English Language Arts - Texas Education Agency

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GRADEGRADEEnglish Language ArtsSTUDY GUIDEEnglish Language ArtsA Student and Family Guide to Grade 10 English Language ArtsTexas Education AgencyTX00000000

Texas AssessmentSTUDY GUIDETexas Assessment of Knowledge and SkillsGrade 10English Language ArtsA Student and Family GuideCopyright 2007, Texas Education Agency. All rights reserved. Reproduction of all or portions of this work is prohibitedwithout express written permission from the Texas Education Agency.

A Letter from the Director of Student AssessmentDear Student and Parent:The Texas Assessment of Knowledge and Skills (TAKS) is a comprehensive testingprogram for public school students in grades 3–11. TAKS replaces the Texas Assessmentof Academic Skills (TAAS) and is designed to measure to what extent a student haslearned, understood, and is able to apply the important concepts and skills expectedat each tested grade level. In addition, the test can provide valuable feedback tostudents, parents, and schools about student progress from grade to grade.Students are tested in mathematics in grades 3–11; reading in grades 3–9; writing ingrades 4 and 7; English language arts in grades 10 and 11; science in grades 5, 8, 10,and 11; and social studies in grades 8, 10, and 11. Every TAKS test is directly linkedto the Texas Essential Knowledge and Skills (TEKS) curriculum. The TEKS is thestate-mandated curriculum for Texas public school students. Essential knowledgeand skills taught at each grade build upon the material learned in previous grades.By developing the academic skills specified in the TEKS, students can build a strongfoundation for future success.The Texas Education Agency has developed this study guide to help studentsstrengthen the TEKS-based skills that are taught in class and tested on TAKS. Theguide is designed for students to use on their own or for students and families towork through together. Concepts are presented in a variety of ways that will helpstudents review the information and skills they need to be successful on the TAKS.Every guide includes explanations, practice questions, detailed answer keys, andstudent activities. At the end of this study guide is an evaluation form for you tocomplete and mail back when you have finished the guide. Your comments will helpus improve future versions of this guide.There are a number of resources available for students and families who would likemore information about the TAKS testing program. Information booklets are availablefor every TAKS subject and grade. Brochures are also available that explain the StudentSuccess Initiative promotion requirements and the new graduation requirements foreleventh-grade students. To obtain copies of these resources or to learn more aboutthe testing program, please contact your school or visit the Texas Education Agencywebsite at www.tea.state.tx.us.Texas is proud of the progress our students have made as they strive to reach theiracademic goals. We hope the study guides will help foster student learning, growth,and success in all of the TAKS subject areas.Sincerely,Lisa ChandlerDirector of Student AssessmentTexas Education Agency3

ContentsEnglishLanguageArtsIntroduction. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Sample Reading Selections . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11Objective 1: Basic Understanding . . . . . . . . . . . . . . . . . . . . . . . 24What Is a Basic Understanding? . . . . . . . . . . . . . . . . . . . . . . . . . . . 24Reading in Varied Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26Why Develop Good Reading Skills? . . . . . . . . . . . . . . . . . . . . . . . . . 26What Are Some Strategies for Reading? . . . . . . . . . . . . . . . . . . . . . 27Understanding Word Meanings . . . . . . . . . . . . . . . . . . . . . . . . . . . . 29Summarizing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 33Identifying Supporting Details . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 35Objective 2: Literary Elements and Techniques . . . . . . . . . . . 37Analyzing Setting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 38Analyzing Characters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 39Describing and Analyzing Plot, Conflict, and Resolution. . . . . . . . . . 40Recognizing Theme. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 42Using Text to Defend Responses . . . . . . . . . . . . . . . . . . . . . . . . . . . 43Understanding Literary Language . . . . . . . . . . . . . . . . . . . . . . . . . . 44Connecting Literature to Historical Context. . . . . . . . . . . . . . . . . . . 45Understanding Literary Terms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 46Objective 3: Analysis and Critical Evaluation. . . . . . . . . . . . . 48Analyzing Text Structures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49Making Inferences, Drawing Conclusions,and Making Predictions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50Analyzing Across Texts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Identifying Author’s Purpose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 52Author’s Craft. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 544

ContentsEnglishLanguageArts(continued)Credibility of Information Sources. . . . . . . . . . . . . . . . . . . . . . . . . . 55Modes of Persuasion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 56Understanding Ideas and Relationships in Media. . . . . . . . . . . . . . . 57Understanding the Purpose of Media . . . . . . . . . . . . . . . . . . . . . . . 59Finding the Main Point of a Media Message . . . . . . . . . . . . . . . . . . 61Recognizing Persuasion in Media . . . . . . . . . . . . . . . . . . . . . . . . . . 62Short-Answer Items . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64On Your Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 71Reading Answer Key . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 78Objectives 4 and 5: Written Composition . . . . . . . . . . . . . . . . 81What Are the Writing Prompts Like? . . . . . . . . . . . . . . . . . . . . . . . . 81How Will My Composition Be Scored? . . . . . . . . . . . . . . . . . . . . . . . 82Sample Compositions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 84The Writing Process . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 89Prewriting . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 90Composing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 91Revising . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 92Editing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 93Publishing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 94On Your Own . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 95Objective 6: Revising and Editing. . . . . . . . . . . . . . . . . . . . . . 102Organization. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Supporting Sentences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102Sequence/Progression . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104Transitions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1065

ContentsEnglishLanguageArts(continued)Sentence Structure. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Complete Sentences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Sentence Fragments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107Run-on Sentences. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108Awkward Sentences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Misplaced Modifiers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110Avoiding Redundancy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111Combining Sentences . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 112Standard English Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116Subject-Verb Agreement . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 116Verb Tense . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118Pronoun-Antecedent Agreement . . . . . . . . . . . . . . . . . . . . . . . . 120Pronoun Case. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121Clear Pronoun Reference . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123Double Indicators . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Correct Word Choice. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 124Informal Language . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Confusing Parts of Speech . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125Adjectives Versus Adverbs. . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126Mechanics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Punctuation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127Capitalization . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131Spelling . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1326

ContentsEnglishLanguageArts(continued)Using the Skills . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133Revising and Editing a Paper . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133How Does TAKS Test the Skills You HaveBeen Reviewing? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140On Your Own: Practice Passage 1 and Questions. . . . . . . . . . . . . . 141On Your Own: Practice Passage 2 and Questions. . . . . . . . . . . . . . 145Revising and Editing Answer Key. . . . . . . . . . . . . . . . . . . . 1497

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ENGLISHL A N G U A G E A RT SIntroductionINTRODUCTIONWhat Is This Book?This is a study guide to help you strengthen yourskills on the Grade 10 TAKS English LanguageArts (ELA) test.What does this mean? It means that studentsshould be able to show that they understand howcertain elements of a story—such as conflict andliterary language—affect the story’s meaning. Thephrase “culturally diverse” means “having to dowith a wide range of backgrounds and points ofview.”There are three types of questions on the TAKSELA test: multiple-choice items, short-answeritems, and a writing prompt. Jose Luis Pelaez, Inc./CORBIS In a multiple-choice item, you choose thecorrect answer from four possible answers. In a short-answer item, you write a briefresponse to a question. For a writing prompt, you write acomposition on an assigned topic.What Is a Triplet?How Is the Grade 10 TAKS English LanguageArts Test Organized?At Grade 10 the reading portion of the TAKS ELAtest contains three selections. The three selectionsare related; this is why they are called a triplet.The TAKS ELA test combines reading and writingskills. One section of the test addresses readingand written composition skills, and anothersection addresses revising and editing skills. TheELA test measures achievement of certain testobjectives, or goals. The TAKS objectives arebroad statements about the knowledge or skillsbeing tested. You can find out more about thereading and writing objectives for Grade 10beginning on page 24 of this book. Here’s anexample of a TAKS objective for Grade 10 reading:A common theme or idea links all the selectionsin the triplet. These selections are carefullychosen to reflect a variety of backgrounds,experiences, and points of view. They are muchlike the selections you read in the classroom andin your everyday life.ELAThe next several pages contain a triplet—three selections—consistingof a literary text (“Long Walk to Forever”), an expository piece (“TheHuman Story Machine”), and a visual itory SelectionQuestions intended to guide the reader are included in the margins ofeach selection. As you read, try to answer these questions. You may makeyour own notes in the margin as you read. As you progress through thissection of the study guide, you will be asked to refer back to theseselections several times.The Human StoryMachinefrom The 60-Second Novelistby Dan HurleyLiterary SelectionWhat isparagraph 1mainly about?Long Walk to Forever1When I was 25 years old andworking in Chicago as an editorat the American Bar Association,I wanted nothing more than tobecome a novelist. In themornings, I’d awaken at six towrite. In the evenings, I wasknown to stand up, midconversation with friends, andannounce I had an idea and hadto go home to write.2One October day, a coworker and I were trying tothink up Halloween costumes.Noticehow the“How aboutif I went as a writer,photographswith a typewriter slung from myandthe textI asked. “I couldshoulders?”worktogetherlike one of thosewalk aroundcigarettesaying, ‘Shorttoconvey girls,astories? Novels?’”message.by Kurt Vonnegut, Jr.What detailsdoes the authoruse to create atranquil mood inparagraph 1?They had grown up next door to each other, on the fringe ofa city, near fields and woods and orchards, within sight of alovely bell tower that belonged to a school for the blind.Now they were 20, had not seen each other for nearly a year.There had always been playful, comfortable warmth betweenthem, but never any talk of love.Visual RepresentationWhat doesHurley’s costumeidea show abouthim?3His name was Newt. Her name was Catharine. In the earlyafternoon, Newt knocked on Catharine’s front door.4Catharine came to the door. She was carrying a fat, glossyhttp://www.makeanewfriend.commagazine she had been reading. The magazine was devotedentirely to brides. “Newt!” she said. She was surprisedto see FindConnecthim.Couples ChatPeople Search5“Could you come for a walk?” he said. He was a shy person,even with Catharine. He covered his shyness by speakingOur Coupleof the Weekabsently, as though what really concerned him werefar away—asthough he were a secret agent pausing briefly on a missionbetween beautiful, distant, and sinister points. This manner ofspeaking had always been Newt’s style, even in matters thatconcerned him LocationShopIndexVacation DealsStory ArchivesWhat do you5“Well, Dan,” said one friend, “it’skind of weird.”6I didn’t mind—that was thewhole point.7So on Sunday, April 24, 1983, Icarried my 28-pound, circa 1953typewriter and a director’s chairthrough the stiff winds of Chicagoand set up shop on MichiganAvenue. Perching the typewriter onmy lap, I taped a sign to the back ofit—“60-Second Novels WrittenWhile You Wait”—and invitedOf course, I never did it.anyone who passed by to get anButsomethingabouttheideainstant novel.What wouldgrabbedme:towriting in publicyouexpectThe whole thing took on theon demand;not performance aspectfindif you clickofapsychologicalart, but performance writing. experiment. Some people laughedhere?Behind the absurdity, I sensed cynically and said, “What athe possibility of touching gimmick!”Otherslookedpeople more directly with my sympathetic (“A starving poet!”).writing than I ever had while One lady asked me if I was sellingsitting alone at my desk. If the typewriter. But I had never feltnothing else, it would be a great more alive.story for my grandchildren.8ELAThe student will demonstrate an understandingof the effects of literary elements and techniquesin culturally diverse written texts.12I tried outthe idea onmy writers’group first.“So, what do you think?” I asked,looking around the room, like a dogwaiting to be petted.34To view the stories, click on thethinkphotos.Hurleymeans by"performancewriting"?“A walk?” said Catharine.Read about how a lost“One foot in front of the other,” said Newt, golden“throughleaves,retrieverbroughtPaula and Brian together.over bridges—”We Meet Again20Click here to readPaula and Brian’s story.Love at First SightWhat’s Your Story?To submit the story of howyou met, click here.When Romeo Met JulietMore StoriesPhotos courtesy of CORBIS/Royalty Free.How can you tell that this isa feature of the website?9Why do you think theheart symbol was selectedfor this website?How is thisphotographdifferent fromthe others?9

Introductionitems. These items show you how TAKS tests theskills in these objectives. The sample questions inthe study guide are the same types of questionsas those on the TAKS test and are at about thesame level of difficulty.Each triplet consists of a published literary selection (such as ashort story or a chapter from a novel) a published expository, or informational,selection (such as an essay or a magazinearticle) This study guide contains answers to all thesample TAKS questions. Some of the answersappear in the sections that focus on theobjectives, and others are found at the end ofeach section. The answers include explanationsthat tell why an answer is correct or incorrect.a one-page viewing and representing piece(such as an advertisement, a Web page, ora cartoon)How Can This Study Guide Help You?This study guide can help you strengthen theskills tested on the TAKS test. It explains theobjectives that are tested and guides you throughsample questions. These questions give youpractice in applying the skills you have learned inthe classroom. When you work through thisstudy guide, you’ll be working on the same skillsthat you’ll need to do well on the test.How Is This Study Guide Organized?This study guide begins by presenting a sampletriplet. The first selection is a short story. The second selection is an essay. The third selection is a Web page.You will see notes in the margins of eachselection. These notes will highlight importantpoints that careful readers notice as they read.Next the study guide gives you information aboutTAKS Objectives 1 through 6. Objectives 1through 3 are reading objectives, Objectives 4and 5 deal with the written composition, andObjective 6 covers revising and editing skills.Along with this information, you’ll find sample10UIDEDY GSTU

The next several pages contain a triplet—three selections—consistingof a literary text (“Long Walk to Forever”), an expository piece (“TheHuman Story Machine”), and a visual ions intended to guide the reader are included in the margins ofeach selection. As you read, try to answer these questions. You may makeyour own notes in the margins as you read. As you progress through thereading section of this study guide, you will be asked to refer to theseselections several times.Literary SelectionLong Walk to Foreverby Kurt Vonnegut, Jr.What detailsdoes the authoruse to create atranquil mood inparagraph 1?1They had grown up next door to each other, on the fringe ofa city, near fields and woods and orchards, within sight of alovely bell tower that belonged to a school for the blind.2Now they were 20, had not seen each other for nearly a year.There had always been playful, comfortable warmth betweenthem, but never any talk of love.3His name was Newt. Her name was Catharine. In the earlyafternoon, Newt knocked on Catharine’s front door.4Catharine came to the door. She was carrying a fat, glossymagazine she had been reading. The magazine was devotedentirely to brides. “Newt!” she said. She was surprised to seehim.5“Could you come for a walk?” he said. He was a shy person,even with Catharine. He covered his shyness by speakingabsently, as though what really concerned him were far away—asthough he were a secret agent pausing briefly on a missionbetween beautiful, distant, and sinister points. This manner ofspeaking had always been Newt’s style, even in matters thatconcerned him desperately.67“A walk?” said Catharine.“One foot in front of the other,” said Newt, “through leaves,over bridges—”11

“Long Walk to Forever”What detailsdoes the authoruse to characterize Newt inparagraph 11?What can youinfer aboutNewt fromthese details?What doesNewt inviteCatharine to do?8“I had no idea you were in town,” she said.9“Just this minute got in,” he said.10“Still in the Army, I see,” she said.11“Seven more months to go,” he said. He was a private firstclass in the Artillery. His uniform was rumpled. His shoes weredusty. He needed a shave. He held out his hand for the magazine.“Let’s see the pretty book,” he said.12She gave it to him. “I’m getting married, Newt,” she said.13“I know,” he said. “Let’s go for a walk.”14“I’m awfully busy, Newt,” she said. “The wedding is only aweek away.”15“If we go for a walk,” he said, “it will make you rosy. It willmake you a rosy bride.” He turned the pages of the magazine. “Arosy bride like her—like her—like her,” he said, showing herrosy brides.1617“That will be my present to Henry Stewart Chasens,” saidNewt. “By taking you for a walk, I’ll be giving him a rosy bride.”18“You know his name?” said Catharine.19“Mother wrote,” he said. “From Pittsburgh?”20“Yes,” she said. “You’d like him.”21“Maybe,” he said.22“Can—can you come to the wedding, Newt?” she said.23“That I doubt,” he said.24“Your furlough isn’t for long enough?” she said.25What isCatharine'sreaction whenshe learns thatNewt isA.W.O.L.?Catharine turned rosy, thinking about rosy brides.“Furlough?” said Newt. He was studying a two-page ad forflat silver. “I’m not on furlough,” he said.26“Oh?” she said.27“I’m what they call A.W.O.L.,”1 said Newt.28“Oh, Newt! You’re not!” she said.29“Sure I am,” he said, still looking at the magazine.A.W.O.L. is a military term for “absent without leave.”112

“Long Walk to Forever”30What is ironicabout this statement?What detailslead you tobelieve thatNewt does notreally want tobuy Catharineand Henry aspoon?31“Newt, Newt—tell me really,” she said.33“I want to go for a walk,” he said.34Newt imitated a police siren softly, raised his eyebrows.36“Where—where from?” she said.37“Fort Bragg,” he said.38“North Carolina?” she said.41Why do youthink the authorincludes an extraspace here?She wrung her hands in sisterly anguish. “Oh, Newt—you’refooling me about being A.W.O.L.,” she said.3540Why do youthink Newtrepeats thisphrase fromparagraph 7?“I had to find out what your silver pattern is,” he said. Heread names of silver patterns from the magazine. “Albermarle?Heather?” he said. “Legend? Rambler Rose?” He looked up,smiled. “I plan to give you and your husband a spoon,” he said.3239Newt says thathe did not cometo see his mother. What canyou infer fromthis?“Why, Newt?” she said.“That’s right,” he said. “Near Fayetteville—where ScarletO’Hara went to school.”“How did you get here, Newt?” she said.He raised his thumb, jerked it in a hitchhike gesture. “Twodays,” he said.42“Does your mother know?” she said.43“I didn’t come to see my mother,” he told her.44“Who did you come to see?” she said.45“You,” he said.46“Why me?” she said.47“Because I love you,” he said. “Now can we take a walk?” hesaid. “One foot in front of the other—through leaves, overbridges—”48They were taking the walk now, were in a woods with abrown-leaf floor.49Catharine was angry and rattled, close to tears. “Newt,” shesaid, “this is absolutely crazy.”50“How so?” said Newt.13

“Long Walk to Forever”515253Catharine saysthat she agreedto go for a walkwith Newt toget him out ofthe house. Doyou think thatthis is her realreason?5455“Let’s keep walking,” he said.“No,” she said. “So far, no farther. I shouldn’t have come outwith you at all,” she said.“You did,” he said.“To get you out of the house,” she said. “If somebody walkedin and heard you talking to me that way, a week before thewedding—”56“What would they think?” he said.57“They’d think you were crazy,” she said.58“Why?” he said.How would yousummarizeCatharine's"speech"? Whatcharacteristicsdoes it revealabout her?59What conflictdoes Catharine'sspeech reveal?61How does theauthor revealCatharine'saffection forNewt in paragraph 61?“What a crazy time to tell me you love me,” she said. “Younever talked that way before.” She stopped walking.60Catharine took a deep breath, made a speech. “Let me saythat I’m deeply honored by this crazy thing you’ve done,” shesaid. “I can’t believe you’re really A.W.O.L., but maybe you are. Ican’t believe you really love me, but maybe you do. But—”“I do,” said Newt.“Well, I’m deeply honored,” said Catharine, “and I’m veryfond of you as a friend, Newt, extremely fond—but it’s just toolate.” She took a step away from him. “You’ve never even kissedme,” she said, and she protected herself with her hands. “I don’tmean you should do it now. I just mean this is all so unexpected.I haven’t got the remotest idea of how to respond.”62“Just walk some more,” he said. “Have a nice time.”63They started walking again.64“How did you expect me to react?” she said.65“How would I know what to expect?” he said. “I’ve neverdone anything like this before.”66“Did you think I would throw myself into your arms?” shesaid.67“Maybe,” he said.68“I’m sorry to disappoint you,” she said.69“I’m not disappointed,” he said. “I wasn’t counting on it. Thisis very nice, just walking.”14

“Long Walk to Forever”7071How would youdescribe Newt'sapproach to pursuing Catharine?What does thisshow abouthim?Catharine feelsthat her tearsare caused byrage. Whatother emotionsmight be causingher outburst?“Nope,” he said.72“We shake hands,” she said. “We shake hands and partfriends,” she said. “That’s what happens next.”73Newt nodded. “All right,” he said. “Remember me from timeto time. Remember how much I loved you.”74Involuntarily, Catharine burst into tears. She turned her backto Newt, looked into the infinite colonnade of the woods.75767778798081Notice the context clues forthe wordconsternation.Catharine stopped again. “You know what happens next?”she said.“What does that mean?” said Newt.“Rage!” said Catharine. She clenched her hands. “You haveno right—”“I had to find out,” he said.“If I’d loved you,” she said, “I would have let you know beforenow.”“You would?” he said.“Yes,” she said. She faced him, looked up at him, her facequite red. “You would have known,” she said.“How?” he said.82“You would have seen it,” she said. “Women aren’t very cleverat hiding it.”83Newt looked closely at Catharine’s face now. To herconsternation, she realized that what she had said was true, thata woman couldn’t hide love.84Newt was seeing love now.85And he did what he had to do. He kissed her.86“You’re hell to get along with!” she said when Newt let her go.87“I am?” said Newt.88“You shouldn’t have done that,” she said.89“You didn’t like it?” he said.15

“Long Walk to Forever”90“What did you expect,” she said—“wild, abandonedpassion?”91“I keep telling you,” he said, “I never know what’s going tohappen next.”92“We say good-bye,” she said.93He frowned slightly. “All right,” he said.94What importantchange does theauthor reveal tothe reader?95“You too,” he said.96“Thank you, Newt,” she said.97“Thirty days,” he said.98“What?” she said.99What can youinfer from thefact thatCatharine continues to walk?“Thirty days in the stockade,” he said—“that’s what one kisswill cost me.”100“I—I’m sorry,” she said, “but I didn’t ask you to go A.W.O.L.”101“I know,” he said.102“You certainly don’t deserve any hero’s reward for doingsomething as foolish as that,” she said.103“Must be nice to be a hero,” said Newt. “Is Henry StewartChasens a hero?”104“He might be, if he got the chance,” said Catharine. She noteduneasily that they had begun to walk again. The farewell hadbeen forgotten.105106107108How would youdescribeCatharine'sfeelings towardHenry?She made another speech. “I’m not sorry we kissed,” she said.“That was sweet. We should have kissed, we’ve been so close. I’llalways remember you, Newt, and good luck.”109“You really love him?” he said.“Certainly I love him!” she said hotly. “I wouldn’t marry himif I didn’t love him!”“What’s good about him?” said Newt.“Honestly!” she cried, stopping again. “Do you have an ideahow offensive you’re being? Many, many, many things are goodabout Henry! Yes,” she said, “and many, many, many things areprobably bad too. But that isn’t any of your business. I loveHenry, and I don’t have to argue his merits with you!”“Sorry,” said Newt.16

“Long Walk to Forever”110111Newt kissed her again. He kissed her again because shewanted him to.112They were now in a large orchard.113“How did we get so far from home, Newt?” said Catharine.114“One foot in front of the other—through leaves, overbridges,” said Newt.115“They add up—the steps,” she said.116Bells rang in the tower of the school for the blind nearby.117“School for the blind,” said Newt.118“School for the blind,” said Catharine. She shook her head indrowsy wonder. “I’ve got to go back now,” she said.119“Say good-bye,” said Newt.120“Every time I do,” said Catharine, “I seem to get kissed.”121Newt sat down on the close-cropped grass under an appletree. “Sit down,” he said.122“No,” she said.123“I won’t touch you,” he said.124“I don’t believe you,” she said.125Why doyou think Newttells Catharineto dream ofHenry?“Honestly!” said Catharine.She sat down under another tree, 20 feet away from him. Sheclosed her eyes.126“Dream of Henry Stewart Chasens,” he said.127“What?” she said.128“Dream of your wonderful husband-to-be,” he said.129130131132“All right, I will,” she said. She closed her eyes tighter, caughtglimpses of her husband-to-be.Newt yawned.The bees were humming in the trees, and Catharine almostfell asleep. When she opened her eyes she saw that Newt reallywas asleep.He began to snore softly.17

“Long Walk to Forever”133Cath

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