him with horror.
11 To an anomalous species of terror I found him a bounden slave.
“I shall perish:” said he, “I must perish in this deplorable folly.
Thus, thus, and not otherwise, shall I be lost. I dread the events of
the future, not in themselves, but in their results. I shudder at the
thought of any, even the most trivial, incident, which may operate
upon this intolerable agitation of soul. I have, indeed, no abhorrence
of danger, except in its absolute effect—in terror. In this unnerved, in
this pitiable, condition I feel that the period will sooner or later arrive
when I must abandon life and reason together, in some struggle with
the grim phantasm, fear.”
14. affection n. affliction; illness.

How Language Works

Semicolons Point out the author’s use of conjunctions. Remind students that a For example:
semicolons in paragraph 10. Students will sentence must have a subject (noun or T he author described his interest in
often incorrectly combine an independent pronoun) and a verb, and it must express Usher. He was particularly interested in
and dependent clause with a semicolon. a complete thought. Usher’s mannerisms.
Explain to students that the author uses Have students write complete sentences The author described his interest in
semicolons to connect two complete based on “The Fall of the House of Usher; he was particularly interested in
sentences (independent clauses), but Usher” and combine those sentences with Usher’s mannerisms.
semicolons are also used like coordinating semicolons.

12 I learned, moreover, at intervals, and through broken and
equivocal hints, another singular feature of his mental condition. NOTES
He was enchained by certain superstitious impressions in regard

Close Read
to the dwelling which he tenanted, and whence, for many years,
As students annotate, remind them to mark the
he had never ventured forth—in regard to an influence whose
text “inside” the dashes or parentheses. You
supposititious15 force was conveyed in terms too shadowy here
may wish to model the Close Read using the
to be restated—an influence which some peculiarities in the mere
following think-aloud format. Possible responses
form and substance of his family mansion, had, by dint of long
sufferance, he said, obtained over his spirit—an effect which the
are included.
physique of the gray walls and turrets, and of the dim tarn into Annotate: As I read the first two sentences
which they all looked down, had at length, brought about upon the of paragraph 13, I look for the dashes
morale of his existence. and parentheses and highlight the text in
13 He admitted, however, although with hesitation, that much of between them.
the peculiar gloom which thus afflicted him could be traced to
a more natural and far more palpable origin—to the severe and
Question: The text between the em dashes and
long-continued illness—indeed to the evidently approaching parentheses is used to further explain details in
dissolution—of a tenderly beloved sister—his sole companion for dissolution (dihs uh LOO
the sentences. I wonder if they are also a stylistic
long years, his last and only relative on earth. “Her decease,” he shuhn) n. ending or downfall choice that the author chose to use to startle
said, with a bitterness which I can never forget, “would leave him the reader.
(him, the hopeless and the frail) the last of the ancient race of the Conclude: I can infer from the text that these
Ushers.” While he spoke, the lady Madeline (for so was she called) fragmented sentences suggest that Usher speaks
CLOSE READ
passed slowly through a remote portion of the apartment, and, and behaves in a rambling, disjointed way.
ANNOTATE: In the first two
without having noticed my presence, disappeared. I regarded her sentences of paragraph 13,
with an utter astonishment not unmingled with dread; and yet I mark the sections that
found it impossible to account for such feelings. A sensation of stupor are set off by dashes
oppressed me, as my eyes followed her retreating steps. When a or parentheses.
door, at length, closed upon her, my glance sought instinctively and
QUESTION: Why does the
eagerly the countenance of the brother; but he had buried his face in author structure these
his hands, and I could only perceive that a far more than ordinary sentences in this way?
wanness had overspread the emaciated fingers through which
CONCLUDE: What do these
trickled many passionate tears.
fragmented sentences
14 The disease of the lady Madeline had long baffled the skill of suggest about the way
her physicians. A settled apathy, a gradual wasting away of the Usher speaks and behaves?
person, and frequent although transient affections of a partially
cataleptical16 character were the unusual diagnosis. Hitherto she had

steadily borne up against the pressure of her malady, and had not
betaken herself finally to bed; but on the closing in of the evening of
my arrival at the house, she succumbed (as her brother told me at
night with inexpressible agitation) to the prostrating power of the
destroyer; and I learned that the glimpse I had obtained of her person
would thus probably be the last I should obtain—that the lady, at
least while living, would be seen by me no more.
15 For several days ensuing, her name was unmentioned by either
Usher or myself; and during this period I was busied in earnest
endeavors to alleviate the melancholy of my friend. We painted
15. supposititious (suh poz uh TIHSH uhs) adj. supposed.

16. cataleptical (kat uh LEHP tihk uhl) adj. in a state in which consciousness and feeling are
suddenly and temporarily lost and the muscles become rigid.
Teaching
and read together, or I listened, as if in a dream, to the wild
NOTES improvisations of his speaking guitar. And thus, as a closer and still
closer intimacy admitted me more unreservedly into the recesses of
his spirit, the more bitterly did I perceive the futility of all attempt
at cheering a mind from which darkness, as if an inherent positive
quality, poured forth upon all objects of the moral and physical
universe, in one unceasing radiation of gloom.
16 I shall ever bear about me a memory of the many solemn hours
I thus spent alone with the master of the House of Usher. Yet I
should fail in any attempt to convey an idea of the exact character
of the studies, or of the occupations, in which he involved me, or
led me the way. An excited and highly distempered ideality17 threw
a sulfureous luster over all. His long improvised dirges will ring
forever in my ears. Among other things, I hold painfully in mind a
certain singular perversion and amplification of the wild air of the
last waltz of von Weber.18 From the paintings over which his elaborate
fancy brooded, and which grew, touch by touch, into vaguenesses
at which I shuddered the more thrillingly, because I shuddered
knowing not why—from these paintings (vivid as their images now
are before me) I would in vain endeavor to educe more than a small
portion which should lie within the compass of merely written
words. By the utter simplicity, by the nakedness of his designs, he
arrested and overawed attention. If ever mortal painted an idea, that
mortal was Roderick Usher. For me at least, in the circumstances
then surrounding me, there arose out of the pure abstractions
which the hypochondriac contrived to throw upon his canvas, an
intensity of intolerable awe, no shadow of which felt I ever yet in the
contemplation of the certainly glowing yet too concrete reveries
of Fuseli.19
17 One of the phantasmagoric conceptions of my friend, partaking
not so rigidly of the spirit of abstraction, may be shadowed forth,
although feebly, in words. A small picture presented the interior
of an immensely long and rectangular vault or tunnel, with low
walls, smooth, white and without interruption or device. Certain

accessory points of the design served well to convey the idea that
this excavation lay at an exceeding depth below the surface of the
earth. No outlet was observed in any portion of its vast extent, and no
torch, or other artificial source of light was discernible; yet a flood of
intense rays rolled throughout, and bathed the whole in a ghastly and
inappropriate splendor.
18 I have just spoken of that morbid condition of the auditory
nerve which rendered all music intolerable to the sufferer, with the
exception of certain effects of stringed instruments. It was, perhaps,
17. ideality (y dee AL uh tee) n. something that is ideal or has no reality.

18. von Weber (fon VAY buhr) Carl Maria von Weber (1786–1826), German Romantic
composer whose music was highly emotional and dramatic.
19. Fuseli (FYOO zuh lee) Johann Heinrich Füssli (1741–1825), also known as Henry Fuseli,
Swiss-born painter who lived in England and was noted for his depictions of dreamlike
and sometimes nightmarish images.
LIT17_SE10_U01_A1C_WC.indd 20
Digital perspectives 3/24/16 7:49 AM
Illuminating the Text Help students understand the reference in

paragraph 16 to von Weber by playing an audio clip of one of Carl
Maria von Weber’s compositions. Talk to students about the mood
that the audio clip sets. Does the music support the imagery being
described in the text? Why, or why not?

the narrow limits to which he thus confined himself upon the guitar,
which gave birth, in great measure, to the fantastic character of his NOTES
performances. But the fervid facility of his impromptus could not

Closer look
be so accounted for. They must have been, and were, in the notes,
as well as in the words of his wild fantasias (for he not unfrequently Analyze Mood
accompanied himself with rhymed verbal improvisations), the Students may have marked paragraph 19
result of that intense mental collectedness and concentration to during their first read. Use this paragraph to
which I have previously alluded as observable only in particular help students understand the mood created
moments of the highest artificial excitement. The words of one through the verses of “The Haunted Palace.”
of these rhapsodies I have easily remembered. I was, perhaps, Encourage them to talk about the annotations
the more forcibly impressed with it, as he gave it because, in the that they marked. You may want to model
under or mystic current of its meaning, I fancied that I perceived, a close read with the class based on the
and for the first time, a full consciousness on the part of Usher
highlights shown in the text.
of the tottering of his lofty reason upon her throne. The verses,
which were entitled “The Haunted Palace,” ran very nearly, if not Annotate: Have students mark details
accurately, thus: in paragraph 19 that describe the Haunted
Palace.
I
19 In the greenest of our valleys, Question: Guide students to consider what
By good angels tenanted, these details might tell them. Ask what a
Once a fair and stately palace— reader can infer from what was marked, and
Radiant palace—reared its head. accept student responses.
In the monarch Thought’s dominion— Possible response: These details tell me
It stood there! that the Haunted Palace was once a beautiful
Never seraph20 spread a pinion21 building set in the greenest of valleys. I can infer
Over fabric half so fair. from these details that the author wanted to
draw a contrast between the current state of
II The Haunted Palace and how it once was.
20 Banners yellow, glorious, golden,
On its roof did float and flow Conclude: Help students to formulate
(This—all this—was in the olden conclusions about the importance of these
Time long ago) details in the text. Ask students why the
And every gentle air that dallied, author might have included these details.
In that sweet day, Possible response: I can infer that by stating
Along the ramparts plumed and pallid, its former elegance, Usher shows that he is
A winged odor went away. nostalgic for the previous glory of his family and
its ancestral home. At the same time, the words
III that Usher speaks could be used to describe
21 Wanderers in that happy valley what is happening to his mind and state of
Through two luminous windows saw being. Taken together, these details summarize
Spirits moving musically the somber, oppressive, foreboding mood of the
To a lute’s well-tuned law; story.
Round about a throne, where sitting
Discuss with students that mood, or
(Porphyrogene!)22
In state his glory well befitting,
atmosphere, is the overall feeling that a
The ruler of the realm was seen. literary work or passage evokes in the reader.
Mood is created by the writer’s choice of
words and images, by the setting, and by
20. seraph (SEHR uhf) n. angel.
21. pinion (PIHN yuhn) n. wing. events in the work.
22. Porphyrogene (pawr fehr oh JEEN) adj. born to royalty or “the purple.”
Teaching
IV
NOTES 22 And all with pearl and ruby glowing
Closer look Was the fair palace door,
Through which came flowing, flowing, flowing
Analyze Details And sparkling evermore.
Students may have marked paragraph 25 A troop of Echoes whose sweet duty
during their first read. Use this paragraph Was but to sing,
to help students understand the narrator’s In voices of surpassing beauty,
impressions of Usher. Encourage them to talk The wit and wisdom of their king.
about the annotations that they marked. You V
may want to model a close read with the class 23 But evil things, in robes of sorrow,
based on the highlights shown in the text. Assailed the monarch’s high estate;
Annotate: Have students mark examples of (Ah, let us mourn, for never morrow
Usher’s character according to the narrator in Shall dawn upon him, desolate!)
paragraph 25. And, round about his home, the glory
That blushed and bloomed
Question: Guide students to consider what Is but a dim-remembered story
these details might tell them. Ask what a Of the old time entombed.
reader can infer from what was marked, and
accept student responses. VI
24 And travelers now within that valley,
Possible response: The narrator is afraid that
Through the red-litten23 windows, see
Usher’s preoccupation with the destruction of
Vast forms that move fantastically
beauty and order has led him to explore some
very dangerous areas of secret knowledge that To a discordant melody;
are kept hidden beyond the range of normal While, like a rapid ghastly river,
human perception. Through the pale door,
A hideous throng rush out forever,
Conclude: Help students to formulate And laugh—but smile no more.
details in the text. Ask students why the 25 I well remember that suggestions arising from this ballad
author might have included these details. led us into a train of thought wherein there became manifest an
Possible response: These details are important opinion of Usher’s which I mention not so much on account of
because they indicate to the reader the grave its novelty (for other men have thought thus), as on account of
danger Usher had put himself in. They also show the pertinacity24 with which he maintained it. This opinion, in its

that the narrator has some knowledge of the general form, was that of the sentience of all vegetable things.
kind of research Usher has been involved in. But, in his disordered fancy the idea had assumed a more daring
Discuss with students that characterization character, and trespassed, under certain conditions, upon the
is the way a writer develops and reveals a kingdom of inorganization.25 I lack words to express the full extent,
fictional figure’s history, personality and inner or the earnest abandon of his persuasion. The belief, however, was
life. Using direct characterization, the writer connected (as I have previously hinted) with the gray stones of the
home of his forefathers. The conditions of the sentience had been
simply tells the reader what a figure is actually
here, he imagined, fulfilled in the method of collocation of these
like. With indirect characterization, the
stones—in the order of their arrangement, as well as in that of the
writer, or first person narrator, reports the
many fungi which overspread them, and of the decayed trees which
facts and leaves the reader to interpret and
stood around—above all, in the long undisturbed endurance of
judge a figure’s development, or in this case
his disintegration. 23. litten adj. lighted.
24. pertinacity (purt uhn AS uh tee) n. determined stubbornness.
25. inorganization n. inanimate objects.

this arrangement, and in its reduplication in the still waters of the
tarn. Its evidence—the evidence of the sentience—was to be seen, NOTES
he said (and I here started as he spoke), in the gradual yet certain

condensation of an atmosphere of their own about the waters and
the walls. The result was discoverable, he added, in that silent, yet
importunate and terrible influence which for centuries had molded
the destinies of his family, and which made him what I now saw
him—what he was. Such opinions need no comment, and I will
make none.
26 Our books—the books which, for years, had formed no small
portion of the mental existence of the invalid—were, as might
be supposed, in strict keeping with this character of phantasm.
We pored together over such works as the Ververt et Chartreuse
of Gresset; the Belphegor of Machiavelli; the Heaven and Hell of
Swedenborg; the Subterranean Voyage of Nicholas Klimm by Holberg;
the Chiromancy of Robert Flud, of Jean D’Indaginé, and of De la
Chambre; the Journey into the Blue Distance of Tieck; and the City of
the Sun of Campanella.26 One favorite volume was a small octavo
edition of the Directorium Inquisitorium, by the Dominican Eymeric
de Gironne; and there were passages in Pomponius Mela, about
the old African Satyrs and Œgipans, over which Usher would sit
dreaming for hours. His chief delight, however, was found in the
perusal of an exceedingly rare and curious book in quarto Gothic—
the manual of a forgotten church—the Vigiliae Mortuorum secundum
Chorum Ecclesiae Maguntinae.
27 I could not help thinking of the wild ritual of this work, and of
its probable influence upon the hypochondriac, when, one evening,
having informed me abruptly that the lady Madeline was no more,
he stated his intention of preserving her corpse for a fortnight
(previously to its final interment), in one of the numerous vaults
within the main walls of the building. The worldly reason, however,
assigned for this singular proceeding, was one which I did not feel
at liberty to dispute. The brother had been led to his resolution (so
he told me) by consideration of the unusual character of the malady
of the deceased, of certain obtrusive and eager inquiries on the part

of her medical men, and of the remote and exposed situation of the
burial ground of the family. I will not deny that when I called to mind
the sinister countenance of the person whom I met upon the staircase,
on the day of my arrival at the house, I had no desire to oppose
what I regarded as at best but a harmless, and by no means an
unnatural precaution.
28 At the request of Usher, I personally aided him in the
arrangements for the temporary entombment. The body having
been encoffined, we two alone bore it to its rest. The vault in which
we placed it (and which had been so long unopened that our
torches, half smothered in its oppressive atmosphere, gave us little
26. Ververt et Chartreuse of Gresset . . . City of the Sun of Campanella All the books
listed deal with magic or mysticism.
LIT17_SE10_U01_A1C_WC.indd 23 How Language Works 3/23/16 9:49 AM
Pronoun-Antecedent Agreement Review the called an antecedent. A pronoun must agree with
first two sentences in paragraph 28, directing its antecedent in number (singular or plural) and
students’ attention to the use of pronouns I, him, gender (male or female).
and we. Explain to students that a pronoun usually George took his mother out to lunch.
refers to someone or something that has already
been mentioned in a sentence (or in a previous The dogs went on their evening walk.
sentence sufficiently recent to be referenced). The Have students write sentences with pronouns.
use of pronouns prevents repetition—the same Then, have them draw an arrow from each
nouns do not have to be used over and over again. pronoun to its antecedent. Do the pronouns agree
When a pronoun replaces a noun, that noun is with their antecedents?
Teaching
opportunity for investigation) was small, damp, and entirely without
NOTES means of admission for light; lying, at great depth, immediately
Close Read beneath that portion of the building in which was my own sleeping
apartment. It had been used, apparently, in remote feudal times, for
Remind students to pay attention to the use
the worst purposes of a donjon-keep,27 and, in later days, as a place of
of words that describe the characters’ physical
deposit for powder, or some other highly combustible substance, as a
actions and forms of behavior. You may wish to
portion of its floor, and the whole interior of a long archway through
model the Close Read using the following think- which we reached it, were carefully sheathed with copper. The door,
aloud format. Possible responses are included. of massive iron, had been, also, similarly protected. Its immense
ANNOTATE: As I read paragraph 30, I notice and weight caused an unusually sharp, grating sound, as it moved upon
mark details that support the description of the its hinges.
characters’ current physical actions and behaviors. 29 Having deposited our mournful burden upon trestles within
this region of horror, we partially turned aside the yet unscrewed
QUESTION: I wonder if these physical details lid of the coffin, and looked upon the face of the tenant. A striking
provide real evidence of Usher’s descent into similitude between the brother and sister now first arrested my
insanity and despair. attention; and Usher, divining, perhaps, my thoughts, murmured
CONCLUDE: I can infer that these out some few words from which I learned that the deceased
descriptive details set a scary and unsettling and himself had been twins, and that sympathies of a scarcely
suspenseful tone. intelligible nature had always existed between them. Our glances,
however, rested not long upon the dead—for we could not regard
her unawed. The disease which had thus entombed the lady in the
maturity of youth, had left, as usual in all maladies of a strictly
cataleptical character, the mockery of a faint blush upon the bosom
and the face, and that suspiciously lingering smile upon the lip
which is so terrible in death. We replaced and screwed down the
lid, and, having secured the door of iron, made our way, with toil,
into the scarcely less gloomy apartments of the upper portion of
the house.
CLOSE READ 30 And now, some days of bitter grief having elapsed, an
ANNOTATE: In paragraph 30, observable change came over the features of the mental disorder
mark words that relate of my friend. His ordinary manner had vanished. His ordinary
to physical actions and occupations were neglected or forgotten. He roamed from
behavior.
chamber to chamber with hurried, unequal, and object-less step.
QUESTION: What do these The pallor of his countenance had assumed, if possible, a more

physical details show about ghastly hue—but the luminousness of his eye had utterly gone
Usher’s mental state and out. The once occasional huskiness of his tone was heard no
emotions?
more; and a tremulous quaver, as if of extreme terror, habitually
CONCLUDE: What is the characterized his utterance. There were times, indeed, when I
effect of these descriptive thought his unceasingly agitated mind was laboring with some
details? oppressive secret, to divulge which he struggled for the necessary
courage. At times, again, I was obliged to resolve all into the mere
inexplicable vagaries28 of madness, for I beheld him gazing upon
vacancy for long hours, in an attitude of the profoundest attention,
as if listening to some imaginary sound. It was no wonder that his
condition terrified—that it infected me. I felt creeping upon me, by
27. donjon-keep (DUHN juhn keep) n. inner storage room of a castle; dungeon.
28. vagaries (VAY guhr eez) n. odd, unexpected actions or notions.

slow yet certain degrees, the wild influences of his own fantastic
yet impressive superstitions. NOTES
31 It was, especially, upon retiring to bed late in the night of the

seventh or eighth day after the placing of the lady Madeline within
the donjon, that I experienced the full power of such feelings. Sleep
came not near my couch—while the hours waned and waned away.
I struggled to reason off the nervousness which had dominion
over me. I endeavored to believe that much, if not all of what I felt,
was due to the bewildering influence of the gloomy furniture of
the room—of the dark and tattered draperies, which, tortured into
motion by the breath of a rising tempest, swayed fitfully to and fro
upon the walls, and rustled uneasily about the decorations of the
bed. But my efforts were fruitless. An irrepressible tremor gradually
pervaded my frame; and, at length, there sat upon my very heart an
incubus29 of utterly causeless alarm. Shaking this off with a gasp and
a struggle, I uplifted myself upon the pillows, and, peering earnestly
29. incubus (IHN kyuh buhs) n. something nightmarishly burdensome.


Figurative Language Have students language in which a nonhuman object is Ask students why they think the author
read this sentence in paragraph 31: I given human characteristics. The author chose to use personification to describe the
endeavored to believe that much . . . and is giving the draperies human qualities draperies. (Possible response: The use
rustled uneasily about the decorations (tortured into motion by the breath of of personification creates a mental image
of the bed. Explain to students that a rising tempest). Make sure students of anguish and torture that the narrator
this sentence contains an example of understand that draperies cannot really be himself feels.) all levels
personification, a type of figurative tortured, let alone tortured into motion.
Teaching
within the intense darkness of the chamber, hearkened—I know not
NOTES why, except that an instinctive spirit prompted me—to certain low
and indefinite sounds which came, through the pauses of the storm,
at long intervals, I knew not whence. Overpowered by an intense
sentiment of horror, unaccountable yet unendurable, I threw on my
clothes with haste (for I felt that I should sleep no more during the
night), and endeavored to arouse myself from the pitiable condition
into which I had fallen, by pacing rapidly to and fro through
the apartment.
32 I had taken but few turns in this manner, when a light step on an
adjoining staircase arrested my attention. I presently recognized it as
that of Usher. In an instant afterward he rapped, with a gentle touch,
at my door, and entered, bearing a lamp. His countenance was, as
usual, cadaverously wan—but, moreover, there was a species of mad
hilarity in his eyes—an evidently restrained hysteria in his whole
demeanor. His air appalled me—but anything was preferable to

WriteNow Express and Reflect

Descriptive Paragraph In paragraph 31, the locations, such as neglected attics, dark caves,
author describes his entry into the chamber, and secret gardens with black roses and
creating a vivid image of a human encounter overgrown mazes. Have students discuss the
with fear and darkness. Have students write a importance of vividly descriptive language in
paragraph in which they use imagery of their establishing tone and a sense of place.
own to describe a scary or eerie setting. Prompt
students by suggesting potentially scary

the solitude which I had so long endured, and I even welcomed his
presence as a relief. NOTES
33 “And you have not seen it?” he said abruptly, after having stared
Close Read
about him for some moments in silence—“you have not then seen
Direct students to look for words and phrases
it?—but, stay! you shall.” Thus speaking, and having carefully
in paragraph 34 that suggest that extreme and
shaded his lamp, he hurried to one of the casements, and threw it
unnatural forces are turning nature into an agent
freely open to the storm.
of chaos and destruction. You may wish to model
34 The impetuous fury of the entering gust nearly lifted us from our CLOSE READ
feet. It was, indeed, a tempestuous yet sternly beautiful night, and ANNOTATE: In paragraph 34, the Close Read using the following think-aloud
one wildly singular in its terror and its beauty. A whirlwind had mark words and phrases that format. Possible responses are included.
suggest extremes, whether
apparently collected its force in our vicinity; for there were frequent Annotate: As I read paragraph 34, I notice and
of emotion, action, or size.
and violent alterations in the direction of the wind; and the exceeding mark details that support the author’s suggestion
density of the clouds (which hung so low as to press upon the turrets QUESTION: What is that some vast hostile power has overwhelmed
of the house) did not prevent our perceiving the lifelike velocity with noteworthy about
the natural world.
which they flew careering from all points against each other, without this storm?
passing away into the distance. I say that even their exceeding Question: The storm seems supernatural and is
CONCLUDE: What greater
density did not prevent our perceiving this—yet we had no glimpse meaning do these details heavy with terror and foreboding.
of the moon or stars, nor was there any flashing forth of the lightning. give to the storm? Conclude: These details support the conclusion
But the under surfaces of the huge masses of agitated vapor, as well that this storm is the creation of powers
as all terrestrial objects immediately around us, were glowing in the unknown in nature.
unnatural light of a faintly luminous and distinctly visible gaseous
exhalation which hung about and enshrouded the mansion.
35 “You must not—you shall not behold this!” said I, shudderingly,
to Usher, as I led him, with a gentle violence, from the window to a
seat. “These appearances, which bewilder you, are merely electrical
phenomena not uncommon—or it may be that they have their ghastly
origin in the rank miasma30 of the tarn. Let us close this casement:—
the air is chilling and dangerous to your frame. Here is one of your
favorite romances. I will read, and you shall listen:—and so we will
pass away this terrible night together.”
36 The antique volume which I had taken up was the Mad Trist of
Sir Launcelot Canning;31 but I had called it a favorite of Usher’s more
in sad jest than in earnest; for, in truth, there is little in its uncouth
and unimaginative prolixity which could have had interest for the
lofty and spiritual ideality of my friend. It was, however, the only

book immediately at hand; and I indulged a vague hope that the
excitement which now agitated the hypochondriac, might find relief
(for the history of mental disorder is full of similar anomalies) even
in the extremeness of the folly which I should read. Could I have
judged, indeed, by the wild overstrained air of vivacity with which
he harkened, or apparently harkened, to the words of the tale, I might
well have congratulated myself upon the success of my design.
37 I had arrived at that well-known portion of the story where
Ethelred, the hero of the Trist, having sought in vain for peaceable
admission into the dwelling of the hermit, proceeds to make good
30. miasma (my AZ muh) n. unwholesome atmosphere.

31. Mad Trist of Sir Launcelot Canning fictional book and author.
Teaching
an entrance by force. Here, it will be remembered, the words of the
NOTES narrative run thus:
38 “And Ethelred, who was by nature of a doughty32 heart, and
who was now mighty withal, on account of the powerfulness of
the wine which he had drunken, waited no longer to hold parley33
with the hermit, who, in sooth, was of an obstinate and maliceful
turn, but, feeling the rain upon his shoulders, and fearing the rising
of the tempest, uplifted his mace outright, and, with blows, made
quickly room in the plankings of the door for his gauntleted hand;
and now pulling therewith sturdily, he so cracked, and ripped, and
tore all asunder, that the noise of the dry and hollow-sounding wood
alarumed and reverberated throughout the forest.”
39 At the termination of this sentence I started and, for a moment,
paused; for it appeared to me (although I at once concluded that my
excited fancy had deceived me)—it appeared to me that, from some
very remote portion of the mansion, there came, indistinctly, to my
ears, what might have been, in its exact similarity of character, the
echo (but a stifled and dull one certainly) of the very cracking and
ripping sound which Sir Launcelot had so particularly described. It
was, beyond doubt, the coincidence alone which had arrested my
attention; for, amid the rattling of the sashes of the casements, and the
ordinary commingled noises of the still increasing storm, the sound,
itself, had nothing, surely, which should have interested or disturbed
me. I continued the story:
40 “But the good champion Ethelred, now entering within the door,
was sore enraged and amazed to perceive no signal of the maliceful
hermit; but, in the stead thereof, a dragon of a scaly and prodigious
demeanor, and of a fiery tongue, which sate in guard before a palace
of gold, with a floor of silver; and upon the wall there hung a shield
of shining brass with this legend enwritten—
Who entereth herein, a conqueror hath bin;
Who slayeth the dragon, the shield he shall win.
41 And Ethelred uplifted his mace, and struck upon the head of the
dragon, which fell before him, and gave up his pesty breath, with a

shriek so horrid and harsh, and withal so piercing, that Ethelred had
fain to close his ears with his hands against the dreadful noise of it,
the like whereof was never before heard.”
42 Here again I paused abruptly, and now with a feeling of wild
amazement—for there could be no doubt whatever that, in this
instance, I did actually hear (although from what direction it
proceeded I found it impossible to say) a low and apparently distant,
but harsh, protracted, and most unusual screaming or grating
sound—the exact counterpart of what my fancy had already conjured
up for the dragon’s unnatural shriek as described by the romancer.
43 Oppressed, as I certainly was, upon the occurrence of this second
and most extraordinary coincidence, by a thousand conflicting
32. doughty (DOWT ee) adj. brave.
33. parley (pahr LEE) n. conference; discussion.
CROSS CURRICULAR-CONNECTION
Art Have students interpret the text through House of Usher or portraits of the characters
artistic expression. Students may go online as they appear in the story and in their
to find images or they may create drawings, imaginations. As students conduct a gallery walk
assemble collages, or make up graphic designs of the artwork, have them discuss the ways in
that capture the gloomy tone that the author which each piece strives to recreate the mood of
is trying to convey in “The Fall of the House of the story. (Research to Explore)
Usher.” Students may draw their vision of the

sensations, in which wonder and extreme terror were predominant,
I still retained sufficient presence of mind to avoid exciting, by any NOTES
observation, the sensitive nervousness of my companion. I was by no

Close Read
means certain that he had noticed the sounds in question; although,
Point out words that are used repeatedly in the
assuredly, a strange alteration had, during the last few minutes,
text, and discuss the author’s reasons for these
taken place in his demeanor. From a position fronting my own, he
repetitions.
had gradually brought round his chair, so as to sit with his face to
You may wish to model the Close Read using the
the door of the chamber; and thus I could but partially perceive
his features, although I saw that his lips trembled as if he were
following think-aloud format. Possible responses
murmuring inaudibly. His head had dropped upon his breast—yet are included. You may also want to print copies
I knew that he was not asleep, from the wide and rigid opening of of the Close-Read Guide for students to use.
the eye as I caught a glance of it in profile. The motion of his body, ANNOTATE: As I read paragraph 46, I notice and
too, was at variance with this idea—for he rocked from side to side mark details of words that the author chooses to
with a gentle yet constant and uniform sway. Having rapidly taken repeat.
notice of all this, I resumed the narrative of Sir Launcelot, which
thus proceeded: QUESTION: I wonder if these repetitions are
44 “And now, the champion, having escaped from the terrible fury intended to echo or reflect the persistent
of the dragon, bethinking himself of the brazen shield, and of the morbidity of Usher’s terrified utterances.
breaking up of the enchantment which was upon it, removed the CONCLUDE: I can infer that the repetition
carcass from out of the way before him, and approached valorously
of these words compounds the reader’s
over the silver pavement of the castle to where the shield was upon
understanding of the character’s delirious state.
the wall; which in sooth tarried not for his full coming, but fell down
at his feet upon the silver floor, with a mighty great and terrible
ringing sound.”
45 No sooner had these syllables passed my lips, than—as if a shield
of brass had indeed, at the moment, fallen heavily upon a floor of
silver—I became aware of a distinct, hollow, metallic, and clangorous,
yet apparently muffled, reverberation. Completely unnerved, I
leaped to my feet; but the measured rocking movement of Usher
was undisturbed. I rushed to the chair in which he sat. His eyes were
bent fixedly before him, and throughout his whole countenance there
reigned a stony rigidity. But, as I placed my hand upon his shoulder,
there came a strong shudder over his whole person; a sickly smile
CLOSE READ
quivered about his lips; and I saw that he spoke in a low, hurried, and
ANNOTATE: Mark examples
gibbering murmur, as if unconscious of my presence. Bending closely of repeated words in

over him I at length drank in the hideous import of his words. paragraph 46.
46 ”Not hear it?—yes, I hear it, and have heard it. Long—long—
QUESTION: Why do
long—many minutes, many hours, many days, have I heard it—
these words merit being
yet I dared not—oh, pity me, miserable wretch that I am!—I dared
repeated?
not—I dared not speak! We have put her living in the tomb! Said I
not that my senses were acute? I now tell you that I heard her first CONCLUDE: What is the
feeble movements in the hollow coffin. I heard them—many, many effect of these repeated
words?
days ago—yet I dared not—I dared not speak! and now—tonight—
Ethelred—ha! ha!—the breaking of the hermit’s door, and the death
cry of the dragon, and the clangor of the shield—say, rather, the
rending of her coffin, and the grating of the iron hinges of her prison, rending (REHN dihng) n.
and her struggles within the coppered archway of the vault! Oh! violent or forceful pulling
apart of something
wither shall I fly? Will she not be here anon? Is she not hurrying to
LIT17_SE10_U01_A1C_WC.indd 29 VOCABULARY DEVELOPMENT 3/30/16 5:25 AM
Graphic Organizer Guide students to complete

a 4-square graphic organizer for the word Wanting to cause Cruel; hateful;
maliceful, which appears several times in the harm to another spiteful; vicious
story. Moving clockwise from the upper left-
hand corner, students should 1) provide a general Maliceful
meaning for the word; 2) list synonyms for the
word; 3) list antonyms for the word; and, 4) use He was maliceful, Loving; benevolent;
the word in a sentence. Possible responses are and was sentenced caring
provided in the chart. to time in jail.
Teaching
upbraid me for my haste? Have I not heard her footstep on the stair?
NOTES Do I not distinguish that heavy and horrible beating of her heart?
Madman!”—here he sprang furiously to his feet, and shrieked out
his syllables, as if in the effort he were giving up his soul—“Madman!
I tell you that she now stands without the door!”
47 As if in the superhuman energy of his utterance there had been
found the potency of a spell, the huge antique panels to which
the speaker pointed, threw slowly back, upon the instant, their
ponderous and ebony jaws. It was the work of the rushing gust—but
then without those doors there did stand the lofty and enshrouded
figure of the lady Madeline of Usher. There was blood upon her white
robes, and the evidence of some bitter struggle upon every portion
of her emaciated frame. For a moment she remained trembling and
reeling to and fro upon the threshold—then, with a low moaning cry,
fell heavily inward upon the person of her brother, and in her violent
and now final death agonies, bore him to the floor a corpse, and a
victim to the terrors he had anticipated.
48 From that chamber, and from that mansion, I fled aghast. The
storm was still abroad in all its wrath as I found myself crossing the
old causeway. Suddenly there shot along the path a wild light, and
I turned to see whence a gleam so unusual could have issued; for
the vast house and its shadows were alone behind me. The radiance
was that of the full, setting, and bloodred moon, which now shone
vividly through that once barely discernible fissure, of which I have
before spoken as extending from the roof of the building, in a zigzag
direction, to the base. While I gazed, this fissure rapidly widened—
there came a fierce breath of the whirlwind—the entire orb of the
satellite burst at once upon my sight—my brain reeled as I saw
tumultuous (too MUHL choo the mighty walls rushing asunder—there was a long tumultuous
uhs) adj. loud, excited, and shouting sound like the voice of a thousand waters—and the deep
emotional
and dank tarn at my feet closed sullenly and silently over the
fragments of the “House of Usher.” ❧

Challenge
Conclusions Ask students about the impact of paragraph 48, the
last paragraph of the narrative. Point out that the last paragraph of
a narrative often includes a resolution, consolation, or other form of
closure. Guide students through a rereading of the last paragraph
of the selection, and ask if they judge this paragraph effective or
successful as a conclusion to this mysterious story. Have students
write alternative final paragraphs, and ask them to give reasons for
their new conclusions to the story.

Comprehension Check Comprehension Check
Complete the following items after you finish your first read.
Possible Responses:
1. Why does the narrator go to visit Usher? 1. The narrator has come to help Usher, a childhood
friend, through an illness.
2. The narrator observes a long crack running down
the front of the house.
3. Usher shares paintings he has created, including
one that shows a deep, subterranean vault. He
2. Early in the story, what flaw in the front of the house does the narrator observe?
also plays music and improvises songs, one of
which—”The Haunted Palace”—the narrator
reproduces entirely.
4. The narrator learns that Usher and Madeline were
twins.
3. What forms of artistic expression does Usher share with the narrator? 5. The narrator confesses that they must have put
Madeline into the vault alive.
6. Responses will vary. Students should create
storyboards that show the main events of the
central story.
4. What does the narrator learn about the relationship between Usher and Madeline after
her death? Research
Research to Clarify If students struggle to
identify a detail to research, have them look back
over their first-read annotations for unknown
words they identified.
5. What confession does Usher make to the narrator during the final storm? Research to Explore If students struggle to
come up with a research question, have them
consider the following topics: Carl Maria von
Weber, “The Haunted Palace,” or a title of one of
the books the narrator and Usher read together.
6. Notebook Draw a storyboard that summarizes the events of “The Fall of the
House of Usher” to confirm your understanding of the story.
RESEARCH
Research to Clarify Choose at least one unfamiliar detail from the text. Briefly research
that detail. In what way does the information you learned shed light on an aspect of
the story?
Research to Explore Choose a detail or reference in the text that interests you, and
formulate a research question.
Close Read the Text

Jump Start This model, from paragraph 11 of the text, shows two sample annotations,
along with questions and conclusions. Close read the passage, and find
another detail to annotate. Then, write a question and your conclusion.
Close Read Have students close read the
THE FALL OF THE HOUSE
title, “The Fall of the House of Usher.” Explain OF USHER
that Poe writes the narrative in a way that
seems ghostly, but that most of the creepy ANNOTATE: Poe begins this passage with
forces have to do with what is inside the two long, complex sentences.
characters’ minds. Ask students if they think the QUESTION: Why does Poe pack so many
ideas into these sentences?
author wants the reader to question what is
ANNOTATE:
real and what is not. CONCLUDE: These complex sentences
Poe ends two
suggest that Usher’s thoughts are racing, that
sentences with the
he is being swept away with fear.
synonyms terror
and FEAR.
Close Read the Text I shudder at the thought of any, even the QUESTION:
Walk students through the annotation model on most trivial, incident, which may operate Why does Poe
emphasize these
the student page. Encourage them to complete upon this intolerable agitation of soul. I
words—one with
items 2 and 3 on their own. Review and discuss have, indeed, no abhorrence of danger, a dash, one with
the sections students have marked. If needed, except in its absolute effect—in terror. In capitals?
continue to model close reading by using the this unnerved, in this pitiable condition, CONCLUDE: Poe is
Annotation Highlights in the Interactive Teacher’s I feel that the period will sooner or later conveying the idea
arrive when I must abandon life and that Usher is not
Edition. afraid of danger;
reason together, in some struggle with the
rather, he is afraid
Analyze the Text Tool Kit grim phantasm, FEAR. of fear itself.
Close-Read Guide and
Possible responses: Model Annotation
1. (a) “dark and intricate passages”;
“phantasmagoric armorial trophies”; “feeble
beams of encrimsoned light”; “an air of stern, CITE TEXTUAL EVIDENCE
deep, and irredeemable gloom.” (paragraph 6) Analyze the Text to support your answers.
DOK 2 (b) Like Usher’s physical appearance, the Notebook Respond to these questions.
house is in a state of decay; like his mind, the
1. (a) Interpret Which descriptive details of the interior of the house suggest
house is gloomy and full of sorrow. DOK 3

that the narrator has entered a realm that is very different from the ordinary
2. (a) Usher’s painting of a deep, subterranean vault world? (b) Make Inferences In what ways is the appearance of the interior
reflects the donjon in which he and the narrator of the house related to Usher’s appearance and the condition of his mind?
place Madeline’s body. The music he plays reflects
2. (a) Connect How do the works of art described in the story reflect the
the intensely gloomy atmosphere. The words to
story’s events? (b) Interpret What idea about the relationship between
“The Haunted Palace” reflect a vast home that
art and life is supported by these elements of the story? Explain.
is haunted by grim and evil beings. The events in
Mad Trist, which the narrator reads aloud during  STANDARDS 3. (a) Analyze In what ways is the narrator affected by Usher’s condition?
Reading Literature (b) Evaluate Do you think the narrator is a reliable witness to the events
the storm, echo the actions and tension of the • Cite strong and thorough textual
story’s conclusion. DOK 2 (b) Poe is suggesting he describes? Explain.
evidence to support analysis of what
that art can imitate or even influence life. DOK 3 the text says explicitly as well as 4. Make a Judgment Is Usher responsible for the death of his sister and the
inferences drawn from the text.
collapse of his home? Explain.
3. Responses will vary. Some students may say the • Analyze how an author’s choices
narrator is deeply bothered by Usher’s condition. concerning how to structure a 5. Essential Question: What is the allure of fear? What have you
text, order events within it, and
DOK 4 learned from this story about portrayals of fear in literature?
manipulate time create such effects
4. Responses will vary. DOK 4 as mystery, tension, or surprise.
5. Responses will vary. DOK 3

Formative Assessment LIT17_SE10_U01_A1C_WC_app.indd 32 Personalize for Learning 3/23/16 9:52 AM
Analyze the Text Strategic Support

• If students fail to cite evidence, then remind Style For students to understand this part of the selection, they will
them to support their ideas with specific need to understand the use of em dashes within a text. The colon and
information. capitalized word FEAR must also be emphasized to help students gain
understanding as to the author’s style and how it relates to the tone of
• If students struggle to understand the
the narrative. Have students take turns reading the paragraph in the
relationship between Usher and the annotation model aloud, emphasizing the punctuation as they read.
narrator, then discuss further the concepts How does reading the paragraph aloud bring awareness to the style
of interpretations and inferences within a being used? How does this enhance the tone of the narrative?
narrative.

Analyze Craft and Structure Analyze Craft and Structure

Literary Style “The Fall of the House of Usher” is an example of Gothic
literature, a literary genre that began in England in the late 1700s.
Literary Style Discuss with students why
The term Gothic was originally used as an architectural term. It refers to Gothic literature may have been appealing
medieval buildings, such as castles and cathedrals, that were seen as dark to authors and readers during the late 1700s.
and gloomy by later generations. When writers began to set their stories in Have them think about the stylistic elements
those buildings of the past, the term for the architecture was applied to the of Gothic literature, and how they are presented
literature. The Gothic style, which has the following elements, appealed to in “ The Fall of the House of Usher.” Students
Edgar Allan Poe’s dark view of the world: should recognize that the Gothic literary style
• Bleak or remote settings sets the tone for the narrative. For more support,
• Characters in psychological and/or physical torment
see Analyze Craft and Structure: Literary
Style.
• Plots that involve weird or violent incidents and supernatural or
otherworldly occurrences MAKE IT INTERACTIVE
• Strongly dramatic and intensely descriptive language Have students draw a Gothic structure that
• A gloomy, melancholy, or eerie mood appeals to them, such as a castle, cathedral, or
• Symbolism that evokes ideas and feelings through repeated images
other medieval building based on imagery they
get from the narrative. Conduct a gallery walk
of student work, asking students to observe the
CITE TEXTUAL EVIDENCE differences and similarities among the sketches
Practice to support your answers. to arrive at a common theme. What elements
Use the chart to record passages from the story that exemplify elements of the Gothic of Gothic literature were captured within the
literary tradition. Explain each choice. artwork?
Gothic ElEmEnt PassaGE ExPlanation
Practice
bleak setting clouds hung oppressively low in shows how settings in Gothic novels are
the heavens; singularly dreary tract “bleak and remote” See possible responses in chart on student page.
of country; the melancholy house
of Usher (paragraph 1)
tortured characters In the manner of my friend . . . characters in Gothic novels experience

nervous agitation. (paragraph 9) physical and psychological torment
strange or violent plot lady Madeline was no more, . . . of plots of Gothic novels contain weird and
the building. (paragraph 27) supernatural elements
the ghastly tree stems, and the dramatic language is common in Gothic
dramatic description vacant and eyelike windows literature
(paragraph 1)
Formative Assessment
gloomy mood
Dark draperies hung . . . reflect the intensely grim atmosphere Analyze Craft and Structure
atmosphere of sorrow. found in Gothic novels
(paragraph 7) • If students fail to identify Gothic elements in
the story, then have them look for imagery
barely perceptible fissure, . . . lost symbol of death and destruction found in
in the narrative that Poe uses to describe the
recurring symbolism
in the sullen waters of the tarn. Gothic novels house and the surrounding property.
(paragraph 5)
• If students are unable to identify the mood,
then remind them of the elements of Gothic
literature.
For Reteach and Practice, see Analyze Craft and
The Fall of the House of Usher 33 Structure: Literary Style (RP).
LIT17_SE10_U01_A1C_WC_app.indd 33 PERSONALIZE FOR LEARNING 3/24/16 8:01 AM

Creating Mood Have students identify happy mood through descriptions of the Have students write a paragraph that
the words, descriptions, and setting that setting and a character. Emerging conveys a suspenseful, nervous mood
create the mood in “The Fall of the House Have students write a paragraph that through descriptions of the setting and a
of Usher.” conveys a bright, happy mood through character. Bridging
Have pairs of students work together to descriptions of the setting and a character. An expanded English Language Support
write a few sentences that convey a bright, Expanding Lesson on Mood is available in the
Interactive Teacher’s Edition
Teaching LANGUAGE DEVELOPMENT
Concept Vocabulary Concept Vocabulary

Possible responses: annihilate fissure rending
Why These Words? antiquity dissolution tumultuous
1. By emphasizing the concepts of destruction and
decay, the concept vocabulary intensifies the OF USHER
Why These Words? These concept vocabulary words convey decay and
sense that the family of Usher is utterly destroyed
destruction. For example, the narrator talks about a fissure in the wall, a long
by the events described.
crack from the roof down, as evidence of the house’s decay.
2. dilapidation (paragraph 5), crumbling
(paragraph 5), rotted (paragraph 5), neglected 1. How does the concept vocabulary contribute to the sense of finality
(paragraph 5), emaciated (paragraph 49), suggested by the title of the story?
asunder (paragraph 50).
Practice 2. What other words in the selection connect to the concepts of decay
1. tumultuous, antiquity, fissure, rending, annihilate, and destruction?
dissolution
2. Responses will vary. Students should identify
Practice
context clues.
 WORD NETWORK Notebook The concept vocabulary words appear in “The Fall of the
Word Network Add words related to fear
House of Usher.”
Possible words: oppressively, insufferable, gloom, from the text to your Word 1. Use the concept words to complete the paragraph.
desolate Network. The black and suffocating night air hung close as _____ winds threatened
to snap tree trunks and toss them aloft. Seeking shelter from the raging
Word Study storm, I approached the gloomy mansion. The _____ of the home was
For more support, see Concept Vocabulary and obvious from the style, which had not been popular for a century. When
Word Study my initial knocking produced no result, I began to bang harder and harder.
A thin _____ in the wooden panel shuddered with each blow of my
Possible responses:
hand. Would my pounding lead to _____ this ancient slab in two? In my
1. Dissolution (paragraph 13) the breaking up or desperation to enter, I cared little that I might _____ the door. I had arrived
the end of something; carries connotations of to prevent the _____ of the family Usher.
finality. Antiquity (paragraph 5) very old; carries
connotations of ancient, lost cultures. Tumultuous 2. Explain the context clues that help you determine the correct words.
(paragraph 50) loud and excited; connotations
emphasize a lack of control and violence.
Word Study

2. Responses will vary. Be sure students identify
Denotation and Connotation A word’s denotation is its literal
how the connotations differ.
definition that you would find in a dictionary. The associations or feelings
 STANDARDS that a word suggests are its connotations. Words can have connotations
Language that express the extreme nature of an act or a quality. Annihilate means
FORMATIVE ASSESSMENT • Demonstrate command of the
conventions of standard English “to destroy completely.” Its connotations suggest an extreme form of
Concept Vocabulary grammar and usage when writing or destruction in which something is not merely destroyed but utterly wiped out
speaking. or obliterated. Complete these activities, using a thesaurus or college-level
If students fail to see the connection between the • Use various types of phrases and
words and the mood of the text, then have them clauses to convey specific meanings
dictionary as needed.
and add variety and interest to
discuss what they think of when they hear each writing or presentations. 1. Provide the denotation and connotations of dissolution, antiquity,
of the words. • Demonstrate understanding and tumultuous.
of figurative language, word
Word Study relationships, and nuances in word
meanings.
If students are not clear on connotation, then • Analyze nuances in the meaning of 2. Name a synonym for each concept vocabulary word, and tell how its
explain the difference between connotation and words with similar denotations. connotations differ.
denotation. For Reteach and Practice, see Word
Study: Denotation and Connotation (RP). 34 UNIT 1 • INSIDE THE NIGHTMARE
Author's Perspective Elfrieda Hiebert, Ph.D.

LIT17_SE10_U01_A1C_WC_app.indd 34 3/23/16 9:52 AM
Author’s Word Choice In a text, authors Teachers can convey the power of can select words from the passage as
may or may not explicitly state the vocabulary to convey theme by selecting warm, clean, fragrant, and sweetness.
underlying theme. When the theme is left a narrative from Unit 1 and guiding Be sure the list is narrowly focused and
unstated, readers will have to put together students to find words and phrases that students can explain the relationship
clues in the text to infer the author’s are part of a network. The words should among the words and why they chose
overarching message about life. Among be related because of their denotations, each word. Then, have students explore
the most useful clues are the author’s connotations, or imagery, for example. the effect of the words and explain how
choice of words, and understanding how Model for students how to choose words they convey the author’s theme and make
vocabulary functions in this way can help that belong in a network. For example, if the story richer.
students identify the selection’s theme. the passage describes cooking, students

Conventions Conventions
Sentence Structure Sentences can be classified by the number of
independent and dependent clauses they contain. An independent clause CLARIFICATION Sentence Structure Discuss the definition
has a subject and a verb and can stand alone as a complete thought.
Refer to the Grammar of sentence structure with students. As you
Handbook to learn more
A dependent, or subordinate, clause also has a subject and a verb, but it review the examples of simple, compound,
about these terms.
cannot stand alone as a complete thought. complex and compound-complex sentences with
students, explain that a dependent clause, also
This chart shows examples from “The Fall of the House of Usher” of the four
called a subordinate clause, will contain both a
basic sentence structures.
subject and a verb and begin with a subordinate
SENTENCE STRUCTURE ElEmENTS EXAmPlE conjunction, such as although or because, or a
simple a single independent The general furniture was profuse, comfortless, relative pronoun, such as who, whom, which,
clause antique, and tattered. (paragraph 7) whoever, whomever, whichever, and that. For
more support, see Conventions: Sentence
compound two or more independent A servant in waiting took my horse, and I entered Structure.
clauses, joined either by a the Gothic archway of the hall. (paragraph 6)
comma and a coordinating
conjunction or by a semicolon Read It
1. Sentence 1: simple; Sentence 2: compound;
complex one independent clause Although, as boys, we had been even intimate Sentence 3: complex; Sentence 4: simple;
and one or more dependent associates, . . . I really knew little of my friend. Sentence 5: complex; Sentence 6:
clauses (paragraph 3) compound-complex
2. Sentence 1: simple; Sentence 2: complex;
compound-complex two or more independent We sat down[,] and . . . , while he spoke not, Sentence 3: compound-complex;
clauses and one or more I gazed upon him with a feeling half of pity, half
Sentence 4: complex; Sentence 5:
dependent clauses of awe. (paragraph 8)
compound-complex. The sentence structures
move from simple to extremely long and
Read It complicated, just as the story follows a simple
event—the visit of a boyhood friend—through to
1. Reread paragraph 2 of “The Fall of the House of Usher.” Mark  evidenCe log a complicated, supernatural conclusion.
independent and dependent clauses. Then, classify each sentence as Before moving on to a
simple, compound, complex, or compound-complex. new selection, go to your
Write It
2. Reread the final paragraph of the story. Identify the structure of each sentence. Evidence Log and record
what you learned from Possible responses:
“The Fall of the House 1. Compound: Madeline wanders in a distant
Write It of Usher.” hallway, but Usher does not notice.; Complex:
Notebook In the example, a simple sentence has been expanded to create Madeline wanders in a distant hallway, although
other types of sentences. Expand the simple sentences below by adding details her figure remains ghostly and mysterious.;
to create compound, complex, and compound-complex sentences. Compound-complex: Madeline wanders in
a distant hallway, but Usher does not notice
because he is accustomed to her drifting through
Example
the vast home.
Simple: The house collapses.
Compound: The house collapses, and the lake seems to swallow it whole.
2. Compound: Usher sings a melancholy song and I
feel an unexplainable chill.; Complex: When Usher
Complex: The house collapses as I flee in terror.
sings a melancholy song, I feel an unexplainable
Compound-Complex: The house collapses, and the lake seems to chill.; Compound-complex: When Usher sings a
swallow it whole, as I flee in terror.
melancholy song, I feel an unexplainable chill, yet
I cannot bring myself to stop listening.
1. Madeline wanders in a distant hallway.
Evidence Log Support students in completing
2. Usher sings a melancholy song.
their Evidence Log. This paced activity will
help prepare them for the Performance-Based
The Fall of the House of Usher 35 Assessment at the end of the unit.
FORMATIVE ASSESSMENT
LIT17_SE10_U01_A1C_WC_app.indd 35 Personalize for Learning 3/24/16 9:05 AM Conventions
If students can’t differentiate between the
types of sentences, then have them look for
Parts of Speech Review the academic vocabulary referenced in this
independent and dependent clauses. For Reteach
lesson (subject, verb, conjunction). Have students identify an example
of each, and use their examples in sentences. Support students in and Practice, see Conventions: Sentence
completing as many of these steps as they can. ALL LEVELS Structure (RP).
Selection Test
Administer “The Fall of the House of Usher”
Selection Test, which is available in both print and
digital formats online in Assessments.
PLANNING Whole- Cl ass learning • HOUSE TAKEN OVER
House Taken Over

“House Taken Over” are
available in both English and In Julio Cortázar’s short story “House Taken Over,” the narrator and his sister Irene
Spanish and can be assigned own a large house in Buenos Aires that has been in their family for four generations.
to students in the Interactive They like to think it preserves their history, and although they only occupy the
Teacher’s Edition or Unit front part, they clean the entire house every morning, front and back. After lunch
Resources. Assigning these Irene knits until bedtime while the narrator reads. They keep the back access to the
summaries prior to reading the kitchen and bathroom closed, but the heavy oak connecting door between front
selection may help students and back is never locked—until the narrator hears sounds coming from the library
and tells Irene that “they” have taken over the back of the house. She says simply
that they must stay in the front, and carries on knitting—but when they hear voices
their first read.
in the kitchen, the siblings agree that “they” have taken over the whole house, and
the two siblings decide to take desperate measures.
Insight
Reading “House Taken Over” will help students consider the power of leaving holes in
a narrative to cause fear. A true Gothic story, such as “The Fall of the House of Usher,”
describes a menacing madness in great detail, but this more modern Gothic story merely
suggests madness caused by an unknown menace and leaves the details to the reader’s
imagination.
ESSENTIAL QUESTION:
What is the allure of Connection to Essential Question
fear? “House Taken Over” provides a psychological perspective on the
Essential Question, “What is the allure of fear?” The brother and sister
in the story are afraid of the unknown. They don’t investigate the source
of the sounds in their house and are willing to give up their ancestral
home rather than try to discover the source of the disturbances they
experience. Their fear of the unknown is intriguing because readers
want to discover who or what causes the siblings to leave their home
and throw away the key.
whole-class learning
How and when does Whole-Class Learning Performance Task In this Performance Task,
imagination overcome students will use narrative evidence from this module’s selections, other
reason? relevant stories, or their own experience to explain how reason can
be overruled by imagination. In “House Taken Over,” there is no solid
Assessment
evidence that the sounds the main characters hear are anything to be
In what ways does afraid of, yet they clearly both imagine that whoever is making those
transformation play a sounds poses a threat. They abandon their home rather than investigate
role in stories meant to the source of these noises.
scare us? Unit Performance-Based Assessment In this selection, similar to
“The Fall of the House of Usher,” the house itself transforms. Here,
it transforms from an old but beloved home into a symbol of the
smallness of the main characters’ lives. The parts of the house they live
in shrink until the siblings flee, having been replaced in their own home
by what they believe are mysterious intruders referred to only as “they.”

DIGITAL
LESSON RESOURCES
Making Meaning Language Development Effective Expression

Lesson First Read Concept Vocabulary Writing to Compare
Analyze the Text Conventions
Instructional
RL.9–10.10 By the end of grade 10, L.9–10.1 Demonstrate command of the RL.9–10.5 Analyze how an author’s
Standards
read and comprehend literature . . . conventions . . . choices . . .
RL.9–10.5 Analyze how an author’s L.9–10.1.b Use various types of W.9–10.2 Write informative/explanatory
choice concerning how to structure a phrases . . . texts . . .
text . . .
L.9–10.4.b Identify and correctly use W.9–10.9 Draw evidence from literary or
RL.9–10.6 Analyze a particular point of patterns of words changes informational texts . . .
view or cultural experience . . .
L.9–10.5 Demonstrate understanding of W.9–10.a Apply grades 9–10 Reading
figurative language . . . standards . . .
STUDENT RESOURCES
Selection Audio Word Network Evidence Log
Interactive Student
Edition or Unit First-Read Guide: Fiction
Resources
Close-Read Guide: Fiction
TEACHER RESOURCES
Selection Resources udio Summary: English and
A oncept Vocabulary and
C riting to Compare:
W
Available online in the Spanish Word Study Explanatory Essay
Interactive Teacher’s
Edition or Unit Annotation Highlights Conventions: Types of Phrases
Resources Accessible Leveled Text
nalyze Craft and Structure:
A
Literary Style
A ord Study: Patterns of Word
W
Literary Style (RP) Changes (RP)
Edition or Unit Conventions: Types of Phrases (RP)
Resources
Assessment
Available online in
My Resources A Unit 1 Answer Key is available online and in the Interactive Teacher’s Edition.

personalize for learning WHOLE- CL ASS LEARNING • HOUSE TAKEN OVER
Reading Support
Text Complexity Rubric: House Taken Over
Knowledge Demands The situation of two middle-aged siblings living in their family house will not likely resonate
1 2 3 4 5 with readers, but the selection is supported with adequate background information to make
it accessible.
Structure First-person narrator. Organization is clear and chronological.
1 2 3 4 5
Language Conventionality and Clarity Largely explicit, conversational, and easy to understand with a few longer, more complex
1 2 3 4 5 sentences. Most vocabulary is on-level with some figurative language.
Levels of Meaning/Purpose Multiple levels of meaning. Theme is not clearly revealed. Plot involves supernatural
1 2 3 4 5 elements and the ending is ambiguous. Main idea is difficult to grasp.
DECIDE AND PLAN

Provide English learners with support for Provide students with strategic support Provide students who need to be challenged
language and meaning as they read the to ensure that they can successfully read with ideas for how they can go beyond a
selection. the text. simple interpretation of the text.
Language Conventionality and Knowledge Demands Discuss the Text Analysis Ask students to discuss
Clarity Students may get confused reading situation depicted in the story, asking what the element of the supernatural in the
passages with figurative language. For aspects of it are more likely for people to story. What does the unknown “they”
example: it was pleasant to see a pile of experience. Discuss that the selection has represent? How do the characters react to
tangled wool in her knitting basket fighting supernatural as well as realistic elements. the unknown? Why doesn’t the narrator
a losing battle (paragraph 3). Ask questions Point out that students will read to find out confront or investigate the source of the
to guide students to understand that these what is motivating the characters to stay the disturbance?
are figurative rather than literal phrases. same or change. Written Response Have students write
Levels of Meaning/Purpose Make sure Levels of Meaning/Purpose If students a conclusion to the story that tells what
students understand the literal meaning of have difficulty understanding the ambiguous happens to the narrator and Irene. Where
the story, and then help them figure out a nature of the story, prompt them to think do they go? Does their independence from
deeper meaning of the story. Suggest that about possible interpretations. Ask students the house bring happiness or trouble?
they take note of the characters’ reactions if they think the characters are better off
to the unknown “they.” How might their once they are free of the house and the
fear and avoidance of the unknown be “they” that has been gradually taking over
interpreted? their lives.
TEACH
Read and Respond

Have students do their first read of the selection. Then have them complete their close read. Finally,
work with them on the Making Meaning, Language Development, and Effective Expression activities.
36C UNIT 1 • HOUSE TAKEN OVER

identify needs
• Use the Selection Resources listed on the Planning pages for “House Taken Over” to help
students continually improve their ability to master the standards.
Instructional Standards: House Taken Over

Reading You may wish to administer the RL.6 Analyze a particular Have students list specific
analyze and revise Analyze Craft and Structure: point of view or cultural words and phrases that indicate
Literary Style (RP) worksheet experience reflected in a work someone outside the United
• Analyze student work for to help students analyze and of literature from outside States wrote the selection.
understand how the author’s the United States, drawing
evidence of student learning. cultural experience and on a wide reading of world
• Identify whether or not perspective is reflected in the literature.
students have met the work.
instruction. Language You may wish to administer L.4.b Identify and correctly You may wish to challenge
the Word Study: Patterns use patterns of word changes students to find other words in
of Word Changes (RP) that indicate different the selection whose meaning
worksheet to help students meanings or parts of speech. can be changed by adding the
understand how suffixes and prefix un- or the suffix -ed.
prefixes can be added to L.1.b Use various types of
phrases and clauses to convey You may wish to challenge
base words to change their
specific meanings and add students to use increasingly
meanings.
variety and interest to writing complex phrases in their writing
You may wish to administer or presentations. and presentations.
the Conventions: Types of
teach Phrases (RP) worksheet to
help students understand
Implement the planned lesson, the various types of phrases
and gather evidence of student and how they convey specific
learning. meanings.
Whole-Class Learning 36D

Comparing Texts
You will now read “House Taken Over.” First,
Jump Start THe Fall oF THe House

complete the first-read and close-read activities.
Then, compare the literary styles of “The Fall of the
House Taken over
House of Usher” and “House Taken Over.”
First Read Prior to students’ first read, oF usHer
ask them to talk about a time they found

themselves in an uncomfortable or difficult
situation. Did they stay and try to resolve the
situation, or did they walk away? Why? Help
About the Author
House Taken over
students make connections between the text Concept Vocabulary
and their own experiences.
You will encounter the following words as you read “House Taken Over.”
Before reading, note how familiar you are with each word. Then, rank the
words in order from most familiar (1) to least familiar (6).
House Taken Over WorD Your rankInG
Julio Cortázar (1914–1984)
Who are the characters in this story? What grew up in a suburb of spacious
activities do the characters busy themselves with Buenos Aires, in Argentina. unvoiced
over the course of the story? Model questions like Because he had health
obscure
these to help students connect to “House Taken problems as a child, he
spent much of his time in recessed
Over” and to the Performance Task assignment.
bed, reading, but he grew vestibule
Selection audio and print capability for the to be an impressive man,
selection are available in the Interactive Teacher’s about six feet six inches tall.
muffled
Edition. His talents were impressive,
After completing the first read, come back to the concept vocabulary and
too. After teaching for
review your rankings. Mark changes to your original rankings as needed.
Concept Vocabulary several years in Argentina,
he moved to Paris, where
Support students as they rank their words. he lived out his days writing
Reassure them that the definitions for these and translating distinguished First Read FICTION
words are listed in the selection. English-language literature, Apply these strategies as you conduct your first read. You will have an
particularly that of Edgar opportunity to complete the close-read notes after your first read.
Allan Poe, into Spanish.
First Read Cortázar remained
connected to his Argentinian
Students should perform the steps of the first roots throughout his life.

read independently. NOTICE whom the story ANNOTATE by marking
is about, what happens, vocabulary and key passages
NOTICE: Encourage students to notice who the Tool Kit where and when it happens, you want to revisit.
First-Read Guide and
narrator is and the events that lead the characters and why those involved
Model Annotation
to abandon their home. react as they do.
ANNOTATE: Remind students to mark passages

that use symbolism to convey the idea that the
CONNECT ideas within RESPOND by completing
siblings are passing all of their time inside of the selection to what you the Comprehension Check and
 sTanDarDs
the house. Students may want to revisit these Reading Literature already know and what you by writing a brief summary of
passages in their close read. By the end of grade 10, read and have already read. the selection.
comprehend literature, including
CONNECT: Encourage students to go beyond the stories, dramas, and poems, at the
high end of the grades 9–10 text
text and connect it to their own experiences. Ask complexity band independently and
them to identify some elements (guests, animals, proficiently.
garbage, clutter, etc.) that could “take over”
someone’s home. 36 UNIT 1 • INSIDE THE NIGHTMARE
RESPOND: Students will answer questions and
write a summary to demonstrate understanding.
Students will complete the Respond step at the
end of the first read; the other steps will probably Digital perspectives
happen somewhat concurrently. You may wish to Illuminating the Text Find and show a video with fantasy. After you show the video, create
print copies of the First-Read Guide: Fiction for that briefly describes Julio Cortázar’s life and what a T-chart with the headings Fantasy and Reality.
students to use. inspired him to write “House Taken Over.” This Students should list elements of the story that fit
will help students understand the significance of into each of the categories. Be sure to preview
Remind students that during their first read, they any video before showing it to the class.
the short story and how the author melds reality
should not answer the close-read questions that
appear in the selection.

ANCHOR TEXT | SHORT STORY
House
CLOSER LOOK
Analyze Details of Setting
Taken
Students may have marked paragraph 1
during their first read. Use this paragraph to
help students understand where the story
Over
takes place and the relevance of the setting to
the story. Encourage them to talk about the
annotations that they marked. You may want
to model a close read with the class based on
the highlights shown in the text.
Julio Cortázar
ANNOTATE: Have students mark details in
paragraph 1 that describe the house in which
the story is set. Encourage them to talk about
the annotations that they marked or have
students participate while you highlight them.
QUESTION: Guide students to consider what

these details might tell them. Ask what a
reader can infer from the descriptions, and
accept student responses.
Possible response: By using words such as old
and spacious and phrases such as memories of
great-grandparents, the description suggests
that the old house has been passed down from
generation to generation and has a lot of rooms.
CONCLUDE: Help students formulate

details in the text.
BACKGROUND
In 1946, when this story was written, Julio Cortázar lived in Buenos Aires, Possible response: These details may be
Argentina. World War II had only recently ended, and Argentina was in a showing that the characters are living in
state of political turmoil. Young people, including Cortázar, were critical the past.
of a conservative element in the government that had refused to join Remind students that the setting of a story
the Allied cause against Adolf Hitler until late in the war, by which time
is the place and time in which the events
communication with Europe had all but stopped. The young author left
Buenos Aires five years after writing this story, in protest against the policies
unfold. Sometimes the setting is not critical,
of Juan Peron, who was increasingly dominating Argentinian politics. but in other stories, the setting is integral to
the action.
1
W e liked the house because, apart from its being old and
spacious (in a day when old houses go down for a profitable
auction of their construction materials), it kept the memories of great-
NOTES
spacious (SPAY shuhs) adj.

grandparents, our paternal grandfather, our parents and the whole of large; roomy
childhood.
House Taken Over 37
LIT22_SE10_U01_A2C_WC.indd 37 PERSONALIZE FOR LEARNING 20/03/21 4:40 PM
Strategic Support
Research Argentina During World War II In in 1946, have students research how the war
paragraph 3, the narrator states that there affected Argentinians. Lead a class discussion on
had not been any worthwhile French literature why the narrator was unable to buy the French
available at the local bookstore in Argentina literature he wants and other effects of World
since 1939. Keeping in mind that World War II War II in Argentina.
began in 1939 and that Cortázar wrote this story
Teaching
2 Irene and I got used to staying in the house by ourselves, which
NOTES was crazy, eight people could have lived in that place and not have
Close Read gotten in each other’s way. We rose at seven in the morning and got
the cleaning done, and about eleven I left Irene to finish off whatever
Remind students to focus on ideas of necessity or
rooms and went to the kitchen. We lunched at noon precisely; then
usefulness in the story. You may wish to model
there was nothing left to do but a few dirty plates. It was pleasant to
the close read using the following think-aloud take lunch and commune with the great hollow, silent house, and it
format. Possible responses to questions on the was enough for us just to keep it clean. We ended up thinking, at times,
student page are included. You may also want to that that was what had kept us from marrying. Irene turned down
print copies of the Close-Read Guide: Fiction two suitors for no particular reason, and María Esther went and died
for students to use. on me before we could manage to get engaged. We were easing into
Annotate: As I read paragraphs 3 and 4, I unvoiced (uhn VOYST) adj. our forties with the unvoiced concept that the quiet, simple marriage
not spoken out loud or of sister and brother was the indispensable end to a line established in
notice and highlight the details about how much expressed
the narrator’s sister, Irene, knits and what that this house by our grandparents. We would die here someday, obscure
obscure (uhb SKYAWR) adj. and distant cousins would inherit the place, have it torn down, sell the
says about her character; she seems okay with not well-known
bricks and get rich on the building plot; or more justly and better yet,
the repetition in their lives.
we would topple it ourselves before it was too late.
Question: I wonder why the author uses CLOSE READ 3 Irene never bothered anyone. Once the morning housework was
concepts of necessity and uselessness. It seems as ANNOTATE: Mark details finished, she spent the rest of the day on the sofa in her bedroom,
if these must be important and can express the in paragraphs 3 and 4 that knitting. I couldn’t tell you why she knitted so much; I think women
characters’ sense of purpose and belonging. relate to the idea of being knit when they discover that it’s a fat excuse to do nothing at all. But
necessary or unnecessary,
Possible response: These details symbolize that the Irene was not like that, she always knitted necessities, sweaters for
useful or useless.
siblings do not spend their time with meaningful winter, socks for me, handy morning robes and bedjackets for herself.
activities and engage in sometimes useless, QUESTION: Why might Sometimes she would do a jacket, then unravel it the next moment
repetitious activities. The details make for a sad or concepts of necessity and because there was something that didn’t please her; it was pleasant
lonesome mood. uselessness be important?
to see a pile of tangled wool in her knitting basket fighting a losing
Conclude: What do these details show about CONCLUDE: What do these battle for a few hours to retain its shape. Saturdays I went downtown
details show about the to buy wool; Irene had faith in my good taste, was pleased with the
the characters and their lives? characters and their lives? colors and never a skein1 had to be returned. I took advantage of
Possible response: These details show how the
these trips to make the rounds of the bookstores, uselessly asking if
characters fill their days. These details express how
they had anything new in French literature. Nothing worthwhile had
the characters feel about how they make use of
arrived in Argentina since 1939.
their time. The narrator feels useless in comparison
with his sister, who always keeps busy. 4 But it’s the house I want to talk about, the house and Irene, I’m not
very important. I wonder what Irene would have done without her

knitting. One can reread a book, but once a pullover is finished you
can’t do it over again, it’s some kind of disgrace. One day I found that
the drawer at the bottom of the chiffonier, replete with mothballs, was
filled with shawls, white, green, lilac. Stacked amid a great smell of
camphor—it was like a shop; I didn’t have the nerve to ask her what
she planned to do with them. We didn’t have to earn our living, there
was plenty coming in from the farms each month, even piling up. But
Additional English Language Support 1. skein (skayn) n. quantity of thread or yarn wound in a coil.
is available in the Interactive Teacher’s
Edition.

Idioms can be confusing to English learners. Explain that the term
slipped away, in paragraph 4, is an idiom. To help them understand
its usage in the paragraph, explain that slipped away means “hours
passed by very quickly.” The phrase is not meant to be taken literally,
as hours cannot physically slip away. The author is saying that time
passed by quickly while watching Irene knit. ALL LEVELS

Irene was only interested in the knitting and showed a wonderful
dexterity, and for me the hours slipped away watching her, her hands NOTES
like silver sea urchins, needles flashing, and one or two knitting
baskets on the floor, the balls of yarn jumping about. It was lovely.
5 How not to remember the layout of that house. The dining room,
a living room with tapestries, the library and three large bedrooms
in the section most recessed, the one that faced toward Rodríguez recessed (rih SEHST) adj.
Peña.2 Only a corridor with its massive oak door separated that remote; set back
part from the front wing, where there was a bath, the kitchen, our
bedrooms and the hall. One entered the house through a vestibule vestibule (VEHS tuh byool) n.
with enameled tiles, and a wrought-iron grated door opened onto entrance room
the living room. You had to come in through the vestibule and open
the gate to go into the living room; the doors to our bedrooms were
on either side of this, and opposite it was the corridor leading to
the back section; going down the passage, one swung open the oak
door beyond which was the other part of the house; or just before the
door, one could turn to the left and go down a narrower passageway
which led to the kitchen and the bath. When the door was open, you
became aware of the size of the house; when it was closed, you had
the impression of an apartment, like the ones they build today, with
barely enough room to move around in. Irene and I always lived
in this part of the house and hardly ever went beyond the oak door
except to do the cleaning. Incredible how much dust collected on the
furniture. It may be Buenos Aires3 is a clean city, but she owes it to
her population and nothing else. There’s too much dust in the air, the
slightest breeze and it’s back on the marble console tops and in the
diamond patterns of the tooled-leather desk set. It’s a lot of work to
get it off with a feather duster; the motes4 rise and hang in the air, and
settle again a minute later on the pianos and the furniture.
6 I’ll always have a clear memory of it because it happened so

simply and without fuss. Irene was knitting in her bedroom, it was
eight at night, and I suddenly decided to put the water up for mate.5
I went down the corridor as far as the oak door, which was ajar, then
turned into the hall toward the kitchen, when I heard something in
the library or the dining room. The sound came through muted and
indistinct, a chair being knocked over onto the carpet or the muffled muffled (MUH fuhld) adj.
buzzing of a conversation. At the same time or a second later, I heard difficult to hear because
something is covering and
it at the end of the passage which led from those two rooms toward softening the sound
the door. I hurled myself against the door before it was too late and
2. Rodríguez Peña fashionable street in Buenos Aires.

3. Buenos Aires capital of Argentina.
4. motes n. specks of dust or other tiny particles.
5. mate (MAH tay) n. beverage made from the dried leaves of a South American
evergreen tree.
House Taken Over 39

Homonyms can be confusing to English learners. can also be used to describe either of two groups
Explain that the word wing, at the beginning with opposing views; for example, right- vs. left-
of paragraph 5, is a homonym. To help them wing politicians. In the passage, wing is used to
understand its usage in the paragraph, explain describe a section of a house. ALL LEVELS
that wing can be used to describe the body
structure and feathers that help birds fly. It
Teaching
shut it, leaned on it with the weight of my body; luckily, the key was
NOTES on our side; moreover, I ran the great bolt into place, just to be safe.
Close Read 7 I went down to the kitchen, heated the kettle, and when I got back
CLOSE READ with the tray of mate, I told Irene:
Remind students to focus on how short sentences
ANNOTATE: In paragraphs 8 ”I had to shut the door to the passage. They’ve taken over the back
convey the author’s feelings after part of the 8–13, mark the short part.”
house has been taken over. You may wish to sentences. 9 She let her knitting fall and looked at me with her tired, serious
model the close read using the following think- eyes.
QUESTION: Why does the
aloud format. Possible responses to questions on author use so many shorter 10 “You’re sure?”
the student page are included. sentences? 11 I nodded.
Annotate: As I read paragraphs 8–13, I notice 12 “In that case,” she said, picking up her needles again, “we’ll have
CONCLUDE: How do these
and highlight the dialogue between the narrator short sentences add to the to live on this side.”
and his sister. In their conversation, they use short portrayal of the characters’ 13 I sipped at the mate very carefully, but she took her time starting
sentences and phrases. reactions? her work again. I remember it was a gray vest she was knitting. I
liked that vest.
Question: I wonder why the author uses these
shorter sentences. It seems as if the author uses 14 The first few days were painful, since we’d both left so many
shorter sentences to show that the characters are things in the part that had been taken over. My collection of French
in a state of shock. Irene seems unsurprised that literature, for example, was still in the library. Irene had left several
“they” have taken over the back part. She might folios of stationery and a pair of slippers that she used a lot in the
have been expecting this to happen and so does winter. I missed my briar pipe, and Irene, I think, regretted the loss of
not suggest confronting them. an ancient bottle of Hesperidin.6 It happened repeatedly (but only in
the first few days) that we would close some drawer or cabinet and
Conclude: I can infer from the reading that the look at one another sadly.
short sentences show that the siblings haven’t 15 “It’s not here.”
had a lot of time to process the invasion, and 16 One thing more among the many lost on the other side of the
it creates a level of suspense for the reader. house.
Irene’s response is very resigned, matter-of-fact, 17 But there were advantages, too. The cleaning was so much
and passive. She doesn’t ask her brother a simplified that, even when we got up late, nine thirty for instance, by
lot of questions; she simply accepts her new eleven we were sitting around with our arms folded. Irene got into the
circumstances. habit of coming to the kitchen with me to help get lunch. We thought
about it and decided on this: while I prepared the lunch, Irene would
cook up dishes that could be eaten cold in the evening. We were happy
with the arrangement because it was always such a bother to have to

leave our bedrooms in the evening and start to cook. Now we made do
with the table in Irene’s room and platters of cold supper.
18 Since it left her more time for knitting, Irene was content. I was
a little lost without my books, but so as not to inflict myself on my
sister, I set about reordering papa’s stamp collection; that killed some
time. We amused ourselves sufficiently, each with his own thing,
almost always getting together in Irene’s bedroom, which was the
more comfortable. Every once in a while, Irene might say:
19 “Look at this pattern I just figured out, doesn’t it look like clover?”
6. Hesperidin substance that comes from the rind of certain citrus fruits and is used for
various medicinal purposes.

20 After a bit it was I, pushing a small square of paper in front of her
so that she could see the excellence of some stamp or another from NOTES
Eupen-et-Malmédy.7 We were fine, and little by little we stopped

thinking. You can live without thinking.
21 (Whenever Irene talked in her sleep, I woke up immediately and

stayed awake. I never could get used to this voice from a statue
or a parrot, a voice that came out of the dreams, not from a throat.
Irene said that in my sleep I flailed about enormously and shook the
blankets off. We had the living room between us, but at night you
could hear everything in the house. We heard each other breathing,
coughing, could even feel each other reaching for the light switch
when, as happened frequently, neither of us could fall asleep.
22 Aside from our nocturnal rumblings, everything was quiet in the
house. During the day there were the household sounds, the metallic
click of knitting needles, the rustle of stamp-album pages turning.
The oak door was massive, I think I said that. In the kitchen or the
bath, which adjoined the part that was taken over, we managed to
talk loudly, or Irene sang lullabies. In a kitchen there’s always too
much noise, the plates and glasses, for there to be interruptions from
other sounds. We seldom allowed ourselves silence there, but when
we went back to our rooms or to the living room, then the house
grew quiet, half-lit, we ended by stepping around more slowly so as
not to disturb one another. I think it was because of this that I woke
up irremediably8 and at once when Irene began to talk in her sleep.)
23 Except for the consequences, it’s nearly a matter of repeating the
same scene over again. I was thirsty that night, and before we went to
sleep, I told Irene that I was going to the kitchen for a glass of water.
From the door of the bedroom (she was knitting) I heard the noise in
the kitchen; if not the kitchen, then the bath, the passage off at that
angle dulled the sound. Irene noticed how brusquely I had paused,
and came up beside me without a word. We stood listening to the
noises, growing more and more sure that they were on our side of the
oak door, if not the kitchen then the bath, or in the hall itself at the
turn, almost next to us.

24 We didn’t wait to look at one another. I took Irene’s arm and forced
her to run with me to the wrought-iron door, not waiting to look
back. You could hear the noises, still muffled but louder, just behind
us. I slammed the grating and we stopped in the vestibule. Now there
was nothing to be heard.
25 “They’ve taken over our section,” Irene said. The knitting had
reeled off from her hands and the yarn ran back toward the door and
7. Eupen-et-Malmédy (yoo PEHN ay mahl may DEE) districts in eastern Belgium.

8. irremediably (ihr ih MEE dee uh blee) adv. in a way that cannot be helped or corrected.
House Taken Over 41
Teaching
disappeared under it. When she saw that the balls of yarn were on
NOTES the other side, she dropped the knitting without looking at it.
Closer look 26 “Did you have time to bring anything?” I asked hopelessly.
27 “No, nothing.”
Analyze Ambiguity 28 We had what we had on. I remembered fifteen thousand pesos9 in
Students may have marked paragraph 29 the wardrobe in my bedroom. Too late now.
during their first read. Use this paragraph to 29 I still had my wrist watch on and saw that it was 11 p.m. I took
help students understand that the narrator Irene around the waist (I think she was crying) and that was how we
and his sister never mention exactly who went into the street. Before we left, I felt terrible; I locked the front
takes over the house. You may want to model door up tight and tossed the key down the sewer. It wouldn’t do to
a close read with the class based on the have some poor devil decide to go in and rob the house, at that hour
highlights shown in the text. and with the house taken over. ❧
9. fifteen thousand pesos large sum of money at the time of the story.
ANNOTATE: Have students mark phrases
in paragraph 29 that demonstrate the
characters’ fear and express ideas that are
contradictory. Encourage them to talk about
the annotations that they marked.
Question: Guide students to consider what

reader can infer from what was marked, and
Possible response: Even though the narrator
does not explicitly state who has taken over
the house, we know that Irene is crying and
her brother carries her. Also, the narrator locks
the door and throws the key away because he
doesn’t want anyone else to go inside. This
suggests that the invaders aren’t human.


author might have included these details.
Possible response: The author might have
included these details to create an air of mystery
and fear, as we don’t know who or what has
taken over the house, but we know that the
siblings are willing to abandon their home
instead of fighting off the invaders. We don’t
even know if the narrator’s accounts are real or
imagined, which creates a sense of ambiguity.
Remind students that authors sometimes
use ambiguity to make their stories more
interesting; this also gives the reader
an opportunity to formulate his or her
own ending.
WriteNow Analyze and Interpret

Character Relationships Review paragraph behaviors, their likes and dislikes, and how they
29 and call students’ attention to the relationship manage to stay in the house with limited contact
between the siblings. Throughout “House Taken to the outside world. Then, ask students to
Over,” the narrator describes his relationship discuss what the characters’ behaviors say about
with his sister and their daily activities. Have their personalities and the kind of lives they’ve
students write a one-page analysis of the lived. For example, do they seem to have been
siblings’ interactions and activities. Remind close with their family members? Growing up,
students to include details about the characters’ were they happy children?

1. The narrator and his sister live in a wonderfully
ornate, large house that has been passed down
1. Briefly describe the house in which the narrator and his sister live.
from generation to generation.
2. They do not have to work for a living because
they receive income from their family’s farm.
3. Aside from cleaning their home, the siblings
engage in their relatively uninteresting hobbies:
2. What is the source of the siblings’ income?
the sister knits, while the brother reads books and
organizes his father’s old stamp collection.
4. They occupy a small section in the front of the
home and lock themselves in there. They prepare
daily meals and make sure they have enough
cold meals for the evening. While Irene knits, the
narrator sorts stamps.
3. How do Irene and the narrator occupy their time?
5. At the end of the story, the siblings are forced
out of their home and they abandon it. They also
throw away the key so no one else can enter the
house.
6. Answers will vary. The summary should include
4. What decision do Irene and the narrator make when they realize the back part of the
an explanation of the narrator’s relationship with
house has been taken over?
his sister, a description of the house, and an
explanation of the sibling’s daily activities.
Research
Research to Clarify If students struggle to come
up with a detail to research, suggest that they
5. What happens to the brother and sister at the end of the story? focus on the following topics: Buenos Aires, the
architecture, or the currency (money used in the
country).
Research to Explore If students have a difficult

time formulating a research question, suggest
6. Notebook Write a summary of “House Taken Over” to confirm your that they begin with research about the author
understanding of the story. and then work backward to identify the house in
Buenos Aires that inspired the story.
RESEARCH
Research to Clarify Choose at least one unfamiliar detail from the text. Briefly
research that detail. In what way does the information you learned shed light on an
aspect of the story.
Research to Explore Research the origin of the story. Discover information about the
home in Buenos Aires Province that inspired it.
House Taken Over 43
LIT17_SE10_U01_A2C_WC.indd 43 PERSONALIZE FOR LEARNING 3/23/16 9:52 AM
Challenge
Text-to-World Connection While “House When he wrote this story in 1946, World aspects of Cortázar’s life inspired the story,
Taken Over” is a work of fiction, some War II had recently ended and Argentina and which are drawn from imagination?
of the details in the story are parallel to was in turmoil. Five years later, he left Ask students to draw conclusions about
details in the author Julio Cortázar’s life. Buenos Aires in protest against Juan Perón, why Cortázar may have chosen certain
As students read in the “Background,” who was taking over Argentina. details and left out others. Why, for
and the “About the Author” sections, Encourage students to research Julio example, did he choose not to identify
explain that Cortázar was born and raised Cortázar’s life and details about the events the invaders who took over the house,
in Argentina and spent much of his time in that inspired “House Taken Over.” Which and how did this contribute to the story?
bed reading because of poor health. (Research to Explore)
Close Read the Text

Jump Start 1. This model, from paragraph 6 of the text, shows two sample annotations,
along with questions and conclusions. Close read the passage, and find
another detail to annotate. Then, write a question and your conclusion.
Close Read Have students close read the
HOUSE TAKEN OVER
title, “House Taken Over.” Ask students to
explain the difference between realism and
ANNOTATE: The words describing the sounds
fantasy and whether the short story they’ve
the intruders make seem intentionally vague.
read is a realistic story or a fantasy. Explain to
QUESTION: Why does the writer give so little
them that the details in realism, or a realistic detail about the intruders? ANNOTATE: The
story, can indeed happen, whereas in a fantasy, writer includes a
CONCLUDE: By providing only vague hints,
they cannot. Ask students to share the titles of the writer makes the invaders seem more series of action
some stories they have read in both genres. frightening and mysterious. verbs in one
sentence.
QUESTION: Why
. . . I heard something in the library or the does the writer
Close Read the Text dining room. The sound came through pack all of these
muted and indistinct, a chair being knocked actions into a
Walk students through the annotation model on over onto the carpet or the muffled buzzing single sentence?
the student page. Encourage them to complete of a conversation. . . . I hurled myself against CONCLUDE:
items 2 and 3 on their own. Review and discuss the door before it was too late and shut it, Packed into one
the sections students have marked. If needed, leaned on it with the weight of my body;
sentence, this series
of urgent actions
continue to model close reading by using the luckily, the key was on our side; moreover, shows the narrator’s
Annotation Highlights in the Interactive I ran the great bolt into place, just to be safe. intense fear.
Teacher’s Edition.
Analyze the Text Tool Kit

2. For more practice, go back into the text and complete the close-read
notes.
Possible responses:
Model Annotation 3. Revisit a section of the text you found important during your first read.
1. (a) The narrator and his sister belong to the upper
Read this section closely, and annotate what you notice. Ask yourself
class. They do not have to work for a living.
questions such as “Why did the author make this choice?” What can
(paragraphs 2 and 4) DOK 2 (b) They spend a
you conclude?
lot of time knitting, reading, and sorting stamps,
hobbies that working class people either can’t
afford or don’t have time for. (paragraph 3)

CITE TEXTUAL EVIDENCE
DOK 1 Analyze the Text to support your answers.
2. (a) While awake, the siblings mostly are quiet. At Notebook Respond to these questions.
night the narrator flails about in his sleep, while
his sister talks in her sleep. (paragraphs 17–21) 1. (a) Interpret To what social class do the brother and sister belong? How
DOK 2 (b) The nocturnal behavior of the siblings do you know? (b) Connect How are the characters’ hobbies evidence of
suggests that they are unsettled and troubled  STANDARDS their social class?
Reading Literature
about the invasion of the house. (paragraph 21) • Analyze how an author’s choices
2. (a) Compare and Contrast How is the behavior the siblings exhibit
DOK 3 concerning how to structure a during sleep different from their behavior while awake?
text, order events within it, and (b) Analyze What does this difference suggest about their true reactions
3. Responses will vary. Be sure students cite textual manipulate time create such effects to the invasion of the house?
evidence to support their response. DOK 4 as mystery, tension, or surprise.
• Analyze a particular point of view 3. Extend Cortázar wrote this story after having a nightmare. In what ways
4. Responses will vary. Students may say, for or cultural experience reflected in a does this story resemble a nightmare? Explain.
example, that the characters are motivated mostly work of literature from outside the
by fear or that Cortázar holds the readers’ interest United States, drawing on a wide 4. Essential Question: What is the allure of fear? What have you learned
reading of world literature. from this story about portrayals of fear in literature?
by scaring them. DOK 3
44 UNIT 1 • INsIde The NIghTmare
Formative Assessment Personalize for Learning

LIT17_SE10_U01_A2C_WC_app.indd 44 3/30/16 3:39 PM
Analyze the Text Strategic Support

• If students fail to cite evidence, then remind Historical Timelines Open a discussion about relationships, and demonstrating how themes
them to support their ideas with specific historical timelines with a prompt that sparks build throughout a story.
information. discussion. While timelines show a sequence of Have students of different abilities work in groups
events, they can do other things. Ask students of three or four to create a timeline of the events
• If students struggle to connect elements of the
if they can name other things that a timeline that take place in “House Taken Over.” Ask
story to a nightmare, then ask them to discuss shows. Examples might include showing the
some images or ideas typically associated with students to identify patterns, key moments, cause-
progression of a story, illustrating cause-and-effect and-effect relationships, and recurring themes.
a nightmare and identify some of those in
the story.


Literary Style “House Taken Over” is an example of Magical Realism, a
literary genre closely associated with some Latin American twentieth-century
Literary Style Discuss with students why an
authors. Magical Realism combines two seemingly contrasting elements: author might choose to use elements of both
reality and fantasy. By introducing supernatural or unreal elements into fantasy and reality in one story. Have them
carefully observed depictions of real life, writers in this genre shock and think about the advantages and disadvantages
surprise readers while also providing insightful commentary on human nature of doing so. How do the elements of fantasy
and perceptions. Elements of magical realism include: contribute to the story as a whole? Students
• Recognizable characters who feel, act, and react in customary ways should recognize that “House Taken Over” is an
example of Magical Realism, and therefore, while
• Realistic settings that include ordinary details of everyday life
some of the details are founded in reality, others
• Fantastic events that coexist with realistic characters and actions
are make-believe. For more support, see Analyze
• An accepting or unimpressed narrative tone, or attitude, that presents Craft and Structure: Literary Style.
fantastic events as logical parts of life
make it interactive
Cortázar balances these elements carefully, creating a unique representation
Ask students to draw a sketch of the house in the
of a realistic world where dreamlike events can still happen.
story using descriptions from the text. Conduct a
gallery walk of student work, asking students to
Practice to support your answers. observe elements of realism and fantasy. What
details were best captured in the sketches?
Use the chart to record passages from the story that exemplify elements of Magical
Realism. Explain each choice.
Practice
Magical Realist eleMent Passage(s) exPlanation
See possible responses in chart on student page.
Recognizable Characters The first few days were painful, . . . The behaviors in which the
taken over. (paragraph 14) characters engage daily aren’t
I was thirsty that night, and . . . for unlike those that the average
a glass of water. (paragraph 23) person experiences.
I took Irene around the waist . . .
into the street. (paragraph 29)
Realistic Setting and Details Once the morning housework was The details of the narrator and
finished, she spent the rest of the Irene’s daily schedules and their
day on the sofa in her bedroom, hobbies are firmly realistic.
knitting. (paragraph 3)
Fantastic Events In the kitchen or the bath, which The ghosts/spirits take control of
adjoined the part that was sections of the house.
taken over, we managed to talk
loudly, or Irene sang lullabies.
(paragraph 22)
Unimpressed Tone . . . I told Irene: ‘I had to shut The tone of the characters is Formative Assessment
the door to the passage. They’ve matter‑of‑fact about the events
taken over the back part.’ they describe. Analyze Craft and Structure
(paragraph 8)
• If students fail to distinguish real elements of
magic realism, then remind them that Magical
Realism mixes reality with fantasy and have
them look for additional examples in the text.
For Reteach and Practice, see Analyze Craft and
House Taken Over 45 Structure: Literary Style (RP).
LIT17_SE10_U01_A2C_WC_app.indd 45 Personalize for Learning 3/24/16 9:13 AM
Challenge
Research Have students research other stories written in the style
of magical realism. Ask them to write a brief synopsis of the story
they select, outlining the magical realist elements of the text. Have
students read an excerpt of the text to the class that represents one
of the elements of magical realism. (Research to Explore)
Teaching LANGUAGE DEVELOPMENT
Concept Vocabulary Concept Vocabulary

Possible responses: spacious obscure vestibule
unvoiced recessed muffled

Why These Words?
HOUSE TAKEN OVER
1. The concept vocabulary allows the author
Why These Words? These concept vocabulary words express different
to convey the vastness and quietness of types of emptiness, including those of emotion, sound, and space. For
the house. example, the narrator describes one part of his home as being “the most
2. hollow, silent (paragraph 2) recessed.” Something recessed is set back or remote.
1. How does the author use the concept vocabulary to describe the house
Practice vividly and precisely?
1. False; A spacious, or larger, home usually
costs more.
2. False; Loud complaints would not be unvoiced. 2. What other words in the selection connect to the idea of emptiness?
3. True; Obscure places are less likely to be
crowded because they are remote or unknown.
4. False; A recessed set of shelves would be set Practice
into the wall. Notebook The concept vocabulary words appear in “House Taken
 WORD NETWORK
5. False; A vestibule is an entryway. Over.” Tell whether each sentence is true or false, and explain why.
Add words related to fear
from the text to your Word 1. A spacious home would probably be cheaper than a cramped one.
6. False; A muffled announcement is difficult to
Network. 2. People’s loud, persistent complaints are usually unvoiced.
understand because it is not clear.
3. You should consider visiting obscure places if you want to avoid crowds.
Word Network 4. A recessed set of shelves sticks out into a room.
Possible words: hollow, silent, painful, 5. A vestibule is a small building that stands at a distance from a house.
consequences, forced, hopelessly 6. It is easy to understand a muffled announcement over a PA system.
Word Study
For more support, see Concept Vocabulary and Word Study
Word Study. Patterns of Word Changes Suffixes and prefixes can be added to base
Possible responses: words to change their meanings. Often, suffixes change a word’s part of

1. Voice means “to speak.” The tense of voice speech. The base word space, a noun—from the Latin spatium—becomes
 STANDARDS
spacious, an adjective, when the suffix -ious is added.
changes to the past tense by adding -ed. The Language
addition of un- negates its meaning of the • Demonstrate command of the
1. The word voice, when it is used as a verb, means “to speak out loud.”
conventions of standard English
word. Unvoiced means “unspoken.” grammar and usage when writing or Explain how this word is changed by the addition of the prefix un- and the
speaking. suffix -ed.
2. Reordering; the addition of re- to ordering • Use various types of phrases and
(arranging) creates the meaning “arranging clauses to convey specific meanings
and add variety and interest to
again.” Narrower; the addition of the suffix -er writing or presentations.
creates the meaning “more narrow.” • Identify and correctly use patterns 2. Find two other examples in the story of words that contain either a prefix
of word changes that indicate
different meanings or parts of
or a suffix. Explain how the meaning of the base word is changed by the
speech. addition of the prefix or suffix.
• Demonstrate understanding
of figurative language, word
relationships, and nuances in word
meanings.
FORMATIVE ASSESSMENT
Concept Vocabulary
If students fail to see the connection between
the words, then have them use each word in a
sentence and think about what is similar about Digital perspectives
LIT17_SE10_U01_A2C_WC_app.indd 46 3/30/16 5:28 AM
the sentences.
Illuminating the Standard
Word Study Patterns of Word Changes To help students down as many of the prefixes and suffixes as
If students fail to use prefixes and suffixes understand the power of knowing and recalling they can. Then, have students pair up to create
prefixes and suffixes, search for the “Prefixes, words based on the prefixes and suffixes that
correctly, then have them create a list of five
Suffixes, & Roots” rap video available on the they identified. Preview the video before sharing
common prefixes and five common suffixes Internet. Play the video and have students write it with students.
and write one word using each one, using each
word in a sentence. For Reteach and Practice,
see Word Study: Patterns of Word Changes
(RP).

Conventions Conventions and Style

Types of Phrases A preposition connects a noun or a pronoun to another
word in the sentence. A prepositional phrase is made up of a preposition,
Types of Phrases Discuss the definition of a
CLARIFICATION
the object of the preposition, and any modifiers of the object. Prepositional Refer to the Grammar
preposition and a prepositional phrase with
phrases modify other words by functioning either as adjectives or as adverbs. Handbook to learn more students. Explain that in order to figure out the
In these examples from “House Taken Over,” the prepositions are underlined about these terms. prepositional phrase in a sentence, they must
once, and the objects of the prepositions are underlined twice. determine what is being modified and whether
the preposition is functioning as an adjective or
adverb. Define:
in the house by ourselves at seven modifier a word, phrase, or clause that functions
as an adjective or adverb to describe a word or
of the day from the front wing through a vestibule make meaning specific
adjective a word that describes a noun
into the living room before the door with a feather duster adverb a word that describes a verb, adjective, or
another adverb
on the sofa down the corridor against the door For more support, see Conventions: Types of
Phrases.
Read It
Read It 1. a. in this part; of the house; beyond the
1. Mark all of the prepositional phrases in each sentence. Then, label each oak door
preposition and its object. b. onto the carpet; along the floor
a. I lived in this part of the house and rarely went beyond the oak door.
c. toward the door; into place
b. A chair was knocked onto the carpet and dragged along the floor. 2. at one another; with me; to the wrought-iron
door; behind us; in the vestibule. The phrases
c. I hurried toward the door and pushed the heavy bolt into place.
detail information about location and direction.
2. Reread paragraph 24 of the story. Mark the prepositional phrases, and tell
Write It
how these phrases help to clarify the action. Possible response:
After supper, we heard a noise that was
impossible to describe. When the noise grew

Write It
louder, we ran into the street. We could not grab
Notebook In the example, the second sentence in each pair contains anything before our escape. We ended up in
prepositional phrases that help clarify, describe, or explain. Revise the the alley. We looked inside the window, but saw
paragraph below. Add prepositional phrases to make the paragraph more
nothing through the dirty glass.
interesting and detailed.
EXAMPLE
I tossed the key. I tossed the key down the drain in the gutter.
I heard a noise. At midnight, I heard a noise behind the door.
We heard a noise that was impossible to describe. When the noise grew
louder, we decided to run. We didn’t have time to grab anything. We found
ourselves outside. We looked but could see nothing.
House Taken Over 47
LIT17_SE10_U01_A2C_WC_app.indd 47 Personalize for Learning 3/23/16 9:54 AM FORMATIVE ASSESSMENT

English Language Support Conventions
Using Prepositions to Add Details to Writing • The noise scared us. • If students cannot identify prepositions or
Help students see that adding prepositions to In the middle of the night, the noise scared us. prepositional phrases, then remind them that
sentences allows them to make their writing Ask students to use prepositional phrases to add prepositions function as adjectives or adverbs.
more descriptive. Show students this example details to these sentences. • If students cannot identify the object of the
sentences:
• The boy saw a light. preposition, then have them pair up and
• The house was dark. practice with each other.
• The chair scratched the floor.
The house at the top of the hill was dark.
ALL LEVELS For Reteach and Practice, see Conventions:
• The room was quiet.
The room at the end of the hall was quiet.
Types of Phrases (RP).
Teaching effective expression
Writing to Compare Writing to Compare

You have read “The Fall of the House of Usher” and “House Taken Over,”
As students prepare to compare the stories by two short stories that have similarities but represent two different literary
Poe and Cortázar, they will consider how “The styles, or genres. Now, deepen your understanding of both stories by
Fall of the House of Usher” reflects the style of comparing and writing about them.
the Gothic genre and how “House Taken Over” OF USHER
reflects the style of the Magical Realism genre. Assignment
Write an explanatory essay in which you compare and contrast Gothic
Planning and Prewriting
style and Magical Realism as seen in the stories by Poe and Cortázar.
Analyze the Texts Encourage students to think Include the following elements in your essay:
about both similarities and differences between
• definitions of the two genres
the house in Poe’s story and the house in
Cortázar’s story as they gather details about the • a discussion of how each story is a good example of its genre
settings. HOUSE TAKEN OVER
• effective use of evidence from the stories
a. “dreary tract of country” with “rank sedges,”
“decaying trees” and “black and lurid tarn” • an evaluation of the effect each story has on the reader
b. House shows an “excessive antiquity” and is Make sure you are clear about the qualities that define the Gothic style
covered with “minute fungi.” and Magical Realism. If necessary, do a little research or reread the
c. Though the house has a “perfect adaptation instruction about the genres.
of parts,” individual stones are in “crumbling
condition.”
d. “Short causeway” leads to the house, which Planning and Prewriting
has a hall with a “Gothic archway.”
Analyze the Texts When you are analyzing complex works, a smaller focus
e. Narrator says he has “fancies” that are “stirred can help you see the bigger picture more clearly. For example, instead of
up” by “carvings of the ceilings, somber analyzing all the elements of both stories, you might focus on the siblings,
tapestries of the walls, ebon blackness of the the supernatural elements, or another specific aspect of each story. For this
floors, and phantasmagoric armorial trophies.” assignment, compare and contrast the settings—the two houses and the worlds
f. Rodríguez Peña street in Buenos Aires, they occupy. Use the chart to gather story details that relate to that focus.
Argentina, in the mid-1900s
FOCUS: DETAILS RELATED TO SETTING
g. House is “old and spacious” and has been in
THE FALL OF THE HOUSE OF USHER HOUSE TAKEN OVER
the family for several generations.
h. Brick house has “a dining room, a living room a. See possible responses in Teacher’s Edition. f.

with tapestries. The library and three large  STANDARDS
bedrooms in the section most recessed.” Reading Literature b. g.
Analyze how an author’s choices
i. Corridor with oak door separates recessed concerning how to structure a
section from “the front wing, where there text, order events within it, and c. h.
manipulate time create such effects
was a bath, the kitchen, our bedrooms and as mystery, tension, or surprise.
the hall.” Writing d. i.
j. When the oak door was closed, “you had the • Write informative/explanatory texts
to examine and convey complex e. j.
impression of an apartment, . . . with barely ideas, concepts, and information
enough room to move around in.” clearly and accurately through the
effective selection, organization, and Notebook Respond to these questions.
Possible responses: analysis of content.
• Draw evidence from literary or
1. The settings are similar in that both feature large informational texts to support 1. How are the settings of the two stories similar? How are they different?
houses with many rooms. In terms of differences, analysis, reflection, and research. 2. In each story, how does the setting affect the characters and the choices
the setting for “The Fall of the House of Usher” • Apply grades 9–10 Reading
standards to literature. they make?
seems to be in a rural area, with the property in a
decaying condition, while the setting for “House
Taken Over” is in an urban area, with the property 48 UNIT 1 • INsIde The NIghTmare
in good condition.
2. In “The Fall of the House of Usher,” the setting
stirs up unfamiliar “fancies” in the narrator; his
room makes him feel as if he is breathing “an LIT17_SE10_U01_A2C_WC_app.indd 48 4/21/16 1:07 AM
atmosphere of sorrow.” One night “the gloomy

furniture” of his bedroom makes him unable to
sleep, and paces around the room instead. In
“House Taken Over,” the narrator says, “we liked
the house because . . . it kept the memories of
great-grandparents, our paternal grandparents,
our paternal grandfather, our parents and the
whole of childhood.” So even though they feel
the house is haunted, the narrator and his sister
choose to stay there until they believe that “they”
have taken over the entire house.
Drafting
Drafting
Synthesize Ideas Review your Prewriting notes. Decide how
setting reveals Gothic sensibilities in Poe’s story and Magical Realist
Synthesize Ideas Remind students that “Gothic
ideas in Cortázar’s story, and how those styles are both similar and sensibilities” and “Magical Realist ideas” refer to
different. Record your ideas using these sentence frames: the writing styles of the two authors. Students
should discuss both similarities and differences as
In both stories, the setting
they gather ideas for ways in which the settings
reveal these styles.
.
Identify Supporting Details Encourage
However, in Poe’s story “The Fall of the House of Usher,” the setting: students to draw on the prewriting they did and
choose details from the chart on the previous
page to connect with ideas generated on this
.
page. Students may need to search for additional
Similarly/By contrast, in Cortázar’s story “House Taken Over,” the setting details as they refine their ideas and narrow their
writing focus.
. Organize Ideas Explain to students that they
are not required to use one of the organizational
Identify Supporting Details Identify passages to use as examples structures discussed on this page but that these
for your ideas. Make sure each passage presents a clear similarity
structures will help make it easier for the reader
or difference, and demonstrates either a Gothic or a Magical Realist
approach. Note the passages you will use and the ideas each one to understand their ideas and how the ideas are
will support. connected.
PASSAGE IDEA
Review, Revise, and Edit
As students revise, encourage them to review
their draft to make sure they have provided
adequate support for each of their ideas. Ask
them to review their word choice. Finally, remind
students to check for grammar, usage, and
mechanics
Organize Ideas Make some organizational decisions before you begin to For more support, see Writing to Compare:
write. Consider using one of these two structures:
 EVIDENCE LOG
Before moving on to a Explanatory Essay.
Grouping Ideas: discuss all the similarities between the settings and new selection, go to your Evidence Log Support students in completing
genres of the two stories and then all the differences Evidence Log and record
what you learned from
Grouping Texts: discuss the setting and genre of one story and then help prepare them for the Performance-Based
“House Taken Over.”
the setting and genre of the other story Assessment at the end of the unit.
Review, Revise, and Edit FORMATIVE ASSESSMENT

Once you are done drafting, review your essay. Because your essay is about
Writing to Compare
multiple subjects—two different settings and two different genres—clarity
and balance are critical. Reread your draft, and mark the points at which you • If students struggle to connect setting with
discuss Poe’s story and the Gothic. Use a different mark to identify the points writer’s style, then review with them the
at which you discuss Cortázar’s story and Magical Realism. Check your draft definitions of Gothic and Magical Realism.
to see if you have addressed the two stories in a balanced way. Add more
Selection Test
analysis or examples as needed. Then, proofread and edit your essay for
grammatical and spelling errors. Administer the ”House Taken Over (with The Fall
of the House of Usher)” Selection Test, which is
available in both print and digital formats online
The Fall of the House of Usher • House Taken Over 49
in Assessments.
LIT17_SE10_U01_A2C_WC_app.indd 49 PERSONALIZE FOR LEARNING 21/10/16 4:43 PM

Practice Explanatory Writing Review the Ask students to write an explanatory “The Fall of the House of Usher” with
qualities of an explanatory essay and have paragraph on a topic of their choice, that of “House Taken Over.” Remind
students write an outline for one on the such as how the setting of “House students to introduce their topic,
assigned topics. Taken Over” affects the story. Remind support it with details, and write a solid
Ask students to write a topic sentence for an students to introduce their topic, conclusion. Bridging
explanatory essay on a topic of their choice, support it with details, and write a solid An expanded English Language Support
such as how the setting of “House Taken conclusion. Expanding Lesson on Explanatory Essays is available in
Over” affects the story. Ask students to also Ask students to write an explanatory essay the Interactive Teacher’s Edition.
list three supporting details. Emerging comparing and contrasting the setting of
PLANNING W HOLE- CL ASS LEARNING • from HOW TO TELL YOU’RE READING A GOTHIC NOVEL— IN PICTURES
from How to Tell You’re Reading

a Gothic Novel—In Pictures
AUDIO SUMMARIES of
CLO1_H1_Audio Summary
“How to Tell You’re Reading a
CLO1
Gothic Novel—In Pictures” are “How to Tell You’re Reading a Gothic Novel—In Pictures” is an informational
available in both English and graphic feature developed by Adam Frost and Zhenia Vasiliev. It presents collections
Spanish and can be assigned of information in five graphics that are built to help readers understand general
to students in the Interactive qualities of Gothic literature. Screen 1 shows the kinds of settings that are most
Teacher’s Edition or Unit often used and reports that castles or stately homes are most common. Screen 2
Resources. Assigning these shows the kinds of ghosts or monsters that are frequently included. Screen 3 shows
summaries prior to reading the that the literature is often set in a time passed. Screen 4 shows the kind of weather
selection may help students
that is a factor. Screen 5 shows the type of language that is most often used.
Finally, Screen 6 provides information about which titles are considered the best, as
their first read.
reported by readers and critics.
Insight
Viewing “How to Tell You’re Reading a Gothic Novel—In Pictures” will give students a
sense of the literary ingredients that are universally acknowledged to produce fear. The
elements of Gothic novels are predictable enough to map out because readers typically
respond to them. Readers know when they pick up a Gothic novel that they will read a
scary story that includes a spooky castle, some sort of frightening creature, and so on,
and there is a comfort in knowing what to expect. The graphics are in a humorous style
that readers may enjoy.
Essential question:
of fear? “How to Tell You’re Reading a Gothic Novel—In Pictures” provides
a literary roadmap that will give students insight into the Essential
Question, “What is the allure of fear?” Looking at all of the elements
of Gothic novels, it is clear that such novels have little to do with real
life. The allure, as shown in this informational graphic, is that readers
can expect to feel fear without any real threat. They can enjoy their fear
because it has nothing to do with reality, and they can put the book
down at any time.
Whole-Class Learning
How and when does
Whole-Class Learning Performance Task In this Performance Task,
imagination overcome
students will use narrative evidence from this module’s selections, other
reason?
relevant stories, or their own experience to explain how reason can
be overruled by imagination. “How to Tell You’re Reading a Gothic
Assessment Novel—In Pictures” provides generalized information about the Gothic
In what ways does approach.
transformation play a Unit Performance-Based Assessment This selection supports students’
role in stories meant to work on the Unit Performance-Based Assessment. The information
scare us? helps students understand the qualities that make up Gothic literature,
such as eerie settings, creepy characters, and a sense of foreboding
or doom. As students discuss the ways transformation plays a role in
literature of fear, the graphics may help them consider the ways the
Gothic novel is built.

DIGITAL
Media Complexity Rubric: How to Tell You’re Reading a Gothic Novel—In Pictures
Format and Length 6 visuals with charts, graphs, illustration, and text
Knowledge Demands Charts are based on information about specific novels (listed in many of the charts), many of which may
1 2 3 4 5 be unfamiliar to readers.
Structure Visuals contain a variety of text and graphic features, including charts and graphs. Illustrations and
1 2 3 4 5 inclusion of different types of graphics make information easy to locate and understand.
Language Conventionality and Clarity Language used for explanations within charts (titles, footnotes) is mostly simple, conversational, and
1 2 3 4 5 easy to understand.
Levels of Meaning/Purpose Purpose is clear, concrete, narrowly focused and explicitly stated (exploring features of gothic novels)
1 2 3 4 5
LESSON RESOURCES
Language
Making Meaning Effective Expression
Development
Lesson First Read Concept Vocabulary Speaking and Listening
Close Read
Analyze the Text
Instructional Standards RI.9–10.10 By the end of grade RI.9–10.1 Cite strong and thorough
10, read and comprehend literary textual evidence . . .
nonfiction . . .
SL.9–10.2 Integrate multiple sources of
information . . .
SL.9–10.4 Present information, findings,
and supporting evidence . . .
SL.9–10.5 Make strategic use of digital
media . . .
STUDENT RESOURCES
Available online in the Interactive Selection Audio Word Network Evidence Log
Student Edition or Unit Resources
First-Read Guide
Close-Read Guide
TEACHER RESOURCES
Selection Resources udio Summaries: English and

A Concept Vocabulary S peaking and Listening:
Available online in the Interactive Spanish Informational Graphic
Teacher’s Edition or Unit Resources
My Resources

Teaching Making Meaning
About the Designers

from How to Tell You’re Reading a
Jump Start gothic novel—in Pictures
First Review Many movies and TV shows Concept Vocabulary
have roots in literature from long ago. The You will encounter the following words as you read and view these
Gothic literary genre started a trend of mystery informational graphics.
and horror that is still present to this day. Have Adam Frost is a designer
students discuss which popular contemporary of websites, games, books, WORD PRONUNCIATION AND MEANING
and exhibitions. His children’s
stories could be called Gothic, based on what (rih KLOO sihv) adj. solitary; avoiding the company of
books include such titles as reclusive
they already know. Stop, There’s a Snake in Your others
Suitcase! Frost currently works
as the Data Visualization (SIHN uh stuhr) adj. giving the impression that
sinister
something harmful or evil is happening or will happen
from How to Tell You’re Manager at the Guardian
newspaper and specializes in
(ih THIHR ee uhl) adj. extremely delicate and light in a
Reading a Gothic Novel—In creating infographic articles ethereal
way that seems too perfect for this world
such as this one.
Pictures
When you hear the word “Gothic,” what kinds of
things come to mind? Do you think of castles and First Read MEDIA: INFORMATIONAL GRAPHIC
cobwebs, or perhaps ghosts and gravestones? Apply these strategies as you conduct your first read. You will have an
Modeling the questions a reader might ask as opportunity to complete a close read after your first read.
they read “How To Tell You’re Reading a Gothic
Novel—In Pictures” for the first time brings the
Zhenia Vasiliev is a London-
text alive for students and connects it to the
based designer and graphic NOTICE new information or ANNOTATE by marking
Whole-Class Performance Task assignment. artist. His clients include ideas you learn about the unit vocabulary and key passages
Selection audio and print capability for the Sony, Google, the Guardian, topic as you first read this text. you want to revisit.
selection are available in the Interactive NBC Universal, and others.
Teacher’s Edition. He has been featured in
several art shows and is a
Concept Vocabulary recipient of the Macmillan

Children’s Books Prize.
CONNECT ideas within the RESPOND by completing the
Support students as they review the words. Ask if
selection to other knowledge Comprehension Check and by

they’ve ever heard, read or used them. Reassure and the selections you have writing a brief summary of the
them that the definitions for these words are read. selection.
listed in the selection.
First READ
Reading Strategy: Text and Graphics
Students should perform the steps of the first As you encounter each screen of the informational graphic, read all of the
read independently. text, and note how the different visuals support the text.
NOTICE: You may want to encourage students

 STANDARDS
to notice the main categories that make a Gothic Reading Informational Text
novel: setting, characters, and language. • By the end of grade 10, read and
comprehend literary nonfiction at
ANNOTATE: Remind students to focus on the the high end of the grades 9–10 text
complexity band independently and
qualities that are present in most Gothic novels, proficiently.
such as being set in a secluded location or having
a monster present. 50 UNIT 1 • INSIDE THE NIGHTMARE
CONNECT: Encourage students to go beyond
the informational graphic and make present-day
connections. What modern films and shows fit
these qualities? LIT17_SE10_U01_A3_M_WC.indd 50 Personalize for Learning 21/10/16 9:17 PM
RESPOND: Students will answer questions and Strategic Support

write a summary to demonstrate understanding. Help Students With Visual Impairments Support students who are
Point out to students that while they will always visually impaired by showing enlarged screens of the informational
complete the Respond step at the end of the graphic. If possible, zoom in on the bottom notes that accompany
first read, the other steps will probably happen each chart. Encourage students to focus on the details in charts, and
somewhat concurrently. You may wish to print ask them to consider what those details convey to the reviewer.
copies of the generic First-Read Guide for
students to use.

MEDIA | INFORMATIONAL GRAPHIC
from How to Tell You’re Reading CLOSER LOOK
a Gothic Novel—In Pictures Understanding Mood

Students may have marked Screen 1 during
their first read. Use this screen to help
Adam Frost and Zhenia Vasiliev students understand the mood of Gothic
novels. Encourage them to talk about the
notes they made. You may want to model a
BACKGROUND
close read with the class based on the notes
below.
The Gothic literary genre began in 1764 with Horace Walpole’s novel The
Castle of Otranto. The term Gothic came from the Visigoths, a Germanic NOTE: Have students note details in Screen
people who once ruled land that includes what is now Spain, parts of 1 that show what kinds of settings Gothic
Portugal, and France. The Visigoths contributed to the fall of the Roman stories have in common, or have students
Empire and were regarded as barbaric and wild. To this day, Gothic ideas, participate while you note them.
such as madness, horror, and the supernatural, remain popular in literature,
movies, and television. QUESTION: Guide students to consider what
reader can infer from from these details, and
Possible response: The informational graphic
tells me that Gothic novels are generally set in
1 locations built during the period of time in which
the novel was written, in locations that are
remote, foreboding, or otherwise eerie.
Possible response: It is interesting to see that
there are some details that Gothic novels have in
common. Having a setting that is secluded and

possibly haunted sets a scary mood, which can
give the story tension and suspense.
Remind students that mood, or atmosphere,
is the overall feeling that a literary work or
passage evokes in the reader. Mood is created
by the writer’s choice of words and images, by
the setting, and by events in the work.
NOTES
How to Tell You’re Reading a Gothic Novel—In Pictures 51
LIT22_SE10_U01_A3_M_WC.indd 51 PERSONALIZE FOR LEARNING 20/03/21 4:51 PM

Idioms Idioms can be confusing to English Language Learners.
Explain the phrase In the middle of nowhere used in Screen 1. To
help them understand this phrase, explain its meaning and how it
relates to the setting of a story. Being set in a very remote location is
one of the qualities of a Gothic novel. ALL LEVELS
Teaching
2
NOTES

NOTES
Cross-Curricular Perspectives
LIT17_SE10_U01_A3_M_WC.indd 52 3/2/16 3:00 AM
Art Review Screen 2 with students and discuss and ask students whether the images look like
Gothic features. Show students several examples characters and settings from a Gothic novel.
of artwork with Gothic influences, and ask them Discuss what similarities these paintings have
to describe the images they see. Artists who with Gothic literature. Discuss with students how
were influenced by Gothic literature include art can be inspired by literature.
William Blake and Henry Fuseli. Present artwork

4
Closer LOOK
Analyzing Diction
students understand the diction of Gothic
novels. Encourage them to talk about the
below.
NOTE: Have students note details in Screen 5
that illustrate the language of Gothic novels,
or have them participate while you note
them.
reader can infer from the diction used in the
NOTES
stories, and accept student responses.
Possible response: Authors of Gothic novels
seem to use more words to describe things
that are very simple. They use words that are
very descriptive, with longer, more complex
5 sentences.
Possible response: Using many sentences with
vivid language to describe a single thought or
detail is one way to paint a better visual picture
for the reader. This use of diction also creates

suspense, because the longer passage builds
anticipation for the reader.
Remind students that diction is a writer’s
or speaker’s word choice—the type of
vocabulary, the vividness of the language, and
the appropriateness of the words. Diction is
part of a writer’s style and may be described
as formal or informal, plain or ornate,
abstract or concrete, ordinary or technical,
sophisticated or down-to-earth, old-fashioned
NOTES
or modern, or even slangy. Although diction
is an element of style—the characteristic
way a writer or speaker puts ideas into
words—writers and speakers often vary
How to Tell You’re Reading a Gothic Novel—In Pictures 53 their diction to reflect different audiences,
purposes, and occasions.
LIT17_SE10_U01_A3_M_WC.indd 53 Personalize for Learning 3/2/16 3:23 AM

Syntax Review Screen 5 with students and time period. They may notice sentences that don’t
remind them that Gothic novels often do not make sense on their own, such as in Screen 5:
follow standard English patterns. The language Unhappy Laurina! Whose criminal desertion of
used in this section is much different from the thine offspring entailed upon them such misery
language students might be used to. Syntax is and degradation. Authors of this time sometimes
the way words are organized—for example, their used punctuation to convey feeling, varying from
order in a sentence or phrase. Ask students to traditional English rules. ALL LEVELS PI.7
note the different structure of words from this
Teaching
6
Closer LOOK
Interpreting Graphics
students understand how to read a Venn
diagram. Encourage them to talk about the
below.
NOTE: Have students note details in Screen
6 that show which stories are most liked by
critics and by the public, or have students
participate while you note them.
reader can infer from the intersections in the
chart, and accept student responses. NOTES
Possible response: Critics and the reading

public agree on many novels, but not all of
them. In fact, there are several novels that are
rated the best by only one group of readers.
conclusions about the importance of these NOTES

Possible response: While what makes a “best”
novel is often open to interpretation, often
different groups of people agree on which
Gothic novels are the best. The author probably

included these details to show which novels a
new reader to Gothic literature might want to
read first.
Remind students that a Venn diagram is an
illustration of the relationships between and
among groups of objects, such as the Gothic
novels shown in Screen 6. Venn diagrams
are used to show commonality between the
different groups in a visual manner.
Digital perspectives
LIT17_SE10_U01_A3_M_WC.indd 54 3/2/16 3:27 AM
Enriching the Media Review Screen 6 with • How were the clips similar to their expectations
students. To help illustrate the qualities of a and how were they different?
Gothic novel, have the students compare their • How many Gothic qualities can the students
notes with short clips of movie adaptations of the identify in the clips?
most popular novels listed on Screen 6. Be sure to
preview clips before showing to the class.

Possible responses:
1. Where do many Gothic novels take place? 1. A Gothic novel typically takes place in a spooky,
run-down castle or mansion that was built long
ago in a Gothic style. The castle or mansion is
most often located in the middle of nowhere
and filled with secret passages. It may be haunted
or cursed.
2. According to the chart, windy or stormy
2. What is the weather like in many Gothic novels? conditions are the most common.
3. Gothic novels are filled with ghosts, monsters,
vampires, witches, or even the devil.
4. Most early Gothic novels take place in “the olden
days.” Victorian and Edwardian Gothic Novels are
more likely to be set in the present day.
5. A Gothic novel takes place long ago in a gloomy
3. What are some types of characters you might encounter in a Gothic novel? castle or mansion where the weather is always
stormy. Monsters, ghosts, witches, the devil,
and other villains make frequent appearances in
Gothic novels.
Research
4. When do most Gothic novels take place? Research to Clarify If students struggle to
come up with a detail to research, suggest that
they focus on one of the following topics: Gothic
origins or eighteenth-century literature.
that they look back through the informational
5. Notebook Write a three- or four-sentence summary that describes the basic

elements of Gothic literature. graphics for inspiration. Students may want to
learn more about the specific titles referenced in
Screen 6.
RESEARCH
Research to Clarify Choose at least one unfamiliar detail from the informational
graphics. Briefly research that detail. In what way does the information you learned add
to your understanding of the topic?
Research to Explore Choose something that interests you from the text, and
formulate a research question.
How to Tell You’re Reading a Gothic Novel—In Pictures 55
LIT17_SE10_U01_A3_M_WC.indd 55 Personalize for Learning 3/23/16 10:10 AM
Challenge
Infographics Have students review the types of infographics in
this section, and ask them to come up with their own chart that
shows all of the qualities of a Gothic novel. Students can include
setting, characters, language, and mood in a Venn diagram or chart.
Challenge them to list some of the stories referenced in this section
that exhibit the categories they choose.
1
Close Read the text

Jump Start Review the informational graphics again. Annotate details
that you notice. What questions do you have? What can
you conclude?
Close READ Ask students to consider what
HOW TO TELL YOU’RE READING A
makes a story scary. Are these characteristics GOTHIC NOVEL—IN PICTURES
similar to those that make up a Gothic novel?
analyze the text
Encourage students to discuss what they have
learned about Gothic novels and how it relates Notebook Respond to these questions.
to fear in literature. 1. Make a Judgment Consider the types of places in which the authors
say Gothic novels are set. Do these places support the idea, presented
in graphic 1, that all Gothic novels are set “in the middle of nowhere”?
Explain.
Close Read the Text
2. Infer What types of events and moods would you expect to find in any
Review and discuss the details students have
Gothic novel?
noted. Encourage them to discuss their questions
with the class. If needed, continue to model close 3. (a) Describe What tone, or attitude, do these writers seem to take
reading by using the Closer Look notes in the toward Gothic novels? Explain. (b) Analyze How does the tone add to
Interactive Teacher’s Edition. the impact of the informational graphics?
4. Essential Question: What is the allure of fear? What have you learned
Analyze the Text about portrayals of fear in literature by reading this text?
Possible responses:
1. Yes, because these places are all isolated and add  WoRd netWoRK language development
to the mystery and fear. DOK 2 Add words related to
2. I would expect that the mood would be spooky portrayals of fear in literature Concept vocabulary
from the text to your Word
or sinister, and that the events would involve
Network. reclusive sinister ethereal
the characters having something bad or strange
happen to them and that they would be scared
along the way. DOK 2 Why These Words? The three concept vocabulary words relate to
3. (a) The authors have a sarcastic or humorous tone.  STANDARDS different elements of Gothic literature.
DOK 2 (b) The exaggerated setting, characters, Reading Informational Text
Cite strong and thorough textual 1. How does the concept vocabulary help readers understand the elements
and plots of Gothic novels make the informational of Gothic literature?
evidence to support analysis of what
graphic more engaging. DOK 3 the text says explicitly as well as

4. People hate to experience horror in real life, but they inferences drawn from the text.
can enjoy reading about it. DOK 2 • Integrate multiple sources of
information presented in diverse
Concept Vocabulary media or formats evaluating the
credibility and accuracy of each 2. What other words in the informational graphics capture the essence of
Why These Words? source. Gothic literature?
• Present information, findings,
Possible responses: and supporting evidence clearly,
1. The words show the dark nature of the elements concisely, and logically such that
listeners can follow the line of
of Gothic literature. reasoning and the organization,
2. Misery, degradation, forbidden, cursed, and terror development, substance, and style
are appropriate to purpose, audience, Practice
are some words from the informational graphics. and task.
• Make strategic use of digital Notebook Confirm your understanding of the concept vocabulary
For more support, see Concept Vocabulary. media in presentations to enhance words by using them in sentences. Be sure to include context clues that
understanding of findings, reasoning,
Word Network and evidence and to add interest. signal the meanings of the words.
Possible words: haunted, cursed, forbidden,
spooky, shuddering 56 UNIT 1 • INSIDE THE NIGHTMARE
Practice
Students should include context clues in sentences.
LIT17_SE10_U01_A3_WC_app.indd 56 Personalize for Learning 3/31/16 10:15 PM
Analyze the Text Key Words Students may have trouble finding other words in this
• If students fail to cite evidence, then remind section that are similar to the Concept Vocabulary words. Review
them to support their ideas with specific the section with them while looking for additional words, such as
information. spooky, haunted, or cursed, which all refer to the story having a
supernatural aspect. The words horror, terror, and misery refer to
• If students struggle to identify examples of fear the aspect of fear. Ask students to suggest additional words and to
in literature, then remind them of the Gothic justify their choices to persuade classmates. ALL LEVELS
qualities that show spooky or supernatural
settings and characters.

EFFECTIVE EXPRESSION
Speaking and Listening Speaking and Listening

Assignment Remind students that before they create their
Informational graphics, such as those presented in “How to Tell own informational graphic, they can revisit
You’re Reading A Gothic Novel—In Pictures,” are an effective way the selection again to see how ideas are
to communicate ideas. The use of images, symbols, graphs, and text communicated in an effective and engaging way.
allows writers to explain and depict the complexities of a topic in a clear,
Organize Your Content
engaging, and sometimes funny way. Create and present your own
informational graphic, in which you show how elements of “The Fall of
As students begin organizing content for
the House of Usher” combine to create a Gothic tale. the assignment, show them several types of
charts and graphics they can use, such as Venn
diagrams, flowcharts, or timelines. For example,
1. Organize Your Content
students may want to utilize a timeline graphic
• Use words, images, and symbols to create an informational graphic.
to show how many times spooky events happen
• Sketch your ideas on a sheet of paper. Plan each element of your in the story, or a Venn diagram to compare
graphic separately. characters and their traits. Encourage students
• Use symbols or icons to represent ideas. For example, you could use to use the concept vocabulary words in their
a small picture of a lightning bolt and clouds to represent stormy informational graphic.
weather.
Prepare Your Presentation
• Consider using the concept vocabulary words (reclusive, sinister,
ethereal) in your informational graphic. Ask students to review their informational graphic
closely once they have finished drafting it. They
2. Prepare Your Presentation When you have completed a draft of your should look for anything that might be unclear
informational graphic, review it to make sure it is accurate and visually
engaging. Revise it as necessary to make it clearer or more interesting.
and revise as necessary. Remind students to keep
Present your work to the class. As you share your graphic, keep these presentation techniques in mind while they are
presentation techniques in mind: presenting.
• Speak clearly and naturally, and avoid rushing.
Evaluate Presentations
• Refer to your graphic, but try not to read from it. Instead, glance at it,
and then make eye contact with your listeners. Remind students to refer to the presentation
evaluation guide as they are listening to their
• Do your best to avoid standing in a stiff, uncomfortable way.
classmates’ presentations. For more support,
3. Evaluate Presentations As your classmates deliver their presentations, see Speaking and Listening: Informational
listen attentively. Use a presentation evaluation guide to analyze their Graphic.
presentations.

Presentation evaluation Guide  EVIDENCE LOG
Before moving on to
Rate each statement on a scale of 1 (not demonstrated) help prepare them for the Performance-Based
to 6 (demonstrated). a new selection, go to
your Evidence Log and Assessment at the end of the unit.
The speaker used examples from Poe’s story effectively. record what you learned
from “How to Tell You’re
The speaker maintained eye contact with the audience. Reading a Gothic Novel—In FORMATIVE ASSESSMENT
Pictures.”
The speaker seemed comfortable and at ease. Speaking and Listening
• If students struggle to find main ideas for
The information was presented logically and effectively.
their infographics, then have them review the
selection for ideas.
• If students struggle to prepare their
presentation, then encourage them to practice
from How to Tell You’re Reading A Gothic Novel—In Pictures 57 aloud to themselves.
LIT17_SE10_U01_A3_WC_app.indd 57 PERSONALIZE FOR LEARNING 3/30/16 5:43 AM

Plan an Informational Graphic Conduct Taken Over.” Ask students to discuss Have students create the informational
a group discussion about how an how they would design the graphic. In graphic. Ask students to use images, text,
informational graphic conveys information. groups, students should prepare a written and symbols in their work. Bridging
Have pairs of students work together list of their notes. Emerging
to plan an informational graphic that Ask students to make a list of the elements
depicts the house described in “House they would use with a description of each.
Expanding
TEACHING PERFORMANCE TASK: WRITING FOCUS
WRITING TO SOURCES
Write an Explanatory Essay
Jump Start
• THE FALL OF THE HOUSE
OF USHER You have just read three selections having to do with the literature of fear. In
“The Fall of the House of Usher,” Edgar Allan Poe creates a chilling Gothic
• HOUSE TAKEN OVER
Ask: Where does fear come from? tale in which a brother and sister seem to be decaying along with their
• HOW TO TELL YOU’RE house. In “House Taken Over,” another brother and sister are driven from
Have students write three things they have READING A GOTHIC
their home when it is invaded by unwelcome visitors—or is it? The creators
NOVEL—IN PICTURES
learned about fear after reading “The Fall of of “How to Tell You’re Reading a Gothic Novel—In Pictures” play infographic
the House of Usher,” “House Taken Over,” and games with some scary elements of the Gothic tradition. Now, use your
“How To Tell You’re Reading a Gothic Novel– knowledge of the topic to write an explanatory essay about fear in life and
literature. In addition to references to the texts, you will incorporate an
In Pictures.” You might guide them with the
anecdote, or brief story, as evidence to support your central idea.
question How do both internal (psychological)
Tool Kit
and external (physical or situational) factors Student Model of an
contribute to fear? Explanatory Essay Assignment
Have students cite examples from the selections Use your knowledge of these texts and your own experience or
ACADEMIC observations to write an explanatory essay that answers this question:
to support their ideas.
VOCABULARY
How and when does imagination overcome reason?
As you craft your essay,
consider using some of
Support your ideas with references to the selections in Whole-Class
Write an Explanatory Essay the academic vocabulary Learning, as well as an anecdote—or brief narrative—from your own
you learned in the experience, that of someone you know, film or TV, or another literary
Make sure students understand what they are work. Present the narrative as a specific example of a general idea.
beginning of the unit.
being asked to do in the Assignment. Explain that
imagination overcoming reason contributes to the dimension
motivate
fear experienced by the characters in both “The manipulate Elements of an Explanatory Essay with Narrative Evidence
Fall of the House of Usher” and “House Taken perspective An explanatory essay explains a topic by presenting information and
Over.” psychological insights in a logical, well-ordered sequence. An effective explanatory essay
Students should complete the assignment includes the following elements:
using word processing software to take • a central point that will increase readers’ knowledge of the subject or
advantage of editing tools and features. help readers understand the subject better
• varied evidence that engages readers and clarifies ideas—An anecdote,
Elements of an Explanatory Essay  STANDARDS or brief narrative, is one type of evidence; facts examples, and textual
Writing details from literary works are other types of evidence.
with Narrative Evidence • Write informative/explanatory texts

to examine and convey ideas, concepts, • the use of transitions that clarify relationships among ideas
Remind students that an effective explanatory and information clearly and accurately
essay with narrative evidence includes a focused through the effective selection,
• precise language and correct grammar
central point, is supported by varied evidence, organization, and analysis of content. • a tone appropriate to the audience and the subject
• Write narratives to develop real or
and includes transitions that show relationships imagined experiences or events using
between ideas. effective technique, well-chosen
details, and well-structured event Analyze Writing Model UNIT
1
LAUNCH TEXT
INTRODUCTION
sequences.
MAKE IT INTERACTIVE • Produce clear and coherent Explanatory Essay Model For a model of a well- LAUNCH TEXT | EXPLANATORY MODEL
This selection is an example of an

explanatory essay. In this example,
Project “My Introduction to Gothic Literature”

the writer includes narrative, or
storytelling, elements to help explain
writing in which the development, crafted explanatory essay that incorporates nonfiction
a topic. This is the type of writing you
will develop in the Performance-Based
My Introduction to
As you read, look at the way the Gothic
writer includes both explanatory and
Literature
organization, and style are
narrative elements to convey ideas.
from the Interactive Teacher’s Edition and have

What important details does the writer
narrative, see the Launch Text, “My Introduction to

include to convey information in a
vivid way?
appropriate to task, purpose, and

students identify how the author blends elements audience. Gothic Literature.” NOTES
1
H
ow does someone fall in love with a particular kind of writing
or an author who has long departed this life? What draws us to
find in words the echoes of our own fears or longings? For those of us
lucky enough to have a literary passion, the story of how we met our
first love is probably just like tales of other first meetings—funny or
of an engaging narrative and an effective • Draw evidence from literary or

quirky, full of accident and coincidence. My literary passion is Edgar
Challenge yourself to find all the elements of an

Allan Poe, and I met him—in print—when I was fourteen years old.
2 It was just after a huge storm that had featured an alarmingly
beautiful display of lightning and wind. The power had been knocked

out, and I was sitting at a window, watching the wet night grow darker.
informational texts to support

I had been living with my grandmother for a few weeks while my
parents “figured things out.” I loved my grandmother, but I couldn’t
shake the sadness and anxiety I was feeling. The storm had been a
explanatory essay in a single piece of writing. explanatory text that uses narrative evidence in the
welcome diversion. As the clouds cleared, a fog rose and filtered the
moonlight, casting a bluish hue over the yard. The scene was moody
analysis, reflection, and research.

and solemn, but beautiful. My grandmother broke my reverie by
bustling into the room, carrying two lit candles and a book. “It’ll take
hours for the electric company to get all the way out here to fix the
power,” she said. “Why don’t you read? I’ll go find some batteries for
text. You will have the opportunity to review these

the flashlights.”
• Write routinely over extended

3 She set the book and a candle on the floor, and rushed out as
though she had to catch the batteries before they fled. I picked
up the book she had left on the floor. It was a collection of old
stories—just a paperback and not much to look at. I turned to one by
Academic Vocabulary time frames and shorter time frames

elements as you start to write your essay. LIT22_SE10_U01_LT.indd 6 20/03/21 4:34 PM
for a range of tasks, purposes, and

audiences.
Ask students how the academic vocabulary can
be used to discuss fear, imagination, and reason.
AUTHOR'S PERSPECTIVE Kelly Gallagher, M.Ed.

LIT22_SE10_U01_A_WC_PT.indd 58 20/03/21 4:55 PM
Pump up the Volume of Writing Spend some time with the most experienced writer in the class— • Share Models of Excellent Writing Show
talking to kids about why they should write--not just the teacher. students models from professional writers. As
how. Students should write more than the teacher • Model Show students that effective writing they study mentor texts, students begin to see the
can grade. To help students get the most from their extends far past correctness. Teachers can model moves a writer has made, and they can work to
writing, teachers can use techniques such as these: their writing process in short bursts, and model emulate those moves.
• Confer Teachers can achieve more in a authentic writing, whether brainstorming a topic, • Use a Rubric Experiment with changing the rubric.
two-minute conference than they can by working to add details, or revising to find the Encourage students to help you build it. This creates
spending five to seven minutes writing comments right word. buy-in when the students see that each rubric is
on a paper. Developing writers need face time personalized to some degree to their needs.

essential question : What is the allure of fear?
Prewriting / Planning Prewriting/Planning

Focus Your Ideas Remind students that the
Focus Your Ideas Think about the texts you’ve read. Consider how imagination works
in “The Fall of the House of Usher” and “House Taken Over.” Consider other examples in first step in writing an explanatory essay is
literature, popular culture, and your own life. determining the central point that the essay
will explain. For this essay, the central point
• What does imagination make the characters feel? should reflect the student’s understanding of
the relationship between imagination, reason,
• What does it make them do? and fear.
• What happens when people “let their imaginations run away with them”? Gather Evidence Have students review their
Evidence Log to find support for their central
Now, decide on your central point. What would you like to explain? Your central point should be an insight point. Remind them that for this assignment, they
into how and when imagination can overcome reason and create mindless fear. Write a sentence that states will need to be able to structure their evidence
the idea you want to explain to your readers.
in narrative form. The narrative they construct
Central Idea: to support their central point can be based
on personal experience or on other fiction or
. nonfiction sources. Any non-narrative evidence
they wish to use, such as quotations from
experts, should still fit into the narrative structure
of the essay.
Gather Evidence You have now given a lot of thought to your central
 evidence log
Connect Across Texts Make sure students
idea. It’s time to get specific. What evidence can you use to support your
Review your Evidence Log understand that although works of literature
point? Think about these possibilities:
and identify key details you
• Situations and events from “The Fall of the House of Usher,” “House are often open to some personal interpretation,
may want to cite in your
Taken Over,” and other works of fiction essay. any statements they make about an author’s
purpose or ideas should be supportable with
• Quotations from experts in psychology or sociology—people who study
details from the text. Remind students to include
fear
how the authors explore the relationships among
• A brief narrative based on your own experience or your observations imagination, reason, and fear.
of others
Including thoughts and feelings about a relevant text will help make your
essay stronger. For example, in the Launch Text, the writer explains what it
was like to first read Poe’s “The Cask of Amontillado.”

But what struck me most was how Montresor spoke directly to
the reader—to me. He expected my sympathy as he brought his
terrible revenge. Up to that point, all the stories I had ever read
had set the criminal or the lunatic at a distance. They didn’t draw  standards
me into a mind that was a truly scary place to be. This one did. Writing
—from “My Introduction to Gothic Literature” • Introduce a topic; organize complex
ideas, concepts, and information to
make important connections and
distinctions; include formatting,
Connect Across Texts As you write your essay, consider how the authors
graphics and multimedia when useful
of the selections in Whole-Class Learning explore the relationships among to aiding comprehension.
imagination, reason, and fear. Make sure that you are conveying the ideas of • Develop a topic with well-chosen,
the original text accurately. relevant, and sufficient facts,
extended definitions, concrete details,
quotations, or other information
and examples appropriate to the
audience’s knowledge of the topic.
Performance Task: Write an Explanatory Essay 59
LIT17_SE10_U01_A_WC_PT.indd 59 Personalize for Learning 3/30/16 5:35 AM
Strategic Support
Crafting a Central Idea If students are having trouble synthesizing
their ideas about the assignment prompt into a single central idea, it
may help them to think of the central idea as the topic sentence of
a paragraph. Have students think of one sentence they would use to
start a report about how and when imagination overcomes reason
and leads to fear. Help students understand that, although their
explanatory essay will use narrative evidence instead of a traditional
report structure, the topic sentence they crafted reflects their
understanding of the prompt and is therefore their central idea.
Teaching Performance Task: WriTing focus
Drafting Drafting
Identify Sources of Narrative Evidence The selections in Whole-Class
Identify Sources of Narrative Evidence Learning will provide most of your supporting evidence. However, you also
Encourage students to organize their evidence need to incorporate an anecdote as a specific example of a general idea.
before they begin to write. A graphic organizer Consider these types of sources for narrative evidence.
that shows how people behave when their • Real Life Do you have friends who imagine dangers on amusement park
imaginations overcome reason, separated by Real rides to make them scarier? Have you ever been at a sleepover where
Life, Movies, and Books, may be helpful. people were trying to scare themselves and one another? These sorts of
experiences may provide strong narrative evidence for your essay.
Connect Ideas and Evidence As students
begin to integrate their ideas and evidence, • Movies Have you seen movies about people who were in spooky
situations? How did they behave? How did their imaginations affect their
remind them that their evidence should show
decisions?
connections among imagination, reason, and
• Books Have you read books in which people faced similar dangers but
fear. They should think about the examples they
reacted in different ways? Who approached fear with reason? Who
provided from real life, media, and literature. didn’t? How did their reactions affect the outcome of events?
Maintain a Formal Style and Tone Remind
Use the chart to gather your ideas for different types of evidence you will use
students that although their essay contains in this essay.
narrative evidence, they should be careful to not
EVIDENCE WHAT IT SHOWS ABOUT IMAGINATION, REASON, FEAR
have their writing sound too casual. Students
may find it helpful to review “My Introduction to example from
Gothic Literature” as an example of a personal real life
narrative that is appropriately formal. Point out example from
that although the author’s tone is natural and media
engaging, it is not informal and she does not
use slang. example from
literature
Use Appropriate Structure Students should
make sure to start their essay by stating their Connect Ideas and Evidence Use your insights from the selections in
central point in the first paragraph. Remind Whole-Class Learning to connect to your other evidence. For example, you
students to follow appropriate structure for an might write, “In ‘House Taken Over,’ the brother and sister are afraid, but the
essay by presenting evidence and their narrative source of that fear is mysterious. The unknown can be terrifying.” You might
support this point with a real-life example, such as this: “Last year, raccoons
in a few paragraphs. When writing the conclusion
nested in our attic. At night, we heard murmurs and scurrying sounds. It was
to their essay, students should remember to terrifying, until we learned what was causing it.”

summarize their ideas and evidence to bring
 STANDARDS
Maintain a Formal Style and Tone Throughout the essay, your style and
focus back to the central point. tone should be appropriately formal, even during the section (or sections) in
Writing
• Develop the topic with well- which you relate an anecdote. Avoid the use of slang and exclamations, and
chosen, relevant, and sufficient facts, follow grammatical rules. Consider these examples.
extended definitions, concrete details,
quotations, or other information Casual Style and Tone: I figured the sounds couldn’t be anything that
and examples appropriate to the
serious, but those raccoons totally freaked me out!
audience’s knowledge of the topic.
• Establish and maintain a formal Appropriate Style and Tone: Reason told me there was no real danger,
style and objective tone while but the sounds of the raccoons terrified me anyway.
attending to the norms and
conventions of the discipline in which Use Appropriate Structure Begin your essay with a paragraph that
they are writing. draws the reader in and states your central point. Then, in a few paragraphs,
• Write narratives to develop real or
imagined experiences or events using
present your evidence, including your narrative. Finish the essay with a
effective technique, well-chosen conclusion that briefly summarizes your ideas and evidence. You may add a
details, and wellstructured event clever or thought-provoking last sentence.
sequences.
Author's
v Perspective LIT17_SE10_U01_A_WC_PT.indd
Jim Cummins,60 Ph.D. 3/31/16 10:26 PM
Writing Enhances Student teaching writing through the Performance their writing. The results hold a mirror up
Identity Writing enables students to Tasks in myPerspectives, you may want to to students that reflects their identities in a
express themselves and also to project supplement the writing instruction and positive light. Teachers can use this process in
their identities into new social spheres. This practice by helping English learners to the following ways:
process is important for students learning connect their writing to their own evolving 1. Encourage students to write about topics
English because they are often defined only identities. The term identity texts has been or issues that they truly care about or
by the fact that they are learners of English used to highlight the increased quality of that reflect thoughts or experiences that
rather than by the linguistic, cognitive, writing and motivation to write that occurs shaped their identities. Have students write
and personal talents they possess. While when students invest their identities into

ESSENTIAL qUESTION : What is the allure of fear?
LANGUAGE DEVELOPMENT: AUTHOR’S STYLE Descriptive Details

Descriptive Details Read It
Descriptive details give readers precise information about people, settings, Help students understand the impact of
events, and ideas. These details often appeal to the senses—sight, hearing, descriptive language on a text by deconstructing
smell, touch, and taste. For example, in the Launch Text, instead of writing, descriptive sentences into more basic language.
“The power went out,” the author writes: “The power had been knocked For example, point out that the sentence
out, and I was sitting at a window, watching the wet night grow darker.” describing the knitting be shortened to simply
Descriptive details in characterization help create a sense that the reader can
read, “I liked to watch her knit.” Ask students
see, hear, and even know a person or character.
which sentence they prefer. Then, ask them
Read It which one helps them visualize the scene and
understand the characters better.
In these sentences from the selections and the Launch Text, the authors use
STYLE
precise, descriptive details to portray characters, settings, and events.
• The now ghastly pallor of the skin, and the now miraculous luster of
Make your descriptions Write It
as specific as possible. For
the eye, above all things startled and even awed me. (“The Fall of the As students revise their draft, they should think
example, when writing about
House of Usher”) a car, instead of “blue car,” about details they can use in their brief story
• [I]t was pleasant to see a pile of tangled wool in her knitting basket you might write “light-blue or anecdote that will engage readers and also
fighting a losing battle for a few hours to retain its shape. (“House 1960s convertible.” support their main point. As they are filling out
Taken Over”) their charts, remind students to make their details
• As the clouds cleared, a fog rose and filtered the moonlight, casting a about people, setting, and events as descriptive
bluish hue over the yard. (“My Introduction to Gothic Literature”) as possible.
• The stories helped me see that life can be a mansion full of secrets
and dark passages, but also of beauty and light. (“My Introduction to
Gothic Literature”)
• In Poe’s descriptions, I could practically smell the dust and mold.
(“My Introduction to Gothic Literature”)
Write It
Think about the brief story or anecdote you are going to tell in your essay.
Ask yourself, “Which details will make this story come alive for readers and
support my main point about fear and imagination?” Then, fill in the chart
with details. Try to identify details that relate to senses other than sight.
DETAILS ABOUT DETAILS ABOUT DETAILS ABOUT

PEOPLE SETTING EVENTS
 STANDArDS
Writing
• Use precise language and domain-
specific vocabulary to manage the
complexity of the topic.
• Use precise words and phrases,
telling details, and sensory language
to convey a vivid picture of the
experiences, events, setting, and/or
characters.
LIT17_SE10_U01_A_WC_PT.indd 61 3/30/16 5:34 AM
their drafts in English, illustrate them, and work

with various sources, such as parents and older
students fluent in their home language, to translate
the drafts and/or final product into their home
language.
2. Publish these texts in either hard copy or digital
forms. When students share identity texts with
multiple audiences they are likely to receive
positive feedback and affirmation of self. This, in
turn, will fuel further engagement with writing.
Performance Task: WriTing focus
Revising
Evaluating Your Draft
Use the following checklist to evaluate the effectiveness of your first
draft. Then, use your evaluation and the instruction on this page to guide
your revision.
FOCUS and OrganizatiOn EvidEnCE and ElabOratiOn COnvEntiOnS
Provides an introduction that clearly Includes specific details Attends to the norms
states a central idea about how fear and descriptions to create a and conventions of the
can overcome reason. vivid picture of events and discipline, especially
characters. using descriptive details
Creates a smooth progression of and precise language.
ideas with appropriate transitions. Includes an anecdote or
brief story that supports the
Presents a strong conclusion that central idea of the essay.
follows from and reflects on the
ideas and insights in the essay. Establishes a clear point of
view.
 WORD NETWORK Revising for Focus and Organization

Include interesting words Strengthen Your Conclusion Reread your essay, making sure you have
from your Word Network in set out your central idea in the introduction, developed it thoroughly in the
your explanatory essay. body of your essay, and restated it in your conclusion. If your conclusion
seems disconnected from the rest of the essay, consider these revision
options:
• Reflect on the insights and ideas you expressed.
• Summarize your insights and ideas.
• Explain why the topic and your insights are important.
Revising for Evidence and Elaboration

Strengthen Transitions Make sure that the transitional words and phrases
you use lead your reader logically from one idea to the next, or from an
 StandardS idea to its supporting evidence. Consider this abbreviated list of transitional
Writing expressions:
• Use appropriate and varied
transitions to link the major sections To introduce an example: for example; to illustrate; in this case
of the text, create cohesion, and To introduce a second example: in addition; furthermore; similarly
clarify the relationships among
complex ideas and concepts. To indicate cause and effect: as a result; consequently; for this reason
• Provide a concluding statement
To indicate emphasis: above all; in fact; certainly
or section that follows from
and supports the information or There are numerous transitional words, phrases, and expressions in English.
explanation presented. Consult a style handbook or other resource to make sure you have chosen
• Develop and strengthen writing as
needed by planning, revising, editing, the ones that best express your meaning. Add or replace transitions in your
rewriting, or trying a new approach, essay as needed.
focusing on addressing what is most
significant for a specific purpose and
audience.

LIT17_SE10_U01_A_WC_PT.indd 62 3/30/16 5:34 AM

Modifying to Add Descriptive Details to consider the strength and specificity of the
As students revise their explanatory essays with descriptive words they have chosen. Is there a
narrative evidence, remind them to incorporate word that is more appropriate or which more
sensory words and characterization. Students accurately expresses the idea that they are trying
may want to highlight the sensory words that to convey?
appear in their first draft so they can easily see Students may expand sentences using
which parts of their essay already incorporate prepositional phrases, adverbs, and other
descriptive language, and which may be in adverbials to modify their writing. ALL LEVELS
need of more attention. Encourage students

Peer revieW
Peer Review
Exchange essays with a classmate. Use the checklist to evaluate your classmate’s essay and Before students begin the peer review, remind
provide supportive feedback. them that their classmates’ insights into the
1. Does the introduction clearly present the central point of the essay? prompt will likely differ. Students should focus
yes no If no, explain what confused you. on the organization of the essay and whether
the evidence provided supports the central idea,
2. Are the ideas and evidence, including an anecdote or other narrative, sequenced logically?
rather than evaluating the central idea itself.
yes no If no, what about the sequence did not work?
3. Does the conclusion flow directly from the writer’s insights and reflections about how fear Editing and Proofreading
can overcome reason? Although the peer review is intended mainly
yes no If no, explain what you thought was missing. to evaluate content and organization, students
can also use peer review when editing for
4. What is the strongest part of your classmate’s essay? Why?
conventions and accuracy. Remind students that
because they know what they are trying to say,
they may mentally correct unclear wording or
incorrect grammar and usage but then neglect to
do so in the actual text. An objective reviewer is
often better able to identify such oversights.
Reflecting
Encourage students to think about their
experience throughout the writing process.
Which parts of the process came naturally to
Editing and Proofreading
them, and which parts required more effort? By
Edit for Conventions Reread your draft for accuracy and consistency. considering which steps of the writing process
Correct errors in grammar and word usage. Edit to include a variety of
are most difficult or time consuming for them,
sentence structures so that your essay reads well.
students can determine how they should budget
Proofread for Accuracy Read your draft carefully, looking for errors in their time for future writing assignments.
spelling and punctuation. Quotation marks should surround a speaker’s exact
words or thoughts.
Publishing and Presenting

Create a final version of your explanatory essay. Share it with a small group
so that your classmates can read it and make comments. In turn, review and
comment on your classmates’ work. Afterward, discuss what your different
essays suggest about the ways in which one’s imagination may overcome
reason. Take turns speaking during the discussion.
Reflecting  standards
Writing
Think about what you learned while writing your essay. What did you learn Develop and strengthen writing as
about planning your draft that you would use when writing another essay? needed by planning, revising, editing,
rewriting, or trying a new approach,
What would you work to improve in your next essay? Finally, how did focusing on addressing what is most
your combining explanation with narrative evidence help you understand significant for a specific purpose and
imagination and reason better? audience.
LIT17_SE10_U01_A_WC_PT.indd 63
Personalize for Learning 3/30/16 5:34 AM
Challenge
Combining Ideas Ask students to share their presented by the students demonstrate a class
central idea statements, as they appear in their consensus or agreement about the relationship
final essay, with the class. Display the statements between fear, imagination, and reason? Challenge
for the entire class to view. Have students point students to craft a new central idea statement
out themes or trends that emerge, as well as any that reflects the combined ideas of the class.
central ideas that are unique. Do the ideas
OVERVIEW
OVERVIEW: SMALL-GROUP LEARNING
SMALL-GROUP LEARNING ESSENTIAL QUESTION:

In real life, fear is useful because it keeps us from doing dangerous things. However,
Our attraction to fear isn’t necessarily logical. there are other dimensions to fear that seem less logical. For example, what draws
What potentially terrifying circumstances do we us to go on scary roller coasters? Why do we enjoy literature, movies, and art that
actively seek out? Why do we willingly let our let us dabble in our fears? The selections you will read present different answers to
imaginations overpower our capacity for rational these questions. You will work in a group to continue exploring the allure of fear.
thought? During Small-Group Learning, students
will read and review selections that help explain
some of the physiological and psychological
Small-Group Learning Strategies
explanations for our tendency to deliberately put Throughout your life, in school, in your community, and in your career, you will
ourselves into scary situations. continue to develop strategies when you work in teams.
Review these strategies and the actions you can take to practice them. Add ideas
Small-Group Learning of your own for each step. Get ready to use these strategies during Small-Group
Strategies Learning.
Review the Learning Strategies with students and

STRATEGY ACTION PLAN
explain that as they work through Small-Group
Prepare • Complete your assignments so that you are prepared for group work.
Learning, they will develop strategies to work in
small-group environments. • Organize your thinking so you can contribute to your group’s discussion.
• Have students watch the video on Small-Group •

Learning Strategies.
Professional Development Center.
Participate fully • Make eye contact to signal that you are listening and taking in what is being said.
You may wish to discuss some action items to add
• Use text evidence.
to the chart as a class before students complete it
on their own. For example, for “Participate fully,” •
you might solicit the following from students:
• Take notes diligently so that you don’t miss

anything crucial.
Support others • Build off ideas from others in your group.
• Be sure to ask questions so you can make sure
• Invite others who have not yet spoken to do so.
you understand everything.
•
Block Scheduling
40–50 minute class period. Teachers using Clarify • Paraphrase the ideas of others to ensure that your understanding is correct.
block scheduling may combine days to reflect • Ask follow-up questions.
revise pacing to differentiate and support core •
instruction by integrating components and


Pacing Plan
Introduce
Whole-Class
LIT22_SE10_U01_B_SGO.indd 64 20/03/21 5:00 PM
Learning Media: from
How to Tell
You’re Reading
a Gothic Novel
Unit
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CONTENTS
SHORT STORY
Contents
Where Is Here?
Selections Circulate among groups as they
Joyce Carol Oates
preview the selections. You might encourage
When a mysterious stranger shows up one day at his childhood groups to discuss any knowledge they already
home, the boundaries between the past and present start to have about any of the selections or the situations
blur, or do they?
and settings shown in the photographs. Students
may wish to take a poll within their group
to determine which selections look the most
interesting.
MEDIA: PHOTO GALLERY Remind students that communicating and
from The Dream Collector collaborating in groups is an important skill that
Arthur Tress they will use throughout their lives—in school, in
their careers, and in their community.
With the help of the photographer, children re-create images
from their own bad dreams. The results are haunting yet
surprisingly beautiful.
Performance Task
Deliver an Explanatory Presentation Give
groups time to read about and briefly discuss
the presentation they will create after reading.
Encourage students to do some preliminary
INTERVIEW
thinking about the types of media they may want
Why Do Some Brains Enjoy Fear? to use. This may help focus their subsequent
Allegra Ringo reading and group discussion.
Our brain chemistry offers some clues as to why fear draws some
of us like moths to a flame.
POETRY COLLECTION
beware: do not read this poem Ishmael Reed

The Raven Edgar Allan Poe
Windigo Louise Erdrich
Three different poets offer three different poems that shed light
on the shadows in our imaginations.
PERFORMANCE TASK
SPEAKING AND LISTENING FOCUS
Deliver an Explanatory Presentation
The Small-Group readings deal with our fears and how we may sometimes invite
fear into our lives. After reading, you will produce a presentation on why we
sometimes enjoy letting our imaginations get the best of us.
Overview: Small-Group Learning 65
Introduce Introduce
LIT17_SE10_U01_B_SGO.indd 65
Small-Group 3/23/16 2:03 PM
Independent
Learning Learning
• beware: do not
Media: from read this poem
The Dream Why Do Some • The Raven Independent Performance-Based
Where Is Here? Collector Brains Enjoy Fear? Performance Task Learning Assessment
• Windigo
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
small-group learning
Small-Group Learning 65
overview
OVERVIEW: SMALL-GROUP LEARNING
Working as a Team
Working as a Team 1. Choose a topic In your group, discuss the following question:
1. Choose a Topic Remind groups to let all Does the emotion of fear make us stronger or weaker?
members share their responses. You may wish As you take turns sharing your responses, be sure to provide details to
to set a time limit for this discussion. explain your position. After all group members have shared, discuss some
of the circumstances in which fear might make us stronger or weaker.
2. List Your Rules You may want to have groups
share their lists of rules and consolidate them
2. List Your Rules As a group, decide on the rules that you will follow as
into a master list to be followed by all groups. you work together. Samples are provided; add two more of your own.
3. Apply the Rules As you circulate among the As you work together, you may add or revise the rules based on your
groups, ensure that students are staying on experience working together.
task and followng their list of rules. • Everyone should participate in group discussions.
4. Name Your Group This task can be creative • People should not interrupt.
and fun. Encourage groups to share their

names with the class. •
5. Create a Communication Plan Encourage

groups to include in their plans agreed-upon
times during the day to share ideas. They •
should also devise a method for recording and
saving their communications.
3. Apply the Rules Share what you have learned about the literature of
Accountable Talk fear. Make sure each person in the group contributes. Take notes and be
Remind students that groups should prepared to share with the class one thing that you heard from another
communicate politely. You can post these member of your group.
Accountable Talk suggestions and encourage
students to add their own. Students should: 4. Name Your Group Choose a name that reflects the unit topic.
Remember to . . . Our group’s name:

Listen actively to the ideas of others.

Which looks like . . . 5. Create a Communication Plan Decide how you want to communicate
Ask and answer questions and track the speaker. with one another. For example, you might use online collaboration tools,
email, or instant messaging.
Remember to . . .
Summarize the ideas of others. Our group’s decision:
Which sounds like . . .

To summarize, I heard ____ say ____.
Remember to . . .
Reflect on the ideas of others.
Which sounds like . . .
When ____ said ____ it made me think of ____.
Facilitating Small-Group learning Author's

LIT17_SE10_U01_B_SGO.indd 66 Perspective Kelly Gallagher, M.Ed. 3/23/16 2:03 PM
Forming Groups Meaningful Talk Instead of asking • See the Relevance in Reading:
You may wish to form groups for Small-Group Learning so that teacher‑directed questions that lead Teachers have students read great
each consists of students with different learning abilities. Some students to see specific elements, give the works of literature to give students
students may be adept at organizing the group’s activities power back to the students. Help them an opportunity to think deeply about
whereas others may have strengths related to synthesizing find their own big ideas and support them issues that will affect their lives.
information. A good mix of abilities can make Small-Group by building in talk opportunities. Use these Asking students “What is worth
Learning dynamic and productive. two strategies to help students achieve talking about here?” helps them find
deeper comprehension.

Making a Schedule Making a Schedule

First, find out the due dates for the Small-Group activities. Then, preview
the texts and activities with your group, and make a schedule for
Encourage groups to preview the reading and
completing the tasks. media selections and to estimate how much
time to give to their group’s various activities
that accompany each selection. Point out that
SELECTION ACTIVITIES DUE DATE
the due dates for particular selections are flexible
and can be adjusted as needed as they work on
Where Is Here? their small-group projects; however, they must
complete all assigned tasks before the Small-
Group Performance Task is due. Encourage
groups to review their schedules upon completing
the activities for each selection to make sure they
The Dream Collector
are on track to meet the final due date.
Working on Group Projects

Why Do Some Brains Enjoy Fear? Point out to groups that the roles they assign
can also be changed later. Students might
have to make changes based on who is best
beware: do not read this poem at doing what.
The Raven Also, you should review the roles each
group assigns to its members. Based on your
Windigo
understanding of the abilities of individual
students, you might suggest some changes.
Working on Group Projects

As your group works together, you’ll find it more effective if each person has
a specific role. Different projects require different roles. Before beginning a
project, discuss the necessary roles, and choose one for each group member.
Here are some possible roles; add your own ideas.
Project Manager: monitors the schedule and keeps everyone on task

Researcher: organizes research activities
Recorder: takes notes during group meetings
Overview: Small-Group Learning 67
LIT22_SE10_U01_B_SGO.indd 67 20/03/21 5:00 PM
themes and interpretations and get to the heart of the class discussion, have the first student share one
the unit theme. comment or question. The next student can answer
• One Question; One Comment Strategy: To get the question, respond to the comment, or build
students to revisit a chapter or passage they find on the discussion with his or her own question or
particularly challenging and generate an in-depth comment. Continue the process until everyone in
discussion of the text, teachers can ask students to class has participated.
come to class with one question and one comment Using these strategies will lessen student dependence on
generated from their reading assignment. During the teacher and so help to build independence.
PLANNING SMALL- GROUP LEARNING • WHERE IS HERE?
Where Is Here?
Audio summaries of Summary
“Where Is Here?” are available
in both English and Spanish and Joyce Carol Oates’s short story “Where Is Here?” is set on a quiet residential street,
can be assigned to students in just before dinnertime on a chilly November evening. The father in the story answers
the Interactive Teacher’s Edition the door to a stranger, who says he lived in the house when he was a child many
or Unit Resources. Assigning years before. The stranger asks if he might look around outside for awhile. The
these summaries prior to reading father watches him from a window, but the mother invites the stranger into the
the selection may help students house. As he goes from room to room, the stranger is amazed by the changes, but
build additional background seems equally astonished by parts of the house that haven’t changed at all. The visit
becomes awkward when the stranger stays too long and slowly inspects everything
their first read.
in each room. He walks upstairs and goes directly to the son’s room—the stranger’s
old room—where he introduces himself to the son and looks around. While still in
the son’s room, the stranger draws a complex and mysterious mathematical riddle,
telling the boy that he can surprise his teacher with it. After several more minutes,
the father finally tells the stranger that it is time to go. When the stranger is gone,
the family and the home seem to have changed.
Insight
The source of terror may be a familiar face. Reading “Where Is Here?” will help students
begin to really understand that horror often comes from within. A stranger from outside
seems to represent a threat, when, in truth, the threat has been inside the house all
the time.
Essential question:
of fear? “Where Is Here?” provides a domestic perspective on the Essential
Question, “What is the allure of fear?” Students will be intrigued and
repulsed by the stranger’s hints of a childhood marred by abuse, just
as they will be by the actions and temper of the father, suggesting that
abuse continues in the house today. Joyce Carol Oates deftly raises the
readers’ radar for horror with a basement that is off limits and that was
clearly the site of terror for the stranger as a child.
Small Group
In literature, how does Small Group Performance Task In this Performance Task, students
a sense of uncertainty will use narrative evidence from this module’s selections to explain
help to create an how being unsure of what is really happening can help to create
atmosphere of fear? an atmosphere of fear. “Where Is Here?” provides evidence of this
Unit Performance-Based phenomenon in that readers start out trusting the father and mother to
Assessment be what they seem—the normal parents of a middle-class family—but
In what ways does are soon faced with the idea that they may be hiding a dark secret. It is
transformation play a Oates’s hints and suggestions, and never providing a concrete source of
role in stories meant to fear, that create the frightening mood of this story.
scare us? Unit Performance-Based Assessment This selection speaks to the role
of transformation in scary stories in a number of ways. The stranger
transforms from a quiet, polite man to a wounded, emotional wreck
who is quite possibly a ghost. The father in the story, transforms from
a reserved, but genial man into a monster—an angry, violent man. His
transformation is particularly frightening because his mask of normality
is stripped away to reveal his true nature.

DIGITAL
LESSON RESOURCES

Lesson First Read Concept Vocabulary Writing to Sources
Close Read Author’s Style
Instructional Standards RL.9–10.10 By the end of grade 10, L.9–10.2.c Spell correctly. W.9–10.3 Write narratives to
read and comprehend literature . . . develop real or imagined experiences or
L.9–10.4.b Identify and correctly use
events . . .
L.9–10.4.a Use context (e.g., the overall patterns of words changes . . .
meaning . . .) as a clue . . .
RL.9–10.3 Analyze how complex
RL.9–10.5 Analyze how an author’s characters (e.g., those with multiple or
choices . . . conflicting motivations) develop . . .
L.9–10.4 Determine or clarify the
meaning of unknown and multiple-
meaning words and phrases . . .
STUDENT RESOURCES
Available online in the Selection Audio Word Network Evidence Log
Interactive Student Edition
or Unit Resources First-Read Guide: Fiction
Close-Read Guide: Fiction
TEACHER RESOURCES
Selection Resources
udio Summaries: English and
C Writing to Sources: Narrative
Spanish Word Study
Edition or Unit Resources Annotation Highlights uthor’s Style: Character
A
Development
Accessible Leveled Text
E nglish Language Support Lesson:
Spanish Translation Dialogue
Text Questions
A
Literary Style
A Word Study: Adverbs (RP) Writing to Sources: Narrative (RP)
Literary Style (RP)
Interactive Teacher’s uthor’s Style: Character
A
Edition or Unit Resources Development (RP)
Assessment
Available online in
My Resources
Where Is Here? 68B

personalize for learning small- group learning • WHERE IS HERE?
Reading Support
Text Complexity Rubric: Where Is Here?
Knowledge Demands Experience portrayed will not be common to readers but is presented in a relatively straightforward
1 2 3 4 5 way. (Mysterious stranger wishes to explore his childhood home.)
Structure Chronological organization. Straightforward account with some dialogue that is easy to follow.
1 2 3 4 5
Language Conventionality and Clarity Some complex sentence structure and quite a few ambiguous exchanges, including philosophical ideas
1 2 3 4 5 and riddles. Unconventional dialogue; often more than one character speaks in the same paragraph.
Levels of Meaning/Purpose Obscure purpose. Meaning is ambiguous. Supernatural elements. The reader is left to determine if
1 2 3 4 5 some or all of the characters are ghosts.
Decide and Plan

language and meaning as they read the to ensure that they can successfully read with ideas for how they can go beyond a
selection. the text. simple interpretation of the text.
Language Students may need help with Language Students may have difficulty Text Analysis Have students describe the
the unconventional use of dialogue in the with the philosophical language and way the author builds tension throughout
story. Explain that the author often has riddles. Explain the meaning of the riddles the story. How does the dynamic between
more than one character speak in the same “What creature walks on four legs in the the stranger and the man change
paragraph. Have students reread aloud to morning, two legs at midday, three legs in throughout the story? What is the final
determine which character is speaking. the evening?” (a human being); “What is impression of the couple and their family?
Meaning/Purpose Work with students to round and flat, measuring mere inches in Written Response Have students write
help them find clues as to why the stranger one direction, and infinity in the other?” (a a paragraph explaining what makes this
is visiting and what memories the house watch). story Gothic. How does the author rely
holds for him. For example, “This was one Meaning Discuss with students the on the reader’s imagination to make the
of my happy places!—at least when father fact that the author leaves out a lot of story scary?
wasn’t home.” Discuss what it means to information and readers must fill in the
have a “happy place” and why he might missing information. Point out clues the
have needed one. After students read, author includes, for example when the
engage them in a discussion and challenge stranger states “We’ve all been dead . . . a
them to find textual evidence to support long time.”
their opinions.
TEACH
Read and Respond

Have groups read the selection and complete the Making Meaning and Language Development
activities.

IDENTIFY NEEDS
Analyze results of the
Beginning-of-Year Assessment,
focusing on the items DECIDE AND PLAN
relating to Unit 1. Also take
into consideration student
your observations of where • If students have done well on the Beginning-of-Year Assessment, then challenge them to
particular students struggle. keep progressing and learning by giving them opportunities to practice the skills in depth.
• Use the Selection Resources listed on the Planning pages for “Where Is Here?” to help
Instructional Standards: Where Is Here?

Reading You may wish to administer RL.3 Analyze how complex Have students pick a character
the Author’s Style: Character characters develop over the from the selection and write
ANALYZE AND REVISE Development (RP) worksheet course of a text, interact a paragraph that includes
to help students understand with other characters, and dialogue appropriate for the
how an author uses dialogue advance the plot or develop character.
• Analyze student work for
to show what motivates the theme.
evidence of student learning. characters.
Have students analyze and
RL.5 Analyze how an discuss the subtleties and
• Identify whether or not You may wish to administer the nuances of various word
author’s choices concerning
students have met the Analyze Craft and Structure: how to structure a text, choices. What feeling do the
expectations in the standards. Literary Style (RP) worksheet order events within it, and words create?
to help students understand manipulate time create such
• Identify implications for future how an author’s choices create effects as mystery, tension, or
instruction. mystery and tension in gothic surprise.
literature.
Writing You may wish to administer the W.3 Write narratives to Have students peer edit to
Writing to Sources: Narrative develop real or imagined make sure that narratives stay
(RP) worksheet to help experiences or events using true to the characterizations,
students understand how to effective technique, well- style, and tone of the story.
write a well-structured narrative chosen details, and well-
with developed characters. structured event sequences.
TEACH
Implement the planned lesson,
Language You may wish to administer the L.4.b Identify and correctly Have students identify adverb
and gather evidence of student Word Study: Adverbs (RP) use patterns of word changes use in the selection and
learning. worksheet to help students that indicate different describe how the adverb is
understand how adverbs meanings or parts used as a modifier.
modify, or describe, a verb, an of speech.
adjective, or another adverb.
Where Is Here? 68D

Facilitating MAKING MEANING
About the Author

Where Is Here?
Jump Start Concept Vocabulary
As you perform your first read of “Where Is Here?” you will encounter the
First Read Have students discuss childhood following words.
memories—both good and bad—and share
their thoughts about revisiting years later the gregarious amiably stoical
places where those events occurred. Joyce Carol Oates
(b. 1937) began writing Context Clues If these words are unfamiliar to you, try using context
Ask students to imagine moving to a different
novels at age fourteen when clues—other words and phrases that appear in the text—to help you
home. What do they think they might find if she received a typewriter as a determine their meanings. There are various types of context clues that may
they went back to the original house years gift. In 1960, she graduated help you as you read. This box shows three examples.
later? What might be the same? What might first in her class from
have changed? Syracuse University. Oates, Synonyms: The recent dearth of milk has resulted in a shortage of
who teaches at Princeton other dairy products.
University, is famous for
having wide-ranging Elaborating Details: During her campaign, the senator was positively
monomaniacal, speaking passionately about one issue and one
Where Is Here? interests. She has written
novels, short stories, poetry, issue only.
What are some of the ways people react in the plays, and essays in many
Contrast of Ideas: The shallowness of the second speech made the
presence of a stranger? If a stranger came to your different styles and genres.
profundity of the first even more evident.
home and asked to come in and look around, Her writing often combines
the small matters of everyday
how would you respond? At what point might Apply your knowledge of context clues and other vocabulary strategies to
life with violence and horror.
you become uncomfortable? Modeling the determine the meanings of unfamiliar words you encounter during your
questions readers might ask as they read “Where first read.
Is Here?” for the first time brings the text alive
for students and connects it to the Small-Group
Performance Task assignment. Selection audio First Read FICTION
and print capability for the selection are available Apply these strategies as you conduct your first read. You will have an
in the Interactive Teacher’s Edition. opportunity to complete a close read after your first read.
Concept Vocabulary
Encourage groups to discuss the three concept NOTICE whom the story is ANNOTATE by marking
vocabulary words and share their knowledge of

about, what happens, where vocabulary and key passages
each one. Ask groups to look closely at the words and when it happens, and why you want to revisit.
and to consider the events surrounding each those involved react as
 STANDARDS
unknown word. Then, have students think about they do.
Reading Literature
By the end of grade 10, read and
the feeling the author is trying to express. comprehend literature, including
stories, dramas, and poems at the
high end of the grades 9–10 text CONNECT ideas within RESPOND by completing
First Read complexity band independently and the selection to what you the Comprehension Check and
proficiently. already know and what you by writing a brief summary of
Students should perform the steps of the first Language have already read. the selection.
• Determine or clarify the meaning
read independently. of unknown and multiple-meaning
words and phrases based on grades
NOTICE: You may want to encourage students 9–10 reading and content, choosing
to notice the interactions between the father, the flexibly from a range of strategies.
mother, and the stranger, and how they develop • Use context as a clue to the
meaning of a word or phrase.
throughout the story.
ANNOTATE: Remind students to mark passages 68 UNIT 1 • INSIDE THE NIGHTMARE
that offer insights about the stranger.
CONNECT: Encourage students to go beyond the
text to make connections to experiences they may
have had with strangers who came to the door. Author's Perspective
LIT17_SE10_U01_B1_SG.indd 68 Jim Cummins, Ph.D. 3/31/16 10:35 PM
RESPOND: Students will answer questions and Literacy Engagement Academic language is the texts they have read in myPerspectives as well
write a summary to demonstrate understanding. found primarily in printed text rather than in as other selections of their choice. Teachers can
Point out to students that while they will always everyday conversation. Thus, when students help make texts more meaningful to students in
complete the Respond step at the end of the have abundant access to printed texts and the following ways:
first read, the other steps will probably happen engage actively with these texts, they have far • Scaffold Meaning: Visuals such as illustrations
somewhat concurrently. You may wish to print greater opportunities to broaden their vocabulary and graphic organizers in the text enhance
knowledge and develop strong reading students’ understanding. Students who are
copies of the First-Read Guide: Fiction for
comprehension skills. Students’ engagement will
students to use. be enhanced when they discuss in small groups

SHORT STORY
Concept Vocabulary
GREGARIOUS If groups are struggling to define
the word gregarious in paragraph 1, point out
that they can use context clues to determine
its meaning. These clues will help students
determine which meaning is being used. Point
out the clue that the father is generally calm and
quiet. This will help students determine that the
meaning of gregarious may not be “loud and
boisterous,” but rather simply “more talkative.”
Where Is Here? Joyce Carol Oates

Possible response: Gregarious must mean
“sociable or friendly.”
AMIABLY If groups are struggling to define the
word amiably in paragraph 1, point out that they
BACKGROUND can use context clues to determine its meaning.
The novels of Ann Radcliffe, an English writer, and the short stories of Edgar Point out that the root base word amiable
Allan Poe inspired Joyce Carol Oates to write Gothic literature. “Horror is a has many meanings, which include “friendly,
fact of life,” she has said. “As a writer I’m fascinated by all facets of life.” agreeable, and pleasant.” The father’s words to
In this story, Oates highlights the uncertainty and potential danger that lurk the stranger and the fact that he has invited him
under the surface of everyday events. to look around his home provide clues to the
intended meaning in the text.
1
F or years they had lived without incident in their house in a

quiet residential neighborhood when, one November evening at
dusk, the doorbell rang, and the father went to answer it, and there
NOTES Possible response: Amiably means “pleasantly.”
on his doorstep stood a man he had never seen before. The stranger
apologized for disturbing him at what was probably the dinner hour
and explained that he’d once lived in the house—“I mean, I was a
child in this house”—and since he was in the city on business he
thought he would drop by. He had not seen the house since January
1949 when he’d been eleven years old and his widowed mother had
sold it and moved away but, he said, he thought of it often, dreamt
of it often, and never more powerfully than in recent months. The Mark context clues or indicate
father said, “Would you like to come inside for a few minutes and another strategy you used that
helped you determine meaning.
look around?” The stranger hesitated, then said firmly, “I think I’ll
gregarious (gruh GAIR ee uhs)
just poke around outside for a while, if you don’t mind. That might
adj.
be sufficient.” He was in his late forties, the father’s approximate age.
MEANING:
He wore a dark suit, conservatively cut; he was hatless, with thin
silver-tipped neatly combed hair; a plain, sober, intelligent face and
frowning eyes. The father, reserved by nature, but genial and even
gregarious when taken unaware, said amiably, “Of course we don’t amiably (AY mee uh blee) adv.
mind. But I’m afraid many things have changed since 1949.” MEANING:
2 So, in the chill, damp, deepening dusk, the stranger wandered
around the property while the mother set the dining room table and
the father peered covertly out the window. The children were upstairs
in their rooms. “Where is he now?” the mother asked. “He just went
into the garage,” the father said. “The garage! What does he want in
Where Is Here? 69
LIT22_SE10_U01_B1_SG.indd 69
learning English can also use electronic translators and bilingual dictionaries to gain access to 20/03/21 5:02 PM
the meaning of words or phrases.

• Connect to Students’ Lives: It is important to activate students’ pre-existing knowledge
so that they can relate new information to what they already know. English learners can use
their first language as a resource to help them extend their English academic skills (e.g., by
brainstorming in groups, writing in the first language as a stepping stone to writing in English,
and carrying out Internet research in their first language).
• Extend Language: Teachers can extend students’ academic language skills by consistently
and explicitly drawing attention to new words, unusual syntax, and other textual features that
are not found in everyday conversation.
Facilitating
there?” the mother said uneasily. “Maybe you’d better go out there
NOTES with him.” “He wouldn’t want anyone with him,” the father said. He
Closer look moved stealthily to another window, peering through the curtains.
A moment passed in silence. The mother, paused in the act of setting
Analyze Characterization down plates, neatly folded paper napkins, and stainless-steel cutlery,
Circulate among groups as students conduct said impatiently, “And where is he now? I don’t like this.” The father
their close read. Suggest that groups read said, “Now he’s coming out of the garage,” and stepped back hastily
paragraph 3. Encourage them to talk about from the window. “Is he going now?” the mother asked. “I wish I’d
the annotations that they mark. If needed, answered the door.” The father watched for a moment in silence then
provide the following support. said, “He’s headed into the backyard.” “Doing what?” the mother
asked. “Not doing anything, just walking,” the father said. “He seems to
Annotate: Have students mark details in have a slight limp.” “Is he an older man?” the mother asked. “I didn’t
paragraph 3 where the mother describes the notice,” the father confessed. “Isn’t that just like you!” the mother said.
stranger, or work with small groups to have 3 She went on worriedly, “He could be anyone, after all. Any kind
students participate while you highlight them of thief, or mentally disturbed person, or even murderer. Ringing our
together. doorbell like that with no warning and you don’t even know what he
looks like!”
Question: Guide students to consider 4 The father had moved to another window and stood quietly
what these details might tell them. Ask what watching, his cheek pressed against the glass. “He’s gone down to
a reader can infer about the mother from the old swings. I hope he won’t sit in one of them, for memory’s sake,
the author’s details, and accept student and try to swing—the posts are rotted almost through.” The mother
responses. drew breath to speak but sighed instead, as if a powerful current of
feeling had surged through her. The father was saying, “Is it possible
Possible response: The mother jumps to
he remembers those swings from his childhood? I can’t believe they’re
conclusions as she imagines frightening things
that could be true about the stranger whom actually that old.” The mother said vaguely, “They were old when
they had never met before today, based on his we bought the house.” The father said, “But we’re talking about forty
actions and appearance. years or more, and that’s a long time.” The mother sighed again,
involuntarily. “Poor man!” she murmured. She was standing before
Conclude: Help students formulate her table but no longer seeing it. In her hand were objects—forks,
conclusions about the importance of these knives, spoons—she could not have named. She said, “We can’t bar the
details in the text. Ask students why the door against him. That would be cruel.” The father said, “What? No
author might have included these details. one has barred any door against anyone.” “Put yourself in his place,”
Possible response: Through the words of the mother said. “He told me he didn’t want to come inside,” the father
the mother, the author helps the reader to said. “Oh—isn’t that just like you!” the mother said in exasperation.

understand her near hysterical response to the 5 Without a further word she went to the back door and called out
stranger. Characterizing the mother as fearful for the stranger to come inside, if he wanted, when he had finished
then serves to build suspense for the reader. looking around outside.
Remind students that characterization 6 They introduced themselves rather shyly, giving names, and
is the way a writer develops and reveals a forgetting names, in the confusion of the moment. The stranger’s
character’s personality and temperament. handshake was cool and damp and tentative. He was smiling
One of the ways in which an author shows hard, blinking moisture from his eyes; it was clear that entering his
us a character’s traits is by presenting the childhood home was enormously exciting yet intimidating to him.
character’s words and thoughts. It’s up to Repeatedly he said, “It’s so nice of you to invite me in—I truly hate
the reader to make inferences and draw to disturb you—I’m really so grateful, and so—” But the perfect word
conclusions about a character based on the eluded him. As he spoke his eyes darted about the kitchen almost like
indirect clues the writer provides. eyes out of control. He stood in an odd stiff posture, hands gripping
the lapels of his suit as if he meant to crush them. The mother,
Facilitating Small-Group Close Reading

LIT17_SE10_U01_B1_SG.indd 70 3/1/16 3:39 AM
CLOSE READ: Short Story As groups perform • If a group is confused about why particular
the close reading, circulate and offer support as events are important, remind them to think
needed. about the time period and social norms
• Remind groups that when they read a short reflected in the selection.
story they should be sure to identify the main • Challenge groups to determine the theme
characters and plot. of the text and the specific details that refine
the theme.

meaning to break the awkward silence, spoke warmly of their
satisfaction with the house and with the neighborhood, and the father NOTES
concurred, but the stranger listened only politely, and continued to

Closer look
stare, and stare hard. Finally he said that the kitchen had been so
changed—”so modernized”—he almost didn’t recognize it. The floor Analyze Simile
tile, the size of the windows, something about the position of the Circulate among groups as students conduct
cupboards—all were different. But the sink was in the same place of their close read. Suggest that groups read
course; and the refrigerator and stove; and the door leading down to paragraph 10. Encourage them to talk about
the basement—“That is the door leading down to the basement, isn’t the annotations that they mark. If needed,
it?” He spoke strangely, staring at the door. For a moment it appeared provide the following support.
he might ask to be shown the basement but the moment passed,
fortunately—this was not a part of their house the father and mother Annotate: Have students mark details in
would have been comfortable showing to a stranger. paragraph 10 that describe the effects of the
7 Finally, making an effort to smile, the stranger said, “Your kitchen mother turning on the lights, or work with
is so—pleasant.” He paused. For a moment it seemed he had nothing small groups to have students participate
further to say. Then, “A—controlled sort of place. My mother— When while you highlight them together.
we lived here—” His words trailed off into a dreamy silence and
the mother and father glanced at each other with carefully neutral Question: Guide students to consider what
expressions. these details might tell them. Ask what a
8 On the windowsill above the sink were several lushly blooming reader can infer about the stranger’s reaction
African violet plants in ceramic pots and these the stranger made a from the author’s word choice, and accept
show of admiring. Impulsively he leaned over to sniff the flowers— student responses.
“Lovely!”—though African violets have no smell. As if embarrassed, Possible response: The stranger is taken aback
he said, “Mother too had plants on this windowsill but I don’t recall by the light of the chandelier, as he exclaims
them ever blooming.” “in surprise” which further emphasizes his
9 The mother said tactfully, “Oh, they were probably the kind that impression and recollection of the room as
don’t bloom—like ivy.” always being dark.
10 In the next room, the dining room, the stranger appeared to be
even more deeply moved. For some time he stood staring, wordless. Conclude: Help students formulate
With fastidious slowness he turned on his heel, blinking, and conclusions about the importance of these
frowning, and tugging at his lower lip in a rough gesture that must details in the text. Ask students why the
have hurt. Finally, as if remembering the presence of his hosts, and author might have included these details.
the necessity for some display of civility, the stranger expressed his Possible response: The author highlights the
admiration for the attractiveness of the room, and its coziness. He’d brightness of the chandelier to contrast the
remembered it as cavernous, with a ceiling twice as high. “And stranger’s remembrance of the room as “Dark
dark most of the time,” he said wonderingly. “Dark by day, dark by by day, dark by night.” The simile that compares
night.” The mother turned the lights of the little brass chandelier the shadows from the light to “ragged ghosts”
to their fullest: shadows were dispersed like ragged ghosts and may foretell the stranger’s true nature.
the cut-glass fruit bowl at the center of the table glowed like an
Figurative language is language that is
exquisite multifaceted jewel. The stranger exclaimed in surprise. He’d
used imaginatively rather than literally and
extracted a handkerchief from his pocket and was dabbing carefully
includes one or more figures of speech.
at his face, where beads of perspiration shone. He said, as if thinking
aloud, still wonderingly, “My father was a unique man. Everyone
Remind students that a simile is a figure
who knew him admired him. He sat here,” he said, gingerly touching of speech that compares two apparently
the chair that was in fact the father’s chair, at one end of the table. unlike things by using like or as. Similes,
“And Mother sat there,” he said, merely pointing. “I don’t recall my along with metaphors, reveal the surprising
own place or my sister’s but I suppose it doesn’t matter. . . . I see you ways in which things that seem dissimilar
have four place settings, Mrs. . . . ? Two children, I suppose?” “A boy are often alike.
Where Is Here? 71
LIT17_SE10_U01_B1_SG.indd 71 VOCABULARY DEVELOPMENT 3/23/16 10:45 AM
Concept Vocabulary Reinforcement Students Both drivers shook hands amiably, although each Possible response: they were acting sociably,
will benefit from additional examples to practice believed the other caused the accident; this means enjoying the company of others.
the concept vocabulary words. Reinforce their they acted in an agreeable way. 2. The stoical expression on the teacher’s face was
comprehension with “show-you-know” sentences. Then give students these sentence prompts and caused by the class not doing the homework;
The first part of the sentence uses the vocabulary coach them in creating the clarification part: __________.
word in context. The second part clarifies the first. 1. The gregarious party-goers held a lively
Model the strategy with this example for amiably: Possible response: the teacher’s face showed no
conversation; __________. emotion regarding the class’s behavior.
Facilitating
eleven, and a girl thirteen,” the mother said. The stranger stared not
NOTES at her but at the table, smiling. “And so too we were—I mean, there
Closer look were two of us: my sister and me.”
11 The mother said, as if not knowing what else to say, “Are you—
Analyze Setting close?”
Circulate among groups as students conduct 12 The stranger shrugged, distractedly rather than rudely, and moved
the close read. Suggest that groups read on to the living room.
paragraph 13. Encourage them to talk about 13 This room, cozily lit as well, was the most carefully furnished
the annotations that they mark. If needed, room in the house. Deep-piled wall-to-wall carpeting in hunter green,
provide the following support. cheerful chintz1 drapes, a sofa and matching chairs in nubby heather
green, framed reproductions of classic works of art, a gleaming gilt-
Annotate: Have students mark details in framed mirror over the fireplace: wasn’t the living room impressive
paragraph 13 that describe the setting, or as a display in a furniture store? But the stranger said nothing at first.
work with small groups to have students Indeed, his eyes narrowed sharply as if he were confronted with a
participate while you highlight them together. disagreeable spectacle. He whispered, “Here too! Here too!”
14 He went to the fireplace, walking, now, with a decided limp; he
Question: Ask what a reader can infer drew his fingers with excruciating slowness along the mantel as if
about the author’s description of the setting, testing its materiality. For some time he merely stood, and stared, and
and accept student responses. listened. He tapped a section of wall with his knuckles—“There used
Possible response: The details about the setting to be a large water stain here, like a shadow.”
provide the reader with an image of a nicely 15 “Was there?” murmured the father out of politeness, and “Was
furnished and comfortable living room. This there!” murmured the mother. Of course, neither had ever seen a
description may cause the reader to infer that water stain there.
the stranger’s impressions are not accurate, since 16 Then, noticing the window seat, the stranger uttered a soft
his reaction is described as being “confronted surprised cry, and went to sit in it. He appeared delighted: hugging
with a disagreeable spectacle.” his knees like a child trying to make himself smaller. “This was one
of my happy places! At least when Father wasn’t home. I’d hide
Conclude: Help students formulate away here for hours, reading, daydreaming, staring out the window!
conclusions about the importance of these Sometimes Mother would join me, if she was in the mood, and
details and ask why the author might have we’d plot together—oh, all sorts of fantastical things!” The stranger
included these details. remained sitting in the window seat for so long, tears shining in his
Possible response: The setting contributes to eyes, that the father and mother almost feared he’d forgotten them.
the tone of the piece as a seemingly ordinary He was stroking the velvet fabric of the cushioned seat, gropingly
family is interrupted by a mysterious stranger. touching the leaded windowpanes. Wordlessly, the father and mother

In its description of normality, it serves to create exchanged a glance: who was this man, and how could they tactfully
even more of a conflict for the stranger who get rid of him? The father made a face signaling impatience and the
portrays his old home as difficult or dreary. mother shook her head without seeming to move it. For they couldn’t
Remind students that the setting is the time be rude to a guest in their house.
and place of the action in a literary work. 17 The stranger was saying in a slow, dazed voice, “It all comes back
to me now. How could I have forgotten! Mother used to read to me,
Sometimes the setting can also serve a more
and tell me stories, and ask me riddles I couldn’t answer. ‘What
important function. Setting can be the force
creature walks on four legs in the morning, two legs at midday, three
that the protagonist struggles against, and thus
legs in the evening?’ ‘What is round, and flat, measuring mere inches
the source of a story’s conflict. In some works,
in one direction, and infinity in the other?’ ‘Out of what does our life
the setting even serves as a symbol, representing arise? Out of what does our consciousness arise? Why are we here?
an important theme or motif. Where is here?’”
1. chintz n. printed cotton fabric used especially for curtains and upholstery.

Strategic Support
Plot Explain to students that the turning point had a break from reality. Take note of indicators
in the story occurs at the end of paragraph 17. leading up to this paragraph, such as when the
The stranger recalls strange riddles his mother stranger lingered at the window seat with “tears
asked of him as a child, including the question shining in his eyes” and as the couple becomes
represented by the title of the story, “Where is increasingly irritated by his distractibility, leading up
here?” These odd musings seem to reinforce the to the point where he finally speaks of the riddles
reader’s acknowledgement that the stranger has in a “slow, dazed voice.”

18 The father and mother were perplexed by these strange words
and hardly knew how to respond. The mother said uncertainly, NOTES
“Our daughter used to like to sit there too, when she was younger.
Closer look
It is a lovely place.” The father said with surprising passion, “I hate
riddles—they’re moronic some of the time and obscure the rest of Infer Motivation
the time.” He spoke with such uncharacteristic rudeness, the mother Circulate among groups as students conduct
looked at him in surprise. their close read. Suggest that groups read
19 Hurriedly she said, “Is your mother still living, Mr. . . . ?” “Oh no. paragraphs 19 and 20. Encourage them to
Not at all,” the stranger said, rising abruptly from the window seat, and talk about the annotations that they mark. If
looking at the mother as if she had said something mildly preposterous. needed, provide the following support.
“I’m sorry,” the mother said. “Please don’t be,” the stranger said. “We’ve
all been dead—they’ve all been dead—a long time.” Annotate: Have students mark details
20 The stranger’s cheeks were deeply flushed as if with anger and his in paragraphs 19 and 20 that describe the
breath was quickened and audible. stranger’s description of his family.
21 The visit might have ended at this point but so clearly did the
stranger expect to continue on upstairs, so purposefully, indeed Question: Guide students to consider what
almost defiantly, did he limp his way to the stairs, neither the father these details might tell them. Ask what a
nor the mother knew how to dissuade him. It was as if a force of reader can infer about the stranger from these
nature, benign at the outset, now uncontrollable, had swept its way details, and accept student responses.
into their house! The mother followed after him saying nervously, Possible response: The stranger thinks it
“I’m not sure what condition the rooms are in, upstairs. The “preposterous” that his mother would still be
children’s rooms especially—” The stranger muttered that he did alive and then corrects himself when saying
not care in the slightest about the condition of the household and “we’ve all been dead.” A reader might infer
continued on up without a backward glance. from these details that there is more to the
22 The father, his face burning with resentment and his heart stranger than has been stated thus far.
accelerating as if in preparation for combat, had no choice but to
follow the stranger and the mother up the stairs. He was flexing and Conclude: Help students formulate
unflexing his fingers as if to rid them of stiffness. conclusions about the importance of these
23 On the landing, the stranger halted abruptly to examine a stained- details in the text.
glass fanlight—“My God, I haven’t thought of this in years!” He Possible response: The stranger gives himself
spoke excitedly of how, on tiptoe, he used to stand and peek out away by tripping over his own words about who
through the diamonds of colored glass, red, blue, green, golden has been dead.
yellow: seeing with amazement the world outside so altered. “After Remind students that motivation is the
such a lesson it’s hard to take the world on its own terms, isn’t it?”
reason or reasons for a character’s actions.
he asked. The father asked, annoyed, “On what terms should it be

Most characters’ motives are a combination
taken, then?” The stranger replied, regarding him levelly, with a just
of internal and external factors, such as fear
perceptible degree of disdain, “Why, none at all.”
in response to danger or ambition in response
24 It was the son’s room—by coincidence, the stranger’s old room—
the stranger most wanted to see. Other rooms on the second floor,
to poverty—or perhaps even ambition in
the “master” bedroom in particular, he decidedly did not want to response to shame in response to poverty.
see. As he spoke of it, his mouth twitched as if he had been offered Sometimes a character’s motivation is stated
something repulsive to eat. directly. Usually, however, the reader must
25 The mother hurried on ahead to warn the boy to straighten up piece together clues to infer a character’s
his room a bit. No one had expected a visitor this evening! “So you motivation.
have two children,” the stranger murmured, looking at the father
with a small quizzical smile. “Why?” The father stared at him as if he
hadn’t heard correctly. “’Why’?” he asked. “Yes. Why?” the stranger
repeated. They looked at each other for a long strained moment, then
Where Is Here? 73
LIT17_SE10_U01_B1_SG.indd 73 WriteNow Analyze and Interpret 3/23/16 10:45 AM
Description Throughout the stranger’s visit, the words and actions of the stranger seem to cause
father’s attitude becomes increasingly irritable. In an increasing level of consternation in the father?
paragraphs 22–25, note the ways in which the Are his feelings justified? Why, or why not? Use
father shows his disdain for the stranger. What details from the text to support your response.
Facilitating
the stranger said quickly, “But you love them—of course.” The father
NOTES controlled his temper and said, biting off his words, “Of course.”
Closer look 26 “Of course, of course,” the stranger murmured, tugging at his
necktie and loosening his collar, “otherwise it would all come to an
Analyze Foreshadowing end.” The two men were of approximately the same height but the
Circulate among groups as students conduct father was heavier in the shoulders and torso; his hair had thinned
their close read. Suggest that groups read more severely so that the scalp of the crown was exposed, flushed,
paragraph 26. Encourage them to talk about damp with perspiration, sullenly alight.
the annotations that they mark. If needed,
provide the following support. 27 With a stiff avuncular2 formality the stranger shook the son’s hand.
“So this is your room, now! So you live here, now!” he murmured,
Annotate: Have students mark details in as if the fact were an astonishment. Not used to shaking hands, the
paragraph 26 where the stranger responds to boy was stricken with shyness and cast his eyes down. The stranger
the father, or work with small groups to have limped past him, staring. “The same!—the same!—walls, ceiling,
students participate while you highlight them floor—window—” He drew his fingers slowly along the windowsill;
together. around the frame; rapped the glass, as if, again, testing materiality;
stooped to look outside—but it was night, and nothing but his
Question: Guide students to consider reflection bobbed in the glass, ghostly and insubstantial. He groped
what these details might tell them. Ask against the walls, he opened the closet door before the mother could
what a reader can infer about the stranger’s protest, he sat heavily on the boy’s bed, the springs creaking beneath
thoughts, and accept student responses. him. He was panting, red-faced, dazed. “And the ceiling overhead,”
Possible response: The stranger’s comment 2. avuncular (uh VUHN kyoo luhr) adj. having traits considered typical of uncles; jolly,
that if the father didn’t love his children “it indulgent, stodgy.
would all come to an end” implies that the
stranger has had experience in or knowledge
of the consequences of fathers’ not loving
their children.
Conclude: Help students formulate

Possible response: These details alert the
reader that there is yet another layer of mystery

to the stranger. The stranger’s discomfort with
his own statements, as demonstrated by his
tugging at this necktie and loosening his collar,
create suspense in the reader’s mind.
Remind students that foreshadowing is the
use of clues hinting at events that are going
to occur or details that will be revealed later
in the plot of a narrative. This technique helps
create suspense, the quality in a literary work
that keeps the reader wondering about what
will happen next.
Illuminating the Text To help students differences and similarities of the story elements
understand the short story horror genre, search of the film and Oates’ story. Have groups share
the Internet for films of ghostly or Gothic short with the class a common description of the
stories. Show the video to the class, having horror short story genre. Always preview videos
students make notes about the elements of the before sharing them with the class.
story such as characters, plot, setting, or theme. (Research to Explore)
Ask students to work in groups to discuss the

he whispered. He nodded slowly and repeatedly, smiling. “And the
floor beneath. That is what is.” NOTES
Concept Vocabulary
28 He took out his handkerchief again and fastidiously wiped his
STOICAL If groups are struggling to define the
face. He made a visible effort to compose himself.
29 The father, in the doorway, cleared his throat and said, “I’m afraid
word stoical in paragraph 34, point out that they
it’s getting late—it’s almost six.” can use context clues to determine its meaning.
30 The mother said, “Oh yes I’m afraid—I’m afraid it is getting late. Point out that the base stoic has many shades of
There’s dinner, and the children have their homework—” meaning, which include “indifferent or tolerant.”
31 The stranger got to his feet. At his full height he stood for a The stranger’s attempt to collect himself after
precarious moment swaying, as if the blood had drained from his having burst into tears provides a clue to the
head and he was in danger of fainting. But he steadied himself with intended meaning in the text.
a hand against the slanted dormer ceiling. He said, “Oh yes!—I Possible response: Stoical means “holding back
know!—I’ve disturbed you terribly!—you’ve been so kind.” It emotion.”
seemed, surely, as if the stranger must leave now, but, as chance had
it, he happened to spy, on the boy’s desk, an opened mathematics
textbook and several smudged sheets of paper, and impulsively
offered to show the boy a mathematical riddle—“You can take it to
school tomorrow and surprise your teacher!”
32 So, out of dutiful politeness, the son sat down at his desk and the
stranger leaned familiarly over him, demonstrating adroitly with
a ruler and a pencil how “what we call ‘infinity’” can be contained
within a small geometrical figure on a sheet of paper. “First you draw
a square; then you draw a triangle to fit inside the square; then you
draw a second triangle, and a third, and a fourth, each to fit inside the
square, but without their points coinciding, and as you continue—here,
son, I’ll show you—give me your hand, and I’ll show you—the border
of the triangles’ common outline gets more complex and measures
larger, and larger, and larger—and soon you’ll need a magnifying
glass to see the details, and then you’ll need a microscope, and so on
and so forth, forever, laying triangles neatly down to fit inside the
original square without their points coinciding—!” The stranger spoke
with increasing fervor; spittle gleamed in the corners of his mouth. The
son stared at the geometrical shapes rapidly materializing on the sheet
of paper before him with no seeming comprehension but with a rapt
staring fascination as if he dared not look away.

33 After several minutes of this the father came abruptly forward and
dropped his hand on the stranger’s shoulder. “The visit is over,” he
said calmly. It was the first time since they’d shaken hands that the
two men had touched, and the touch had a galvanic3 effect upon the
stranger: he dropped ruler and pencil at once, froze in his stooped
posture, burst into frightened tears.
Mark context clues or indicate
another strategy you used that
34 Now the visit truly was over; the stranger, at last, was leaving, having helped you determine meaning.
wiped away his tears and made a stoical effort to compose himself; stoical (STOH ih kuhl) adj.
but on the doorstep, to the father’s astonishment, he made a final,
MEANING:
preposterous appeal—he wanted to see the basement. “Just to sit on
3. galvanic (gal VAN ihk) adj. startling; stimulating as if by electric current.
Where Is Here? 75
LIT17_SE10_U01_B1_SG.indd 75 Personalize for Learning 3/23/16 10:43 AM

Syntax Help students analyze the complex how “what we call ‘infinity’” can be contained
syntax structure of the sentence at the beginning within a small geometrical figure on a sheet of
of paragraph 32 in order to develop a better paper. Have students rewrite the sentence using
understanding of conventional English syntax. shorter, more direct clauses, leaving out some of the
Have students read the sentence aloud: So, out extraneous detail. Ask them to reread the rewritten
of dutiful politeness, the son sat down at his sentence and make observations. Point out that
desk and the stranger leaned familiarly over him, by focusing on the essential detail in a complex
demonstrating adroitly with a ruler and a pencil sentence, the meaning can be made clearer.
ALL LEVELS
Facilitating
the stairs? In the dark? For a few quiet minutes? And you could close
NOTES the door and forget me, you and your family could have your dinner
Closer look and—”
35 The stranger was begging but the father was resolute. Without
Analyze Conflict raising his voice he said, “No. The visit is over.”
Circulate among groups as students conduct 36 He shut the door, and locked it.
their close read. Suggest that groups read 37 Locked it! His hands were shaking and his heart beat angrily.
paragraphs 39 and 40. Encourage them to 38 He watched the stranger walk away—out to the sidewalk, out
talk about the annotations that they mark. If to the street, disappearing in the darkness. Had the streetlights
needed, provide the following support. gone out?
39 Behind the father the mother stood apologetic and defensive,
Annotate: Have students mark details wringing her hands in a classic stance. “Wasn’t that sad! Wasn’t
in paragraphs 39 and 40 that indicate the that—sad! But we had no choice but to let him in, it was the only
parents’ emotional state, or work with small decent thing to do.’’ The father pushed past her without comment.
groups to have students participate while you In the living room he saw that the lights were flickering as if on the
highlight them together. brink of going out; the patterned wallpaper seemed drained of color;
a shadow lay upon it shaped like a bulbous cloud or growth. Even
Question: Guide students to consider the robust green of the carpeting looked faded. Or was it an optical
what these details might tell them. Ask what illusion? Everywhere the father looked, a pulse beat mute with rage.
a reader can infer about the mother’s and “I wasn’t the one who opened the door to that man in the first place,”
father’s feelings from the author’s details. the mother said, coming up behind the father and touching his arm.
Without seeming to know what he did the father violently jerked his
Possible response: Although the mother
initially expresses sadness over the events, her arm and thrust her away.
tone is “defensive” after his initial response. His 40 “Shut up. We’ll forget it,” he said.
gruff responses clearly demonstrate his anger. 41 “But—”
42 “We’ll forget it.”
Conclude: Ask students why the author 43 The mother entered the kitchen walking slowly as if she’d been
might have included these details. struck a blow. In fact, a bruise the size of a pear would materialize
Possible response: These details help the on her forearm by morning. When she reached out to steady herself
reader understand the impact the stranger’s visit she misjudged the distance of the doorframe—or did the doorframe
has had on the family. The actions and words recede an inch or two—and nearly lost her balance.
portray the mother and father in conflict over 44 In the kitchen the lights were dim and an odor of sourish smoke,
the situation that has just transpired. Both are subtle but unmistakable, made her nostrils pinch.
upset and angry by the end of the story when 45 She slammed open the oven door. Grabbed a pair of pot holders

the mother lays blame on the father. with insulated linings. “I wasn’t the one, . . .” she cried, panting, “and
you know it.” ❧
Remind students that a conflict is a struggle
between opposing forces. There are two
kinds of conflicts: in an external conflict, a
character struggles against an outside force.
In an internal conflict, the conflict is within
a character who is struggling with opposing
feelings, beliefs, needs, or desires. Characters
in conflict form the basis of narrative literature
because most plots develop from conflicts. If
there is no conflict, there is no story.

Complete the following items after you finish your first read. Review and clarify
details with your group. Possible responses:
1. The stranger claims that he used to live in this
1. Why has the stranger come to visit the house? house when he was eleven years old in 1949.
2. She worries that he could be a thief, a disturbed
person, or a murderer.
3. The stranger cries, composes himself, and then
begs to be allowed to see the basement.
4. The rooms seem faded, dim, and shadowy.
5. A stranger shows up at the house and tells the
2. What are the initial suspicions that the mother has about the stranger?
father that he used to live here and would like
to look around. The stranger looks around the
outside of the house while the mother and father
discuss whether or not they should let him in. The
mother and father allow the stranger to enter
the house. Though he is polite, he says several
odd things and grows increasingly annoying and
3. How does the stranger react when the father tells him, “The visit is over”? menacing to the mother and father. The father
finally must force the stranger to leave. After he
is gone, the house seems strange and the mother
and father are angry at one another.
Research
Research to Clarify If students struggle to come
4. How do the rooms of the house seem changed after the stranger’s visit? up with a detail to research, suggest that they
focus on the African violet to understand the
contrast to the non-blooming plants kept by the
stranger’s mother when he was a child.

5. Notebook Choose four key events that best capture the plot of the story. that they research the following topics: Gothic
Write a summary of the story based on these four events. literature, Joyce Carol Oates, Edgar Allan Poe
short stories.
RESEARCH
Research to Clarify Choose at least one unfamiliar detail from the text. Briefly
research that detail. In what way does the information you learned shed light on an
aspect of the story?
Research to Explore This story may spark your curiosity to learn more about the author
or the genre. Briefly research a topic that interests you. You may want to share what you
learn with your group.
Where Is Here? 77

Challenge
Speculate Ask students to speculate on the likelihood that the
events in “Where Is Here?” could actually happen. Have students
write down their thoughts about whether ghosts or spirits might
exist in the human world. Ask if they have had any unusual
experiences that would lead them to believe a ghost could visit.
Encourage students to do some minor research on documented
supernatural occurrences and share their findings in groups.
Facilitating maKIng meanIng
Close Read the text

Jump Start With your group, revisit sections of the text you marked
during your first read. Annotate details that you notice.
What questions do you have? What can you conclude?
Close Read Ask students to consider the
Where Is here?
following question: What would you do if a
stranger came to your family’s home and asked CiTE TExTuAl EviDENCE
to be invited in? What aspects of the situation analyze the text to support your answers.
might cause you to be fearful? As students Complete the activities.

discuss the question in their groups, have them 1. Review and Clarify With your group, reread paragraph 25. The stranger
consider how their response to fear would GROUP DISCUSSION discovers the father has two children and asks, “Why?” Do you find that
change the outcome. Keep in mind that there is question unsettling? Explain.
no “correct” interpretation
of certain stories. In these 2. Present and Discuss Now, work with your group to share other key
cases, the author deliberately passages from “Where Is Here?” What made you choose these particular
Close Read the Text leaves some questions passages? Take turns presenting your passages. Discuss what details you
If needed, model close reading by using the unanswered. As a reader, noticed, what questions you asked, and what conclusions you reached.
you should use clues in the
Annotation Highlights in the Interactive 3. Essential Question: What is the allure of fear? What has this selection
text and reasoning to come
Teacher’s Edition. Remind students to use up with your interpretations taught you about portrayals of fear in literature? Discuss with your group.
Accountable Talk in their discussions and to or answers to these
support one another’s ideas. questions.
language development
Analyze the Text Concept vocabulary
Possible responses:
gregarious amiably stoical
1. The implication of the question is that there is
no point in having children. This is extremely Why These Words? The three concept vocabulary words are related. With
unsettling because it goes against conventional  WoRd netWoRK
your group, determine what the words have in common. How do these word
thinking that having children is one of the joys Add words related to fear
choices enhance the impact of the text?
of life and that anyone who would question that from the text to your Word
idea would be extremely abnormal, suspicious, Network.
and possibly dangerous. Practice
2. Passages will vary by group. Remind students Notebook Confirm your understanding of each word by using it in a
to explain why they chose their passages. sentence. Be sure to use context clues that suggest the word’s meaning.

3. Responses will vary by group.
Concept Vocabulary Word Study

Why These Words? Possible response: These  standards Notebook Adverbs of Manner An adverb is a word that modifies
Reading Literature
words describe personality traits or manner. Analyze how an author’s choices
a verb, an adjective, or another adverb. Many adverbs, particularly those
concerning how to structure a describing the manner in which an action verb is performed, are formed by
Practice text, order events within it, and adding the Anglo-Saxon suffix -ly to an adjective. Sometimes, the addition of
manipulate time (e.g., pacing, this suffix requires a change in the ending of the adjective. For instance, the
Possible responses: flashbacks) create such effects.
father in “Where Is Here?” states something amiably—or in an amiable manner.
• The gregarious professor enjoyed dining with Language
• Spell correctly.
his students on a weekly basis. Reread paragraph 2 of the story. Mark the adverbs ending in -ly. Then, write
• Identify and correctly use patterns the adjectives from which they are formed.
• Jonathan amiably greeted his customers with a of word changes that indicate
firm handshake and a warm smile. speech.
• As tears filled her eyes, Emily wasn’t able to
maintain her usual stoical expression. 78 UNIT 1 • INSIDE THE NIGHTMARE
Word Network
Possible words: stealthily, intimidating, ghostly
LIT17_SE10_U01_B1_SG_app.indd 78 3/31/16 10:36 PM
Word Study Analyze the Text have them revisit the context in which the words
For more support, see Concept Vocabulary and If students struggle to close read the text, then were used in the story.
Word Study. provide the Where Is Here?: Text Questions
available online in the Interactive Teacher’s
Word Study
Student responses: If students fail to identify –ly adverbs in the text
covertly (covert); uneasily (uneasy); stealthily Edition or Unit Resources. Answers and DOK
levels are also available. and the words they modify, then have them
(stealthy); neatly (neat); impatiently (impatient);
search the text for the suffix –ly and identify
hastily (hasty)
Concept Vocabulary words with -ly that are adverbs. For Reteach and
If students struggle to identify that the words Practice, see Word Study: Adverbs (RP).
are related to personality traits or manner, then
EssENTIAL quEsTION: What is the allure of fear?

Literary Style Through the use of gloomy settings, suffering characters,
supernatural events, and sudden plot twists, traditional Gothic writers such
Literary Style Explain to students that Gothic
as Edgar Allan Poe constructed stories of imagination, fear, and horror. literature has a specific set of features that are
Today, modern Gothic writers still produce stories marked by fear and always included in its stories. Traditional Gothic
dread. However, they modify elements to suit modern tastes and ideas. literature has settings, characters, and plots
that are gloomy, strange, and unusual, whereas
LITERARY ELEMENT TRADITIONAL GOTHIC MODERN GOTHIC modern Gothic literature is unnerving in a
different way. The elements of modern Gothic
Setting Remote, exotic settings, such as a Ordinary places, which may are a bit more relatable in that they may play to
gloomy mansion or castle make strange events more readers’ fear with its tales of people and places
unsettling
that are more ordinary, but affected by unsettling
Characters Strange, eccentric people, often of Ordinary people, to whom readers situations or unusual circumstances. In “Where
high social standing can easily relate Is Here?” what begins as a seemingly normal
day for one family is disturbed by the arrival of a
Plot Events Unusual occurrences involving Situations in which normal life is
violence or supernatural elements interrupted in disturbing ways
mysterious stranger who comes knocking at its
front door. The reader is unsettled by the events
Endings Dramatic endings that fully resolve Ambiguous endings that leave in the story and perhaps confused or unnerved
the dark, scary events questions unanswered by its ambiguous ending. For more support,
see Analyze Craft and Structure: Literary
The effect of these shifts is to relocate the source of readers’ fear. Modern Style.
Gothic literature does not allow readers a comfortable distance from dark
situations. Instead, the unusual events feel as if they could happen to us. Practice
See possible responses in chart on student
page.
Practice to support your answers.
Work individually to identify details in “Where Is Here?” that relate to each literary element.
Then, discuss your choices with your group. Focus especially on your interpretations of the
ambiguous ending.
LITERARY ELEMENTs DETAILs FROM “WHERE Is HERE?”
Setting The story is set at an ordinary house in a quiet residential neighborhood.

The house is where a stranger who appears used to live many years
before.
Characters Characters in the story are the father, mother, and son of the family
who lives in the house, as well as a stranger—a man the family doesn’t
know.
A stranger comes to a family’s house. After he gets invited in, the stranger
Events looks around but makes odd comments about the rooms and his life when
he lived there. The story becomes uncomfortable when he meets the
family’s son and shows him a math riddle about infinity. Formative Assessment
Ending When the father finally gets the stranger to leave the house, the father and
mother argue about whose idea it was to invite the stranger inside. It seems If students struggle to identify details related
as if the family and the house have secrets and that maybe the family isn’t to the literary elements in the chart, then have
so normal after all. students revisit key passages to discuss the
setting, characters, events, and ending of the
story. For Reteach and Practice, see Analyze
Where Is Here? 79 Craft and Structure: Literary Style (RP).
LIT17_SE10_U01_B1_SG_app.indd 79 Personalize for Learning 3/31/16 10:39 PM
Challenge
Speculate Ask students to speculate on what might have happened
if the stranger had acted differently throughout the story. What if
he had been more friendly? Or what if the stranger had pressed
the family harder for access to different parts of the house or items
in the home? What would have been the responses of the father
and mother then? Have students rewrite the story with a different
outcome.
Facilitating LANGUAGE DEVELOPMENT
Author’s Style Author’s Style

Character Development Conversation between characters in a story,
Character Development One of the primary or dialogue, is one of the tools fiction writers use to make their characters
ways an author develops character in a literary come alive on the page. Authors use dialogue to show readers what
work is to use dialogue. The dialogue between characters are like, how they interact with others, how they feel about
WHERE IS HERE?
characters reveals the thoughts and motives of their situations, and what motivates them. Consider this example from
the characters. “Where Is Here?”:
In “Where Is Here?” the dialogue between the
father and stranger shows a strained politeness Example of Dialogue: The stranger hesitated, then said firmly, “I think
that wears down as the story goes on. I’ll just poke around outside for a while, if you don’t mind. That might be
For example, the stranger says, After such sufficient.”
a lesson it’s hard to take the world on its own How It Develops Character: Paired with descriptive elements, such as the
terms, isn’t it? idea that the stranger “hesitated” but then spoke “firmly,” the dialogue
In response, the father feigns interest. The reveals that the stranger is polite, well-spoken, and nervous.
father asked, annoyed, “On what terms should it
be taken, then?” For more support, see Author’s
Read It
Style: Character Development.
Work individually. Use this chart to analyze the mother in “Where Is Here?”
Explain what you learn about her character from each example of dialogue.
Read It Then, compare your responses to those of your group.
See responses in chart on student page.
DIALOGUE HOW IT DEVELOPS CHARACTER
make it interactive
“Isn’t that just like you!” the The mother is angry and afraid
Have students sketch one of the main characters.
mother said. of strangers. She jumps to the
Remind them to imagine the attitude and mode
She went on worriedly, “He could be conclusion that the stranger
of dress of the character they chose based on the anyone, after all. Any kind of thief, or means them harm.
character’s actions in the story. mentally disturbed person, or even
murderer. Ringing our doorbell like
Write It that with no warning and you don’t
even know what he looks like!”
Possible responses:
Paragraphs will vary, but make sure that students The mother sighed again, The mother easily changes her
include at least 2–3 examples of dialogue to involuntarily. “Poor man!” she opinions of people. First she was
murmured. She was standing before scared of the stranger, but now
explain the interaction. As you evaluate student
her table but no longer seeing it. In

writing, look for attention to details. Common she feels sorry for him.
her hand were objects—forks, knives,
errors may include run-on sentences. spoons—she could not have named.
She said, “We can’t bar the door
against him. That would be cruel.”
 STAnDARDS
“I wasn’t the one who opened the The mother doesn’t want to take
Reading Literature
door to that man in the first place,” responsibility for her part in the
Analyze how complex characters
develop over the course of a text, the mother said, coming up behind situation. She readily blames
her husband for letting in the
Formative Assessment interact with other characters, and
advance the plot or develop the
the father and touching his arm.
stranger.
Author’s Style theme.
Writing
If students are unable to identify how the Write narratives to develop real or Write It
dialogue develops the mother’s character, then imagined experiences or events using
Notebook Write a paragraph in which you describe an interaction between
effective technique, well-chosen
have students look for clues about her behavior details, and well-structured event two people. They may be fictional or real. Use dialogue to make the interaction
which are not expressed in dialogue but in the sequences. come alive.
narration. For Reteach and Practice., see Author’s
Style: Character Development (RP). 80 UNIT 1 • INSIDE THE NIGHTMARE


Using Dialogue Have students discuss how Have pairs of students collaborate to Have them use dialogue to reveal setting,
dialogue affects a text and its characters. write a scene with dialogue among three character, and plot. Then have them
Have pairs of students examine dialogue characters. Ask students to avoid using write the scene without using dialogue
in a story. Then ask them to write a few regular prose to describe. Have them use and discuss how the scenes are different.
lines of dialogue between two characters. dialogue to reveal setting, character, and Bridging
Remind them to use correct punctuation plot. Expanding An expanded English Language Support
and end marks. Emerging Have students write a scene with dialogue Lesson on Dialogue is available in the
between three characters. Ask them to Interactive Teacher’s Edition.
avoid using regular prose to describe.

EffECtIVE ExprESSION
Writing to Sources Writing to Sources

Every work of fiction is set in a particular time and place. In our imaginations,
though, the characters exist before and after the story.
Discuss with students the qualities of the
narrative “Where Is Here?” and how they can be
Assignment
extended to continue the short story, or perhaps
pick up from an earlier point in the tale.
With your group, write a brief narrative that extends the scope of
“Where Is Here?” Make sure that your narrative stays true to the
Share with students that in a prequel, the
characterizations, style, and tone of the story. Choose one of the reader usually learns about the character’s past
following topics: or childhood. If they choose this topic, remind
Write a prequel that reveals the stranger’s past. Who is he, and
students to focus on the stranger’s actions and
which details of the story he tells to the family are true? What is the dialogue, and what might have led to the point in
stranger’s goal in visiting the house—does he simply want to see time in the original story.
his home again, or does he have another, more sinister reason for If students choose to write a sequel,
wanting to return? encourage them to focus on moving the action
Write a sequel in which the stranger returns to the house after some
into a future time. Consider how the location and
time has passed. How has he changed, having seen his childhood the characters will have changed.
home earlier? How is he greeted by the family this time? Are the If writing a police report, students should
mother and father more or less suspicious of him and his motives? focus on a factual recounting of what an officer
might observe and discover at the scene.
Write a police report filed after the stranger leaves. Imagine that the
mother and father call the police to report the incident. What kinds Project Plan Encourage students to take notes
of questions are the police likely to ask about the stranger? What or create a brief outline to address the prompt
kinds of answers are they likely to receive? for the topic they have chosen. This will help
them to ensure that all aspects of the prompt
Project Plan Use this chart to plan your narrative. In the middle column,  EVIDENCE LOG are answered. As students work to develop their
plan the action. In the right-hand column, explain the goal of each
Before moving on to a narratives, have them refer back to the selection
paragraph. Follow the chart to draft the narrative, and then present your new selection, go to your to make connections to their prequel, sequel, or
narrative to the class. Have different group members read portions of the Evidence Log and record police report. For more support, see Writing to
narrative aloud. what you learned from Sources: Narrative.
“Where Is Here?”
PARAGRAPH WHAT HAPPENS NARRATIVE GOAL their Evidence Log. This paced activity will
1 help prepare them for the Performance-Based
Where Is Here? 81 Formative Assessment

Writing to Sources
If students are unable to form a narrative with
the same characterization, style, and tone, then
LIT17_SE10_U01_B1_SG_app.indd 81 Personalize for Learning 3/24/16 10:44 AM
have students reread the beginning and end of
Strategic Support the selection to help establish the setting for a
Comparison Group members may have difficulty matching the tone prequel or sequel to the story. For Reteach and
and style of their prequel or sequel to the original selection. To help Practice, see Writing to Sources: Narrative
students compare their original writing with that in the selection, ask (RP).
them to add a transition between the two writings and read the end
of one and the beginning of the other to check that the style and Selection Test
tone match seamlessly.
Administer the “Where Is Here?” Selection Test,
which is available in both print and digital formats
online in Assessments.
PLANNING SMALL- GROUP LEARNING • from THe DREAM COLLEC TOR
from The Dream Collector

AUDIO SUMMARIES of The Summary
Dream Collector are available
in both English and Spanish and The Dream Collector is a gallery of photographs by Arthur Tress.
can be assigned to students in His camera appears to be recording a world that exists, rather than
the Interactive Teacher’s Edition inventing a world that doesn’t. A girl wearing a mask of a bearded
or Unit Resources. Assigning man climbs a wooden staircase. A boy looks at us through the
these summaries prior to viewing broken slates of a houseless roof, abandoned in a muddy wasteland.
the selection may help students A girl sits at a schoolroom desk, her head completely lost inside the
build additional background cone of an old-fashioned bullhorn that she wears as a dunce’s hat.
There is no mistaking the world of Arthur Tress.
their first viewing.
Insight
Viewing photographs from The Dream Collector will show students
that although dreams are highly personal, nightmares contain
universal images or scenarios. Being unable to see properly, being
trapped, feeling paralyzed by an unknown force—these are all familiar
nightmares.
ESSENTIAL QUESTION:
of fear? The Dream Collector provides a visual perspective on the Essential
Question, “What is the allure of fear?” The photographs depict
children’s dreams, which in itself is alluring because it is normally not
possible to see what other people see in their dreams. This inside look is
irresistible and frightening.
Small-Group Learning
In literature, how does Small-Group Learning Performance Task In this Performance Task,
a sense of uncertainty students will use narrative evidence from this module’s selections to
help to create an explain how being unsure of what is really happening can help to create
atmosphere of fear? an atmosphere of fear. The evidence in The Dream Collector lies in
the dreamlike aspects of the photographs. All of the figures are either
Assessment
masked or else their faces are oddly blank. Viewers may ask: What is
In what ways does under the mask? Why is the child so devoid of life?
transformation play a Unit Performance-Based Assessment In this selection, transformation
role in stories meant to is suggested, rather than clearly depicted. Everyone knows that the
scare us? images in dreams can change quickly from something benign to
something frightening.
82A Unit 1 • INSIDE THE NIGHTMARE

DIGITAL
LESSON RESOURCES

Lesson First Review Media Vocabulary Speaking and Listening
Close Review
Analyze the Media
Instructional Standards RI.9–10.10 By the end of L.9–10.6 Acquire and use accurately SL.9–10.5 Make strategic use of digital
grade 10, read and general academic and domain-specific media . . .
comprehend literary words and phrases . . .
SL.9–10.6 Adapt speech to a variety of
nonfiction . . .
contexts and tasks . . .
L.9–10.6 Acquire and use
accurately general academic
and domain-specific words . . .
STUDENT RESOURCES
F irst-Review Guide: Art/ Evidence Log
Interactive Student Edition or
Photography
Unit Resources
lose-Review Guide:
C
Art/Photography
UNIT RESOURCES
Selection Resources
Spanish Translation Media Vocabulary S peaking and Listening: Visual
Presentation
Interactive Teacher’s Edition or Media Questions
Unit Resources
F irst Read Extension
Questions
My Resources
Media Complexity Rubric: from The Dream Collector

Format and Length 6 photos with captions
Knowledge Demands Some background is needed to understand idea (portraying children’s dreams) and the difference
1 2 3 4 5 between staged photography vs. documentation; some photos have unfamiliar content (dunce cap).
Structure Photographs are captioned, making it easy to identify content.

1 2 3 4 5
Language Conventionality and Clarity Very little language used (only in background and captions).
1 2 3 4 5
Levels of Meaning/Purpose No analysis or interpretation is given of photos, so viewer must interpret based on impressions and
1 2 3 4 5 information in titles.
from The Dream Collector 82B

About the Photographer

from The Dream Collector
Jump Start Media Vocabulary
The following words will be useful to you as you analyze, discuss, and write
First Read Where do our dreams come about photographs.
from? How does a dream look and feel
compared to reality? Can the feeling of a Composition: • The composition may stress one part of an
dream be recaptured after waking? Engaging As a teenager in the Coney arrangement of the parts image more than another.
Island section of Brooklyn, of a photograph;
students in a discussion about the subconscious New York, Arthur Tress
• The composition may show what the
the foreground is closer photographer thinks is important in the subject.
mind and the surreal nature of dreams will (b. 1940) liked to photograph
to the viewer, whereas the
provide context for students as they view the neighborhood’s dilapidated
background is farther away
the photography of Arthur Tress. As students amusement parks in various
states of disrepair. His style Perspective or Angle: • The camera may be looking down, looking up,
discuss these questions, have them focus on the combines improvised elements vantage point from which a or looking head-on at the subject.
visual nature of both dreams and photographs. of everyday life with the photograph is taken • The subject may seem very far away, at a middle
theatrical and is referred to as distance, or very close.
“magical realism.” Tress has
worked as a photographer for Lighting and Color: use of • Some images are full color, whereas others are
from The Dream more than 50 years, and he light, shadow, and color in black and white.
a photograph
Collector has traveled the world, often
photographing people he
• Some parts of an image may be brighter or
darker than others.
What makes a dream a nightmare? How can meets along the way.
Subject: primary figure(s), • The subject may be a person or group of
visual images create feelings such as unease object(s), or other content people, often in the foreground.
and fear? Modeling questions such as these in a photograph • Alternatively, the subject may be an object, a set
will help students connect to the photographs of objects, or an entire location.
in The Dream Collector and to the Small-Group Location: place or scene • The location may be indoors, in a particular type
Performance Task assignment. Selection audio in which a photograph is of building or context.
and print capability for the selection are available taken • Alternatively, the location may be outdoors, and
in the Interactive Teacher’s Edition. it might be obvious or subtle in its details.
Media Vocabulary
First Review MEDIA: ART AND PHOTOGRAPHY
Encourage students to discuss the media
Apply these strategies as you conduct your first review. You will have an
vocabulary. Have they seen or used these terms
opportunity to complete a close review after your first review.
before? Do they use any of them in their speech

or writing?
Ask students to look at the five terms and  STANDARDS
Reading Informational Text
discuss how they are related. How can multiple By the end of grade 10, read and Look at each image and NoTE elements in each image
terms be used to analyze a single part of a comprehend literary nonfiction at determine who or what it that you find interesting and
the high end of the grades 9–10 text portrays. want to revisit.
photograph? complexity band independently and
proficiently.
Language
First Review Acquire and use accurately general CoNNECT details in the RESPoND by completing the
academic and domain-specific words images to other media you’ve Comprehension Check.
and phrases, sufficient for reading,
Students should perform the steps of the first experienced, texts you’ve read,
writing, speaking, and listening at
or images you’ve seen.
read independently. the college and career readiness
level; demonstrate independence
NOTICE: Encourage students to look at each in gathering vocabulary knowledge
when considering a word or phrase
photograph and read the accompanying title and important to comprehension or
location information. expression.
NOTE: Students should note surprising or

otherwise interesting aspects of the photographs.
CONNECT: Encourage students to connect the
photographs with other photographs they have
seen or taken. LIT17_SE10_U01_B2C_M_SG.indd 82 Personalize for Learning 3/23/16 10:52 AM
RESPOND: Students will answer questions to STRATEGIC SUPPORT

demonstrate understanding. Point out to students Zoom In Help students who are visually impaired by showing
that while they will always complete the Respond enlarged images of Tress’s photographs on a class screen. If possible,
step at the end of the first read, the other steps zoom in on specific details of each photograph. Pan to different parts
will probably happen somewhat concurrently. of the photograph and encourage students to look for details they
You may wish to print copies of the First-Review may not have noticed. Then, zoom out so students can see how
Guide: Media: Art and Photography for those details relate to each other and to the composition as a whole.
students to use.

MEDIA | PHOTO GALLERY
from The Dream Collector CLOSER REVIEW
Arthur Tress Analyze Composition

Circulate among groups as students conduct
their close review. Suggest that groups close
BACKGROUND review Photo 1. Encourage them to talk
Photographer Arthur Tress began working on his study of the unconscious about what they note. If needed, provide the
mind in the late 1960s by interviewing children about their most memorable following support.
dreams. At the time, photography that documented real events was still the
dominant form of the medium, and there was some prejudice against staged NOTE: Have students note details in
photography. Tress’s photographs from The Dream Collector helped elevate Photo 1 that demonstrate the elements of
the art of photography, and many photographers since have acknowledged composition, or work with small groups as
their debt to his work. you note them together.
viewer can infer from the placement of the
child and the beached ship in the photograph,
and accept student responses.
Possible response: The child is in the
foreground of the photograph, while the
beached ship is in the far background. The
placement of the child shows that he/she is the
main subject of the photograph.
CONCLUDE: Help students formulate

details in the photograph. Ask students why
the photographer might have included these
details.
Possible response: The photographer makes
the child the subject of the photograph so the
viewer knows the dream represented by the

photograph is the child’s dream. The wide gap
between the foreground and the background of
the composition creates a sense of isolation and
shows that the subject feels stranded.
© Copyright Arthur Tress 2015
Remind students that composition not only

refers to how the parts of a picture are put
together, but why they are arranged the way
they are. Photographers can use composition
to deliberately draw the viewer’s focus to a
PHOTO 1: Flood Dream, Ocean City, specific element of the image, affecting how
New Jersey, 1971 NOTES
the viewer interprets the overall picture.
from The Dream Collector 83
LIT22_SE10_U01_B2C_M_SG.indd 83 PERSONALIZE FOR LEARNING 20/03/21 5:05 PM

First Read: Multiple Meaning Words Support understand this usage, ask them to think
English language learners in understanding the of a time that they felt as if they “owed” a
background information by reviewing multiple family member or friend something besides
meaning words. Have them think about the word money. Explain that the text is saying that later
debt as it is used in the Background paragraph. photographers acknowledge and feel gratitude
for Tress’s role in expanding the scope of
Debt is used to refer to a feeling of obligation,
photography as an art form. ALL LEVELS
instead of money owed. To help students
Facilitating
PHOTO 2: Hockey Player,
New York City, 1970
Closer Review NOTES
Analyze Lighting
the close review. Suggest that groups review
Photo 2. Encourage them to talk about what
they note. If needed, provide the following
support.
NOTE: Have students note details in Photo 2
that show the use of lighting, or work with
small groups as you note them together.

what a viewer can infer from the contrast
between the light and shadow areas of the
photograph, and accept student responses.
Possible response: The edges of the
photograph are very dark, even though the
photograph was taken in daylight. The shape
of the light areas is patchy and cloud-like, as if © Copyright Arthur Tress 2015
caused by a mist or fog coming up through the

grate in the street.
PHOTO 3: Young Boy and Hooded
Conclude: Help students formulate
Figure, New York City, 1971
details in the photograph. Ask students why NOTES
details.
Possible response: The contrast between the
light, misty parts of the photograph and the
dark, shadowed areas where detail is difficult

to see contributes to the feeling of being in a
dream. The unnatural lighting that does not
match the time of day makes the subject of the
photograph appear strange and threatening.
Remind students that lighting and color are
often analyzed together in photography, and
ask them to consider how analysis of light
and shadow is especially important when
examining black and white or grayscale
photographs.
Facilitating Small-Group CLOSE REVIEWING

LIT17_SE10_U01_B2C_M_SG.indd 84 04/11/15 2:07 PM
CLOSE REVIEW: Photographs As groups title of the series, The Dream Collector, and
perform the close review, circulate and offer the unit theme, Inside the Nightmare.
support as needed. • Challenge groups to write new titles for the
• Remind groups that when they view photographs. Encourage them to create titles
photographs, they should be sure to identify that emphasize details, reflect feelings, or tell
the subject and setting. stories, rather than titles that directly describe
• If a group is confused about the content of a subjects and settings.
photograph, remind them to think about the

PHOTO 4: Girl With Dunce Cap,
New York City, 1972
NOTES
PHOTO 5: Girl With Mask,

Rhinebeck, 1972
NOTES
LIT17_SE10_U01_B2C_M_SG.indd 85 Personalize for Learning 3/23/16 10:48 AM

Background Knowledge English language were made to wear a pointed, conical hat known as
learners may not be familiar with the concept a dunce cap. The purpose of the dunce cap was to
of the dunce cap, seen in Photo 4. Explain that publicly humiliate the student for his or her behavior
the word dunce refers to a person who is foolish and deter other students from behaving in the same
or lazy. In the past, teachers used dunce caps way. Explain that dunce caps are no longer used
as a form of classroom discipline. Students who in schools, but still appear in popular culture as
misbehaved or did not complete assignments a symbol of foolishness or lack of intelligence.
ALL LEVELS
Facilitating
Closer Review
Analyze Location
their close review. Suggest that groups close
review Photo 6. Encourage them to talk
about what they note. If needed, provide the
following support.
NOTE: Have students note details in Photo
6 that indicate location, or work with small
groups as you note them together.

what these details might tell them. Ask what
a viewer can infer from the details of the
location, and accept student responses.
Possible response: The title tells the viewer
that the photograph is in a burned-out furniture

store, and the appearance of the room supports
the title. The four holes in the wall near the
top of the photograph are lined up and evenly
spaced, as if created intentionally, so the
store may have been destroyed by violence or
vandalism.
PHOTO 6: Boy in Burnt-Out Furniture Store,
Newark, 1969 NOTES
Conclude: Help students to formulate
details in the photograph. Ask students why
details.
Possible response: The photographer uses

location to evoke feeling in the viewer. The
NOTES
condition of the building creates a feeling of
danger. The location is abandoned and probably
unsafe, but a boy is there anyway. The viewer
feels unease for the boy’s safety, and also
curiosity about why he is in this location.
Remind students that the location of a
photograph is important in creating the
overall effect.
LIT17_SE10_U01_B2C_M_SG.indd 86 04/11/15 10:42 AM
Enriching the Media Review Photo 6 photography. Have students compare and
and ask students to think about the style of contrast them to Tress’s style. Encourage
the photograph. Locate and project several students to recognize key features that
photography portfolios that demonstrate a distinguish magic realism or staged photography
variety of styles, such as portrait, landscape, and discuss how fear and the dream state are
journalist/documentary, abstract, or staged demonstrated in other styles of photography.

Use the chart to note details in each of the photographs. Identify people,
objects, location, and activities. Review and clarify details with your group. See possible responses in chart on student page.
PHOTO PEOPLE OBJECTS LOCATION ACTIVITIES
Young child Rooftop; debris; Flooded area None

large ocean liner near the ocean
PHOTO 1
in background
Child with Hockey stick City street Posing; playing

hockey attire hockey
PHOTO 2
Young boy; tall, None Tree-lined path Standing; holding

dark, hooded the child
PHOTO 3
figure
Girl in Dunce cap, Elementary Sitting; reading;

foreground; books, desks school studying
PHOTO 4
child in
background
Girl Mask Staircase by a Climbing stairs;

window holding banister
PHOTO 5
Mural advertising
Young boy furniture; pieces Furniture store Standing
damaged by fire
PHOTO 6
of cardboard and
litter
NOTES
LIT17_SE10_U01_B2C_M_SG.indd 87 Personalize for Learning 3/24/16 10:56 AM
Challenge
Dream Gallery Have students take photographs photographs or assembled collages around the
to represent their own dreams. If cameras classroom to create a “Dream Gallery.” Allow
are unavailable, have them create “staged students time to view their classmates’ pieces and
photograph” collages by combining images discuss the use of composition, lighting, color,
harvested from the Internet or print resources. angle, subject, location, and other elements of
Remind students to provide titles for their photography to capture the appearance and feeling
photographs or collages. Hang students’ printed of the dream state.
Close Review
Jump Start With your group, revisit the photographs, your first-review
notes, and the Comprehension Check chart. Record any new
observations that seem important. What questions do you
Close Review Ask students to consider the have? What can you conclude?
from THE DREAM COLLECTOR
following question: If you had to sum up the
concept of fear in one image, what would you
include in your photograph? As students discuss analyze the media
in their groups, have them consider how fear Complete the activities.
means something different to each person. 1. Present and Discuss Determine which photograph from the collection
seems most closely related to the theme of fear. Prepare to justify your
choice with specific details from the photo. Share your analysis with
Close Review your group.
If needed, model close reviewing by using the 2. Review and Synthesize With your group, look over the photographs.
Close Review notes in the Interactive Teacher’s Do they share a common style and theme? Defend or challenge the choice
Edition. to group them together, citing specific details.
Remind students to use Accountable Talk in 3. Notebook Essential Question: What is the allure of fear? What
their discussions and to support one another as makes something alluring even when it is simultaneously frightening? How
they complete the close review. can images be particularly effective in getting to the root of this question?
Support your responses with evidence from the photographs.
Analyze the Media

1. Responses will vary. Students should be sure to
justify their responses.
2. Responses will vary. Groups should be sure to media vocabulary
provide examples that support their conclusion.
composition lighting and color location
3. Responses will vary, but students should be able perspective or angle subject
to explain why something frightening can also
be alluring. They should include details about the
Use the vocabulary in your responses to the following questions.
photographs as evidence for their reasoning.
 STANDARDS
1. In Photo 2, what is in the foreground? What is in the background? How
Media Vocabulary • Make strategic use of digital
media in presentations to enhance
does the position of the figure in the photo add to its impact?

For more support, see Media Vocabulary understanding of findings,
reasoning, and evidence to add
Possible responses: interest. 2. In what ways do the figures shown in Photo 3 present a startling contrast?
• Adapt speech to a variety of Explain.
1. A figure in hockey gear is in the foreground of contexts and tasks, demonstrating
the photo. The background is a city street. The command of formal English when
indicated or appropriate.
position of the figure is at an angle and shows
action and movement, as if the figure could shift Language 3. In Photo 5, how does the position of the camera in relationship to the
Acquire and use accurately general subject add to the photo’s effect?
in any direction, toward or away from what’s academic and domain-specific
happening in the dream. words and phrases, sufficient for
reading, writing, speaking, and
2. In Photo 3, the figures show a startling contrast listening at the college and career
4. Which aspects of Photo 6 seem dreamlike, and which seem realistic?
of light and dark, good and evil. The child’s face is readiness level; demonstrate
independence in gathering Explain.
innocent, while the figure’s face is obscured. vocabulary knowledge when
3. In Photo 5, the position of the camera is far above considering a word or phrase
important to comprehension or
the subject, adding to the eerie, dreamlike quality expression.
of the photo. The position adds impact because
it’s not known what danger might lurk above or
below the staircase.
4. The aspects of Photo 6 that seem dreamlike are
the strange composition and angle of the photo,
as well as the position of the boy’s arm appearing
to be resting on top of the sofa in the painting. Formative Assessment
LIT17_SE10_U01_B2C_M_SG_app.indd 88 Media Vocabulary 3/30/16 5:37 AM
The location of the photo seems realistic, even Analyze the Media If students struggle to identify elements of
though the boy’s being there is unexpected. • If students struggle to close review the composition in the photographs, then review
photographs, then provide the from The the definition and elements of composition
Dream Collector: Media Questions and look for examples of foreground and
available online in the Interactive Teacher’s background in photographs.
Edition or Unit Resources. Answers and DOK
levels are also available.


 EVIDENCE LOG Remind students that they will be creating a visual
Assignment
Before moving on to a presentation with their group. Depending on
Create a visual presentation in which you incorporate both text and
new selection, go to your which option they choose, groups should allow
images. Choose from the following options.
Evidence Log and record time for any independent work that is needed
what you’ve learned from as well as time to organize their presentation.
With your group, review the collection of photographs, and choose
The Dream Collector.
one you all prefer. Then, work independently to write a narrative Encourage groups to practice their presentations
of a dream that might accompany the photo you chose. Share your before sharing with the class.
story with your group. Once your group has compiled a set of stories,
present them to the class in an organized form.
Writing from Photographs Students should
work independently to fill out the chart with
Working independently, write down a dream that you have had, or the descriptions, main elements, and important
a fictional dream. Then, plan and take a photograph that you feel details of the photo they chose. Encourage them
represents the dream. As a group, organize your dreams and images to think about any details that will make their
into a coherent presentation, and share it with the class.
presentation more interesting and informative for
Imagine that you are responsible for convincing a museum to their audience.
purchase one of these photos for its permanent collection. As a
For more support, see Speaking and Listening:
group, choose the photo you think the museum should purchase.
Then, working independently, write a letter in which you describe
Visual Presentation.
the photo and explain why people should get the chance to see it. Evidence Log Support students in completing
Organize your letters into a cohesive presentation, and share it with their Evidence Log. This paced activity will
the class.
help prepare them for the Performance-Based
Writing From Photographs Working on your own, use the chart to
identify elements of the photograph that you will reflect in your narrative,
dream, or letter. Consider obvious qualities, such as the setting and large
objects. Also, note subtler details—such as facial expressions, clothing, and
gestures—that contribute to an effect you will capture in your writing.
IMAGE DESCRIPTION MAIN ELEMENTS OF PHOTO IMPORTANT DETAILS IN PHOTO

If students are unable to think of a narrative
for an image, then have students review the
notes they made in the Close Reviews and the
from The Dream Collector 89 Comprehension Check for ideas.
LIT17_SE10_U01_B2C_M_SG_app.indd 89 Digital perspectives 3/30/16 5:36 AM
Illuminating the Standard To help students effective visual presentation. Point out details
understand what an effective visual presentation such as the ratio of text to images and the use of
looks and sounds like, find video examples of transitions between images. Encourage students
multimedia presentations on the Internet. After to think about how they can use oral and written
previewing the videos, play them for the class aspects in their presentations to support the
and have students note the elements of an visual material without overshadowing it.
PLANNING SMALL- GROUP LEARNING • WHY DO SOME BR AINS ENJOY FEAR?
Why Do Some Brains Enjoy Fear?

“Why Do Some Brains Enjoy
Fear?” are available online in In “Why Do Some Brains Enjoy Fear?” an article first published
both English and Spanish and in The Atlantic magazine on Halloween 2013, Allegra Ringo
can be assigned to students in investigates the science behind the thrill of fear. A “scare specialist”
the Interactive Teacher’s Edition tells her it’s a matter of brain chemistry. The human brain responds
for Unit Resources. Assigning to threat by releasing dopamine, a hormone associated with pleasure
these summaries prior to reading and reward. The thrill of survival can be intense when we make it
the selection may help students through the haunted house unharmed. Our fight-or-flight responses
are powerful, but to be pleasurable, the brain must recognize the
threat as unreal, so that potential panic turns into relief. The pleasure
their first read.
of physical and psychological scares depends ultimately on the
knowledge that we are safe. As long as we can tell the difference
between a haunted house and the living room sofa, we’ll be fine.
Insight
Reading “Why Do Some Brains Enjoy Fear?” will help students
understand the complex reasons that people seek out scary situations,
as well as why people find certain things so frightening.
Essential question:
of fear? “Why Do Some Brains Enjoy Fear?” provides a scientific insight into the
Essential Question, “What is the allure of fear?” Dr. Kerr explains the
chemical reaction to fear that causes feelings of elation.
Small-Group
In literature, how does Small-Group Performance Task In this Performance Task, students will
a sense of uncertainty use narrative evidence from this module’s selections to explain how
help to create an being unsure of what is really happening can help create an atmosphere
atmosphere of fear? of fear. “Why Do Some Brains Enjoy Fear?” explains that there is a
cultural fear of things that one’s brain can’t make sense of or things that
Assessment
are not what they seem, such as people wearing masks.
In what ways does Unit Performance-Based Assessment In this selection, Dr. Kerr explains
transformation play a why creatures that have transformed from living beings to ghosts,
role in stories meant to demons, spirits—or, worse yet—zombies, are terrifying in many cultures.
scare us?
90A UNIT 1 • WHY DO SOME BRAINS ENJOY FEAR?

DIGITAL
LESSON RESOURCES

Lesson First Read Technical Vocabulary Research
Close Read Author’s Style
Analyze the Text
Instructional RI.9–10.10 By the end of grade L.9–10.4.b Identify and correctly use W.9–10.7 Conduct short as well as
Standards 10, read and comprehend literary patterns of word changes . . . more sustained research projects to
nonfiction . . . answer a question . . .
L.9–10.6 Acquire and use accurately
RI.9–10.3 Analyze how the author general academic and domain-specific SL.9–10.5 Make strategic use of
unfolds an analysis or series of ideas or words and phrases . . . digital media . . .
events . . .
RI.9–10.4 Determine the meaning of
L.9–10.4 Determine or clarify the words and phrases . . .
patterns of word changes . . .
STUDENT RESOURCES
Selection Audio Word Network Evidence Log
Interactive Student
Edition or Unit Resources First-Read Guide: Nonfiction
Close-Read Guide: Nonfiction
TEACHER RESOURCES
Selection Resources
udio Summary: English and
C Research: Group Presentation
Spanish Word Study
Edition or Unit Resources Annotation Highlights uthor’s Style: Scientific and
A
Accessible Leveled Text Technical Diction
Spanish Translation
Text Questions
A
Speaker’s Claims and Evidence
A ord Study: Patterns of Word
W esearch: Group Presentation
R
Speaker’s Claims and Evidence (RP) Changes (RP) (RP)
Edition or Unit Resources uthor’s Style: Scientific and
A
Technical Diction (RP)
Assessment
Available online in
My Resources
Small-Group Learning 90B

personalize for learning small- group learning • WHY DO SOME BRAINS ENJOY FEAR?
Reading Support
Text Complexity Rubric: Why Do Some Brains Enjoy Fear?
Lexile 1180 Text Length 1,735 words
Knowledge Demands Contains references to behavioral science that may be unfamiliar. Most concepts explained. Text
1 2 3 4 5 contains some historical references to the history of self-scaring.
Structure Logically organized in a straightforward question and answer format.

1 2 3 4 5
Language Conventionality and Clarity Text contains subject-specific language (fight-or-flight, dopamine, re-uptake, endorphins) and complex
1 2 3 4 5 sentences. Technical vocabulary is not usually explained.
Levels of Meaning/Purpose Purpose is straightforward and the main idea is clear, but supporting concepts are complicated.
1 2 3 4 5
Decide and Plan

knowledge demands and language as they to ensure that they can successfully read with ideas for how they can go beyond a
read the selection. the text. simple interpretation of the text.
Knowledge Demands Before students Knowledge Demands Discuss the Text Analysis Ask students to reread the
read, make a list of some of the terms meanings of self-scaring and fight-or-flight. sixth paragraph of the text that discusses
and phrases they will need to understand: Discuss the evolutionary reason humans the idea of fear conditioning. Have students
self-scare, fight-or-flight, re-uptake, experience fight-or-flight (to escape life learn more about the case of Baby Albert
dopamine, endorphin. Discuss and define threatening situations) and why some brains and discuss things they are afraid of
each term as needed. enjoy the sensations of self-scaring. and why.
Language Students will likely have Language/Clarity For students who may Written Response Have students choose
difficulty with the complex sentences and have difficulty with difficult and complex one of the monsters mentioned in the
technical vocabulary. Remind students to sentences, encourage them to break the text: the Chupacabra (South America), the
use context clues to figure out the meaning sentences down into smaller chunks or Loch Ness Monster, the Yōkai (supernatural
of difficult words. For example, When we’re identify the meaning of unfamiliar words or monsters from Japanese folklore), Alps
happy or afraid, we’re releasing powerful phrases. Then have them reread the whole (German nightmare creatures) or some
hormones, like oxytocin, that are working to sentences. other scary creature to research. Then have
make these moments stick in our brain. students write a one-page paper explaining
the most interesting facts about the
creature.
TEACH
Read and Respond

Have the groups read the selection and complete the Making Meaning and Language Development
activities.
90C UNIT 1 • WHY DO SOME BRAINS ENJOY FEAR?

IDENTIFY NEEDS
• Use the Selection Resources listed on the Planning pages for “Why Do Some Brains Enjoy
Fear?” to help students continually improve their ability to master the standards.
Instructional Standards: Why Do Some Brains Enjoy Fear?

Reading You may wish to administer RI.3 Analyze how the author Have students critique the
ANALYZE AND REVISE the Analyze Craft and unfolds an analysis or series of author’s organizational
Structure: Speaker’s Claims ideas or events, including the choices. What are some other
• Analyze student work for and Evidence (RP) worksheet order in which the points are ways she might have chosen
to help students analyze how made, how they are introduced to present her ideas?
evidence of student learning. the author supports her claims and developed, and the
• Identify whether or not and ideas. connections that are drawn
students have met the between them.
instruction.
Speaking You may wish to administer SL.5 Make strategic use of You may wish to ask
and the Research: Group digital media in presentations students to create original
Listening Presentation (RP) worksheet to enhance understanding artwork to accompany their
to help students understand of findings, reasonings, and presentations.
how to select visuals to evidence and to add interest.
enhance an audience’s
understanding by accurately
reflecting content and main
ideas.
TEACH
and gather evidence of student Language You may wish to administer L.6 Acquire and use accurately Challenge students to use
the Word Study: Patterns general academic and domain- domain-specific vocabulary
learning.
of Word Changes (RP) specific words and phrases, in their writing and
worksheet to help students sufficient for reading, writing, presentations.
understand the patterns of speaking, and listening at the
word changes. college and career readiness
level . . .
You may wish to administer
the Author’s Style: Scientific RI.4 Determine the meaning
and Technical Diction of words and phrases as they
(RP) worksheet to help are used in a text, including
students learn the meaning figurative, connotative, and
of unfamiliar, domain-specific technical meanings . . .
words.
Small-Group Learning 90D

TEACHING MAKING MEANING
About the Author

Why Do Some Brains Enjoy Fear?
Jump Start Technical Vocabulary
As you perform your first read of the interview, you will encounter the
First Read Ask students to imagine following words.
themselves parachuting out of an airplane.
Have them envision how they might feel about stimulus dissonance cognitive
the experience. Groups should discuss different Allegra Ringo is a freelance
times when they were scared or took part in writer and comedian Familiar Word Parts When determining the meaning of an unfamiliar
thrilling activities, even if they were afraid, such based in Los Angeles, word, look for word parts—base words, roots, prefixes, and suffixes—
as riding a rollercoaster or watching a scary California. Her work that you know. Doing so may help you unlock word meanings. Here is an
includes articles, humorous example of applying the strategy.
movie. essays, film reviews, and
comedy sketches for the Unfamiliar Word: socialization
Upright Citizens Brigade Familiar Base Word: social, meaning “having to do with being part of
Why Do Some Brains Theatre. At California State
University, Long Beach,
a group, community, or society.”
Enjoy Fear? where she completed her Familiar Suffixes: -ize, which forms verbs and means “to make” or
undergraduate degree in “to become”; -ation, which forms abstract nouns
What frightens people? Why do some people
film, Ringo received the Conclusion: Combining the meanings of these three familiar word
seek out fear? Do they seek out real danger Women in Film Scholarship. parts, you can determine that the word socialization probably means
or just enjoy the thrill of fear? Why do most “the process of becoming social, or part of a community.”
of us enjoy scary stories and horror movies?
Modeling questions such as these will help Apply your knowledge of familiar word parts and other vocabulary strategies
students connect to “Why Do Some Brains Enjoy to determine the meanings of unfamiliar words you encounter during your
Fear?” and to the Small-Group Performance Task first read.
assignment. Selection audio and print capability
for the selection are available in the Interactive
Teacher’s Edition. First Read NONFICTION
Apply these strategies as you conduct your first read. You will have an
Technical Vocabulary opportunity to complete a close read after your first read.
Encourage groups to discuss the three technical

vocabulary words and share their familiarity
or knowledge of each one. Then, ask groups

to study the modeling of familiar word parts. NOTICE the general ideas of ANNOTATE by marking
the text. What is it about? vocabulary and key passages
Encourage students to look for familiar word
 STANDARDS Who is involved? you want to revisit.
parts such as roots and suffixes to help them Reading Informational Text
determine the meaning of an unknown word. By the end of grade 10, read and
comprehend literary nonfiction at
the high end of the grades 9–10 text
First Read proficiently.
Language
Students should perform the steps of the first • Determine or clarify the meaning the selection to what you the Comprehension Check and
read independently. of unknown and multiple-meaning already know and what you by writing a brief summary of
words and phrases based on grades have already read. the selection.
NOTICE: Encourage students to notice details in 9–10 reading and content, choosing
flexibly from a range of strategies.
the text that describe our reactions to danger. • Identify and correctly use patterns
of word changes that indicate
ANNOTATE: Remind students to focus on different meanings or parts of
passages of importance or interest. For example, speech.
students may want to mark the details that
support the author’s claim that many of us enjoy 90 UNIT 1 • INSIDE THE NIGHTMARE
being afraid.
CONNECT: Encourage students to make
connections between ideas in the selection and
Vocabulary Development
ideas they have encountered in stories, movies,
on TV, in art or in their own lives. Technical Vocabulary Reinforcement To are still struggling with the words, encourage
increase familiarity with the technical vocabulary, them to identify the root of the vocabulary word
RESPOND: Students will answer questions and ask students to use each of the words in a and to think of other words related to the root.
write a summary to demonstrate understanding. sentence. Encourage students to include context For example, students may not be familiar with
Point out that while they will always complete clues in their own sentences to demonstrate stimulus, but they may be familiar with the word
the Respond step at the end of the first read, the their understanding of the word. If students stimulate, which shares the same root.
other steps will happen concurrently. You may
wish to print copies of the First-Read Guide:
Nonfiction for students.

INTERVIEW
CLOSER LOOK
Why Do Infer Author’s Purpose

SomeBrains their close read. Suggest that groups close

read paragraph 3. Encourage them to talk
about the annotations that they mark. If
Enjoy Fear? needed, provide the following support.

paragraph 3 that the author uses to describe
Allegra Ringo why different people react to fear in different
ways, or work with small groups to have
students participate while you highlight them
together.
BACKGROUND QUESTION: Guide students to consider what
As human beings, we are equipped with a variety of different survival these details might tell them. Ask what a
mechanisms. One system detects danger. If we could not recognize reader can infer from these details, and accept
dangerous situations, we would not be able to avoid them. For that reason,
student responses.
our brains are hard-wired to feel fear when we encounter a threat. Our fear
response releases “fight or flight” chemicals into our bloodstreams, and Possible responses: These details support the
these help make us stronger, quicker, and more alert. In other words, fear author’s claim that some people enjoy fear more
makes us ready to fight or flee. than others. This enjoyment stems from changes
in brain chemistry in response to scary or thrilling
1 This time of year, thrillseekers can enjoy horror movies, haunted NOTES activities, and from the way they respond to
the release of dopamine. By demonstrating that
houses, and prices so low it’s scary. But if fear is a natural survival
these responses are involuntary, she suggests
response to a threat, or danger, why would we seek out that feeling?
that we can’t necessarily control our reactions
2 Dr. Margee Kerr is the staff sociologist at ScareHouse, a haunted
to fear.
house in Pittsburgh that takes all year to plan. She also teaches at
Robert Morris University and Chatham University, and is the only CONCLUDE: Help students to formulate
person I’ve ever heard referred to as a “scare specialist.” Dr. Kerr is conclusions about the importance of these
an expert in the field of fear. I spoke with her about what fear is, and details in the text. Ask students why the
why some of us enjoy it so much. author might have included these details.
Possible responses: These details support the
Why do some people like the feeling of being scared, author’s purpose in writing, which is to explain
while others don’t? why some people seek out fear for pleasure,
while others avoid it and take no pleasure in it.
3 Not everyone enjoys being afraid, and I don’t think it’s a stretch to
say that no one wants to experience a truly life-threatening situation. An author’s purpose is his or her main reason
But there are those of us (well, a lot of us) who really enjoy the writing. For example, an author may want
experience. First, the natural high from the fight-or-flight response to entertain, inform, or persuade the reader.
can feel great. There is strong evidence that this isn’t just about Sometimes an author is trying to teach a
personal choice, but our brain chemistry. New research from David moral lesson or reflect on an experience. An
Zald shows that people differ in their chemical response to thrilling author may also have more than one purpose.
situations. One of the main hormones released during scary and
thrilling activities is dopamine, and it turns out some individuals
may get more of a kick from this dopamine response than others do.
Why Do Some Brains Enjoy Fear? 91
LIT22_SE10_U01_B3_SG.indd 91
PERSONALIZE FOR LEARNING 20/03/21 5:13 PM
Strategic Support
Central Idea Review paragraphs 1–2, which set up the interview that
follows. Have a group of students analyze the first half of the interview,
while another group analyzes the second half. Tell each group to discuss
the ideas and arguments in their half of the selection and then write one
sentence that sums up its central idea. When the groups have completed
this part of the task, have them share their sentences and the supporting
material from which they created their sentences. Have students work
together to refine their ideas into one sentence that embodies the
central idea of the interview.
TEACHING
Basically, some people’s brains lack what Zald describes as “brakes”
NOTES on the dopamine release and re-uptake1 in the brain. This means
Closer look some people are going to really enjoy thrilling, scary, and risky
situations while others, not so much.
Evaluate Evidence 4 Lots of people also enjoy scary situations because it leaves them
Circulate among groups as students conduct with a sense of confidence after it’s over. Think about the last time
their close read. Suggest that groups close you made it through a scary movie, or through a haunted house. You
read paragraph 4. Encourage them to talk might have thought, “Yes! I did it! I made it all the way through!”
about the annotations that they mark. If So it can be a real self-esteem boost. But again,
needed, provide the following support. To really enjoy a scary situation, self-scaring isn’t for everyone, and there are lots
of psychological and personal reasons someone
Annotate: Have students mark details in we have to know we’re in a safe may not enjoy scary situations. I’ve talked to more
paragraph 4 that describe what happens than a handful of people who will never set foot
when we experience fear, or work with small
environment.
in a haunted house because they went to a haunt
groups to have students participate while you at a young age and were traumatized. I always recommend parents
highlight them together. thoroughly check out the content and rating of a haunted attraction
Question: Guide students to consider what before bringing a child. The chemicals that are released during fight-
these details might tell them. Ask what a or-flight can work like glue to build strong memories (“flashbulb
memories”) of scary experiences, and if you’re too young to know
reader can infer from these details, and accept
the monsters are fake, it can be quite traumatic and something you’ll
student responses.
never forget, in a bad way.
Possible response: These details explain
that responses to fear can be based on earlier
experiences, particularly childhood experiences. What happens in our brains when we’re scared? Is it
The same chemicals that cause people to seek different when we’re scared “in a fun way” versus being
out fear can also create traumatic memories actually afraid?
when people have no way of knowing that they
5 To really enjoy a scary situation, we have to know we’re in a safe
are safe from harm.
environment. It’s all about triggering the amazing fight-or-flight
Conclude: Help students formulate response to experience the flood of adrenaline, endorphins, and
conclusions about the importance of these dopamine, but in a completely safe space. Haunted houses are great
details in the text. Ask students why the at this—they deliver a startle scare by triggering one of our senses
author might have included these details. with different sounds, air blasts, and even smells. These senses are
Possible response: Dr. Kerr included these directly tied to our fear response and activate the physical reaction,
details to support her claim to be able to explain but our brain has time to process the fact that these are not “real”

why some people enjoy the thrill of being scared threats. Our brain is lightning-fast at processing threat. I’ve seen the
and some don’t. process thousands of times from behind the walls in ScareHouse—
someone screams and jumps and then immediately starts laughing
Remind students that evidence is the
and smiling. It’s amazing to observe. I’m really interested to see
material proof or logical reasoning that may where our boundaries are in terms of when and how we really know
be cited or employed to support an argument. or feel we’re safe.
Evidence can take many forms. For example,
in a persuasive essay that appeals to reason,
a good writer may use facts, examples, What qualities do “scary things” share across cultures,
statistics, expert testimony, observations, and or does it vary widely?
personal experiences to support his or her 6 One of the most interesting things about studying fear is looking
argument. at the social constructions of fear, and learned fears versus those fears
1. re-uptake n. reabsorption of a neurotransmitter. This process regulates the levels of a

neurotransmitter in the body.
Additional English Language Support
Edition. 92 UNIT 1 • INSIDE THE NIGHTMARE
FACILITATING SMALL-GROUP CLOSE

LIT17_SE10_U01_B3_SG.indd 92 READING 3/30/16 5:37 AM
CLOSE READ: Interviews As groups interviewee might be asked to provide always appear at the beginning of an
perform their close read, circulate and evidence to support claims. Readers interview. Multiple claims may be made
offer assistance as required. should identify any such claims and throughout the interview.
• Remind groups that an interview is take note of the ways the interviewee • Have groups discuss techniques that
a structured conversation between supports them with evidence. may be used to identify claims and to
two people. The direction of the • If group members struggle to identify identify and evaluate the evidence that
conversation is usually guided by the a claim, remind them that they do not may be cited in support of them.
interviewer. In an expert interview the

that appear to be more innate, or even genetic. When we look across
time and across the world, we find that people truly can become NOTES
Concept Vocabulary
afraid of anything. Through fear conditioning (connecting a neutral
stimulus with a negative consequence), we can link pretty much
STIMULUS If groups are struggling to define
Mark familiar word parts or
anything to a fear response. Baby Albert, of course, is the exemplar indicate another strategy you stimulus in paragraph 6, point out that they can
case of this. The poor child was made deathly afraid of white rabbits
used that helped you determine use context clues to determine the meaning.
meaning.
in the 1920’s, before researchers were required to be ethical. So we These clues indicate that the writer is discussing
stimulus (STIHM yuh luhs) n.
know that we can learn to fear, and this means our socialization and what causes or provokes fear. Have students use
MEANING:
the society in which we are raised is going to have a lot to do with these context clues to define the word.
what we find scary. Possible response: A stimulus is “something that
7 Each culture has its own superhero monsters—the Chupacabra causes or provokes a response or reaction.”
(South America), the Loch Ness Monster, the Yōkai (supernatural
DISSONANCE If groups are struggling to define
monsters from Japanese folklore), Alps (German
nightmare creatures)—but they all have a number of
dissonance in paragraph 7, point out that the
characteristics in common. Monsters are defying the prefix, dis, indicates “a lack of.” Remind students
Things that violate the laws that the meaning of the suffix –ance indicates
general laws of nature in some way. They have either
returned from the afterlife (ghosts, demons, spirits) of nature are terrifying. a “quality or state.” Encourage students to use
or they are some kind of nonhuman or semihuman the prefix and suffix to determine the meaning
creature. This speaks to the fact that things that violate of the word. Context clues also help students
the laws of nature are terrifying. And really anything to understand and confirm the meaning of the
that doesn’t make sense or causes us some sort of dissonance, dissonance (DIHS uh nuhns) n. word. Students should then be able to infer that
whether it is cognitive or aesthetic,2 is going to be scary (axe-wielding MEANING: dissonance means “a state of tension or conflict
animals, masked faces, contorted bodies). caused by the combination of clashing elements.”
8 Another shared characteristic of monsters across the globe is Possible response: Dissonance means “a lack of
their blurred relationship with death and the body. Humans are agreement or harmony.”
obsessed with death; we simply have a hard time wrapping our cognitive (KOG nuh tihv) adj.
mind around what happens when we die. This contemplation has MEANING:
Cognitive If groups are struggling to define
led to some of the most famous monsters, with each culture creating cognitive in paragraph 7, point out that the
their own version of the living dead, whether it’s zombies, vampires, meaning of the root word, cognit, is “to learn
reanimated and reconstructed corpses, or ghosts. We want to imagine or know.” Remind students that one of the
a life that goes on after we die. Or better yet, figure out a way to live meanings of the suffix –ive is “pertaining to.”
forever. Again, though, that would violate the laws of nature and Then ask students to define the word.
is therefore terrifying. So while the compositions and names of the Possible response: Cognitive must mean
monsters are different, the motivations and inspirations behind their “pertaining to the process of thinking.”
constructions appear across the globe.
What are some early examples of people scaring

themselves on purpose?
9 Humans have been scaring themselves and each other since the
birth of the species, through all kinds of methods like storytelling,
jumping off cliffs, and popping out to startle each other from the
recesses of some dark cave. And we’ve done this for lots of different
reasons—to build group unity, to prepare kids for life in the scary
world, and, of course, to control behavior. But it’s only really in the
last few centuries that scaring ourselves for fun (and profit) has
become a highly sought-after experience.
2. aesthetic (ehs THEHT ihk) adj. of or relating to art or beauty.
LIT17_SE10_U01_B3_SG.indd 93 Digital perspectives 3/30/16 5:37 AM
Illuminating the Text Review paragraph 6 whether they had a better understanding of the
to introduce students to “The Baby Albert nature of fear after seeing it. You may also want
Experiment.” Look online for a video of this to discuss their ethical responses to the idea of
experiment. Have students watch the video, using a child as the subject of an experiment—
and then discuss ways in which viewing the particularly an experiment of this sort. Preview
experiment may have affected them. Ask them any video before sharing it with students.
TEACHING
10 My favorite example of one of the early discoveries of the joys
NOTES of self-scaring is actually found in the history of roller coasters.
Closer look The Russian Ice Slides began, not surprisingly given the name, as
extended sleigh rides down a snowy mountain in the mid-17th
Analyze Diction century. Much like they do today, riders would sit in sleds and
Circulate among groups as students conduct speed down the mountain, which sometimes included additional
their close read. Suggest that groups close man-made bumps to make it a little more exciting. The Russian
read paragraph 12. Encourage them to talk Ice Slides became more sophisticated throughout the 18th century,
about the annotations that they mark. If with wooden beams and artificial mountains of ice. Eventually,
needed, provide the following support. instead of ice and sleds, tracks and carriages were constructed to
carry screaming riders across the “Russian Mountains.” Even more
ANNOTATE: Have students mark details in exhilarating terror came when innovative creators decided to paint
paragraph 12 that describe people’s responses scary scenes on the walls that shocked and thrilled riders as they
to Barnum’s American Museum, or work with passed by. These came to be known as “Dark Rides.” People were
small groups to have students participate terrified, but they loved it.
while you highlight them together. 11 We haven’t just enjoyed physical thrills—ghost stories were
QUESTION: Guide students to consider told around the campfire long before we had summer camps. The
what these details might tell them. Ask what Graveyard Poets of the 18th century, who wrote of spiders, bats, and
skulls, paved the road for the Gothic novelists of the 19th century,
a reader can infer from the author’s word
like Poe and Shelley. These scary stories provided, and continue to
choices, and accept student responses.
deliver, intrigue, exhilaration, and a jolt of excitement to our lives.
Possible responses: These details suggest that 12 The 19th century also brought the precursors to the haunted
people visiting Barnum’s American Museum not
attraction industry. Sideshows or “freak shows,” and the museums
only sought thrills and frights but also wanted
and houses of “oddities” have existed since the mid-1800s. Perhaps
to enjoy their visit as a social experience to share
the most notable is Barnum’s American Museum, operated by
with their friends.
P. T. Barnum, best known for being half of the Ringling Brothers
CONCLUDE: Help students formulate and Barnum and Bailey Circus. His museum contained things like
conclusions about the importance of these monkey torsos with fish tails attached, and other characters meant to
details in the text. Ask students why the frighten and startle. Much like modern haunts, customers would line
author might have included these details. up to challenge themselves and their resilience and dare each other
Sample response: The author is trying to show to enter the freak shows and face the scary scenes and abnormalities.
that people’s enjoyment of pleasures like modern The haunted attraction industry has come a long way from fish tails
haunts is nothing new. People’s attraction to and plastic bats—modern haunts incorporate Hollywood-quality
fear has been around as long as there have sets, and a crazy amount of modern technology all designed to scare

been attractions to scare them. For many, thrill- us silly.
seeking is a social activity.
Diction is a writer’s or speaker’s word There’s a common belief that if you meet somebody for the
choice—the type of vocabulary, the vividness first time in a fearful situation, you’ll feel more attached or
of the language, and the appropriateness more attracted to that person than you would if you’d met
of the words to the subject. Diction is an them in a low-stress situation. Is there any truth to that?
essential feature of a writer’s style and is often 13 One of the reasons people love Halloween is because it produces
a reflection of the writer’s personality. It may strong emotional responses, and those responses work to build
be described as formal or informal, plain stronger relationships and memories. When we’re happy, or afraid,
or ornate, abstract or concrete, ordinary or we’re releasing powerful hormones, like oxytocin, that are working to
technical, sophisticated or down-to-earth, make these moments stick in our brain. So we’re going to remember
old-fashioned or modern or even slangy. the people we’re with. If it was a good experience, then we’ll
remember them fondly and feel close to them, more so than if we

Unfamiliar Words English learners may not be Ness when every other dinosaur became extinct
familiar with the Loch Ness Monster (paragraph 66 million years ago. Amateur photographs of a
7). Loch Ness is a large lake in the Scottish gigantic, long-necked creature with a tiny head
Highlands, and the Monster (known locally as and a long tail seem to substantiate their claim,
“Nessie”) is reputed to live in its dark, peaty and over a million tourists visit Loch Ness each
depths. Some people believe that Nessie is a year hoping to catch sight of Nessie. ALL LEVELS
plesiosaur whose ancestors found refuge in Loch

were to meet them during some neutral unexciting event. Shelley
Taylor discussed this in her article “Tend and Befriend: Biobehavioral NOTES
Comprehension Check
Bases of Affiliation Under Stress.” She shows that we do build a
special closeness with those we are with when we’re in an excited
state, and more importantly, that it can be a really good thing. We’re Possible responses:
social and emotional beings. We need each other in times of stress, 1. Some individuals feel more effects from the
so the fact that our bodies have evolved to make sure we feel close to dopamine response than others do, because their
those we are with when afraid makes sense. So yes, take your date to brains lack “brakes” on the dopamine release and
a haunted house or for a ride on a roller coaster; it’ll be a night you’ll re-uptake in the brain.
never forget. ❧ 2. We need to know we are in a safe environment.
3. The child was the subject of a science experiment.
© 2013 The Atlantic Media Co., as first published in The Atlantic Magazine. All
He was conditioned to be extremely afraid of
rights reserved. Distributed by Tribune Content Agency, LLC
white rabbits in the 1920s.
4. The article explores our reactions to fear. First,
Comprehension Check people differ in their response to frightening
Complete the following items after you finish your first read. Review and clarify details situations depending on how they process
with your group. dopamine. Some people enjoy scary situations
because overcoming their fear boosts their
1. According to Dr. Kerr, how are our bodies affected by things that scare us?
confidence. To fully enjoy the sensation of
fear, thrill-seekers have to be sure that they’re
safe. People can be conditioned to be afraid
of anything, and experience teaches us the
difference between learned fear and innate fear—
fear of the known, and fear of the unknown.
Each culture has its own scary monsters, many of
2. According to Dr. Kerr, what critical information do we need to have in order to enjoy a which seem to inhabit the mysterious borderlands
scary situation? between life and death. Scaring each other
has a long and illustrious history, and sharing a
terrifying experience is a proven way for people to
get to know each other better.
Research to Clarify If groups struggle to come
up with a detail to clarify, you might suggest that
3. What happened to Baby Albert? they focus on one of the following: dopamine;
“fight or flight”; fear as a social experience.
Research to Explore If groups struggle to come

up with a research topic, you might suggest
that they focus on one of the following topics:
How might self-scaring continue to evolve in
4. Notebook Confirm your understanding of the text by writing a summary.
the 21 century? What is the difference between
rational fear and irrational fear? How can people
overcome their irrational fears?
RESEARCH
Research to Clarify Choose at least one unfamiliar detail from the text. Briefly research that
detail. In what way does the information you learned shed light on an aspect of the interview?
Research to Explore This interview may spark your curiosity to learn more. Briefly research
a topic from the text that interests you. Share what you discover with your group.
Challenge
Exhibition Invite students to research a variety of frightening
supernatural monsters from different cultures. Then have students
create their own supernatural creatures. Encourage them to create an
image or model of their creature. When everyone is finished, arrange
all the projects to create a gallery walk.
Facilitating maKIng meanIng
Close Read the text

Jump Start With your group, revisit sections of the text you marked
during your first read. annotate details that you notice.
Close Read Ask students to consider the
following questions: Have you ever had a scary Why Do Some BrainS
enjoy Fear?
dream where you were frozen in place and
could not run or scream for help? Have you Cite textual evidenCe
wondered if in real life you would respond
analyze the text to support your answers.
in the same way if confronted with a scary notebook Complete the activities.
situation? As students discuss the questions
with their groups, have them consider other 1. Review and Clarify With your group, reread paragraph 6 of the
ways that they might respond to fear. selection. How can fear be both “innate” and “learned”?
2. Present and discuss Work with your group to share the passages from
the selection that you found especially relevant. Take turns presenting your
Close Read the Text passages. Discuss what you noticed in the selection, what questions you
asked, and what conclusions you reached.
If needed, model close reading by using the
Annotation Highlights in the Interactive Teacher’s 3. essential Question: What is the allure of fear? What has this selection
Edition. taught you about portrayals of fear? Discuss with your group.
Remind students to use Accountable Talk in
their discussions and to support one another as  WoRd netWoRK language development
they complete the close read. Add words related to fear
technical vocabulary
from the text to your Word
Analyze the Text Network.
stimulus dissonance cognitive
1. Possible response: There is a universal fear of
things that do not make sense. These fears are
innate, but others are learned, such as Baby Why these Words? The three technical vocabulary words are related.
Albert who was conditioned to be afraid of white With your group, discuss the words, and determine the concept they share.
rabbits. Learned fears are a result of socialization.  StanDarDS How do these words contribute to your understanding of the text?
2. Passages will vary by group. Remind students to Reading Informational Text
Analyze how the author unfolds
explain why they chose the passage did. an analysis or series of ideas or
Practice
3. Responses will vary by group. events, including the order in which

the points are made, how they are notebook Confirm your understanding of these words by using them
introduced and developed, and the
Technical Vocabulary connections that are drawn between
them.
in sentences. Include context clues that hint at each word’s meaning.
Why These Words? Possible response: The Language

three words are all related to human responses, • Identify and correctly use patterns
thoughts, and feelings.
of word changes that indicate Word Study
speech. Patterns of Word Changes Many Latin roots can combine with both
Practice • Acquire and use accurately general the suffix -ion, which forms abstract nouns, and the suffix -ive, which forms
academic and domain-specific words
Possible responses: and phrases, sufficient for reading,
adjectives—creating a related pair of words. For instance, the abstract noun
writing, speaking, and listening at cognition and the related adjective cognitive are both formed from the root
1. The child reacted to the needle’s stimulus by the college and career readiness -cognit-, meaning “knowledge” or “thought.”
filling the hospital room with shrieks. level; demonstrate independence
in gathering vocabulary knowledge Reread paragraph 10 of the interview. Mark the adjective ending in -ive, and
2. Feelings of dissonance filled Jillian as she read a when considering a word or phrase
book that differed from what she expected. important to comprehension or write the abstract noun to which it is related.
expression.
3. Humans have more advanced cognitive abilities
than other living things, such as language.
Word Network
Possible words: thrillseeker, haunted, traumatized
Word Study Formative Assessment

LIT17_SE10_U01_B3_SG_app.indd 96 3/23/16 10:54 AM
For more support, see Concept Vocabulary and Analyze the Text Word Study
Word Study. If students struggle to close read the text, then If students fail to identify other words, then have
Students should have identified the word provide the Why Do Some Brains Enjoy Fear?: them search the text for words ending in -tive
innovative in paragraph 10. The abstract noun to Text Questions available online in the Interactive and -tion.
which it is related is innovation. Teacher’s Edition or Unit Resources. Answers and For Reteach and Practice, see Word Study:
DOK levels are also available. Patterns of Word Changes (RP).
Concept Vocabulary
If students struggle to identify the concept, then
have them revisit the context in which the words
96 UNIT 1 • INSIDE THE NIGHTMARE were used in the text.
essential question: What is
does
the itallure
take of
to fear?
survive?

Speaker’s Claims and Evidence An interview is a structured
conversation between two people that is presented either in written or in
Speaker’s Claims and Evidence Explain to
broadcast format. Usually, the interviewer is a journalist, and the interviewee students the structure and format of an interview,
is a person with special knowledge. In print, the conversational structure is and note that the interviewer asks questions of
reflected in the question-and-answer format, in which both questions and the interviewee, who is typically an expert on the
answers appear in the text. subject of the interview. Remind students that the
interviewee is assumed to have deep knowledge
Interviewees often express claims, or assertions of a position or
truth. In order to be credible, those claims must be supported with of the topic of the interview, but if the topic of
evidence. In interviews that involve personal experiences, evidence may the interview is scientific in nature, any claims
involve impressions and feelings. However, in an interview about a scientific made about the topic must be supported by
subject, most of the evidence should involve facts rather than feelings. factual evidence. For more support, see Analyze
Fact-based evidence includes findings from research studies, data, and other Craft and Structure: Speaker’s Claims and
documented information. Evidence.
CITE TEXTUAL EVIDENCE Practice

Practice to support your answers.
Dr. Margee Kerr is the expert whose claims are expressed in this interview.
With your group, complete the chart. Identify the evidence with which
Dr. Kerr supports each claim, and consider its credibility.
ClaiM eViDenCe notes on CReDiBilitY
Some people enjoy fear New research from David Zald The author provides strong
because the natural high of shows that the amount of evidence that the reason some
dopamine released in people people enjoy fear more than
the fight-or-flight response
during a scary situation differs. others is due to brain chemistry.
feels great.
Not everyone enjoys being The chemicals that are released The author offers scientific
during fight-or-flight can work evidence on why children may
afraid.
like glue to build strong memories react more violently than adults
(“flashbulb memories”) of scary react to scary things.
experiences. (paragraph 4)
Being scared is only fun when Haunted houses are great at The sociology expert provides a
we recognize it’s not “real.” this—they deliver a startle scare real-life example of a scary and
by triggering one of our senses safe situation that people enjoy.
with different sounds, air blasts,
and even smells. (paragraph 5)
Much of the appeal of scaring Shelley Taylor discussed this in her The author offers evidence by
ourselves stems from our article… She shows that we do citing another published article. Analyze Craft and Structure
fascination with death. build a special closeness with those
we are with when we’re in an If students struggle to identify the evidence that
excited state, . . . (paragraph 13) supports the author’s claims, then revisit the
claim in the passage stating fear can be innate or
learned and help identify evidence in the passage
that supports this. For Reteach and Practice, see
Analyze Craft and Structure: Speaker’s Claims
Why Do Some Brains Enjoy Fear? 97 and Evidence (RP).
LIT17_SE10_U01_B3_SG_app.indd 97 Personalize for Learning 3/31/16 10:41 PM

Writing Interview Questions English Have students write two additional open- Dr. Margee Kerr, the woman who is
learners may require additional support in ended questions and one closed question interviewed in the selection: two closed
differentiating between open-ended and that they would like to ask Dr. Margee questions and three open-ended questions.
closed questions. Kerr, the woman who is interviewed in the bridging
Have pairs of students write two additional selection. expanding An expanded English Language Support
open-ended questions that they would like Have students write five additional Lesson on Interviews is available in the
to ask Dr. Margee Kerr, the woman who is questions that they would like to ask Interactive Teacher’s Edition
interviewed in the selection. emerging

Scientific and Technical Diction A writer’s diction, or word choice,
Scientific and Technical Diction Make sure reflects his or her purpose, audience, and topic. For example, articles about
that students understand that writers use certain poetry may include technical literary terms—words such as meter, scansion,
diction for a specific purpose or audience, and or sonnet. In a similar way, writings about scientific or technical subjects will
WHy Do SoME BRAINS
that in this article, scientific and technical words ENjoy FEAR? include scientific and technical terms—words and phrases with precise
and terms are used to give readers a deeper scientific or technical meanings. Consider these two passages based on the
understanding of the text. interview.
Have students find other examples of  STANDARDS Passage A It’s about triggering a response we have to fear that releases
sentences from the text that either leave them Reading Informational Text
chemicals in our brains.
Determine the meaning of words
with questions, or that give them a better and phrases as they are used in a
understanding based on the scientific and text, including figurative, connotative, Passage B It’s about triggering the amazing fight-or-flight response to
and technical meanings; analyze the experience the flood of adrenaline, endorphins, and dopamine.
technical terms used. cumulative impact of specific word
choices on meaning and tone. Passage A provides information, but it lacks specificity and leaves questions
For more support see: Author’s Style: Scientific
Writing unanswered: Which response to fear? Which chemicals? In contrast, Passage
and Technical Diction. Conduct short as well as more
B uses scientific and technical terms, such as fight-or-flight, adrenaline, and
sustained research projects to
answer a question or solve a endorphins, that have exact meanings. Scientific and technical terms allow
Read It problem; narrow or broaden the writers to present information with precision. For this reason, even general-
See possible responses in chart on inquiry when appropriate; synthesize interest articles on scientific topics may include technical language.
multiple sources on the subject,
student page. demonstrating understanding of the
subject under investigation. Read It
Write It Speaking and Listening Record sentences containing scientific and technical terms from the interview
Make strategic use of digital in this chart. Use context clues to define each term, or to approximate its
Responses will vary. Be sure students use media in presentations to enhance
three of the scientific/technical terms in understanding of findings, reasoning, general meaning. Then, verify definitions using a dictionary. Discuss with
and evidence and to add interest. your group how each term adds to the reader’s understanding of the topic.
their paragraphs.
SCIENTIFIC/TECHNICAL TERM SENTENCE DEFINITIoN
It’s all about triggering the amazing a hormone secreted in response to
adrenaline . . . safe space. (paragraph 5) stress, that increases heart rate, blood
pressure, and cardiac output
One of the main hormones released . . . a neurotransmitter in the central

dopamine
response than others do. (paragraph 3) nervous system that helps regulate
movement and emotion.
endorphins It’s all about triggering the amazing. . . a chemical in the brain that reacts with
safe space. (paragraph 5) the brain's opiate receptors to enable

people to withstand pain more easily.
Dr. Margee Kerr is the . . . year to plan. someone who studies the origin,
sociologist
(paragraph 2) development, organization, and
functioning of human society
fight-or-flight response The chemicals that are released . . . the response of the sympathetic
scary experiences. (paragraph 5) nervous system to a stressful event
oxytocin When we’re happy, or afraid, . . . our a hormone that plays a role in social
brain. (paragraph 12) bonding
Write It
Notebook Write a paragraph in which you explain how reading this
interview gave you insights into why some people seek out scary experiences. Use
at least three scientific or technical terms in your paragraph.

Challenge
Formative Assessment Relating to Personal Experiences Ask students to to research superhuman qualities people have
Author’s Style think about a time they experienced an adrenaline possessed during an adrenaline rush. Then, have
If students are unable to identify the scientific rush or strong emotion when they were afraid. students write a paragraph describing a time they
Explain that the release of adrenaline during fear experienced a strong emotion due to fear and
or technical terms in a text, then have them go
can make people complete amazing feats and how they reacted to the fueled emotion.
through the text and identify any words that have become almost superhuman. Encourage students
meanings they are still unsure of. For Reteach
and Practice, see Author’s Style: Scientific and
Technical Diction (RP).

EffECtIVE ExpREssION
Research Research
Remind students that as they work on the digital
Assignment
presentation it is important to stay focused on
Research cultural dimensions of the ways in which people experience and
the main topic and to be sure that the content is
express fear. Then, collect your findings and present them in a digital
presentation. Choose from these options:
clear. Once students have chosen one of the three
options, they should carefully consider the type of
Design and conduct a poll to determine how people feel about scary
media that they will use in their presentation.
but generally safe experiences, such as roller coasters, movies, and
even extreme sports. Write a series of at least ten yes/no questions Project Plan As they are gathering information
that you will have people answer. Calculate the results, gather visuals, and images, remind students to include
and organize your findings into a presentation to share with the class. citations for anything they plan to use in their
Conduct a film study of scary movies from the 1950s or 1960s. Watch presentation. Groups should make sure any
two films, or segments of more, and analyze the sources of fear in research sources they consult are reliable.
each one. Draw conclusions about the types of things that scared Check to make sure that each group has made
mid-twentieth-century Americans. Locate images or video clips, and  EVIDENCE LOG assignments and that the work is divided evenly
organize your findings and visuals into a report to share with the class. Before moving on to the among group members.
(Clear the movies you will watch with your teacher before proceeding.) next selection, go to your
Evidence Log and record
Evaluating Visuals Have students use the chart
Conduct a historical study of comets as objects of fear in ancient to evaluate visuals they will be using for their
societies. Find out how ancient peoples explained what comets “Why Do Some Brains presentation. Remind students that visuals they
were and what they meant, and consider some of the reasons Enjoy Fear?” select should support the information they are
for those perceptions. Locate drawings and other visuals that will
help communicate your findings. Then, organize and deliver your
presenting.
presentation. For more support, see Research: Group
Presentation.
Project Plan List the research, discussion, and writing tasks you will need Evidence Log Support students in completing
to accomplish in order to complete your project, and make sure you attend their evidence log. This paced activity will
to each one. Consult a variety of reliable research sources to gather accurate help prepare them for the Performance-Based
information and images. Include citations. Assessment at the end of the unit.
Evaluating Visuals Make sure the visuals you select will enhance your
audience’s understanding of your information. Use this chart to organize
your evaluation and confirm your choices.
Description of Visual point the Visual Makes citation
Why Do Some Brains Enjoy Fear? 99 Formative Assessment

Research
If students are having difficulty transferring
their research into a presentation format, then
encourage them to consider using a different
Digital perspectives digital format that might fit better with their
content. For Reteach and Practice, see Research:
Enriching the Text In Disney Pixar’s movie Search for and preview a video clip of Fear Group Presentation (RP).
Inside Out, different emotions are presented as from Disney Pixar’s Inside Out. Students should
characters found inside a child’s head. One of the determine whether they might change the
characters is Fear; his job is to keep the child safe portrayal of Fear based on what they have Selection Test
and free from harm. learned about fear and the brain. Administer the “Why Do Some Brains Enjoy
Fear?” Selection Test, which is available
in both print and digital formats online in
Assessments.
PLANNING SMALL- GROUP LEARNING • POETRY COLLEC TION
beware: do not read this poem • The Raven • Windigo
Audio summaries of this Summary

poetry collection are available
in both English and Spanish and The title of Ishmael Reed’s poem “beware: do not read this poem” is an irresistible
can be assigned to students in dare. The speaker begins the poem with a summary of a television show about a
the Interactive Teacher’s Edition mirror that haunts houses by stealing people in them. The poem follows in the same
or Unit Resources. Assigning path, warning readers about the greedy, hungry poem.
these summaries prior to reading In Edgar Allan Poe’s poem “The Raven,” the bird of bad omens visits the speaker
the selection may help students as he sits in front of a dying fire. He is trying to distract himself from the torment
build additional background of remembering his lost love. He welcomes the raven and asks its name. It replies,
“Nevermore.” The speaker, obsessed by his loss, phrases his questions to make each
their first read.
reply more grimly appropriate.
In “Windigo,” a poem by Louise Erdrich, the speaker takes the identity of a
hideous creature from a Native American myth. The Windigo enters a cottage to
steal a child from its mother. It endears itself to the child, and the child is soon lost
among the snow and ice, deep inside the Windigo.
Insight
Reading these three poems will help students begin to consider the role of the victims
in nightmarish stories. The terror in each poem is inflicted on someone, whether that
someone is a character or the reader. All of the victims either make bad choices or are
helpless in the face of the horror that has come to get them.
ESSENTIAL QUESTION:
of fear? The three poems provide a direct connection to the Essential Question, “What is
the allure of fear?” Readers are told a cautionary tale that is analogous to a deadly
mirror in “beware: do not read this poem” and watch the speaker’s madness unfold
in “The Raven.” In “Windigo,” readers witness children falling into a trap set by
a beast-like creature. All three poems give readers a thrill as people in the poems
ultimately meet their doom.
PERFORMANCE TASK Connection to Performance Tasks
In literature, how does Small-Group Learning Performance Task In this Performance Task, students will
a sense of uncertainty present an explanatory text describing how a sense of uncertainty creates an
help to create an atmosphere of fear. These poems provide examples of uncertainty, as readers must
atmosphere of fear? determine what is actually true in the poems.
Unit Performance-Based Unit Performance-Based Assessment Transformation is addressed in all three poems.
Assessment In “beware: do not read this poem,” readers wonder how a mirror or a poem is able
In what ways does to change into a body snatcher. In “The Raven” a grieving man‘s growing instability
transformation play a is reflected by what he perceives to be a talking bird. A monstrous creature changes
role in stories meant to from pale and melting to dark and liquid in “Windigo.”
scare us?
100A UNIT 1 • Inside the Nightmare

DIGITAL
LESSON RESOURCES

Lesson First Read Concept Vocabulary Speaking and Listening
Analyze the Text Author’s Style
Instructional RL.9–10.10 By the end of grade 10, L.9–10.4.b Identify and correctly use SL.9–10.1 Initiate and participate
Standards read and comprehend literature . . . patterns of word changes . . . effectively in a range of collaborative
discussions . . .
RL.9–10.2 Determine a theme or L.9–10.4.d Verify the preliminary
central idea of a text and analyze in determination . . . SL.9–10.6 Adapt speech to a variety
detail . . . of contexts and tasks . . .
RL.9–10.5 Analyze how an author’s
L.9–10.4 Determine or clarify the choices . . .
patterns of word changes . . .
STUDENT RESOURCES
Available online in the Selection Audio Word Network Evidence Log
Interactive Student
Edition or Unit First-Read Guide
Resources Close-Read Guide
TEACHER RESOURCES
Selection Resources
udio Summary: English and
C S peaking and Listening: Group
Spanish Word Study Presentation
Edition or Unit Annotation Highlights Author’s Style: Point of View
Resources
Text Questions E nglish Language Support Lesson:
Point of View
A
Development of Theme
A ord Study: Anglo-Saxon Prefix
W S peaking and Listening: Group
Development of Theme (RP) be- (RP) Presentation (RP)
Edition or Unit Author’s Style: Point of View (RP)
Resources
Assessment
Available online in
My Resources A Unit 1 Answer Key is available online and in the Interactive Teacher’s Edition.
Small-Group Learning 100B

personalize for learning SMALL- GROUP LEARNING • POETRY COLLEC TION
Reading Support
Text Complexity Rubric: Poems

Lexile NP; NP; NP Text Length: 48 lines; 108 lines; 24 lines
Knowledge Demands Some of the poems explore abstract, sophisticated themes. Students will need to know that a Windigo
1 2 3 4 5 is a monster from a Native American myth.
Structure Unconventional poetic structure is used in “beware: do not read this poem.” “The Raven” uses a stanza
1 2 3 4 5 form and rhyme scheme (complicated by elaborate internal rhyming). “Windigo” is written in free verse
form.
Language Conventionality and Clarity Language in each poem includes figurative language and unconventional language (“beware: do not
1 2 3 4 5 read this poem” includes nontraditional spelling). “The Raven” contains archaic language.
Levels of Meaning/Purpose Figurative concepts are used. Meanings may be unclear; not easy to grasp.
1 2 3 4 5
Decide and Plan

structure and meaning as they read the to ensure that they can successfully read with ideas for how they can go beyond a
selections. the text. simple interpretation of the text.
Structure Students may need help with the Language If students have difficulty with Text Analysis Ask students to find
difficult structure of “beware: do not read the language conventionality and clarity, examples of the following in the poems:
this poem.” Tell students they should read have them first read the poems aloud with alliteration, simile, metaphor, and
the poem several times. First, they should a partner, discussing difficult words line personification. Pair students and have
clarify the meaning of any words they do by line. Ask students to determine what them take turns sharing and interpreting
not understand. Guide students to interpret feelings the language conveys. their examples.
nontraditional spellings, for example, Meaning Once students have a grasp of Written Response Using the same rhyme
“tonite, thriller was abt an ol woman…” the literal meaning of the poem’s words, scheme as the author, have students write a
Meaning Work with students to help them have them reread to find deeper meaning. stanza to follow the ending of “The Raven.”
understand the meaning of metaphors by For example, in “beware: do not read this Encourage students to use literary devices to
first understanding the literal meaning. For poem,” have students discuss how the enhance their writing.
example, explain that a windigo is a folkloric author personifies the poem (“the hunger
wintry cannibalistic demon. Once students of this poem is legendary / it has taken in
have grasped the literal meaning, have them many victims”). Ask students how a reader
think of what the windigo may represent in can be “taken in” by a poem.
the poem.
TEACH
Read and Respond

Have the groups read the selection and complete the Making Meaning, Language Development, and
Effective Expression activities.
100C UNIT 1 • Inside the Nightmare

IDENTIFY NEEDS
• Use the Selection Resources listed on the Planning pages for this poetry collection to help
Instructional Standards: Poetry

Reading You may wish to administer RL.2 Determine a theme or Have students choose a
ANALYZE AND REVISE the Analyze Craft and central idea of a text and analyze character from a selection and
Structure: Development of its development analyze how the character’s
• Analyze student work for Theme (RP) worksheet to help over the course of the text, actions throughout the
students develop their own including how it emerges and is selection reveal the theme.
evidence of student learning. understanding of the author’s shaped and refined by specific
Work with students to evaluate
• Identify whether or not theme. details; provide an objective
how the author’s choice of
students have met the summary of the text.
You may wish to administer point of view impacted the
expectations in the standards. the Author’s Style: Point of RL.5 Analyze how an author’s aesthetic and themes of the
View (RP) worksheet to help choices concerning how to piece. How might another
students learn how to figure structure a text, order events point of view been different?
instruction. out a story’s point of view. within it, and manipulate time
create such effects as mystery,
tension, or surprise.
Speaking You may wish to administer SL.1 Initiate and participate Challenge students to write
and the Speaking and Listening: effectively in a range of and present a poem that
Listening Group Presentation (RP) collaborative discussions with emulates the style of one of the
worksheet to help students diverse partners on grades selections they have read.
organize ideas for their 9-10 topics, texts, and issues,
TEACH presentations. building on others’ ideas and
expressing their own clearly
and persuasively.
and gather evidence of student
learning.
Language You may wish to administer the L.4.b Identify and correctly Ask students to identify
Word Study: Anglo-Saxon use patterns of word changes additional verbs, adjectives,
Prefix be- (RP) worksheet to that indicate different and nouns to which the prefix
help students understand how meanings or parts of speech. be- can be added to form
the prefix be- can be joined new words.
with a verb, an adjective, or a
noun to form a new word.
Small-Group Learning 100D

v
POETRY COLLECTION
beware: do not read this poem

Jump Start
The Raven
First Read Are students afraid of the dark?
Prior to students’ first read, engage them in Windigo
discussion about fear of the dark to help them
make connections between the text and their
Concept Vocabulary
own experiences. Ask students if they feel safe
As you perform your first read, you will encounter these words.
at home with the lights on.
entreating implore beguiling
Poetry Collection Familiar Word Parts When determining the meaning of an unfamiliar
word, look for word parts—roots and affixes—that you know. Doing so may
Are demons already in our homes? Is the mirror help you unlock word meanings. Here is an example of applying the strategy.
waiting for an opportunity to swallow us up?
Is that poem you’re reading eating you alive?
Unfamiliar Word: incredulity
Modeling the questions readers might ask as they
read “beware: do not read this poem,” “The Familiar Root: -cred-, meaning “believe,” as in credible
Raven,” and “Windigo” for the first time brings
Familiar Affixes: the prefix in-, which means either “into” or “not”;
the text alive for students and connects it to the suffix -ity, which forms abstract nouns
the Small-Group Performance Task assignment.
Selection audio and print capability for the poems Conclusion: You can determine that the word incredulity must mean
something like “state of not believing.”
are available in the Interactive Teacher’s Edition.
Apply your knowledge of familiar word parts and other vocabulary strategies
Concept Vocabulary to determine the meanings of unfamiliar words you encounter during your
first read.
Encourage groups to discuss the three concept
vocabulary words and share their familiarity or
knowledge of each one. Do they recognize any
First Read POETRY
word parts, such as base words, roots, or affixes? Apply these strategies as you conduct your first read. You will have an
opportunity to complete a close read after your first read.
Ask groups to look closely at word parts and

discuss how these types of clues can help clarify  STANDARDS
meaning. Reading Literature
By the end of grade 10, read and
comprehend literature, including
stories, dramas, and poems, at the
NOTICE who or what is ANNOTATE by marking
First Read high end of the grades 9–10 text
“speaking” the poem and vocabulary and key passages
proficiently. whether the poem tells a story you want to revisit.
Have students perform the steps of the first read Language or describes a single moment.
independently. • Determine or clarify the meaning
of unknown and multiple-meaning
NOTICE: Students should focus on the basic words and phrases based on
grades 9–10 reading and content,
elements of the poems to ensure they understand choosing flexibly from a range of
the message the author is conveying. strategies. the selection to what you the Comprehension Check.
• Identify and correctly use patterns already know and what you
ANNOTATE: Students should mark any passages of word changes that indicate have already read.
they wish to revisit during their close read. different meanings or parts of
speech.
CONNECT: Students should increase their
understanding by connecting what they’ve read 100 UNIT 1 • INSIDE THE NIGHTMARE
to other texts and to personal experiences.
RESPOND: Students will answer questions to
demonstrate understanding.
Point out to students that while they will LIT17_SE10_U01_B4_SG.indd 100 3/30/16 5:41 AM
always complete the Respond step at the end

of the first read, the other steps will probably
happen somewhat concurrently. You may wish to
print copies of the First-Read Guide: Poetry for
students to use.

About the Poets Backgrounds

Ishmael Reed (b. 1938) is a prolific author beware: do not read this poem
who has written novels, poems, plays, and In the first stanza of the poem, the word
essays in a variety of different styles and thriller appears in italic type to indicate it is a
genres. He was born in Chattanooga, reference to a fictional television show. The
Tennessee, and raised in Buffalo, New York. poem contains abbreviations: abt for about, yr
Reed’s works have been translated into many for your, and frm for from.
languages and published in a number of
notable magazines and newspapers. Reed is
the recipient of numerous honors for his
work, including a Guggenheim Foundation
fellowship, and a MacArthur Foundation
“Genius” Award.
Edgar Allan Poe (1809–1849) is The Raven

internationally recognized as a pioneer of the
When Poe wrote this poem, he drew from a
short story, as well as the horror and
long tradition that viewed the raven as a bird
detective genres. Poe was born in Boston,
of ill omen. Yet, in some cultures, the raven
Massachusetts, and raised in Richmond,
enjoys a more positive image. For example,
Virginia, by tobacco farmer John Allan. During
when the Vikings were lost at sea, they would
his lifetime, Poe was only mildly successful as
release a raven. The raven would fly toward
a writer and struggled with poverty and loss.
land, thus directing the lost ship.
He died somewhat mysteriously at the age of
forty. Many of his works, including “The
Raven,” remain popular today.
Louise Erdrich (b. 1954) is the author of Windigo

many highly regarded novels and poetry
Windigos are evil, ice-coated, man-eating
collections. Erdrich was born in Minnesota,
creatures that appear in many Native
grew up on the plains of North Dakota, and
American folktales, including those from
was part of the first group of women
the poet’s Chippewa culture. In Chippewa
admitted to Dartmouth College. In her work,

folklore, it is believed that a person who
Erdrich often explores her Native American
commits a sin is turned into a Windigo as
heritage through her choices of characters
punishment. The human spirit is said to live
and themes.
inside the creature, but the only escape
is death. This poem presents a different
perspective on the traditional tale.
Poetry Collection 101
LIT17_SE10_U01_B4_SG.indd 101 Vocabulary Development 3/30/16 5:40 AM
Concept Vocabulary Jazmine, entreating the teacher for an 1. I implore you to attend the school’s
Reinforcement Students will benefit extension, needs more time; she hopes library fundraiser; ________________.
from additional examples and practice with the teacher can sympathize with her Possible response: I’m begging you to
the concept vocabulary. Reinforce their plea. come.
comprehension with “show-you-know”
sentences. The first part of the sentence uses Then give students these sentence prompts 2. Evan’s beguiling act fooled the audience
the vocabulary word in an appropriate context. and coach them in creating the clarification completely; ________________.
The second part of the sentence—the “show- part. Possible response: He really enchanted
you-know” part—clarifies the first. Model the them into believing him.
strategy on this example for entreating:

FACILITATING POETRY
beware:
do not read this poem
Ishmael Reed

tonite, thriller was
NOTES
abt an ol woman , so vain she
surrounded her self w/
many mirrors
5 it got so bad that finally she

locked herself indoors & her
whole life became the
mirrors
DIGITAL PERSPECTIVES
LIT22_SE10_U01_B4_SG.indd 102 20/03/21 5:16 PM
Enriching the Text The first stanza of the poem been removed and hidden in the attic. Explain
refers to a classic example of a Gothic television the backstory to students before you show a clip
series. The series Thriller ran from 1960 to 1962, from “The Hungry Glass” that shows the mirror
and the first season included a story called “The consuming a victim, and ask them how this may
Hungry Glass” (written by Robert Bloch, author of be seen as an example of personification. Be sure
Psycho) in which a naïve young couple move into to preview the clip before showing to students.
an old mansion from which all the mirrors have

one day the villagers broke
into her house, but she was too NOTES
10
Closer look
swift for them. she disappeared
into a mirror Analyze Personification
each tenant who bought the house
after that, lost a loved one to Circulate among groups as students conduct
15 the ol woman in the mirror: their close read. Suggest that groups close
first a little girl read lines 19–31. Encourage them to talk
then a young woman about the annotations they mark. If needed,
then the young woman/s husband provide the following support.
the hunger of this poem is legendary Annotate: As students work through the
20 it has taken in many victims poem, have them mark details that indicate
back off from this poem what the poem possesses, or work with small
it has drawn in yr feet groups to have students participate as you
back off from this poem highlight them together.
it has drawn in yr legs Question: Guide students to consider
25 back off from this poem
it is a greedy mirror
what a reader can infer from these details of
you are into this poem. from
unnatural behavior in inanimate objects, and
the waist down
nobody can hear you can they?
30 this poem has had you up to here Possible response: The idea of a mirror that
belch eats people won’t come as a shock to readers
this poem aint got no manners
familiar with Gothic conventions on page and
screen. A poem that eats people, however,
you cant call out frm this poem
is an original and comical take on a familiar
relax now & go w/this poem
Gothic trope.
35 move & roll on to this poem
Conclude: Help students to formulate
do not resist this poem
this poem has yr eyes
this poem has his head
this poem has his arms
40 this poem has his fingers
Possible response: As a poet, the author
knows the limitations of his art. His speaker
this poem has his fingertips
wants to change all that and give his readers an

this poem is the reader & the even more sensational experience than they get
reader this poem from “The Hungry Glass.” He’s offering them
a poem that will literally take them in and eat
statistic: the us bureau of missing persons reports them alive—and this is that poem.
45 that in 1968 over 100,000 people disappeared
Remind students that personification is a useful
leaving no solid clues
literary tool that engages the reader’s attention.
nor trace only
Personification is the act of giving human
a space in the lives of their friends
qualities to non-living things. It can create effects
that range from the comic to the instructive to
the horrific. Personification can be used, as here,
to convey a complex idea in a simple form.
Additional English Language Support

beware: do not read this poem 103 Edition.
LIT17_SE10_U01_B4_SG.indd 103 Facilitating Small-Group CLOSE READING 3/23/16 11:01 AM
CLOSE READ: Poetry As groups perform the close what is taking place in each one, and then see
read, circulate and offer support as needed. how they fit together.
• Remind groups that when they read poetry, they • Challenge group members to discuss each
should pay particular attention to the figurative poem’s meaning to develop a deeper
language. understanding of the message it intends
• If a group is confused about a poem’s meaning, to convey.
suggest that they examine each stanza, discuss

FACILITATING POETRY
CLOSER LOOK
Analyze Rhyme Scheme

Suggest that groups close read lines 7–12.
Encourage them to talk about the annotations
they mark. If needed, provide the following
support.
lines 7 through 12 that indicate the poem’s
rhyme scheme or work with small groups to
highlight details together.
Raven
reader can infer from these details and accept
student responses.
Possible response: In every stanza, the 4th and
The
5th lines end with the same word. This rhyme
scheme is enriched by a complex pattern of Edgar Allan Poe
internal rhyming (rhymes made within the lines)
that is also repeated in every stanza: In the 1st
line, the word remember rhymes with the last
word, December; in the 3rd line the word morrow
rhymes with the last word, borrow; in the 4th
line the word sorrow is rhymed by repetition. The
rhyme scheme of “The Raven” is very unusual. Once upon a midnight dreary, while I pondered, weak and weary,
NOTES Over many a quaint and curious volume of forgotten lore—
CONCLUDE: Help students to formulate While I nodded, nearly napping, suddenly there came a tapping,
conclusions about the importance of these As of some one gently rapping, rapping at my chamber door.
details in the text. Ask students why the author
5 “‘Tis some visitor,” I muttered, “tapping at my chamber door—
might have included these details.
Only this, and nothing more.”
Possible response: Students may say that

the rhyme sets up an expected pattern and Ah, distinctly I remember it was in the bleak December,
emphasizes the mood of the poem. And each separate dying ember wrought its ghost upon the floor.
Remind students that the rhyme scheme is the Eagerly I wished the morrow—vainly I had sought to borrow
pattern of rhymes in a poem. It helps set up a 10 From my books surcease1 of sorrow—sorrow for the lost Lenore—
rhythm and a musicality to the text. For the rare and radiant maiden whom the angels name Lenore—
Nameless here for evermore.
Mark familiar word parts or And the silken, sad, uncertain rustling of each purple curtain
indicate another strategy you
used that helped you determine
Thrilled me—filled me with fantastic terrors never felt before;
meaning. 15 So that now, to still the beating of my heart, I stood repeating
entreating (ehn TREET ihng) “’Tis some visitor entreating entrance at my chamber door—
adj. Some late visitor entreating entrance at my chamber door—
MEANING: This it is, and nothing more.”
1. surcease n. end.
WriteNow Analyze and Interpret

The speaker quickly becomes aware that replies that could take the place of poem but to use them anyway if they
the raven has a vocabulary of just one “Nevermore.” can’t be made to fit.
word, “Nevermore,” and asks the bird a Have students in their groups Have groups present their best new
series of increasingly morbid questions, replace the raven’s unchanging reply of versions and read them out to the class.
to which “Nevermore” is an increasingly “Nevermore” with replies that they think Together, encourage the class to consider
morbid reply. Have students imagine that the raven might give if it could exercise the impact of the revisions. Ask them
the speaker is mistaken, and that the human judgment and had a larger to explain how their versions are better
raven has an extensive vocabulary capable vocabulary. Remind students that their than Poe’s, and have the class point out
of supplying all kinds of three-syllable replies should fit precisely into the reasons why Poe’s original is better.

Presently my soul grew stronger; hesitating then no longer,
20 “Sir,” said I, “or Madam, truly your forgiveness I implore; NOTES
But the fact is I was napping, and so gently you came rapping, Concept Vocabulary
And so faintly you came tapping, tapping at my chamber door, Mark familiar word parts or ENTREATING If groups are struggling to define
That I scarce was sure I heard you”—here I opened wide the door— indicate another strategy you
used that helped you determine the word entreating in line 16, point out the
Darkness there, and nothing more. meaning. context in which the word is used. In line 3 the
implore (ihm PLAWR) v. speaker starts to hear tapping. He remains deep
25 Deep into that darkness peering, long I stood there wondering, fearing,
Doubting, dreaming dreams no mortal ever dared to dream before; MEANING:
in thought, and doesn’t let his visitor in. Given
But the silence was unbroken, and the darkness gave no token, the urgency, is the visitor most likely to be asking,
And the only word there spoken was the whispered word “Lenore?” requesting, or pleading to be let in?
This I whispered, and an echo murmured back the word “Lenore!” Possible response: Entreating must mean
30 Merely this, and nothing more. “pleading” or “begging.”
Back into the chamber turning, all my soul within me burning, IMPLORE If groups are struggling to define
Soon again I heard a tapping somewhat louder than before. the word implore line 20, remind them to look
“Surely,” said I, “surely that is something at my window lattice; for context clues. First, have them examine the
Let me see, then, what thereat is, and this mystery explore— speaker’s line: “Sir,” said I, “or Madam, truly your
35 Let my heart be still a moment and this mystery explore— forgiveness I implore.” Point out that the speaker
‘Tis the wind, and nothing more!”
is clearly offering a humble apology. Have
Open here I flung the shutter, when, with many a flirt and flutter, students look at the first three stanzas to find out
In there stepped a stately Raven of the saintly days of yore; why he might be apologizing. Remind them that
Not the least obeisance2 made he; not a minute stopped or stayed he; it’s very late and very cold, and whoever is out
40 But, with mien of lord or lady, perched above my chamber door— there must be eager to get indoors. The speaker
Perched upon a bust of Pallas3 just above my chamber door— Mark familiar word parts or is clearly asking for, or requesting forgiveness for
Perched, and sat, and nothing more. indicate another strategy you the delay. Point out to them, however, that he
used that helped you determine
Then this ebony bird beguiling my sad fancy into smiling, meaning. is very courteous in his choice of words—so that
By the grave and stern decorum of the countenance4 it wore, beguiling (bih GYL ihng) adj. last word, implore, must be equally courteous.
45 “Though thy crest be shorn and shaven, thou,” I said, “art sure no MEANING:
Possible response: Implore means “beg for”
craven,5 or “beseech.”
Ghastly grim and ancient Raven wandering from the Nightly shore— BEGUILING If groups are struggling to define the
Tell me what thy lordly name is on the Night’s Plutonian6 shore!”
word beguiling in line 43, remind them to look
Quoth the Raven, “Nevermore.”
for context clues. Point out that the bird is trying
Much I marveled this ungainly fowl to hear discourse so plainly, to turn the speaker’s sad fancy into smiling, By
50 Though its answer little meaning—little relevancy bore; the grave and stern decorum of the countenance
For we cannot help agreeing that no living human being it wore. The speaker is describing the bird trying
Ever yet was blessed with seeing bird above his chamber door— to change his mood by charming him with his
Bird or beast above the sculptured bust above his chamber door, manner and attitude.
With such name as “Nevermore.”
Possible response: Beguiling means “to charm or
55 But the Raven, sitting lonely on the placid bust, spoke only enchant someone, sometimes in a deceptive way.”
That one word, as if his soul in that one word he did outpour.
2. obeisance (oh BAY suhns) n. gesture of respect.

3. Pallas n. Pallas Athena, Greek goddess of wisdom.
4. countenance n. facial expression.
5. craven adj. cowardly.
6. Plutonian adj. of the underworld; refers to Pluto, Greek god of the underworld.
The Raven 105
LIT17_SE10_U01_B4_SG.indd 105 CROSS-CURRICULAR CONNECTION 3/31/16 5:52 AM
Art Have students interpret the poem through As students conduct a gallery walk of the
artistic expression. Students can create drawings, artwork, have them note which pieces they feel
collages, or graphic designs that represent the best represent the meaning of the poem, and
world Poe creates in “The Raven.” to be ready to defend their picks when asked.

Facilitating
Nothing further then he uttered—not a feather then he fluttered—
NOTES Till I scarcely more than muttered, “Other friends have flown
Closer look before—
On the morrow he will leave me, as my Hopes have flown before.”
Infer Characterization 60 Quoth the Raven, “Nevermore.”
Startled at the stillness broken by reply so aptly spoken,
their close read. Suggest that groups close
“Doubtless,” said I, “what it utters is its only stock and store,
read lines 79 through 95. Encourage them
Caught from some unhappy master whom unmerciful Disaster
to talk about the annotations they mark. If Followed fast and followed faster till his songs one burden bore—
needed, provide the following support. 65 Till the dirges of his Hope that melancholy burden bore
Annotate: Have students mark details in Of ‘Never—nevermore.’”
lines 82 and 83 that suggest that the speaker
But the Raven still beguiling my sad fancy into smiling,
is unable to come to terms with the reality Straight I wheeled a cushioned seat in front of bird, and bust, and
of Lenore’s death, or work with small groups door;
to have students participate as you highlight Then, upon the velvet sinking, I betook myself to linking
them together. 70 Fancy unto fancy, thinking what this ominous7 bird of yore—
Question: Guide students to consider What this grim, ungainly, ghastly, gaunt, and ominous bird of yore
what these details might tell them. Ask what Meant in croaking, “Nevermore.”
a reader can infer from these details about This I sat engaged in guessing, but no syllable expressing
the speaker’s morbid obsession, and accept To the fowl whose fiery eyes now burned into my bosom’s core;
student responses. 75 This and more I sat divining, with my head at ease reclining
Possible response: The speaker wants to rid On the cushion’s velvet lining that the lamplight gloated o’er,
himself of the misery of his grief. He is desperate But whose velvet violet lining with the lamplight gloating o’er,
for an anesthetic to ease his suffering. She shall press, ah, nevermore!
Conclude: Help students to formulate Then, methought, the air grew denser, perfumed from an unseen censer
conclusions about the importance of these 80 Swung by seraphim whose footfalls tinkled on the tufted floor.
details in the text. Ask students why the “Wretch,” I cried, “thy God hath lent thee—by these angels he hath
author might have included these details. sent thee
Possible response: He recognizes the insanity Respite—respite and nepenthe8 from thy memories of Lenore!
of his ghoulish preoccupation with the dead Quaff, oh quaff this kind nepenthe and forget this lost Lenore!”
Lenore, but he clearly wallows in death—it’s Quoth the Raven, “Nevermore.”
an addiction to him. It’s a telling detail that the

speaker never remembers her as a living woman. 85 “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!—
Whether Tempter sent, or whether tempest tossed thee here ashore,
Remind students that characterization Desolate, yet all undaunted, on this desert land enchanted—
is the way a writer develops and reveals a On this home by Horror haunted—tell me truly, I implore—
character’s personality and temperament. Is there—is there balm in Gilead?9—tell me—tell me, I implore!”
It’s up to the reader to make inferences and 90 Quoth the Raven, “Nevermore.”
draw conclusions about a character based on
the clues the writer provides. It’s up to the “Prophet!” said I, “thing of evil!—prophet still, if bird or devil!
writer to provide enough information to make 7. ominous adj. threatening or sinister.
8. nepenthe (nih PEHN thee) n. drug that the ancient Greeks believed could relieve
that character seem believable. Specifically, sorrow.
the writer must make us understand the 9. balm in Gilead in the Bible, a healing ointment made in Gilead, a region of ancient
Palestine.
character’s motivation: the reason or reasons
for that character’s actions.
Enriching the Text After students have read Ask students about the impact of having an
the poem, go online to locate a video of actor actor interpret the poem and provide the voice
Vincent Price reading “The Raven.” Vincent Price of the speaker. Does the actor change their
may be the most famous of all Gothic film actors. understanding of the poem compared to when
With his great lugubrious voice, he could convey they read it themselves? Which do they prefer?
the relish of great wickedness and the profound Have them explain their answers.
sadness of eternal solitude. Discuss whether hearing the poem read aloud
Tell students that reading poetry engages our changes their understanding of the text.
intelligence and our imagination.

By that Heaven that bends above us—by that God we both adore—
Tell this soul with sorrow laden if, within the distant Aidenn,10 NOTES
It shall clasp a sainted maiden whom the angels named Lenore—

95 Clasp a rare and radiant maiden whom the angels named Lenore.”
“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!
100 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!”
And the Raven, never flitting, still is sitting, still is sitting

On the pallid bust of Pallas just above my chamber door;
105 And his eyes have all the seeming of a demon’s that is dreaming,
And the lamplight 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!
10. Aidenn n. Arabic for Eden or heaven.
The Raven 107
LIT17_SE10_U01_B4_SG.indd 107 Personalize for Learning 3/24/16 12:03 PM

Syntax Review lines 103–108. Help students Help students understand that the rewritten poem
analyze the unusual sentence structure of is comprised of many run-on sentences. Explain
“The Raven” in order to develop a better that these sentences would not be considered
understanding of conventional English syntax. acceptable prose, but poetry allows an author
Have students rewrite two stanzas of the poem more freedom to write outside the conventional
in prose format, removing the line breaks rules of English. ALL LEVELS
from within the poetry. Ask them to read the
rewritten sentences and make observations.

FACILITATING POETRY
CLOSER LOOK
Analyze Imagery
their close read. Suggest that students close
read lines 6 through 10. Encourage them
to talk about the notes that they make. If
needed, provide the following support.
ANNOTATE: Have students mark details
in lines 7 and 8 that evoke imagery about
domestic life, or work with small groups to
have students participate as you highlight
Windigo
them together.
what these details might tell them. Ask what
a reader can infer from the author’s use of
imagery related to domestic life, and accept
student responses. Louise Erdrich
Possible response: The author wishes to evoke
a scene of homely warmth and simplicity. There’s
the comfort of an open fire. Dinner’s ready, and
the mother calls the child to eat.

conclusions about the importance of these You knew I was coming for you, little one,
NOTES when the kettle jumped into the fire.
author might have included these details. Towels flapped on the hooks,
and the dog crept off, groaning,
Possible response: The author includes these
5 to the deepest part of the woods.
details because they are fundamental to our
idea of humanity: a mother and child; food and In the hackles1 of dry brush a thin laughter started up.

warmth. Mother scolded the food warm and smooth in the pot
Remind students that imagery is language and called you to eat.
that uses images—words or phrases that But I spoke in the cold trees:
appeal to the senses of sight, hearing, touch, 10 New one, I have come for you, child hide and lie still.
taste, or smell. The term imagery is also used The sumac2 pushed sour red cones through the air.
more broadly to refer to figurative language Copper burned in the raw wood.
that evokes sensations. Like literal imagery, You saw me drag toward you.
figurative imagery appeals to the senses, but Oh touch me, I murmured, and licked the soles of your feet.
makes imaginative comparisons to things that 15 You dug your hands into my pale, melting fur.
may not be purely sensory.
1. hackles n. usually used to mean the hairs on the neck and back of a dog that stiffen
when the dog is ready to attack. In this case, the poet is using the word figuratively.
2. sumac n. bright shrub or small tree with multi-part leaves and fruit clusters.

I stole you off, a huge thing in my bristling armor.
Steam rolled from my wintry arms, each leaf shivered NOTES
from the bushes we passed

until they stood, naked, spread like the cleaned spines of fish. Comprehension Check
20 Then your warm hands hummed over and shoveled themselves full
of the ice and the snow. I would darken and spill beware: do not read this poem
all night running, until at last morning broke the cold earth 1. The old woman disappeared into a mirror.
and I carried you home, 2. Each tenant lost at least one loved one to a mirror
a river shaking in the sun. possessed by the old woman.
The Raven
1. He is sorrowful because of the death of his
Comprehension Check beloved Lenore.
Complete the following items after you finish your first read. Review and clarify 2. The raven responds with “Nevermore” to all of
details with your group. the speaker’s questions.
Windigo
1. The speaker is the Windigo, a demon of the wild
beware: do not read this poem
that feeds on human flesh.
1. What happened to the vain old woman who surrounded herself with mirrors?
2. At the end of the poem, the Windigo takes the
child into the wilderness that is its home.
Research to Clarify If groups struggle to
come up with a detail to research, you might
2. After that, what happened to each tenant of the old woman’s house? want to suggest they focus on researching the
Chippewa culture.
the raven
1. At the beginning of the poem, why is the speaker sorrowful?
2. With what word does the Raven respond to all the speaker’s questions?
windigo
1. Who is the speaker of the poem?
2. Where does the speaker take the child?
RESEARCH
Research to Clarify Choose at least one unfamiliar detail from one of the poems. Briefly
research that detail. In what way does the information you learned shed light on an aspect
of the poem?
Challenge
Gallery Walk Have students convey their Poetic Readings Poetry readings bring poetry relationship among meaning, sound, and rhythm.
understanding of one of the poems by creating a alive, and through the reader’s voice, tempo, and As students give their readings, ask those who
storyboard to depict the sequence of events that tone, can reveal a nuanced understanding of the are listening to think about how the different
make up the story and the physical environments poem itself. approaches to reading the same poem change
in which the events take place. As students Have students select one of the poems in this the perspective the listener has on the meaning
conduct a gallery walk of the artwork, have collection and prepare a reading. Explain to them of the poem.
them note which pieces they feel best represent that in their readings, they should not simply read
the narratives of the poems, and to be ready to the words on the page, but think about the
explain their choice when asked.

Close Read the text

Jump Start With your group, revisit sections of the poems you marked
during your first read. Annotate details that you notice.
Close Read Ask groups to consider the
following prompts: Have you ever watched Poetry ColleCtion
a horror film in which the suspense of what CITE TEXTUAL EVIDENCE

would happen to the characters caused you to analyze the text to support your answers.
be afraid? How would you have reacted in the Complete the activities.
situation the characters find themselves in? As
1. Review and Clarify With your group, reread lines 1–12 of “The Raven.”
students discuss the prompts, ask them in what GROUP DISCUSSION Discuss the ways in which Poe establishes the setting for the poem. How
other ways they might respond to fear. Keep in mind that group do the time of day and the season match the speaker’s state of mind?
members will have different What overall mood or atmosphere does the poet create?
interpretations of the poems.
Close Read The Text These different perspectives 2. Present and Discuss Work with your group to share the passages from
the selections that you found especially important. Take turns presenting
enable group members to
If needed, model close reading by using the learn from one another and your passages. Discuss what details you noticed, what questions you
Annotation Highlights in the Interactive Teacher’s to clarify their own thoughts. asked, and what conclusions you reached.
Edition. Very often, there is no single
interpretation or conclusion. 3. Essential Question: What is the allure of fear? What have these
Remind students to use Accountable Talk in poems taught you about portrayals of fear in literature?
their discussions and to support one another as
they complete the close read.
Analyze the Text Concept vocabulary
1. Possible response: The setting is midnight in
December. The cold, dark atmosphere matches entreating implore beguiling
the narrator’s despairing mood. DOK 3
2. Passages will vary by group. Remind students to  WoRd netWoRK Why These Words? The three concept vocabulary words are related. With
explain why they chose the passage they present your group, discuss what the words have in common. How do these word
Add words related to fear
to the group members. DOK 3 choices enhance the impact of the text?
from the texts to your Word
3. Responses will vary by group. DOK 3 Network.
Practice
Concept Vocabulary

Notebook Confirm your understanding of these words by using them
Why These Words? Possible responses: These in sentences. Include context clues that hint at each word’s meaning.
 StAnDArDS
words are about specific intentions and/or Reading Literature
motives. Determine a theme or central idea
of a text and analyze in detail its
development over the course of the Word Study
Practice text, including how it emerges and
is shaped and refined by specific Anglo-Saxon Prefix: be- The word beguiling begins with the
Possible responses: details; provide an objective summary Anglo-Saxon prefix be-, an ancient suffix with a variety of meanings.
• The captured chieftain, entreating the victor for of the text. Sometimes, it means “to make,” as in becalm. Other times, it acts as an
mercy, promised to pay a large ransom. Language
• Identify and correctly use patterns
intensifier meaning “thoroughly” or “completely,” as in bedazzle.
• “I implore you to clean your room,” Dad cried. of word changes that indicate Identify the base word in each of the following: becloud, befriend, belittle.
• The toy was so beguiling that Elena was sure it speech.
Then, write the meaning of each word. Use a college-level dictionary to
would charm her grandchildren. • Verify the preliminary verify your definitions.
determination of the meaning of a
word or phrase.
Word Network
Possible words: dreary, ghost, terrors, darkness, 110 UNIT 1 • INSIDE THE NIGHTMARE
grim, ghastly, horror, demon, shivered
Word Study
For more support, see Concept Vocabulary Formative Assessment
and Word Study.
Analyze the Text Concept Vocabulary
Possible responses: becloud (base word: cloud) If students struggle to close read the text, then If students struggle to identify the concept, then
“darken with clouds; make confused”; befriend provide the Poetry Collection: Text Questions have them revisit the context in which the words
(base word: friend) “make friends with”; belittle available online in the Interactive Teacher’s Edition were used in the story.
(base word: little) “disparage” or Unit Resources. Answers and DOK levels are
also available. Word Study
If students fail to identify other words, then
have them search the text for the prefix be-. For
Reteach and Practice, see Word Study: Anglo-
Saxon Prefix be- (RP).
question: What is
essential QUESTION:
ESSENTIAL does
the itallure
take of
to fear?
survive?

Development of Theme A narrative poem relates a story in verse. Like
a narrator in prose fiction, the speaker of a poem is an imaginary voice that
Development of Theme Discuss with students
“tells” the story. Interpreting a poem often depends on recognizing who how theme in literature is often implied based
the speaker is, whom the speaker is addressing, and what the speaker feels on language in the text. Readers can also identify
about the subject—his or her tone. a poem’s theme by focusing on tone, mood, or
A theme is a central message or insight expressed in a literary work. Some feelings of the speaker or narrator.
poems state a theme directly, but most convey their messages indirectly. Remind students that imagery, or sensory
Readers must look for clues to a poem’s theme in its language and details. language, includes descriptive language and
These details include imagery, or sensory language that creates word vivid images. This language is written to help
pictures in readers’ minds. Imagery makes a narrative poem more vivid, and the reader understand the tone and mood.
also suggests its themes. Ultimately, these elements collaboratively assist
in revealing the theme, especially if it is not
CITE TEXTUAL EVIDENCE explicitly stated in the text. For more support, see
Practice to support your answers. Analyze Craft and Structure: Development
Use the chart to analyze each poem. Consider how the speaker’s tone and the poem’s of Theme.
imagery reveal the theme.
Practice
bEWArE: dO NOT rEAd ThIS pOEm
speaker/speaker’s tone foreboding and commanding
Possible responses:
1. Another theme from “The Raven” is that one
possible theme We cannot separate ourselves from the must accept loss as a part of life in order to move
things that we read. on and return to living normally.
2. The speaker mentions Lenore’s name at least
details that develop this theme comparing the poem to the mirror that
eight times in the poem, indicating that he has
swallowed the ol woman
not moved on since her death. His mourning has
ThE rAvEN become unhealthy, delving into a manic fixation.
speaker/speaker’s tone a grieving, morose tone Unless the speaker accepts death as part of the
cycle of life, he will not be able to live normally.
possible theme Great sorrow may lead to madness.
details that develop this theme blaming the bird for his plight of losing
his love
WINdIgO
speaker/speaker’s tone a sinister wintertime demon
possible theme
Mystery is at the heart of life.
details that develop this theme uncertainty over whom the windigo is
talking to, and abnormal imagery Analyze Craft and Structure
If students struggle to identify themes in the
1. Choose one of the poems, and identify another theme it expresses. poem, then revisit key lines to discuss what
2. List details that suggest this theme, and explain your interpretation. types of sensory language and imagery imply
the overall theme. For Reteach and Practice, see
Analyze Craft and Structure: Development of
Poetry Collection 111 Theme (RP).


Point of View In narrative literature, whether stories or poems, the point
Point of View Discuss with students how point of view is the perspective, or vantage point, from which the story is told. The
of view can often be determined by the language point of view is very important, since it controls what the reader learns about
used in the text. In the poems, there are certain events and what he or she can logically infer.
Poetry ColleCtion
indicators that allow the reader to determine
whether the speaker is using a first-person point In first-person point of view, the narrator is a character in the literary
of view or omniscient point of view. For more work and refers to him- or herself with the first-person pronoun I or me.
support, see Author’s Style: Point of View. Since the narrator participates directly in the action, his or her point of
view is limited. A first-person narrator can reliably relate only those events
Read It he or she witnesses, experiences firsthand, or learns about from others.
See possible responses in chart on student page. In omniscient third-person point of view, the narrator is not a
character in the story. He or she stands “outside” the story and is,
Make it Interactive
thus, free to be omniscient, or “all-knowing.” The omniscient narrator
Have students play a game of Effect Charades. knows what all of the characters are thinking and feeling.
On index cards, write the name of one of the
poems and one of the effects listed in the
chart—for example, “Omniscient: Menace.” Put  standards
the cards in a box or other container. Divide the Reading Literature Read It
Analyze how an author’s Work individually. Use this chart to identify the point of view employed in
class into two teams. Teams alternate having choices concerning how to structure
one player select a card and act out (without a text, order events within it, and each poem. Then, consider the effects of this choice—what does the point of
manipulate time create such effects view allow readers to learn, and what does it keep hidden? When you finish,
vocalizing) the emotion they find on it. Teams as mystery, tension, or suspense. reconvene as a group to discuss your responses.
have a set amount of time in which to try to
guess what their teammate is acting out. beware: do not read this Poem
Point of view: Effects:

Write It
Omniscient Contributes to mood of fear and menace
Responses will vary. Be sure students describe
events from both the first-person and omniscient
points of view.
the raven
First-person Steadily increasing terror and madness

windigo
First-person Brings out an atmosphere of terror and pity
Author’s Style Write It
If students are unable to identify the point of Notebook Write two brief versions of the same scene. In one version of the
view in the poem, then have students look for scene, describe events from the first-person point of view. In the other version,
specific words such as “I” or “we,” which reflect describe the same events using the omniscient third-person point of view.
the point of view. For Reteach and Practice, see
Author’s Style: Point of View (RP). 112 UNIT 1 • INSIDE THE NIGHTMARE
Personalize for Learning LIT17_SE10_U01_B4_SG_app.indd 112 3/31/16 10:44 PM

Writing in Different Points of View Have pairs of from a friend or relative. Then have students write it For example, the story could be about a person who
students work together to write a brief narrative from the third-person omniscient point of view. Have thinks he or she is home alone and begins to hear
scene in first person. Then have them rewrite them discuss how the scene changes when the reader noises. The noises could be caused by a parent or
the scene using third-person omniscient point of knows the activities of all the characters. sibling who is in the house. Then have them write the
view. Have them discuss how the story changed. Expanding scene from the third-person omniscient point of view.
Emerging Ask students to write a brief narrative scene in first Bridging
Have students write a brief narrative scene in first person that features increasing tension and multiple An expanded English Language Support lesson on
person with a surprise ending, such as a surprise visit characters. Point of View is available in the Interactive Teacher’s
Edition.


Have students choose between an interview,
Assignment
a compare-and-contrast analysis, or a retelling
Create and deliver a group presentation. As you deliver your
for their presentation. Encourage students to
presentation, pay close attention to such things as eye contact, body
consider the presentation topics and determine
language, clear pronunciation, tone, speaking rate, and volume. Choose
from the following topics. the best types of content to help them educate
their audiences. For more support, see Speaking
Conduct a mock interview with one of the poets. Prepare a list of
and Listening: Group Presentation.
questions you would like to ask the poet about the inspiration behind
his or her poem. Each group member should write at least one Project Plan As students are making their
question and create an answer. Then, one group member should play list of tasks they need to do to complete the
the poet, while the others pose questions. Present the role-play for assignment, remind them that this chart will
the class.
help them organize ideas for their presentation.
Present a compare-and-contrast analysis of two of the poems, Remind them to focus only on the topic they have
focusing on the personalities and tones of the speakers. How do the chosen for the assignment.
speakers change over the course of the poems? Cite evidence from
the text to support your ideas. Present your analysis to the class.
Present a retelling of one of the poems. For example, you might help prepare them for the Performance-Based
present it as a short story, a hip-hop song, or a play. Present your Assessment at the end of the unit.
retelling for the class.
Project Plan Before you begin, make a list of the tasks you will need to
 EVIDENCE LOG
accomplish in order to complete the assignment you have chosen. Then,
Before moving on to a
assign individual group members to each task. Use this chart to organize
new selection, go to your
your ideas.
Evidence Log and record
MOCK IntervIew
“beware: do not read this
Tasks: Additional notes: poem,” “The Raven,” and
“Windigo.”
COMPAre-AnD-COntrASt AnALYSIS
Tasks: Additional notes: Formative Assessment

 StAnDArDS
If students are having difficulty selecting a topic,
Speaking and Listening then ask them to think about which creative
reteLLIng
• Initiate and participate effectively in medium would be most effective in delivering
a range of collaborative discussions
with diverse partners on grades 9–10 an engaging presentation to the audience.
Tasks: Additional notes: topics, texts, and issues, building on For Reteach and Practice, see Speaking and
others’ ideas and expressing their
own clearly and persuasively.
Listening: Group Presentation (RP).
• Adapt speech to a variety of
contexts and tasks, demonstrating Selection Test
command of formal English, when
Administer the “Poetry Collection” Selection Test,
which is available in both print and digital formats
online in Assessments.

Facilitating PERFORMANCE TASK: SPEAKING AND LISTENING FOCUS
Deliver an Explanatory
SOURCES
• WHERE IS HERE?
Deliver an Explanatory
Presentation • from THE DREam
Presentation
Assignment Before groups begin work on their CoLLECToR
projects, have them clearly differentiate the role • WHY Do SomE BRaINS Assignment
each group member will play. Remind groups to ENjoY FEaR? You have read literature that deals with fear and some of its causes and
consult the schedule for Small-Group Learning to • BEWaRE: Do NoT REaD
effects. Work with your group to develop a presentation that addresses
this question:
guide their work during the Performance Task. THIS PoEm
• THE RavEN In literature, how does a sense of uncertainty help to

Students should complete the assignment using
create an atmosphere of fear?
presentation software to take advantage of text, • WINDIgo
graphics, and sound features.

Plan With Your Group
Plan With Your Group Analyze the Text With your group, discuss the types of situations or
Analyze the Text Point out that although the dilemmas that different characters face in the selections you have read. Think
concept of uncertainty features more prominently about whether you as a reader were uncertain about what was happening,
in some pieces than others, evidence related to as well as whether the characters experienced uncertainty. Use the chart
the prompt can be found in all of the text and to list your ideas. For each selection, identify how uncertainty relates to an
atmosphere of fear. If you choose, you may also draw on experiences in your
media selections. Remind students to consider
own life, and discuss whether uncertainty played a role.
that uncertainty in literature and media can evoke
fear in the characters, the reader/viewer, or both TITLE KEY EXPERIENCES
concurrently.
Where Is Here?
If students or groups are having trouble
identifying evidence for one or more of the from The Dream Collector
selections, suggest that they consult their
Evidence Logs to re-familiarize themselves Why Do Some Brains Enjoy Fear?
with the main ideas, events, and features of
the piece(s). beware: do not read this poem
Gather Evidence and Media As groups begin

to discuss types of media that can be used to The Raven
 STaNDaRDS
enhance their dramatic readings, suggest that Speaking and Listening

they identify specific words or phrases within • Initiate and participate effectively in Windigo
the passages that they would like the media to a range of collaborative discussions
with diverse partners on grades 9–10
demonstrate. Groups may also wish to brainstorm topics, texts, and issues, building on group member’s story, if desired
a list of feelings, moods, and concepts that they others’ ideas and expressing their
own clearly and persuasively.
want to convey. Because such a wide range of • Work with peers to set rules Gather Evidence and Media Identify specific passages to read from the
media is available on the Internet, narrowing for collegial discussions and selections to support your group’s ideas. Test your choices by reading the
the scope of the desired media in advance using decision-making, clear goals and passages to each other, with appropriate inflection and emphasis, to see
deadlines, and individual roles as
these techniques will help groups reduce the needed. whether others agree that each one effectively illustrates your ideas about
amount of time spent on media searches. • Present information, findings, fear and uncertainty. Brainstorm for types of media you can use to enhance
and supporting evidence clearly, the mood and impact of your readings. Consider including images, such as
concisely, and logically such that photographs and illustrations. You may also include music and other sound
listeners can follow the line of
reasoning and the organization,
effects.
development, substance, and style
are appropriate to purpose, audience,
and task.
Author's
v Perspective LIT17_SE10_U01_B_SG_PT.indd
Ernest Morrell, 114 Ph.D. 3/31/16 10:49 PM
How to Package a Speech/Oral them to ask themselves these questions as instance, do I make eye contact, lean
Presentation The small-group speaking they practice and rehearse their speeches forward at key point to show emphasis,
and listening activity will help students and oral presentation: and use appropriate gestures?
learn how to engage an audience during a • Posture: Does my posture convey • Voice: Am I changing my voice by
presentation. This is important for students authority and ease? Do I look relaxed varying my pitch and volume to show
as they prepare for careers, public service and comfortable as I’m presenting? emotion and convey meaning? Does my
and higher education. Help students learn voice project to the back rows?
to become better speakers by reminding • Body language: How do I connect
physically with my audience? For

ESSENTIAL QUESTION : What is the allure of fear?
Organize Ideas As a group, organize the script for your presentation.

Organize Ideas Remind groups that all group
Make decisions about the following content and tasks:
members should have an opportunity to speak.
• Who will introduce the group’s main findings? Groups may need to divide the responsibility for
• Who will read the selection passages that illustrate the findings? displaying and managing images and playing
• Who will summarize findings and take questions from the audience? and managing sound so that students who
• Who will display and manage visuals? are controlling the media during one part of
• Who will play and manage music and sound effects? the presentation are still able to speak during
Then, plan where in your presentation you will incorporate your media. another part.
Rehearse With Your Group Rehearse With Your Group

Practice With Your Group Use this checklist to evaluate the effectiveness Practice With Your Group Students should
of your group’s first run-through. Then, use your evaluation and the practice their individual parts of the presentation
instruction here to guide your revision. independently prior to group rehearsals. After
PRESENTATION the first run-through, group members may
CONTENT USE OF MEDIA
TECHNIQUES wish to offer each other constructive feedback.
The presentation The media are Media are On subsequent run-throughs, groups can be
has a clear consistent with the visible and paired so they can view each other’s complete
introduction mood and tone of audible. presentations and offer outside feedback.
and a strong the passages from Transitions Monitor groups throughout the feedback process
conclusion. the texts. are smooth. to ensure that any criticism offered to groups or
Main ideas are The media add interest Each speaker individuals by fellow classmates is constructive in
well supported to the passages. speaks nature and presented in an appropriate way.
with readings Media do not distract clearly.
from the texts. from the passages Improve Your Use of Media Remind groups
or the ideas of the that although media can greatly enhance a
presentation. presentation, they can also be a distraction
or detract from the presentation when used
incorrectly or in large quantities. All media
Fine-Tune the Content Make sure you have enough examples that illustrate
your main findings about uncertainty and fear. Verify that each passage you
selections chosen should contribute to the overall
choose to read is clear and dramatic, and rehearse the readings for maximum theme of the presentation, and media should not
impact. Check with your group to identify key points in your introduction and be used as filler material.
conclusion that might not be clear to listeners. Find another way to word these
ideas. Present and Evaluate

Improve Your Use of Media Review all visuals, music, and sound effects Before beginning the presentations, set the
to make sure they add interest and help create a cohesive presentation. If a
expectations for the audience. Have students
visual or sound cue does not capture the right mood, replace it with a more
appropriate item.
consider these questions as groups present:
Brush Up on Your Presentation Techniques Practice delivering your • What was the group’s answer to the prompt
group presentation before you present to the whole class. Make sure that  STANDARDS
question?
you speak clearly, avoiding slang and informal language, and use appropriate Speaking and Listening • How did the reading selections support the
eye contact while you are speaking. • Make strategic use of digital
media in presentations to enhance
answer?
understanding of findings, reasoning,
• How did the media used contribute to the
Present and Evaluate and evidence and to add interest.
• Adapt speech to a variety of presentation?
When you present as a group, be sure that each member has taken into contexts and tasks, demonstrating
command of formal English when • What presentation skills did the group excel at?
account each of the checklist items. As you listen to other groups, evaluate
how well they adhere to the checklist. As students provide feedback to the presenting
group, remind them that compliments are just as
Performance Task: Deliver an Explanatory Presentation 115
valuable as constructive criticism.
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• Humor: How do I add humor when it suits Strategic Support

my audience and purpose? Do I tell jokes or Public Speaking Support Students who public speaking is not expected or required.
anecdotes, for instance? have difficulty reading aloud or experience Teachers should monitor group activity
presentation anxiety may avoid taking an active to ensure that these students are able to
• Tone: Do I speak with passion to engage my
role in the Small-Group Performance Task. These contribute to the development and presentation
audience?
students may need additional reassurance that of the performance task, while providing
Remind students that the way they present their the classroom is a safe environment where accommodations where appropriate or necessary.
information is often just as important as what presentation skills can be honed, and that flawless
they are saying.

OVERVIEW
OVERVIEW: INDEPENDENT LEARNING
INDEPENDENT LEARNING ESSENTIAL QUESTION:

Fear is a part of life. It both helps and hurts us, bonds and divides us. In this section,
Encourage students to think carefully about you will complete your study of the literature of fear by exploring an additional
what they have already learned and what selection related to the topic. You’ll then share what you learn with classmates. To
more they want to know about the unit topic, choose a text, follow these steps.
Inside the Nighmare. This is a key first step to
Look Back Think about the selections you have already studied. What more do
previewing and selecting the text they will read in you want to know about the topic of fear and its appeal in literature and life?
Independent Learning.
Look Ahead Preview the selections by reading the descriptions. Which one seems
Independent Learning most interesting and appealing to you?
Strategies Look Inside Take a few minutes to scan the text you chose. Choose a different
one if this text doesn’t meet your needs.
Review the Learning Strategies with students and
explain that as they work through Independent
Learning they will develop strategies to work on Independent Learning Strategies
their own. Throughout your life, in school, in your community, and in your career, you will need
to rely on yourself to learn and work on your own. Review these strategies and the
• Have students watch the video on Independent actions you can take to practice them during Independent Learning. Add ideas of
Learning Strategies. your own for each category.
Professional Development Center. STRATEGY ACTION PLAN
Students should include any favorite strategies Create a schedule • Understand your goals and deadlines.
that they might have devised on their own during • Make a plan for what to do each day.
Whole-Class and Small-Group Learning. For
example, for the strategy “Take notes,” students •
might include:
• Organize my notes into a chart.
• Only take notes about the important details, so
that I can pay attention to the speaker. Practice what you • Use first-read and close-read strategies to deepen your understanding.

have learned • After reading, evaluate the usefulness of the evidence to help you understand the
topic.
Block Scheduling • Consider the quality and reliability of the source.
40-50 minute class period. Teachers using •
block scheduling may combine days to reflect
revise pacing to differentiate and support core Take notes • Record important ideas and information.
instruction by integrating components and • Review your notes before preparing to share with a group.
resources as students require. •

Pacing Plan
Introduce
Whole-Class
LIT22_SE10_U01_C_INO.indd 116 20/03/21 5:18 PM
Learning Media: from How to
Tell You’re Reading
a Gothic Novel
Unit
1 2 3 4 5 6 7 8 9 10 11 12 13 14 15

CONTENTS
Choose one selection. Selections are available online only.
CRITICISM
Contents
How Maurice Sendak’s “Wild Things” Selections Encourage students to scan and
Moved Children’s Books Toward Realism preview the selections before choosing the
Gloria Goodale
one they would like to read. Suggest that they
How did this book about bad behavior and monsters consider the genre and subject matter of each
transform children’s literature? one before making their decision. You can use
the information on the following planning pages
to advise students in making their choice.
EXPLANATORY NONFICTION
Remind students that the selections for
Sleep Paralysis: A Waking Nightmare Independent Learning are only available in the
Interactive Student Edition. Allow students
What happens when there is no waking up from
a bad dream? who do not have digital access at home to
preview the selections using classroom or
computer lab technology. Then either have
students print the selection they choose or
provide a printout for them.
SHORT STORY Performance Based-Assessment Prep

The Feather Pillow Review Evidence for an Explanatory Essay
Horacio Quiroga, translated by Margaret Sayers Peden Point out to students that collecting evidence
during Independent Learning is the last step in
This classic horror story might make you a little
completing their Evidence Log. After they finish
less eager to lay your head down at night.
their independent reading, they will synthesize all
the evidence they have compiled in the unit.
The evidence students collect will serve as the
primary source of information they will use to
complete the writing and oral presentation for
NEWSPAPER ARTICLE
the Performance-Based Assessment at the end
Stone Age Man’s Terrors Still Stalk Modern of the unit.

Nightmares
Robin McKie
Are our bad dreams reminders of long-gone terrors in the night?
PERFORMANCE-BASED ASSESSMENT PREP

Review Evidence for an Explanatory Essay
Complete your Evidence Log for the unit by evaluating what you’ve learned and
synthesizing the information you have recorded.
Overview: Independent Learning 117
Introduce Introduce
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Small-Group 20/03/21 5:18 PM
Independent
Learning Learning
• beware: do not Performance-Based
read this poem Assessment
Media: from
• The Raven
The Dream Why Do Some Independent
16 17 18 19 20 21 22 23 24 25 26 27 28 29 30
INDEPENDENT LEARNING
Independent Learning 117

planning independent learning
How Maurice Sendak’s “Wild Things” Moved

Children’s Books Toward Realism
Summary Insight
Gloria Goodale’s article “How Maurice Sendak’s ‘Wild Things’ Reading “How Maurice Sendak’s
SELECTION RESOURCES
Moved Children’s Books Toward Realism” considers Where the Wild ‘Wild Things’ Moved Children’s
irst-Read Guide:
F Things Are and the effect it has had on fiction written for children. Books Toward Realism” will help
Nonfiction When it first appeared in 1963, Sendak’s story about the boy with students begin to reflect on the
the temper tantrum received a hostile reception from many critics. cathartic nature of facing one’s
lose-Read Guide:
C fears. Generations of children
Nonfiction
Before then, children’s stories were expected to teach children right
have related to Max’s fear that
from wrong. Sendak’s story changed the rules and was quickly
his temper makes him monstrous
ow Maurice Sendak’s
H recognized as a classic. It remains an inspiration to young writers. and unlovable. Children found
“Wild Things” Moved: Sendak’s clear-eyed understanding that children can behave badly and find relief as Max comes
Text Questions and their moms can be less than perfect made Where the Wild home to find he’s forgiven and
Audio Summaries Things Are a model for the psychological realism that modern accepted.
children’s fiction now shows.
Selection Audio
Selection Test
Connection to Essential Question
“How Maurice Sendak’s ‘Wild Things’ Moved Children’s Books Toward Realism”
provides an empathetic perspective on the Essential Question, “What is the allure
of fear?” In this selection, the allure of fear is in its power to reflect the real feelings
of children. Sendak depicted Max’s fear so that children would see themselves in
the story.
Connection to Performance-Based Assessment

This article addresses the changing expectations of children’s literature, identifying
the book that moved literature into more realistic topics. Students should be able to
consider how this change in story content has impacted young readers. In addition,
in the book “Where the Wild Things Are,” Max and his world are transformed,
presenting a perspective on fear.
Text Complexity Rubric: How Maurice Sendak’s ‘Wild Things’ Moved Children’s Books Toward Realism
Lexile: 1420 Text Length: 614 words
Knowledge Demands The text includes literary analysis of several children’s books and references “Harriet the Spy” and Nancy
1 2 3 4 5 Drew among others. Some references, but not all, include explanations.
Structure Organization may be difficult for some students. Text is interspersed with quotes from children’s
1 2 3 4 5 literature experts. Connection between ideas is not always explicit.
Language Conventionality and Clarity The text contains literary analysis that will likely be unfamiliar to readers. (i.e., didactic, psychological
1 2 3 4 5 self-reference). There are many cases of complex sentence structure including quotes.
Levels of Meaning/Purpose The main idea is revealed early, but the concept may be hard for some to grasp because of
1 2 3 4 5 sophisticated language and supporting concepts that are complex.

Digital
Audio Video Document Annotation EL Online
perspectives
Sleep Paralysis: A Waking Nightmare

Summary Insight
“Sleep Paralysis: A Waking Nightmare” gives a medical explanation What can you do when the
for a condition that has long been surrounded by dread and nightmare is inside of you?
superstition. Most dreaming takes place during periods of REM Reading “Sleep Paralysis: A
SELECTION RESOURCES Waking Nightmare” will help
sleep, an essential part of the normal sleep cycle characterized by
irst-Read Guide:
F rapid eye movement and low muscle tone. This state of virtual students think about fear as an
Nonfiction paralysis prevents us from acting out our dreams and harming internal phenomenon. With no
outside source of fear, sufferers
ourselves. Most of us regain normal muscle function as we wake.
lose-Read Guide:
C of sleep paralysis physically and
Nonfiction
However, people who suffer from sleep paralysis retain low mentally conjure up nightmares
muscle tone into consciousness, and the nightmare takes on the that terrify them.
leep Paralysis: A
S characteristics of vivid hallucination that they can’t control.
Waking Nightmare: Text
Questions
Audio Summaries
“Sleep Paralysis: A Waking Nightmare” addresses the Essential Question—“What
Selection Audio is the allure of fear?”—from an interesting slant. The people who suffer from
Selection Test sleep paralysis don’t purposely delve into terror, but the phenomenon does raise
questions: Why do we dream of things that frighten us?

“Sleep Paralysis: A Waking Nightmare” focuses on the transformation that occurs
in people who wake in a state of virtual paralysis in which their nightmares seem to
paralyze them. This article can support students in their study of fear.
Text Complexity Rubric: Sleep Paralysis: A Waking Nightmare

Knowledge Demands Contains references to hallucinations, alien abduction, and other cultures’ explanation of sleep paralysis,
1 2 3 4 5 not all of which are explained. Students may need more background about these terms.
Structure Information in the selection is logically organized, but connections between ideas are not always
1 2 3 4 5 completely explicit or in a predictable sequence.
Language Conventionality and Clarity Selection contains some complex sentences. Quotations used in the selection are clear. Vocabulary is
1 2 3 4 5 mostly on-level.
Levels of Meaning/Purpose Selection has only one level of meaning. The main concept and supporting ideas are simple and explicit.
1 2 3 4 5
Independent Learning 118B

planning independent learning
The Feather Pillow

Summary Insight
Horacio Quiroga’s short story “The Feather Pillow” is a brief and Reading “The Feather Pillow”
terrifying account of the mysterious death of a newlywed young will help students consider the
woman. Alicia and Jordan love each other deeply, but Alicia’s dreams symbolism of monsters. The
SELECTION RESOURCES vampire-like parasite that sucks
of marital bliss are chilled by Jordan’s lack of tenderness and by the
First-Read Guide: Fiction hostility of their cold house with its bare white walls and echoing the life from Alicia is a terrifying
floors. Alicia catches the flu and doesn’t recover her health. She symbol for the way Jordan’s
Close-Read Guide: Fiction impassive and cold demeanor
develops anemia and exhaustion. Her doctors can’t explain or relieve
leaves Alicia drained of her
he Feather Pillow: Text
T her illness, and she takes to her bed. Alicia grows weaker day by day, dreams of the way love should
Questions and has terrifying hallucinations of monsters clambering on her. She be.
dies in a state of delirium. Later, the servant who is stripping Alicia’s
Audio Summaries
empty bed notices that the pillow is inexplicably heavy. She calls
Selection Audio Jordan, who cuts it open with his knife, revealing the horror inside.
Selection Test
“The Feather Pillow” provides another literary perspective on the
Essential Question, “What is the allure of fear?” Quiroga lures his
readers into this terrifying story by foreshadowing Alicia’s death through
his descriptions of her life draining away and her hallucinations of
spider-like anthropoids. By stating that the kind of parasite that killed
Alicia is often found in feather pillows, Quiroga suggests that the reader
is at risk of suffering the same fate.

The transformation in “The Feather Pillow” is seen in Alicia’s shift from a
young girl with dreams to a woman languishing from her husband’s lack
of affection to, finally, her death.
Text Complexity Rubric: The Feather Pillow

Knowledge Demands Unfamiliar and fantastical situation features a story of a bloodsucking parasite. Contains references to
1 2 3 4 5 illness that may need further explanation (anemia, delirium, crepuscular terrors).
Structure Linear story, third-person narrative.

1 2 3 4 5
Language Conventionality and Clarity The selection contains figurative language, complex sentence structure.
1 2 3 4 5
Levels of Meaning/Purpose Multiple levels of meaning; concepts and meanings are not explicit. Many symbolic and metaphorical
1 2 3 4 5 elements.

Digital
Audio Video Document Annotation EL Online
perspectives
Stone Age Man’s Terrors Still Stalk

Modern Nightmares
Summary Insight
In an article that first appeared in The Guardian newspaper, “Stone Reading “Stone Age Man’s
SELECTION RESOURCES Age Man’s Terrors Still Stalk Modern Nightmares,” Robin McKie Terrors Still Stalk Modern
reports on recent research into Stone Age art. Cave paintings Nightmares” will help students
irst-Read Guide:
F understand that there is a human
Nonfiction are now regarded as an accurate record of the distribution and
development of animal species between 10,000 and 30,000 years need to express fear. Stone Age
lose-Read Guide:
C people painted their fears, just as
ago. They provide vital insights into the thoughts and fears of our
Nonfiction someone who wakes up from a
ancestors. Animals appear in various forms among Stone Age
nightmare feels compelled to talk
tone Age Man’s Terrors
S art all over the world. Dr. Christopher Chippindale of Cambridge to someone about it.
Still Stalk Modern University’s Museum of Archaeology and Anthropology believes
Nightmares: Text that they are the ancestors of werewolves and vampires. They
Questions demonstrate a link to our modern images of horror, showing that
these frightening creatures reflect an ancient urge.
Audio Summaries
Selection Audio
Selection Test
“Stone Age Man’s Terrors Still Stalk Modern Nightmares” provides a historical
perspective on the Essential Question, “What is the allure of fear?” The research
cited in the article explains that humans have been purposely scaring themselves for
tens of thousands of years. The terror was the way to another, magical realm.

In “Stone Age Man’s Terrors Still Stalk Modern Nightmares,” transformation can be
traced back thousands of years. Stone Age people painted images of humans that
become monsters.
Text Complexity Rubric: Stone Age Man’s Terrors Still Stalk Modern Nightmares
Knowledge Demands Contains references to drugged, trance-like states, hypnotic trances, video nasties (low-budget horror
1 2 3 4 5 films) and human-animal hybrids, not all of which are explained. Students may need more background
about these terms.
Structure Information in the selection is logically organized, but connections between ideas are not always
1 2 3 4 5 completely explicit or in a predictable sequence.
Language Conventionality and Clarity The syntax includes many complex sentences; selection has a lot of above-level vocabulary, figurative
1 2 3 4 5 language and extensive use of quotations.
Levels of Meaning/Purpose The main idea is revealed early, but the concept may be hard for some to grasp because of
1 2 3 4 5 sophisticated language and supporting concepts that are complex.
Independent Learning 118D

advising INDEPENDENT LEARNING
First-Read Guide Tool Kit

You may wish to direct students to use the First-Read Guide and
generic First-Read and Close-Read Guides in Use this page to record your first-read ideas.
Model Annotation
the Print Student Edition. Alternatively, you may
wish to print copies of the genre-specific Selection Title:
First-Read and Close-Read Guides for students.
These are available online in the Interactive
Student Edition or Unit Resources. NOTICE new information or ideas you learn ANNOTATE by marking vocabulary and key
about the unit topic as you first read this text. passages you want to revisit.
First Read
Students should perform the steps of the first
read independently.
NOTICE: Students should focus on the basic
elements of the text to ensure they understand
what is happening.
ANNOTATE: Students should mark any passages
they wish to revisit during their close read.
CONNECT: Students should increase their
understanding by connecting what they’ve read
to other texts or personal experiences.
RESPOND: Students will write a summary to
demonstrate their understanding.
Point out to students that while they will always
complete the Respond step at the end of the CONNECT ideas within the selection to other RESPOND by writing a brief summary of
first read, the other steps will probably happen knowledge and the selections you have read. the selection.
somewhat concurrently. Remind students that
they will revisit their first-read annotations during
the close read.

After students have completed the First-Read
Guide, you may wish to assign the Text
Questions for the selection that are available
in the Interactive Teacher’s Edition.
Anchor Standards
In the first two sections of the unit, students
worked with the whole class and in small
groups to gain topical knowledge and
greater understanding of the skills required
by the anchor standards. In this section, they  STANDARD
are asked to work independently, applying Reading Read and comprehend complex literary and informational texts independently and proficiently.
what they have learned and demonstrating
increased readiness for college and career.
Personalize for Learning LIT17_SE10_U01_C_INO.indd 118 3/1/16 4:30 AM

Skim, Predict, and Use a KWL Chart Use stand out to them. Explain to students How ______? Finally, help partners complete
the Text Complexity Rubrics to help that when they skim, they should focus on a KWL chart to note what they already
individual students select a text understanding the general idea and should know about the topic and what they want
appropriate for their English proficiency not stop to figure out unfamiliar words. to learn, and then after their first read,
level. Help students identify the genre of Next, have students work with a partner to what they learned. The columns of the KWL
the selection they chose. Then have them predict what their selection will be about. chart should be labeled from left to right:
skim the selection to notice text features, Instruct them to ask and answer Wh- Know, Want to Know, and Learned.
such as headings or visuals. They can also questions. Provide sample question frames ALL LEVELS
look for quotation marks and words that such as What ______? Who______?
118 UNIT 1 • Inside the Nightmare

Close-Read Guide Tool Kit

Model Annotation Close Read
Use this page to record your close-read ideas.
Students should begin their close read by
Selection Title: revisiting the annotations they made during their
first read. Then, students should analyze one
of the author’s choices regarding the following
Close Read the Text Analyze the Text
elements:
Revisit sections of the text you marked during Think about the author’s choices of patterns, • structure, such as chronological order or
your first read. Read these sections closely structure, techniques, and ideas included in central idea and evidence
and annotate what you notice. Ask yourself the text. Select one, and record your thoughts
questions about the text. What can you about what this choice conveys. • descriptive language, such as sensory words
conclude? Write down your ideas. or characterization
• tone, such as formal or informal
Make it Interactive
Group students according to the selection they
have chosen. Then, have students meet to discuss
the selection in depth. Their discussions should be
guided by their insights and questions.
QuickWrite
Pick a paragraph from the text that grabbed your interest. Explain the power of this passage.
 STANDARD
Reading Read and comprehend complex literary and informational texts independently and proficiently.
Overview: Independent Learning 119
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Read Aloud, Confirm Predictions, and may wish to assign different characters Were any predictions correct? Which ones?
Complete a KWL Chart Pair students or and the role of the narrator to individual Finally, have partners or groups work
put them in groups so they can take turns students to take turns reading aloud. Have together to add more details about what
reading aloud to one another. Each student students make predictions as they listen, they learned to the Close Read the Text box
can read one paragraph, or you can split and then have partners or groups discuss, on their Close-Read Guide. ALL LEVELS
up the text in any other way that makes compare, and confirm the predictions they
sense. For example, for a short story, you made. Ask: Did anything surprise you?
Independent Learning 119

advising INDEPENDENT lEarNINg
Share Your Independent Share Your Independent Learning

Prepare to Share
Learning  evIdence Log
Go to your Evidence Log
Prepare to Share and record what you Even when you read something independently, your understanding continues
Explain to students that sharing what they learned from the text to grow when you share what you have learned with others. Reflect on the
you read. text you explored independently, and write notes about its connection to the
learned from their Independent Learning selection
unit. In your notes, consider why this text belongs in this unit.
provides classmates who read a different selection
with an opportunity to consider the text as a
source of evidence during the Performance-Based
Assessment. As students prepare to share, remind
them to highlight how their selection contributed
to their knowledge of the unit concept as well as
how the selection connects to the question What
is the allure of fear?
Learn From Your Classmates

As students discuss the Independent Learning Learn From Your Classmates
selections, direct them to take particular note of
Discuss It Share your ideas about the text you explored on your own.
how their classmates’ chosen selections align with
As you talk with others in your class, jot down a few ideas that you learned
their current position on the Performance-Based from them.
Assessment question.
Reflect
Students may want to add their reflection to their
Evidence Log, particularly if their insight relates to
a specific selection from the unit.
Make it Interactive
Select 4 or 5 different student insights that are
particularly interesting or thought-provoking.
Read them one at a time, and have students Reflect
write down their initial thoughts, questions, and

Review your notes, and mark the most important insight you gained from
comments. Do they agree or disagree with the these writing and discussion activities. Explain how this idea adds to your
insight? Is there more information they need to understanding of the allure of fear in literature.
 StandardS
understand the insight? As students share their Speaking and Listening
responses, engage them in discussion about the • Initiate and participate effectively
insights with the class. range of collaborative discussions
with diverse partners on grades 9–10
Evidence Log Support students in completing topics, texts, and issues, building on
others’ ideas and expressing their
their Evidence Log. This paced activity will own clearly and persuasively.
help prepare them for the Performance-Based • Come to discussions prepared,
having read and researched material
Assessment at the end of the unit. under study; explicitly draw on that
preparation by referring to evidence
from texts and other research on
the topic or issue to stimulate a
thoughtful, well-reasoned exchange
of ideas.
Author's Perspective LIT17_SE10_U01_C_IN_PT.indd

Ernest Morrell, 120
Ph.D. 3/23/16 2:05 PM
Learning From Others Independent Have you heard of the author or read • What parts of the text do you think
Learning helps students build vocabulary, anything else by the author? were most important? Why?
background knowledge, and fluency. • For narrative text: What is the problem • Did the text meet your expectations?
Teach students how learn from each in the story? When and where does the Why or why not? Would you
other by modeling how to ask clarifying story take place? Why? recommend this text to a classmate?
questions when other students are sharing Explain your answer.
their experiences. Questions like these can • For nonfiction text: How is the
guide the discussion: information organized? What is the • How does the text relate to other texts
most interesting thing you’ve learned you have read on this subject? How
• Why did you choose this text? For so far? does it relate to your life?
example, did the topic interest you?
120 UNIT 1 • Inside the Nightmare

PERFORMANCE-BASED ASSESSMENT PREP
Review Evidence for an Explanatory Essay Review Evidence for an

At the beginning of the unit, you expressed a point about the following
question: Explanatory Essay
In what ways does transformation play a role in stories meant
Evidence Log Students should recognize that
to scare us? their understanding of an issue could evolve
as they learn more about the subject and are
 EvIdEncE log exposed to additional points of view. Point
out that just because they expressed an initial
Review your Evidence Log and your QuickWrite from the beginning of the
viewpoint on the question In what way does
unit. Did you learn anything new?
transformation play a role in stories meant to
scare us? doesn’t mean that their viewpoint
NOTES
can’t change after careful consideration of their
Identify at least three pieces of evidence that interested you about the learning and evidence.
reasons people enjoy scary literature.
1. Evaluate Your Evidence
Remind students that there are many different
types of evidence they can use to support the
2. central point of their explanatory essay, including:
• Examples from literature or popular culture
3. • Anecdotes or narratives based on personal
experience
• Quotations from experts
Identify a real-life experience or an example from one of the selections In addition to ensuring they have sufficient
that connects to your new knowledge about the literature of fear. evidence to support their central point, students
should evaluate the quality of their evidence.
Discuss the characteristics of strong evidence:
• Accurate: Facts and quotations should come
from credible sources, and examples from
Develop your thoughts into a topic sentence for an explanatory essay. literature and popular culture should accurately
Complete this sentence starter: represent the content.
I learned a great deal about literary portrayals of fear when • Relevant to the topic: Students should use
evidence that most clearly supports their
point, rather than evidence which requires
explanation.
• Coherent: Personal narratives and anecdotes
should be structured in a way that is easy for
Evaluate Your Evidence Consider your point of view. How did the texts
the reader to follow and does not obscure the
you read impact your point of view?
 STaNdardS purpose of the essay.
Writing
Introduce a topic; organize complex
ideas, concepts, and information to
make important connections and
distinctions; include formatting,
graphics, and multimedia when
useful to aiding comprehension.
Performance-Based Assessment Prep 121
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Performance-Based Assessment Prep 121

assessing performance-based assessment
sources Part 1
Writing to Sources: • WHOLE–CLASS SELECTIONS
Writing to sources: explanatory essay
Explanatory Essay
• SMALL–GROUP SELECTIONS In this unit, you read about various characters whose lives are transformed
Students should complete the Performance-Based in scary circumstances. In some cases, the transformations reveal something
Assessment independently, with little to no input • INDEPENDENT–LEARNING
that was there the whole time but disguised or hidden.
SELECTION
or feedback during the process. Students should
use word processing software to take advantage Assignment
of editing tools and features. Write an explanatory essay on the following topic:
Prior to beginning the Assessment, ask In what ways does transformation play a role in stories
students to think about situations in which meant to scare us?
transformation could be considered negative. Use evidence from at least three of the selections you read and researched in
this unit to support your perspective. Include a narrative dimension in the form
Review the Elements of an Effective of an anecdote, or brief story from your own experience or that of someone
Explanatory Essay you know. Ensure that your ideas are fully supported, that you use precise
Students can review the work they did words, and that your organization is logical and easy to follow.
earlier in the unit as they complete the
Performance-Based Assessment. They may also
consult other resources such as: Reread the Assignment Review the assignment to be sure you fully
understand it. The assignment may reference some of the academic words
• the elements of an explanatory essay, including presented at the beginning of the unit. Be sure you understand each of the
a central idea, support for the central idea, words given below in order to complete the assignment correctly.
and appropriate tone, available in Whole-Class
Learning Academic Vocabulary
• their Evidence Log
dimension manipulate psychological
• their Word Network  WorD NeTWorK
motivate perspective
Although students will use evidence from unit As you write and revise your
explanatory essay, use your
selections for their writing mode, they may need
Word Network to help vary
to collect additional evidence, including facts, your word choices. Review the Elements of an Effective Explanatory Text Before you
statistics, anecdotes, quotations from authorities, begin writing, read the Explanatory Text Rubric. Once you have completed
or examples. your first draft, check it against the rubric. If one or more of the elements is
missing or not as strong as it could be, revise your essay to add or strengthen
that component.

 STANDARDS
Writing
• Write informative/explanatory
texts to examine and convey complex
ideas, concepts, and information
clearly and accurately through the
effective selection, organization, and
analysis of content.
• Draw evidence from literary or
informational texts to support
analysis, reflection, and research.
• Write routinely over extended
time frames and shorter time frames
for a range of tasks, purposes, and
audiences.
Author's Perspective LIT17_SE10_U01_U_PAS.indd

Kelly Gallagher, 122 M. Ed. 3/30/16 5:46 AM
Building a Writing Portfolio with a portfolio—collection of all the writing Narrative Piece, Best Informative Piece,
Students Teachers can create a portfolio a student has done, selection of the best Best On-Demand Writing, Best Poetry, Best
that enables students to demonstrate the pieces, and reflection to evaluate growth. Blended Genre, Best Writing from Another
variety of writing they complete over the Teachers can set the criteria using such Class, Best Model of Revision, and Best
year. There are three elements of keeping categories as Best Argument, Best Single Line You Wrote this Year. Students

essential question: What is the allure of fear?
Explanatory Text Rubric Explanatory Text Rubric

Focus and Organization Evidence and Elaboration Conventions As you review the Explanatory Text Rubric with
The introduction engages the reader The essay includes specific reasons, details, The essay students, remind them that the rubric is a
and states a thesis in a compelling way. facts, narratives, and quotations to support intentionally uses resource that can guide their revisions. Students
the thesis. standard English
The essay includes a clear introduction, conventions should pay particular attention to the differences
body, and conclusion. If a narrative is used, it is coherent and of usage and between an explanatory text that contains all of
provides strong support for the thesis. mechanics.
4 The essay uses facts and evidence from the required elements (a score of 3) and one that
a variety of reliable, credited sources The tone of the essay is appropriately formal
is engaging, has a well-supported thesis, and
and objective for the audience and topic.
The conclusion summarizes ideas and includes a clear structure (a score of 4).
offers fresh insight into the thesis. The language is always precise and
appropriate for the audience and purpose.
The introduction engages the reader The research includes some specific The essay
and sets forth a thesis. reasons, details, facts, narratives, and demonstrates
quotations to support the thesis. general
The essay includes an introduction, a accuracy in
body, and a conclusion. If a narrative is used, it is coherent and standard English
provides some support for the thesis. conventions
3 The essay uses facts and evidence from
a variety of credited sources. The tone of the research is mostly of usage and
appropriate for the audience and topic. mechanics.
The conclusion summarizes ideas.
The language is generally precise and
The introduction sets forth a thesis. The research includes a few reasons, details, The presentation
facts, narratives, and quotations to support demonstrates
The essay includes an introduction, the thesis. some accuracy in
a body, and a conclusion, but one or standard English
more parts are weak. If a narrative is used, it provides little conventions
support for the thesis. of usage and
2 The essay uses facts and evidence from
a few credited sources. The tone of the research is occasionally mechanics.
appropriate for the audience and topic.
The conclusion partially summarizes
ideas. The language is somewhat precise and
The introduction does not state a Reliable and relevant evidence is not The essay
thesis clearly. included. contains
mistakes in
The essay does not include an If a narrative is used, it provides no support standard English
introduction, a body, and a conclusion. for the thesis. conventions
1 The essay does not use a variety of The tone of the essay is not objective or of usage and
facts, and information and evidence formal. mechanics.
are not credited.
The language used is imprecise and not
The conclusion does not summarize appropriate for the audience and purpose.
ideas.
Performance-Based Assessment 123
LIT17_SE10_U01_U_PAS.indd 123 3/30/16 5:46 AM
should also include a reflective letter at • Reflect on a struggle you faced • What strengths have you developed
the end of the year. To help them learn to during this unit. How did you as a writer? Where are those
reflect, use questions like this throughout overcome it? strengths found in this portfolio?
the year. • Discuss a specific writing strategy you At the end of the year, students can
• Where does your writing still need used and how it worked for you. review these pieces to see their growth as
improvement? How will you improve? writers.

assessing performance-based assessment
Part 2
Speaking and Listening: Speaking and Listening: Informal Talk
Informal Talk
Students should annotate their written Assignment
explanatory essay in preparation for the oral After completing the final draft of your explanatory essay, use it as the
presentation, marking the important elements foundation for a three- to five-minute informal talk.
(central idea, support, descriptive language)
as well as quotes by experts, anecdotes, and Do not read your explanatory essay aloud. Instead, use your knowledge to
narrative evidence. speak informally but with confidence about your topic. Take the following
Remind students that the effectiveness of steps to prepare your talk.
an oral presentation relies on how the speaker • Go back to your essay, and annotate the most important ideas from your
establishes credibility with his or her audience. introduction, body paragraphs, and conclusion. Also, note any anecdote
If a speaker comes across as confident and or descriptive details you used.
authoritative, it will be easier for the audience to  StandardS • Use your annotations to make a list of the key points and content you
give credence to the speaker’s presentation. Speaking and Listening want to share in your informal talk.
Present information, findings, and
• As you speak, refer to your list of ideas to keep your talk focused.
Review the Rubric As you review the Informal supporting evidence clearly, concisely,
and logically such that listeners can
Talk Rubric with students, remind them that it follow the line of reasoning and
Review the Rubric The criteria by which your informal talk will be
is a valuable tool that can help them plan their the organization, development,
substance, and style are appropriate evaluated appear in the rubric below. Review these criteria before speaking
presentation. They should strive to include all of to purpose, audience, and task. to ensure that you are prepared.
the criteria required to achieve a score of 3. Draw
their attention to some of the subtle differences Content Organization Presentation
between scores of 2 and 3. The introduction engages and orients The speaker uses time very The speaker maintains
the reader by setting out a clear effectively by spending the effective eye contact and
observation or analysis. right amount of time on each speaks clearly.
part of the discussion.
The talk includes both descriptive The speaker varies tone,
3
details and narrative techniques. The talk includes a smooth volume, and emphasis
sequence of ideas with clear to create an engaging
The conclusion follows from and transitions that listeners can presentation.
reflects on ideas presented earlier in follow.
the talk.
The introduction sets out a problem, The speaker uses time The speaker mostly maintains
situation, or observation. effectively by spending effective eye contact and
adequate time on each part. usually speaks clearly.

The talk includes some descriptive
2 details and narrative techniques. The talk includes a smooth The speaker sometimes varies
sequence of ideas with tone, volume, and emphasis
The conclusion follows from ideas transitions that listeners can to create an engaging
presented earlier in the talk. mostly follow. presentation.
The introduction does not set out an The speaker does not use The speaker does not maintain
observation or analysis. time effectively and devotes effective eye contact or speak
too much or too little time to clearly.
The talk does not include descriptive each part.
1 details or narrative techniques. The speaker does not vary
The talk does not include tone, volume, and emphasis
The conclusion does not follow from a clear sequence of ideas to create an engaging
ideas presented earlier in the talk. with transitions that listeners presentation.
can follow.
LIT17_SE10_U01_U_PAS.indd 124 3/23/16 2:12 PM
Preparing for the Assignment To help students that make both speakers effective. Encourage
understand what an effective informal talk looks students to consider how good formal speaking
and sounds like, find examples on the Internet of techniques can be adapted—but still utilized—in
students or adults speaking both informally and informal settings. Suggest that students practice
formally on an informative topic. After previewing by presenting their informal talk to a friend or
the examples, project them for the class. Ask family member, conversation style. Thinking of
students to comment on the differences they the informal talk as one side of a conversation
note between the formal presentation and the may help students avoid slipping into a more
informal talk. Have students note techniques formal style as they present.

UNIT
1 REFLECTION
Reflect on the Unit Reflect on the Unit

Now that you’ve completed the unit, take a few moments to reflect on your
learning.
• Have students watch the video on Reflecting
on Your Learning
Reflect on the Unit Goals • A video on this topic is available online in the
Look back at the goals at the beginning of the unit. Use a different Professional Development Center
colored pen to rate yourself again. Think about readings and activities
that contributed the most to the growth of your understanding. Record Reflect on the Unit Goals
your thoughts. Students should re-evaluate how well they met
the unit goals now that they have completed
the unit. You might ask them to provide a
written commentary on the goal they made the
most progress with as well as the goal they feel
warrants continued focus.
Reflect on the Learning Strategies

Discuss It If you want to make this a digital
Reflect on the Learning Strategies
activity, go online and navigate to the Discussion
Discuss It Write a reflection on whether you were able to improve your
Board. Alternatively, students can share their
learning based on your Action Plans. Think about what worked, what didn’t,
and what you might do to keep working on these strategies. Record your
learning strategies reflections in a class discussion.
ideas before a class discussion.
Reflect on the Text
Consider having students share their text
reflections with one another.
MAKE IT INTERACTIVE
Have students prepare one slide using
presentation software that summarizes their
reflection.
Reflect on the Text
Collate student slides into a presentation that
Choose a selection that you found challenging, and explain what made it
difficult. can be viewed by the class. Students should be
prepared to give a 30-second oral summary for
their slide.
 STANDARDS
Explain something that surprised you about a text in the unit. Speaking and Listening
Unit Test and Remediation
• Initiate and participate effectively in After students have completed the
a range of collaborative discussions
with diverse partners on grades 9–10 Performance-Based Assessment, administer
topics, texts, and issues, building on the Unit Test. Based on students’ performance
other’s ideas and expressing their
own clearly and persuasively. on the test, assign the resources as indicated
Which activity taught you the most about the literature of fear? What did • Come to discussions prepared, on the Interpretation Guide to remediate.
you learn? having read and researched material
under study; explicitly draw on that Students who take the test online will be
preparation by referring to evidence automatically assigned remediation, as
from texts and other research on
the topic or issue to stimulate a
warranted by test results.
thoughtful, well-reasoned exchange
of ideas.
LIT22_SE10_U01_U_PAS.indd 125 20/03/21 5:19 PM

CRITICISM
How Maurice Sendak’s

“Wild Things” Moved
Children’s Books
Toward Realism
Gloria Goodale
About the Author

SCAN FOR Gloria Goodale is a staff writer at the Christian Science Monitor, an
MULTIMEDIA
independent news organization with global coverage. Moreover, Goodale is
a wide-ranging journalist who has written about culture, politics, and news.
As a California resident, she often covers current events on the West Coast.
BACKGROUND
In Where the Wild Things Are, a classic children’s picture book by
Maurice Sendak (1928–2012), Max is a young boy who misbehaves
and is sent to his room without supper. There he imagines traveling to
a distant land inhabited by Wild Things, where he can do whatever he
wants as the king. However, feeling lonely, he “returns” to his room to
eat supper.
NOTES
1
L OS ANGELES— When Maurice Sendak’s groundbreaking

Where the Wild Things Are, was published in 1963, some
critics and parents grumbled about what they called its dark and
nightmarish undertones.
2 But librarians rallied to what they saw as the picture book’s
emotional honesty and psychological realism.1 It was awarded the
Caldecott Medal for children’s literature in 1964 and—say today’s
librarians, authors, and experts—forever changed the course of
children’s books.
3 “With Maurice Sendak’s 1963 classic tale of vengeful rebellion,
Max and the Wild Things ushered in a new era in children’s
literature,” says Kathleen Horning, director of the Cooperative
1. psychological realism n. literary approach that focuses on the inner thoughts and
feelings of the characters.
IL1 UNIT 1 Independent Learning • How Maurice Sendak’s “Wild Things” Moved Children’s Books Toward Realism
Children’s Book Center at the University of Wisconsin School of
Education in Madison. NOTES
4 “For the first time, authors and illustrators began to show

young children the world as it really is, rather than how some
adults in charge thought it ought to be,” she adds.
5 In subsequent years, the sort of subversiveness2 and humor
that marked what has become a classic began to spill out in
everything from picture books to young-adult series.
6 Harriet the Spy, a cheeky update on the Nancy Drew tomes, came
out soon after, points out Ms. Horning. Many works with a much
more realistic depiction of the childhood experience followed, she
says, such as John Steptoe’s 1969 Stevie, featuring a young boy’s
experience as his family takes in an older foster child.
7 “In an earlier era, a book like this would probably have focused
on the joys of having an older brother,” she says, “rather than
exploring the more difficult psychological issues relating to feeling
displaced by a newcomer as the book did.”
8 Sendak was at the heart of a major shift in focus for stories
aimed at children, says Teresa Michals, professor of English at
George Mason University.
9 “Children’s literature is always trying to teach something,” she
points out, adding that Where the Wild Things Are is a “monument to
that shift.”
10 The book marked a move toward psychological self-reference,
she says.
11 “Rather than focusing on an explicitly didactic3 moment, the
story is a more realistic depiction of the way a tantrum might
actually play out in a home,” she says, adding that even the
mother in the tale is not perfect, “but is shown losing her temper
as well.”
12 This is in distinct contrast with the goals of earlier periods,
such as the 18th or 19th century.
13 “A goal in those books might have been teaching children to

be kind to animals for instance,” she says. “A worthy goal to be
sure,” she adds, but one that reflects what adults think children
should learn rather than illuminates their actual experience.
14 Mr. Sendak is still charging up young authors today.
15 He understood that the “best way to help his readers overcome
their own insecurities was to show other children battling theirs,”
says Meg Cabot, author of The Princess Diaries, via email.
16 Sendak showed that “children’s books could both entertain and
educate, but subtly so. No one closes Where the Wild Things Are and
2. subversiveness (sub VUHR sihv nehs) n. behavior that undermines established ways of
doing things.
3. didactic (dy DAK tihk) adj. teacher-like.
UNIT 1 Independent Learning • How Maurice Sendak’s “Wild Things” Moved Children’s Books Toward Realism IL2
realizes they’ve learned a lesson,” she says, adding that they feel
NOTES only “a sense of great satisfaction.”
17 She says she wanted to write books like that, ones that not
only entertained, but also helped kids overcome their fears and
insecurities.
18 The lessons of “Wild Things” not only stayed with her from
childhood, but opened the door to her own professional success,
Ms. Cabot says.
19 After heading to New York upon graduating college and
failing to sell her picture books, she says, “I did what Maurice
Sendak taught us all to do—I turned my darkest fears into
fiction, and soothed myself.” And, like Sendak, launched a highly
successful career that now includes a best-selling book and movie
franchise. ❧
From The Christian Science Monitor, May 9, 2012 © 2012 The Christian Science Monitor. All rights reserved. Used by
permission and protected by the Copyright Laws of the United States. The printing, copying, redistribution, or retransmission
of this Content without express written permission is prohibited.
IL3 UNIT 1 Independent Learning •How Maurice Sendak’s “Wild Things” Moved Children’s Books Toward Realism
EXPOSITORY NONFICTION
Sleep Paralysis:
A Waking
Nightmare
Lexi Tucker
About the Author

Lexi Tucker was born in Georgia in 1976. Her grandmother’s experiences SCAN FOR
MULTIMEDIA
with sleep paralysis inspired Tucker to learn more about the subject,
and she often writes about the scientific aspects of sleep and dreaming.
Tucker is currently working on a book about the causes and effects of
sleepwalking.
BACKGROUND
Although the word nightmare now means “a bad dream,” it was
originally used in the thirteenth century to refer to a supernatural being
that tormented sleepers by making it hard for them to breathe. In
the mid-1800s, nightmare began to be used to describe a frightening
dream or distressing experience.
I magine waking up but being unable to move—and seeing

something terrifying at the foot of your bed. This is what
happens during sleep paralysis, a condition that affects roughly
NOTES
1 in 20 people at some point in their lives. It’s believed to be an

unintended side effect of dreaming; when you dream, your brain
sends a signal to your muscles to go limp so you don’t act out
the dream. This signal is supposed to stop when you wake up, or
when the dream ends. But people who suffer from sleep paralysis
find themselves paralyzed and fully aware of their predicament.
What’s worse, the sleeper often experiences a frightening series
of additional symptoms: difficulty breathing due to a perceived
pressure on the chest (as if someone or something were sitting on
the dreamer’s chest); hallucinations (often seeing or hearing an
intruder in the room); and powerful fear.
2 Taken together, the symptoms of sleep paralysis may explain
stories of “alien abduction” in recent years, or being harassed
UNIT 1 Independent Learning • Sleep Paralysis: A Waking Nightmare IL4

by demons in ages past. (The hallucination1 of an intruder
NOTES would account for the presence of an “alien” or “demon.”) Sleep
paralysis is also sometimes called “Old Hag syndrome,” for an
evil creature thought to suffocate people in their sleep by sitting
on their chests. Cultures around the world have different words
for these terrifying nocturnal experiences—the Japanese call it
kanashibari, which means “bound up with metal.”
3 In a 2009 article for the Guardian, psychologist Chris French told
the story of Lori Ball, a woman in her mid-50s from Ohio. She was
aware of her condition, which made it all the more terrifying. Ball
said, “I try to scream (though I have great difficulty making any
sound), attempt to flail around, anything, to get the attention of
my husband. It is a feeling of panic, entrapment,2 and desperation
so horrifying that I have difficulty describing its magnitude.
4 “If my spouse notices my discomfort and responds, in my mind
it’s never soon enough. One cannot simply tell me to ‘wake up’
and tap me on the arm. Often I need to be shaken somewhat to
be fully present. At that point I wouldn’t care if he slapped me
hard as the terror of being in that paralyzed state, totally helpless,
is overwhelming. Knowing that it will end eventually is of no
comfort. Every second is hell.”
5 Because sleep paralysis affects about 5 percent of the
population, it could happen to you someday. If it does, it may
be scary while it happens, but know that it’s not particularly
uncommon—and the good news is, most people who suffer one
episode of sleep paralysis do not have a chronic3 condition like
Lori Ball. ❧
— Lexi Tucker
1. hallucination (huh loo suh NAY shuhn) n. something that seems to exist in reality, but
only exists in the mind.
2. entrapment n. state of being trapped.
3. chronic adj. continuous or repeated.
IL5 UNIT 1 Independent Learning •Sleep Paralysis: A Waking Nightmare

SHORT STORY
The Feather
Pillow
Horacio Quiroga
About the Author

Horacio Quiroga (1878–1937) was born in Uruguay SCAN FOR
MULTIMEDIA
but spent much of his life in Argentina. A journalist and
justice of the peace, he turned to fiction writing after
becoming inspired by nineteenth-century writers such
as Rudyard Kipling. Quiroga was a prolific writer who
published about 200 short stories and is considered a
master of the genre.
BACKGROUND
Heavily influenced by Gothic horror writer Edgar Allan Poe, Horacio
Quiroga wrote many stories that explored themes of madness, the
writing process, and survival. His tales often contain an element of
horror. “The Feather Pillow,” published in 1907 and originally written in
Spanish, is one of Quiroga’s most widely read stories.
H er entire honeymoon gave her hot and cold shivers. A blond,

NOTES
angelic, and timid young girl, the childish fancies she had
dreamed about being a bride had been chilled by her husband’s
rough character. She loved him very much, nonetheless, although
sometimes she gave a light shudder when, as they returned home
through the streets together at night, she cast a furtive1 glance at
the impressive stature2 of her Jordan, who had been silent for
an hour. He, for his part, loved her profoundly but never let it
be seen.
2 For three months—they had been married in April—they lived
in a special kind of bliss. Doubtless she would have wished less
severity in the rigorous sky of love, more expansive and less
1. furtive adj. secret.

2. stature n. height.
UNIT 1 Independent Learning •The Feather Pillow IL6

cautious tenderness, but her husband’s impassive manner always
NOTES restrained her.
3 The house in which they lived influenced her chills and
shuddering to no small degree. The whiteness of the silent patio—
friezes, columns, and marble statues—produced the wintry
impression of an enchanted palace. Inside the glacial brilliance
of stucco, the completely bare walls, affirmed the sensation of
unpleasant coldness. As one crossed from one room to another,
the echo of his steps reverberated throughout the house, as if long
abandonment had sensitized its resonance.
4 Alicia passed the autumn in this strange love nest. She had
determined, however, to cast a veil over her former dreams and
live like a sleeping beauty in the hostile house, trying not to think
about anything until her husband arrived each evening.
5 It is not strange that she grew thin. She had a light attack of
influenza that dragged on insidiously for days and days: after
that Alicia’s health never returned. Finally one afternoon she was
able to go into the garden, supported on her husband’s arm. She
looked around listlessly. Suddenly Jordan, with deep tenderness,
ran his hand very slowly over her head, and Alicia instantly burst
into sobs, throwing her arms around his neck. For a long time she
cried out all the fears she had kept silent, redoubling her weeping
at Jordan’s slightest caress. Then her sobs subsided, and she
stood a long while, her face hidden in the hollow of his neck, not
moving or speaking a word.
6 This was the last day Alicia was well enough to be up. On
the following day she awakened feeling faint. Jordan’s doctor
examined her with minute3 attention, prescribing calm and
absolute rest.
7 “I don’t know,” he said to Jordan at the street door. “She
has a great weakness that I am unable to explain. And with no
vomiting, nothing . . . if she wakes tomorrow as she did today, call

me at once.”
8 When she awakened the following day, Alicia was worse.
There was a consultation.4 It was agreed there was an anemia5
of incredible progression, completely inexplicable.6 Alicia had
no more fainting spells, but she was visibly moving toward
death. The lights were lighted all day long in her bedroom, and
there was complete silence. Hours went by without the slightest
sound. Alicia dozed. Jordan virtually lived in the drawing
room, which was also always lighted. With tireless persistence
he paced ceaselessly from one end of the room to the other. The
carpet swallowed his steps. At times he entered the bedroom and
3. minute (my NOOT) adj. precise and detailed.

4. consultation n. meeting with a doctor.
5. anemia (uh NEE mee uh) n. weak condition.
6. inexplicable adj. unable to be explained.
IL7 UNIT 1 Independent Learning • The Feather Pillow

continued his silent pacing back and forth alongside the bed,
stopping for an instant at each end to regard his wife. NOTES
9 Suddenly Alicia began to have hallucinations, vague images, at

first seeming to float in the air, then descending to floor level. Her
eyes excessively wide, she stared continuously at the carpet on
either side of the head of her bed. One night she suddenly focused
on one spot. Then she opened her mouth to scream, and pearls of
sweat suddenly beaded her nose and lips.
10 “Jordan! Jordan!” she clamored, rigid with fright, still staring at
the carpet.
11 Jordan ran to the bedroom, and, when she saw him appear,
Alicia screamed with terror.
12 “It’s I, Alicia, it’s I!”
13 Alicia looked at him confusedly; she looked at the carpet; she
looked at him once again; and after a long moment of stupefied
confrontation, she regained her senses. She smiled and took her
husband’s hand in hers, caressing it, trembling, for half an hour.
14 Among her most persistent hallucinations was that of an
anthropoid7 poised on his fingertips on the carpet, staring at her.
15 The doctors returned, but to no avail. They saw before them
a diminishing life, a life bleeding away day by day, hour by
hour, absolutely without their knowing why. During their last
consultation Alicia lay in a stupor while they took her pulse,
passing her inert wrist from one to another. They observed her a
long time in silence and then moved into the dining room.
16 “Phew . . .” The discouraged chief physician shrugged his
shoulders. “It is an inexplicable case. There is little we can do . . .”
17 “That’s my last hope!” Jordan groaned. And he staggered
blindly against the table.
18 Alicia’s life was fading away in the subdelirium8 of anemia, a
delirium which grew worse through the evening hours but which
let up somewhat after dawn. The illness never worsened during
the daytime, but each morning she awakened pale as death,

almost in a swoon. It seemed only at night that her life drained
out of her in new waves of blood. Always when she awakened
she had the sensation of lying collapsed in the bed with a
million-pound weight on top of her. Following the third day of
this relapse she never left her bed again. She could scarcely move
her head. She did not want her bed to be touched, not even to
have her bedcovers arranged. Her crepuscular9 terrors advanced
now in the form of monsters that dragged themselves toward the
bed and laboriously climbed upon the bedspread.
7. anthropoid (AN thruh poyd) n. being with a human-like form.

8. subdelirium n. disturbed state of mind.
9. crepuscular (krih PUHS kyuh luhr) adj. occurring at twilight.
UNIT 1 Independent Learning • The Feather Pillow IL8

19 Then she lost consciousness. The final two days she raved
NOTES ceaselessly in a weak voice. The lights funereally illuminated the
bedroom and drawing room. In the deathly silence of the house
the only sound was the monotonous delirium from the bedroom
and the dull echoes of Jordan’s eternal pacing.
20 Finally, Alicia died. The servant, when she came in afterward to
strip the now empty bed, stared wonderingly for a moment at the
pillow.
21 “Sir!” she called Jordan in a low voice. “There are stains on the
pillow that look like blood.”
22 Jordan approached rapidly and bent over the pillow. Truly, on
the case, on both sides of the hollow left by Alicia’s head, were
two small dark spots.
23 “They look like punctures,” the servant murmured after a
moment of motionless observation.
24 “Hold it up to the light,” Jordan told her.
25 The servant raised the pillow but immediately dropped it and
stood staring at it, livid and trembling. Without knowing why,
Jordan felt the hair rise on the back of his neck.
26 “What is it?” he murmured in a hoarse voice.
27 “It’s very heavy,” the servant whispered, still trembling.
28 Jordan picked it up; it was extraordinarily heavy. He carried it
out of the room, and on the dining room table he ripped open the
case and the ticking with a slash. The top feathers floated away,
and the servant, her mouth opened wide, gave a scream of horror
and covered her face with her clenched fists: in the bottom of the
pillowcase, among the feathers, slowly moving its hairy legs, was
a monstrous animal, a living, viscous ball. It was so swollen one
could scarcely make out its mouth.
29 Night after night, since Alicia had taken to her bed, this
abomination had stealthily applied its mouth—its proboscis10 one
might better say—to the girl’s temples, sucking her blood. The

puncture was scarcely perceptible. The daily plumping of the
pillow had doubtlessly at first impeded its progress, but as soon
as the girl could no longer move, the suction became vertiginous.11
In five days, in five nights, the monster had drained Alicia’s life
away.
30 These parasites of feathered creatures, diminutive12 in their
habitual environment, reach enormous proportions under certain
conditions. Human blood seems particularly favorable to them,
and it is not rare to encounter them in feather pillows. ❧
10. proboscis (proh BOS kihs) n. insect mouthparts shaped like a long, thin tube.
11. vertiginous (vur TIHJ uh nuhs) adj. causing dizziness.
12. diminutive adj. extremely or unusually small.
IL9 UNIT 1 Independent Learning • The Feather Pillow

NEWSPAPER ARTICLE
Stone Age Man’s

Terrors Still Stalk
Modern Nightmares
Robin McKie
About the Author

Robin McKie has been the Science Editor for The SCAN FOR
MULTIMEDIA
Observer since 1982. His journalism awards include
“Science and Technology Journalist of the Year” in
the UK Press Gazette Awards for 2013. McKie’s stories
include breaking coverage of Dolly the Sheep and the
first human genome project. He is based in London,
England.
BACKGROUND
The Stone Age is the period of time when people made stone tools. It
began almost three million years ago and ended around five thousand
years ago, when metal tools were developed. This article describes how
researchers from Cambridge University and the Australian Museum
studied Stone Age paintings to find a common link in the world’s
oldest art.
New research on cave art shows that our fear of werewolves NOTES
goes back 10,000 years.
T hey were created to trigger our most primitive fears—by

depicting half-human, half-animal monsters that hunted
the living.
2 But these horrific creatures differed in one crucial way from
the warped humanoid beasts that fill the high school corridors of
Buffy the Vampire Slayer1 or the werewolves and bloodsucking
monsters that populate horror books. These creatures were
painted by Stone Age peoples more than 10,000 years ago and
represent some of the world’s oldest art.
1. Buffy the Vampire Slayer movie and television series featuring a teenage girl who hunts
vampires and other monsters.
UNIT 1 Independent Learning • Stone Age Man’s Terrors Still Stalk Modern Nightmares IL10
3 The surprising discovery that werewolves are as old as
NOTES humanity is the handiwork of researchers who have carried out
a major analysis of the world’s ancient rock art sites: in Europe,
Africa and Australia.
4 “We looked at art that goes back to the dawn of humanity and
found it had one common feature: animal-human hybrids,” said
Dr. Christopher Chippindale, of Cambridge University’s museum
of archaeology and anthropology. “Werewolves and vampires
are as old as art, in other words. These composite2 beings, from a
world between humans and animals, are a common theme from
the beginning of painting.”
5 Chippindale’s research—carried out with Paul Tacon of the
Australian Museum in Sydney—involved surveys of rock art
painted on cliffs in northern Australia, on ledges in South Africa,
and inside caverns in France and Spain. These are the world’s
principal prehistoric art sites.
6 Nor are they made up of crude daubs of paint or charcoal.
Many were executed with breathtaking flair.
7 For example, those at the recently discovered Grotte Chauvet
near the Ardèche Gorge in France are more than 30,000 years old,
but have stunned critics with their grace and style: horses rearing
on their hind legs, rhinoceroses charging.
8 Most archaeologists have examined these paintings for evidence
of the creatures that were hunted at that time. Naturally, these
varied according to locality.
9 But Tacon and Chippindale wanted to find common
denominators among these creations, despite the fact that they
were painted on different continents.
10 After careful analysis, they found only one: the
“therianthropes”—human-animal hybrids. Statues of cat-head
humans, for example, were found in Europe, while in Australia
the team discovered paintings of feathered humans with birdlike

heads and drawings of men with the heads of fruit bats. One of
these animal-head beings is depicted attacking a woman, like a
poster for early Hollywood horror films.
11 “Hybrids were the one ubiquitous theme we discovered,”
Chippindale said. “They belong to an imagined world which was
powerful, dangerous and—most likely—very frightening.”
12 These rock art nasties were gazed upon by people in “altered
states of consciousness”—individuals who were either drugged
or in trances—the Stone Age equivalent of a six-pack and a
video nasty.3
13 This idea is influenced by studies of the modern San people of
South Africa who often dance themselves into hypnotic trances.
2. composite (kuhm POZ iht) adj. combined.

3. video nasty British slang for an exceptionally violent movie.
IL11 UNIT 1 Independent Learning • Stone Age Man’s Terrors Still Stalk Modern Nightmares
The images they later recall are painted on to cave walls as
attempts or entry cards to a spirit world. “The spirit world is a NOTES
different and separate place, and you need to learn how to access
it,” added Chippindale. Buffy may be adolescent television, in
other words, but she taps a deep creative vein.
14 Many anthropologists believe ancient art works like those at
Chauvet were also created for the same reason.
15 “They are among the most potent images mankind has ever
created,” Chippindale said. “When you enter these caves today,
with electric lights and guides, they are still pretty frightening.
Armed with only a guttering4 candle, the experience would have
been utterly terrifying in the Stone Age. You would crouch down
a corridor and would then be suddenly confronted by a half-man,
half-lion, or something similar.”
16 And once we had unleashed these scary monsters, we
never looked back, from the human-animal hybrid gods of the
Egyptians—such as Bast, the cat god; or Anubis, the dog god; or
creatures such as minotaurs5 or satyrs.6 Later came legends such as
the werewolf, and finally specific creations such as Bram Stoker’s
Dracula, an “undead” human with bat-like features who preyed
on the living.
17 More recently, the most spectacularly successful Hollywood
horror films have been those that have focused on creations
that have mixed the features of reptiles or insects with those of
humans: Alien and Predator being the best examples.
18 As Chippindale put it, “these were well-made films, but they
also succeeded because they tapped such an ancient urge.” ❧
4. guttering v. flickering or burning unsteadily.

5. minotaurs n. creatures in Greek mythology who were half man and half bull.
6. satyrs n. woodland gods in Greek mythology who were half man and half goat.
UNIT 1 Independent Learning • Stone Age Man’s Terrors Still Stalk Modern Nightmares IL12

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UNIT 1 AT A GLANCE

Unit Introduction Academic Vocabulary (L.9–10.6)

3 Concept Vocabulary (L.9–10.4.a)

from The Dream Collector Media: Photo Gallery

Concept Vocabulary (L.9–10.4.b)

Concept Vocabulary (L.9–10.4.b)

Independent Learning Introduction

How Maurice Sendak’s “Wild Things” Moved Children’s

2A UNIT 1 • INSIDE THE NIGHTMARE

Analyze Craft and Conventions / Author’s Composition / Research /

Objective or Critical Summary

Literary Style Conventions: Sentence Structure

Speaking and Listening: Informational

Write an Explanatory Essay (W.9–10.2;

Literary Style Author’s Style: Character

Speaking and Listening: Visual

Independent Learning provides students with the

Writing to Sources: Explanatory Essay

Discuss It If you want to make this a digital

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2 UNIT 1 • INSIDE THE NIGHTMARE

What is the allure of fear? My Introduction to

Gloria Goodale meant to scare us?

online for stories about the allure of fear, and

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AUTHOR’S PERSPECTIVE Ernest Morrell, Ph.D.

4 UNIT 1 • INSIDE THE NIGHTMARE

Academic Vocabulary: Explanatory Text Academic Vocabulary:

psychological 1. The director’s new film is a

Purpose of the Launch Text

Lexile: 900 The easier reading level of

Launch Text: Explanatory

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6 UNIT 1 • INSIDE THE NIGHTMARE

Social Studies The term “Gothic” originally “uncivilized” and “barbaric.”

6 UNIT 1 • INSIDE THE NIGHTMARE

Poe—“The Cask of Amontillado.” Set during the carnival season in

 WORD NETWORK fOR THE LITERATURE Of fEAR

Vocabulary A Word Network

Tool Kit Word Network Model

My Introduction to Gothic Literature 7

LIT17_SE10_U01_LT.indd 7 Author’s Perspective Elfrieda Hiebert, Ph.D. 3/30/16 5:45 AM

My Introduction to Gothic Literature 7

© Pearson Education, Inc., or its affiliates. All rights reserved.

8 UNIT 1 • INSIDE THE NIGHTMARE

VOCABULARY DEVELOPMENT LIT17_SE10_U01_LT.indd 8 3/30/16 5:45 AM

8 UNIT 1 • INSIDE THE NIGHTMARE

Review your QuickWrite.

LIT22_SE10_U01_LT.indd 9 WriteNow Express and Reflect 20/03/21 4:34 PM

My Introduction to Gothic Literature 9

WHOLE-CLASS LEARNING ESSENTIAL QUESTION:

What is the allure of fear?

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10 UNIT 1 • INSIDE THE NIGHTMARE

10 UNIT 1 • INSIDE THE NIGHTMARE

preference. Students can return to this poll

If the book you’re reading has a mansion that

reading a Gothic novel.