RACTER
irr 't lirr L i
might start out as a few words jotted on a page or
clay squeezed between an artist's fingers. How can these
nnings result in a person-or a dog, a rabbit, or a robot-
m as familiar as your best friend? A skilled creator knows
ayers of details that make someone who doesn't even exist
like someone you've known forever.
n you bring a character to life? Follow these steps
yl
ough magazines and find a picture of someone or
ing that looks like he, she, or it could be an interesting
life for that character. Think about things like where the
lives, what the character cares about most, and how he,
responds to triumphs and challenges.
your character to your group. Which of the details you
most help your classmates feel like they know the person
re you've invented?
COMMON
CORE
Analyze differences in points of ew and the effects they
create
Analyze how dialogue or inciden s in a story reveal aspects ofa
cha racter
ldentify and analyze sound devi and their impact on
meaning
Determine the central idea of a t t and its relationship to
supporting ideas
READING I nfer characters' motivations in different texts
ldentify scope of ideas and i
\trffilTth!6 &Hs
Write a critical review superlative forms correctly
LAfriSU&SE ldentify and use comparative a
Form and use verb moods
SSEr&H$r\l# eLh5# ldentify and use verb tenses cor
I"i$TffruHFd{;;
Produce a debate
VOCABUTARY
Use context as a clue to the ing of a word
ACADEMIC
VOCABUTARV Use knowledge of base words an affixes to determine the
meanings of words
MEDIA AND
VIEW!NG . intelligence
Analyze a filmed production, ev ting the choices made by
the director and actors
Character a d Point of View
For a story to really resona , it must have characters you can care about, relate
to, understand, or even to hate. How do writers create characters that trigger
these kinds of reactions?
workshop, you'll look does who tells the story affect your feelingq? ln this
that help shape your at characterization and point of view, two techniques
and opinions.
i coAtMoNcoRE Part 1: Point of point from which a story is told-can affect your
lncluded in this workshop: Point of view-the ers and events. Point of view is created by a writer's
that tells the story. The narrator may be a character
IRL Cite textual evidence to support understanding of char
choice of narrator, the observer.
inferences drawn from the text. in the story or an o
RL3 Analyze how lines of dialogue points of view. You'll notice that all the examples
or incidents in a story reveal aspects This chart describes ng to win a school election. ln each example, how
of a character. RL6 Analyze how focus on two students
differences in the points ofview of does the choice of na influence your impressions of the characters?
the characters and the audience or
reader create effects.
FIRST.PERSOT Nervously, I eyed Gwen, my I
The narrator competition in the election, and
flashed her a gracious smile. Believe
. is a main or minor character in the story
. uses the pronouns I and me me-I wasn't feeling very gracious.
. shares his or her subjective, or personal,
I relaxed. \What kind of campaign
view ofother characters and events speech is that? I thought. Theret no
way I'll lose now!
. doesn't know the thoughts, feelings, and
Devin had trouble wiping the smile
opinions of other characters off his face as he listened to Gwen
fumble through her speech. For a brief
THIRD.PERSON LIMITED
for Gwen. Then Devin forgot about
The narrator his opponent and started planning his
acceptance speech in his head.
. is not a character in the story but an
Feeling confident and superior,
outside observer Devin gave his opponent, Gwen, a
genuine smile as she walked past him.
. zooms in on the thoughts, feelings, and
smile, she was suspicious of his
opinions of one character kindness. He's probably gloating over
my mistakes, Gwen thought angrily.
THI RD.PERSON OMNISCIEt{T
The narrator
. is not a character in the story but an
outside observer whose observations
can be objective, or unbiased.
. is "all knowing"-that is, he orshe has
access to the thoughts, feelings, and
opinions of all the characters
170 UNIT 2: CHARACTER AND POINT OF VIEW'
MODEL 1: FIRST.PERSON
Emily, the young narrator of this novel, is visiting sick grandmother,
Ola. Emily and Ola have spent the entire day togeth trying on Ola's old
hats and scarves. ln this excerpt, Emily describes special relationship.
t"*Vonircg $he S eep
Novel by Johnson
Ola and I lie on our backs in the kitchen, scarves hats everywhere. I Close Read
Iook over at the night-light by the table. It's the only li t in the room now. l. One sentence that reflects
Olat eyes are closed, but I don't think she's asleep. the first-person point of
view has been Eoxe7l
motner, Dut I know t 15 a Stran ldentify another one.
now tnat not too many or my rr an evenlng 2. 5uppose Emily's
grandmother was the
trying on hats with their grandmothers. A few years they would have. narrator of this novel.
How might that change
Now most of them don't even admit that they like t grandparents, though what you learn about
the woman and her
they do.
granddaughter?
I'm clueless about how to be cool. I ve always told friends that I like
10 my grandmother. Since most of them only get a gli of who she is by the
books and strange things she sends through the mail, think secretly they
think she's cool. That makes up for me being clueless, guess.
{) MODE[ 2: THIRD.PERSON OMNISCIEN
,rff t l The narrator of this story shares the thoughts of mor than one character.
' Alfonso is thrilled when Sandra agrees to go on a bik ride with him. Before
his date, Alfonso breaks the chain on his bike. Will h brother help him out?
r,,,ffiffikem
Chain Short s
"Come on, man, let me use it," Alfonso pleaded. " Close Read
anything." l. How does Ernie feel
Although Ernie could see Alfonso's desperation, he h plans with his friend about Alfonso's
predicament? How does
Raymundo. Theywere going to catch frogs at the canal. He felt sorry for Alfonso himself feel? Cite
details to support your
his brother, and gave him a stick of gum to make him bettet but there was anSwers.
nothing he could do. The canal was three miles away, the frogs were waiting. 2. Supposethe narrator
had not revealed Ernie's
Alfonso took the stick of gum, placed it in his shirt , and left the thoughts in lines 3-6.
How might this affect
bedroom with his head down. . . . your impression of Ernie?
At four he decided to get it over with and started ing to Sandra's house,
trudging dowly, as if he were waist-deep in water. Sha colored his face. How
could he disappoint his first date? She would probably ugh.
rExr ANALYSTs voRKSHop 171
Part 2: Character Traits a Motivation
As a reader, you can't help but have s ong reactions to the people you meet on
the page. Did you know that writers different methods of cha racterization
to create these resPonses in You? on to find out exactly how writers
develop lifelike characters with disti t traits and motivations.
CHARACTER TRAITS like these to describe people in
learn about people's qualities, or traits,
Loya l, outgoing, lazy-you m i ght nd act. For example, a new neighbor
your life. You may not realize it, but saying, "Hi! l'm outgoing." lnstead, you
by observing the way they look, talk, g smile and confident voice.
probably wouldn't introduce herself
would infer this trait by noticing her
Like people, characters in literatur have unique personalities and traits. .
Sometimes, a narrator will directly t I you what a character is like. More often,
you have to infer a character's traits same way you would a person's-bY
considering his or her appearance behavior, for i nsta nce.
Writers show you what their c are like by using the following indirect
methods of characterization. Look this graphic, noting the descriptions of the
girl Madeleine. What traits can you
r?
PHYSICAL APPEARANCE rd her new
Descriptions of a character's to her face.
body language, and facial ex
Madeleine walked stiffly t
locker, a solemn expression
OTHER CHARACTERS ffip" ; !:.
Presentation of others' impressions of the
character and their interactions or relationships .+,f,l'n'4.,#s'':?.9rt,!
with him or her SPEECH, THOUGHTS, AND ACTIONS
Madeleine's classmates smirked and Presentation of a character's speech patterns, habits,
Iaughed as she walked by. Not only was she talents, opinions, and interactions with others
unfriendly, they concluded, but she took
herself way too seriously. This was Madeleine's third move in five years,
and she was sick of starting over. This time, she
172 UNIT 2: CHARACTER AND POINT OF VIEW' vowed to keep to herself, No longer would she
waste any energy rrying to fir in.
MODEL 1: CHARACTERIZATION every day; he sees
The narrator of this story takes the 8:tz train to wo . Today, however, he
the same commuters and sits in the same corner about the stranger
notices a stranger on the platform. What do you I
from this brief excerPt?
li
,."^Calloping
Foxlby shortsto by Roald Dahl
The stranger was standing plumb in the middle of platform, feet apart Close Read
and arms folded, looking for all the world as though owned the whole 1. What methods of
place. He was a biggish, thickset man, and even from :hind he somehow characterization has the
managed to convey a powerful impression of arrogan and oil. Very author used to describe
the stranger?
: definitely, he was not one of us. He carried a cane ins of an umbrella, his
at a ridiculous
shoes were brown instead of black, the grey hat was 2. What kind of person do
you think the stranger is?
angle, and in one way and another there seemed to be n excess ofsilk and Cite specific details that
polish about his person. More than this I did not care observe.
,...,{dlte.#!r:lrrrlrrrir{}rt r,.r,".r.,,","o rr,r,rrr,,'' t'f,i affected your impression
of him.
MODEL 22 CHARACTER TRAITS moved to the United
lugging a green
Sopeap is a Cambodian teenager whose family
States. One day, a classmate walks into her family's 's request for help?
armchair. How does Sopeap respond to the cla
i.
l:
I
from 1,d chair
Yhe T
Short story Minfong Ho
Thomas Ramsey. For an awful moment she thought had said his name Close Read
out loud, but then realized it had only been in her mi . She had long since l. How would you describe
on with his
forced a smile. "Sure," she said Thomas? ldentify at least
endofat two details in this excerPt
how American, she sounded. "Be r that influenced your
impression of him.
H.y, arent you in my history class?" he asked.
2. Reread tfrel boxea I
'Algebra," she said quietly. At least he recognized descriptions of
Sopeap's thoughts and
noticed him, intrigued by the aloof easy banter he ca feelings. What do these
classmates, as if he were looking at them from the w descriptions suggest
about hertraits?
A bit of a loner, and likine it that
, clutcnlng onto as tightly as she
TExr ANALYSIS \roRKSHoP 173
CHARACTER MOTIVATION
Why did the boy decide to volunteer at the animal helter? What prompted the
woman to risk her life for a stranger? A big part of nding characters is
analyzing their motivations, or the reasons behind r actions. For instance,
did the boy volunteer at the shelter because of his on for animals or
because he has a crush on someone who works Think about what each
motivation might suggest about the boy's traits.
To uncover a character's motivation, you often to look for details in the
story. As you read, consider the following: motivation
. the narrator's direct comments about a characte ambition, jealousy-
. a character's actions, thoughts, and values
. your own understanding of the emotions-love,
that drive human behavior
ln this story, r7-year-old Mike finally decides to his grandmother in the
nursing home. What factors are motivating his ac ns?
-l
#4#.e*o€=s=
story by Robert Cormier
. I told my mother I'd go, anyway. I hadn't n my grandmother Close Read
since she'd been admitted to Lawnrest. Besides, place is located on the l. Reread the lEo-red ltext.
Southwest Turnpike, which meant I could barrel a in mv father's new Le What is the narrator's
initial motivation for
Mans. My ambition was to see the speedometer hi lnarlry, visiting his grandmother?
statlon wagon, whlch can stagger uP to 2. The narrator has second
thoughts about his visit
Frankly, I wasn't too crazy about visiting a nurs home. They reminded once he's in the parking
lot. What eventually
me of hospitals, and hospitals turn me off. I mea the smell of ether makes motivates him to go
me nauseous, and I feel faint at the sight of blood. nd as I approached inside?
[,31vn1ss5-\Mhich is a terrible cemetery kind of na , to begin with-I was 3. Consider the two
motivati n g factors that
10 sorry I hadn't avoided the trip. Then I felt guilty it. I'm loaded with influence the narrator's
actions. What do they
guilt complexes. Like driving like a madman after romising my father to tellyou about him?
be careful. Like sitting in the parking lot, looking the nursing home with
dread and thinking how I'd rather be with Cindy. hen I thought ofall the
Christmas and birthday gifts my grandmother given me, and I got out of
the car, guilty as usual.
-i
r!r,\'ii1.1.!,i,r,,!elrr!..r.,:!.it]tl!rr{!r!ir!!1:a*lrrl':rr'r'
174 uNrr 2: cHARACTER AND poINT oF vIE\r
Part 3: Analyze the Text
Meet Cene, a high school student in Mrs. Tibbetts' secpnd-period class. Cene
and his fellow classmates have just found out that Mrl. Tibbetts is taking the
advanced English class to a poetry reading. What hapflens when Mrs. Tibbetts
unexpectedly extends the invitation to Gene's class? Rfad on to find out.
from
I GO ALON
Short story by R
Since it's only the second period of the day, weie al feeling pretty good. Close Read
it's a Tuesday, a terrible TV night. c Puts up tnell L From what point of view
ands. I mean everybody. Even Marty Crawshaw. . , And Pink Hohenfield, is this story told? Explain
how you can tell.
who's in class today for the first time this month.
2. Reread the Eoxedl
5 Mrs. Tibbetts looks amazed. She's never seen this any
sentences. What do they
class. She's never seen anybody's hand except Darla's. ] . . suggest about Cene's
But then she sees we have to be putting her on. So $he just says, "Anyone character traits?
who would like to go, be in the parking lot at five-thi{ty, And eat first. No How would this excerpt
be different if Mrs.
eating on the bus." Tibbetts were the
na rrator?
l0 Mrs. Tibbetts can drive the school bus. \7heneu., |h.', taking the
Examine lines 3z-34.
advanced class anywhere, she can go to the principal fgr the keys. She can use Why do you think Cene
hides when the bus
the bus anytime she wanrs to, unless the coach needs lt. passes the 7-Eleven?
Consider Cene's actions
Then she opens her attendance book, and we tune put.lAnd at five-thirty and body language in
lines z7-34. Based on
h-il;oid=ilE :lNeedl.ss to say,lG tEE these details, what
can you infer about his
r5 d Pink Hohenfield will personality?
be out on the access highway about now at 7-Eleven, iitting on their hoods.
Darla couldn't make it either. Right offhand I can't t$ink of anybody who
wants to ride a school bus thirty miles to see a poet. Ipcluding me.
The advanced-English juniors are milling around bdhina school. I'm still
in my car, and it's almost'dark, so nobodyiees me.
Then Mrs. Tibbetts wheels the school bus in. Shl's got the amber
fogs flashing, and you can see the black letters alon$ the yellow side:
CONSOLIDATED SCHOOL DIST. She swings in]and hits the brakes,
and the doors fly open. The advanced class starts to .[i-b aboard. They're
25 more orderly than us, but they've got their groups ,4o. . . . I'm settling
behind my dashboard. The last kid climbs the bus.
]
And I seem to be sprinting across the asphalt. I m o{r the bus, and the door's
hissing shut behind me. \7hen I swing past the driver'q seat, I don't look at Mrs.
Tibbetts, and she doesn't say anything. I wonder wher[ I'm supposed to sit.
They're still milling around in the aisle, but there fre plenty of seats. I find
an empty double and settle by the window, pulling rr{y ball cap down in front.
It doesn't take us long to get out of town, not in this fown. \When we go past
7-Eleven,I'm way down in the seat with my hand shillding my face on the
window side. Right about then, somebody sits down [r.*t to me. I flinch.
TExr ANALYsTs woRKSHop 175
Before Reading
The Treasur of Lemon Brown
Short Story by Walt r Dean Myers
Whm& d, ffiffiex
CH RISH?
I COMMONCORE Think of whatyou most :rish, or hold dear. ls it worth a lot of money,
RLt Cite textual evidence to or is it valuable because a memory that is important only to you?
support inferences drawn from
thetext. RL3 Analyze how lines For example, a photogra of a favorite friend or relative wouldn't
ofdialogue and incidents in a
story reveal aspects ofa character bring much money at an uction, but the memories it holds might
or provoke a decision. make it one of the first th you'd save if your home were on fire. ln
RL 6 Analyze how differences "The Treasure of Lemon B " aboy's encounterwith an old blues
in the points ofview ofthe
musician helps him di what he treasures most.
characters and the audience or
reader create effects. LIST lT Make a list of th to five things that you cherish. They might
be tangible (things you touch, such as a pair ofjeans or a pet) or
intangible (things you ca
freedom). Explain why touch, such as a memory or an idea like
things are important to you.
O rrxr ANALVSTS: THTRD-pERsoN polNT oF vt I the Walter Dean Myers
ln the third-person omniscient point of view, the born 1937
is an outside observer who can see into the minds of
characters. A third-person limited narrator is also an Contest to Career
observer, but this point of view focuses on what one Walter Dean Myers was born to a large family
sees, thinks, and feels. Look at the following ex in West Virginia. After his mother died,
his father could no longer care for all the
Report cards were due in a week, and Greg had been children. Myers grew up with foster parents
the best. in New York City. A speech impediment
made it difficult for him to speak, so he
ln this sentence, the narrator tells the reader how G feels began writing poetry and stories with the
about the report card he's about to receiVe. encouragement of a teacher who thought
allows writing would help him express himself. Still,
As you read, pay attention to how much the narra n8s. he didn't think he could earn a living as an
you to know about each character's thoughts and author. After unhappily working as a post-
office clerk and a messenger, Myers saw an
! nraorNG sKrLL: rNFER cHARAcTERs' MortvA oN5 advertisement for a children's book-writing
contest. He had never written for young
To fully understand the characters in a story, you to people, but he won the contest and began a
highly successful writing career.
think about their motivations, or the reasons for thei actions.
Writing His Life
Sometimes a narrator will actually state a character's motives, Myers frequently draws on his own
but more often you need to infer, or guess, them. To nfer a experience in his writing. Many of his
characters belong to low-income families
character's motives, notice his or her reactions, , and and dealwith urban problems. He has
also written biographies of prominent
statements, and askyourself whatyou would feelor nt in African Americans, including Malcolm X and
Muhammad Ali. Myers has said,'As a black
that situation. Also, recall times when you were in a ilar writeri I want to talk about my people." But
the characters he creates and the issues he
situation or behaved similarly. addresses have universal appeal.
As you read, note details about the characters and BACKGROUND TO THE STORY
inferences about their motives on a chart like the here.
Harlem
Details About Charadu Whct llffer About "The Treasure of Lemon Brown" takes place
in Harlem, the neighborhood in which Myers
Arejs {ather lectures Greg Grejs father wants grew up in New York City. Since about r9to, it
uath.about his poor e$fort tn has been one of the largest African-American
succeed rn lrfe. communities in the United States.
A vocaeuLARY rN coNTExr story
Walter Dean Myers uses the boldfaced words to tell ow
of Lemon Brown. To see how many of the words you
substitute a different word or phrase for each one.
1. The door was ajar and let in a small amount of li
2. There was a tremor in his voice as he told the tale.
3. The silence was ominous and scary.
4. He would commence his trip when the rain
5. Years of hard work left him with gnarled hands.
6. The hallway was dark, so he moved tentatively.
.@ complete the activities in your Reader/writer
THE TREASURE
W'alter Myers
ry *$Ii3r"'
[ | h. d.rL sky, filled with angry, swirling cloud reflected Greg Ridley's
Ll mood as he sat on the stoopl of his building. is father's voice came to This collage was created
by Walter Dean Myers's
him again, first reading the letter the principal h sent to the house, then son. What can you infer
about Harlem from the
lecturing endlessly about his poor efforts in math. details in this image?
"I had to leave school when I was 13," his father frad said, "thatt ayear i
younger than you are now. If I'd had half the that you have, I'd . . ." POINT OF VIEW
Whose thoughts and
Greg had sat in the small, pale green kitchen lisfening, knowing the lecture feelings is the narrator
would end with his father saying he couldn't play $all with the Scorpions. He describing?
had asked his father the week before, and his fathlr had said it depended on his
10 next report card. It wasn't often the Scorpions too$ on new players, especially
14-year-olds, and this was a chance of a lifetime filr Greg. He hadn't been
allowed to play high school ball, which he had reafly wanted to do, but playing
For the Community Center team was the next bes{ thing. Report cards were
due in a week, and Greg had been hoping for the $est. But the principal had
ended the suspense early when she sent that letter iaying Greg would probably
fail math if he didn't spend more time studying.
"And you want to play basketball?" His fathert rows knitted over deep
brown eyes. "That must be some kind of a joke. you just get into your
room and hit those books."
20 That had been two nights before. His father's rds, like the distant
thunder that now echoed through the streets of rlem, still rumbled softly
in his ears.
1. stoop: a porch or staircase at the entrance of a building. Illustrations by Christopher Myers.
178 I]NIT 2: CHARACTER AND POINT OF VIETq'
.J'
T
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It was beginning to cool. Gusts of wind made ofpaper dance between
the parked cars. There was a flash of nearby light ing, and soon large drops
of rain splashed onto his jeans. He stood to go u irs, thought of the lecture
shut himself in his room
that probably awaited him if he did anything street instead. Down the
with his math book, and started walking down
block there was an old tenement that had been ndoned for some months.
Some of the guys had held an impromptu checke tournament there the week ajar (e-ttir') adj. partially
:o before, and Greg had noticed that the door, once arded over, had been open
slightly aiar. tentatively (tEn'te-tYv-le)
adv. uncertainly or
Pulling his collar up as high as he could, he For traffic and made a hesita ntly
dash across the street. He reached the house just another flash of lightning o rNFER CHARACTERS'
MOTIVATIONS
changed the night to day for an instanr, then ret ned the graffiti-scarred Reread lines z5-27 and
building to the grim shadows. He vaulted over r outer stairs and pushed 48-5t. From Creg's
tentativel). on the door. It was open, and he let h self in. thoughts, what would
you infer are his reasons
rTF for not going home?
[L|l he inside of the building was dark except for he dim light that filtered
through the dirty windows from the streeda ps. There was a room a few
feet from the door, and from where he stood at t entrance, Greg could see
+o a squarish patch of light on rhe floor. He entered he room, frowning at the
musty smell. It was a"large room rhar might have someone's parlor at one
time. Squinting, Greg could seb an old table on i side against one wall, what
looked like a pile of rags or a rorn mamress in the rner, and a couch, with
one side broken, in front of the window.
He went to the couch. The side rhar wasn'r b n was comfortable enough,
though a little creaky. From this spot he could the blinking neon sign over
the bodega2 on rhe corner. He sat a while, watchi g the sign blink first green
then red, allowing his mind to drift to the Scorpi ns, then to his father. His
father had been a postal worker for all Greg's life, nd was proud of it, often
io telling Greg how hard he had worked to pass the t. Greg had heard the story
too many times to be interested now. @
For a moment Greg thought he heard somerhi that sounded like a
scraping against the wall. He listened carefully, it was gone.
Outside the wind had picked up, sending rhe n against the window with
a force that shook the glass in its frame. A car pas , its tires hissing over rhe
wet street and its red tail lights glowing in the dar NCSS.
Greg thought he heard the noise again. His sto tightened as he held
himself still and listened intently. There weren't a more scraping noises, but
60he was sure he had heard something in the dark -scoommeinthginfrgomb;rehaethkinnge!w
He tried to figure out iust where the breathing
it was in the room with him. Slowly he stood, ng. As he turned, a flash of
lightning lit up the room, frightening him with i sudden brilliance. He saw
nothing, just the overrurned table , the pile of rags nd an old newspaper on
the floor. Could he have been imagining the sou ? He continued listening,
2. bodega (bo-da'ge): a smallgrocery store.
180 UNIT 2: CHARACTER AND POINT OF VIE\r
COMMON
CORE
TEXT Analyze differences in of view and the effects they
ANATYS!5 create in a story reveal aspects ofa
READING Analyze how dialogue or ices and their impact on
WNITIhIG RNF cha racter a text and its relationship to
ldentify and analyze sound
LAilGUACE meaning
5, **,.?i, fi I iei li"i €i1i f;-"F Determine the central idea
t"+ 5'r'utf4 : 1\1,{:i supporting ideas
VOCABULARY lnfer characters'
ldentify scope of ideas and i formation in different texts
Write a critical review
ldentify and use compara and superlative forms correctly
Form and use verb moods c 'rectly
ldentify and use verb tenses
ACADEMIC . Analyze a filmed productior!, evaluating the choices made by
VOCABULARY
the director and actors
MEDIA AND
VIEWING
Character and int of View
For a story to really resonate, it m st have characters you can care about, relate
to, understand, or even love to , How do writers create characters that trigger
these kinds of reactions? How whotells the story affect your feelings? ln this
workshop, you'll look closely at racterization and point of view, two techniques
that help shape your reactions opinions.
i COMMONCORE Part 1: Point of View nt from which a story is told-can affect your
lncluded in this workshop: Point of view-the vantage events. Point of view is created by a writer's
t tells the story. The narrator may be a character
IRL Cite textual evidence to support understanding of characters
choice of narrator, the voice nts of view. You'll notice that allthe examples
inferences drawn from the text. in the story or an outside win a schoolelection. ln each example, how
RL 3 Analyze how lines of dialogue
or incidents in a story reveal aspects This chart describes three your impressions of the characters?
of a character. RL6 Analyze how focus on two students vying
differences in the points of view of does the choice of narrator i
the characters and the audience or
reader create effects.
FIRST.PERSOiI Nervously, I eyed Gwen, my
competition in the election, and
The nanator
flashed her a gracious smile. Believe
. is a main or minor character in the story
. usesthe pronouns I and me me-I wasn't feeling very gracious.
. shares his or her subjective, or personal,
I relaxed. \7hat kind of campaign
view of other characters and events speech is that? I thought. Theret no
way I'll lose now!
. doesn't know the thoughts, feelings, and
Devin had trouble wiping the smile
opinions of other characters off his face as he listened to Gwen
fumble through her speech. For a brief
rHIRD-PERSON TIMITED
for Gwen. Then Devin forgot about
The narrator his opponent and started planning his
acceptance speech in his head.
. is not a character in the story but an
Feeling confident and superior,
outside observer Devin gave his opponent, Gwen, a
genuine smile as she walked past him.
. zooms in on the thoughts, feelings, and
smile, she was suspicious of his
opinions of one character kindness. He's probably gloating over
my mistakes, Gwen thought angrily.
THIRD-PERSON Oi'INISCI EI{T
fhe narrutor
. is not a character in the story but an
outside observer whose observations
can be objective, or unbiased.
' is "all knowing"-16at is, he or she has
access to the thoughts, feelings, and
opinions of all the characters
170 UNIT 2: CHARACTER AND POINT OF VIEW
fx MODEL 1: FIRST.PERSON
Emily, the young narrator of this novel, is visitin! her sick grandmother,
Ola. Emily and Ola have spent the entire day to{ether trying on Ola's old
hats and scarves. ln this excerpt, Emi y descr besl,^. tr".:rl relationshiR.
:
t'"'Tonircg She weep
Novel by Johnson
OIa and I lie on our backs in the kitchen, scar and hats everywhere. I Close Read
look over at the night-light by the table. It's the on light in the room now. 1. One sentence that reflects
the first-person point of
Ola's eyes are closed, but I don't think she's view has been Iboxed.l
ldentify another one.
my granomornet ls a stra
2. 5uppose Emily's
now that not too many or my s lYoulo speno an evenlng grandmother was the
narrator of this novel.
trying on hats with their grandmothers. A few yeais ago they would have. How might that change
whatyou learn about
Now most of them don't even admit that they likelitheir grandparents, though the woman and her
they do. granddaughter?
I'm clueless about how to be cool. IVe always to[d m
IO is by the
books and strange things she sends through the m[il, I think secretly they
MODEL 2: THIRD.PERSON OMNISC NT
The narrator ofthis story shares the thoughts of than one character.
Alfonso is thrilled when Sandra agrees to go on bike ride with him. Before
his date, Alfonso breaks the chain on his bike. W I his brother help him out?
7,- ffiH@kgm
Chain Close Read
"Come on, man, let me use it," Alfonso p had plans with his friend 1. How does Ernie feel
anything." ayfair canal. He felt sorry for about Alfonso's
predicament? How does
Although Ernie could see Alfonsot desperation, feel better, but there was Alfonso himself feel? Cite
Raymundo. They were going to catch frogs at the and the frogs were waiting. details to support your
his brother, and gave him a stick of gum to make rt pocket, and left the answer5.
nothing he could do. The canal was three miles a
walking to Sandra's house, 2. Suppose the narrator
Alfonso took the stick of gum, placed it in his ame colored his face. How had not revealed Ernie's
bedroom with his head down. . . . ly laugh. thoughts in lines 3-5.
How might this affect
At four he decided to get it over with and sta your impression of Ernie?
trudging slowly, as if he were waist-deep in water.
could he disappoint his first date? She would
TExr ANALYSTs tw/oRKSHop 171
As a reader, you can't help but have strong rlactions to the people you meet on
the page. Did you know that writers use different methods of characterization
to create these responses in you? Read on td find out exactly how writers
develop lifelike characters with distinct traiis and motivations.
CHARACTER TRAITS
Loyal, outgoing,lazy_you might use wordl like these to describe people in
your tife. You may not realize it, but you lelrn about people's qualities, or traits,
by observing the way they look, talk, and a(t. for example, a new neighbor
probably wouldn't introduce herself by saylng, "Hi! l'm outgoing." lnstead, you
would infer this trait by noticing her big s(ile and confident voice.
Like people, characters in literature havl unique personalities and traits.
Sometimes, a narrator will directly tell you ]what a character is like. More often,
you have to infer a character's traits the saf'ne way you would a person's-by
considering his or her appearance and behavior, for instance.
Writers show you what their characters]are like by using the following indirect
methods of characterization. Look at this $raphic, noting the descriptions of the
girl Madeleine. What traits can you infer?
PHYSICAT APPEARANCE ffi;liir-s
Descriptions of a character's looks, cl]othing,
body language, and facial expressioris
Madeleine walked stiffly toward $er new
locker, a solemn expression glued ]to her face.
#r,Bffi t
lilqlErr i2
.*" Eft" ,. l
OTHER CHARACTERS '-@!!ii ,
Presentation of others' impressions of the
character and their interactions or relationships ffi
with him or her SPEECH, tHOUGHTS, AND ACTIONS
Madeleine's classmates smirked and
Iaughed as she walked by. Not only was she Presentation of a character's speech patterns, habits,
unfriendly, they concluded, but she took talents, opinions, and interactions with others
herself way too seriously.
This was Madeleine's third move in five years,
172 I]NIT 2: CHARACTER AND POINT OF VIEW'
and she was sick of starting over. This time, she
vowed to keep to herself. No longer would she
waste any energy trying to fit in. ,l
MODEL 1: CHARACTERIZATION
The narrator of this story takes the 8:rz train to every day; he sees
the same commuters and sits in the same seat. Today, however, he
notices a stranger on the platform. What do learn about the stranger
from this brief excerpt?
I
I
I !.*Callopine
I
l
I
I
I
FoxlbylI
i1
i
l
1n",,I tory by Roald Dahl
l The stranger was standing plumb in the midd of the platform, feet apart CIose Read
I
I l. What methods of
I and arms folded, looking for all the world as t he owned the whole characterization has the
author used to describe
l the stranger?
I 2. What kind of person do
you think the stranger is?
1 place. He was a biggish, thickset man, and even fi behind he somehow Cite specific details that
affected your impression
l of him.
l managed to convey a powerful impression of ar ce and oil. Very
l
l15 definitely, he was not one of us. He carried a cane nstead of an umbrella, his
l shoes were brown instead of black, the grey hat cocked at a ridiculous
l
l
angle, and in one way and another there seemed be an excess ofsilk and
I
l
I polish about his person. More than this I did not are to observe.
l
l
MODEL 2: CHARACTER TRAITS
Sopeap is i Cambodian teenager whose family y moved to the United
States. One day, a classmate walks into her fami 's store, lugging a green
armchair. How does Sopeap respond to the 's request for help?
from A ffichair
tneFI.-rI
Short by Minfong Ho
Thomas Ramsey. For an awful moment she th she had said his name CIose Read
out loud, but then realized it had only been in her mind. l. How would you describe
forced a smile. "Sure," she said Thomas? ldentify at least
how American, she sounded. "Be two details in this excerpt
"Hey, aren't you in my history class?" he as that influenced your
"Algebra," she said quietly. At least he recogni her. She had long since impression of him.
noticed him, intrigued by the aloof, easy banter carried on with his 2. Reread tfre Eoxed l
classmates, as if he were looking at them from the rong end of a telesc descriptions of
A bit of a loner, and likine it that w ; she had sometimes Sopeap's thoughts and
t0 , clutching onto her solitude as tightly as feelings. What do these
held her tteexxtbtobookso. k. s. .. ..,l '
i iro descriptions suggest
%Ag*.*l:ara\2n?t&V7ll:rrt".*W&lSl{t'' about her traits?
j
- " " N.
TExT ANALYSIS woRKsHop 173
CHARACTER MOTIVATION What prompted the
anding characters is
Why did the boy decide to volunteer at the animal she ions. For instance,
woman to risk her life for a stranger? A big part of for animals or
analyzing their motivations, or the reasons behind their k about what each
did the boy volunteer at the shelter because of his pass
because he has a crush on someone who works there?
motivation might suggest about the boy's traits.
To uncover a character's motivation, you often have to for details in the
story. As you read, consider the following:
. the narrator's direct comments about a character's vation
. a character's actions, thoughts, and values
. your own understanding of the emotions-love, g ambition, jealousy-
that drive human behavior
ln this story, r7-year-old Mike finally decides to visit his mother in the
nursing home. What factors are motivating his actions?
ffir*-#
by Robert Cormier
. . . I told my mother I'd go, anyway. I hadn't seen m grandmother Close Read
since she'd been admitted to Lawnrest. Besides, the is located on the 1. Reread the lEoied ltext.
What is the narrator's
Southwest Tirrnpike, which meant I could barrel along my father's new Le initial motivation for
visiting his grandmother?
Mans. My ambition was to see the speedometer hit75.
2. The narrator has second
srauon wagon, stagger uP to )u. thoughts about his visit
once he's in the parking
Frankly, I wasn't too qazy about visiting a nursing . They reminded lot. What eventually
motivates him to go
me of hospitals, and hospitals turn me off. I mean, the I of ether makes
inside?
me nauseous, and I feel faint at the sight of blood. And I approached
3. Consider the two
lawn1s51-wlrich is a terrible cemetery kind of name, begin with-I was motivating factors that
influence the narrator's
10 sorry I hadn't avoided the trip. Then I felt guilty about r. I'm loaded with actions. What do they
tellyou about him?
guilt complexes. Like driving like a madman after pro ising my father to
be careful. Like sitting in the parking lot, looking at nursing home with
dread and thinking how I'd rather be with Cindy. The I thought ofall the
Christmas and birthday gifts my grandmother had gi me, and I got out of
t5 the car, guilty as usual.
114 UNIT 2: CHARACTER AND POINT OF VIE'$T
Part 3: Analyze the Text
Meet Cene, a high school student in Mrs. Tibbett second-period class. Gene
and his fellow classmates have just found out Mrs. Tibbetts is taking the
advanced English class to a poetry reading. Wha happens when Mrs. Tibbetts
unexpectedly extends the invitation to Cene's ? Read on to find out.
from rd Peck
I GO AtO
Short story by
Since it's only the second period of the day, re all feelin Close Read
1. From what point of view
Also ir's a Tuesday, a terrible TV ni ln tne ass puts uP thelr is this story told? Explain
how you can tell.
hands. I mean everybody. Even Marty Crawsh . And Pink Hohenfield,
2. Reread the Eoxe?
who's in class today for the first time this mon up rn our
sentences. What do they
5 Mrs. Tibbetts looks amazed. She's never seen rs many suggest about Cene's
character traitsT
class. She's never seen anybody's hand except Da 4s....
How would this excerpt
But then she sees we have to be putting her on So she just says, 'Anyone be different if Mrs.
Tibbetts were the
who would like to go, be in the parking lot at fi -thirty. And eat first. No narrator?
eating on the bus." she's taking the 4. Examine lines 3z-34.
Why do you think Gene
t0 Mrs. Tibbetts can drive the school bus. \7hen hides when the bus
passes the 7-Eleven?
advanced class anywhere, she can go to the pri al for the keys. She can use
5. Consider Cene's actions
the bus anytime she wants to, unless the coach lt. and body language in
lines z7-34. Based on
Then she s her attendance book, and we ne out. lAnd at five-thirty these details, what
can you infer about his
that ni t I'm in the oarkins lot. I have no idea Needless to say, I'm rhe personality?
only one here second period. Marty Cra and Pink Hohenfield will
I be out on the access highway about now, at 7-Ele , sitting on their hoods,
Darla couldn't make it either. Right offhand I ca 't think of anybody who
wants to ride a school bus thirty miles to see a t. Including me.
The advanced-English juniors are milling arou behind school. Im still
:zo in my car, and it's,almost dark, so nobody sees
Then Mrs. Tibbetts wheels the school bus in. She's got the amber
I fogs flashing, and you can see the black letters a ong the yellow side:
a CONSOLIDATED SCHOOL DIST. She swi in and hits the brakes,
and the doors fly open. The advanced class starts climb aboard. They're
t< more orderly than us, but theyVe got their grou too....I'msettling
behind my dashboard. The last kid climbs the s.
And I seem to be sprinting across the asphalt. Ii on the bus, and the doors
hissing shut behind me. \7hen I swing past the 's seat, I don't look at Mrs.
Tibbetts, and she doesn't say anything. I wonder re I'm supposed to sit.
They're still milling around in the aisle, but are plenty ofseats. I find
an empty double and settle by the window, pulli my ball cap down in front.
[t doesn't take us long to get out of town, not in t is town. \When we go past
7-Eleven, I'm way down in the seat with my ha shielding my face on the
window side. Right about then, somebody sits n next to me. I flinch.
TExr ANALYsTs woRKSHop 175
Before Reading
The Treasure of llemon Brown
kflfuaB d* yffiu
CHE/RISH?
I COMMONCORE Think of what you most cherishl or hold dear. ls it worth a lot of money,
or is it valuable because of a mdmory that is important only to you?
RL 1 Cite textual evidence to For example, a photograph of alfavorite friend or relative wouldn't
support inferences drawn from bring much money at an auctioir, but the memories it holds might
thetext. RL3 Analyze how lines make it one of the first things y!u'd save if your home were on fire. ln
of dialogue and incidents in a "The Treasure of Lemon Brown,f' a boy's encounter with an old blues
story reveal aspects ofa character musician helps him discover wfrat he treasures most.
or provoke a decision. LtsTlT Make a list of three to filre things that you cherish. They might
be tangible (things you can toujcfr, such as a pair of jeans or a pet) or
RL 6 Analyze how differences intangible (things you cannot tpuch, such as a memory or an idea like
in the points ofview ofthe freedom). Explain why these tt]rings are important to you.
characters and the audience or
reader create effects.
o TEXT ANATYSIS: THIRD-PERSON POINT OF IEW Walter Dean Myers
ln the third-person omniscient point of view, th narratoi born 1937
is an outside observer who can see into the mi ofall the
characters. A third-person limited narrator is als an outside Contest to Career
observer, but this point of view focuses on what ne character Walter Dean Myers was born to a large family
sees, thinks, and feels. Look at the following exa in West Virginia. After his mother died,
his father could no longer care for all the
Report cards were due in a week, and Greg had hoping for children. Myers grew up with foster parents
the best. in New York City. A speech impediment
made it difficult for him to speak, so he
ln this sentence, the narrator tells the reader Greg feels began writing poetry and stories with the
about the report card he's about to receiVe. encouragement of a teacher who thought
rrator allows writing would help him express himself. Still,
As you read, pay attention to how much the feelings. he didn't think he could earn a living as an
you to know about each character's thoughts a author. After unhappily working as a post-
office clerk and a messenger, Myers saw an
! nraorruG sKr[L: rNFER cHARAcTERs' Mort ATIONS advertisement for a children's book-writing
contest. He had never written for young
To fully understand the characters in a story, need to people, but he won the contest and began a
think about their motivations, or the reasons for heir actions. highly successful writing career.
Sometimes a narrator will actually state a char r's motives, Writing His Life
but more often you need to infer, or guess, the To infer a Myers frequently draws on his own
experience in his writing. Many of his
character's motives, notice his or her reactions, t ghts, and characters belong to low-income families
statements, and askyourself whatyou would f or want in and dealwith urban problems. He has
also written biographies of prominent
that situation. Also, recall times when you were a similar African Americans, including Malcolm X and
Muhammad Ali. Myers has said,'As a black
situation or behaved similarly. writer, lwant to talk about my people." But
the characters he creates and the issues he
As you read, note details about the characters addresses have universal appeal.
inferences about their motives on a chart like one here. BACKGROUND TO THE STORY
Details About Charutter What ) lnfer Motives Harlem
hru to "The Treasure of Lemon Brown" takes place
I Gretjs father lectures Greg Grecis father in Harlem,the neighborhood in which Myers
about his poor effort in uath. suc/eed in ltfe grew up in NewYork City. Since about t9to, it
has been one of the largest African-American
A vocaguLARY tN coNTExr I the story communities in the United States.
know,
Walter Dean Myers uses the boldfaced words to
of Lemon Brown. To see how many of the words
substitute a different word or phrase for each on
1. The door was ajar and let in a small amount light.
2. There was a tremor in his voice as he told sad tale.
3. The silence was ominous and scary.
4. He would commence his trip when the rain
5. Years of hard work left him with gnarled ha ds.
6. The hallway was dark, so he moved
f{a
S,5,& Complete the activities in your Reader/Writer
\Gf
Walter Dean Myers
Eriir
I
*o$1li3,",
I I n. a"rf sky, filled with angry, swirling clouds, reflgcred Greg Ridley's
U rnood as he sat on the rroo"piof his bullding. His f{th.r', voice came to This collage was created
by Walter Dean Myers's
him again, first reading the letter the principal had senq to the house, then son. What can you infer
about Harlem from the
math.lecturing endlessly about his poor efforts in details in this image?
]
-t
"I hal to leave ichool whenl was 13," his farher h"d s{id, "thatt ayeat
o PorNT oF vlEW
younger than you are now. If I'd had half the chances thirt you have, I'd . . ."
Whose thoughts and
Greg had sat in the small, pale green kitchen listenin$, knowing the lecture feelings is the narrator
describing?
would end with his father saying he couldn't play ball {ith the Scorpions. He
had asked his father the week before, and his father ha{ said it depended on his
10 next report card. It wasn't often the Scorpions took on frew players, especially
14-year-olds, and this was a chance of a lifetime for Gr{g. He hadn't been
allowed to play high school ball, which he had really w[nted to do, but playing
for the Community Center team was the next best thidg. Report cards were
due in a week, and Greg had been hoping for the best. ]But the principal had
ended the suspens. ."r[ when she ,.rr, ,i", letter sryifg Greg would probably
G)fail math if he didn't spend more time studying.
'And I
you want to play bashetball?" His father's knitted over deep
bror{s
brown eyes. "That must be some kind of a joke. Now fou just get into your
room and hit those books."
That had been two nights before. His father's *ordl, like the distant
thunder that now echoed through the streets of Harlerf , still rumbled softly
in his ears.
I
1. stoop: a porchorstaircaseattheentranceofa building.
178 UNIT 2: CHARACTER AND POINT OF VIE!T lllustrations by Christopher Myers
d-
1
t'{. .*., *E&{# z'
ii. f li{ ii.* I
'-,"$ i'1 ffiilflE, :r!..l i
!!1{s, 'd "r'i,
s'*atr'.. .'', ,.:. J'x# *'*
::i1'rr':':-.$l.:i &*.
a!p ,i s r,.&ngG,{8,
,, .*,.
+lF ;il t:t*.', .p*g..&! !j
ry
t l,i: . z,1 4,:-
,1.:i.&. t.- i'
r .1,k,'
,r]i.
{e1:1"
"-,-f {{:::.r-,iiil;iril *;i
: ,- rt::' ;.; _,.
t.,, i1,f: ffi i i- q.
r'r!::iit'
t:ta i:r!! tuk* ,T as q'd: *${
t)'a.
:ri'l 1'' &'i ssd
ffi';sSa"
+.;.::L i;$ti.^i$i. aS t
B&"
ffi ': .: )l *. lt
ffi&s&, .+4El*
ii &r -l-.:,.,.ri.i{l.,i.':l r,
t r;:';!ritl*.S,il'
I
.!{f
1,;t-
&
t;,
l
l
It was beginning to cool. Gusts of wind made bits of faper dance between
the parked cars. There was a flash of nearby lightning, afd soon large drops
of rain splashed onto his jeans. He stood to go upstairs, t]hought of the lecture
that probably awaited him if he did anything except shu(himself in his room
with his math book, and started walking down the streef instead. Down the
block there was an old tenement that had been abandot {d fot some months.
Some of the guys had held an impromptu checker tournfment there the week
:o before, and Greg had noticed that the door, once boardep over, had been
slightly aiar. ajar (e-jdr') adj. partially
open
Pulling his collar up as high as he could, he checked {br traffic and made a
dash across the street. He reached the house iust as another flash of lightning tentatively (tE n'te-tYv-ld)
changed the night to day for an instant, then returned tfre graffiti-scarred adv. uncertainly or
hesitantly
building to the grim shadows. He vaulted over the outer]stairs and pushed
O INFER CHARACTERS'
tentatively on the door. It was open, and he let himself
MOTIVATIONS
lin.
Reread lines z5-27 and
5t
U| | he inside of the building was dark except for the di]m light that filtered 48-5r. From Creg's
through the dirty windows from the streetlamps. Jhere was a room a few thoughts, what would
feet from the door, and from where he stood at the entrfnce, Greg could see you infer are his reasons
for not going home?
4o a squarish patch of light on the floor. He entered the ropm, frowning at the
musty smell. It was a large room that might have been domeone's parlor at one
time. Squinting, Greg could see an old table on its side ]against one wall, what
looked like a pile of rags or a torn mattress in the corne[, and a couch, with
one side broken, in front of the window. I
He went to the couch. The side that wasn't broken ,nfr, .o-fo.table enough,
though a little creaky. From this spot he could see the $linking neon sign over
the bodega2 on the corner. He sat a while, watching thf sign blink first green
then red, allowing his mind to drift to the Scorpions, t[ren to his father. His
father had been a postal worker for all Greg's life, and fas proud of it, often
telling Greg how hard he had worked to pass the test. preg had heard the story
too many times to be interested now. Gl
I
For a moment Greg thought he heard something thft sounded like a
scraping against the wall. He listened carefully, but it fas gone.
Outside the wind had picked up, sending the rain a$ainst the window with
a force that shook the glass in its frame. A car passed, jts tires hissing over the
wet street and its red tail lights glowing in the darknels.
Greg thought he heard the noise again. His stomac$ tightened as he held
himself still and listened intently. There weren't any niore scraping noises, but
he was sure he had heard something in the darkness-Jsomething breathing!
He tried to figure out just where the breathing was lcoming from; he knew
it was in the room with him. Slowly he stood, tensingl As he turned, a flash of
lightning lit up the room, frightening him with its s n brilliance. He saw
nothing, just the overturned table, the pile of rags an( an old newspaper on
the floor. Could he have been imagining the sounds? ]He continued listening,
2. bodega (bo-da'ge): a small grocery store.
180 UNIT 2: CHARACTER AND POINT OF VIEIT
but heard nothing and thought that it might haveljust been rats. Still, he tremor {tr6m'e0 n.
nervous trembling
thought, as soon as the rain let up he would leave. He went to the window and
o PorNT oF vrEW
was about to look out when he hiard a voice behirfd him. How does knowing
"Don't try nothin' tause I got a razor here shar$ enough to cut a week into Creg's thoughts
and actions affect
nine days!" your impression of
I Lemon Brown?
LanguageGoach
70 Gr.g, .*..pt for an involuntary tremor in his kfrees, stood stock still. OralFluency Notice
that the author uses
The voice was high and brittle, like dry migs being broken, surely not one italics in lines to3-to4
to show that the
he had ever heard before. There was a shuffling so{rnd as the person who had characters emphasize
the word f in their
been speaking moved a step closer. Greg turned, hflding his breath, his eyes dialogue. Now read
these lines aloud with
straining to see in the dark room. this word emphasized.
The upper part of the figure before him was ,tiil [r, darkness. The lower half
was in the dim rectangle of light that fell unevenly {rom the window. There were
two feet, in cracked, dirty shoes from which rose legfs that were wrapped in rags.
"\fho are you?" Greg hardly recognized his ow]'r voice.
"I'm Lemon Brown," came the answer. "\7hote you?"
80 "Greg Ridley."
"\(/hat you doing here?" The figure shuffled fof*rrd ag;rin,and Greg took
a small step backward.
"It's raining," Greg said.
"I can see that," the figure said.
The person who called himself Lemon Brown pfered forward, and Greg
could see him clearly. He was an old man. His blalk, heavily wrinkled face
was surrounded by a halo of crinkly white hair andl whiskers that seemed to
separate his head from the layers of dirty coats pilefl on his smallish frame.
His pants were bagged to the knee, where they werp met with rags that went
go down to the old shoes. The rags were held on with strings, and there was a
rope around his middle. Greg relaxed. He had see! the man before, picking
through the trash on the corner and pulling clothe$ out of a Salvation Army
box. There was no sign of the razot that could "cut a week into nine days." @
"\7hat are you doing here?" Greg asked.
"This is where I'm staying," Lemon Brown said.lI"!7" h-^a-t' yt o""u'--here for?"
"Told you it was raining out," Greg said, leaning against the back of the
couch until he felt it give slighdy.
'Ain't you got no home?"
"I got a home," Greg answered.
100 "You ain't one of them bad boys looking for my +reasure, is you?" Lemon
Brown cocked his head to one side and squinted o.,1. .y.. "Because I told you
I got me a razor."
"I'm not looking for your treasure," Greg answere{, smiling. "Ifyou have one."
"What you mean, iflhave one," Lemon Brown $aid. "Every man got a
treasure. You don't know that, you must be a fool!"
"Sure," Greg said as he sat on the sofa and put orie leg over the back.
"\fhat do you have, gold coins?"
"Don't worry none about what I got," Lemon Bfown said. "You know
who I am?"
THE TREASURE OF LEMON BRO'$TN 181
's"slI;:h
How does the man in the
picture compare with
the way you imagine
Lemon Brown?
i:: : t.,,-.;r,q,q. ..I
'r ; --*-+iv-d'
i
i -,. . ', i 't : i '. .d*q +f..}-
i i i **rg,,''=.r.r-.1',.r,..-',.rrz.',11.,''.-.'r,.2i,,'1z-..12^z''>.Z i.
:1._ 1. i-i i.,:*u".-d;!-
-i 1- \_._-.-,
IL'-. I
'.
"You told me your name was orange or lemon or sornething like that." INFER CHARACTERS'
"Lemon Brown," the old man said, pulling back his shoulders as he did so, MOTlVATIONS
Why does the man pull
"they used to callme Sweet Lemon Brown." @ back his shoulders as he
"Sweet Lemon?" Greg asked. tells Creg his name?
"Yessir. Sweet Lemon Brown. They used to say I sung the blues3 so sweet that
commence (ke-mEns')
if I sang at a funeral, the dead would commence to rocking with the beat. Used v. to begin
to travel all over Mississippi and as far as Monroe, Louisiana, and east on over to
Macon, Georgia. You mean you ain't never heard of Sweet Lemon Brown?"
3. blues: a style of music developed from southern African-American son8s.
182 UNIT 2: CHARACTER AND POINT OF VIE'IV'
'Afraid not," Greg said. "What . . . what h ed to you?"
"Hard times, boy. Hard times always after a man. One day I got tired,
120 sat down to rest a spell and felt a rap on my shoul . Hard times caught up
with me." on home when the rain
"Sorry about that."
"\(/hat you doing here? How come you didn't
come? Rain don't bother you young folks none." " Lemon Brown had half
"Just didn't." Greg looked away.
"I used to have a knotty-headed boy just like
walked, half shuffled back to the corner and sat against the wall. "Had
eyes. Look into them
them big eyes like you got. I used to call them m
moon eyes and see anything you want."
r30 "How come you gave up singing the blues?" G asked.
"Didn't give it up," Lemon Brown said. "You 't give up the blues; rhey
give you up. After a while you do good for your I and it ain't nothing but
foolishness singing about how hard you got it. Ai 't that right?"
"I guess so."
"\7hat's that noise?" Lemon Brown asked, enly sitting upright.
Greg listened, and he heard a noise outside. looked at Lemon Brown
and saw the old man was pointing toward the wi dow.
Greg went to the window and saw three men, eighborhood thugs, on the
stoop. One was carrying a length of pipe. Greg d back toward Lemon
t4o Brown, who moved quietly across the room to t window. The old man
looked out, then beckoned frantically for Greg to Ilow him. For a moment
Greg couldn't move. Then he found himself ing Lemon Brown into the
hallway and up darkened stairs. Greg followed as as he could. They
reached the top of the stairs, and Greg felt Lem Brown's hand first lying on
his shoulder, then probing down his arm until he inally took Gregt hand into
his own as they crouched in the darkness. @ B INFER CHARACTERS',
"They's bad men," Lemon Brown whispered. is breath was warm against MOTIVATIONS
Why does Lemon Brown
Gregt skin. hold Greg's hand?
"Hey! Rag manl" a voice called. "\7e know yo in here. \7hat you got up
gnarled (narld\ adj.
150 under them rags? You got any money?" roughened, as from age
or work
Silence. , old man, but we don't
"\(/e don't want to have to come in and hurt
mind if we have to."
Lemon Brown squeezed Greg's hand in his ow hard, gnarled fist.
There was a banging downstairs and a light as men entered. They banged
around noisily, calling for the rag man. yoice was slurred. "\7e just
"\7e heard you talking about your treasure.-- from the room with the sofa.
want to see it, that's all."
"You sure he's here ?" One voice seemed to
160 "Yeah, he stays here every night."
"There's another room over there; I'm going to ke a look. You got that
flashlight?"
THE TREASURE OF LEMON BROW'N 183
l
"Yeah, here, take the pipe too."
Greg opened hi, -otrih to quiet the sfeowunfdeeot fohpipsobsrieteat[hrim",, h. sucked it in
uneasily. A beam of light hit the wall a then went out.
"Ain't nobody in that room," a voice said. "You think hf gone or something?"
"I don't know," came the answer. 'All I know is that I heard him talking
about some kind of treasure. You know they found that Chopping bag lady
with that money in her bags."
170 "Yeah. You think he's upstairs?" ]
.HEY, OLD MAN, ARE YOU UP THERE?"
Silence.
"\7atch my back. I'm going up."
There was a footst.p o"" thloirr, and the beam frorrtthe flashlight danced
crazily along the peeling wallpaper. Greg held his breatht There was another
step and a loud crashing noise as the man banged the pife against the wooden
banister. Greg could feel his temples throb as the man slowly neared them. i COMMONCORE RT6
Greg thought about the pipe, wondering what he wouldldo when the man o PotNT oF vrEW
When a story has a third-
Oreached them-whathe could do. ] person limited narrator,
readers may feel that
180 Then Lemon Brown released his hand and moved torlvard the top of the they are "looking over
the shou lder" of the
stairs. Greg looked around and saw stairs going up to thl next floor. He tried point-of-view character.
This effect helps readers
waving to Lemon Brown, hoping the old man would seE him in the dim light become emotionally
involved in that
and follow him to the next floor. Maybe, Greg thought,] the man wouldn't cha racter's experiences.
Reread lines q 4-l7 9. lf
follow them up there. Suddenly, though, Lemon Brownjstood at the top of the the narrator's point of
view was not limited to
stairs, both arms raised high above his head. Creg, would this passage
"There he is!" a voice cried from below. be as suspenseful? Why
"Throw dqwn your money, old man, so I won't have to bash your head in!" or why not?
Lemon Brown didn't move. Greg felt himself near palnic. The steps came ominous (6m'e-nes) adl.
th reatening
closer, and still Lemon Brown didn't move. He was an ferie sight, a bundle of
reo rags standing at the top of the stairs, his shadow on the wall looming over him. o PorNT oF vrEW
Reread lines r96-zoo.
Maybe, the thought came to Greg, the scene could be lven eerier. How would this passage
Greg wet his lips, put his hands to his mouth and tripd to make a sound. be different if you knew
what Lemon Brown was
Nothing came out. He swallowed hard, wet his lips onde more and howled thinking?
as evenly as he could.
"Wlt*t's tltat?"
As Greg howled, the light moved away from Lemon $rown, but not before
Greg saw him hurl his body down the stairs at the mqn who had come to
take his treasure. There was a crashing noise, and theh footsteps. A rush of
warm air came in as the downstairs door opened, thefi there was only an
2oo ominous silence. @
Greg stood on the landing. He listened, and after a ]"ttite there was another
sound on the staircase.
"Mr. Brown?" he called.
"Yeah, itt me," came the answer. "I got their flashlifht."
Greg exhaled in relief as Lemon Brown made his wa/ slowly back up the stairs.
"You O.K.?"
said."Few bumps and bruises," Lemon Brown
l
184 uNir 2: cHARACTER AND poINT oF vIEw
"I think I'd better be going," Greg said, his h returning to normal. o rNFER CHARACTERS'
mon Brown said, "but they MOTIVATIONS
"You'd better leave, too, before they come back." What may be motivating
Creg to want to leave now?
2to "They may hang around outside for a while,"
$ cmenrt*n&R !ru
ain't getting their nerve up to come in here again Not with crazy old rag men {*ruTfrHT
Reread lines z3r-234.
and howling spooks. Best you stay awhile till the t is clear. I'm heading out Notice that the author
consistently uses past-
\(/est tomorrow, out to east St. Louis." tense verbs to describe
"They were talking about treasures," Greg said "You really have a treasure ?" actions in the story.
"\7hat I tell you? Didn't I tell you every man a treasure?" Lemon Brown
o rNFER CHARACTERS'
said. "You want to see mine?" MOTIVATIONS
Reread lines 243-248.
"If you want to show it to me," Greg shrugged Why does Lemon Brown
give his son his old
"Let's look out the window first, see what the scoundrels be doing," newspaper clippings
and harmonica?
Lemon Brown said.
z2o They followed the oval beam of the flashlight to one of the rooms and
looked out the window They saw the men who tried to take the treasure
sitting on the curb near the corner. One of them ad his pants leg up, looking
at his knee.
"You sure you're not hurt?" Greg asked Lemon n said. "\fhen you get
"Nothing that ain't been hurt before," Lemon
as old as me all you say when something hurts is wdy, Mr. Pain, sees you
back again.' Then when Mr. Pain see he can't you none, he go on mess
with somebody else."
Greg smiled.
230 "Here, you hold this." Lemon Brown gave G the flashlight.
He sat on the floor near Greg and carefully u ied the strings that held the
rags on his right leg. \X/hen he took the rags away Greg saw a piece of plastic.
The old man carefully took off the plastic and u blded it. He revealed some
yellowed newspaper clippings and a battered ha rca. ff
"There it be," he said, nodding his head. " it be."
ffi r.g looked at the old man, saw the distant ook in his eye, then turned
ttW,Jffi to the clippings. They told of Sweet Lemo Brown, a blues singer and
harmonica player who was appearing at different t in the South. One of
the clippings said he had been the hit of the show, lthough not the headliner.
zqo All of the clippings were reviews of shows Lemon Brown had been in more
than 50 years ago. Greg looked at the harmonica. It was dented badly on one
side, with the reed holes on one end nearly
"I used to travel around and make money for feed my wife and Jesse-
thatt my boy's name. Used to feed them good, Then his mama died, and
he stayed with his mama's sister. He growed up t be a man, and when the
war come he saw fit to go off and fight in it. I did t have nothing to give him
except these things that told him who I was, and hat he come from. If you
know your pappy did something, you knowyou n do something too. I
"Anyway, he went off to war, and I went off sti I playing and singing.
z5o 'Course by then I wasn't as much as I used to be, t without somebody
to make it worth the while. You know what I n?"
THE TREASURE oF LEMoN BRowN 185
"Yeah," Greg nodded, not quite really knowing. o POINT OF VIEW
What does Creg think
"I traveled around, and one time I come home, and there was this letter about Lemon Brown's
treasu re?
saying Jesse got killed in the war. Broke my heart, it trul/ did.
"They sent back what he had with him over there, an{ what it was is this ]l INFER CHARACTERS,
old mouth fiddle and these clippings. Him carrying it argund with him like MOTIVATIONS
that told me it meant something to him. That was my trqasure, and when I Why does the thought
give it to him he treated it just like that, a treasure. Ain't [hat something?" of his father's lecture
260 O"Yeah, I guess so," Greg said. ] make Creg smile?
"You guess so?" Lemon Brown's voice rose an octave al he started to Put his
treasure back into the plastic. "\fell, you got to guess tapse you sure don't
know nothing. Don't know enough to get home when ith raining."
"I guess . . . I mean, you're right."
"You O.K. for a youngrt.r," tlh. old man said as he tiep the strings around
his leg, "better than those scalawagsa what come here lociking for my treasure.
That's fot sure."
"You really think that treasure of yours was worth fighting for?" Greg
asked. "Against a pipe?"
zzo "\7hat eiflssehe";b;e got tepting what he can pass or, ,o]hi, son, or his
his oldest?" Lemon Brown said. "Forja big-headed boyyou
daughter,
sure do ask the foolishest questions."
Lemon Brown got up after patting his rags in place ahd looked out the
window agatn.
"Lookslike they're gone. You get on out of haellrerig"rhdt."{.t yor'rrself home.
the window so you'll be
I'll be watching from
Lemon Brown went down the stairs behind Greg. \X{len they reached the
front door the old man looked out first, saw the street *as clear and told Greg
to scoot on home.
"You sure you'll be O.K.?" Greg asked.
"Now didn't I tell you I was going to east St. Louis ip the morning?" Lemon
Brown asked. "Don't that sound O.K. to you?"
"Sure it does," Greg said. "Sure it does. And you takd care of that treasure
of you rs."
"That I'll do," Lemon said, the wrinkles about his efes suggesting a smile.
"That I'll do."
The night had warmed and the rain had stopped, ledving puddles at the
curbs. Greg didn't even want to think how late it was. He thought ahead of
what his faih.r would say and wond.ered if he should ,{tt t i* ,botr, Lemon
Brown. He thought about it until he reached his stoopi and decided against
zro i1. lsrnon Brown would be O.K., Greg thought, with fris memories ".rd hi,
treasure.
Greg pushed the button over the bell marked RidleJ,, thought of the lecture
he knew his father would give him, and smiled. c\, q
4. scalawags (sk5l'e-wEgz'): rascals.
186 uNIT z: cHARACTER AND PoiNT oF vIEw
Afier Reading
Coqrprehension ure? i coM
.-!.Aecall How does Greg meet Lemon Brown? ^oNcoRE
R[1 Cite textual evidence to
Zl Recall How does Lemon Brown scare offthe i
support inferences drawn from the
3. Clarify Why does Lemon Brown cherish his text. Rl3 Analyze how lines of
Te5t Analysis dialogue and incidents in a story
o4. Examine Third-Person Point of View Whose reveal aspects of a character or
provokea decision. R[6 Analyze
does the narrator present? Explain how the sto how differences in the points of
knew more about the thoughts ofthe other cha
view ofthe characters and the
audience or reader create effects.
thoughts, and feelings
might be different if readers
ters.
Understand Events How do Creg's feelings Lemon Brown change over
time? ln a graphic like the one shown, note i events from the story.
U nder each event, tell how Greg feels about
Brown at that point.
Areg hears Greg sees
Lernon hrown Lemon brown
scared relieved
a 6.i lnfer Characters' Motivations Review your of inferences to recall why
Lemon Brown gave his son his "treasure." does Lemon Brown's story
help Creg realize about his own father? Suppor your answer.
iiAnalyze Dialect One way writers create rea characters is to include
the characters'dialect, the language spoken people in a particular place
or group. Find three examples of Lemon
dialect. Explain how his
language contributes to your understanding his character.
-8.'',Dstraatwic Conclusions About Characters ln fiction, character may be either
or dynamic. Static characters experience change over the course
of a story. Dynamic characters change and during a story. Which
mic? Explain.
characters in this story are static? Which are
Extension and Challenge
9. Readers'Circle Discuss with a small group of c ates what makes a good
role model and in what ways Lemon Brown is role modelfor Creg.
10. lnquiry and Research Lemon Brown describes inging the blues as "singing
about how hard you got it." Research the b and find some representative
songs. ls Lemon Brown's description of the bl accurate? Play parts ofthe
songs for the class and talk about the kind of I the songs suggest.
What do you CHERISH? about the things that
How has reading this story influenced your th
are most valuable to you?
THE TREASURE OF LEMON BROITTN 187
Vocabulary Practice I
A vocleulARY PRAcrrcE
I
Synonyms are words that have the same meaning. Antollms are words that qff.
have the opposite meaning. Explain the meaning of the wprds in each pair and commence
then decide whether they are synonyms or antonyms. i COMMONCORE
i
L 5a lnterpret figures of speech
l. tentatively/ca utiously in context. L 6 Acquire and use
accurately academic words; gather
2. ominous/haunting vocabulary knowledge when
considering a word important to
3. gnarled/smooth comprehension and expression.
4. ajarlopen Go to thinkcentral.com.
5. tremor/stillness KEYWORD: HMLS-l88
5. commence/stop
ACADEMIC VOCABULARY IN WRITING
. appropriate . assess . intelligence . motive . role
Write a paragraph in which you assess the value of Lemgn Brown's "treasure."
Discuss what it is worth to him and what it would be w{rth to the boys who
try to steal it from him. Use at least one of the Academif Vocabulary words in
your response.
VOCABU IARY STRATEGY: SIMI tES
Similes compare two things that are not alike using the ]w ords likeor as. ln this
selection, Lemon Brown's voice is said to be "high and briltle, like dry twigs being
broken." Understanding the literal meaning of a simile '|ruill help you infer its
figurative meaning-in this example, the sound of Lembn Brown's voice.
Similes can also provide a context clue to help you fiJure out the meaning
of an unfamiliar or ambiguous word. lf you know the s$und of dry twigs being
broken,you understand what the word brittlemeans.
I
PRACTICE First pay attention to the literal meaning of lach simile. Then use
your understanding to infer its figurative meaning. Us{ it as a context clue to
help you define the boldfaced word.
1. The windows were as murky as the muddy waters {t tf'. Mississippi.
2. Like a mule unwilling to move, the obstinate child $eld his ground.
l"3. As she danced across the stage, she looked as nimb]le as a graceful deer.
4. The persistent detective looked for clues like a dog isniffing out a bone.
5. Their friendship was becoming as tenuous as a fraling rope.
188 UNIT 2: CHARACTER AND POINT OF VIE'!T
BIues: A Nati na I Treasure
g..i a Timeline
a History Article
r*ll:
il*.; a Feature Article
1'.33,i What's the Con ction?
Use with "The Treasure of ln "The Treasure of Lemon B ,"you met a blues musician, but do
Lemon Brown," pageqS.
you knowwhat blues musi is? Where it came from? The other kinds
i commoNcoRe
of music it inspired? The se s that follow will tell you about all
Rl 1 Cite textual evidence that most
strongly supports an analysis of that and more.
what thetext says. Rl 9 Analyze
two or more texts on the same topic. Standards Focus: ldentify Scope
Scope refers to a work's ,or breadth,of coverage. ln general,the
fewer people, places, ideas a work covers, the narrower its
scope. For example, the Treasure of Lemon Brown" has a narrow
scope because it coversjust few key interactions between a couple of
characters on a single rainy ing. A story or article with a broad scope
might introduce many or events or cover a long period of time.
To identify how wide or arrow the scope of a selection is, consider
how the writer covers the lowing:
. People-How many are introduced? How well do you get
to know them? or settings, are described? How much
. Places-How many pl
do you get to know them?
. Events-How many even are covered? How much time do these
events span? How much you learn about them?
. Topic-What is the topic How many aspects of it are discussed?
As you read the selections t at follow keep track of your answers to these
questions. Then, useyour a swers to estimate each selection's scope.
Tineliae Historq Future
L Article i Article
:
How manrq people does it
ittroduce? How well do t1ou
to know theu?
How ua.nt1 p/aces does rt
descrlbe?
How uatq evetts does lt cot
How uuch tiue do theq spa
What s the topic? How
aspects o{ it are d
190 UNIT 2: CHARACTER AND POINT OF VIE T
Language i COMMONCORE
I cnamnnAn lN (oNTExT: Use correet vevbTense L I Demonstrate command of the
]
conventions of standard English
Review the Grammar in Context note on page r85. Verib tense indicates the grammar and usage when writing.
time that an action or condition takes place-whether !n the past, present, or
future. ln your writing, use the same verb tense to aescrf Ue actions that take place
at the same time, and change the verb tense when an altion or condition happens
at a different time.
I
Original: I always have a good time when I went fo the beach. Last
week, I swim and collect seashells. (Hatte and went are in
two dffirent tenses. Swim and collect fre present tense.)
l
Revised: I always have a good time when I go tQ the beach. Last
week, I swam and collected seashells. (lrl the first sentence,
both verbs need to be in the present te\se. ln the second
tense.)sentence,the action is happening in the fiast, so the verbs
should be in the past
]
PRACTTCE Choose the correct verb tenses in the folloling paragraph.
I (meet, met, will meet) an old blues musician eartier]tonight. He (carries,
carried, will carry) haishsaormn.onHieca(haerlposu,nhdelipnehdi,swpiollckhe$flp")r"mtye day because
it reminds him of
realize that I
should treasure people in my life more. I (work, worked, will work) harder
in school to make you proud.
i
For more help with verb tenses, see poge R56 in the Qrammar Hdndbook.
READI NC.l^,lRIT!Nfi {ON NE€TION
YOUR your writing.
@
TURt'I
Short Constructed Response: Description Review your description. Go to thinkcentral.com.
lmagine that a friend of yours had to find Lemon Haveyou used the
Brown in a crowd. What would you tell your friend same verb tense to KEYWORD: HML8-189
to look for? Write a one-paragraph description
of Lemon Brown that includes details about his tr describe actions that
appearance and the treasure he cherishes.
take place at the same
time? lf not, revise.
THE TREASURE oF LEMON BRorrv'N 189
Timeline: Evolution of the Blues o (F)ocus oN FoRM
The blues emerged as a new form of music in the zoth century, but its roots ?-Rtimeline is a graphic
date back to the music created by enslaved African Americans. aid that identifies
lu key events during a
oo LgL2 W. C. Handy writes the first l certain time period.
r6r{{l blues song. He later becomes known Labels usually tell
as "the father of the blues." The Greht Migration Many African the specific time in
which notable events
Americanb leave the South in search occu rred.
of greatelopportunity in Nofthern cities.
o TTMELTNE
o 1923 Ma Rainey, "the mother of The Harlem Renaissance Preview the timeline's
African-American music, art, and title and headings.
ooN the blues," releases her first album. writing thrive in Harlem, New York. Based on these, what
kinds of events will the
F{ timeline include?
4t 1933 Billie Holiday The Grdat Depression African o TDENTTFY SCOPE
is discovered; she Americar;s, along with the population What period of time
o Eo .1. does the entire timeline
becomes one ofthe as a whole, experience massive
unemplo[ment. cover?
most famous jaz
oG,
d singers of all time.
Her style is
characteristic
of the blues.
llo 1943 Blues musician Muddy Waters World War More than one million
o moves to Chicago, which becomes the African Americans sen/e in the military
+ot{ center of a new style of blues,
despite widespread segregati0n and
discrimination.
l
oo 1954 Elvis Presley records his first A Landmark Court Case ln 1954,
grOl song. lnfluenced by blues and country racial sefregation in schools is declared
t{
music, he becomes known as'the king :
unconstitutional in Brown u. Board
of rock and roll." of Education.
1962 The Rolling Stones form. The Civil Rights
Movenlent Congress
oo lnfluenced by the blues, the band
passes the Civil Rights
(o creates a new hard-rock style that Act, which makes racial
d6, inspires countless bands to follow. discrimihation illegal
in publie places.
oF3POoiOoreo 1973 Kool Herc Struggles and Accomplishments
Though racial tensions still exist, African
o begins to Dl in the AmericJns gain broader economic
Bronx. He is seen as
the father of hip-hop, opportunity than they had in previous
a musical style that
has blues roots and is decades.
known for rapping and
instrumental "beats."
READTNG FoR INFoRMATIoN '191
I'r::,:i:ll*irJ
T
KffiH # xk*rst-Hexedy Sqsa*tnr y$Elsg#.
ffiffi * ffi m The compoier, cornet player, and orchestra leader had
traveled a lot, and he had encountered many different types of music along the
way. But while waiting fot a train late one night, Handy discovered a sryle of
music unlike anything he had ever heard or played: the blues.
The legend goes like ihis, One night in 1903, Handy arrived at a train
station in Turwiler, Missipsippi, to find that his train was about nine hours
behind schedule. His companion on the platform was a raggedly dressed fellow
with a guitar. The man had an odd style of playing. He slid the back of a knife
ro blade up and down the gditar's strings, creating a warbling sound. As he sang,
he repeated an odd refraid-"goin' where the Southern cross the Dog"-which
meant nothing to Hand4 It rurned our that the guitar-piaying fellow was a
traveling musician headefl to a town called Moorhead, which was locared at
the intersection of two railroads, the Southern and the Yellow Dog. Handy
was so intrigued by the rnusician's unique style and lyrics that he decided to
put something similar doWn on paper. In the years to come, Handy would be
known as the "Father of the Biues."
The American blues that Handy heard that night had its roots in the soulful
songs of enslaved African.Americans, which in turn were influenced by the call-
zo and-response style of singing found in Africa. Field hollers, work songs, and
192 uNrr 2: cHARACTER AND porNT oF vrE.or
lfspirituals were all sung by enslaved people as a way .*p..rrirrg borh their
suffering and their dreams. After the Civil'War, somp solo musicians in the
South adapted these sounds into songs they sang while a$companying themselves
on guitar. The term "the blues" goes back to the 18th fentury, when being sad
or depressed meant that you were experiencing the "bhle devils." Since many of
the songs were about emodonal pain and loss, the namb fit.
Throughout the first half of the 20th century, many $frican Americans began B TDENTTFY SCOPE
relocating to the North, looking for a better life {nore opporruniry. -When
with How many people has
the writer mentioned so
they moved to cities like Chicago and Detroit, they lrought blues music with far? Note how much you
4o them. Blues musicians at the time invented new waJrs to play the blues as a
learn about each one of
means of reflecting the changes they had experienced. Qne artist, MuddytWaters, them.
traded in his acoustic guitar for an electric one and added new instruments such
o TDENTTFY SCOPE
as an upright bass, drums, and a harmonica. The .re1" blu.r was livelier, gave Over what period of
time do the events in
folks something to dance to, and paved the way for rh,t th- and blues and iock this paragraph take
place?
and roll.
\Taterst style of "electrified blues" was populai until the early 1950s.
But then rock and roll took over the American airwaJes. This could have been
the end of the blues, but starting in the 1960s, a new]wave of white musicians
from England and the United States revived interesi with their own versions
;o of classic blues tunes. Groups like the Rolling Stones, pream, and Led Zeppelin
brought the blues back to the forefront of the Americin music scene. However,
some blues musicians resented the success of these w[rite musicians, who were
gaining fortune and fame using the sounds of l.rr.r-i.nown African-American
musicians. @
In recent years, new artists such as Jonny Lang, phemekia Copeland, and
Susan Tedeschi have conffibuted their own sqyles to thg evolution of blues music.
These new artists have managed to keep the genre frefh, while at the same time
paying tribute to generations of past musicians who tNught the United States-
and the world-how to sing the blues.
i:=1"+,ii= i
READTNG FoR TNFoRMATToN 193
""R e Pr i n t e d @fel'ctr, ltork @iures
SUNDAY, MARCH 21,2OO4
Musiciahs Know the
Blues Filrsthand
Andreut Jacobs
]
e tDENT|FY SCOPE l\To one ever said the blues was any "Their music ended up in archives
I\ *.y to make a living. . . . Broke but the problem is no one gets to
What is this article even in good times, Littld Freddie hear it," said Mr. Duffy, who lives
about? What time
King survived by playing jdke joints in Hillsborough, N.C. 'And the
period does it focus on? in New Orleans until old a$e left his recordings don't put food on their
Jot this information in
body broken. Deprived of a steady <o table, it doesn't get them a gig)'
your chart. income, he went without dentures
or glasses, and one night, a heavy Over the last two decades, Mr.
Duffy, 41, has turned his passion
rain brought down the ceiling of his
into a nonprofit organization, the
ro bedroom.
Music Maker Foundation, which is
'iTithout an audience for fiis quirky part recording company, part artist
management service, and part social
style of music, Haskel "lWhistling welfare agency. For those able to
Britches" Thompson ende{ up in a
perform; the foundation promotes roots
\Tinston-Salem homeless shglter. . . .
"These people are our cqlture, our music and offers artists a touring career;
folk musicians, and no one is looking :o for those too old or sickly, he sends
after them," said the blugsman Taj monthly checks that average $100.
Mahal. "\7e're always prltting our '$7'hen unexpected hardships strike,
hands over our heart and paying the
as in the case of Little Freddie King's
zo Pledge of Allegiance and honoring collapsing ceiling, Mr. Duffy provides
Davy Crockett, yet we're allowing
these people and their mqsic to fall emergencycash....
through the cracks." The foundation also puts CDs into
In the 1980s, Tim Dgffy came the hands of men like Cootie Stark, a
blind guitarist from Greenville, S.C.,
to a similar realization. As a student
who had never had his music recorded
studying folklore at the University oo until he met Mr. Duffy at age 68. Mr.
of North Carolina, he grew obsessed Stark, now 77, has since taken to the
with preserving the ,o.,rrd, of these
stages of Lincoln Center, the Rockport
unheralded musicians. But as he
Rhythm and Blues Festival at Newport,
3o traveled the rural South witil recording
and other concert venues. He earns
equipment, he grew even mdre troubled
about $8,000 ayear selling his CDs.
by t'h. por.r,i that Ieft many artists
"It should have happened 45 yearc
without instruments and tdo strapped
ago, but I finally got a break," he
for heating oil or medicine.l said. B
194 uNIT 2: cHARAcTER AND poINT oF vlErir
Comprehension i comnoxcone
1. Recall Who became known as "the father of thl blues" and why? Rl I Citetextual evidence
2. Summarize ln a few sentences, summarize whalt gave rise to electrified blues. that most strongly supports
an a nalysis of what the text
3. Clarify Reread lines 15-23 in "Musicians Know !n" ,,r", Firsthand." What is says. Rl 9 Analyze two or more
texts on the same topic.
Taj Mahal pointing out here?
W9 Drawevidencefrom
Text Analysis
! +. Compare Scope Which of the three selections fras the narrowest scope? literary or informational texts to
support analysis, reflection, and
How do the scopes of the other two selections]compare? Use the chart you research.
made as you read to give reasons for your ansvfers.
(D 5. Draw Conclusions About a Timeline Why do y$u suppose a timeline called
"Evolution of the Blues" includes key events in hfrican-American history?
Read for lnformation: Evaluate Sources
for Usefulness
I
T&TRITING PRCMPT
lmagine you have chosen one of the following topics for a report:
. the birth of blues music and how blues has {frangea over the years
. important events in African-American historfy
. the life of blues musicians
i
Explain which selection you would use as , ,o{rr." of information for this
topic and why. lf more than one selection worfid be useful to you, be
sure to explain what each would provide.
i
To answer this prompt, first identify the topic yo! would want to focus on.
Then follow these steps:
1. Using the chart you filled Topic of Rep, ,rtt
in, consider the focus
of each selection you Selution lW vld U*, Wtnl lWwld Use ft
just read. What kinds of
information does each
selection provide?
2. ln a chart like the one shownn,, identify th topic you picked, the
selection(s) you would use for a report o that topic, and a brief
explanation as to why the selltection(s)w uld be useful to you.
READING FOR INFORMATION 195
Flowers for Alg+rnon
Short Story by Daniel KeyBs
from Charly
Screen play by Stirling Silliphant
&€fu*n Bs Ats h*kk tr ffi#* *re
KNOW ?
I
I COMMONCORE As young children, we want to lnow everything: why the sky is
blue, how computers work, why people can talk but dogs can't.
R[3 Analyzehowlinesof Humans have a natural thirst f9r knowledge. But as we Brow up, we
dialogue and incidents in a story sometimes find there are thingl it's not necessary, or even desirable,
reveal aspects ofa character. to know. ln the short story you pre about to read, a man learns that
R[ 5 Compare and contrast the knowledge can bring with it sorye unpleasant truths.
structure of two or more texts
and analyze how the differing DISCUSS lf it were possible, wof ld you want to see what the future
structure ofeach text contributes holds for you in ten years, even if you couldn't change it? Discuss
to its meaning and style. this question with a small group. Considerthe benefits of knowing
RL 6 Analyze how differences what your life will be like, as wqll as the potential negatives.
in the points ofview ofthe
characters and the audience or
reader create effects.
o TEXT ANATYS!5: CHARACTER TRAITS Daniel Keyes
Like real people, literary characters have distinct pf rsonat borntgzT
qualities known as character traits. A reader mus! often
infer these traits based on the characters' words, Jctions, and Wondering, What lf?
Daniel Keyes started his career as an
resolved.appearances. Character traits can lead to conflict in a story and English teacher. A struggling student once
approached him and said, "l want to be
influence how the conflict is smart." Keyes wondered
L
ln "Flowers for Algernon," the main character ufndergoes a what would happen if
dramatic transformation. As you read, use a Y-ch{rt to note science discovered a way
which of his character traits change and which stly the same. to increase a person's
intelligence, and he
explored the idea in
"Flowers for Algernon."
He later expanded the
story into a novel,
published in r966.
Review: Point of View Stirling Silliphant
! neaotruc sKtLL: EXAMTNE srRucruRE t9r8-r996
The structure of a text is the way the paragrapfrs]and events are Screenwriter
arranged. The text of "Flowers for Algernon" takgs the form of Stirling Silliphant's career
letters and journal entries. These help the author]to included winning the
Academy Award for best
. r€V€althe thoughts and feelings of the main cfiaracter screenplay in r968. Known
. remind readers that this character is changing {aily for action-filled scripts, he
. make the story seem as if it is a true account showed the range of his
abilities by writing the
] screenplay for Charly
(tg6g),based on
As you read, notice the dates, lengths, ana tangufge ofthe the novel Flowers
letters and journal entries and consider how the$e affect your for Algernon.
understa nding of the story.
BACKGROUND TO THE STORY
A vocaeuLARY rN coNTExr !Q ln "Flowers for Algernon," the main
character takes tests to measure his lQ, or
Try to figure out what each boldfaced word mea]ns in the intelligence quotient. lQ is a number that
is thought to provide a measurement of
context of its sentence. I a person's intelligence. lQ tests involve
memory, reasoning, and numerical ability.
1. The doctor had a specialization in brain aevttopment. lntelligence tests were once considered to
be a reliable measure, but today, questions
2. The research findings created a sensation at]the conference. remain about the accuracy of such tests.
3. Willyou refute the results, or do you believeithem, too?
4. His understanding is proportionalto his int-dlligence.
5. His long work hours could impair his social li[e,
6. They laughed at his absurd moves when darlcing.
1@, complete the activities in your Reader/writer Notbbook.
ry@# iu
#a*is re
ffiffi !ri"--'n
m#il € =
ffiffiffiK8
Daniel Keyes
progris riport r-martch 5 1955 rs$Ili3,",
Dr. Strauss says I shud rite down what i think and evrey thing that happins to
me from now on. I dont know why but he says its importint so they will see if What is the mood of this
illustration? Tell how
they will use me. I hope they use me. Miss Kinnian says maybe they can make the colors and brush
me smart. I want to be smart. My name is Charlie Gordpn. I am 37 years old strokes help create that
and2 weeks ago was my brithday. I have nuthing more tlo rite now so I will mood.
close for today. CHARACTER TRAITS
What can you infer
progris riport 2-martch 6 about Charlie's abilities
and personality?
I had a test today. I think I faled it. and I think thrt -"/b. now they wont use
me. \fhat happind is a nice young man was in the roornl and he had some
white cards *iih ink spillled all orrer th.m. He sed Chariie what do you see on
ro this card. I was yery skared even tho I had my rabits foo]t in my pockit because
when I was a kid I always faled tests in school and I spillled ink to. @
I told him I saw a inkblot. He said yes and it made me feel good. I th.o-t that
was all but when I got up to go he stopped me. He said how ril, do*.r df,.Ai.
we are not thru yet. Then I doni remember so good but he wantid me to say
what was in the ink. I dint see nuthing in the ink but hd said there was picturs
there other pepul saw some picturs. I coudnt see any picturs. I reely tryed to
see. i held the card close up and then far away. Then I spid if I had my glases
I coud see better I usally only ware my glases in the moVies or TV but I said
they are in the closit in the hall. I got them. Then I sai{ let me see that card
20 agen I bet Ill find it now.
198 uNrr 2: cHARAcTER AND porNT oF vIEw \lllur,rr, ion by Sylvia Chesley Smirh.
All other illustrations bv Todd Davidson
''.,..: - .':*'i..f -,:j:',. :'::r:t-
"1::,.. .-'::i,'
. . i.-::
I i+i..:. ::
,'=i..
. fai- ."1:'
- -1:i.*, :.-:i1,* -I'
I tryed hard but I still coudnt find the picturs I only rJ* th. ink. I told him VISUAL
maybe I need new glases. He rote somthing down on a p{'per and I got skared VOCABULARY
of fating the test. I told him it was a very nice inkblot wifl littel points all
around the eges. He looked very sad so that wasnt it. I said please let me try Rorschach (rOr'shiik')
agen. Ill get it in a few minits becaus Im not so fast somtlmes. Im a slow reeder test n. the name of a
too in Miss Kinnians class for slow adults but I'm trying very hard'
personality test that
He gave me a chance with another card that had2 kir{ds of ink spillled uses inkblot designs
on it red and blue. tr EXAM!NE
He was very nice and talked slow like Miss Kinnian dpes and he explaned STRUCTURE
ln what ways are
ao it to me that it was a raw shoh. He said pepul see things in the ink. I said show Charlie's journal entries
me where. He said think. I told him I think a inkblot blrt that wasnt rite unique?
eather. He said what does it remind you-pretend somtlling. I closd my eyes
for a long time to pretend. I told him I pretned a fo*ntair pen with ink leeking o cHARACTER TRAITS
What do lines 4r-46
all over a table cloth. Then he got up and went out. tell you about Charlie's
desire to change?
I dont think I passd the rai sho* test. @
LanguageGoach
progris report 3-martch 7
lnformal [anguage
Dr Strauss and Dr Nemur say it dont matter about the ilrkblots. I told them I Notice that Charlie
dint spill the ink on the cards and I coudnt see anythinq in the ink. They said misspells many words
that maybe they will still use me. I said Miss Kinnian nfver gave me tests like in lines 55-6o. To
that one only spelling and reading. They said Miss Kin{ian told that I was her understand these
ao bestist pupil in the adult nite scool becaus I tryed the hhrdist and I reely misspelled words, try
wantid to lern. They said how come you went to the ad{lt nite scool all by reading them aloud.
yourself Charlie. How did you find it. I said I askd pepql and sumbody told Also, look for clues to
me where I shud go to lern to read and spell good. Theylsaid why did you their meaning in the
want to. I told them becaus all my life I wantid to be srrlart and not dumb. surrounding words.
But its very hard to be smart. They said you know it will probly be tempirery.
pI said yes. Miss Kinnian told me. I dont care if it herts.
Later I had more crazy tests today. The nice lady whg gave it me told me the
name and I asked her how do you spellit so I can rite it fn my progris riport.
THEMAfIC APPERCEPTION TEST.I I dont know Jh. frir,2 words but I
ro know what test means. You got to pass it or you get bad marks. This test lookd
easy becaus I coud see the picturs. Only this time she dint want me to tell her
the picturs. That mixd me up. I said the man yesterday jsaid I shoud tell him
what I saw in the ink she said that dont make no difrenbe. She said make up
storys about the pepul in the picturs.
I told her how can you tell storys about pepul you ne[er met. I said why
shud I make up lies. I never tell lies any more becaus I {ways get caut.
She told me this test and the other one the raw-sho\ was for getting
personalty. I laffed so hard. I said how can you get thatlthing from inkblots
and fotos. She got sore and put her picturs away. I dont care. It was sily. I gess
oo I faled that test too.
1. ThematicApperception(thY-mEt'ikEp'er-sEp'shen)Test: testforanallzingpersonalityonthebasis
of stories people make up about a series of pictures.
20O uNrr 2: cHARACTER AND poINT oF vIE\?
Larer some men in white coats took me to a difernt part of the hospitil and o PotNT oF vlEW
gave me a game to play. It was like a race with a *hite mouse. They called the Because this story is
mouse Algernon. Algernon was in a box with a lolt of twists and turns like all told in the first-person
kinds of walls and they gave me a pencil and a paper with lines and lots of boxes. point of view,you learn
On one side it said START and on the other end it said FINISH. They said it about Charlie's thought
process directly from
was amazed2 and that Algernon and me had the la^e a*azedto do. I dint see him. What do you
how we could have the samr. amdzedif Algernon had a box and I had a paper learn about his mental
but I dint say nothing. Anyway there wasnt time because the race started. ca pacity?
One of the men had a watch he was trying to hid. so I woudnt see it so
zo I tryed not to look and that made me nervus.
i
Anyway that test made me feel worser than all the others because they did it
over 10 times with difernt amazeds and Algernorl won every time. I dint know
that mice were so smart. Maybe thats because Al]gernon is a white mouse.
Maybe white mice are smarter then other mice. @
progris riport 4-Mar 8
Their going to use me! Im so exited I can hardlf write. Dr Nemur and Dr
Strauss had a argament about it first. Dr Nemuriwas in the office when Dr
Strauss brot me in. Dr Nemur was worryed abotlt using me but Dr Strauss told
him Miss Kinnian rekemmended me the best frbm all the people who she was
teaching. I like Miss Kinnian becaus shes a very smart teacher. And she said
ao Charlie your going to have a second chance. If you volenteer for this
experament you mite get smart. They dont knorV if it will be perminint but
theirs a chance. Thats why I said ok even when Iwas scared because she said
it was an operashun. She said dont be scared Cllarlie you done so much with
so little I think you deserv it most of all.
So I got scaird when Dr Nemur and Dr Stra{ss argud about it. Dr Strauss o cHARACTER TRATTS
said I had something that was very good. He said I had a good motor-uation.3 What have you learned
I never even knew I had that. I felt proud when he said that not every body about Charlie through
with an eye-q4 of 68 had that thing. I dont knofv what it is or where I got it the comments of Miss
Kinnian and the doctors?
but he said Algernon had it too. Algernons mztqr-udtioz is the cheese they put
in his box. But it cant be that because I didnt e[t any cheese this week.
Then he told Dr Nemur something I dint urlderstand so while they were
talking I wrote down some of the *oidr.
He said Dr Nemur I know Charlie i, ,,o. *1". you had in mind as the first
of your new brede of intelek*x (coudnt get the {vord) superman. But most
people of his low mentxx are host** and uncoof** they are usualy dull apath**
and hard to reach. He has a good natcher hes iirtristed and eager to please. @
Dr Nemur said remember he will be the first human beeng ever to have his
intelijence trippled by surgicle meens.
l
2. amazedtCharlie's way of wtitinga moze.
3. motor-vation: Charlie's way of writing motivation.
4. eye-q: Charlie's way of writing /Q (abbreviation lor intelligeytce quotient).
FLowERs FoR ALGERNoN 2Ol
Dr Strauss said exakly. Look at how well hes lerned to iead and write for his O CHARACTER TRAITS
roo low mentel age its as grate an acheve** as you and I lerning einstines therey of Which of Charlie's traits
**vity5 without help. That shows the intenss motor-vation. Its comparat** a
convince Dr. Strauss
tremen** achev** irry *. use Charlie. @ to use him in the
I dint get all the words and they were talking to fast bqt it sounded like experiment?
Dr Strauss was on my side and like the other one wasnt.
Then Dr Nemur nodded he said all right maybe yorrnligh,. \7e will use
Charlie. \7hen he said that I got so exited I iumped up arpd shook his hand for
being so good to me. I told him thank you doc you wont be sorry for giving
me a second chance. And I mean it like I told him. After lthe operashun Im
gonna try to be smart. Im gonna try awful hard.
progris ript 5-Mar ro o cHARACTER TRAITS
What hopes does Charlie
uo Im skared. Lots of people who work here and the nurses Jrrd th. people who have for the operation?
gave me the tests came to bring me candy and wish me l4ck. I hope I have
luck. I got my rabits foot and my lucky penny and my hgrse shoe. Only a black
cat crossed me when I was comming to the hospitil. Dr Strauss says dont be
supersitis Charlie this is sience. Anyway Im keeping my r[bits foot with me.
I asked Dr Strauss if Ill beat Algernon in the race after the operashun and
he said maybe. If the operashun works Ill show that moube I can be as smart
as he is. Maybe smarter. Then Ill be abel to read better at'rd spell the words
good and know lots of things and be like other people. I want to be smart like
other people. If it works perminint they will make everybody smart all over the
rzo wurld.6
They dint give me anything to eat this morning. I dorlt know what that
eating has to do with gefting smart. Im very hungry and Dr Nemur took away
my box of candy. That Dr Nemur is a grouch. Dr Strausl says I can have it
back after the operashun. You cant eat befor a operashul. . .
Progress Report 6-Mar r5
The operashun dint hurt. He did it while I was sleeping. They took off the
bandijis from my eyes and my head today so I can make a PROGRESS
REPORT. Dr Nemur who looked at some of my other ones says I spell
PROGRESS wrong and he told me how to spell it and R.EPORT too. I got
to try and remember that.
130 I have ayery bad memary for spelling. Dr Strauss says its ok to tell about
all the things that happin to me but he says I shoud tell lnore about what I feel
and what I think. -J7hen I told him I dont know how to think he said try.
All the time when the bandijis were on my eyes I tryed tp think. Nothing
happened. I dont know what to think about. Maybe if I ask him he will tell
me how I can think now that Im suppose to get smart. ]7hat do smart people
think about. Fancy things I suppose. I wish I knew soml fang, things alredy.
5. einstines therey of **vity: Charlie's way of writingEinstein's theory of retfitivlty, the theory of space
and time developed by Albert Einstein.
2O2 uNrr 2: cHARACTER AND poINT oF vIEw
Progress Report 7-mar t9 ^ [-$a{ilsyuzeals
Nothing is happining. I had lots of tests and diffgrent kinds of races with What is the connection
Algernon. I hate that mouse. He always beats me. Dr Strauss said I got to play between this ill ustration
those games. And he said some time I got to tak! those tests over again. Thse and what happens to
r+o inkblots are stupid. And those pictures are stupid too. I like to draw a picture Charlie?
of a man and a woman but I wont make up lies a]bout people.
B EXAMTNE
I got a headache from trying to think so much. I thot Dr Strauss was my STRUCTURE
frend but he dont help me. He dont tell me what to think or when Ill get ln what ways is the
March 19 progress report
smart. Miss Kinnian dint come to see me. i thinft writing these progress different from the other
reports so far? Think
reports are stupid too. @ about its length and
language.
Progress Report 8-Mar z3
Im going back to work at the factery. They said i!was better I shud go back to
work but I cant tell anyone what the operashun yas for and I have to come to
the hospitil for an hour evry night after work. Thby are gonna pay me mony
every month for lerning to be smart.
FLo\rERs FoR ALGERNoN 2O3
150 Im glad Im going back to work because I miss my job {nd all my frends
and all the fun we have there.
Dr Strauss says I shud keep writing things down but t [o.,, have to do
it every day just when I think of something or something speshul happins.
He says dont get discoridged because it takes time and it happins slow. He
says it took a long time with Algernon before he got 3 tin[es smarter then he
was before. Thats why Algernon beats me all the time b(cause he had that
operashun too. That makes me feel better. I coud probly po that amazed faster
than a reglar mouse. Maybe some day Ill beat Algernon. poy that would be
something. So far Algernon looks like he mite be smart perminent.
rco Mar 25 (I dont have to write PROGRESS REPORT on top any more just o CHARACTER TRA!TS
when I hand it in once a week for Dr Nemur to read. I jJst have to put the Why does Charlie think
these men are his
date on. That saves time) friends? Note whether
\7e had a lot of fun at the facrerytoday. Joe Carp ,rid]h.y look where he is a good judge of
character at this point.
Charlie had his operashun what did they do Charlie put jsome brains in. I was
going to tell him but I remembered Dr Strauss said no. fhen Frank Reilly said
what did you do Charlie forget your key and open your floor the hard way.
That made me laff Their really my friends and they likd me.
Sometimes somebody will say hey look at Joe or Franl< or George he really
pulled a Charlie Gordon. I dont know why they say thai but they always laffl
rzo This morning Amos Borg who is the 4 man at Donnegains used my name
when he shouted at Ernie the office boy. Ernie lost a paqkige. He said Ernie for
godsake what are you trying to be a Charlie Gordon. I {ont understand why
t!he said that. I never lost any packiges.
]
Mar 28 Dr Straus came to my room tonight to see why i di.,r.o*. in like I was
suppose to. I told him I dont like to race with Algernon ,!y *o... He said I dont
*.have to for a while but I shud come in. He had a present for only it wasnt a
present but just for lend. I thot it was a little television bup it wasnt. He said I got
to turn it on when I go to sleep. I said your kidding why bhud I turn it on when
Im going to sleep. -Who ever herd of a thing like that. Bu[ he said if I want to get
r80 smart I got to do what he says. I told him I dint think I *as going to get smart
and he put his hand on my sholder and said Charlie yo,, pont know it yet but
your getting smarter all the time. You wont notice for a r,yhile. I think he was just
being nice to make me feel good because I dont look any smarter.
Oh yes I almost forgot. I asked him when I can go bhck to the class at Miss
Kinnians school. He said I wont go their. He said that $oon Miss Kinnian will
come to the hospitil to start and teach me speshul. I wa]s mad at her for not
o Lcomming to see me when I got the operashun but I [k{ her so maybe we will
be frends again.
l
Mar 29 That crazy TV kept me up all night. How caq l sleep with something
iro yelling crazy things all night in my ears. And the nutt/ pictures. \flow. I dont
know what it says when Im up so how am I going to khow when Im sleeping.
2O4 uNrr 2: .HARACTER AND porNT oF vIE\r l
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Literature Unit 2
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