C O L L E C T I O N 4
—Gail Carson Levine
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C O L L E C T I O N 4
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COLLECTION
At the end of this collection, you will complete two performance tasks: t:PVXJMMXSJUFBOFTTBZUPBOBMZ[FIPXUIFUIFNFPGBTUPSZTFUJOUIFQBTUJT relevant to the life of modern-day adolescents.
t:PVXJMMDSFBUFBDBNQBJHOUPSFDPHOJ[FBDFSUBJOMJGFFWFOU‰TVDIBTWPUJOH
HFUUJOHBESJWFSTMJDFOTFPSMJWJOHJOEFQFOEFOUMZ‰BTUIFTUBSUPGBEVMUIPPE
4UVEZUIFXPSETBOEUIFJSEFGJOJUJPOTJOUIFDIBSUCFMPX:PVXJMMVTFUIFTFXPSET as you discuss and write about the texts in this collection.
Word debate
(dΔ-b∑t ´ ) v.
deduce
(dΔ-d◊s
´
) v.
license
(lπ ´ s∂ns) n.
sufficient
(s∂-fΔsh
´
∂nt) adj.
trend
(tr≈nd) n.
Definition to engage in arguments by discussing opposing points to reach a conclusion or decision through reasoning a document that is issued as proof of legal permission to do something deduction, deductive, deducible licensed trendy
Related Forms debatable being enough, or as much as needed sufficiently the general direction of something; a current style

Background During the Great Depression of the 1930s, millions of Americans experienced poverty due to widespread unemployment. African Americans were particularly affected by the weak economy. In an age of racial segregation and prejudice, they generally had fewer job opportunities.
Eugenia Collier (b. 1928) was raised in Baltimore, Maryland.
After working for the Department of Public Welfare, she became a college professor and began writing. “Marigolds” won the Gwendolyn Brooks Award for Fiction in 1969.
SETTING A PURPOSE As you read, notice the story details that suggest how the Great Depression influenced the life of the narrator and her family. Write down any questions you have when reading.
As you read, save new words to my WordList
10
W hen I think of the home town of my youth, all that
I seem to remember is dust—the brown, crumbly dust of late summer—arid, sterile dust that gets into the eyes and makes them water, gets into the throat and between the toes of bare brown feet. I don’t know why I should remember only the dust. Surely there must have been lush green lawns and paved streets under leafy shade trees somewhere in town; but memory is an abstract painting—it does not present things as they are, but rather as they feel . And so, when
I think of that time and that place, I remember only the dry September of the dirt roads and grassless yards of the shanty-town where I lived. And one other thing I remember, another incongruency of memory—a brilliant splash of sunny yellow against the dust—Miss Lottie’s marigolds.
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Whenever the memory of those marigolds flashes across my mind, a strange nostalgia 1 comes with it and remains long after the picture has faded. I feel again the chaotic emotions of adolescence, illusive as smoke, yet as real as the potted geranium before me now. Joy and rage and wild animal gladness and shame become tangled together in the multicolored skein of 14-going-on-15 as I recall that devastating moment when I was suddenly more woman than child, years ago in Miss Lottie’s yard. I think of those marigolds at the strangest times; I remember them vividly now as I desperately pass away the time waiting for you, who will not come.
I suppose that futile 2 waiting was the sorrowful background music of our impoverished little community when I was young. The Depression that gripped the nation was no new thing to us, for the black workers of rural
Maryland had always been depressed. I don’t know what it was that we were waiting for; certainly not for the prosperity that was “just around the corner,” for those were white folks’ words, which we never believed. Nor did we wait for hard work and thrift to pay off in shining success as the American
Dream 3 promised, for we knew better than that, too. Perhaps we waited for a miracle, amorphous in concept but necessary if one were to have the grit to rise before dawn each day and labor in the white man’s vineyard until after dark, or to wander about in the September dust, offering one’s sweat in return for some meager share of bread. But God was chary 4 with miracles in those days, and so we waited—and waited.
We children, of course, were only vaguely aware of the extent of our poverty. Having no radios, few newspapers, and no magazines, we were somewhat unaware of the world outside our community. Nowadays we would be called
“culturally deprived” and people would write books and hold conferences about us. In those days everybody we knew was just as hungry and ill-clad as we were. Poverty was the cage in which we all were trapped, and our hatred of it was still the
1
2 nostalgia (n≤-st√l ´ j∂): bittersweet longing for things from the past.
futile (fy◊t ´ l): having no useful result.
3
4
American dream: the belief that through hard work one will achieve a comfortable and prosperous life.
chary (châr ´ ∏): sparing or stingy.
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90 vague, undirected restlessness of the zoo-bred flamingo who knows that nature created him to fly free.
As I think of those days I feel most poignantly the tagend of summer, the bright dry times when we began to have a sense of shortening days and the imminence of the cold.
By the time I was 14 my brother Joey and I were the only children left at our house, the older ones having left home for early marriage or the lure of the city, and the two babies having been sent to relatives who might care for them better than we. Joey was three years younger than I, and a boy, and therefore vastly inferior. Each morning our mother and father trudged wearily down the dirt road and around the bend, she to her domestic job, he to his daily unsuccessful quest for work. After our few chores around the tumbledown shanty,
Joey and I were free to run wild in the sun with other children similarly situated.
For the most part, those days are ill-defined in my memory, running together and combining like a fresh watercolor painting left out in the rain. I remember squatting in the road drawing a picture in the dust, a picture that Joey gleefully erased with one sweep of his dirty foot. I remember fishing for minnows in a muddy creek and watching sadly as they eluded my cupped hands, while Joey laughed uproariously.
And I remember, that year, a strange restlessness of body and of spirit, a feeling that something old and familiar was ending, and something unknown and therefore terrifying was beginning.
One day returns to me with special clarity for some reason, perhaps because it was the beginning of the experience that in some inexplicable way marked the end of innocence. I was loafing under the great oak tree in our yard, deep in some reverie which I have now forgotten except that it involved some secret, secret thoughts of one of the Harris boys across the yard. Joey and a bunch of kids were bored now with the old tire suspended from an oak limb which had kept them entertained for a while.
“Hey, Lizabeth,” Joey yelled. He never talked when he could yell. “Hey, Lizabeth, let’s us go somewhere.”
I came reluctantly from my private world. “Where you want to go? What you want to do?”
The truth was that we were becoming tired of the formlessness of our summer days. The idleness whose poignant
(poin
´ y∂nt) adj.
If something is poignant , it is profoundly moving or touching.
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130 prospect had seemed so beautiful during the busy days of spring now had degenerated to an almost desperate effort to fill up the empty midday hours.
“Let’s go see can we find some locusts on the hill,” someone suggested.
Joey was scornful. “Ain’t no more locusts there. Y’all got
’em all while they was still green.”
The argument that followed was brief and not really worth the effort. Hunting locust trees wasn’t fun any more by now.
“Tell you what,” said Joey finally, his eyes sparkling. “Let’s go over to Miss Lottie’s.”
The idea caught on at once, for annoying Miss Lottie was always fun. I was still child enough to scamper along with the group over rickety fences and through bushes that tore our already raggedy clothes, back to where Miss Lottie lived.
I think now that we must have made a tragicomic spectacle, five or six kids of different ages, each of us clad in only one garment—the girls in faded dresses that were too long or too short, the boys in patchy pants, their sweaty brown chests gleaming in the hot sun. A little cloud of dust followed our thin legs and bare feet as we tramped over the barren land.
When Miss Lottie’s house came into view we stopped, ostensibly to plan our strategy, but actually to reinforce our courage. Miss Lottie’s house was the most ramshackle of all our ramshackle homes. The sun and rain had long since faded its rickety frame siding from white to a sullen gray.
The boards themselves seemed to remain upright not from being nailed together but rather from leaning together like a house that a child might have constructed from cards. A brisk wind might have blown it down, and the fact that it was still standing implied a kind of enchantment that was stronger than the elements. There it stood, and as far as I know is standing yet—a gray rotting thing with no porch, no shutters, no steps, set on a cramped lot with no grass, not even any weeds—a monument to decay.
In front of the house in a squeaky rocking chair sat Miss
Lottie’s son, John Burke, completing the impression of decay.
John Burke was what was known as “queer-headed.” Black and ageless, he sat, rocking day in and day out in a mindless stupor, lulled by the monotonous squeak-squawk of the chair.
A battered hat atop his shaggy head shaded him from the sun. Usually John Burke was totally unaware of everything ostensible
(≤-st≈n
´ s∂-b∂l) adj.
If something is ostensible , it is apparent or supposed.
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140 outside his quiet dream world. But if you disturbed him, if you intruded upon his fantasies, he would become enraged, strike out at you, and curse at you in some strange enchanted language which only he could understand. We children made a game of thinking of ways to disturb John Burke and then to elude his violent retribution .
But our real fun and our real fear lay in Miss Lottie herself.
Miss Lottie seemed to be at least a hundred years old. Her big retribution
(r≈t´r∂-by◊ ´ sh∂n) n.
Retribution is something given in repayment, usually as a punishment.
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180 frame still held traces of the tall, powerful woman she must have been in youth, although it was now bent and drawn.
Her smooth skin was a dark reddish-brown, and her face had
Indian-like features and the stern stoicism that one associates with Indian faces. Miss Lottie didn’t like intruders either, especially children. She never left her yard, and nobody ever visited her. We never knew how she managed those necessities that depend on human interaction—how she ate, for example, or even whether she ate. When we were tiny children, we thought Miss Lottie was a witch and we made up tales, that we half believed ourselves, about her exploits. We were far too sophisticated now, of course, to believe the witch-nonsense.
But old fears have a way of clinging like cobwebs, and so when we sighted the tumble-down shack, we had to stop to reinforce our nerves.
“Look, there she is,” I whispered, forgetting that Miss
Lottie could not possibly have heard me from that distance.
“She’s fooling with them crazy flowers.”
“Yeh, look at ’er.”
Miss Lottie’s marigolds were perhaps the strangest part of the picture. Certainly they did not fit in with the crumbling decay of the rest of her yard. Beyond the dusty brown yard, in front of the sorry gray house, rose suddenly and shockingly a dazzling strip of bright blossoms, clumped together in enormous mounds, warm and passionate and sun-golden. The old black witch-woman worked on them all summer, every summer, down on her creaky knees, weeding and cultivating and arranging, while the house crumbled and John Burke rocked. For some perverse reason, we children hated those marigolds. They interfered with the perfect ugliness of the place; they were too beautiful; they said too much that we could not understand; they did not make sense. There was something in the vigor with which the old woman destroyed the weeds that intimidated us. It should have been a comical sight—the old woman with the man’s hat on her cropped white head, leaning over the bright mounds, her big backside in the air—but it wasn’t comical, it was something we could not name. We had to annoy her by whizzing a pebble into her flowers or by yelling a dirty word, then dancing away from her rage, reveling in our youth and mocking her age. Actually, I think it was the flowers we wanted to destroy, but nobody had stoicism
(st≤ ´ Δ-sΔz´∂m) n.
Stoicism is indifference to pleasure or pain, or a lack of visible emotion.
perverse
(p∂r-vûrs ´ ) adj.
If something is perverse , it is stubbornly contrary, wrong, or harmful.
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220 the nerve to try it, not even Joey, who was usually fool enough to try anything.
“Y’all git some stones,” commanded Joey now, and was met with instant giggling obedience as everyone except me began to gather pebbles from the dusty ground. “Come on,
Lizabeth.”
I just stood there peering through the bushes, torn between wanting to join the fun and feeling that it was all a bit silly.
“You scared, Lizabeth?”
I cursed and spat on the ground—my favorite gesture of phony bravado . “Y’all children get the stones; I’ll show you how to use ’em.”
I said before that we children were not consciously aware of how thick were the bars of our cage. I wonder now, though, whether we were not more aware of it than I thought. Perhaps we had some dim notion of what we were, and how little chance we had of being anything else. Otherwise, why would we have been so preoccupied with destruction? Anyway, the pebbles were collected quickly, and everybody looked at me to begin the fun.
“Come on, y’all.”
We crept to the edge of the bushes that bordered the narrow road in front of Miss Lottie’s place. She was working placidly, kneeling over the flowers, her dark hand plunged into the golden mound. Suddenly “zing”—an expertly aimed stone cut the head off one of the blossoms.
“Who out there?” Miss Lottie’s backside came down and her head came up as her sharp eyes searched the bushes. “You better git!”
We had crouched down out of sight in the bushes, where we stifled the giggles that insisted on coming. Miss Lottie gazed warily across the road for a moment, then cautiously returned to her weeding. “Zing”—Joey sent a pebble into the blooms, and another marigold was beheaded.
Miss Lottie was enraged now. She began struggling to her feet, leaning on a rickety cane and shouting, “Y’all git! Go on home!” Then the rest of the kids let loose with their pebbles, storming the flowers and laughing wildly and senselessly at
Miss Lottie’s impotent rage. She shook her stick at us and started shakily toward the road crying, “Git ’long! John Burke!
John Burke, come help!” bravado
(br∂-vä ´ d∫) n.
Bravado is a false show of bravery. impotent
(Δm ´ p∂-t∂nt) adj.
If someone is impotent , he or she is lacking strength or vigor.
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Then I lost my head entirely, mad with the power of inciting such rage, and ran out of the bushes in the storm of pebbles, straight toward Miss Lottie chanting madly, “Old witch, fell in a ditch, picked up a penny and thought she was rich!” The children screamed with delight, dropped their pebbles and joined the crazy dance, swarming around Miss
Lottie like bees and chanting, “Old lady witch!” while she screamed curses at us. The madness lasted only a moment, for
John Burke, startled at last, lurched out of his chair, and we dashed for the bushes just as Miss Lottie’s cane went whizzing at my head.
I did not join the merriment when the kids gathered again under the oak in our bare yard. Suddenly I was ashamed, and
I did not like being ashamed. The child in me sulked and said it was all in fun, but the woman in me flinched at the thought of the malicious attack that I had led. The mood lasted all afternoon. When we ate the beans and rice that was supper that night, I did not notice my father’s silence, for he was always silent these days, nor did I notice my mother’s absence, for she always worked until well into evening. Joey and I had a particularly bitter argument after supper; his exuberance got on my nerves. Finally I stretched out upon the palette in the room we shared and fell into a fitful doze. exuberance
(Δg-z◊
´ b∂r-∂ns) n.
Exuberance is a condition of unrestrained joy.
d a
d
250
When I awoke, somewhere in the middle of the night, my mother had returned, and I vaguely listened to the conversation that was audible through the thin walls that separated our rooms. At first I heard no words, only voices.
My mother’s voice was like a cool, dark room in summer— peaceful, soothing, quiet. I loved to listen to it; it made things seem all right somehow. But my father’s voice cut through hers, shattering the peace.
“Twenty-two years, Maybelle, twenty-two years,” he was saying, “and I got nothing for you, nothing, nothing.”
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“It’s all right, honey, you’ll get something. Everybody’s out of work now, you know that.”
“It ain’t right. Ain’t no man ought to eat his woman’s food year in and year out, and see his children running wild. Ain’t nothing right about that.”
“Honey, you took good care of us when you had it. Ain’t nobody got nothing nowadays.”
“I ain’t talking about nobody else, I’m talking about me.
God knows I try.” My mother said something I could not hear, and my father cried out louder, “What must a man do, tell me that?”
“Look, we ain’t starving. I git paid every week, and Mrs.
Ellis is real nice about giving me things. She gonna let me have
Mr. Ellis’ old coat for you this winter—”
“Damn Mr. Ellis’ coat! And damn his money! You think I want white folks’ leavings? Damn, Maybelle”—and suddenly he sobbed, loudly and painfully, and cried helplessly and hopelessly in the dark night. I had never heard a man cry before. I did not know men ever cried. I covered my ears with my hands but could not cut off the sound of my father’s harsh, painful, despairing sobs. My father was a strong man who would whisk a child upon his shoulders and go singing through the house. My father whittled toys for us and laughed so loud that the great oak seemed to laugh with him, and taught us how to fish and hunt rabbits. How could it be that my father was crying? But the sobs went on, unstifled, finally quieting until I could hear my mother’s voice, deep and rich, humming softly as she used to hum to a frightened child.
The world had lost its boundary lines. My mother, who was small and soft, was now the strength of the family; my father, who was the rock on which the family had been built, was sobbing like the tiniest child. Everything was suddenly out of tune, like a broken accordion. Where did I fit into this crazy picture? I do not now remember my thoughts, only a feeling of great bewilderment and fear.
Long after the sobbing and the humming had stopped, I lay on the palette, still as stone with my hands over my ears, wishing that I too could cry and be comforted. The night was silent now except for the sound of the crickets and of Joey’s soft breathing. But the room was too crowded with fear to allow me to sleep, and finally, feeling the terrible aloneness of
4 a.m., I decided to awaken Joey.
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“Ouch! What’s the matter with you? What you want?” he demanded disagreeably when I had pinched and slapped him awake.
“Come on, wake up.”
“What for? Go ’way.”
I was lost for a reasonable reply. I could not say, “I’m scared, and I don’t want to be alone,” so I merely said, “I’m going out. If you want to come, come on.”
The promise of adventure awoke him. “Going out now?
Where to, Lizabeth? What you going to do?”
I was pulling my dress over my head. Until now I had not thought of going out. “Just come on,” I replied tersely.
I was out the window and halfway down the road before
Joey caught up with me.
“Wait, Lizabeth, where you going?”
I was running as if the Furies 5 were after me, as perhaps they were—running silently and furiously until I came to where I had half-known I was headed: to Miss Lottie’s yard.
The half-dawn light was more eerie than complete darkness, and in it the old house was like the ruin that my world had become—foul and crumbling, a grotesque caricature.
6 It looked haunted, but I was not afraid because I was haunted too.
“Lizabeth, you lost your mind?” panted Joey.
I had indeed lost my mind, for all the smoldering emotions of that summer swelled in me and burst—the great need for my mother who was never there, the hopelessness of our poverty and degradation , the bewilderment of being neither child nor woman and yet both at once, the fear unleashed by my father’s tears. And these feelings combined in one great impulse toward destruction.
“Lizabeth!”
I leaped furiously into the mounds of marigolds and pulled madly, trampling and pulling and destroying the perfect yellow blooms. The fresh smell of early morning and of dew-soaked marigolds spurred me on as I went tearing and mangling and sobbing while Joey tugged my dress or my waist crying, “Lizabeth stop, please stop!” degradation
(d≈g´r∂-d∑ ´ sh∂n) n.
Degradation is the condition of being brought to a lower level or humiliated.
5
6
Furies: In Greek and Roman mythology, the Furies were three goddesses of vengeance, or revenge.
a grotesque caricature (gr∫-t≈sk ´ k√r ´ Δ-k∂-ch≥r´): a bizarre and absurdly exaggerated representation of something.
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And then I was sitting in the ruined little garden among the uprooted and ruined flowers, crying and crying, and it was too late to undo what I had done. Joey was sitting beside me, silent and frightened, not knowing what to say. Then,
“Lizabeth, look.”
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I opened my swollen eyes and saw in front of me a pair of large calloused feet; my gaze lifted to the swollen legs, the age-distorted body clad in a tight cotton night dress, and then the shadowed Indian face surrounded by stubby white hair.
And there was no rage in the face now, now that the garden was destroyed and there was nothing any longer to be protected.
“M-miss Lottie!” I scrambled to my feet and just stood there and stared at her, and that was the moment when childhood faded and womanhood began. That violent, crazy act was the last act of childhood. For as I gazed at the immobile face with the sad, weary eyes, I gazed upon a kind of reality that is hidden to childhood. The witch was no longer a witch but only a broken old woman who had dared to create beauty in the midst of ugliness and sterility. She had been born in squalor and lived in it all her life. Now at the end of that life she had nothing except a falling-down hut, a wrecked body, and John Burke, the mindless son of her passion.
Whatever verve there was left in her, whatever was of love and squalor
( skw≤l ´ ∂r ) n.
Squalor is a filthy, shabby, and wretched condition, as from poverty.
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380 beauty and joy that had not been squeezed out by life, had been there in the marigolds she had so tenderly cared for.
Of course I could not express the things that I knew about
Miss Lottie as I stood there awkward and ashamed. The years have put words to the things I knew in that moment, and as I look back upon it, I know that that moment marked the end of innocence. People think of the loss of innocence as meaning the loss of virginity, but this is far from true. Innocence involves an unseeing acceptance of things at face value, an ignorance of the area below the surface. In that humiliating moment I looked beyond myself and into the depths of another person. This was the beginning of compassion, and one cannot have both compassion and innocence.
The years have taken me worlds away from that time and that place, from the dust and squalor of our lives and from the bright thing that I destroyed in a blind childish striking out at
God-knows-what. Miss Lottie died long ago and many years have passed since I last saw her hut, completely barren at last, for despite my wild contrition she never planted marigolds again. Yet, there are times when the image of those passionate yellow mounds returns with a painful poignancy. For one does not have to be ignorant and poor to find that one’s life is barren as the dusty yards of one’s town. And I too have planted marigolds.
COLLABORATIVE DISCUSSION With a partner, discuss which aspects of Lizabeth’s life contributed to her reaction to Miss Lottie’s flowers.
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To fully understand a story, you need to think about the characters’ motivations, or the reasons for their actions. Sometimes a narrator will state a character’s motivations directly. For example, notice what the narrator of “Marigolds” says about why the children go to Miss Lottie’s.
. . . we were becoming tired of the formlessness of our summer days. The idleness . . . had degenerated to an almost desperate effort to fill up the . . . hours.
“Tell you what,” said Joey finally, his eyes sparkling. “Let’s go over to Miss Lottie’s.”
The idea caught on at once, for annoying Miss Lottie was always fun.
Other times, you will need to infer, or guess, a character’s motivations. To do this, think about the character’s personality, notice his or her reactions, and consider the situation. Then ask yourself what you might want to achieve if you were in his or her place.
ELA RL.8.3
ELD PI.8.6
A theme is a message about life or human nature that a writer shares with the reader. Writers rarely state a story’s theme directly. More often, readers deduce, or figure out, the writer’s message by looking at clues, such as the symbols in a story. A symbol is a person, place, or thing that stands for something beyond itself. Other clues to a story’s theme can be found in the following chart.
Clues to Theme
Plot and conflict
Characters
Setting
Symbols
Questions to Ask
How are the conflicts resolved?
What lesson does the main character learn?
How does the setting affect the characters? What might the setting represent to readers?
What might the symbol mean to the main character? What might it represent to the readers? What happens to the symbol?
What idea or symbol does the title highlight? Title
Review “Marigolds” to identify clues to the story’s theme.
ELA RL.8.2, RL.8.4
ELD PI.8.6
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ELA RL.8.1, RL.8.2, RL.8.3,
RL.8.4, W.8.2, W.8.4, W.8.9a,
W.8.10 ELD PI.8.6, PI.8.10
Cite Text Evidence Support your responses with evidence from the text.
1. Infer In lines 8–9, Collier writes that an abstract painting “does not present things as they are, but rather as they feel .” What can you infer about the narrator’s childhood experiences based on her description of her home town?
2. Synthesize What part do the “chaotic emotions of adolescence”
(lines 17–18) play in motivating Lizabeth to taunt Miss Lottie?
3.
Infer Reread lines 162–185. What might explain the children’s reactions to the marigolds?
4. Analyze Review lines 257–293. How does the conversation between
Lizabeth’s parents motivate Lizabeth’s later actions?
5.
Compare How does the narrator’s understanding of Miss Lottie at the end of the story compare to her feelings about the woman at the beginning of the story?
6. Draw Conclusions What is the story’s theme? Note at least three clues that help you recognize the message the author is sharing.
7. Analyze What do the marigolds symbolize in this story? Explain how they contribute to the development of the story’s theme.
8. Draw Conclusions What conclusions can you draw about the narrator’s present life from the last paragraph in the story? Drawing on your understanding of the story’s symbolism, paraphrase the last line.
PERFORMANCE TASK
Writing Activity: Literary Analysis
Write a short essay in which you analyze how Lizabeth changes over the course of “Marigolds.” Be sure to support your ideas with sufficient evidence from the text. Consider the following questions before you write.
t How aware is Lizabeth of her own surroundings and the wider world?
t What does Lizabeth’s reflection at the end of the story suggest about her feelings toward the move into adulthood?
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poignant perverse degradation ostensible bravado squalor retribution impotent
ELA L.8.4b, L.8.4d, L.8.6
ELD PI.8.6, PI.8.12
stoicism exuberance
Practice and Apply Use your understanding of the Vocabulary words to answer each question.
1. Is it perverse to seek retribution for stolen property? Why?
2. Why might homeowners who feel impotent show bravado at an approaching wildfire?
3. Is suppressing a cry of pain showing exuberance or stoicism ? Why?
4. Why might someone tell a poignant story about living in squalor ?
5. What might be the ostensible reason for telling about degradation ?
Suffixes —word parts added to the end of a root or base word—often provide clues about the meaning of a word. For example, knowing that the
Latin suffix ation usually means “state, condition, or quality of” helps you to understand the word degradation in the phrase below from “Marigolds”:
“ . . . the hopelessness of our poverty and degradation . . .”
When you break the longer word degradation into its parts ( degrad + ation ), it is easier to read and understand the word. The base word degrade , which means “to lower in dignity” combines with the suffix -ation to mean “the state of being lowered in dignity.”
Practice and Apply Identify the -ation word or words in each of the following sentences. Use the base or root word and the suffix meaning to define the word. Check a dictionary to confirm your definition.
1. Lizabeth overheard her parents’ heated conversation.
2. The combination of poverty and discrimination hurt Lizabeth’s family.
3. The feeling of exhilaration from the release of rage and tension didn’t last.
4. The desire to succeed filled Lizabeth with the determination to work hard.
5. Receiving the writing medal was affirmation of her hard work.
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Along with participles and gerunds, another kind of verbal —or verb form that is used as another part of speech—is the infinitive. An infinitive is a verb form that usually begins with to and functions as a noun, an adjective, or an adverb. An infinitive phrase consists of an infinitive plus its modifiers and complements.
In this example from “Marigolds,” the author uses an infinitive phrase as an adverb modifying the adjective sophisticated :
We were far too sophisticated now, of course, to believe the witch-nonsense.
Because to , the sign of the infinitive, precedes infinitives, it is usually easy to recognize them. However, sometimes to may be omitted, as in this example:
Let no one dare [to] come into my garden.
Look at these examples of the uses of infinitives and infinitive phrases:
ELA L.8.1a
ELD PII.8.4
Uses of Infinitives Examples
As a noun
As an adjective
As an adverb
To taunt is cruel. (subject)
She wanted to destroy the flowers . (direct object)
She wanted nothing except to escape her room .
(object of preposition)
Now is the time to grow up . (modifies a noun)
She was someone to ridicule . (modifies a pronoun)
To escape , jump out the window. (modifies a verb)
The children were armed and ready to do mischief .
(modifies an adjective)
It was enough mischief to do for one night .
(modifies an adverb)
Practice and Apply Identify the infinitive phrase in each sentence and tell whether it is being used as a noun, an adjective, or an adverb. Be careful not to confuse an infinitive with a prepositional phrase beginning with to .
1. To hurl stones at flowers is silly.
2. Lizabeth and Joey were free to run wild with the other children.
3. The road to Miss Lottie’s was one to be avoided.
4. She loved to listen to her mother’s soothing voice.
5. The children had too much time to do mischief.
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Audre Lorde (1934–1992) was born in New York City and found early success in writing poetry. Lorde used poetry as a means of expression and a way to communicate. She became a published author when a popular magazine published one of her poems while she was still in high school. In addition to poetry, Lorde also wrote acclaimed essays and novels. She won many important awards for her writing and worked to support several social causes close to her heart. Toward the end of her life, Lorde took the African name Gamba Adisa, which is believed to mean “she who makes her meaning clear.”
Pat Mora (b. 1942) was born in El Paso, Texas. She comes from a Mexican American family and considers herself fortunate to be bilingual and have the ability to write in both
Spanish and English. She has written several books of poetry, as well as children’s books and essays. Mora takes pride in being a Hispanic writer. She says that she will continue to write and to struggle to say what no other writer can say in quite the same way she can. Family, Mexican American culture, and the desert are all important themes in Mora’s work.
SETTING A PURPOSE Both of these poems focus on communication during adolescence. As you read, think about the subject and how it is presented from two different points of view. How is the message in each poem communicated to readers?
Poems 229

5
10
I am fourteen and my skin has betrayed me the boy I cannot live without still sucks his thumb in secret how come my knees are always so ashy what if I die before morning and momma’s in the bedroom with the door closed.
15
20
I have to learn how to dance in time for the next party my room is too small for me suppose I die before graduation they will sing sad melodies but finally tell the truth about me
There is nothing I want to do and too much that has to be done and momma’s in the bedroom with the door closed.
25
30
35
Nobody even stops to think about my side of it
I should have been on Math Team my marks were better than his why do I have to be the one wearing braces
I have nothing to wear tomorrow will I live long enough to grow up and momma’s in the bedroom with the door closed.
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10
15
One day they disappear into their rooms.
Doors and lips shut, and we become strangers in our own home.
I pace the hall, hear whispers, a code I knew but can’t remember, mouthed by mouths I taught to speak.
Years later the door opens.
I see faces I once held, open as sunflowers in my hands. I see familiar skin now stretched on long bodies that move past me glowing almost like pearls.
COLLABORATIVE DISCUSSION Both speakers address the idea of a lack of communication between parents and children.
With a partner, discuss what might be the cause of this lack of communication. Cite specific evidence from the texts to support your ideas.
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ELA RL.8.1, RL.8.2
ELD PI.8.6
Both “Hanging Fire” and “Teenagers” are poems about adolescence, but they offer starkly different points of view—in part because the speakers in the poems are quite different. In poetry, the speaker is the voice that “talks” to the reader and shares his or her point of view, similar to the narrator in a story. A poem’s speaker may or may not be the poet.
Often readers must make an inference, or logical guess based on text clues and their own knowledge and experience, in order to identify a poem’s speaker. For example, in “Teenagers,” text clues help readers figure out that the speaker is an adult, probably a parent or guardian, commenting on the behavior of a child becoming a teen.
Text Clues What You Know from Experience
Inference about the Speaker
“One day they disappear into their rooms. . . . and we become strangers.”
Teens often spend time in their rooms. The adults in their lives don’t understand them.
a parent or guardian who feels out of touch with a teenaged child
As you continue to analyze the two poems, think about what text-based inferences you can make about each speaker and his or her point of view.
ELA RL.8.1, RL.8.2
ELD PI.8.6
Readers also may need to make inferences about themes in a poem. A theme is a message about life or human nature that a writer shares with readers. A theme usually is developed over the course of a poem, rather than stated directly at the beginning or end. Sometimes the lesson a speaker or character learns is a sufficient clue to help readers determine theme. Other elements within the text should be considered as well.
t the poem’s title t important statements the speaker makes t images and details that stand out t repeated words and phrases
Pay attention to text details as you dig deeper into the poems. Use text clues to determine the themes in each poem and to analyze how those themes are developed through word choice, imagery, and the speaker.
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ELA RL.8.1, RL.8.2, RL.8.4,
RL.8.5, W.8.9a, SL.8.1a, SL.8.4,
SL.8.6 ELD PI.8.1, PI.8.6,
PI.8.8, PI.8.9
Cite Text Evidence Support your responses with evidence from the texts.
1. Infer Figurative language in which human qualities are given to an object, idea, or animal is called personification.
What does the example of personification in the first stanza of “Hanging Fire” reveal about the speaker?
2. Infer Reread lines 1–7 of “Hanging Fire.” Based on these lines, what inferences can you make about the speaker of the poem?
3. Analyze Reread lines 19–21 of “Hanging Fire.” What does the contradiction or inconsistency expressed in these lines suggest about the speaker?
4. Analyze Several themes are touched on in “Hanging Fire.” Identify and explain one or two of these themes, using text evidence as support.
5. Interpret A simile is a figure of speech that compares two unlike things using the word like or as . Identify a simile Mora uses in “Teenagers” that suggests what the speaker’s grown children are like.
6. Compare The speaker in each poem has a specific point of view, or position about the subject matter of the poem. Tell one way the points of view are similar and one way they are different.
Work with a partner to prepare a dramatic reading of one of the poems. Begin by discussing the impact of the poet’s word choices. Practice reading each line of your chosen poem in a way that conveys what you think it means.
Then share your dramatic reading with the class.
PERFORMANCE TASK
Speaking Activity: Response to
Literature Compare and contrast the two poems.
t In a small group, work together to create Venn diagrams that show the similarities and differences between the poems’ speakers, themes, and points of view.
t Then each group member should deliver a short speech in which she or he reflects on the advice the speaker in each poem might give to the other. Include text evidence from the poems to support your thoughts.
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y
The plurals of most nouns are formed by adding -s to the singular, as in teenager/teenagers . However, different rules may apply to nouns ending in y .
Regular verbs follow similar spelling rules in order to agree with their subjects in number and to form verb parts.
ELA L.8.2c
ELD PI.8.12
in y :
Note these examples from the poems of correctly spelled words ending
“I am fourteen / and my skin has betrayed me”
(past participle of the verb betray )
“I see / familiar skin now stretched on long bodies”
(plural form of the noun body )
Keep the following rules in mind for words ending in y :
Word Types words ending in y preceded by a vowel most words ending in y preceded by a consonant
Rule
Add -s to form the plural noun or to make a verb agree with a singular subject.
Add -ed to form the past or past participle of a verb.
Example play/plays play/ played
Change the y to i and add es to form the plural noun or to make a verb agree with a singular subject.
Change the y to i before adding -ed to form the past or past participle. cry/cries cry/cried
Practice and Apply Rewrite these sentences, correcting any incorrectly spelled words.
1. Teenagers’ emotions can swing from lofty peaks to deep vallies in a single day.
2. Children that once plaied board games with parents now disappeared into their rooms after dinner.
3. My sister is a drama queen. She flys into a panic if she isn’t able to call her friends.
4. During my older brother’s teen years, his moods varyed quite a bit.
5. Work hard at your studys in high school if you want to be successful.
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Background “Room for Debate” is a weekly feature of the New
York Times newspaper. Each week, the Times poses a question to a group of knowledgeable outside contributors about a news event or other timely issue. The contributors each bring different perspectives to the question and often offer conflicting opinions.
Readers are invited to comment on the topic as well.
by Laurence Steinberg
by Jenny Diamond Cheng
by Jamie Lincoln Kitman
by Barbara Hofer
by Michael Thompson
SETTING A PURPOSE As you read, pay attention to the points each writer makes about when and how children mature into adults. Why do you think it is so hard to define when this happens?
I s it time to rethink the age of adulthood? Do the age requirements for certain rights need to be lowered or raised?
Shouldn’t they at least be consistent?
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10
20
30
Neuroscientists 1 now know that brain maturation continues far later into development than had been believed previously.
Significant changes in brain anatomy and activity are still taking place during young adulthood, especially in prefrontal regions that are important for planning ahead, anticipating the future consequences of one’s decisions, controlling impulses, and comparing risk and reward. Indeed, some brain regions and systems do not reach full maturity until the early or mid-20s. Should this new knowledge prompt us to rethink where we draw legal boundaries between minors and adults?
Maybe, but it’s not as straightforward as it seems, for at least two reasons. First, different brain regions and systems mature along different timetables. There is no single age at which the adolescent brain becomes an adult brain. Systems responsible for logical reasoning mature by the time people are 16, but those involved in self-regulation are still developing in young adulthood. This is why 16-year-olds are just as competent as adults when it comes to granting informed medical consent, but still immature in ways that diminish their criminal responsibility, as the Supreme Court has noted in several recent cases. Using different ages for different legal boundaries seems odd, but it would make neuroscientific sense if we did it rationally.
Second, science has never had much of an influence on these sorts of decisions. If it did, we wouldn’t have ended up with a society that permits teenagers to drive before they can see R-rated movies on their own, or go to war before they can buy beer. Surely the maturity required to operate a car or face combat exceeds that required to handle sexy movies or drinking. Age boundaries are drawn for mainly political reasons, not scientific ones. It’s unlikely that brain science will have much of an impact on these thresholds, no matter what the science says.
1 neuroscientists: people who study the brain and nervous system.
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50
60
70
The 26th Amendment, ratified in 1971, establishes 18 as the minimum voting age for both state and federal elections.
Like all lines that divide legal childhood from adulthood, the voting age is essentially arbitrary . Indeed, in modern America
18-year-old voting has become unmoored from one of its more important original justifications, which was matching the minimum age for draft eligibility (itself also an arbitrary line). Despite this, raising or lowering the voting age, as some groups have suggested, seems a waste of time at best.
The American colonies mostly set their voting ages at 21, reflecting British common law.
2 This requirement went largely unchallenged until World War II, when several members of Congress proposed amending the Constitution to lower the age to 18. Between 1942 and 1970 federal legislators introduced hundreds of such proposals, but the issue lacked momentum until the late 1960s, when a confluence of factors—including the escalating war in Vietnam 3 —pushed
18-year-old voting closer to the surface of the national political agenda. The 26th Amendment itself was the culmination of some creative political maneuvering by Congressional advocates, with a crucial assist from the Supreme Court in
Oregon v. Mitchell.
4
As a historical matter, the significance of the soldier-voter link has been somewhat overstated. The amendment’s passage was propelled by a small group of federal legislators whose motivations and rationales were considerably more complex than commonly thought. Still, the Vietnam-era slogan, “Old enough to fight, old enough to vote,” was unquestionably a powerful claim, encompassing deeply embedded ideas about civic virtue, adulthood and fairness.
Tying voting to soldiering was always problematic, though, and it is even more so today. The contemporary U.S. military is an all-volunteer force and only a small fraction of
Americans ever serve. Selective Service registration applies only to males and the possibility of an actual draft is remote. arbitrary
(är
´ bΔ-tr≈r´∏) adj.
If something is arbitrary , it is determined by chance or whim.
unmoor
(≠n-m≥r ´ ) v.
If you unmoor something, you release it from a place.
confluence
(k≤n ´ fl◊-∂ns) n.
A confluence is a gathering or joining together in one place.
2 British common law: the laws of England.
3 Vietnam: a country in Southeast Asia where the United States fought a war in the 1960s and 1970s.
4 Supreme Court in Oregon v. Mitchell: In this case, the Supreme Court decided that the U.S. Congress could set qualification rules for national elections.
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Yet there is no life moment to which the voting age might be more obviously tethered, and any bright-line rule will inevitably seem unfair to some.
Interest in improving young adults’ political participation would be better focused on attacking barriers like residency requirements that exclude college students and voter ID laws that disfavor young and mobile voters, sometimes egregiously . Tennessee’s new law, for example, specifically disallows students, but not university employees, from using state university ID cards at the polls. More broadly, young
Americans suffer from the same challenges to meaningful representation and governance that plague our democracy at all levels. The voting age is the least of their problems.
egregious
(Δ-gr∏ ´ j∂s) adj.
If something is egregious , it is very bad or offensive.
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100
110
120
Bright and early on the day I turned 17 you would have found me at the front of the line at the local New Jersey D.M.V. office, applying for a permit to drive. In due course, I got my full license and it wasn’t long before I got my first ticket for speeding. And soon after that I got another for failing to observe a stop sign. After which failure, I’d turned without signaling and then traveled 40 mph in a 25 mph zone, a points cluster-bomb that resulted in the suspension of my license until I enrolled in a driver-training course. Which, I might add, like the driving instruction I’d received in school, was virtually useless.
Americans (with an assist from the automobile and oil industries) tend to treat driving like a right, rather than the privilege it most assuredly is. And now that I’m grown and
I like to think a more responsible driver, two factors leave me convinced that the driving age shouldn’t be lowered, indeed the right to drive should be doled out gradually to teens as it has been in New York since 2010.
The first problem is the utter inadequacy of our driver training. American states would do well to follow the example of European countries where licensing procedures require considerably more training and proven skill before new drivers are let loose on public roads. The second decider for me is the discovery by scientists that poor decisionmaking, the hallmark of many teenagers’ existence, has its roots in biology.
So graduated licenses like we have in New York—where young drivers cannot drive past nightfall or with more than one unrelated person under the age of 21 in their car—make good sense.
Is it the case that many teenagers can and will drive responsibly, regardless the hour, number of young passengers or brain chemistry? Yes. Is there any inconsistency in the fact that a teen may work but not drive at night? Sure.
But, as every parent worth his or her salt 5 has reminded their child at least a hundred times, Sometimes, life isn’t fair.
inadequate
(Δn-√d ´ Δ-kwΔt) adj.
If something is inadequate , it is insufficient or not enough.
5 worth his or her salt: good at his or her job.
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130
140
150
The transition to adulthood can be either clear or diffuse , depending on whether a culture chooses to offer all the privileges and responsibilities at one distinct age or spread them across time. In some countries, the ability to vote, drink, enter into legal contracts and serve in the military all occur at once. In the United States, these rights are not only spread out, but often without clear rationale. Serving in the military before one is considered responsible enough to purchase alcohol is one of the glaring inconsistencies. Some cultures also mark the transition formally, as in Japan, where “Coming of Age Day” (Seijin Shiki) is a national holiday to celebrate all who reached adulthood in the current year.
Becoming an adult is also a subjective experience, of course, and there is little doubt from recent research that individuals are taking longer to recognize themselves as adults. The age of first marriage and birth of a first child, often perceived by individuals as adult markers, are now occurring later than at any time in history in the U.S. (and greater numbers of individuals are also choosing to forge lives without either of these traditional markers). With increased numbers of individuals attending college and with the tremendous rise in the cost of education and the loans necessary for many, young people are also remaining dependent on parents financially far longer, often leaving them less likely to perceive themselves as adults.
Another psychological aspect of being an adult is feeling autonomous , and individuals whose autonomy is supported— at any age—are more personally motivated. As a college professor who studies adolescents and emerging adults, I am particularly concerned that college students are not getting the opportunities they need to grow into autonomous, healthily connected adults when parents are still hyper-involved in their lives. “Emerging adults”—whom Jeffrey Arnett 6 defines as individuals between 18 and 25—need opportunities to make their own choices, whether that’s about their major, what courses to take, their social lives or summer plans, and diffuse
(dΔ-fy◊s ´ ) adj.
If something is diffuse , it is very spread out or scattered.
autonomous
(ô-tôn ´ ∂-m∂s) adj.
If someone is autonomous , the person is independent and not controlled by outside forces.
6 Jeffrey Arnett: a doctor who studies emerging adulthood.
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170 they need practice in making mistakes and recovering, and in owning the outcomes of their choices. They don’t arrive in college fully formed as adults, but we hope they will use these years to make significant progress toward adult behavior, with all the support and safety nets that college can offer.
Yet my research with Abigail Sullivan Moore, reported in our book, shows that many college students are in frequent contact with their parents—nearly twice daily, on average— and that frequency of contact is related to lower autonomy.
Parents who are using technology (calls, Skype, texting, e-mail, Facebook, etc.) to micromanage lives from afar may be thwarting the timely passage to adulthood. Not surprisingly, these college students are also not likely to see themselves as adults, nor fully prepared to take the responsibilities of their actions, nor even getting the benefits of college that they and their parents are paying for. One in five students in our study report parents are editing and proofing their papers, for example. College parents can help with the transition by serving as a sounding board rather than being directive, by steering their college-age kids to campus resources for help, by considering long-range goals rather than short-term ones and by giving their “kids” space to grow up.
thwart
(thwôrt) v.
If you thwart something, you stop it from happening.
Median age in the United States of men and women when they were first married.
Age 30
Age 20
Age 10
Age 0
1950
MEN
1980
WOMEN
2010
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190
200
Children are so variable in their growth and the ways in which cultures understand child development are so different, it is futile to attempt to pin down the “right” age of majority.
The Dutch, for example, allow children to drink at the age of 16 but not to drive until they are 19. Even if I thought it was a good idea to lower the drinking age and raise the driving age—and I do—I recognize that the U.S. would never embrace it.
I am more concerned with the issue of maturity than I am with the technical age of majority. Researchers and observers have noted that while our children are getting brighter (I.Q. scores have been going up for the last two decades), they are relatively immature for their ages in comparison to earlier generations. Over-protected by their parents and spending vast amounts of time in front of TV, computers and cellphones
(over 50 hours a week by middle adolescence, according to the
Kaiser Family Foundation), they are less skilled in the world, less able to build friendships and function in groups, and more reliant on their parents.
Instead of fiddling with the age of majority, we should encourage our children to grow up, and mandatory service would do just that. We should require all 18-year-olds in
America to leave home and give a year to society, either in the military or in community-based projects like tutoring younger children or working in retirement homes or the inner city. The result would be a cohort of more mature 19-year-olds who would make better workers and better citizens.
cohort
(k∫ ´ hôrt´) n.
A cohort is a group or band of people.
COLLABORATIVE DISCUSSION With a small group, discuss two of the questions posed at the beginning of the selection: Should the age requirements for certain rights be lowered or raised? Should these age requirements be consistent? Cite specific evidence from the texts to support your ideas.
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ELA RI.8.5, RI.8.6, RI.8.8
ELD PI.8.7, PII.8.1
Each writer who responded to the question “When Do Kids Become Adults?” presents an argument, or a claim supported with reasons and evidence.
A claim is the writer’s position on an issue or problem. There is usually one main claim in a text, but sometimes a writer may make multiple claims in a single piece of writing. Evidence is any information that helps prove a claim.
Facts, quotations, examples, anecdotes, and statistics can all be used as evidence.
Look at this example of a claim made by Jamie Lincoln Kitman in “Better
Training for New Drivers.” The claim states the author’s opinion:
. . . the driving age shouldn’t be lowered, indeed the right to drive should be doled out gradually to teens as it has been in
New York since 2010.
To trace, or follow, the reasoning in an argument, you should t Identify the claims that the author states directly or indirectly.
t Locate evidence that supports the claims.
t Identify counterarguments, statements that address opposing viewpoints. A good argument anticipates opposing views and provides counterarguments to disprove them.
Once you trace an author’s argument, it’s important to evaluate it by examining the support and deciding if it is valid and convincing.
t Consider whether the evidence is accurate and sufficient. t Evaluate the evidence to determine if it is relevant. Evidence is relevant if it supports the claim in a logical way. It is irrelevant if it isn’t based on sound reasoning or isn’t clearly connected to the claim.
t Consider whether opposing viewpoints have been addressed.
t Identify persuasive techniques, such as exaggeration or appeals to a reader’s emotions, that might distort a reader’s views.
Here, Kitman presents personal experiences as relevant evidence to support his claim:
. . . I got my full license and it wasn’t long before I got my first ticket for speeding. And soon after that I got another for failing to observe a stop sign.
As you review each writer’s argument in “When Do Kids Become Adults?” identify the main claim and prepare to evaluate it.
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ELA RI.8.1, RI.8.3, RI.8.4, RI.8.6,
RI.8.8, RI.8.9, W.8.7, SL.8.3,
SL.8.4, SL.8.5, SL.8.6 ELD PI.8.1,
PI.8.6, PI.8.7, PI.8.9, PII.8.1
Cite Text Evidence Support your responses with evidence from the text.
1. Evaluate In “What the Brain Says about Maturity,” what is the main reason the author gives to support his claim?
2.
Analyze In “Leave the Voting Age Alone,” what counterargument does the author make to respond to people who want to lower the voting age in order to increase teenagers’ participation in the political process?
3. Evaluate Evaluate the argument made in “Better Training for New Drivers.”
Does the author provide sufficient relevant evidence to support his claim?
Explain why or why not.
4. Cite Evidence The author of “A Parent’s Role in the Path to Adulthood” says people are “taking longer to recognize themselves as adults.” What trends does she note to support this claim?
5. Analyze According to “A Parent’s Role in the Path to Adulthood,” how could parents promote autonomy in college-age students, and how do they limit autonomy? Record your answer in a chart.
Ways Parents Promote Autonomy Ways Parents Thwart Autonomy
6. Synthesize The title of this selection asks, “When Do Kids Become Adults?”
Based on what you have read, how would you answer this question?
PERFORMANCE TASK
Speaking Activity: Debate When are kids ready to assume adult responsibilities? Working with a group, choose one issue presented in the selection and have a debate.
t Assign one position on the issue to one half of your group, and assign the other position to the other half. t Research the issue. Find answers to any questions you have.
t Decide on a claim. Prepare to support your claim with evidence from the selections as well as from your own research. Consider displaying your evidence in visuals, such as charts or graphs.
t When you debate, be sure to address counterarguments.
t As you listen to other groups, carefully evaluate each speaker’s reasoning and evidence.
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ELA L.8.4b, L.8.4d
ELD PI.8.6, PI.8.12
Practice and Apply Use your understanding of the Vocabulary words to answer each question.
1.
What have you done that made you feel autonomous ?
2. Have you ever disagreed with a decision that seemed arbitrary ? Explain.
3. When did a confluence of events cause a change in your life?
4. When has something happened to thwart your progress? Explain.
5.
When have you seen someone treated in an egregious way?
6. What trends in your school appear to be diffuse ?
7. When have you felt inadequate to complete an assignment?
8. What is something you accomplished as part of a cohort ?
9.
When is a good time to unmoor from your family or classmates? Explain.
A word root is a word part that forms the basis of a word’s meaning. A root is combined with other word parts, such as a prefix or a suffix, to make a word.
Many English words have a root that comes from Greek. Look at this sentence from “When Do Kids Become Adults?”:
. . . Young Americans suffer from the same challenges . . . that plague our democracy at all levels.
The word democracy includes the Greek root dem, which means “people.” The meaning of the root dem is a clue that can help you figure out that democracy means “a government by the people.”
Practice and Apply Find the word in each sentence that includes the Greek root dem . Use the meaning of the root to help you write a definition of the word. Then check each definition you write against the dictionary definition.
1. In some areas, dropping out of school has reached epidemic levels.
2. Researchers feared the pandemic would spread rapidly among teenagers.
3. Certain cars are most popular with a younger demographic.
4.
The demagogue convinced many that the voting age should be raised.
5. Is spending vast amounts of time texting endemic among adolescents?
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Verbs have different voices and moods. The voice of a verb tells whether its subject performs or receives the action. A verb is in the active voice when the subject performs the action of the verb. A verb is in the passive voice when the subject receives the action of the verb.
Active Voice Neuroscientists study the brain.
Passive Voice The brain is studied by neuroscientists.
To change a verb from active to passive voice, use a form of the verb be with the past participle of the verb.
Active Voice Politicians write laws about age.
Passive Voice Laws are written about age.
The mood of a verb expresses a writer’s judgment or attitude about a statement. The indicative mood is used when making a statement. The imperative mood is used in a request or a command.
Indicative Mood Her teenage daughter drives responsibly.
Imperative Mood Always drive responsibly!
A shift, or change, in verb voice or mood can make meaning unclear. It is usually correct to make the voice and mood in a sentence consistent.
ELA L.8.1d
ELD PII.8.3
Shift
From active to passive: They took driver training but very little was learned.
Correct
They took driver training but learned very little.
From imperative to indicative: Enroll in a good class, and it is helpful to learn traffic safety rules.
Enroll in a good class, and learn traffic safety rules.
Practice and Apply Write each item correctly by fixing the inappropriate shift in verb voice or mood.
1. When Liam turned 18, a voter registration form was filled out by him.
2. Classes were chosen by Lil after her mom made some suggestions.
3. Watch less TV and you should be tutoring young children instead.
4. Niki volunteers at a retirement home. Learn many valuable skills.
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Background Although driver’s licenses were required by some states by the early 1900s, age restrictions on drivers did not begin until later. These restrictions were motivated by the need to protect the public from young drivers, who were increasingly viewed as a problem on the highways. Some states selected 16 as the age at which people could drive, while others chose
18. Eventually, 16 became the recommended legal age for drivers. Although there are a few exceptions today, most states now allow teenagers to get a driver’s license at the age of 16.
SETTING A PURPOSE As you read, think about the points each writer makes regarding the age requirements for drivers.
Look for evidence that supports each point.
10
R aise the driving age. That radical idea is gaining momentum in the fight to save the lives of teenage drivers—the most dangerous on the USA’s roads—and their passengers.
Brain and auto safety experts fear that 16-year-olds, the youngest drivers licensed in most states, are too immature to handle today’s cars and roadway risks.
New findings from brain researchers at the National
Institutes of Health explain for the first time why efforts to protect the youngest drivers usually fail. The weak link: what’s called “the executive branch” of the teen brain—the part that weighs risks, makes judgments and controls impulsive behavior.
Scientists at the NIH campus in Bethesda, Md., have found that this vital area develops through the teenage years
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20
30
40
50 and isn’t fully mature until age 25. One 16-year-old’s brain might be more developed than another 18-year-old’s, just as a younger teen might be taller than an older one. But evidence is mounting that a 16-year-old’s brain is generally far less developed than those of teens just a little older.
The research seems to help explain why 16-year-old drivers crash at far higher rates than older teens. The studies have convinced a growing number of safety experts that
16-year-olds are too young to drive safely without supervision.
“Privately, a lot of people in safety think it’s a good idea to raise the driving age,” says Barbara Harsha, executive director of the Governors Highway Safety Association. “It’s a topic that is emerging.”
Americans increasingly favor raising the driving age, a USA TODAY/CNN/Gallup Poll 1 has found. Nearly twothirds—61%—say they think a 16-year-old is too young to have a driver’s license. Only 37% of those polled thought it was
OK to license 16-year-olds, compared with 50% who thought so in 1995.
A slight majority, 53%, think teens should be at least 18 to get a license.
The poll of 1,002 adults, conducted Dec. 17–19, 2004, has an error margin of +/–3 percentage points.
Many states have begun to raise the age by imposing restrictions on 16-year-old drivers. Examples: limiting the number of passengers they can carry or barring late-night driving. But the idea of flatly forbidding 16-year-olds to drive without parental supervision—as New Jersey does—has run into resistance from many lawmakers and parents around the country.
Irving Slosberg, a Florida state representative who lost his 14-year-old daughter in a 1995 crash, says that when he proposed a law to raise the driving age, other lawmakers
“laughed at me.”
Bill Van Tassel, AAA’s 2 national manager of driving training programs, hears both sides of the argument. “We have parents who are pretty much tired of chauffeuring their
1 Gallup Poll: a survey done by the Gallup company to measure people’s opinions.
2 AAA: the American Automobile Association, an organization that provides benefits and information to drivers.
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80 kids around, and they want their children to be able to drive,” he says. “Driving is a very emotional issue.”
But safety experts fear inaction could lead to more young lives lost. Some sound a note of urgency about changing course. The reason: A record number of American teenagers will soon be behind the wheel as the peak of the “baby boomlet” hits driving age.
Already, on average, two people die every day across the USA in vehicles driven by 16-year-old drivers. One in five 16-year-olds will have a reportable car crash within the first year.
In 2003, there were 937 drivers age 16 who were involved in fatal crashes. In those wrecks, 411 of the 16-year-old drivers died and 352 of their passengers were killed. Sixteen-year-old drivers are involved in fatal crashes at a rate nearly five times the rate of drivers 20 or older.
Gayle Bell, whose 16-year-old daughter, Jessie, rolled her small car into a Missouri ditch and died in July 2003, says she used to happily be Jessie’s “ride.” She would give anything for the chance to drive Jessie again.
“We were always together, but not as much after she got her license,” Bell says. “If I could bring her back, I’d lasso the moon.”
Most states have focused their fixes on giving teens more driving experience before granting them unrestricted licenses.
But the new brain research suggests that a separate factor is just as crucial: maturity. A new 17- or 18-year-old driver is considered safer than a new 16-year-old driver.
Even some teens are acknowledging that 16-year-olds are generally not ready to face the life-threatening risks that drivers can encounter behind the wheel.
“Raising the driving age from 16 to 17 would benefit society as a whole,” says Liza Darwin, 17, of Nashville. Though many parents would be inconvenienced and teens would be frustrated, she says, “It makes sense to raise the driving age to save more lives.”
90
But those in a position to raise the driving age—legislators in states throughout the USA—have mostly refused to do so.
Adrienne Mandel, a Maryland state legislator, has tried since 1997 to pass tougher teen driving laws. Even lawmakers
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110
120
130 who recognize that a higher driving age could save lives,
Mandel notes, resist the notion of having to drive their
16-year-olds to after-school activities that the teens could drive to themselves.
“Other delegates said, ‘What are you doing? You’re going to make me drive my kid to the movies on Friday night for another six months?’ ” Mandel says. “Parents are talking about inconvenience, and I’m talking about saving lives.”
Yet the USA TODAY poll found that among the general public, majorities in both suburbs (65%) and urban areas
(60%) favor licensing ages above 16.
While a smaller percentage in rural areas (54%) favor raising the driving age, experts say it’s striking that majority support exists even there, considering that teens on farms often start driving very young to help with workloads.
For those who oppose raising the minimum age, their argument is often this: Responsible teen drivers shouldn’t be punished for the mistakes of the small fraction who cause deadly crashes.
The debate stirs images of reckless teens drag-racing or driving drunk. But such flagrant misdeeds account for only a small portion of the fatal actions of 16-year-old drivers. Only about 10% of the 16-year-old drivers killed in 2003 had bloodalcohol concentrations of 0.10 or higher, compared with 43% of 20- to 49-year-old drivers killed, according to the Insurance
Institute for Highway Safety.
Instead, most fatal crashes with 16-year-old drivers (77%) involved driver errors, especially the kind most common among novices . Examples: speeding, overcorrecting after veering off the road, and losing control when facing a roadway obstacle that a more mature driver would be more likely to handle safely. That’s the highest percentage of error for any age group.
For years, researchers suspected that inexperience—the bane of any new driver—was mostly to blame for deadly crashes involving teens. When trouble arose, the theory went, the young driver simply made the wrong move. But in recent years, safety researchers have noticed a pattern emerge—one that seems to stem more from immaturity than from inexperience.
notion
(n∫ ´ sh∂n) n.
A notion is a belief or opinion. novice
(n≤v ´ Δs) n.
A novice is a beginner.
bane
(b∑n) n.
A bane is a cause of death, destruction, or ruin.
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“Skills are a minor factor in most cases,” says Allan
Williams, former chief scientist at the insurance institute.
“It’s really attitudes and emotions.”
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The NIH brain research suggests that the problem is human biology. A crucial part of the teen’s brain—the area that peers ahead and considers consequences—remains undeveloped.
That means careless attitudes and rash emotions often drive teen decisions, says Jay Giedd, chief of brain imaging in the child psychiatric unit at the National Institute of Mental
Health, who’s leading the study.
“It all comes down to impulse control,” Giedd says. “The brain is changing a lot longer than we used to think. And that part of the brain involved in decision-making and controlling impulses is among the latest to come on board.”
The teen brain is a paradox . Some areas—those that control senses, reactions and physical abilities—are fully developed in teenagers. “Physically, they should be ruling the world,” Giedd says. “But (adolescence) is not that great of a time emotionally.”
Giedd and an international research team have analyzed
4,000 brain scans from 2,000 volunteers to document how brains evolve as children mature.
paradox
(p√r ´ ∂-d≤ks´) n.
A paradox is a true statement that seems like it would not be true.
The human brain continues to develop throughout adolescence. As the brain prunes cells, there is an increase in reasoning skills.
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In his office at the NIH, Giedd points to an image of a brain on his computer screen that illustrates brain development from childhood to adulthood. As he sets the time lapse in motion, the brain turns blue rapidly in some areas and more slowly in others. One area that’s slow to turn blue— which represents development over time—is the right side just over the temple. It’s the spot on the head where a parent might tap a frustrated finger while asking his teen, “What were you thinking?”
This underdeveloped area is called the dorsal lateral prefrontal cortex. The underdeveloped blue on Giedd’s screen is where thoughts of long-term consequences spring to consciousness. And in teen after teen, the research team found, it’s not fully mature.
“This is the top rung,” Giedd says. “This is the part of the brain that, in a sense, associates everything. All of our hopes and dreams for the future. All of our memories of the past. Our values. Everything going on in our environment.
Everything to make a decision.”
When a smart, talented and very mature teen does something a parent might call “stupid,” Giedd says, it’s this underdeveloped part of the brain that has most likely failed.
“That’s the part of the brain that helps look farther ahead,” he says. “In a sense, increasing the time between impulse and decisions. It seems not to get as good as it’s going to get until age 25.”
This slow process plays a kind of dirty trick on teens, whose hormones are churning. As their bodies turn more adultlike, the hormones encourage more risk-taking and thrill-seeking. That might be nature’s way of helping them leave the nest. But as the hormones fire up the part of the brain that responds to pleasure, known as the limbic system, emotions run high. Those emotions make it hard to quickly form wise judgments—the kind drivers must make every day.
That’s also why teens often seem more impetuous than adults. In making decisions, they rely more on the parts of their brain that control emotion. They’re “hotter” when angry and “colder” when sad, Giedd says.
When a teen is traveling 15 to 20 miles per hour over the speed limit, the part of his or her brain that processes a thrill is working brilliantly. But the part that warns of negative consequences? It’s all but useless.
impetuous
(Δm-p≈ch
´
◊-∂s) adj.
If someone is impetuous , he or she acts without thinking things through.
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“It may not seem that fast to them,” Giedd says, because they’re not weighing the same factors an adult might. They’re not asking themselves, he says, “ ‘Should I go fast or not?’ And dying is not really part of the equation.”
Precisely how brain development plays out on the roads has yet to be studied. Giedd says brain scans of teens in driving simulations might tell researchers exactly what’s going on in their heads. That could lead to better training and a clearer understanding of which teens are ready to make critical driving decisions.
In theory, a teen’s brain could eventually be scanned to determine whether he or she was neurologically fit to drive.
But Giedd says that ethical crossroad is too radical to seriously consider today. “We are just at the threshold of this,” he says.
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The new insights into the teen brain might help explain why efforts to protect young drivers, ranging from driver education to laws that restrict teen driving, have had only modest success. With the judgment center of the teen brain not fully developed, parents and states must struggle to instill decision-making skills in still-immature drivers.
In nearly every state, 16-year-old drivers face limits known as “graduated licensing” rules. These restrictions vary. But typically, they bar 16-year-olds from carrying other teen passengers, driving at night or driving alone until they have driven a certain number of hours under parental supervision.
These states have, in effect, already raised their driving age. Safety experts say lives have been saved as a result. But it’s mostly left to parents to enforce the restrictions, and the evidence suggests enforcement has been weak.
Teens probably appear to their parents at the dinner table to be more in control than they are behind the wheel. They might recite perfectly the risks of speeding, drinking and driving or distractions, such as carrying passengers or talking on a cell phone, Giedd says. But their brains are built to learn more from example.
For teenagers, years of watching parents drive after downing a few glasses of wine or while chatting on a cell phone might make a deeper imprint than a lecture from a driver education teacher.
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The brain research raises this question: How well can teen brains respond to the stresses of driving?
More research on teen driving decisions is needed, safety advocates say, before definitive conclusions can be drawn.
And more public support is probably needed before politicians would seriously consider raising the driving age.
In the 1980s, Congress pressured states to raise their legal age to buy alcohol to 21. The goal was to stop teens from crossing borders to buy alcohol, after reports of drunken teens dying in auto crashes. Fueled by groups such as Mothers
Against Drunk Driving, public support for stricter laws grew until Congress forced a rise in the drinking age.
Those laws have saved an estimated 20,000 lives in the past
20 years. Yet safety advocates say politicians remain generally unwilling to raise the driving age.
“If this were forced on the states, it would not be accepted very well,” Harsha says. “What it usually takes for politicians to change their minds is a series of crashes involving young people. When enough of those kind of things happen, then politicians are more likely to be open to other suggestions.”
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eBook
ELA RI.8.1, RI.8.2,
RI.8.3, RI.8.5
ELD PI.8.7
The central idea of a piece of writing is the main concept about a topic that a writer conveys. Entire pieces of writing can be based around a central idea, and so can individual paragraphs.
A central idea is supported by details —facts, statistics, or quotations— that tell more about it. Note these details from “Is 16 Too Young to Drive a Car?” fact
Detail statistic quotation by experts
What It Is a statement that can be proved information that deals with numbers an expert’s exact written or spoken words
Example
Many states have begun to raise the age by imposing restrictions on 16-year-old drivers.
Already, on average, two people die every day across the USA in vehicles driven by 16-yearold drivers.
“Skills are a minor factor in most cases,” says
Allan Williams, former chief scientist at the insurance institute. “It’s really attitudes and emotions.”
It’s important to remember that although facts, quotations by experts, and especially statistics can seem undeniable, there are often multiple ways to interpret them, depending on the information or attitudes a reader already has. For example, the statistic in the chart can be interpreted to mean t Every day, 16-year-old drivers are to blame for deaths.
t 16-year-olds are driving in only a small percentage of fatal accidents that occur each day.
Readers have to decide how—or if—a statistic helps to support a central idea. Study the supporting details carefully as you analyze “Is 16 Too Young to Drive a Car?”
ELA RI.8.1, RI.8.2,
RI.8.3, RI.8.5
ELD PI.8.6, PI.8.7
Cite Text Evidence Support your responses with evidence from the text.
Draw Conclusions What is the central idea of “Is 16 Too Young to
Drive a Car?”
Evaluate Reread lines 101–125. Explain how the statistics the author provides support his central idea. Is there another way to interpret the statistics? Support your answer.
Cause/Effect Reread lines 155–173. Which details explain why teen drivers make poor decisions?
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T errified to see your teenager behind the wheel? You’re not alone. But a new study finds tougher state licensing laws have led to a decrease in fatal accidents, at least among
16-year-olds. That’s the good news.
But here’s the rub. Some kids are waiting until they’re
18-years-old to get their driver’s licenses. At this point, they’re considered adults, and they don’t have to jump through the hoops required of younger teens. They can opt out of driver’s ed. And they are not subject to nighttime driving restrictions or passenger restrictions.
“[Older teens] are saying, ‘The heck with your more complicated process,”’ says Justin McNaull, director of state relations for the American Automobile Association.
At 18, teenagers can, in many cases, get their license in a matter of weeks.
It’s one explanation for the latest findings published in the Journal of the American Medical Association . Researchers at the University of North Carolina and the California
Department of Motor Vehicles analyzed more than 130,000 fatal teen crashes over 22 years.
They found that tougher licensing laws have led to 1,348 fewer fatal car crashes involving 16-year-old drivers. But during the same period, fatal crashes involving 18-year-old drivers increased. They were behind the wheel in 1,086 more fatal accidents.
States have made the licensing process more rigorous in many ways: longer permitting times, driver’s ed requirements, and restrictions on nighttime driving and carrying fellow teenage passengers. Experts say all of these requirements help give teenagers the experience they need on the road. “In the last 15 years, we’ve made great strides in getting the licensing process to do a better job in helping teens get through it safely,” says McNaull.
California has seen a big drop in 16-year-olds getting their driver’s license. Back in 1986, 27 percent got licensed. By 2007, the figure dropped to 14 percent.
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“We have more novices on the road at 18,” says Scott
Masten of the California DMV and an author of the study.
And some of them may not have enough experience under their belts to face risky conditions. Masten says this may help explain the increase in fatal crashes.
It’s not clear whether there are significantly fewer 16-yearolds behind the wheel in other states because there’s no national database. But anecdotally , experts see this as a trend.
“There’s a belief that graduated licensing has led to a delay,” says Anne McCart, a senior vice president at the
Insurance Institute for Highway Safety.
A survey of teens conducted by the Allstate Foundation found that there are many reasons teens are delaying the process of getting a license. Some say they don’t have a car or can’t afford it. Others report that their parents are not available to help them, or that they’re too busy with other activities.
But parents who do want to be more proactive can refer to the tips the AAA has compiled on how to keep teens behind the wheel safe. And they might also consider another recent study, which showed that starting the school day a little bit later seems to reduce the accident rate for teen drivers.
anecdote
(√n ´ Δk-d∫t´) n.
An anecdote is a short account of an incident.
COLLABORATIVE DISCUSSION In your opinion, at what age should people begin driving? With a partner, discuss the reasons for your view. Cite specific evidence from the text to support your ideas.
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eBook
ELA RI.8.1, RI.8.3,
RI.8.4, RI.8.7, RI.8.8
ELD PI.8.6, PI.8.7
When you evaluate an author’s conclusions, it’s important to consider the reasoning, or logic, that links his or her ideas together. Two of the most commonly used methods of reasoning are deductive reasoning and inductive reasoning.
Deductive reasoning occurs when a person uses a general principle to form a conclusion about a particular situation or problem.
General principle
To drive safely, new drivers must receive training.
The situation being considered
Conclusion
High schools train students in many areas.
New drivers should get their license while in high school.
Inductive reasoning occurs when a person uses specific observations or examples to arrive at a general conclusion or statement.
Fact
Automobile accidents are more severe when cars are driven at high speeds.
Fact Conclusion
Severe automobile accidents are more likely to occur on highways than on roads.
Lower speed limits on highways will save lives.
As you analyze “Fatal Car Crashes Drop for 16-Year-Olds, Rise for Older
Teens,” identify what kind of reasoning the author is using.
ELA RI.8.1, RI.8.3, RI.8.4,
RI.8.7, RI.8.8
ELD PI.8.6, PI.8.7, PI.8.8
Cite Text Evidence Support your responses with evidence from the text.
1. Draw Conclusions What conclusions can you draw about why there are fewer laws designed to restrict 18-year-old drivers or force them to take driver’s education?
2. Interpret Reread lines 26–33. What kind of reasoning does the author use? Explain your answer.
3. Analyze What is the effect of the use of the word belief in this statement from the selection: “There’s a belief that graduated licensing has led to a delay”?
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COMPARE TEXTS
ELA RI.8.9
ELD PI.8.6, PI.8.7
A fact is a statement that can be proved. Most writers are careful to choose facts that support their central idea, while omitting facts that do not.
However, similar facts can be used to support opposing ideas. That’s because a fact can be interpreted —or understood—differently by different people.
It’s important to identify when writers are supporting their ideas with facts and when they are supporting their ideas with interpretations of the facts, which you may or may not agree with. For example, look at this passage from “Is 16 Too Young to Drive a Car?”
Scientists at the NIH campus in Bethesda, Md, have found that this vital area [the executive branch] develops through the teenage years and isn’t fully mature until after age 25.
One 16-year-old’s brain might be more developed than another 18-year-old’s, just as a younger teen might be taller than an older one. But evidence is mounting that a 16-year-old’s brain is generally far less developed than those of teens just a little older. fact fact
The research seems to help explain why 16-year-old drivers crash at far higher rates than older teens. interpretation
Even if the executive branch of the brain is not fully developed, there may be other explanations of why 16-year-old drivers have morefrequent crashes than older teens, as “Fatal Car Crashes Drop for 16-Year-Olds,
Rise for Older Teens” points out.
As you compare and contrast the two articles, read carefully to identify each writer’s central idea and the facts and interpretations used to support it. Identify where the texts disagree on matters of fact and interpretation.
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eBook
ELA RI.8.1, RI.8.2, RI.8.3, RI.8.5,
RI.8.8, RI.8.9, W.8.1a, W.8.1b,
W.8.4, W.8.9b, W.8.10 ELD PI.8.3,
PI.8.6, PI.8.10, PI.8.11
Cite Text Evidence Support your responses with evidence from the texts.
1. Summarize In your own words, explain the central idea of each selection.
2. Compare Identify similar facts that both selections use to support their central idea. What key facts on this topic are included in one selection but omitted in the other?
3. Draw Conclusions How does the study on brain development in the first article support the conclusions about the performance of 18-year-old drivers in the second selection?
4. Compare Reread lines 16–20 in “Fatal Car Crashes Drop for 16-Year-
Olds, Rise for Older Teens.” According to Allison Aubrey, what is one interpretation for the fact that there’s been an increase in fatal car crashes among 18-year-olds? How does this interpretation conflict with the quotation in lines 133–135 of “Is 16 Too Young to Drive a Car?”
5. Evaluate Reread lines 19–20 in “Is 16 Too Young to Drive a Car?” Do the facts found in the other article support or conflict with this interpretation?
Explain.
PERFORMANCE TASK
Writing Activity: Argument Which selection is most convincing to you? t Review the two selections, and jot down notes to support your opinion.
t Meet with a small group to discuss which selection makes a stronger case by using sufficient details to prove its central idea. Use your notes to support your opinion.
t Next, write a paragraph or two to explain and give reasons for your opinion.
t Share your paragraph with the class. Discuss any opinions that you might not have considered during your group discussion.
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notion novice bane paradox impetuous anecdote
ELA L.8.4a, L.8.6
ELD PI.8.6, PI.8.12
Practice and Apply Explain your response to answer each question.
1. Which Vocabulary word goes with contradiction ?
2. Which Vocabulary word goes with impulsive ?
3. Which Vocabulary word goes with story ?
4.
Which Vocabulary word goes with idea ?
5. Which Vocabulary word goes with nuisance ?
6. Which Vocabulary word goes with beginner ?
In some nonfiction texts, you may come across an unfamiliar word whose meaning is specific to its subject matter. As with any unfamiliar word, your first clue to the word’s meaning should come from the surrounding text, or context. If context is not sufficient to help you define the word, you need to consult a dictionary. Read the following example:
. . . Giedd points to an image of a brain on his computer screen. . . . the right side just over the temple. . . . is called the dorsal lateral prefrontal cortex.
The term dorsal lateral prefrontal cortex is not one you would know unless you were a doctor or a scientist. However, the nearby word brain is a clue to its meaning. Another clue is the phrase “the right side just over the temple.”
These clues allow you to guess that the term describes a section of the brain.
Practice and Apply Find the following terms in “Is 16 Too Young to Drive a
Car?” On a separate piece of paper, fill out a chart like this one.
Context
Clues
Guessed
Definition
Dictionary
Definition
Word brain scan (line 153) neurologically (line 208) fully mature (line 168) limbic system (line 186)
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Usually, writers use grammatically correct sentences to make their meaning clear. However, they may occasionally include fragments, or incomplete sentences that lack a subject or predicate. Reasons for using fragments include t to reproduce exactly what someone said in a quote t to capture someone’s voice or manner of speaking t to emphasize particular ideas t to avoid repeating sentence parts t to craft a style of writing
Study this example from “Is 16 Too Young to Drive a Car?” The sentence fragments have been underlined.
“This is the top rung,” Giedd says. “This is the part of the brain that, in a sense, associates everything. All of our hopes and dreams for the future. All of our memories of the past. Our values. Everything going on in our environment. Everything to make a decision.”
These fragments define everything . They capture the speaker’s exact words and emphasize the idea that the brain can associate the parts of our lives with each other.
ELA L.8.1
ELD PI.8.12
Practice and Apply Read these fragments from the selections. In a chart like the one shown, tell what sentence part is missing and why the author used a fragment in each case.
“In a sense, increasing the time between impulse and decisions.” (lines
178–179) [Selection 1]
“ ‘The heck with your more complicated process,’ ” (lines 11–12) [Selection 2]
Missing Part Why Use the Fragment
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Background Ads are everywhere around us—on websites, in football and baseball stadiums, and even on clothing. Ads draw our attention to products or services and try to convince us to buy what we see advertised. Companies make billions of dollars from purchases made because ads were successful in persuading us.
One type of ad is not trying to sell something that costs money.
Public service announcements, or PSAs, deliver a completely different kind of message—ideas that are for the public good.
Public Service Announcement Film by Stephanie Ramirez
Public Service Announcement Poster
SETTING A PURPOSE In this lesson, you will view and analyze two types of public service announcements—a film and a poster. Both try to convince people to change their attitudes and behaviors regarding aspects of driving in order to help them drive safely. Examine each public service announcement carefully to determine what particular points about safe driving it promotes and whom it is trying to persuade.
Compare Media 263

M E D I A
Format: Public service announcement film
Running Time: 2:0 minutes
AS YOU VIEW The film you are about to view was created for the National Safety Council for a specific purpose and audience. Think about whom the filmmaker might have wanted to appeal to as you watch the film. How do the various parts of the film appeal to that audience? Also think about the specific message that the film delivers and the variety of techniques—verbal and visual—that the filmmaker uses.
Pause the video and write notes about techniques and ideas that impress you as you view. Also write down any questions you have during viewing. Replay or rewind the video as needed.
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The creators of public service announcements like “Your Phone Can Wait” design them with a specific audience and purpose in mind. A target audience is the group that the creators want to appeal to. The individuals in the target audience may share certain attributes, such as age, gender, ethnic background, values, or lifestyle. The purpose of a film may be to share information or to persuade the audience to change behaviors or attitudes.
The creators of filmed public service announcements combine different techniques and elements to deliver their message —the idea that the film promotes.
t Persuasive techniques are methods used to convince viewers to agree with a message. Some language may appeal to viewers’ sense of reason, while other words appeal to viewers’ emotions. Repeated words help viewers remember the message. t Visual elements, such as graphics or animation —the process of displaying images so they appear to move—can engage the audience.
Fast-paced scene changes can convey excitement.
t Sound elements such as music or sound effects can emphasize a point or grab viewers’ attention. A narrator, or the person who speaks and explains the message, also has an impact. An older voice may sound responsible and mature, while a younger voice may seem friendlier to a younger audience.
Consider how these elements are used in “Your Phone Can Wait.”
ELA SL.8.2
ELD PI.8.6
Cite Text Evidence Support your responses with evidence from the media.
Identify and Infer Review the public service announcement film and fill out a chart like this one.
Who is the target audience?
What is the message of the announcement?
What is the purpose of the announcement?
Evaluate Which persuasive techniques, visual elements, and sound elements are used to deliver the film’s message? How do these techniques and elements help make the message more appealing?
ELA SL.8.2
ELD PI.8.6
Your Phone Can Wait 265

M E D I A
Format: Public service announcement poster
AS YOU VIEW In this poster, the writer and designer create a particular scene for a particular purpose. They include facts and figures as well as images. Think about how these visual and textual elements work together to convey the message.
Consider specific elements, such as t the objects that are included t the use of light and dark colors t the content and placement of text and figures
What points do each of these elements make or emphasize?
COLLABORATIVE DISCUSSION Evaluate how well the film and the poster work as public service announcements. Is the message in each announcement a powerful one? Why or why not?
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Public service announcements are communicated through various media, including magazines, billboards, or posters such as the “Driving Distracted” poster. These media use different elements to help make their messages more exciting.
Public service announcements quite often include statistics, mathematical information that is collected and analyzed to help people understand a situation or a trend. Statistics help make a message more convincing.
A public service poster, or any similar type of media, also includes visual elements, such as the following: t Graphics are visual designs or elements that call attention to certain information. For example, the starbursts in the “Driving Distracted” poster call attention to the objects contained within.
t Color can be used to create certain feelings or to convey emphasis.
For example, red can suggest danger, while blue can create a calm, peaceful feeling. Text in vivid colors will stand out more than text in darker colors. Viewers are more likely to read something bold or vivid because it catches their attention immediately.
Consider the impact of these elements as you analyze the “Driving Distracted” poster.
ELA SL.8.2
ELD PI.8.6
Cite Text Evidence Support your responses with evidence from the media.
Infer To what does the heading “Distraction/Rate” refer?
Interpret Each of the five yellow starbursts within the car contains an image with a percentage shown next to it. What does this use of visuals and statistics convey? What impact do these elements have on the message?
Analyze Why is the starburst containing the image of the deer placed within the windshield area? What message does this symbol and its placement convey?
ELA SL.8.2
ELD PI.8.6
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COMPARE MEDIA
ELA RI.8.7, SL.8.2
ELD PI.8.7
“Your Phone Can Wait” and “Driving Distracted” both deliver similar messages.
However, because they are presented in different forms of media, they can emphasize different types of information to make their message clear. t Oral information uses spoken language to make its point. While words can be logical and factual, some words can appeal to feelings and emotions. A speaker’s tone or emphasis can also have an impact.
t Quantitative information conveys facts and details through numbers.
It tells about information that is measurable.
Think about the techniques—or combination of techniques—each media form uses as you evaluate “Your Phone Can Wait” and “Driving Distracted.”
ELA RI.8.7, W.8.1a, W.8.1b,
W.8.7, SL.8.2, SL.8.5
ELD PI.8.2, PI.8.6
Cite Text Evidence Support your responses with evidence from the media.
Analyze “Your Phone Can Wait” and “Driving Distracted” both provide quantitative information about the dangers of distracted driving.
Complete a chart like this to gather details about the specific information each public service announcement provides. Which announcement more effectively conveys quantitative information?
Public Service Announcement Quantitative Information How Information Is Shared
Your Phone Can Wait
Driving Distracted
Compare “Your Phone Can Wait” includes a narrator who provides spoken information. It also includes an animated re-creation of a driving experience. Are these methods of conveying information more or less effective than the use of text and graphics in “Driving Distracted”? Explain.
PERFORMANCE TASK
Media Activity: Public Service
Announcement Work with your group to create your own print media public service announcement about safe driving for teenagers. t Brainstorm with your group for ideas to include.
t Discuss the different techniques that would help you effectively deliver your message.
t Research the topic and gather statistics that will help make your message more persuasive.
t Create and lay out visuals that reflect your ideas.
268 Collection 4

C O L L E C T I O N 4
To help you complete this task, use t Writing Informative Texts t Writing as a Process t Using Textual Evidence
The transition from childhood to adulthood can be complicated.
Write a literary analysis about what “Marigolds” reveals about that transition and explore how its theme relates to modern life.
A successful literary analysis t cites evidence from the text that supports the writer’s analysis t is organized appropriately for the purpose and audience t conveys ideas through the selection, organization, and analysis of relevant content
ELA W.8.2a–e, W.8.5,
W.8.9, W.8.9a, W.8.10
ELD PI.8.4, PI.8.10,
PI.8.11, PII.8.6
PLAN
Refresh your memory of “Marigolds.” t Reread “Marigolds” to review the lesson or theme that stands out for you. Consider Lizabeth’s experiences as a teenager, as well as her view of those experiences as an adult.
t Take notes about evidence that reveals the story’s theme.
Remember to look for clues in the setting and in symbols that represent ideas or feelings.
t List some ways that the story’s theme connects to modern trends or to the experiences of modern teens.
Think about what your readers need to know to understand your analysis.
t Keep in mind that peers may be more in tune with experiences related to adolescence than older readers.
t Decide how you will appeal to readers who may have different views about the theme of the story.
Use your notes about
“Marigolds” to plan your analysis.
t Draft your thesis statement. This is the main point you want to make, so everything you discuss should relate to it. t Decide what theme you will discuss, and identify evidence from the story that supports your thoughts.
Use the annotation tools in your eBook to find evidence in the text that supports your ideas about the story’s theme.
ACADEMIC
VOCABULARY
As you share what you learned about the transition to adulthood, be sure to use the academic vocabulary words.
debate deduce license sufficient trend
Collection Performance Task A 269

t Create a graphic organizer to plan your writing. Note how aspects of the story might resonate with modern teenagers.
Central Idea:
Theme:
Interactive Lessons
For help in planning your essay, use t Writing Informative
Texts: Organizing
Ideas t Using Textual
Evidence: Writing an
Outline
Story Evidence:
Why It Matters
Today:
Story Evidence:
Why It Matters
Today:
Story Evidence:
Why It Matters
Today:
PRODUCE
Use your notes and your graphic organizer to draft your literary analysis.
t Start with an attention-grabbing question or comment, and state your thesis to introduce your analysis. Provide a brief summary of the story. t Organize your ideas. You may wish to discuss the theme along with related evidence, and then explain how the theme is relevant for today’s young people. Another option would be to organize around the major events in the story, explaining how each one helps to reveal the theme and connects to today’s teenagers.
t Include concrete details, quotations, or other examples from the story to support your ideas.
t Conclude with a summary and your own insights.
Write your rough draft in my WriteSmart.
Focus on getting your ideas down, rather than on perfecting your choice of language.
Interactive Lessons
To help you draft your essay, complete the following lessons in
Writing Informative
Texts: t Elaboration t Introductions and
Conclusions
Look for places where you can combine clauses to connect ideas. Read this passage from “Marigolds.”
Whenever the memory of those marigolds flashes across my mind, faded.
Note how the author connects the memory of the marigolds and the feeling of nostalgia. Her language choices show how the two ideas are related.
270 Collection 4

Have your partner or group of peers use the following chart to review your draft.
Questions
Does the introduction have a thesis statement and a summary of the story?
Do the ideas in the body paragraphs support the thesis statement?
Is there evidence to support each idea?
Are the connections between ideas clear?
Does the conclusion summarize the analysis and provide insight into the theme?
Tips
Highlight the thesis statement. Underline sentences that summarize the story.
Underline that support the thesis statement.
Underline that combine two or more clauses to connect ideas.
Highlight the ideas
Highlight details, quotations, or other examples that support ideas.
sentences the sentences that summarize the analysis. Underline the sentences that provide insight into the theme.
Revision Techniques
Add a thesis statement. Insert a summary of the story.
Revise the body paragraphs to clearly explain their connections to the thesis statement.
Add details, quotations, or examples to ideas that do not have enough support.
Combine related sentences to show the connections between ideas.
Add a summary of the analysis. Clarify your insights into the theme.
Have your partner or a group of peers review your draft in my
WriteSmart. Ask your reviewers to note any reasons that do not support the claim or that lack sufficient evidence.
Interactive Lessons
For help in revising your essay, use t Writing as a Process:
Revising and Editing
PRESENT
Finalize your literary analysis.
Then choose a way to share it with your audience. Consider these options: t Present your literary analysis in a speech to your classmates.
t Send your analysis to a magazine that publishes articles of interest to adolescents.
t Organize a debate in which you and other classmates argue your views about the relevance of “Marigolds” for today’s teenagers.
Collection Performance Task A 271

4
P E R F O R M A N C E TA S K A R U B R I C
L I T E R A R Y A N A LY S I S
Ideas and Evidence Organization Language t5IFUIFTJTTUBUFNFOUDMFBSMZ
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JSSFMFWBOUPSNJTTJOH t5IF MJUFSBSZ BOBMZTJT MBDLT B
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JT OPU BQQBSFOU t5SBOTJUJPOTBSFOPU
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UPP HFOFSBM t*EFBTBSFOPUDPOOFDUFE t&SSPST JO HSBNNBS VTBHF BOE
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272 Collection 4

C O L L E C T I O N 4
To help you complete this task, use t Producing and Publishing with Technology t Conducting Research
One selection in Collection 4 asks, “When Do Kids Become
Adults?” In this activity, you will create a multimedia campaign to present your response to that age-old question. Your campaign will include an editorial along with messages in one or two other mediums.
A successful campaign t presents an argument that supports claims with clear reasons and relevant evidence t draws evidence from informational texts and from print and digital research t integrates multimedia and visual displays to strengthen claims and to add interest
ELA W.8.1a–e, W.8.4,
W.8.5, W.8.6, W.8.8, W.8.9,
W.8.9b, SL.8.5
ELD PI.8.4, PI.8.10,
PI.8.11
Visit hmhfyi.com to explore your topic and enhance your research.
PLAN
Review the selections in Collection 4 to find events or trends that may mark the beginning of adulthood.
t Identify the event, action, or age that reflects your position.
t Gather at least two pieces of evidence to support your position from selections in the collection.
Use both print and digital resources to gather information about the start of adulthood.
t If you have chosen to focus on an event such as obtaining a driver’s license or voting for the first time, research the legal age for those events in the United States as well as in other countries.
t If your focus is on living independently, research laws or traditions that signal legal adulthood.
t Take notes and gather sufficient statistics to support your claim.
Keep your intended audience in mind as you develop your campaign.
Use the annotation tools in your eBook to identify textual evidence from the collection that will help shape and support your argument.
ACADEMIC
VOCABULARY
As you share your ideas about the event or age that should mark the start of adulthood, be sure to use the academic vocabulary words.
debate deduce license sufficient trend
Collection Performance Task B 273

t Your language and tone will generally be different for classmates and other peers than for adults.
t Your campaign will include an editorial, but you will also use other formats to present your ideas effectively. You might consider using a poster, a television or radio commercial, or a direct mail advertisement to effectively reach your audience.
Use your notes from your review of the collection and your research to plan your argument.
t Whether advertising a product or promoting a political candidate, a good campaign has a central message or claim.
Plan how to deliver your message in writing for your editorial and in the other formats you choose.
t Create a graphic organizer like the one shown to develop an argument that includes a claim, supporting evidence, and a counterargument.
Claim:
Interactive Lessons
To help you revise your presentation, complete the following lessons in
Conducting Research: t Using the Library for
Research t Using the Internet for
Research
Reasons/Evidence: Reasons/Evidence: Reasons/Evidence:
Counterargument:
PRODUCE
Use your notes and your graphic organizer to draft your editorial.
t Use quotations or unexpected statistics to get your audience’s attention, and state your position with a strong claim.
t Organize your ideas in a logical way. You might begin with the strongest reason and progress to less strong reasons. Another option would be to start with the least important reason and build to the most important.
t Be sure to include concrete details, quotations, or examples from the selections and your research to support your claim.
t Conclude your editorial by restating your claim and by encouraging readers to show their support for your argument.
Write your rough draft in my
WriteSmart.
Focus on getting your ideas down, rather than on perfecting your choice of language.
274 Collection 4

The best campaigns use more than one medium to share their message. Using multimedia technology to mix visuals with sound is the latest trend, but something as
“low-tech” as a poster, a T-shirt, or a bumper sticker may also reach a wide audience.
t Choose one or two other mediums to add to your campaign.
t Draft any necessary text and decide how to incorporate it with related visuals. t Sketch out how you will display or present your visuals.
t Cite your research sources, following your teacher’s choice of style.
Use the rubric on the next page to evaluate your draft. Work with a partner to determine whether you have presented a strong argument in your campaign. Consider the following: t Review your editorial to make sure you have clearly stated your claim and provided sufficient supporting reasons and evidence.
t Check that the other formats you have chosen clearly support your claim. Is each layout clear and easy to understand? Do all the visuals clearly represent your focus? Confirm that the text is easy to read and free of grammatical errors.
t Evaluate whether all the elements of your campaign send a unified message that will appeal to your audience.
Have your partner or a group of peers review the draft of your editorial in my
WriteSmart. Ask your reviewers to note any reasons that do not support the claim or that lack sufficient evidence.
PRESENT
Finalize all the parts of your campaign. Then choose a way to share it with your audience.
Consider these options: t Plan a campaign rally or kick-off event to share your ideas with classmates.
t Create a blog or website to share your argument with a wider audience.
t Organize a debate with classmates who claim a different age or event as the mark of adulthood.
Collection Performance Task B 275

4
P E R F O R M A N C E TA S K B R U B R I C
M U LT I M E D I A C A M PA I G N
Ideas and Evidence Organization Language t"MMQBSUTPGUIFDBNQBJHODMFBSMZ
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DPOTJTUFOU GPSNBM TUZMF t(SBNNBSNFDIBOJDTBOEVTBHF
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276 Collection 4