Course 3 Program Consultant Douglas Fisher, Ph.D. Professor of Language and Literacy Education San Diego State University San Diego, CA Active Learning and Note Taking Guide G8_OnLevel_876347-2.indd i 8_OnLevel_876347-2.indd i 6/19/06 3:17:01 PM /19/06 3:17:01 PM

Copyright © 2007 by The McGraw-Hill Companies, Inc. All rights reserved. Except as permitted under the United States Copyright Act of 1976, no part of this publication may be reproduced or distributed in any form or by any means, or stored in a database or retrieval system, without prior written permission of the publisher. TIME © TIME, Inc. TIME and the red border design are trademarks of TIME, Inc. used under license. Send all inquiries to Glencoe/McGraw-Hill 8787 Orion Place Columbus, OH 43240 Printed in the United States of America. 1 2 3 4 5 6 7 8 9 10 024 12 11 10 09 08 07 06 Acknowledgments Grateful acknowledgment is given to authors, publishers, photographers, museums, and agents for permission to reprint the following copyrighted material. Every effort has been made to determine copyright owners. In case of any omissions, the Publisher will be pleased to make suitable acknowledgments in future editions. Acknowledgments continued on p. 383. ISBN-13 (student edition): 978-0-07-876347-2 ISBN-10 (student edition): 0-07-876347-9 G8_OnLevel_876347-2.indd ii 8_OnLevel_876347-2.indd ii 6/19/06 2:36:04 PM /19/06 2:36:04 PM

Active Learning and Note Taking Guide iii Table of Contents ................................................................................................... iii To the Students and Parents ...................................................................... viii How to Use This Book ...................................................................................... ix UNIT 1 Reading: What’s in It for You? Genre Focus: Autobiography and Biography .............................................................1 Reading Workshop 1 Note Taking: Connecting ...............................................................................................3 Interactive Reading: On Top of the World ..................................................................6 Reading Workshop 2 Note Taking: Setting a Purpose for Reading ............................................................. 12 Interactive Reading: The Tell-Tale Heart .................................................................... 15 Reading Workshop 3 Note Taking: Activating Prior Knowledge ..................................................................25 Interactive Reading: The March of the Mill Children .............................................28 Reading Workshop 4 Note Taking: Identifying Author’s Purpose ...............................................................38 Interactive Reading: Being Japanese American ....................................................... 41 Comparing Literature Workshop Note Taking: Tone .........................................................................................................49 Tie It Together ...............................................................................................................53 UNIT 2 Which Is More Important, the Journey or the Destination? Genre Focus: Folktales ...................................................................................................55 Reading Workshop 1 Note Taking: Analyzing ................................................................................................57 Interactive Reading: A Father’s Daring Trek .............................................................60 Reading Workshop 2 Note Taking: Making Inferences .................................................................................65 Interactive Reading: Paul Revere’s Ride ....................................................................68 Martha Pickerill Edgar Allan Poe Judith Pinkerton Josephson Yoshiko Uchida Table of Contents Table of Contents Julie K.L. Dam Henry Wadsworth Longfellow G8_OnLevel_876347-2.indd iii 8_OnLevel_876347-2.indd iii 6/5/06 10:06:08 AM /5/06 10:06:08 AM

iv Active Learning and Note Taking Guide Reading Workshop 3 Note Taking: Predicting ................................................................................................75 Interactive Reading: The Snake Chief ........................................................................78 Reading Workshop 4 Note Taking: Comparing and Contrasting ................................................................88 Interactive Reading: Icarus and Daedalus ................................................................. 91 Comparing Literature Workshop Note Taking: Theme .....................................................................................................97 Tie It Together ............................................................................................................. 101 UNIT 3 When Is the Price Too High? Genre Focus: Informational Articles .........................................................................103 Reading Workshop 1 Note Taking: Previewing ............................................................................................105 Interactive Reading: In Response to Executive Order 9066 .................................108 Reading Workshop 2 Note Taking: Skimming and Scanning ..................................................................... 112 Interactive Reading: Cruise Control ......................................................................... 115 Reading Workshop 3 Note Taking: Understanding Text Structures .......................................................... 119 Interactive Reading: Flowers for Algernon .............................................................122 Reading Workshop 4 Note Taking: Identifying Main Idea and Supporting Details ................................140 Interactive Reading: We Real Cool ...........................................................................143 Interactive Reading: The Market Economy .............................................................144 Reading Across Texts Workshop Note Taking: Analyze Author’s Qualifications, Sources, and Bias ........................................................................................................ 147 Tie It Together ............................................................................................................. 151 Kathleen Arnott Josephine Preston Peabody Dwight Okita Kevin O’Leary Daniel Keyes Gwendolyn Brooks Marge Piercy G8_OnLevel_876347-2.indd iv 8_OnLevel_876347-2.indd iv 6/5/06 10:06:09 AM /5/06 10:06:09 AM

Active Learning and Note Taking Guide v UNIT 4 What Do You Do When You Don’t Know What to Do? Genre Focus: Poetry .....................................................................................................153 Reading Workshop 1 Note Taking: Connecting ...........................................................................................155 Interactive Reading: Wishing Well ............................................................................158 Reading Workshop 2 Note Taking: Evaluating ............................................................................................161 Interactive Reading: Mother to Son .........................................................................164 Interactive Reading: Harlem ......................................................................................165 Reading Workshop 3 Note Taking: Interpreting ...........................................................................................168 Interactive Reading: from To the Democratic National Convention ...................171 Reading Workshop 4 Note Taking: Monitoring Comprehension .............................................................. 175 Interactive Reading: O Captain! My Captain! .........................................................178 Reading Across Texts Workshop Note Taking: Internal and External Conflict ............................................................182 Tie It Together .............................................................................................................186 UNIT 5 How Do You Stay True to Yourself? Genre Focus: Short Story ............................................................................................187 Reading Workshop 1 Note Taking: Analyzing ..............................................................................................189 Interactive Reading: The Question of Popularity ...................................................192 Reading Workshop 2 Note Taking: Questioning ..........................................................................................198 Interactive Reading: an african american ...............................................................201 Reading Workshop 3 Note Taking: Predicting ..............................................................................................207 Interactive Reading: A Year of Living Bravely .........................................................210 Kate Schmitt Langston Hughes Langston Hughes Jesse Jackson Walt Whitman Tamara Eberlein Meri Nana-Ama Danquah Emily Costello G8_OnLevel_876347-2.indd v 8_OnLevel_876347-2.indd v 6/5/06 10:06:09 AM /5/06 10:06:09 AM

vi Active Learning and Note Taking Guide Reading Workshop 4 Note Taking: Making Inferences ............................................................................... 215 Interactive Reading: Savion!: My Life in Tap ........................................................... 218 Comparing Literature Workshop Note Taking: Characterization ...................................................................................226 Tie It Together .............................................................................................................230 UNIT 6 How Do You Keep from Giving Up When Bad Things Happen? Genre Focus: Drama .....................................................................................................231 Reading Workshop 1 Note Taking: Drawing Conclusions ..........................................................................233 Interactive Reading: The Diary of Anne Frank, Act 1, Scene 4 .............................236 Reading Workshop 2 Note Taking: Interpreting ...........................................................................................245 Interactive Reading: The Diary of Anne Frank, Act 2, Scene 2 ............................248 Reading Workshop 3 Note Taking: Paraphrasing and Summarizing ........................................................262 Interactive Reading: Standing Tall ............................................................................265 Reading Workshop 4 Note Taking: Visualizing .............................................................................................270 Interactive Reading: and sometimes I hear this song in my head ......................273 Comparing Literature Workshop Note Taking: Figurative Language ............................................................................277 Tie It Together .............................................................................................................281 UNIT 7 What’s Worth Fighting For? What’s Not? Genre Focus: Persuasive Writing ..............................................................................283 Reading Workshop 1 Note Taking: Distinguishing Fact from Opinion .....................................................285 Interactive Reading: The Measure of Our Success ................................................288 Frances Goodrich and Albert Hackett Frances Goodrich and Albert Hackett Michael Dolan Harriet Jacobs Marian Wright Edelman Savion Glover and Bruce Weber G8_OnLevel_876347-2.indd vi 8_OnLevel_876347-2.indd vi 6/5/06 10:06:10 AM /5/06 10:06:10 AM

Active Learning and Note Taking Guide vii Reading Workshop 2 Note Taking: Questioning ..........................................................................................296 Interactive Reading: All Together Now ....................................................................299 Reading Workshop 3 Note Taking: Reviewing ..............................................................................................304 Interactive Reading: Teen Curfews ...........................................................................307 Reading Workshop 4 Note Taking: Clarifying ............................................................................................... 312 Interactive Reading: Stop the Sun ............................................................................ 315 Reading Across Texts Workshop Note Taking: Persuasive Appeals ..............................................................................327 Tie It Together .............................................................................................................331 UNIT 8 What Is the American Dream? Genre Focus: Historical Text .......................................................................................333 Reading Workshop 1 Note Taking: Analyzing ..............................................................................................335 Interactive Reading: Volar ..........................................................................................338 Reading Workshop 2 Note Taking: Understanding Cause and Effect .......................................................343 Interactive Reading: The Gettysburg Address ........................................................346 Reading Workshop 3 Note Taking: Identifying Main Ideas and Supporting Details ..............................350 Interactive Reading: I Chose Schooling ...................................................................353 Reading Workshop 4 Note Taking: Identifying Author’s Purpose .............................................................360 Interactive Reading: I, Too .........................................................................................363 Reading Across Texts Workshop Note Taking: Author’s Credibility .............................................................................366 Tie It Together .............................................................................................................370 Hot Words Journal ............................................................................................ 371 Acknowledgments ..............................................................................................383 Judith Ortiz Cofer Abraham Lincoln Jacqueling Nwaiwu Langston Hughes Gary Paulsen Barbara Jordan J. Todd Foster G8_OnLevel_876347-2.indd vii 8_OnLevel_876347-2.indd vii 6/19/06 2:36:09 PM /19/06 2:36:09 PM

viii Active Learning and Note Taking Guide The Active Learning and Note Taking Guide is a special kind of book— one you can actually interact with and make your own. The Note Taking portion is designed to work with the lessons in Reading with Purpose, Course 3. The Interactive Reading portion encourages you to activate prior knowledge, review important words, interact with the reading selections, and review what you have read. Note Taking Write notes in the Notes column as you read the lessons. After you have read a lesson, review your notes and write questions or key ideas in the Cues column. Use your notes to study by covering the Notes column and answering the questions or explaining the key ideas in the Cues column. Then complete the Summary portion of the Note Taking pages to review what you have learned. Interactive Reading Before you read a selection, connect what you will learn with what you already know by completing the Connect activity. Review the terms in the Word Power section. These are words that will appear in the reading selection. As you read the selection, circle, underline, or highlight parts of the selection that grab your attention or that are hard to understand. Jot down words you want to remember. Fill the margins with your thoughts and questions. You can mark up these selections in a way that works for you—a way that helps you understand and remember what you read. How to Get Started Before you start using this book, take a few minutes to review How to Use This Book on pages ix–xii. These pages will help you get a good start to taking notes and using the reading selections. The Active Learning and Note Taking Guide is interactive and fun. You’ll discover that the note taking skills and strategies you learn to use in this book will help you become a better note taker in all your classes. You’ll also like reading the interesting and varied selections. You’ll become a better reader. Note to Parents and Guardians Ask your students to show you their work as they proceed through this workbook. You might enjoy reading along! To Students & Parents To Students & Parents G8_OnLevel_876347-2.indd viii 8_OnLevel_876347-2.indd viii 6/5/06 10:06:12 AM /5/06 10:06:12 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Note Taking Active Learning and Note Taking Guide Course 3, Unit 2 65 UNIT 2 READING WORKSHOP 2 Cues Skill Lesson: Making Inferences (Reading with Purpose, pp. 182–183) Preview Skim the information on making inferences. Name one thing you noticed by skimming. I noticed What is inferring? Notes Making Inferences What is it? Why is it important? How do I do it? Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 065-074 U2RW2 876347.03.indd 65 5/31/06 1:26:52 PM Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 66 Course 3, Unit 2 Active Learning and Note Taking Guide Note Taking UNIT 2 READING WORKSH Key Literary Element: Narr OP 2 ative Poetry (Reading with Purpose, p. 185) Notes Cues Summary Explain how making inferences can help you understand why an author of narrative poetry used a particular rhythm or sound device. When and where Who What What Does elements of narrative poetry 065-074 U2RW2 876347.03.indd 66 065-074 U2RW2 876347.03.indd 66 5/31/06 1:26:53 PM How to Use This Book How to Use This Book Note Taking Pages The Note Taking pages of this book guide you through the process of taking notes about the reading skills and literary and text elements you will be learning about. These pages follow the Cornell Note Taking Method and include several parts: preview, notes, cues, and summary. ix Notes As you read, take notes on the skill lesson pages. Graphic organizers and write-on lines help you organize your notes. Summary After you have taken notes, summarize what you have learned. Preview You will use a pre-reading strategy to preview the material you are about to study. Cues After you have taken notes, use the Cues column to write questions or phrases that will help you review the information you studied. Notes As you read, take notes here on the literary elements or text elements. Graphic organizers and write-on lines help you organize your notes. G8_OnLevel_876347-2.indd ix 8_OnLevel_876347-2.indd ix 6/5/06 10:06:14 AM /5/06 10:06:14 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Interactive Reading Active Learning and Note Taking Guide Course 3, Unit 2 67 UNIT 2 READING WORKSHOP 2 Before You Read Paul Revere’s Ride What You’ll Learn Key Reading Skill: Making Inferences Key Literary Element: Narrative Poetry Connect Describe the method you use when you want to share important news with your friends or family. Why do you use this method? Word Power Use each word in a sentence. stealthy (STEL thee) adj. slow and secretive to avoid being seen or heard somber (SAWM bur) adj. dark and gloomy lingers (LING urz) v. waits or is slow in leaving; form of the verb linger emerge (ee MURJ) v. to come out into view defi ance (dih FY unts) n. the act of challenging authority As you read, you might fi nd words that you want to know more about. They might be ones you really like or ones that you don’t understand. You can add them to your Hot Words Journal at the back of this book. Which Is More Important, the Journey or the Destination? Read the selection “Paul Revere’s Ride” to learn how important one man’s journey was to the future of a nation. 065-074 U2RW2 876347.03.indd 67 5/31/06 1:26:54 PM x Active Learning and Note Taking Guide Before You Read Pages The Before You Read page helps prepare you for the reading selection by previewing vocabulary words and connecting your own experience to what you’re about to read. What You’ll Learn Look forward to the reading skill and literary or text element you will be practicing in this reading selection. Connect Before you read, think about your own experience and share your knowledge and opinions. Word Power Vocabulary words are introduced on the Before You Read page. Each word is followed by its pronunciation, its part of speech, a definition, and an opportunity for you to create a sentence using the word. Hot Words Choose words that you think are important, difficult, or interesting. You can write these words in your Hot Words Journal at the back of this book to build your knowledge and vocabulary. Big Question Preview how the reading selection will connect to the Big Question for this unit. G8_OnLevel_876347-2.indd x 8_OnLevel_876347-2.indd x 6/5/06 10:06:17 AM /5/06 10:06:17 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Interactive Reading 68 Course 3, Unit 2 Active Learning and Note Taking Guide UNIT 2 READING WORKSHOP 2 Paul Revere’s Ride by Henry Wadsworth Longfellow Listen, my children, and you shall hear Of the midnight On the eighteenth ride of Paul Revere, of April, in Seventy- ve;1 Hardly a man is now alive 5 Who remembers that famous day and year. He said to his friend, “If the British march By land or sea from the town to-night, Hang a lante Of the North rn aloft in the belfry arch Church tower as a signal light,— 10 One, if by land, and two, if by sea; And I on the opposite shore will be, Ready to ride and spread the alarm Through every Middlesex2 village and farm, For the country folk to be up and to arm.” 1 15 Then he said, “Good night!” and with muf ed oar Silently rowed to the Charlestown shore, Just as the moon rose over the bay, Where swinging wide at her moorings3 lay The Somerset, British man-of-war; 20 A phantom ship, with each mast and spar Across the moon like a prison bar, And a huge black hulk, that was magni ed By its own re ection in the tide. 1 Seventy- ve refers to 1775, the year of Paul Revere’s ride. 2 The county of Middlesex, Massachusetts, includes the town of Concord, where the  rst shots of the Revolutionary War were  red on April 19, 1775. 3 The place where a ship is docked is called its moorings. 1 Key Literary Element Narrative Poetry Look at the fi rst poem. How lines of the does Longfellow set the scene? 065-074 U2RW2 876347.03.indd 68 065-074 U2RW2 876347.03.indd 68 5/31/06 1:26:55 PM Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Interactive Reading Active Learning and Note Taking Guide Course 3, Unit 2 71 UNIT 2 READING WORKSHOP 2 Is the Mystic,10 meeting the ocean tides; And under the alders11 that skirt its edge, 85 Now soft on the sand, now loud on the ledge, Is heard the tramp of his steed as he rides. It was twelve by the village clock, When he crossed the bridge into Medford town. He heard the crowing of the cock, 90 And the barking of the farmer’s dog, And felt the damp of the river fog, That rises after the sun goes down. It was one by the village clock, When he galloped into Lexington. 95 He saw the gilded12 weathercock Swim in the moonlight as he passed, And the meeting-house windows, blank and bare, Gaze at him with a spectral glare, As if they already stood aghast 100 At the bloody work they would look upon. 5 It was two by the village clock, When he came to the bridge in Concord town. He heard the bleating of the  ock, And the twitter of birds among the trees, 105 And felt the breath of the morning breeze Blowing over the meadows brown. And one was safe and asleep in his bed Who at the bridge would be  rst to fall, Who that day would be lying dead, 110 Pierced by a British musket-ball. 10 The Mystic is a short river that  ows into Boston Harbor. 11 Alders are trees in the birch family. 12 A gilded object has, or seems to have, a thin coating of gold. 5 Key Literary Element Narrative Poetry Paul Revere is the protagonist of the story. What is his goal, or mission? What antagonist might keep him from reaching it? Your Notes 065-074 U2RW2 876347.03.indd 71 5/31/06 1:27:00 PM 5/31/06 1:27:00 PM Active Learning and Note Taking Guide xi Interactive Reading Pages Margin Notes These notes will ask a question to get you thinking about what you’re reading, help you with a difficult passage, point out an important development, or model a skill. Footnotes Selection footnotes explain words or phrases that you may not know to help you better understand the selection. Your Notes Use this space to jot down any ideas, questions, or thoughts you have as you read. Look for the signal button It guides you to a side margin activity and back into the reading. G8_OnLevel_876347-2.indd xi 8_OnLevel_876347-2.indd xi 6/19/06 2:36:16 PM /19/06 2:36:16 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Interactive Reading After You Read Active Learning and Note Taking Guide Course 3, Unit 2 73 UNIT 2 READING WORKSHOP 2 Paul Revere’s Ride Skill Review: Making Inferences Review lines 60 through 72 of “Paul Revere’s Ride.” List the clues and what you can infer from them about Paul Revere’s emotions and feelings. Clues I infer • • • • • • • • Record the clues the author uses to tell you that Paul Revere’s ride was an important event in the history of the United States. 065-074 U2RW2 876347.03.indd 73 5/31/06 1:27:04 PM xii Active Learning and Note Taking Guide After You Read Pages The After You Read pages help you practice the reading skills you have learned and use your knowledge of literary and text elements in the reading selections. Graphic organizers and questions to answer help you analyze the reading using your new skills. G8_OnLevel_876347-2.indd xii 8_OnLevel_876347-2.indd xii 6/5/06 10:06:23 AM /5/06 10:06:23 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 1 UNIT 1 Genre Focus Note Taking Preview Scan the information on biography and autobiography. What do biographies and autobiographies have in common? They are both Key Literary Elements description point of view tone cultural reference Key Reading Skills connecting connect the reading to my own life, the world around me, or other reading setting a purpose for reading think about why the author wrote the selection Autobiography and Biography (Reading with Purpose, p. 4) Cues Notes When someone writes about his or her own life it is called a(n) When someone writes about another person’s life, it is called a(n) difference between autobiography and biography G8_U1GF_OnL_8763472.indd 1 8_U1GF_OnL_8763472.indd 1 5/26/06 3:42:46 PM /26/06 3:42:46 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 2 Course 3, Unit 1 Active Learning and Note Taking Guide Unit 1 Genre Focus Note Taking Organize key reading skills. Organize key literary elements. connecting decide why I am reading a selection identifying author’s purpose description the way the story is seen and told Summary Identify which of the following books are biographies and which are autobiographies. John Adams by David McCullough My Life by Bill Clinton The Life of Charlotte Bronte by Elizabeth Gaskell G8_U1GF_OnL_8763472.indd 2 8_U1GF_OnL_8763472.indd 2 5/26/06 3:42:48 PM /26/06 3:42:48 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 3 Note Taking UNIT 1 READING WORKSHOP 1 UNIT 1 READING WORKSHOP 1 Cues Why is connecting important? As you read, ask yourself: 1. 2. 3. Preview Previewing means looking over a selection before you read to get a sense for what you will learn. Preview the information on connecting and write down two things you think you will learn. I will learn I will learn Skill Lesson: Connecting (Reading with Purpose, pp. 14–15) Element from selection Elements from my life • • me, people I know, characters from other texts • ideas • • • situations I have faced, read about, or heard about Notes Connecting helps you: 1. 2. G8_U1RW1_OnL_8763472.indd 3 8_U1RW1_OnL_8763472.indd 3 5/26/06 3:39:02 PM /26/06 3:39:02 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 4 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 1 Note Taking Summary Show what you know about connecting, subheads, and titles. Write the title of a book you own and one of its subheads. Then write about connections you made to the title and subtitle. Cues what a title does Text Element: Title and Subheads (Reading with Purpose, p. 31) Book Way I connected Title: Subhead: Notes A title: 1. lets readers know what selection will be about 2. 3. Non-fi ction titles may contain 1. 2. Questions to ask yourself when reading nonfi ction: G8_U1RW1_OnL_8763472.indd 4 8_U1RW1_OnL_8763472.indd 4 5/26/06 3:39:04 PM /26/06 3:39:04 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 5 Interactive Reading What You’ll Learn Key Reading Skill: Connecting Text Element: Title and Subheads Connect Recall an experience that challenged you. Maybe you were assigned a difficult school project, or perhaps you faced a challenge with your family or friends. How did you react? What did you learn from this experience that will help you face challenges in the future? Word Power Use each word in a sentence. feat (feet) n. diffi cult task; something that is very hard to do trekked (trekd) v. walked or hiked a long distance; form of the verb trek expeditions (ek spuh DISH undz) n. groups that take trips for specifi c purposes Reading: What’s in It for You? Read the selection “On Top of the World” to learn about Mount Everest and the generations of climbers who have strived to reach its summit. Before You Read On TOP theWORLD UNIT 1 READING WORKSHOP 1 As you read, you might fi nd words that you want to know more about. They might be ones you really like or ones that you don’t understand. You can add them to your Hot Words Journal at the back of this book. of G8_U1RW1_OnL_8763472.indd 5 8_U1RW1_OnL_8763472.indd 5 5/26/06 3:39:06 PM /26/06 3:39:06 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 6 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 1 Interactive Reading O n May 29, 1953, Edmund Hillary and his mountain-climbing companion, Tenzing Norgay, got a glimpse of Asia that no other human had ever enjoyed. They became the fi rst to look down from the dizzying height of the world’s tallest mountain, Mount Everest, while standing upon its snowy top. But it wasn’t a time for celebrating. “I didn’t leap or throw my hands in the air or something,” Hillary recalled in an interview. “We were tired, of course.” But fi nally in May 2003, the long-delayed celebration took place. Hillary, who lives in New Zealand, joined his friends and fans in Kathmandu, Nepal, to honor the 50th anniversary of his towering feat. The Quest for the Top 1 Sir George Everest, a British surveyor who mapped India and part of the Himalayan range, probably never saw the big mountain. But his colleagues,1 who measured the peak and declared it the world’s tallest in 1852, wanted to honor Everest’s work by naming it after him. The 29,035-foot-tall mountain straddles the border of Nepal and the Tibet region of China. Climbing to Mount Everest’s summit became an irresistible goal for many adventurers. But people 1 Colleagues are people you work with who are your equals. Text Element 1 Title and Subheads After reading the title, fi rst paragraph, and fi rst subhead, what diffi cult journey do you think this section will be about? On TOP WORLD of the It has been more than 50 years since two adventurers first climbed Mount Everest. by Martha Pickerill Find the word summit on this page. Summit has different meanings depending on how it’s used. Look up summit in the dictionary. You might want to write the defi nition(s) in your Hot Words Journal at the back of this book. G8_U1RW1_OnL_8763472.indd 6 8_U1RW1_OnL_8763472.indd 6 5/26/06 3:39:10 PM /26/06 3:39:10 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 7 Interactive Reading risked their lives to get to the top. Has the challenge been worth the serious risk? When a reporter asked George Mallory, a British mountaineer, why he wanted to climb Everest, he famously replied, “Because it is there.” Mallory’s fi nal attempt in 1924 to climb to the top of Mount Everest ended in his death. At least 175 climbers are known to have died on Everest since 1920. Nearly 1,200 others have made it to the top. 2 One Mean Mountain Anyone who has climbed Everest can tell you that humans are not meant to hang around 5.5 miles above sea level. The ice, snow, freezing wind, deep ice cracks, called crevasses, and lack of oxygen are constant threats to climbers’ safety and health. Because of the thin air, most climbers breathe from oxygen tanks. Some climbers have lost toes, ears, and fi ngers to frostbite.2 All of these factors force climbers who do reach the top to turn around and scramble back down as quickly as possible. “You cannot conquer Everest. It’s not possible,” says Norgay’s son Jamling, who has climbed Everest with Hillary’s son, Peter. “Everest will give you a chance to stand on the top for a few minutes, and that’s it.” It’s Still There 3 The mountain is much less a mystery now than when Hillary and Norgay reached its peak in 1953. People have approached climbing it from all sides and have succeeded in getting to its top by 15 different routes. Satellite phones and other equipment 2 Frostbite happens when a part of the body becomes so cold that the blood cannot circulate there. This will kill that part of the body. Usually frostbite happens to fi ngers, toes, and ears. Key Reading Skill Connecting Would you like to climb Mount Everest? Do you think climbing it is worth the risk? Why or why not? 2 3 Text Element Title and Subheads From the subhead and the other parts of the article that you’ve read, what do you think the section “It’s Still There” will be about? UNIT 1 READING WORKSHOP 1 G8_U1RW1_OnL_8763472.indd 7 8_U1RW1_OnL_8763472.indd 7 5/26/06 3:39:16 PM /26/06 3:39:16 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 8 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 1 Interactive Reading keep adventurers in touch with the world below. Special clothes made for climbing are now made of high-tech thermal fabrics. Hillary and Norgay had only layers of wool and cotton and a simple cotton tent to keep them warm. They didn’t have any high-tech equipment as safety nets. Some modern climbers who are inexperienced pay a lot of money to have professional guides take them to the top. But even with guides, the climb can be risky. In 1996, tragedy struck. On one of the mountain’s busiest days, a storm blew in, and eight climbers died in a single night. Hillary continued a life of achievement. After being knighted by Queen Elizabeth II, Sir Edmund Hillary led a team across Antarctica to the South Pole and climbed many mountains. He has worked for decades to build desperately needed schools and hospitals for Norgay’s people, the Sherpas of Nepal. “That’s how I’d like to be remembered,” says Hillary. “Not for Everest but for the work I did and the cooperation I had with my Sherpa friends.” 4 —Updated 2005, from Time For Kids, May 9, 2003 Your Notes What did you learn about Mount Everest from reading this article? What did you learn about people who set diffi cult goals for themselves? 4 G8_U1RW1_OnL_8763472.indd 8 8_U1RW1_OnL_8763472.indd 8 5/26/06 3:39:22 PM /26/06 3:39:22 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 9 Interactive Reading UNIT 1 READING WORKSHOP 1 3 Ethnic groups are groups of people that share a language, customs, and social ideas. Tenzing Norgay, who died in 1986, was a Sherpa. The Sherpas are one of about 30 ethnic groups3 in Nepal. Sherpas, who are mainly farmers and herders, are believed to have trekked to Nepal from Tibet about 500 years ago. Because many live in the Khumbu Valley at the foot of Everest, Sherpas work as porters and guides for outsiders who come to climb the mountain. On big expeditions, Sherpas may go ahead of official climbers to carry tons of gear to the few camps along the way. It’s hard to imagine that many foreigners would have made it up Everest without help from Sherpas, who are used to working at high altitudes. Sherpas follow the Buddhist religion, which holds deep respect for nature as a core belief. They call the mountain Sagarmatha, which means “goddess mother of the world.” The Mountain’s Keepers Your Notes As you read, you might fi nd words that you want to know more about. They might be ones you really like or ones that you don’t understand. You can add them to your Hot Words Journal at the back of this book. G8_U1RW1_OnL_8763472.indd 9 8_U1RW1_OnL_8763472.indd 9 5/26/06 3:39:26 PM /26/06 3:39:26 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 10 Course 3, Unit 1 Active Learning and Note Taking Guide Interactive Reading After You Read Skill Review: Connecting Analyze the connections you made to the characters in this article. Explain the connections you made to events in this article. List connections you made to ideas in this article. State how making connections affected your experience in reading this article. UNIT 1 READING WORKSHOP 1 On TOP theWORLD of G8_U1RW1_OnL_8763472.indd 10 8_U1RW1_OnL_8763472.indd 10 5/26/06 3:39:27 PM /26/06 3:39:27 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 11 Interactive Reading UNIT 1 READING WORKSHOP 1 Skill Review: Title and Subheads Analyze the effects of titles and subheads in “On Top of the World” by completing the graphic organizer below. Title: On Top of the World • It informs me by • It draws my attention by Subhead 1: The Quest for the Top • It informs me by • It draws my attention by Subhead 2: One Mean Mountain • It informs me by • It draws my attention by Subhead 3: It’s Still There • It informs me by • It draws my attention by Subhead 4: The Mountain’s Keepers • It informs me by • It draws my attention by G8_U1RW1_OnL_8763472.indd 11 8_U1RW1_OnL_8763472.indd 11 5/26/06 3:39:29 PM /26/06 3:39:29 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 12 Course 3, Unit 1 Active Learning and Note Taking Guide Note Taking UNIT 1 READING WORKSHOP 2 Cues Why is setting a purpose for reading important? Notes Setting a purpose for reading helps you: Preview Predicting is taking an educated guess about what you will learn from a text. Skim the information on setting a purpose for reading. Predict one thing you will learn from these pages. I predict I will learn Skill Lesson: Setting a Purpose for Reading (Reading with Purpose, pp. 42–43) Steps for setting a purpose: 1. 2. 3. 4. Ask questions such as: • • UNIT 1 READING WORKSHOP 2 G8_U1RW2_OnL_8763472.indd 12 8_U1RW2_OnL_8763472.indd 12 5/26/06 3:33:53 PM /26/06 3:33:53 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 13 Note Taking Summary Demonstrate what you have learned about setting a purpose for reading by completing the graphic organizer below. Notes Point of view in fi ction is: • Cues How is fi rst person different from third person? Key Literary Element: Point of View in Fiction (Reading with Purpose, p. 45) Text Purpose for Reading The Autobiography of Benjamin Franklin to learn factual information Gardening for Dummies to be entertained To identify point of view, ask: 1. 2. 3. UNIT 1 READING WORKSHOP 2 A fi rst-person narrator: • goes by “I” or “me” • • talks to the reader A third-person narrator: • is not in the story • • G8_OnLevel_876347-2.indd 13 8_OnLevel_876347-2.indd 13 5/31/06 10:29:21 AM /31/06 10:29:21 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 14 Course 3, Unit 1 Active Learning and Note Taking Guide Interactive Reading UNIT 1 READING WORKSHOP 2 Before You Read As you read, you might fi nd words that you want to know more about. They might be ones you really like or ones that you don’t understand. You can add them to your Hot Words Journal at the back of this book. What You’ll Learn Key Reading Skill: Setting a Purpose for Reading Key Literary Element: Point of View in Fiction Connect Recall a fiction story that scared you. It might be one you were told, read in a book, or saw in a movie. How did you feel when you heard, read, or watched the events unfold? What scared you about the story? How did you react? Word Power Use each word in a sentence. stifl ed (STY fuld) adj. held back; muffl ed; form of the verb stifl e stimulates (STIM yuh layts) v. makes active or more active; form of the verb stimulate audacity (aw DAS ih tee) n. reckless courage hypocritical (hip uh KRIT ih kul) adj. fake; pretending to be something one isn’t The Tell-Tale Heart Reading: What’s in It for You? In the selection “The Tell-Tale Heart,” you will witness the planning, execution, and resolution of a fi ctional crime from inside the mind of the person who commits it. G8_U1RW2_OnL_8763472.indd 14 8_U1RW2_OnL_8763472.indd 14 5/26/06 3:33:56 PM /26/06 3:33:56 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 15 Interactive Reading UNIT 1 READING WORKSHOP 2 True!—nervous—very, very dreadfully nervous I had been and am; but why will you say that I am mad? 1 The disease had sharpened my senses—not destroyed—not dulled them. Above all was the sense of hearing acute. I heard all things in the heaven and in the earth. I heard many things in hell. How, then, am I mad? Hearken!1 and observe how healthily— how calmly I can tell you the whole story. 2 It is impossible to say how fi rst the idea entered my brain; but once conceived,2 it haunted me day and night. Object there was none. Passion there was none. I loved the old man. He had never wronged me. He had never given me insult. For his gold I had no desire. I think it was his eye! yes, it was this! One of his eyes resembled that of a vulture—a pale blue eye, with a fi lm over it. Whenever it fell upon me, my blood ran cold; and so by degrees—very gradually—I made up my mind to take the life of the old man, and thus rid myself of the eye for ever. Now this is the point. You fancy me mad. Madmen know nothing. But you should have seen me. You should have seen how wisely I proceeded—with what caution—with what foresight—with what dissimulation I went to work!3 I was never kinder to the old man than during the whole week before I killed him. And every night, about midnight, I turned the 1 When the narrator says “Hearken,” he is asking the reader to listen. 2 Here, conceived means “thought of.” 3 Foresight means “care or preparation for the future.” Dissimulation means “the hiding or disguising of one’s true feelings and intentions.” 1 Key Literary Element Point of View The narrator refers to himself as “I.” What is the point of view? 2 Key Reading Skill Setting a Purpose The narrator insists that he’s not crazy and that he can calmly tell his story. What questions might you have about these statements? How could these questions help you to form a purpose for reading? The Tell-Tale Heart by Edgar Allan Poe G8_U1RW2_OnL_8763472.indd 15 8_U1RW2_OnL_8763472.indd 15 5/26/06 3:33:58 PM /26/06 3:33:58 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 16 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 2 Interactive Reading latch of his door and opened it—oh, so gently! And then, when I had made an opening suffi cient for my head, I put in a dark lantern, all closed, closed, so that no light shone out, and then I thrust in my head. Oh, you would have laughed to see how cunningly 4 I thrust it in! 3 I moved it slowly—very, very slowly, so that I might not disturb the old man’s sleep. It took me an hour to place my whole head within the opening so far that I could see him as he lay upon his bed. Ha!—would a madman have been so wise as this? And then, when my head was well in the room, I undid the lantern cautiously—oh, so cautiously— cautiously (for the hinges creaked)—I undid it just so much that a single thin ray fell upon the vulture eye. And this I did for seven long nights—every night just at midnight—but I found the eye always closed; and so it was impossible to do the work; for it was not the old man who vexed5 me, but his Evil Eye. And every morning, when the day broke, I went boldly into the chamber, and spoke courageously to him, calling him by name in a hearty tone, and inquiring how he had passed the night. So you see he would have been a very profound6 old man, indeed, to suspect that every night, just at twelve, I looked in upon him while he slept. Upon the eighth night I was more than usually cautious in opening the door. A watch’s minute hand moves more quickly than did mine. Never before that night, had I felt the extent of my own powers—of my sagacity.7 I could scarcely contain my feelings of triumph. To think that there I was, opening the door, little by little, and he not even to dream of my secret 4 Cunningly means “cleverly.” 5 Another way of saying vexed is “annoyed” or “made angry.” 6 Here, profound means “very thoughtful and wise.” 7 Sagacity (suh GAS uh tee) is wisdom and judgment. Key Literary Element 3 Point of View Notice how Poe makes it seem as if the narrator is talking directly to you. How does this point of view draw you into the story? Your Notes G8_U1RW2_OnL_8763472.indd 16 8_U1RW2_OnL_8763472.indd 16 5/26/06 3:34:00 PM /26/06 3:34:00 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 17 Interactive Reading UNIT 1 READING WORKSHOP 2 deeds or thoughts. I fairly chuckled at the idea; and perhaps he heard me; for he moved on the bed suddenly, as if startled. Now you may think that I drew back—but no. His room was as black as pitch with the thick darkness, (for the shutters were close fastened, through fear of robbers,) and so I knew that he could not see the opening of the door, and I kept pushing it on steadily, steadily. 4 I had my head in, and was about to open the lantern, when my thumb slipped upon the tin fastening, and the old man sprang up in the bed, crying out— “Who’s there?” I kept quite still and said nothing. For a whole hour I did not move a muscle, and in the meantime I did not hear him lie down. He was still sitting up in the bed, listening;—just as I have done, night after night, hearkening to the death watches8 in the wall. Presently I heard a slight groan, and I knew it was the groan of mortal terror. It was not a groan of pain or of grief—oh, no!—it was the low stifl ed sound that arises from the bottom of the soul when overcharged with awe. I knew the sound well. Many a night, just at midnight, when all the world slept, it has welled up from my own bosom, deepening, with its dreadful echo, the terrors that distracted me. I say I knew it well. I knew what the old man felt, and pitied him, although I chuckled at heart. I knew that he had been lying awake ever since the fi rst slight noise, when he had turned in the bed. His fears had been ever since growing upon him. He had been trying to fancy them causeless, but could not. He had been saying to himself—“It is nothing but the wind in the 8 Death watches are beetles that bore into wood, especially of old houses and furniture. Some people believe that the insects’ ticking sounds warn that death is approaching. 4 Key Literary Element Point of View Though you are “seeing” what happened from the narrator’s perspective, you don’t have to agree with him. He says that he was sagacious, or wise. Would you call his actions wise? Why or why not? G8_U1RW2_OnL_8763472.indd 17 8_U1RW2_OnL_8763472.indd 17 5/26/06 3:34:01 PM /26/06 3:34:01 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 18 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 2 Interactive Reading chimney—it is only a mouse crossing the fl oor,” or “it is merely a cricket which has made a single chirp.” Yes, he has been trying to comfort himself with these suppositions: but he had found all in vain. All in vain; because Death, in approaching him, had stalked with his black shadow before him, and enveloped9 the victim. And it was the mournful infl uence of the unperceived shadow that caused him to feel— although he neither saw nor heard—to feel the presence of my head within the room. When I had waited a long time, very patiently, without hearing him lie down, I resolved to open a little—a very, very little crevice in the lantern. So I opened it—you cannot imagine how stealthily, stealthily—until, at length, a single dim ray, like the thread of the spider, shot from out the crevice and fell upon the vulture eye. It was open—wide, wide open—and I grew furious as I gazed upon it. I saw it with perfect distinctness—all a dull blue, with a hideous veil over it that chilled the very marrow in my bones; but I could see nothing else of the old man’s face or person: for I had directed the ray as if by instinct, precisely upon the damned spot. And now have I not told you that what you mistake for madness is but overacuteness of the senses?—now, I say, there came to my ears a low, dull, quick sound, such as a watch makes when enveloped in cotton. I knew that sound well, too. It was the beating of the old man’s heart. It increased my fury, as the beating of a drum stimulates the soldier into courage. 9 Here, enveloped means surrounded. Your Notes G8_U1RW2_OnL_8763472.indd 18 8_U1RW2_OnL_8763472.indd 18 5/26/06 3:34:03 PM /26/06 3:34:03 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 19 Interactive Reading UNIT 1 READING WORKSHOP 2 But even yet I refrained and kept still. I scarcely breathed. I held the lantern motionless. I tried how steadily I could maintain the ray upon the eye. Meantime the hellish tattoo10 of the heart increased. It grew quicker and quicker, and louder and louder every instant. The old man’s terror must have been extreme! It grew louder, I say, louder every moment!—do you mark me well? I have told you that I am nervous: so I am. And now at the dead hour of the night, amid the dreadful silence of that old house, so strange a noise as this excited me to uncontrollable terror. Yet, for some minutes longer I refrained and stood still. But the beating grew louder, louder! I thought the heart must burst. And now a new anxiety seized me—the sound would be heard by a neighbor! The old man’s hour had come! With a loud yell, I threw open the lantern and leaped into the room. He shrieked once—once only. In an instant I dragged him to the fl oor, and pulled the heavy bed over him. I then smiled gaily, to fi nd the deed so far done. 5 But, for many minutes, the heart beat on with a muffl ed sound. This, however, did not vex me; it would not be heard through the wall. At length it ceased. The old man was dead. I removed the bed and examined the corpse. Yes, he was stone, stone dead. I placed my hand upon the heart and held it there many minutes. There was no pulsation. He was stone dead. His eye would trouble me no more. If still you think me mad, you will think so no longer when I describe the wise precautions I took for the concealment of the body. The night waned, and I 10 The heart was making a drumming or rapping sound. (This tattoo comes from a Dutch word; the other tattoo, a design on the skin, comes from the language of Tahiti, a Pacifi c island.) Key Literary Element Point of View The narrator smiles gaily after the killing. What does this tell you about him? 5 G8_U1RW2_OnL_8763472.indd 19 8_U1RW2_OnL_8763472.indd 19 5/26/06 3:34:05 PM /26/06 3:34:05 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 20 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 2 Interactive Reading worked hastily, but in silence. First of all I dismembered the corpse. I cut off the head and the arms and the legs. I then took up three planks from the fl ooring of the chamber, and deposited all between the scantlings.11 I then replaced the boards so cleverly, so cunningly, that no human eye—not even his—could have detected anything wrong. There was nothing to wash out—no stain of any kind—no blood-spot whatever. I had been too wary for that. A tub had caught all— ha! ha! When I had made an end of these labors, it was four o’clock—still dark as midnight. As the bell sounded the hour, there came a knocking at the street door. I went down to open it with a light heart—for what had I now to fear? There entered three men, who introduced themselves, with perfect suavity,12 as offi cers of the police. A shriek had been heard by a neighbor during the night; suspicion of foul play had been aroused; information had been lodged at the police offi ce, and they (the offi cers) had been deputed13 to search the premises. I smiled—for what had I to fear? I bade the gentlemen welcome. The shriek, I said, was my own in a dream. The old man, I mentioned, was absent in the country. I took my visitors all over the house. I bade them search—search well. I led them, at length, to his chamber. I showed them his treasures, secure, undisturbed. In the enthusiasm of my confi dence, I brought chairs into the room, and desired them here to rest from their fatigues, while I myself, in the wild 11 The scantlings are the boards that hold up the fl oor planks. 12 Suavity (SWOV uh tee) is a smooth, polite, gracious manner. 13 The offi cers were assigned a duty, or deputed, by a superior. Your Notes As you read, you might fi nd words that you want to know more about. Circle those words on the page. You can add them to your Hot Words Journal at the back of this book. G8_U1RW2_OnL_8763472.indd 20 8_U1RW2_OnL_8763472.indd 20 5/26/06 3:34:06 PM /26/06 3:34:06 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 21 Interactive Reading UNIT 1 READING WORKSHOP 2 audacity of my perfect triumph, placed my own seat upon the very spot beneath which reposed the corpse of the victim. The offi cers were satisfi ed. My manner had convinced them. I was singularly at ease. They sat, and while I answered cheerily, they chatted of familiar things. But, ere long, I felt myself getting pale and wished them gone. My head ached, and I fancied a ringing in my ears: but still they sat and still chatted. The ringing became more distinct—it continued and became more distinct: I talked more freely to get rid of the feeling: but it continued and gained defi nitiveness—until, at length, I found that the noise was not within my ears. No doubt I now grew very pale—but I talked more fl uently,14 and with a heightened voice. Yet the sound increased—and what could I do? It was a low, dull, quick sound—much such a sound as a watch makes when enveloped in cotton. I gasped for breath—and yet the offi cers heard it not. I talked more quickly—more vehemently; but the noise steadily increased. I arose and argued about trifl es, in a high key and with violent gesticulations;15 but the noise steadily increased. Why would they not be gone? I paced the fl oor to and fro with heavy strides, as if excited to fury by the observations of the men—but the noise steadily increased. Oh God! what could I do? I foamed—I raved—I swore! I swung the chair upon which I had been sitting, and grated it upon the boards, but the noise arose over all and continually increased. It grew 14 To speak fl uently is to do so smoothly and effortlessly. 15 Trifl es are unimportant things. Bold, expressive gestures are gesticulations. Your Notes G8_U1RW2_OnL_8763472.indd 21 8_U1RW2_OnL_8763472.indd 21 5/26/06 3:34:08 PM /26/06 3:34:08 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 22 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 2 Interactive Reading louder—louder—louder! And still the men chatted pleasantly, and smiled. Was it possible they heard not? Almighty God!—no, no! They heard!—they suspected!—they knew!—they were making a mockery of my horror!—this I thought, and this I think. But anything was better than this agony! Anything was more tolerable than this derision!16 I could bear those hypocritical smiles no longer! I felt that I must scream or die!—and now—again!—hark! louder! louder! louder! louder!— “Villains!” I shrieked, “dissemble17 no more! I admit the deed!—tear up the planks!—here, here!—it is the beating of his hideous heart!” 6 Reading: What’s in It for You? Would you recommend this story to others? Why or why not? 6 16 Mockery is insulting actions or speech. Derision is ridicule. 17 Here, dissemble means “to disguise one’s true thoughts or feelings; act in an insincere way.” G8_U1RW2_OnL_8763472.indd 22 8_U1RW2_OnL_8763472.indd 22 5/26/06 3:34:10 PM /26/06 3:34:10 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 23 Interactive Reading After You Read UNIT 1 READING WORKSHOP 2 Skill Review: Setting a Purpose for Reading Review “The Tell-Tale Heart,” using the checklist below as a guide. ✓ Think about the title of the story. ✓ Study the illustrations. ✓ Reread the fi rst two paragraphs. Recall some of the common purposes for reading. Identify the purpose for reading that you set for “The Tell-Tale Heart.” Explain why you chose this purpose for reading. Evaluate your purpose for reading “The Tell-Tale Heart.” Did you meet your purpose for reading? If not, how could you revise your purpose? Was your purpose too general or too specifi c? Explain. The Tell-Tale Heart G8_U1RW2_OnL_8763472.indd 23 8_U1RW2_OnL_8763472.indd 23 5/26/06 3:34:12 PM /26/06 3:34:12 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 24 Course 3, Unit 1 Active Learning and Note Taking Guide Interactive Reading After You Read UNIT 1 READING WORKSHOP 2 Predict how this story would be different if it were told from a different point of view. Would it be more or less frightening? Explain. Skill Review: Point of View in Fiction Examine point of view in “The Tell-Tale Heart” by completing the graphic organizer below. In the center circle, write the point of view that Poe uses. In the other circles, write text from the story that helped you to identify the point of view. The Tell-Tale Heart G8_U1RW2_OnL_8763472.indd 24 8_U1RW2_OnL_8763472.indd 24 5/26/06 3:34:13 PM /26/06 3:34:13 PM

prior knowledge: = activating prior knowledge: 12 3 What three steps should I follow? Activating prior knowledge helps you understand: 1. 2. Skill Lesson: Activating Prior Knowledge (Reading with Purpose, pp. 62–63) Preview Scanning is glancing quickly over a selection in order to fi nd specifi c information. Scan the information on activating prior knowledge. Write one thing you already knew and one thing you didn’t know. I knew I didn’t know How do I do it? G8_U1RW3_OnL_8763472.indd 25 8_U1RW3_OnL_8763472.indd 25 5/26/06 3:19:23 PM /26/06 3:19:23 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 26 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 3 Note Taking Cues Notes Key Literary Element: Tone (Reading with Purpose, p. 65) how to tell an author’s tone An author’s tone reveals 1. Look at the words the author uses. Ask, Do they seem fi lled with admiration, sarcasm, anger, or laughter? 2. 3. What does tone reveal? No doubt I now grew very pale—but I talked more fl uently, and with a heightened voice. Yet the sound increased—and what could I do? . . . I gasped for breath—and yet the offi cers heard it not. I talked more quickly—more vehemently; but the noise steadily increased. I arose and argued about trifl es, in a high key and with violent gesticulations; but the noise steadily increased. Identify any prior knowledge that helped you to understand this selection. Summary Review the excerpt below from Edgar Allan Poe’s short story, “The Tell-Tale Heart.” G8_U1RW3_OnL_8763472.indd 26 8_U1RW3_OnL_8763472.indd 26 5/26/06 3:19:24 PM /26/06 3:19:24 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 27 Interactive Reading UNIT 1 READING WORKSHOP 3 Before You Read What You’ll Learn Key Reading Skill: Activating Prior Knowledge Key Literary Element: Tone Connect Identify a person you know who always looks out for the well-being of others. It might be a teacher, parent, friend, or public figure. List the qualities this person has that make him or her stand out. How does he or she respond to challenges? Word Power Use each word in a sentence. treacherous (TRECH ur us) adj. dangerous; not reliable; not trustworthy mutilated (MYOO tih lay tid) adj. damaged in a way that cannot be repaired; form of the verb mutilate dormitory (DOR mih tor ee) n. a building with rooms for people to sleep in As you read, you might fi nd words that you want to know more about. They might be ones you really like or ones that you don’t understand. You can add them to your Hot Words Journal at the back of this book. Reading: What’s in It for You? Read the selection “The March of the Mill Children” to learn how one woman grabbed the attention of the entire nation in her fi ght against child labor. The March of the Mill Children G8_U1RW3_OnL_8763472.indd 27 8_U1RW3_OnL_8763472.indd 27 5/26/06 3:19:26 PM /26/06 3:19:26 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 28 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 3 Interactive Reading “I love children,” Mother Jones once told a reporter. In countless shacks and shanties across the country, she had tied the shoes of children, wiped their noses, hugged them when they cried, scrambled to fi nd food for them, fought for their rights. By the turn of the century, almost two million children under the age of sixteen worked in mills, factories, and mines. Images of the child workers Mother Jones had seen stayed with her—the torn, bleeding fi ngers of the breaker boys, the mill children living on coffee and stale bread. 1 In June 1903, Mother Jones went to Philadelphia, Pennsylvania—the heart of a vast textile industry.1 About one hundred thousand workers from six hundred different mills were on strike2 there. The strikers wanted their workweek cut from sixty to fi fty-fi ve hours, even if it meant lower wages. About a sixth of the strikers were children under sixteen. Nationwide, eighty thousand children worked in the textile industry. In the South, Mother Jones had seen how dangerous their jobs were. Barefooted little girls and boys reached their tiny hands into the treacherous machinery to repair snapped threads or crawled underneath the machinery to oil it. At textile union headquarters, Mother Jones met more of these 1 The textile industry includes all the businesses that make and use yarn and fabrics. 2 When workers go on strike, they stop working to protest unfair working conditions. Key Reading Skill 1 Activating Prior Knowledge What do you know about child labor that might help you understand this selection? The March Mill Children of the by Judith Pinkerton Josephson G8_U1RW3_OnL_8763472.indd 28 8_U1RW3_OnL_8763472.indd 28 5/26/06 3:19:28 PM /26/06 3:19:28 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 29 Interactive Reading 3 People who own stock in a company own part of the company. The newspapers didn’t want to write about child labor because they didn’t want the factories they owned stock in to lose money. 4 When something is quivering, it is shaking. Mother Jones is describing the children as being really scared. Key Literary Element Tone Identify some words that show the author’s sympathy and concern for the children. 2 As you read, you might fi nd words that you want to know more about. Circle those words on the page. You can add them to your Hot Words Journal at the back of this book. mill children. Their bodies were bone-thin, with hollow chests. Their shoulders were rounded from long hours spent hunched over the workbenches. Even worse, she saw “some with their hands off, some with the thumb missing, some with their fi ngers off at the knuckles”—victims of mill accidents. 2 Pennsylvania, like many other states, had laws that said children under thirteen could not work. But parents often lied about a child’s age. Poor families either put their children to work in the mills or starved. Mill owners looked the other way, because child labor was cheap. Mother Jones asked various newspaper publishers why they didn’t write about child labor in Pennsylvania. The publishers told her they couldn’t, since owners of the mills also owned stock in their newspapers.3 “Well, I’ve got stock in these little children,” she said, “and I’ll arrange a little publicity.” Mother Jones, now seventy-three, gathered a large group of mill children and their parents. She led them on a one-mile march from Philadelphia’s Independence Square to its courthouse lawn. Mother Jones and a few children climbed up on a platform in front of a huge crowd. She held one boy’s arm up high so the crowd could see his mutilated hand. “Philadelphia’s mansions were built on the broken bones, the quivering hearts,4 and drooping heads of these children,” she said. She lifted another child in her arms so the crowd could see how thin he was. Mother Jones looked directly at the city offi cials standing at the open windows across the street. UNIT 1 READING WORKSHOP 3 G8_U1RW3_OnL_8763472.indd 29 8_U1RW3_OnL_8763472.indd 29 5/26/06 3:19:30 PM /26/06 3:19:30 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 30 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 3 Interactive Reading 5 In a religious sacrifi ce, an animal is killed on an altar. Mother Jones is saying that she will not allow children to be harmed, or sacrifi ced, just so that people can make a lot of money. 6 This fi fe-and-drum corps was a small marching band that played drums and fl utes. “Some day the workers will take possession of your city hall, and when we do, no child will be sacrifi ced on the altar of profi t.” 5 Unmoved, the offi cials quickly closed their windows. Local newspapers and some New York newspapers covered the event. How, Mother Jones wondered, could she draw national attention to the evils of child labor? Philadelphia’s famous Liberty Bell, currently on a national tour and drawing huge crowds, gave her an idea. She and the textile union leaders would stage their own tour. They would march the mill children all the way to the president of the United States—Theodore Roosevelt. Mother Jones wanted the president to get Congress to pass a law that would take children out of the mills, mines, and factories, and put them in school. 3 When Mother Jones asked parents for permission to take their children with her, many hesitated. The march from Philadelphia to Sagamore Hill—the president’s seaside mansion on Long Island near New York City—would cover 125 miles. It would be a diffi cult journey. But fi nally, the parents agreed. Many decided to come along on the march. Other striking men and women offered their help, too. On July 7, 1903, nearly three hundred men, women, and children—followed by four wagons with supplies—began the long march. Newspapers carried daily reports of the march, calling the group “Mother Jones’s Industrial Army,” or “Mother Jones’s Crusaders.” The army was led by a fi fe-and-drum corps6 of three children dressed in Revolutionary War uniforms. Mother Jones wore her familiar, Your Notes Key Reading Skill 3 Activating Prior Knowledge Have you seen other protest marches in movies or on TV? How does your knowledge of them help you understand the march described here? G8_OnLevel_876347-2.indd 30 8_OnLevel_876347-2.indd 30 5/31/06 10:32:45 AM /31/06 10:32:45 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 31 Interactive Reading UNIT 1 READING WORKSHOP 3 Your Notes lace-fringed black dress. The marchers sang and carried fl ags, banners, and placards that read “We Want to Go to School!” “We Want Time to Play.” “Prosperity Is Here, Where Is Ours?” “55 Hours or Nothing.” “We Only Ask for Justice.” “More School, Less Hospitals.” The temperature rose into the nineties. The roads were dusty, the children’s shoes full of holes. Many of the young girls returned home. Some of the marchers walked only as far as the outskirts of Philadelphia. For the hundred or so marchers who remained, this trip was an adventure in spite of the heat. They bathed and swam in brooks and rivers. Each of them carried a knapsack with a knife, fork, tin cup, and plate inside. Mother Jones took a huge pot for cooking meals on the way. Mother Jones also took along costumes, makeup, and jewelry so the children could stop in towns along the route and put on plays about the struggles of textile workers. The fi fe-and-drum corps gave concerts and passed the hat. People listened and donated money. Farmers met the marchers with wagonloads of fruits, vegetables, and clothes. Railroad engineers stopped their trains and gave them free rides. Hotel owners served free meals. On July 10, the marchers camped across the Delaware River from Trenton, New Jersey. They had traveled about forty miles in three days. At fi rst, police told the group they couldn’t enter the city. Trenton mill owners didn’t want any trouble. But Mother Jones invited the policemen to stay for lunch. The children gathered around the cooking pot with their tin plates and cups. The policemen smiled, talked kindly to them, then allowed them G8_OnLevel_876347-2.indd 31 8_OnLevel_876347-2.indd 31 5/31/06 10:32:47 AM /31/06 10:32:47 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 32 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 3 Interactive Reading to cross the bridge into Trenton. There Mother Jones spoke to a crowd of fi ve thousand people. That night, the policemen’s wives took the children into their homes, fed them, and packed them lunches for the next day’s march. By now, many of the children were growing weak. More returned home. Some adults on the march grumbled that Mother Jones just wanted people to notice her. They complained to reporters that Mother Jones often stayed in hotels while the marchers camped in hot, soggy tents fi lled with whining mosquitoes. 4 Sometimes Mother Jones did stay in hotels, because she went ahead of the marchers to arrange for lodging and food in upcoming towns and to get publicity for the march. As the remaining marchers pushed on to Princeton, New Jersey, a thunderstorm struck. Mother Jones and her army camped on the grounds of former President Grover Cleveland’s estate. The Clevelands were away, and the caretaker let Mother Jones use the big, cool barn for a dormitory. Mother Jones got permission from the mayor of Princeton to speak opposite the campus of Princeton University. Her topic: higher education. She spoke to a large crowd of professors, students, and residents. Pointing to one ten-year-old boy, James Ashworth, she said, “Here’s a textbook on economics.” The boy’s body was stooped from carrying seventy-fi vepound bundles of yarn. “He gets three dollars a week and his sister, who is fourteen, gets six dollars. They work in a carpet factory ten hours a day while the children of the rich are getting their higher education.” Her piercing glance swept over the students in the crowd. Key Literary Element Tone What is the tone of the fi rst few sentences of this paragraph? Think about the following words, which appear in the paragraph. Then describe the tone. • “grumbled” • “complained” • “hot, soggy tents” • “whining mosquitoes” 4 G8_OnLevel_876347-2.indd 32 8_OnLevel_876347-2.indd 32 5/31/06 10:32:48 AM /31/06 10:32:48 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 33 Interactive Reading UNIT 1 READING WORKSHOP 3 Mother Jones talked about children who could not read or write because they spent ten hours a day in Pennsylvania’s silk mills. Those who hired these child workers used “the hands and feet of little children so they might buy automobiles for their wives and police dogs for their daughters to talk French to.” She accused the mill owners of taking “babies almost from the cradle.” 5 The next night, the marchers slept on the banks of the Delaware River. In every town, Mother Jones drew on what she did best—speaking—to gather support for her cause. One reporter wrote, “Mother Jones makes other speakers sound like tin cans.” Battling heat, rain, and swarms of mosquitoes at night, the marchers arrived in Elizabeth. Socialist party members helped house and feed the weary adults and children. The next morning, two businessmen gave Mother Jones her fi rst car ride. She was delighted with this new “contraption.” 7 On July 15, Mother Jones wrote a letter to President Roosevelt. She told him how these poor mill children lived, appealed to him as a father, and asked him to meet with her and the children. President Roosevelt did not answer Mother Jones’s letter. Instead, he assigned secret service offi cers to watch her. They thought she might be a threat to the president. That made her furious. On July 24, after more than two weeks on the road, the marchers reached New York City. By now, just twenty marchers remained. One of them was Eddie Dunphy, a child whose job was to sit on a high stool eleven hours a day handing thread to another worker. For this he was paid three dollars a week. 7 A contraption is a mechanical device. 5 Key Literary Element Tone How would you describe Mother Jones’s tone? How did you identify this tone? G8_OnLevel_876347-2.indd 33 8_OnLevel_876347-2.indd 33 5/31/06 10:32:50 AM /31/06 10:32:50 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 34 Course 3, Unit 1 Active Learning and Note Taking Guide UNIT 1 READING WORKSHOP 3 Interactive Reading Your Notes Mother Jones talked about Eddie and about Gussie Rangnew, a child who packed stockings in a factory. She too worked eleven hours a day for pennies. At one meeting, a crowd of thirty thousand gathered. “We are quietly marching toward the president’s home,” she told the people. “I believe he can do something for these children, although the press declares he cannot.” One man wanted the children to have some fun while they were in New York City. Frank Bostick owned the wild animal show at Coney Island, an amusement park and resort. He invited the mill children to spend a day at the park. The children swam in the ocean and played along the beach. When Frank Bostick’s wild animal show ended that night, he let Mother Jones speak to the crowd that had attended. To add drama, she had some of the children crawl inside the empty cages. The smells of sawdust and animals hung in the air. But instead of lions and tigers, the cages held children. The children gripped the iron bars and solemnly stared out at the crowd while Mother Jones spoke. 6 “We want President Roosevelt to hear the wail of the children who never have a chance to go to school, but work eleven and twelve hours a day in the textile mills of Pennsylvania,” she said, “who weave the carpets that he and you walk upon; and the lace curtains in your windows, and the clothes of the people.” She continued, “In Georgia where children work day and night in the cotton mills they have just passed a bill to protect songbirds. What about the little children from whom all song is gone?” After Mother Jones fi nished speaking, the crowd sat in stunned silence. In the distance, a lone lion roared. Key Reading Skill Activating Prior Knowledge Have you ever seen an animal in a cage? How did it make you feel about the animal? Use your experience to understand why Mother Jones asked the children to crawl into the cages. What effect did she hope it would have on the crowd? 6 G8_OnLevel_876347-2.indd 34 8_OnLevel_876347-2.indd 34 5/31/06 10:32:51 AM /31/06 10:32:51 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 35 Interactive Reading UNIT 1 READING WORKSHOP 3 The grueling walk had taken almost three weeks. Mother Jones had written the president twice with no answer. On July 29, she took three young boys to Sagamore Hill, where the president was staying. But the secret service stopped them at the mansion’s gates. The president would not see them. The group returned to New York City. Discouraged, Mother Jones reported her failure to the newspapers. Most of the marchers decided to return home. She stayed on briefl y with the three children. Once more, she wrote President Roosevelt: “The child of today is the man or woman of tomorrow. . . . I have with me three children who have walked one hundred miles. . . . If you decide to see these children, I will bring them before you at any time you may set.” The president’s secretary replied that the president felt that child labor was a problem for individual states to solve. “He is a brave guy when he wants to take a gun out and fi ght other grown people,” said Mother Jones in disgust, “but when those children went to him, he could not see them.” In early August, Mother Jones fi nally took the last three children home. Soon after, the textile workers gave up and ended their strike. Adults and children went back to work, their working conditions unchanged. Though she had not met with the president, Mother Jones had drawn the attention of the nation to the problem of child labor. She became even more of a national fi gure. Within a few years, Pennsylvania, New York, New Jersey, and other states did pass tougher child labor laws. The federal government fi nally passed a child labor law (part of the Fair Labor Standards Act) in 1938—thirty-fi ve years after the march of the mill children. 7 Was it interesting to learn about Mother Jones and the mill children? Explain. 7 G8_OnLevel_876347-2.indd 35 8_OnLevel_876347-2.indd 35 5/31/06 10:32:53 AM /31/06 10:32:53 AM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 36 Course 3, Unit 1 Active Learning and Note Taking Guide Interactive Reading After You Read UNIT 1 READING WORKSHOP 3 Skill Review: Activating Prior Knowledge Analyze the selection “The March of the Mill Children.” In the left column of the chart below, list the information you knew about the topic of child labor before you read the selection. In the right column, list information about this topic that you learned from reading the selection. I Already Knew . . . I Learned . . . Determine which piece of your prior knowledge most helped you understand this selection. How did it help? The March of the Mill Children G8_U1RW3_OnL_8763472.indd 36 8_U1RW3_OnL_8763472.indd 36 5/26/06 3:19:43 PM /26/06 3:19:43 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. Active Learning and Note Taking Guide Course 3, Unit 1 37 Interactive Reading UNIT 1 READING WORKSHOP 3 Skill Review: Tone Analyze each excerpt below to identify words that indicate the author’s tone. Remember that tone is the author’s attitude toward a subject. Circle the words in each excerpt that indicate tone. Summarize the author’s overall tone regarding the use of child workers. The words you circled in the fi rst paragraph may give clues about this tone. “In countless shacks and shanties across the country, [Mother Jones] had tied the shoes of children, wiped their noses, hugged them when they cried, scrambled to fi nd food for them, fought for their rights. . . . Images of the child workers Mother Jones had seen stayed with her—the torn, bleeding fi ngers of the breaker boys, the mill children living on coffee and stale bread.” “By now, many of the children were growing weak. More returned home. Some adults on the march . . . complained to reporters that Mother Jones often stayed in hotels while the marchers camped in hot, soggy tents fi lled with whining mosquitoes. Sometimes Mother Jones did stay in hotels, because she went ahead of the marchers to arrange for lodging and food in upcoming towns and to get publicity for the march.” G8_U1RW3_OnL_8763472.indd 37 8_U1RW3_OnL_8763472.indd 37 5/26/06 3:19:44 PM /26/06 3:19:44 PM

Copyright © Glencoe/McGraw-Hill, a division of The McGraw-Hill Companies, Inc. 38 Course 3, Unit 1 Active Learning and Note Taking Guide Note Taking UNIT 1 READING WORKSHOP 4 UNIT 1 READING WORKSHOP 4 Skill Lesson: Identifying Author’s Purpose (Reading with Purpose, pp. 96–97) Preview Skimming is looking over an entire selection quickly to get a general idea of what the piece is about. Skim the information on identifying author’s purpose. What two things do you think you will learn from reading these pages? 1. I think I will learn 2. I think I will learn Knowing an author’s purpose helps you: • understand what you are reading • To identify the author’s purpose: • Look for main ideas. • • What is the author’s purpose? to entertain Notes The author’s purpose: Cues example: example: commercial example: G8_OnLevel_876347-2.indd 38 8_OnLevel_876347-2.indd 38 5/31/06 10:31:02 AM /31/06 10:31:02 AM