From Depression to Cold War study guide
Multiple Choice
Identify the choice that best completes the statement or answers the question.
Recall and Interpret (A Rose for Emily)
____
1. What has happened to the neighborhood in which Emily Grierson lived?
a. People built new, larger homes.
b. Houses became apartment buildings.
c. The neighborhood became industrial.
d. The neighborhood became a city park.
____
2. What does Faulkner mean when he refers to Miss Emily as a “sort of hereditary obligation”?
a. She was an annoyance that no one could escape.
b. Several generations of townsfolk looked out for her.
c. She was important to everyone no matter what their age.
d. Other people had to pay her taxes and do her yard work.
____
3. The phrase “like two small pieces of coal pressed into a lump of dough” describes
a. the angry city officials.
c. a dessert with raisins.
b. Emily’s favorite painting.
d. Miss Emily’s face.
____
4. Emily is considered a “monument” because she
a. represents a way of life from the past.
b. is solid and formidable.
c. is unbending like a stone statue.
d. is the most respected member of the town.
____
5. Faulkner represents Emily’s father by posing him with a
a. stovepipe hat.
c. horsewhip.
b. book in his lap.
d. walking stick.
____
6. What is the importance of Emily buying arsenic?
a. Emily needed to kill rodents.
b. There were aphids in the rose garden.
c. She could use the arsenic as make-up.
d. She was going to poison Homer Barton.
____
7. Emily’s employee walked out the back door after Emily dies because he
a. had a new job waiting down the street.
b. knew his service to the family was complete.
c. simply was heading home for the night.
d. did not want to see Miss Emily’s dead body.
Vocabulary (A Rose for Emily)
____
8. If you vindicate a person accused of performing an action, you
a. put that person on trial for his acts.
b. prove he was justified to act as he did.
c. pay that person for his services.
____
9. A river that runs sluggishly is moving
a. slowly.
b. quickly.
____ 10. A virulent disease is one that is
a. easily cured.
b. particularly harmful.
c. erratically.
c. surprisingly mild.
____ 11. When Aunt Gertrude acted in a haughty manner, she was acting
a. contrary.
c. conceited.
b. concerned.
____ 12. Mr. Loomis tried to circumvent the rules of the game; he wanted to
a. avoid following the rules.
c. make up his own rules.
b. stick closely to the rules.
Recall and Interpret (A Worn Path)
____ 13. The phrase “with the balanced heaviness and lightness of a pendulum in a grandfather clock” describes
a. how a man carries a burden.
c. how the woman walks.
b. a swing on an old oak tree.
d. the passage of time.
____ 14. When Phoenix says, “Thorns, you doing your appointed work,” she is talking to a
a. corn farmer.
c. hunter with a rifle.
b. rippling brook.
d. thorn bush.
____ 15. The phrase “like a festival figure in some parade” describes
a. Phoenix Jackson wobbling along a fallen log.
b. the scarecrow standing in the field.
c. the dog dancing around the hunter.
d. the nurse in the Natchez clinic.
____ 16. Which of these phrases is a simile?
a. “Numberless branching wrinkles”
b. “Her eyes were blue with age.”
c. “It whispered and shook and was taller than her head.”
d. “Big dead trees, like black men with one arm…”
____ 17. What appears “all like old women under a spell sitting there”?
a. small weathered cabins
c. dead corn stalks in a field
b. trees with dead leaves
d. lacy Spanish moss
____ 18. Phoenix plans to user the 10¢ she has to
a. buy groceries for a good meal.
b. pay her doctor’s bill.
c. buy a present for her grandson.
d. pay for her grandson’s medicine.
____ 19. What does it mean when the nurse marks Phoenix’s case “Charity”?
a. Someone else has paid for Phoenix.
b. Phoenix cannot afford to pay.
c. The local church paid for Phoenix.
d. Phoenix has already paid in advance.
Vocabulary (A Worn Path)
____ 20. When people have a grave look about them, they are
a. sorrowful.
c. bored.
b. happy.
____ 21. To stir soup vigorously is to stir
a. carefully.
b. slowly.
c. energetically.
____ 22. The general gave the hero a parade with full ceremonial honors, which were
a. military in style.
c. disorganized in form.
b. formal in nature.
____ 23. If Maria looks solemn, she appears
a. silly.
b. serious.
c. sulky.
____ 24. When the teacher said Harry’s actions were beyond comprehension, she meant that his actions were
a. clever and much applauded.
c. not understandable.
b. full of admirable qualities.
Recall and Interpret (Address Upon Receiving the Nobel Prize in Literature)
____ 25. When Faulkner speaks about “a life’s work in the agony and sweat of the human spirit,”
he is talking about the agony and sweat of
a. writers.
c. common people.
b. himself.
d. spirits.
____ 26.
Faulkner intends to use his acclaim to
a. sell more books.
b. run classes on writing.
c. win more awards.
d. guide young writers.
____ 27. Which of these concepts does Faulkner consider a “universal truth”?
a. soul
c. fear
b. agony
d. honor
____ 28. According to Faulkner, a Nobel Prize winner gets
a. money.
c. money and fame.
b. fame.
d. a certificate.
____ 29.
Faulkner thinks the human race will prevail because humans
a. have determination.
c. are strong.
b. speak out.
d. have souls.
____ 30. According to Faulkner, the worst for any writer is to write about
a. victories without pity or compassion.
b. unquestioned love.
c. hope.
d. losing things of value.
____ 31. When Faulkner speaks of “universal bones,” he means
a. concepts that affect everyone.
c. skeletons.
b. ideas with limited appeal.
d. wounded people.
____ 32. A poet or writer helps man endure by
a. reminding him of pity and compassion.
b. writing about unpleasant topics.
c. reminding him of courage and honor.
d. avoiding unhappy topics.
____ 33. What does Faulkner mean by “old verities”?
a. ancient topics
b. simple problems
c. historic facts
d. basic ideals of love
____ 34. The last “ding-dong” is an example of
a. personification.
b. onomatopoeia.
c. metaphor.
d. analogy.
Recall and Interpret (Breakfast)
____ 35. The phrase “precise and practiced” implies a person with
a. a bad temper.
c. annoying habits.
b. her mind on something else.
d. a great deal of experience.
____ 36. Why does the young man say, “We been eating good for twelve days”?
a. His eating well is unusual at this time.
b. He is bragging to the stranger.
c. He is explaining why his father eats so much.
d. He is proud of his wife’s cooking.
____ 37. The phrase “cricked and rustled” is an example of
a. personification.
c. onomatopoeia.
b. concrete language.
d. hyperbole.
____ 38. Why is it significant that the men are wearing new clothes?
a. Few people can afford new clothes at this time.
b. The stranger is jealous of the men and their new clothes.
c. The men are overly proud of what they wear.
d. The stranger resents the men having new clothes.
____ 39. When Steinbeck mentions “lavender gray,” “orange fire,” and “gray smoke,” he is using
a. onomatopoeia.
c. an apostrophe.
b. abstract language.
d. sensory details.
____ 40. The sentence “We all ate quickly, frantically, and refilled our plates and ate quickly again…” implies that the
people
a. were gluttons and stuffed themselves.
b. were too busy for breakfast.
c. worried about getting their full share of the food.
d. were unaccustomed to eating regularly.
____ 41. What mood does Steinbeck convey in this story?
a. tiredness
c. anger
b. hope
d. shame
____ 42. In this story, a packing box serves as a
a. storage container.
c. table.
b. cabinet.
____ 43.
d. serving tray.
At what time of day does the story take place?
a. sunset
c. noon
b. dawn
d. evening
Vocabulary (“Breakfast”)
____ 44. When the judge scuffled up to the bench, he was
a. walking sideways like a crab.
c. hurrying because he was late.
b. moving with a slow, shuffling gait.
____ 45. The crowd began to dissipate when the rock star left; the crowd
a. scattered.
c. rioted.
b. shouted.
____ 46. After the accident, the witness averted her eyes; she
a. gaped in wonder at the sight.
c. stared directly at the sight.
b. looked away from the sight.
Recall and Interpret (from Black Boy)
____ 47. What two things made the greatest impression on Wright as a young boy?
a. fear and hunger
c. poverty and his father
b. anger and loneliness
d. his grandmother and his brother
____ 48. Using a flash-forward, Wright
a. moves from one time period to another.
b. compares two distinctly different things.
c. shows sudden bursts of brilliance as a boy.
d. moves from childhood to adulthood.
____ 49. Wright’s life with his mother and in the orphan home were similar because he
a. was with his mother in both places.
b. was hungry in both places.
c. had nowhere to sleep in both places.
d. saw his grandmother regularly in both places.
____ 50. Richard’s biggest dream at the orphan home is to
a. help Miss Simon.
c. eat his fill.
b. live with his father.
d. run away.
____ 51. Richard is afraid of white policemen because he
a. has heard white policemen might beat him.
b. is so small, and the policemen are very large.
c. doesn’t know any white policemen.
d. doesn’t want his mother to find out about the orphan home.
____ 52. When Richard is a boy, his father appears to have a wonderful life. When Richard sees him as an adult, he is a
a. carpet salesman.
c. retired musician.
b. poor sharecropper.
d. wealthy plantation owner.
____ 53. In the twenty-five years between the times Richard sees his father, Richard becomes
a. closer to his grandmother.
b. more understanding of his past.
c. more accepting and understanding.
d. angrier about being abandoned.
Vocabulary (from “Black Boy”)
____ 54. When a child find himself or herself in an alien environment, he or she is
a. somewhere strange.
c. experiencing the supernatural.
b. in a wilderness.
____ 55. When the children in the orphan home were vindictive toward Richard, they
a. despised new children.
c. desired revenge.
b. showed anger.
____ 56. A futile attempt at painting a portrait is a
a. successful attempt.
b. failed attempt.
c. talented attempt.
____ 57. When Helen demonstrated a hostile attitude toward Jake, she showed
a. disgust.
c. hatred.
b. friendship.
____ 58. Grace proved to be a poised actress when the glasses crashed on stage and she
a. remained calm.
c. shrieked with fright.
b. fainted.
Recall and Interpret (The Life You Save May Be Your Own)
____ 59. The setting of “The Life You Save May Be Your Own” is a
a. farm near a big city.
b. suburb of Atlanta.
c. farm in a remote area of a southern state.
d. small town in Georgia.
____ 60. Tom Shiftlet seems harmless because he has
a. slicked-back black hair.
b. lost part of an arm.
c. turned his face to the sun.
d. a jutting, steel-trap jaw.
____ 61. The phrase “watching him through a triangular door she had made in her over-turned hair” is an example of
a. concrete language.
c. sensory imagery.
b. atmosphere.
d. figurative language.
____ 62. When O’Connor writes “the daughter watched the trigger that moved up and down in his neck,” she is
referring to
a. a large wart.
c. his Adam’s apple.
b. his shirt collar.
d. his necktie.
____ 63. Tom talks so much in an effort to
a. make the women laugh.
b. win the women’s trust.
c. get invited to dinner.
d. stop the women from rejecting him.
____ 64. When the older Lucynell tells Mr. Shiftlet that there is no use trying “to milk” her, she is saying that she
a. doesn’t fall for his lies.
b. won’t pay for the car repairs.
c. has no more extra money.
d. is not running a dairy farm.
____ 65. When author writes, “The ugly words settled in Mr. Shiftlet head like a group of buzzards in the top of a
tree,” she is saying that Mr. Shiftlet
a. has a headache.
c. feels happy.
b. does not want to listen.
d. is annoyed.
Vocabulary (The Life You Save May Be Your Own)
____ 66. A gaunt appearance is one that is
a. tall and angular.
b. thin and bony.
c. powerful and fearsome.
____ 67. When Ralph rued the arrival of his twenty-first birthday, he
a. ignored it.
c. regretted it.
b. looked forward to it.
____ 68. After the hike Angela felt ravenous; she was
a. very hungry.
b. exceedingly weak.
c. extremely tired.
____ 69. When Gretchen’s morose attitude lost her friends, it was because she was always
a. gloomy and withdrawn.
b. lying and deceitful.
c. arguing and hurting people’s feelings.
____ 70. The stately manor house was quickly sold because it was
a. cheap and undervalued.
c. noble and dignified.
b. modern and arty.
Recall and Interpret (The Magic Barrel)
____ 71. Leo Finkle wants to marry because he
a. needs a wife to run the social calendar at his synagogue.
b. desperately wants to have a child.
c. needs a wife to get a job in a good congregation.
d. must fulfill a requirement before becoming a rabbi.
____ 72. Salzman learns that Finkle is
a. a local boy with parents in a New York suburb.
b. a member of a large family from New York.
c. totally alone in the world.
d. an only child with parents in Cleveland.
____ 73. Malamud uses “through a cloud-menagerie” to describe
a. the action of the moon.
c. thoughts in Leo’s mind.
b. the reflection of the trees.
d. endless problems of marriage.
____ 74. The girl in the snapshot to whom Finkle is attracted is
a. Lily H.
b. the matchmaker’s daughter.
c. the daughter of a dentist on Long Island.
d. Sophie P., a widow.
____ 75. Leo Finkle says he came to God because he
a. loved the ritual of religion.
b. loved the idea of being a rabbi.
c. did not love God.
d. followed his parents’ wishes to be a rabbi.
____ 76. Finkle describes his true nature as
a. a passionate prophet.
b. friendly and open.
c. family-oriented.
d. unloved and loveless.
____ 77. Finkle tells Salzman what he wants in a marriage, which is
a. a young wife and children.
c. to marry for love.
b. a marriage of convenience.
d. someone who adores him.
Vocabulary (The Magic Barrel)
____ 78. Leo Finkle lives in a small, almost meager room, a room that is
a. spare.
c. tidy.
b. crowded.
____ 79. A woman with an amiable manner is considered to be
a. standoffish.
c. sly.
b. friendly.
____ 80. When he said Karen had an animated personality, he meant that she was
a. bossy.
c. unpleasant.
b. lively.
____ 81. A young man who is enamored of his next door neighbor is
a. unaware of her presence.
c. deeply in love.
b. rejected by that neighbor.
____ 82. After learning of his test grade, Kyle abjectly told his parents of his mark; he felt
a. humiliated.
c. disinterested.
b. proud.
Recall and Interpret (The Second Tree from the Corner)
____ 83. As the story opens, the protagonist is
a. in a hospital examining room.
b. on a subway in New York.
c. in a psychiatrist’s office.
d. sitting on a park bench.
____ 84. Trexler feels pressured to end his session because he
a. knows there are anxious people sitting in the waiting room.
b. dislikes the doctor and wants to leave.
c. thinks he is wasting his time and money.
d. has a more important business meeting.
____ 85. Read this line from the selection:
Trexler got up, knocked the ashes out of his brain, and waited.
The author is comparing Trexler’s mind to a
a. garbage can.
b. bonfire.
c. fireplace.
d. pipe.
____ 86. Trexler turns the tables on the doctor by
a. lying to the doctor about his thoughts.
b. accusing the doctor of poor treatment.
c. yelling at the doctor.
d. asking the doctor if he knows what he wants.
____ 87. By saying “Better not lose possession of the ball,” Trexler is
a. struggling to express his ideas.
b. troubled by his failure to confront the doctor.
c. trying to control his thoughts and speech.
d. comparing his annoyance to a problem with sports.
____ 88. The second tree from the corner is
a. representative of the desire to reach difficult goals.
b. a concrete symbol of Trexler’s possessions.
c. a response to the doctor’s question about Trexler’s future.
d. a symbol of something that could not be attained.
____ 89. The phrase, “each gilt-edged leaf perfectly drunk with excellence and delicacy,” is used to
a. show how Trexler spent his free time.
b. compare Trexler’s neighborhood to the park.
c. create an image that matches Trexler’s mood.
d. explain the way city trees really look.
Vocabulary (The Second Tree from The Corner)
____ 90. If a person is consumed by amorphous fears, his fears have
a. a clear reason.
c. connection to eating.
b. no definite form.
____ 91. A retractable canopy is a covering that is
a. capable of being drawn back.
b. able to be carried.
c. traceable.
____ 92. After falling off his bike, Adam suffered a serious hemorrhage, a
a. broken arm.
c. skin infection.
b. discharge of blood.
____ 93. Simone cowered when faced by the inquisitor, a person who
a. reads the future.
c. asks questions.
b. metes out punishments.
____ 94. Joanna became uneasy at work because of the boss’ intimidation that she would be fired; he
a. reduced her hours.
c. hinted that to her.
b. threatened her.
Recall and Interpret (from All Rivers Run to the Sea)
____ 95. When Wiesel says, “Our turn came on Tuesday, May 16,” he means that his family
a. was being rounded up by the Nazis in Poland.
b. would have their turn in line at the market.
c. had to separate in order to survive.
d. needed to give up their home to house soldiers.
____ 96. When Wiesel remembers his sister’s smile and says, “Never will her glance cease to sear me,” he is using
a. understatement to explain his memories of his sister.
b. an apostrophe to compare her look to a flame.
c. figurative language to explain how thinking of her still affects him.
d. juxtaposition to place his sister in a different time frame.
____ 97. When Wiesel refers to his sister as “death’s hostage,” he is using the literary element known as
a. repetition.
c. sensory imagery.
b. anthropomorphism.
d. personification.
____ 98. Which of these is NOT a pleasant memory of Wiesel’s childhood?
a. sleigh rides
c. sitting under an acacia tree
b. horse and carriage
d. swimming in the river
____ 99. The Wiesel family finds out about what is happening in the war through
a. forbidden radio broadcasts from Moscow and London.
b. copies of New York and Paris newspapers.
c. German radio reports and bulletins.
d. local news, letters, and word of mouth.
____ 100. Wiesel freezes every time he hears a train whistle because he remembers
a. his own train trip to Auschwitz.
b. a train accident when he was young.
c. a disastrous vacation trip to the sea.
d. the trains carrying Jews to the death camps.
____ 101. When Wiesel writes, “The country became a city, the city a street, the street a house, the house a room…,” he
is describing
a. global change due to improved communication.
b. views from a train window.
c. shrinking of his world during World War II.
d. influence of the Jewish culture.
Vocabulary (from All Rivers Run to the Sea)
____ 102. As the train neared Auschwitz, Wiesel’s family had a premonition about their future. In this context,
premonition means
a. announcement.
c. answer.
b. foreboding
____ 103. If a person gives a curt response, his response is
a. rudely short.
c. sensitive.
b. quick-witted.
____ 104. When Sam looked at his boss with trepidation, he showed
a. sorrow and pity.
c. fear and alarm.
b. joy and satisfaction.
____ 105. As the soldiers approached his car, Walt felt ineffably frightened; his fear was
a. natural.
b. indescribable.
c. minimal.
____ 106. The golfer tried to make the putt and not succumb to his nerves; he did not want to
a. laugh aloud from being nervous.
c. give in to being nervous.
b. faint from being nervous.
Recall and Interpret (from Hiroshima)
____ 107. Why does Hersey tell the story from the point of view of survivors?
a. The people interviewed were ordinary citizens whose stories add a human touch.
b. Hersey couldn’t find out enough about Hiroshima without the interviews.
c. The people interviewed were important members of the Japanese government.
d. Hersey was being paid by the Japanese government to write a favorable story.
____ 108. The sentence “It seemed a sheet of sun.” is an example of
a. an allusion.
c. a metaphor.
b. an illustration.
d. an auditory image.
____ 109. Tanimoto decides the Japanese will defend Hiroshima
a. with heavy armaments.
b. without a thought for civilians.
c. with honor, dignity, and self-preservation.
d. hill by hill, life for life.
____ 110. Mrs. Nakamura and her children go repeatedly to the East Parade Ground because they
a. went looking for somewhere to sleep.
b. went during the air raids to protect themselves.
c. hoped to find Mr. Nakamura there among the soldiers.
d. had nowhere else to go after their house was bombed.
____ 111. Mr. Fujii was
a. the owner of a private, single-doctor hospital.
b. a wealthy businessman and stockbroker.
c. the local magistrate in charge of small claims courts.
d. privately wealthy and did not work a regular job.
____ 112. “Father Kleinsorge never knew how he got out of the house. The next things he was conscious of were that he
was wandering around in the mission’s vegetable garden in his underwear, bleeding slightly from the small
cuts along his flank.” This passage implies that Father Kleinsorge
a. was aware of everything that happened.
b. was gardening when the bomb went off.
c. was in shock after the bombing.
d. needed vegetables for the noonday meal.
____ 113. “There, in the tin factory, in the first moment of the atomic age, a human being was crushed by books.” This
phrase
a. adds comic relief.
c. explains a senseless death.
b. shows the irony of war.
d. describes other war losses.
Vocabulary (from Hiroshima)
____ 114. When a person tells a lie of his own volition, he is
a. trying to save himself embarrassment.
b. volunteering to work on a project.
c. choosing to act in this way.
____ 115. A room covered with debris is
a. filled with broken pieces and shards.
b. covered with protective cloth.
c. decorated with high quality furnishings.
____ 116. To reach the terminus of a trip is to reach
a. the most demanding part of a journey.
b. the midpoint in a trip.
c. the endmost point.
____ 117. It was a surprise to hear that Adam was xenophobic because we never knew he was afraid of
a. mice.
c. meditation.
b. strangers.
____ 118. Harold did not understand that when we had to evacuate, we all had to
a. hide in sturdy shelters.
c. remain in our seats.
b. leave the building.
Short Answer
Analyze and Evaluate (A Rose for Emily)
119. Why is Miss Emily more acceptable as a pauper and a spinster than when she had money and marriage
prospects?
120. At the end of the story, the reader discovers what happened to Homer Barton. How does Faulkner lead up to
the discovery? What surprises remain after finding the body?
Analyze and Evaluate (A Worn Path)
121. What does the title “A Worn Path” represent?
122. Phoenix is walking from her home to Natchez. What does Natchez represent in this story?
Analyze and Evaluate (Address Upon Receiving the Nobel Prize in Literature)
123. Explain how Faulkner hopes to influence young writers.
124. How does Faulkner feel writers should address fear?
Analyze and Evaluate (Breakfast)
125. What does this story reveal about the time in which it takes place?
126. Why does Steinbeck repeatedly mention the woman and baby in “Breakfast”?
Analyze and Evaluate (from “Black Boy”)
127. Compare Wright’s reactions to seeing his father in the apartment versus later in life in the field. Use details
from the story to support your answer.
128. What do Wright’s memories of the orphanage grass represent to him as a child and as an adult?
Analyze and Evaluate “The Life You Save May Be Your Own”
129. What is the significance of the wedding to each of the three characters?
130. Mrs. Crater says to Mr. Shiftlet, “You got a prize!” What prize did Shiftlet get and why would Mrs. Crater
think it valuable?
Analyze and Evaluate (“The Magic Barrel”)
131. Dialect plays an important role in establishing a character’s credibility. What does Salzman’s dialect reveal
about him?
132. Compare and contrast the system of finding a bride in the story with matchmaking customs of your culture.
Analyze and Evaluate (The Second Tree from The Corner)
133. What clues does the author give to indicate that Trexler’s mood changes?
134. How does contact with new and different people affect Trexler? Use details and information from the
selection to support your answer.
Analyze and Evaluate (from All Rivers Run to the Sea)
135. Wiesel says, “For the dead and the living, we must bear witness.” How does Wiesel fulfill this statement?
136. Why was the event described in this selection a turning point in Wiesel’s life?
Analyze and Evaluate (from Hiroshima)
137. What can we learn about witnesses to a major catastrophe from reading this essay?
138. Why does Hersey tell the story from the perspective of six survivors?
Essay
Evaluate and Connect (A Rose for Emily)
139. Faulkner primarily writes about people in the South and southern attitudes. How is “A Rose for Emily” an
example of this kind of Regionalism?
Evaluate and Connect (A Worn Path)
140. Phoenix has a unique attitude toward life. The journey shows the reader a great deal about Phoenix’s
character. Explain fully what can be learned about Phoenix from her trip.
Evaluate and Connect (Address Upon Receiving the Nobel Prize in Literature)
141. Faulkner voices his opinion that writers should address basic values in the human spirit. Using details and
information from the speech, explain how Faulkner supports his opinion.
Evaluate and Connect (Breakfast)
142. Steinbeck uses a great deal of sensory imagery in this story. How does he draw on the senses to create a
specific effect? Use examples from the text to support your answer.
Evaluate and Connect (from “Black Boy”)
143. Wright recalls repeated periods of fear during his childhood. How is that fear described or explained?
Evaluate and Connect (The Life You Save May Be Your Own)
144. Flannery O’Connor is a regionalist. How does the dialogue and description in the story help you understand
that it takes place in the rural South?
Evaluate and Connect (The Magic Barrel)
145. Malamud is noted for creating characters that are caricatures or cartoons of stereotypes. How is Salzman a
caricature? Use details from the story to support your ideas.
Evaluate and Connect (The Second Tree from The Corner)
146. How does the author recreate Trexler’s thought process?
Evaluate and Connect (from All Rivers Run to the Sea)
147. Wiesel’s memoir moves rapidly through time, forward and backward, as though time stood still for him in
some regards. Why is this movement through time significant?
Evaluate and Connect (from Hiroshima)
148. Hersey uses a journalistic style rather than a narrative style to present his information. How does this style
influence the importance of the essay? Use specific details from the essay to support your viewpoint.
From Depression to Cold War study guide
Answer Section
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C
PTS: 1
DIF: C
REF: p. 878
understanding the historical period STA: 11.1 | R.III-2 TOP: Unit 6 | Part 1 | A Rose for Emily
plot | exposition | A Rose for Emily
B
PTS: 1
DIF: C
REF: p. 878
understanding the historical period STA: 11.2 | R.IV-2
Unit 6 | Part 1 | A Rose for Emily
KEY: foreshadowing | A Rose for Emily
D
PTS: 1
DIF: A
REF: p. 879
11.2 | R.III-3 TOP: Unit 6 | Part 1 | A Rose for Emily
simile | imagery | figurative language | A Rose for Emily
A
PTS: 1
DIF: C
REF: p. 878
understanding the historical period STA: 11.2 | R.III-3 TOP: Unit 6 | Part 1 | A Rose for Emily
figurative language | description | A Rose for Emily
A
PTS: 1
DIF: C
REF: p. 881
understanding the historical period STA: 11.1.2 | R.I-1
Unit 6 | Part 1 | A Rose for Emily
KEY: symbolism | A Rose for Emily
D
PTS: 1
DIF: C
REF: p. 882
analyzing foreshadowing
STA: 11.1 | R.III-2 TOP: Unit 6 | Part 1 | A Rose for Emily
foreshadowing | A Rose for Emily
B
PTS: 1
DIF: C
REF: p. 884
understanding the historical period STA: 11.1 | R.I-2 TOP: Unit 6 | Part 1 | A Rose for Emily
denouement | plot | A Rose for Emily
B
PTS: 1
DIF: A
REF: p. 881
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | A Rose for Emily
KEY: vocabulary | A Rose for Emily
A
PTS: 1
DIF: A
REF: p. 879
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | A Rose for Emily
KEY: vocabulary | A Rose for Emily
B
PTS: 1
DIF: A
REF: p. 883
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | A Rose for Emily
KEY: vocabulary | A Rose for Emily
C
PTS: 1
DIF: A
REF: p. 882
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | A Rose for Emily
KEY: vocabulary | A Rose for Emily
A
PTS: 1
DIF: A
REF: p. 883
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | A Rose for Emily
KEY: vocabulary | A Rose for Emily
C
PTS: 1
DIF: A
REF: p. 892
analyzing description | visualizing scenes and characters STA: 11.2 | R.III-3
Unit 6 | Part 1 | A Worn Path
KEY: metaphor | figurative language | A Worn Path
D
PTS: 1
DIF: A
REF: p. 893
analyzing description
STA: 11.2 | R.III-3 TOP: Unit 6 | Part 1 | A Worn Path
personification | figurative language | A Worn Path
15. ANS: A
PTS: 1
DIF: A
REF: p. 893
OBJ: analyzing description | visualizing scenes and characters | expanding vocabulary | reviewing
archetypes | comparing and contrasting characters
STA: 11.2 | R.III-3
TOP: Unit 6 | Part 1 | A Worn Path
KEY: simile | figurative language | A Worn Path
16. ANS: D
PTS: 1
DIF: A
REF: pp. 892-893
OBJ: analyzing description | visualizing scenes and characters | expanding vocabulary | reviewing
archetypes | comparing and contrasting characters
STA: 11.2 | R.III-3
TOP: Unit 6 | Part 1 | A Worn Path
KEY: simile | figurative language | A Worn Path
17. ANS: A
PTS: 1
DIF: A
REF: p. 894
OBJ: analyzing description | visualizing scenes and characters | expanding vocabulary | reviewing
archetypes | comparing and contrasting characters
STA: 11.2 | R.III-3
TOP: Unit 6 | Part 1 | A Worn Path
KEY: imagery | description | A Worn Path
18. ANS: C
PTS: 1
DIF: A
REF: p. 896
OBJ: visualizing scenes and characters
STA: 11.1 | R.I-1 TOP: Unit 6 | Part 1 | A Worn Path
KEY: plot | falling action | A Worn Path
19. ANS: B
PTS: 1
DIF: A
REF: p. 897
OBJ: relating literature to the historical period
STA: 11.6 | R.IV-1
TOP: Unit 6 | Part 1 | A Worn Path
KEY: historical fiction | A Worn Path
20. ANS: A
PTS: 1
DIF: A
REF: p. 893
OBJ: expanding vocabulary
STA: 11.6 | R.IV-1
TOP: Unit 6 | Part 1 | A Worn Path
KEY: vocabulary | A Worn Path
21. ANS: C
PTS: 1
DIF: A
REF: p. 896
OBJ: expanding vocabulary
STA: 11.6 | R.IV-1
TOP: Unit 6 | Part 1 | A Worn Path
KEY: vocabulary | A Worn Path
22. ANS: B
PTS: 1
DIF: A
REF: p. 896
OBJ: expanding vocabulary
STA: 11.6 | R.IV-1
TOP: Unit 6 | Part 1 | A Worn Path
KEY: vocabulary | A Worn Path
23. ANS: B
PTS: 1
DIF: A
REF: p. 896
OBJ: expanding vocabulary
STA: 11.6 | R.IV-1
TOP: Unit 6 | Part 1 | A Worn Path
KEY: vocabulary | A Worn Path
24. ANS: C
PTS: 1
DIF: A
REF: p. 896
OBJ: expanding vocabulary
STA: 11.6 | R.IV-1
TOP: Unit 6 | Part 1 | A Worn Path
KEY: vocabulary | A Worn Path
25. ANS: C
PTS: 1
DIF: C
REF: p. 886
STA: 11.3.2 | R.II-2
TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
KEY: analysis | Address Upon Receiving the Nobel Prize in Literature
26. ANS: D
PTS: 1
DIF: C
REF: p. 886
OBJ: understanding the historical period STA: 11.3 | R.II-1
TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
KEY: nonfiction | Address Upon Receiving the Nobel Prize in Literature
27. ANS: D
PTS: 1
DIF: A
REF: p. 886
OBJ: understanding the historical period STA: 11.3 | R.I-1
TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
KEY: figurative language | Address Upon Receiving the Nobel Prize in Literature
28. ANS: C
PTS: 1
DIF: C
REF: p. 886
STA: 11.3 | R.I-1 TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
KEY: author's purpose | Address Upon Receiving the Nobel Prize in Literature
29. ANS: D
PTS: 1
DIF: C
REF: p. 886
30.
31.
32.
33.
34.
35.
36.
37.
38.
39.
40.
41.
42.
43.
44.
STA:
KEY:
ANS:
STA:
KEY:
ANS:
STA:
TOP:
KEY:
ANS:
STA:
TOP:
KEY:
ANS:
STA:
TOP:
KEY:
ANS:
STA:
KEY:
ANS:
OBJ:
TOP:
ANS:
OBJ:
KEY:
ANS:
OBJ:
TOP:
ANS:
OBJ:
STA:
ANS:
STA:
KEY:
ANS:
OBJ:
TOP:
ANS:
OBJ:
TOP:
ANS:
OBJ:
KEY:
ANS:
OBJ:
TOP:
ANS:
OBJ:
11.3 | R.I-1 TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
analysis | Address Upon Receiving the Nobel Prize in Literature
A
PTS: 1
DIF: A
REF: p. 886
11.3 | R.I-1 TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
analysis | Address Upon Receiving the Nobel Prize in Literature
A
PTS: 1
DIF: C
REF: p. 886
11.2 | 11.3 | R.III-3
Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
figurative language | metaphor | Address Upon Receiving the Nobel Prize in Literature
C
PTS: 1
DIF: A
REF: p. 886
11.3.2 | R.II-2
Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
nonfiction | Address Upon Receiving the Nobel Prize in Literature
D
PTS: 1
DIF: A
REF: p. 886
11.3.2 | R.II-2
Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
figurative language | Address Upon Receiving the Nobel Prize in Literature
B
PTS: 1
DIF: A
REF: p. 886
11.2 | R.III-3 TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
sound devices | onomatopoeia | Address Upon Receiving the Nobel Prize in Literature
D
PTS: 1
DIF: A
REF: p. 871
connecting personal experiences to literature
STA: 11.2 | R.III-3
Unit 6 | Part 1 | Breakfast
KEY: alliteration | figurative language | Breakfast
A
PTS: 1
DIF: C
REF: p. 872
understanding Regionalism
STA: 11.1 | R.II-2 TOP: Unit 6 | Part 1 | Breakfast
narrative | Breakfast
C
PTS: 1
DIF: A
REF: p. 871
connecting personal experiences to literature
STA: 11.2 | R.III-3
Unit 6 | Part 1 | Breakfast
KEY: onomatopoeia | figurative language | Breakfast
A
PTS: 1
DIF: C
REF: p. 872
understanding Regionalism | inferring theme | connecting personal experiences to literature
11.1 | R.II-2 TOP: Unit 6 | Part 1 | Breakfast
KEY: theme | Breakfast
D
PTS: 1
DIF: A
REF: p. 870
11.1.2 | 11.2 | R.III-3
TOP: Unit 6 | Part 1 | Breakfast
sensory details | Breakfast
D
PTS: 1
DIF: C
REF: p. 872
connecting personal experiences to literature
STA: 11.1 | R.II-2
Unit 6 | Part 1 | Breakfast
KEY: characterization | Breakfast
B
PTS: 1
DIF: C
REF: pp. 870-872
connecting personal experiences to literature
STA: 11.1 | R.III-2
Unit 6 | Part 1 | Breakfast
KEY: mood | Breakfast
C
PTS: 1
DIF: A
REF: p. 871
understanding Regionalism
STA: 11.1 | R.I-1 TOP: Unit 6 | Part 1 | Breakfast
literal language | Breakfast
B
PTS: 1
DIF: A
REF: p. 870
connecting personal experiences to literature
STA: 11.1 | R.III-2
Unit 6 | Part 1 | Breakfast
KEY: sensory details | Breakfast
B
PTS: 1
DIF: A
REF: p. 870
expanding vocabulary
STA: 11.6 | R.IV-1
TOP:
45. ANS:
OBJ:
TOP:
46. ANS:
OBJ:
TOP:
47. ANS:
OBJ:
KEY:
48. ANS:
OBJ:
TOP:
49. ANS:
OBJ:
KEY:
50. ANS:
OBJ:
KEY:
51. ANS:
OBJ:
KEY:
52. ANS:
OBJ:
TOP:
53. ANS:
OBJ:
TOP:
54. ANS:
OBJ:
TOP:
55. ANS:
OBJ:
TOP:
56. ANS:
OBJ:
TOP:
57. ANS:
OBJ:
TOP:
58. ANS:
OBJ:
TOP:
59. ANS:
OBJ:
TOP:
KEY:
60. ANS:
OBJ:
Unit 6 | Part 1 | Breakfast
KEY: vocabulary | Breakfast
A
PTS: 1
DIF: A
REF: p. 870
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | Breakfast
KEY: vocabulary | Breakfast
B
PTS: 1
DIF: A
REF: p. 871
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | Breakfast
KEY: vocabulary | Breakfast
A
PTS: 1
DIF: A
REF: p. 902
analyzing literary periods
STA: 11.3 | R.I-1 TOP: Unit 6 | Part 1 | from Black Boy
nonfiction | narrative | from Black Boy
D
PTS: 1
DIF: A
REF: p. 902
analyzing flash-forward
STA: 11.3 | R.IV-3
Unit 6 | Part 1 | from Black Boy
KEY: flash forward | from Black Boy
B
PTS: 1
DIF: C
REF: pp. 902-903
analyzing literary periods
STA: 11.3 | R.II-2 TOP: Unit 6 | Part 1 | from Black Boy
analysis | from Black Boy
D
PTS: 1
DIF: A
REF: p. 903
analyzing literary periods
STA: 11.3 | R.II-2 TOP: Unit 6 | Part 1 | from Black Boy
analysis | from Black Boy
A
PTS: 1
DIF: A
REF: p. 904
analyzing literary periods
STA: 11.3 | R.II-2 TOP: Unit 6 | Part 1 | from Black Boy
point of view | from Black Boy
B
PTS: 1
DIF: A
REF: p. 906
comparing and contrasting characters
STA: 11.3 | R.I-1
Unit 6 | Part 1 | from Black Boy
KEY: characterization | from Black Boy
C
PTS: 1
DIF: A
REF: p. 906
comparing and contrasting characters
STA: 11.3.2 | R.II-2
Unit 6 | Part 1 | from Black Boy
KEY: nonfiction | narrative | from Black Boy
A
PTS: 1
DIF: A
REF: p. 906
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | from Black Boy
KEY: vocabulary | from Black Boy
C
PTS: 1
DIF: A
REF: p. 903
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | from Black Boy
KEY: vocabulary | from Black Boy
B
PTS: 1
DIF: C
REF: p. 906
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | from Black Boy
KEY: vocabulary | from Black Boy
C
PTS: 1
DIF: A
REF: p. 903
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | from Black Boy
KEY: vocabulary | from Black Boy
A
PTS: 1
DIF: A
REF: p. 906
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | from Black Boy
KEY: vocabulary | from Black Boy
C
PTS: 1
DIF: A
REF: p. 915
analyzing literary periods | applying background
STA: 11.1 | R.III-2
Unit 6 | Part 1 | The Life You Save May Be Your Own
setting | The Life You Save May Be Your Own
B
PTS: 1
DIF: C
REF: p. 915
analyzing literary periods | applying background
STA: 11.1 | R.III-2
61.
62.
63.
64.
65.
66.
67.
68.
69.
70.
71.
72.
73.
TOP:
KEY:
ANS:
STA:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
KEY:
ANS:
OBJ:
STA:
ANS:
STA:
KEY:
Unit 6 | Part 1 | The Life You Save May Be Your Own
characterization | The Life You Save May Be Your Own
D
PTS: 1
DIF: C
REF: p. 917
11.2 | R.III-3 TOP: Unit 6 | Part 1 | The Life You Save May Be Your Own
figurative language | The Life You Save May Be Your Own
C
PTS: 1
DIF: C
REF: p. 917
evaluating dialogue
STA: 11.2 | R.III-3
Unit 6 | Part 1 | The Life You Save May Be Your Own
dialogue | description | The Life You Save May Be Your Own
B
PTS: 1
DIF: C
REF: pp. 915-922
evaluating dialogue
STA: 11.1 | R.II-2
Unit 6 | Part 1 | The Life You Save May Be Your Own
dialogue | The Life You Save May Be Your Own
C
PTS: 1
DIF: A
REF: p. 920
evaluating dialogue | applying background knowledge
STA: 11.2 | R.III-3
Unit 6 | Part 1 | The Life You Save May Be Your Own
dialogue | colloquial language | The Life You Save May Be Your Own
D
PTS: 1
DIF: A
REF: p. 920
evaluating dialogue
STA: 11.2 | R.III-3
Unit 6 | Part 1 | The Life You Save May Be Your Own
dialogue | figurative language | simile | The Life You Save May Be Your Own
B
PTS: 1
DIF: A
REF: p. 915
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Life You Save May Be Your Own
vocabulary | The Life You Save May Be Your Own
C
PTS: 1
DIF: A
REF: p. 917
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Life You Save May Be Your Own
vocabulary | The Life You Save May Be Your Own
A
PTS: 1
DIF: A
REF: p. 918
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Life You Save May Be Your Own
vocabulary | The Life You Save May Be Your Own
A
PTS: 1
DIF: A
REF: p. 920
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Life You Save May Be Your Own
vocabulary | The Life You Save May Be Your Own
C
PTS: 1
DIF: A
REF: p. 919
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Life You Save May Be Your Own
vocabulary | The Life You Save May Be Your Own
C
PTS: 1
DIF: A
REF: p. 943
analyzing characterization
STA: 11.1 | R.I-1 TOP: Unit 6 | Part 1 | The Magic Barrel
characterization | The Magic Barrel
D
PTS: 1
DIF: A
REF: p. 943
relating literature to the historical period | analyzing characterization
11.1 | R.I-1 TOP: Unit 6 | Part 1 | The Magic Barrel
KEY: characterization | The Magic Barrel
A
PTS: 1
DIF: C
REF: p. 943
11.2 | R.III-3 TOP: Unit 6 | Part 1 | The Magic Barrel
figurative language | The Magic Barrel
74. ANS:
OBJ:
KEY:
75. ANS:
OBJ:
KEY:
76. ANS:
OBJ:
KEY:
77. ANS:
OBJ:
TOP:
78. ANS:
OBJ:
TOP:
79. ANS:
OBJ:
TOP:
80. ANS:
OBJ:
TOP:
81. ANS:
OBJ:
TOP:
82. ANS:
OBJ:
TOP:
83. ANS:
OBJ:
TOP:
KEY:
84. ANS:
OBJ:
TOP:
KEY:
85. ANS:
OBJ:
STA:
KEY:
86. ANS:
OBJ:
TOP:
KEY:
87. ANS:
OBJ:
TOP:
KEY:
88. ANS:
OBJ:
B
PTS: 1
DIF: A
REF: pp. 943-954
analyzing characterization
STA: 11.1 | R.I-1 TOP: Unit 6 | Part 1 | The Magic Barrel
plot | rising action | The Magic Barrel
C
PTS: 1
DIF: C
REF: p. 949
analyzing characterization
STA: 11.1 | R.I-1 TOP: Unit 6 | Part 1 | The Magic Barrel
characterization | The Magic Barrel
D
PTS: 1
DIF: A
REF: p. 949
analyzing characterization
STA: 11.1 | R.III-2 TOP: Unit 6 | Part 1 | The Magic Barrel
description | The Magic Barrel
C
PTS: 1
DIF: A
REF: p. 950
relating literature to the historical period
STA: 11.1 | R.I-1
Unit 6 | Part 1 | The Magic Barrel
KEY: characterization | The Magic Barrel
A
PTS: 1
DIF: A
REF: p. 943
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Magic Barrel
KEY: vocabulary | The Magic Barrel
B
PTS: 1
DIF: A
REF: p. 943
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Magic Barrel
KEY: vocabulary | The Magic Barrel
B
PTS: 1
DIF: A
REF: p. 943
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Magic Barrel
KEY: vocabulary | The Magic Barrel
C
PTS: 1
DIF: A
REF: p. 949
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Magic Barrel
KEY: vocabulary | The Magic Barrel
A
PTS: 1
DIF: A
REF: p. 950
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Magic Barrel
KEY: vocabulary | The Magic Barrel
C
PTS: 1
DIF: A
REF: p. 929
understanding plot | analyzing text structure
STA: 11.1 | R.III-2
Unit 6 | Part 1 | The Second Tree from the Corner
plot | setting | exposition | The Second Tree from the Corner
A
PTS: 1
DIF: C
REF: p. 929
understanding plot | analyzing text structure
STA: 11.1 | R.III-2
Unit 6 | Part 1 | The Second Tree from the Corner
characterization | The Second Tree from the Corner
D
PTS: 1
DIF: C
REF: p. 930
relating literature to the historical period | understanding plot | analyzing text structure
11.2 | R.III-3 TOP: Unit 6 | Part 1 | The Second Tree from the Corner
figurative language | The Second Tree from the Corner
D
PTS: 1
DIF: C
REF: p. 931
understanding plot | analyzing text structure
STA: 11.1 | R.I-2
Unit 6 | Part 1 | The Second Tree from the Corner
plot | The Second Tree from the Corner
C
PTS: 1
DIF: C
REF: p. 932
understanding plot
STA: 11.1 | 11.2 | R.I-2
Unit 6 | Part 1 | The Second Tree from the Corner
plot | climax | The Second Tree from the Corner
D
PTS: 1
DIF: C
REF: p. 932
analyzing text structure
STA: 11.2 | R.III-3
89.
90.
91.
92.
93.
94.
95.
96.
97.
98.
99.
100.
101.
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
STA:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
STA:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
STA:
KEY:
ANS:
Unit 6 | Part 1 | The Second Tree from the Corner
symbolism | The Second Tree from the Corner
C
PTS: 1
DIF: C
REF: p. 932
analyzing text structure
STA: 11.2 | R.III-3
Unit 6 | Part 1 | The Second Tree from the Corner
figurative language | imagery | The Second Tree from the Corner
B
PTS: 1
DIF: A
REF: p. 929
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Second Tree from the Corner
vocabulary | The Second Tree from the Corner
A
PTS: 1
DIF: A
REF: p. 930
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Second Tree from the Corner
vocabulary | The Second Tree from the Corner
B
PTS: 1
DIF: A
REF: p. 930
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Second Tree from the Corner
vocabulary | The Second Tree from the Corner
C
PTS: 1
DIF: A
REF: p. 931
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Second Tree from the Corner
vocabulary | The Second Tree from the Corner
C
PTS: 1
DIF: A
REF: p. 932
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 1 | The Second Tree from the Corner
vocabulary | The Second Tree from the Corner
A
PTS: 1
DIF: C
REF: p. 981
relating literature to the historical period | analyzing a narrator
11.1 | R.III-2 TOP: Unit 6 | Part 2 | from All Rivers Run to the Sea
point of view | from All Rivers Run to the Sea
C
PTS: 1
DIF: A
REF: p. 981
analyzing a narrator
STA: 11.2 | R.III-3
Unit 6 | Part 2 | from All Rivers Run to the Sea
figurative language | from All Rivers Run to the Sea
D
PTS: 1
DIF: A
REF: p. 981
11.2 | R.III-3 TOP: Unit 6 | Part 2 | from All Rivers Run to the Sea
personification | from All Rivers Run to the Sea
D
PTS: 1
DIF: A
REF: p. 982
activating prior knowledge
STA: 11.3.2 | R.II-3
Unit 6 | Part 2 | from All Rivers Run to the Sea
analysis | from All Rivers Run to the Sea
A
PTS: 1
DIF: A
REF: p. 982
relating literature to the historical period
STA: 11.4 | R.II-4
Unit 6 | Part 2 | from All Rivers Run to the Sea
biography | from All Rivers Run to the Sea
D
PTS: 1
DIF: C
REF: p. 984
relating literature to the historical period | analyzing a narrator | activating prior knowledge
11.2 | R.III-3 TOP: Unit 6 | Part 2 | from All Rivers Run to the Sea
symbolism | from All Rivers Run to the Sea
C
PTS: 1
DIF: C
REF: p. 984
102.
103.
104.
105.
106.
107.
108.
109.
110.
111.
112.
113.
114.
OBJ:
STA:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
TOP:
KEY:
ANS:
OBJ:
STA:
KEY:
ANS:
OBJ:
KEY:
ANS:
OBJ:
STA:
KEY:
ANS:
OBJ:
STA:
KEY:
ANS:
OBJ:
STA:
ANS:
OBJ:
STA:
ANS:
OBJ:
TOP:
ANS:
OBJ:
TOP:
relating literature to the historical period | analyzing a narrator | activating prior knowledge
11.3.3 | 11.4 | R.III-3
TOP: Unit 6 | Part 2 | from All Rivers Run to the Sea
figurative language | from All Rivers Run to the Sea
B
PTS: 1
DIF: A
REF: p. 985
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 2 | from All Rivers Run to the Sea
vocabulary | from All Rivers Run to the Sea
A
PTS: 1
DIF: A
REF: p. 986
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 2 | from All Rivers Run to the Sea
vocabulary | from All Rivers Run to the Sea
C
PTS: 1
DIF: A
REF: p. 986
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 2 | from All Rivers Run to the Sea
vocabulary | from All Rivers Run to the Sea
B
PTS: 1
DIF: A
REF: p. 981
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 2 | from All Rivers Run to the Sea
vocabulary | from All Rivers Run to the Sea
C
PTS: 1
DIF: A
REF: p. 984
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 2 | from All Rivers Run to the Sea
vocabulary | from All Rivers Run to the Sea
A
PTS: 1
DIF: C
REF: p. 1001
writing in a voice and style appropriate to your audience and purpose
11.3.2 | R.II-2
TOP: Unit 6 | Part 2 | Hiroshima
author's purpose | from Hiroshima
C
PTS: 1
DIF: A
REF: p. 1003
understanding literary conventions STA: 11.2 | R.III-3 TOP: Unit 6 | Part 2 | Hiroshima
metaphor | figurative language | from Hiroshima
D
PTS: 1
DIF: A
REF: p. 1003
writing in a voice and style appropriate to your audience and purpose
11.3 | R.I-1 TOP: Unit 6 | Part 2 | Hiroshima
figurative language | from Hiroshima
B
PTS: 1
DIF: A
REF: p. 1004
writing in a voice and style appropriate to your audience and purpose
11.3 | R.I-2 TOP: Unit 6 | Part 2 | Hiroshima
nonfiction | informational | from Hiroshima
A
PTS: 1
DIF: A
REF: p. 1005
understanding literary conventions | drawing conclusions about author's beliefs
11.3 | R.I-1 TOP: Unit 6 | Part 2 | Hiroshima
KEY: characterization | from Hiroshima
C
PTS: 1
DIF: C
REF: p. 1007
writing in a voice and style appropriate to your audience and purpose
11.3 | R.II-2 TOP: Unit 6 | Part 2 | Hiroshima
KEY: author's purpose | from Hiroshima
B
PTS: 1
DIF: A
REF: p. 1009
understanding literary conventions STA: 11.2.3 | R.II-2
Unit 6 | Part 2 | Hiroshima
KEY: irony | from Hiroshima
C
PTS: 1
DIF: A
REF: p. 1001
expanding vocabulary
STA: 11.6 | R.IV-1
Unit 6 | Part 2 | Hiroshima
KEY: vocabulary | from Hiroshima
115. ANS:
OBJ:
TOP:
116. ANS:
OBJ:
TOP:
117. ANS:
OBJ:
TOP:
118. ANS:
OBJ:
TOP:
A
PTS: 1
expanding vocabulary
Unit 6 | Part 2 | Hiroshima
C
PTS: 1
expanding vocabulary
Unit 6 | Part 2 | Hiroshima
B
PTS: 1
expanding vocabulary
Unit 6 | Part 2 | Hiroshima
B
PTS: 1
expanding vocabulary
Unit 6 | Part 2 | Hiroshima
DIF:
STA:
KEY:
DIF:
STA:
KEY:
DIF:
STA:
KEY:
DIF:
STA:
KEY:
A
REF: p. 1005
11.6 | R.IV-1
vocabulary | from Hiroshima
A
REF: p. 1008
11.6 | R.IV-1
vocabulary | from Hiroshima
A
REF: p. 1005
11.6 | R.IV-1
vocabulary | from Hiroshima
A
REF: p. 1001
11.6 | R.IV-1
vocabulary | from Hiroshima
SHORT ANSWER
119. ANS:
Answers will vary. Sample answers:
• people being jealous of wealth or happiness
• people pitying her poverty
• women envying her for her potential husbands
• people pitying her failure to fulfill the normal role of women of her social class
PTS: 1
DIF: E
REF: p. 881
STA: 11.1 | R.II-2 TOP: Unit 6 | Part 1 | A Rose for Emily
120. ANS:
Answers will vary. Sample answers:
• Faulkner’s use of foreshadowing
• Emily’s mental decay
• her deteriorating life and lifestyle over time
• the abrupt disappearance of Homer Barton
• the purchase of arsenic
• the smell in the yard
• the discovery of Emily having slept next to a corpse
OBJ: understanding the historical period
KEY: characterization | A Rose for Emily
PTS: 1
DIF: E
REF: pp. 878-885
OBJ: understanding the historical period | analyzing foreshadowing | identifying sequence
STA: 11.1.1 | R.I-2
TOP: Unit 6 | Part 1 | A Rose for Emily
KEY: foreshadowing | style | author's purpose | A Rose for Emily
121. ANS:
Answers will vary. Sample answers:
• symbol of the woman’s long life
• symbol of the division between poor African Americans and wealthy whites.
• symbol of the lifetime of work and toil borne by this grandmother
PTS: 1
DIF: E
REF: pp. 892-897
OBJ: relating literature to the historical period
STA: 11.2 | R.II-2
TOP: Unit 6 | Part 1 | A Worn Path
KEY: symbolism | A Worn Path
122. ANS:
Answers will vary. Sample answers:
• the passage from old to modern
• the passage from poverty to wealth
• the difference between those who have and those who have not
PTS: 1
DIF: C
REF: pp. 895-897
OBJ: relating literature to the historical period
STA: 11.2 | R.III-3
TOP: Unit 6 | Part 1 | A Worn Path
KEY: description | symbolism | imagery | A Worn Path
123. ANS:
Answers will vary. Sample answers:
• by urging them to return to basic concepts of love, honor, pity, pride, compassion, and sacrifice
• by speaking out about the reasons why writers are wrapped in fear
• by guiding the future of writers and poets
PTS: 1
DIF: C
REF: p. 886
STA: 11.3.2 | R.II-1
TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
KEY: analysis | Address Upon Receiving the Nobel Prize in Literature
124. ANS:
Answers will vary. Sample answers:
• fear being the basest, or lowest, of emotions
• fear being replaced by universal values, such as love or compassion
• no room for fear in a writer’s approach to life
PTS: 1
DIF: C
REF: p. 886
STA: 11.3.2 | R.II-2
TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
KEY: voice | Address Upon Receiving the Nobel Prize in Literature
125. ANS:
Answers will vary. Sample answers:
• People lived in tents.
• Jobs, food, and clothing were hard to come by.
• People shared with those who were less fortunate.
PTS: 1
DIF: C
REF: pp. 870-872
OBJ: understanding Regionalism | inferring theme | connecting personal experiences to literature
STA: 11.1 | R.III-2 TOP: Unit 6 | Part 1 | Breakfast
KEY: characterization | Breakfast
126. ANS:
Answers will vary. Sample answers:
• a reminder of the importance of family
• three generations of a family representing continuation
• the baby represents the future of the group
• the narrator develops a sense of comfort from watching the mother and baby
PTS: 1
DIF: E
REF: pp. 870-872
OBJ: inferring theme | connecting personal experiences to literature
STA: 11.1.2 | 11.5 | R.II-2
TOP: Unit 6 | Part 1 | Breakfast
KEY: characterization | theme | Breakfast
127. ANS:
Answers will vary. Sample answer
• at the apartment, a hesitant, uncomfortable, and angry child, threatening toward his father, feeling
unclean
• at the Mississippi field, meeting a stranger, speaking a “different” language as his father, realizing that
his father would never understand how memories of his youth had scarred him, feeling sorry and distant
from his father, seeing his father as a failure.
PTS: 1
DIF: E
REF: pp. 902-906 STA: 11.3.2 | R.II-2
TOP: Unit 6 | Part 1 | from Black Boy
KEY: vocabulary | from Black Boy
128. ANS:
Answers will vary. Sample answers:
• reminder of hunger
• feeling of bleak astonishment
• fearful experience
• scolded or praised
• becoming dizzy or falling unconscious on the ground
PTS: 1
DIF: C
REF: pp. 902-906
OBJ: comparing and contrasting characters
STA: 11.3.2 | R.II-2
TOP: Unit 6 | Part 1 | from Black Boy
KEY: symbolism | from Black Boy
129. ANS:
Answer will vary. Sample answers:
• Young Lucynell: meaningless, not aware of what is happening
• Older Lucynell: it is a way to free herself from caring for her daughter, may or may not think this is an
opportunity for her daughter.
• Shiftlet: wedding as a way to bilk the Craters of a car and some money
PTS: 1
DIF: C
REF: pp. 916-920
OBJ: analyzing literary periods | evaluating dialogue | applying background knowledge
STA: 11.1 | R.III-2 TOP: Unit 6 | Part 1 | The Life You Save May Be Your Own
KEY: analysis | The Life You Save May Be Your Own
130. ANS:
Answers will vary. Sample answers:
• the prize: young Lucynell
• the mother: because her daughter is sweet, innocent, and comes with a mortgage-free farm, a house, and
a car
• mother’s value of her children—sometimes beyond others’ views
• mother’s love
PTS: 1
DIF: E
REF: p. 921
OBJ: analyzing literary periods | evaluating dialogue | applying background knowledge
STA: 11.1 | R.II-2 TOP: Unit 6 | Part 1 | The Life You Save May Be Your Own
KEY: analysis | The Life You Save May Be Your Own
131. ANS:
Answers will vary. Sample answers:
• unusual sentence structure: “All day you could talk to her about books and theater and what not.” “This
is not a bride for a rabbi.” “This can’t tell you.” “This is why to me she is dead now.”
• selling his clients to Finkle by the descriptions he uses, saying they are
dolls.
• using a Yiddish phrase, “Yiddishe kinder.”
PTS: 1
DIF: E
STA: 11.1 | 11.5 | R.III-2
REF: pp. 943-954 OBJ: understanding dialect
TOP: Unit 6 | Part 1 | The Magic Barrel
KEY: dialect | The Magic Barrel
132. ANS:
Answers will vary. Sample answers:
• in the story: using a matchmaker, selecting a bride from a list or picture, considering the financial
package provided by the bride’s father, religious orientation.
• in the student’s culture: freer choice in dating and choosing a mate, less emphasis on religious
orientation, no use of matchmaker, etc.
• different backgrounds having similar marriage/courtship arrangements as Finkle.
PTS: 1
DIF: E
REF: pp. 943-954
OBJ: relating literature to the historical period | analyzing characterization
STA: 11.4 | R.II-2 TOP: Unit 6 | Part 1 | The Magic Barrel
KEY: author's purpose | analysis | The Magic Barrel
133. ANS:
Answers will vary. Sample answers:
• Trexler leaving the doctor’s office on page 932, the “clearing weather” evening, the park appearing
“green and desirable,” and daylight “applying a high lacquer to the brick and brownstone”
• Word/phrase choice: intoxicating splendor, he was glad in a way, satisfied, sauntered, found himself
renewed, invigorated.
PTS: 1
DIF: E
REF: p. 932
OBJ: relating literature to the historical period | understanding plot | analyzing text structure
STA: 11.1.2 | 11.4 | R.III-2
TOP: Unit 6 | Part 1 | The Second Tree from the Corner
KEY: mood | imagery | The Second Tree from the Corner
134. ANS:
Answers will vary. Sample answers:
• taking on the new person’s personality and job
• seeing the world through other people’s viewpoints
• identifying more with other personalities than with his own
PTS: 1
DIF: E
REF: p. 931
OBJ: relating literature to the historical period | understanding plot | analyzing text structure
STA: 11.1 | 11.4 | R.II-3
TOP: Unit 6 | Part 1 | The Second Tree from the Corner
KEY: characterization | plot | The Second Tree from the Corner
135. ANS:
Answers will vary. Sample answers:
• through a memoir about his experiences
• telling the losses of his family and friends
• telling experiences that must be very painful
PTS: 1
DIF: E
REF: pp. 981-987
OBJ: relating literature to the historical period | analyzing a narrator | activating prior knowledge
STA: 11.3.2 | 11.4 | R.II-4
TOP: Unit 6 | Part 2 | from All Rivers Run to the Sea
KEY: autobiography | from All Rivers Run to the Sea
136. ANS:
Answers will vary. Sample answers:
• the tremendous losses and deprivations Wiesel suffered
• understanding the magnitude of the Holocaust
• making sense of the slaughter
• honoring the memories of his family and friends and the others lost in the death camps
PTS: 1
DIF: E
REF: pp. 981-987
OBJ: relating literature to the historical period | analyzing a narrator | activating prior knowledge
STA: 11.4 | R.II-2 TOP: Unit 6 | Part 2 | from All Rivers Run to the Sea
KEY: symbolism | autobiography | from All Rivers Run to the Sea
137. ANS:
Answers will vary. Sample answers:
• Each person was in a different location and saw the event differently.
• Witnesses view an event from their own perspective and may not see the same things or experience the
same things as other witnesses.
• Different people have different responsibilities, concerns, and worries. As a result, a catastrophe that
strikes a mother and her family will create one reaction, while a businessman with no family might have
a different reaction.
PTS: 1
DIF: E
REF: p. 1001
OBJ: understanding literary conventions | drawing conclusions about author's beliefs | using word origins to
expand vocabulary | writing in a voice and style appropriate to your audience and purpose
STA: 11.3.2 | R.II-2
TOP: Unit 6 | Part 2 | Hiroshima
KEY: analysis | from Hiroshima
138. ANS:
Answers will vary. Sample answers:
• The survivors chosen represent men and women from several different social or economic levels.
• Each person suffered in a different way.
• Each person tells the story from a unique viewpoint.
PTS: 1
DIF: E
REF: p. 1001
OBJ: understanding literary conventions | drawing conclusions about author's beliefs | writing in a voice and
style appropriate to your audience and purpose
STA: 11.3.2 | R.III-2
TOP: Unit 6 | Part 2 | Hiroshima
KEY: author's purpose | style | from Hiroshima
ESSAY
139. ANS:
Answers will vary. A complete answer should include several of these points:
• the loyal household employee
• Colonel Sartoris’ attitude toward African American women and running the town in general
• the art of painting china, genteel manners
• expectations of how a lady should act
• attitudes about Northerners and social position
• funeral customs and condolence calls
• sending for the Alabama relatives
• social expectations of being a Grierson
• general attitudes toward Emily
PTS: 1
DIF: E
REF: pp. 878-885 OBJ: understanding the historical period
STA: 11.1.1 | 11.1.2 | R.I-1
TOP: Unit 6 | Part 1 | A Rose for Emily
KEY: regionalism | A Rose for Emily
140. ANS:
Answers will vary. A complete answer should include several of these points:
• Phoenix symbolizing endurance, the will to survive against great odds
• a long, difficult journey
• the determination not to turn back
• taking a necessary, repetitive, and demanding trip
• Phoenix’s awareness of the difference between Natchez society and her position there.
• Phoenix’s insistence on her shoes being tied to avoid tripping
• Phoenix’s responsibility to her grandson
• her willingness to face exhaustion, fear, strangeness, and condescension to get the medicine
• futility of the trip, since Phoenix makes it over and over, yet her grandson continues to be unwell
PTS: 1
DIF: E
REF: pp. 892-897
OBJ: relating literature to the historical period | analyzing description | visualizing scenes and characters |
expanding vocabulary | reviewing archetypes | comparing and contrasting characters
STA: 11.1 | R.II-2 TOP: Unit 6 | Part 1 | A Worn Path
KEY: imagery | symbolism | A Worn Path
141. ANS:
Answers will vary. A complete answer should include several of these points:
• use of repetition of basic human concepts, such as love, honor, pride
• reference to “problems of the human heart in conflict with itself”
• word choice: ephemeral, universal, immortal, endurance
• symbolism: “truths of the heart” to represent the best, most honorable nature of human spirits.
• comparison of current writing trends with writing “Not of the heart but of the glands.”
PTS: 1
DIF: C
REF: p. 886
STA: 11.3.2 | R.II-2
TOP: Unit 6 | Part 1 | Address Upon Receiving the Nobel Prize in Literature
KEY: style | figurative language | Address Upon Receiving the Nobel Prize in Literature
142. ANS:
Answers will vary. A complete answer should include several of these points:
• visual imagery: including the fire, the tents, the rising dawn, heavy influence of colors, the day growing
from dark to light
• auditory imagery: the sounds of the woman working and the baby nursing
• olfactory imagery: including the scent of bacon and bread on the stove
• tactile imagery: including the stranger rubbing his hands from the cold and the two men holding their
hands to the fire
PTS: 1
DIF: C
REF: pp. 870-872
OBJ: understanding Regionalism | inferring theme | connecting personal experiences to literature
STA: 11.1.2 | 11.2 | R.III-3
TOP: Unit 6 | Part 1 | Breakfast
KEY: sensory details | Breakfast
143. ANS:
Answers may vary. A complete answer should include several of these points:
• fear of hunger
• fear of losing his mother
• fear of confronting his father
• fear of Miss Simon
• fear of the police
• fear of leaving the orphan home for a questionable life
PTS: 1
DIF: E
REF: pp. 902-906
OBJ: relating literature to the historical period | analyzing description | visualizing scenes and characters |
expanding vocabulary | reviewing archetypes | comparing and contrasting characters
STA: 11.3.2 | R.IV-3
TOP: Unit 6 | Part 1 | from Black Boy
KEY: description | characterization | from Black Boy
144. ANS:
Answers will vary but might include some of the following points:
• the setting of the farm is desolate and remote, with a garden house, a hog pen, a barn
• the mention of gospel singers, Uncle Roy and his Red Creek Wranglers.
• mention of several different southern states and Atlanta, Mobile, Tuscaloosa by Shiftlet implies regional
connection
• idiomatic language: yonder, sugarpie, sass, sugarbaby
• meal of ham and grits
PTS: 1
DIF: E
REF: pp. 916-922
OBJ: analyzing literary periods | evaluating dialogue | applying background knowledge
STA: 11.1.1 | 11.1.2 | 11.5 | R.III-2
TOP: Unit 6 | Part 1 | The Life You Save May Be Your Own
KEY: dialogue | colloquial language | The Life You Save May Be Your Own
145. ANS:
Answers will vary. A complete answer should include several of these points:
• his appearance: overcoat too short, hat too old, smells of fish, mournful eyes, a skeleton with haunted
eyes.
• his manner: eager to show his list of brides, carefully checking out Finkle, bragging about his successful
operation (a barrelful of names), stringing Finkle along about the snapshot.
• his cleverness: presenting losers and sneaking in the picture of his own daughter Stella, drawing out the
suspense by stopping to have a smoked whitefish sandwich instead of getting down to business.
• language/dialect a stereotype of a Jewish matchmaker
PTS: 1
DIF: E
REF: pp. 943-954 OBJ: analyzing characterization
STA: 11.1.2 | 11.5 | R.III-2
TOP: Unit 6 | Part 1 | The Magic Barrel
KEY: characterization | The Magic Barrel
146. ANS:
Answers will vary. Complete answers should include several of these points:
• his preoccupation with bizarre thoughts, sickness
• the discussion of plucking thoughts out of a bag
• repetition of negative images
• word choice: dreadful corridor, flush of fear, wet under the arm, life’s a little bucky horse, dreary joint,
dim saloons, creeping slowly, lonely, worried
• rambling sentences represent the way people think
• figurative language, such as creeping slowly toward him like a lizard toward a bug.
PTS: 1
DIF: E
REF: p. 929
OBJ: analyzing text structure
STA: 11.1.2 | 11.5 | R.III-2
TOP: Unit 6 | Part 1 | The Second Tree from the Corner
KEY: characterization | style | The Second Tree from the Corner
147. ANS:
Answers will vary. A complete answer should include several of these points:
• time as a child, mixed fondness and horror, blending fun aspects of his family life and the reality of
Auschwitz
• current events, such as seeing a child or hearing a train whistle, symbolize tragedies of the past
• surviving such an experience, affecting a person’s soul
• experiences that colored everything new or different
• the past as a part of him
PTS: 1
DIF: E
REF: pp. 981-987
OBJ: relating literature to the historical period | analyzing a narrator | activating prior knowledge
STA: 11.3 | R.IV-3
TOP: Unit 6 | Part 2 | from All Rivers Run to the Sea
KEY: autobiography | point of view | from All Rivers Run to the Sea
148. ANS:
Answers will vary. A complete answer should include several of these points:
• A journalist tells who, what, when, where, and why in an objective manner. Because much of this story
is horrifying, using the plain details makes the story more believable or acceptable.
• Sometimes, the truth has a greater impact than fiction possibly could. The story of Fujii finding himself
in the river suspended like a morsel between two chopsticks creates a vivid image. If Hersey used a
more flamboyant style to tell such stories, they would seem unbelievable.
• The number of details given in the story clarify the impression the reader takes away. The reader learns
about these people as human beings, not as an enemy. They are all the more real because they go to
work, travel on the train, have vegetable gardens, etc.
PTS: 1
DIF: E
REF: p. 1001
OBJ: understanding literary conventions | drawing conclusions about author's beliefs | writing in a voice and
style appropriate to your audience and purpose
STA: 11.1.2 | 11.3.4 | 11.4 | R.IV-3
TOP: Unit 6 | Part 2 | Hiroshima
KEY: author's purpose | style | from Hiroshima