Applied Practice in · STRATEGIES FOR MULTIPLE-CHOICE QUESTIONS Below are some suggestions for...

Applied Practice in

To Kill a Mockingbird PRE-AP*/AP*

By Harper Lee

RESOURCE GUIDE

*AP and SAT are registered trademarks of the College Entrance Examination Board, which was not involved in the production of, and does not endorse, this product. Pre-AP is a trademark owned by the College Entrance Examination Board.

©1998 by Applied Practice, Ltd., Dallas, TX. All rights reserved.

Copyright © 1998 by Applied Practice, Ltd

All rights reserved. No part of the Answer Key and Explanation portion of this publication may be reproduced or transmitted in any form or by any means, electronic or

mechanical, including photocopy, recording, or any information storage and retrieval system, without

permission in writing from the publisher.

Only the Student Practices portion of this publication may be reproduced in quantities limited to the size of an

individual teacher’s classroom. It is not permissible for multiple teachers to share a single Resource Guide.

Printed in the United States of America.

APPLIED PRACTICE Resource Guide

To Kill a Mockingbird Pre-AP*/AP* Version

Teacher Notes

A Note for Teachers.............................................................. 5

A Note about Format ............................................................ 7

Teaching Resources

Strategies for Multiple-Choice Questions........................... 11

Strategies for Free-Response Questions ............................. 12

Glossary of Literary Terms................................................. 13

Vocabulary Lists by Passage .............................................. 21

Student Practices

Multiple-Choice Questions ................................................. 27

Free-Response Questions.................................................... 53

Answer Key and Explanations

Multiple-Choice Answer Key ............................................. 63

Multiple-Choice Answer Explanations............................... 67

Free-Response Scoring Guide............................................. 83

*Pre-AP and AP are registered trademarks of the College Entrance Examination Board, which was not involved in the production of, and does not endorse, this product.

©1998 by Applied Practice, Ltd., Dallas, TX. All rights reserved.

Teacher Notes

for

To Kill a Mockingbird

A NOTE FOR TEACHERS

We hope you will find this Applied Practice booklet helpful as you work to prepare your students for the Advanced Placement Exams in English. As your students read the literary works covered in your curriculum, they will have the opportunity to practice and to develop those skills required on the exams. We offer a few suggestions and explanations to help you receive the maximum benefit from our materials.

1. Applied Practice booklets do not purport to duplicate exactly an Advanced Placement Examination. However, questions are modeled on those typically encountered on these exams. Thus, students using these materials will become familiar and comfortable with the format, question types, and terminology of Advanced Placement Examinations.

2. Because the passages chosen from the work vary in length, in some cases being longer or shorter than those typical of the Advanced Placement Exams, the multiple-choice sections of this booklet are not ideally administered in a timed situation. A teacher may certainly review the section and set a time he or she considers reasonable in his or her classroom. However, the multiple-choice sections were not written with specific time limits in mind.

3. A few multiple-choice questions assume a student's familiarity with the work up to the given passage. While such familiarity would not be assumed on an Advanced Placement Exam, it is appropriate for materials designed for use in a classroom setting.

4. The free-response questions do lend themselves to timing. As on an Advanced Placement Exam, students should be allotted approximately 40 minutes per essay.

5. The teacher should adapt this material to meet the needs of his or her own students and to suit his or her instructional strategies. An answer sheet for the multiple-choice section has not been included because methods for using these sections will vary. Each passage could be given on its own, or larger sections could be administered at intervals throughout the study of the work. Consecutive numbering of questions throughout the multiple-choice section allows for the use of mechanically scanned answer sheets.

6. Students should be given guidance in their early practices until they become familiar with terminology, format, and question types. Later, students can work more independently.

7. These materials are not designed to be used as tests of whether or not a student has read the work. The questions are rather designed to help train students in close reading analysis.

©1998 by Applied Practice, Ltd., Dallas, TX. All rights reserved. 5

8. The teacher might want to scan the terms used in the answer choices to make sure students are familiar with these terms.

Thank you for using Applied Practice materials in your classroom. We always welcome comments and suggestions.

COPYRIGHT NOTICE

The copyright law of the United States (Title 17, United States Code) governs the making of photocopies or other reproductions of copyrighted material. Reproduction of individual worksheets from this booklet, excluding content intended solely for teacher use, is permissible by an individual teacher for use by his or her students in his or her own classroom. Content intended solely for teacher use may not be reproduced, stored in a retrieval system, or transmitted in any way or by any means (electronic, mechanical, photocopying, or otherwise) without prior written permission from Applied Practice. Reproduction of any portion of this booklet for use by more than one teacher or for an entire grade level, school, or school system, is strictly prohibited. By using this booklet, you hereby agree to be bound by these copyright restrictions and acknowledge that by violating these restrictions, you may be liable for copyright infringement and/or subject to criminal prosecution.

6 ©1998 by Applied Practice, Ltd., Dallas, TX. All rights reserved.

A NOTE ABOUT FORMAT

In some Applied Practice booklets, the multiple-choice passages and the free-response questions that are based on novel passages have been retyped in Advanced Placement format. In booklets in which excerpted passages are not provided for copyright reasons, the teacher must be sure each student has a copy of the passages from the novel. It might be helpful to number the paragraphs of each passage before students begin answering the questions because questions will sometimes refer to paragraphs by number. In the introduction to each set of questions and each free-response prompt, the beginning and ending lines of the passage are cited to assist the teacher in locating the precise passage covered by the questions. In addition, page numbers from an edition used frequently in classrooms are given. If a teacher is using an edition with different pagination, he or she will need to rely on the lines cited in the introduction. For this booklet, page numbers refer to the edition of To Kill a Mockingbird published by Grand Central Publishing, New York, copyright 1960.


Teaching Resources

for


STRATEGIES FOR MULTIPLE-CHOICE QUESTIONS

Below are some suggestions for using Applied Practice materials as you work to help your students develop mastery in answering multiple-choice questions. CLASS APPROACH: 1. Walk through the first close reading practice with the class:

a. Read the passage aloud b. Read the questions aloud, and discuss any terms or words that are unfamiliar c. Analyze exactly what the questions are asking; underline key terms or words d. Highlight or mark the part of the passage in which the answer might be found e. Discuss the right answer, including why it is a better choice than the others

2. Assign the next close reading passage as homework. The following day, put students into

small groups and have them compare answers. Each group must arrive at a consensus regarding the answers, so students will need to defend their choices by referring back to the text. After the groups have reached consensus, go over the correct answers and discuss any questions that posed difficulties for the students.

Repeat this activity on a regular basis to help the students become more proficient. 3. Have students keep track of the types of questions with which they have difficulty, and see if

a pattern emerges—for example, questions dealing with tone, terms, author’s attitude, meaning, etc.

4. Teach mini-lessons on problem areas. 5. Begin using the close reading selections as quizzes or tests. It is important to remember that a

student can score a “3” on the actual test if he or she answers 55-60% of the multiple-choice questions correctly. Teachers will probably want to adjust any

grading accordingly. 6. Challenge students to write their own questions over selected passages. After students have

become familiar with the format and level of difficulty of the questions, this activity, either individually or in groups, can increase their proficiency even more.

INDIVIDUAL APPROACH/INDEPENDENT STUDY:

Students may work through an Applied Practice test booklet on their own as they read the literature individually. They can check their own answers with the answer key and read the answer explanations provided in the teacher edition, conferring with the teacher as needed.


STRATEGIES FOR FREE-RESPONSE QUESTIONS

Below are some suggestions for using Applied Practice materials as you work to help your students develop mastery in answering free-response questions. CLASS APPROACH: 1. Walk through the first free-response question with the class:

a. Read the prompt aloud, and have students underline key words in the prompt. b. Discuss what specifically the question is asking students to address. c. For prompts that refer to literary or nonfiction passages

• Highlight/underline key parts of the passage that relate to the prompt • Write notes in the margins

d. Have each student develop a thesis statement. Having each student write his or her statement on the board and then discussing its strengths and weaknesses is a possible strategy.

e. Discuss a possible organization for the essay and, in the case of a prompt with a passage, which parts of the passage should be referred to in support of the thesis. Students might want to create an outline, diagram, or other organizer.

f. Ask students to write the actual essay. This can be un-timed in the early stages. g. Display some student essays on the overhead projector, or read aloud, and discuss the

essays’ strengths and weaknesses. h. Distribute a generic grading rubric, and discuss the rubric so that students understand the

grading criteria. i. Reanalyze the essays according to the rubric, and have students assign a score (0-9) for

each essay. 2. Hand out a sample College Board free-response question, sample student responses, and a

sample rubric, and discuss what constitutes a good response. 3. Assign a different free-response question for homework. The next day, put students into

small groups to read each other’s essays and rate them on the 0-9 scale. Have each group share its “best” essay and explain why they rated it the best. An alternate approach is to assign numbers to each student so that the authorship of each essay is anonymous, then distribute the essays at random among the groups.

4. Have students write in-class essays that are timed, perhaps beginning with longer response

times and gradually reducing the time limit to 40 minutes. 5. Have students keep all their essays and track their grades so that they can see their progress

and analyze their areas of strength and weakness. 6. Teach mini-lessons as needed to address areas of weakness and reinforce specific skills, such

as formulating a thesis, using examples and evidence, and organizing the essay.


GLOSSARY OF LITERARY TERMS

absolute—a word free from limitations or qualifications (“best,” “all,” “unique,”

“perfect”) adage—a familiar proverb or wise saying ad hominem argument—an argument attacking an individual’s character rather than his

or her position on an issue allegory—a literary work in which characters, objects, or actions represent abstractions alliteration—the repetition of initial sounds in successive or neighboring words allusion—a reference to something literary, mythological, or historical that the author

assumes the reader will recognize analogy—a comparison of two different things that are similar in some way anaphora—the repetition of words or phrases at the beginning of consecutive lines or

sentences anecdote—a brief narrative that focuses on a particular incident or event antecedent—the word, phrase, or clause to which a pronoun refers antithesis—a statement in which two opposing ideas are balanced aphorism—a concise statement that expresses succinctly a general truth or idea, often

using rhyme or balance apostrophe—a figure of speech in which one directly addresses an absent or imaginary

person, or some abstraction archetype—a detail, image, or character type that occurs frequently in literature and

myth and is thought to appeal in a universal way to the unconscious and to evoke a response

argument—a statement of the meaning or main point of a literary work asyndeton—a construction in which elements are presented in a series without

conjunctions


balanced sentence—a sentence in which words, phrases, or clauses are set off against each other to emphasize a contrast

bathos—insincere or overly sentimental quality of writing/speech intended to evoke pity chiasmus—a statement consisting of two parallel parts in which the second part is

structurally reversed (“Susan walked in, and out rushed Mary”) cliché—an expression that has been overused to the extent that its freshness has worn off climax—the point of highest interest in a literary work colloquialism—informal words or expressions not usually acceptable in formal writing complex sentence—a sentence with one independent clause and at least one dependent

clause compound sentence—a sentence with two or more coordinate independent clauses, often

joined by one or more conjunctions conceit—a fanciful, particularly clever extended metaphor concrete details—details that relate to or describe actual, specific things or events connotation—the implied or associative meaning of a word cumulative sentence—a sentence in which the main independent clause is elaborated by

the successive addition of modifying clauses or phrases declarative sentence—a sentence that makes a statement or declaration deductive reasoning—reasoning in which a conclusion is reached by stating a general

principle and then applying that principle to a specific case (The sun rises every morning; therefore, the sun will rise on Tuesday morning.)

denotation—the literal meaning of a word dialect—a variety of speech characterized by its own particular grammar or

pronunciation, often associated with a particular geographical region dialogue—conversation between two or more people diction—the word choices made by a writer didactic—having the primary purpose of teaching or instructing


dilemma—a situation that requires a person to decide between two equally attractive or equally unattractive alternatives

dissonance—harsh, inharmonious, or discordant sounds elegy—a formal poem presenting a meditation on death or another solemn theme ellipsis—the omission of a word or phrase which is grammatically necessary but can be

deduced from the context (“Some people prefer cats; others, dogs”). epic—a long narrative poem written in elevated style which presents the adventures of

characters of high position and episodes that are important to the history of a race or nation.

epigram—a brief, pithy, and often paradoxical saying epigraph—a saying or statement on the title page of a work, or used as a heading for a

chapter or other section of a work epiphany—a moment of sudden revelation or insight epitaph—an inscription on a tombstone or burial place epithet—a term used to point out a characteristic of a person. Homeric epithets are often

compound adjectives (“swift-footed Achilles”) that become an almost formulaic part of a name. Epithets can be abusive or offensive but are not so by definition. For example, athletes may be proud of their given epithets (“The Rocket”).

eulogy—a formal speech praising a person who has died euphemism—an indirect, less offensive way of saying something that is considered

unpleasant exclamatory sentence—a sentence expressing strong feeling, usually punctuated with an

exclamation mark expletive—an interjection to lend emphasis; sometimes, a profanity fable—a brief story that leads to a moral, often using animals as characters fantasy—a story that concerns an unreal world or contains unreal characters; a fantasy

may be merely whimsical, or it may present a serious point figurative language—language employing one or more figures of speech (simile,

metaphor, imagery, etc.)


flashback—the insertion of an earlier event into the normal chronological order of a narrative

flat character—a character who embodies a single quality and who does not develop in

the course of a story foreshadowing—the presentation of material in such a way that the reader is prepared

for what is to come later in the work frame device—a story within a story. An example is Chaucer’s Canterbury Tales, in

which the primary tales are told within the “frame story” of the pilgrimage to Canterbury

genre—a major category or type of literature homily—a sermon, or a moralistic lecture hubris—excessive pride or arrogance that results in the downfall of the protagonist of a

tragedy hyperbole—intentional exaggeration to create an effect hypothetical question—a question that raises a hypothesis, conjecture, or supposition idiom—an expression in a given language that cannot be understood from the literal

meaning of the words in the expression; or, a regional speech or dialect imagery—the use of figures of speech to create vivid images that appeal to one of the

senses implication—a suggestion an author or speaker makes (implies) without stating it

directly. NOTE: the author/sender implies; the reader/audience infers. inductive reasoning—deriving general principles from particular facts or instances (“Every cat I have ever seen has four legs; cats are four-legged animals). inference—a conclusion one draws (infers) based on premises or evidence invective—an intensely vehement, highly emotional verbal attack irony—the use of words to convey the opposite of their literal meaning; or, incongruity

between what is expected and what actually occurs jargon—the specialized language or vocabulary of a particular group or profession juxtaposition—placing two elements side by side to present a comparison or contrast


legend—a narrative handed down from the past, containing historical elements and usually supernatural elements

limerick—light verse consisting of five lines of regular rhythm in which the first, second,

and fifth lines (each consisting of three feet) rhyme, and the second and third lines (each consisting of two feet) rhyme

limited narrator—a narrator who presents the story as it is seen and understood by a

single character and restricts information to what is seen, heard, thought, or felt by that one character

literary license—deviating from normal rules or methods in order to achieve a certain

effect (intentional sentence fragments, for example). litotes—a type of understatement in which an idea is expressed by negating its opposite

(describing a particularly horrific scene by saying, “It was not a pretty picture.”) malapropism—the mistaken substitution of one word for another word that sounds

similar (“The doctor wrote a subscription”). maxim—a concise statement, often offering advice; an adage metaphor—a direct comparison of two different things metonymy—substituting the name of one object for another object closely associated

with it (“The pen [writing] is mightier than the sword [war/fighting]”) mood—the emotional atmosphere of a work motif—a standard theme, element, or dramatic situation that recurs in various works motivation—a character’s incentive or reason for behaving in a certain manner; that

which impels a character to act myth—a traditional story presenting supernatural characters and episodes that help

explain natural events narrative—a story or narrated account narrator—the one who tells the story; may be first- or third-person, limited or

omniscient non sequitur—an inference that does not follow logically from the premises (literally,

“does not follow”). omniscient narrator—a narrator who is able to know, see, and tell all, including the

inner thoughts and feelings of the characters


onomatopoeia—a word formed from the imitation of natural sounds oxymoron—an expression in which two words that contradict each other are joined parable—a simple story that illustrates a moral or religious lesson paradox—an apparently contradictory statement that actually contains some truth parallelism—the use of corresponding grammatical or syntactical forms paraphrase—a restatement of a text in a different form or in different words, often for

the purpose of clarity parody—a humorous imitation of a serious work parenthetical—a comment that interrupts the immediate subject, often to qualify or

explain pathos—the quality in a work that prompts the reader to feel pity pedantic—characterized by an excessive display of learning or scholarship personification—endowing non-human objects or creatures with human qualities or

characteristics philippic—a strong verbal denunciation. The term comes from the orations of

Demosthenes against Philip of Macedonia in the fourth century. plot—the action of a narrative or drama point of view—the vantage point from which a story is told polysyndeton—the use, for rhetorical effect, of more conjunctions than is necessary or

natural pun—a play on words, often achieved through the use of words with similar sounds but

different meanings resolution—the falling action of a narrative; the events following the climax rhetoric—the art of presenting ideas in a clear, effective, and persuasive manner rhetorical question—a question asked merely for rhetorical effect and not requiring an

answer rhetorical devices—literary techniques used to heighten the effectiveness of expression


riddle—a question requiring thought to answer or understand; a puzzle or conundrum romantic—a term describing a character or literary work that reflects the characteristics

of Romanticism, the literary movement beginning in the late 18th century that stressed emotion, imagination, and individualism.

round character—a character who demonstrates some complexity and who develops or

changes in the course of a work sarcasm—harsh, cutting language or tone intended to ridicule satire—the use of humor to emphasize human weaknesses or imperfections in social

institutions scapegoat—a person or group that bears the blame for another scene—a real or fictional episode; a division of an act in a play setting—the time, place, and environment in which action takes place simile—a comparison of two things using “like,” “as,” or other specifically comparative

words. simple sentence—a sentence consisting of one independent clause and no dependent

clause solecism—nonstandard grammatical usage; a violation of grammatical rules structure—the arrangement or framework of a sentence, paragraph, or entire work style—the choices a writer makes; the combination of distinctive features of a literary

work surrealism—an artistic movement emphasizing the imagination and characterized by

incongruous juxtapositions and lack of conscious control syllepsis—a construction in which one word is used in two different senses (“After he

threw the ball, he threw a fit.”) syllogism—a three-part deductive argument in which a conclusion is based on a major

premise and a minor premise (“All men are mortal; Socrates is a man; therefore, Socrates is mortal”).

symbol—an object that is used to represent something else synecdoche—using one part of an object to represent the entire object (for example,

referring to a car simply as “wheels”)


synesthesia (or synaesthesia) —describing one kind of sensation in terms of another (“a loud color,” “a sweet sound”)

syntax—the manner in which words are arranged into sentences tautology—needless repetition which adds no meaning or understanding (“widow

woman,” “free gift”) theme—a central idea of a work thesis—the primary position taken by a writer or speaker tone—the attitude of a writer, usually implied, toward the subject or audience topic—the subject treated in a paragraph or work tragedy—a work in which the protagonist, a person of high degree, is engaged in a

significant struggle and which ends in ruin or destruction. trilogy—a work in three parts, each of which is a complete work in itself trite—overused and hackneyed turning point—the point in a work in which a very significant change occurs understatement—the deliberate representation of something as lesser in magnitude than

it actually is; a deliberate under-emphasis. usage—the customary way language or its elements are used vernacular—the everyday speech of a particular country or region, often involving

nonstandard usage


VOCABULARY LIST FOR TO KILL A MOCKINGBIRD

Note: Vocabulary from the literary passage is listed first, followed by vocabulary from the questions and answers. Passage 1 Passage 2 Passage 3 slop hitched flicked detachment slat epic entity __________________ uniqueness contradict

expounding erratic contradict iniquities solitary __________________ admonishment reprimand inattentive popularity

unfathomable aberrations ripple feeble accosted meteorological ____________________ hypocrisy condemnation


Passage 4 Passage 5 Passage 6 trousseau gravitated fanatical attire breeches deportment mishaps ______________ rambunctious raucous tractable demurely

feeble abilities manliness contemporaries rudiments mausoleum meddle _____________ reiterate simplistic

inconsistent appalling alien boded compensation barnacles diligently _______________ antithetical arid


Passage 7 Passage 8 Passage 9 heredity obliquely inland nimble tranquility sprawled shinny ultimate caste predictable stoops _________________ irrelevant satirical paradox judiciously

fluctuations prosperity congenital corrugated refuse _______________ hapless expenditure condemnation

corrupting discreet weave clutches fascinating

instinct _________________ articulate flout


Passage 10 Passage 11 Passage 12

persevering unmitigated cynical assumption caliber immoral distaff context levelers integrity ________________ severity recap

rural spurious recited privileges persecute arithmetic ________________ superficial eminently illiteracy dubious

indicated crook scampered invention woes triumph enacting apprehensive silhouetted _______________ coordinate contradicts transition


Student Practices

for


Multiple-Choice Questions


Directions: This part consists of selections from To Kill a Mockingbird and questions on their content, form, and style. After reading a passage, choose the best answer to each question. Note: Pay particular attention to the requirement of questions that contain the words NOT, LEAST, or EXCEPT. Passage 1, Questions 1-7. Read the passage from Chapter 1 which begins “Maycomb was an old town” and ends “Mrs. Dubose was plain hell” (pages 6-7) carefully before you choose your answers. 1. The style of the passage is best characterized as (A) pedantic (B) effusive (C) complex (D) informal (E) eclectic 2. The tone of the first two paragraphs is (A) prosaic (B) satirical (C) critical (D) didactic (E) humorous 3. The narrator creates a mood for Maycomb primarily through the use of (A) allusions (B) similes (C) concrete details (D) hyperbole (E) litotes 4. From the passage, the reader can infer that the dominant influence in the narrator’s life is (A) Maycomb (B) her father (C) her mother (D) Jem (E) Calpurnia 5. The sentence “Calpurnia was something else again” which begins the fourth paragraph serves to (A) emphasize Calpurnia’s cruelty in comparison to the father (B) highlight Calpurnia’s uniqueness as a person (C) contrast Calpurnia’s behavior to the father’s (D) contradict the narrator’s description of Calpurnia (E) focus the reader on Calpurnia’s importance to the narrator


6. The reader can infer that the narrator’s view of her mother’s death is (A) dispassionate (B) maudlin (C) unsympathetic (D) surrealistic (E) pathetic 7. The narrator creates a child’s point of view through her I. simplistic diction II. choice of details III. explanation of events (A) I only (B) II only (C) III only (D) I and II only (E) I, II, and III


Passage 2, Questions 8-15. Read the passage from Chapter 3 which begins “‘Reason I can’t pass the first grade, Mr. Finch . . .’” and ends “‘You think about how much Cal does for you, and you mind her, you hear?’” (pages 31-33) carefully before you choose your answers. 8. Walter’s conversation in the first paragraph reveals all of the following EXCEPT (A) his mental limitations (B) his family loyalty (C) his poverty (D) his father’s occupation (E) his politeness 9. Atticus “shook his head” at Scout (second paragraph) to express his (A) disapproval (B) admonishment (C) anger (D) wonder (E) approval 10. The effect of the word “requested” in the sentence “It was then that Calpurnia requested my presence

in the kitchen” is to show Calpurnia’s (A) subservient position (B) tentativeness (C) tactfulness (D) power (E) insecurity 11. It can be inferred from Calpurnia’s response to Scout’s remark, “‘He ain’t company, Cal, he’s just a

Cunningham,’” that I. there is a social class system in Maycomb II. Calpurnia resents being looked down on as “colored” III. good manners are important to Calpurnia (A) I only (B) II only (C) III only (D) I and III only (E) I, II, and III 12. It can be inferred from the sentence which which begins “I retrieved my plate . . .” (in the paragraph

beginning “Calpurnia sent me . . .”) that Scout (A) has been hurt by Calpurnia’s reprimand (B) understands the rudeness of her prior behavior (C) is humiliated by Calpurnia’s treatment (D) is grateful that Calpurnia has explained things (E) is glad that a small spank was her only punishment


13. The syntax and diction of the narration contrasts with the dialogue of which of the characters? I. Atticus II. Calpurnia III. Scout (A) I only (B) II only (C) III only (D) I and II only (E) II and III only 14. Scout’s comments to Calpurnia (beginning “I told Calpurnia to just wait”) suggest that (A) Scout is cruel and spiteful (B) Calpurnia is loving and educated (C) the relationship between the two is strained (D) Scout is suicidal and vengeful (E) Calpurnia is inattentive and troublesome 15. Scout’s statement “‘She likes Jem better’n she likes me . . .’” in the second to last paragraph, coupled

with her earlier threat to “go off and drown myself,” serves to underline Scout’s (A) jealousy of her brother (B) propensity for tattling (C) underhanded way of dealing with people (D) desire for reassurance from her father (E) need for Calpurnia’s affection


Passage 3, Questions 16-23. Read the following passage from Chapter 8 which begins at the opening of the chapter and ends “they came straight from the Rosetta Stone” (pages 85-87) carefully before you choose your answers. 16. The overall tone of the first paragraph is (A) ironic (B) pedantic (C) satiric (D) humorous (E) informative 17. The last sentence of the first paragraph implies that (A) Mr. Avery was well educated (B) Jem and the narrator had misbehaved (C) the winter was unusually cold (D) Atticus pays little attention to the weather (E) Maycomb was full of religious and superstitious people 18. As used in the paragraph which begins “Jem restrained me . . . ,” “touchous” and “twitch” could best

be restated as (A) “tortured” and “nervous tic” (B) “insensitive” and “twinge” (C) “nervous” and “nervous tic” (D) “suspicious” and “thought” (E) “sensitive” and “feeling” 19. Scout’s response to her first sight of snow (“‘The world’s endin’, Atticus . . .’”) is characterized by I. exclamations II. hyperboles III. ellipsis (A) I only (B) II only (C) I and II only (D) II and III only (E) I, II, and III 20. Atticus’ dual responses to each of Jem’s questions about the snow reveal his (A) hypocrisy (B) uncertainty (C) honesty (D) inattentiveness (E) lack of knowledge


21. Jem’s statement “‘It’s so cold it burns’” is a(n) (A) paradox (B) hyperbole (C) synecdoche (D) understatement (E) analogy 22. The “this” in the middle of the last paragraph (“ . . . if this was our reward”) refers to (A) Mr. Avery’s performance (B) sin (C) Mr. Avery’s accusation (D) snow (E) Appomattox 23. The narrator’s attitude toward Mr. Avery and Eula May is one of (A) critical awareness (B) humorous acceptance (C) condemnation (D) disrespectful spite (E) repressed resentfulness


Passage 4, Questions 24-30. Read the passage from Chapter 9 which begins “There went with the house the usual legend about the Yankees” and ends “ . . . Aunt Alexandra didn’t understand girls much, she’d never had one” (pages 107-108) carefully before you choose your answers. 24. In the first sentence, the word “usual” serves primarily to (A) imply that the story probably was not true (B) distract the reader from the heroism of the story (C) show the narrator’s contempt for the legend (D) impress the reader with the family’s lineage (E) hint that every family in the area had a similar story 25. Francis’ Christmas wish list reveals that he is (A) priggish (B) immature (C) rambunctious (D) raucous (E) tractable 26. Atticus’ reply to his sister, “‘Sister, I do the best I can with them!’” implies that I. he feels some guilt II. she has been criticizing him III. they often fought with each other (A) I only (B) II only (C) III only (D) I and II only (E) I, II, and III 27. Aunt Alexandra’s disapproval of Scout is conveyed through (A) her dialogue (B) Scout’s dialogue (C) the narration (D) understatement (E) generalizations 28. When Aunt Alexandra discusses Scout’s dress and demeanor with her, Scout (A) listens demurely, then ignores her aunt’s comments (B) argues bitterly with her aunt (C) pretends to listen and agree (D) responds logically to her aunt’s points (E) reveals her lack of respect and poor manners


29. The narrator’s musings in the last paragraph make use of I. conjecture II. rhetorical question III. logic (A) II only (B) I and II only (C) I and III only (D) II and III only (E) I, II, and III 30. The last sentence of the passage serves to (A) soften Atticus’ rejection of Scout’s appeal (B) reveal Atticus’ contempt for his sister’s ignorance (C) evoke sympathy in Scout for her aunt’s plight (D) reinforce Atticus’ sympathy for his sister (E) explain Atticus’ approval of his sister’s behavior


Passage 5, Questions 31-37. Read the passage from Chapter 10 which begins at the opening of the chapter and ends “‘Plank might hit you’” (pages 118-120) carefully before you choose your answers. 31. In the first sentence, the second clause serves primarily to (A) explain the first clause (B) contradict the first clause (C) reflect the youthfulness of the narrator (D) stress the advanced age of Atticus (E) reiterate the message of the first clause 32. The tone of the first paragraph is one of (A) resentment (B) acceptance (C) anger (D) disillusionment (E) disappointment 33. In the third paragraph, the second and third sentences serve what purpose in relation to the first

sentence? (A) to qualify (B) to elaborate (C) to restrict (D) to contradict (E) to restate 34. The phrase “These attributes” in the sixth paragraph refers to all of the following EXCEPT Atticus’ (A) willingness to play tackle with Jim (B) age (C) working in an office (D) eyesight (E) sitting and reading 35. It can be inferred from the seventh paragraph (beginning “When he gave us our air rifles”) and the two

paragraphs which follow it that (A) Atticus is a very religious man (B) mockingbirds are an endangered species (C) Atticus dislikes bluejays (D) Atticus understands boys with rifles (E) Scout rarely understands her father


36. Miss Maudie’s response to Scout’s assertion that she is old reveals her I. sense of humor II. acceptance of her age III. testiness (A) I only (B) II only (C) III only (D) I and II only (E) I, II, and III 37. “This modest accomplishment” made Scout “even more ashamed” because she felt that (A) mentioning such a thing showed that there was little else Atticus could do (B) everyone could play such a simple musical instrument (C) people should not talk about her father’s religion (D) playing such an instrument was childish and simplistic (E) neighbors should not know such a thing about her father


Passage 6, Questions 38-45. Read the passage from Chapter 12 which begins at the beginning of the chapter and ends “That kind of thing’s pretty dry to most men” (pages 153-155) carefully before you choose your answers. 38. The first two paragraphs serve to (A) cast Jem in a negative light (B) emphasize Scout’s immaturity (C) depict an alteration in the brother-sister relationship (D) underline Scout’s isolation and loneliness (E) highlight Jem’s hostility toward his sister 39. “The alien set of values” most likely refers to (A) religious beliefs (B) adult standards (C) Southern manners (D) foreign attitudes (E) unusual mores 40. The Scout’s comment “ . . . by watching her I began to think there was some skill involved in being a

girl” shows that Scout (A) had never before been aware of gender differences (B) finally decided that being feminine is acceptable (C) realized that men were not as skilled as women (D) learned that cooking required some ability (E) still does not want to act like a girl 41. In the paragraph beginning “But summer came . . . ,” Scout says, “I was crushed” because (A) Dill’s father is young and good looking while hers is not (B) Dill preferred building a boat to playing with her (C) Dill would not be there in the summer to play with her (D) she would have to wait another year before they would marry (E) she did not believe Dill really loved her still 42. In the sentence “With him, life was routine; without him, life was unbearable,” the second clause (A) is antithetical to the first clause (B) reinforces the meaning of the first clause (C) dilutes the strength of the first clause (D) underlines the unimportance of the prepositional phrases in both clauses (E) is irrelevant to the first clause


43. In the paragraph beginning “The fact that I had,” the effect of the last sentence, “I stayed miserable for two days,” is to

(A) reinforce the narrator’s unhappiness (B) reiterate the important role Dill played in the narrator’s life (C) hint at the depth of the narrator’s love for Dill (D) highlight the emptiness of the narrator’s crush on Dill (E) reveal the childlike quality of the narrator’s crush on Dill 44. The paragraph beginning “As if that were not enough . . .” contains a(n) (A) oxymoron (B) metaphor (C) synecdoche (D) metonymy (E) hyperbole 45. In context, “dry” in the last sentence of the passage, can best be interpreted to mean (A) stale (B) tedious (C) caustic (D) sardonic (E) arid


Passage 7, Questions 46-52. Read the passage from Chapter 13 which begins “I never understood” and ends “her mother did the same” (pages 173-175) carefully before you choose your answers. 46. According to the first paragraph, Scout had been raised to believe that the most important criteria in

judging a person are (A) behavior and effort (B) lineage and land (C) wealth and family name (D) intelligence and occupation (E) family history and political connections 47. In the second paragraph, Jem’s comment (A) gives an example supporting Aunt Alexandra’s view (B) subscribes to Scout’s interpretation of “Fine Folk” (C) is irrelevant to the subject of “Fine Folk” (D) echoes his Aunt’s viewpoint (E) mocks Aunt Alexandra’s view 48. The paragraph on Maycomb’s history has a tone that is (A) reverent (B) factual (C) satirical (D) sophomoric (E) simplistic 49. Sinkfield is portrayed as all of the following EXCEPT (A) self-serving (B) cunning (C) avaricious (D) generous (E) bold 50. In the fourth paragraph, “Sinkfield’s maneuver” most likely refers to (A) the design of the town’s buildings and streets (B) getting the surveyors to designate his tavern as the county center (C) operating a tavern and selling ammunition (D) supporting the governor’s choice for the county seat (E) sending shinny to bribe the governor and influence his decision


51. The sentence “It grew inward” in the fifth paragraph (A) marks a shift in tone and attitude (B) parallels the syntax of the sentence before it (C) alters the dominant mood of the paragraph (D) explains the paradox in the previous sentence (E) is contradicted by the sentence that follows it 52. According to the narrator, the caste system in Maycomb (A) reflected generations of inbreeding (B) was hypercritical and biased in the extreme (C) was based more on morality than economics (D) judiciously weighed the merits and defects of the classes (E) generalized familial traits based on observations


Passage 8, Questions 53-60. Read the passage from Chapter 17 which begins “Every town the size of Maycomb had . . .” and ends “‘That’s m’name, cap’n,’ said the witness” (pages 227-229) carefully before you choose your answers. 53. The first paragraph presents the Ewells as (A) hapless victims of the bad economic times (B) mentally incapable of doing well in school (C) handicapped by health problems and birth defects (D) beyond hope of help from any source (E) suffering from being denied social services 54. The first and third paragraphs’ tone is (A) sympathetic (B) disparaging (C) objective (D) forgiving (E) humorous 55. The ramshackle surroundings of the cabin are stressed primarily through the use of (A) verbals (B) adverbs (C) similes (D) adjectives (E) nouns 56. The geraniums bewildered people because the flowers were (A) obviously expensive and valued (B) planted in fragile, expensive containers (C) an anomaly given their setting (D) treated the same as the occupants of the cabin were treated (E) a non-productive expenditure of energy 57. The phrase beginning “had Miss Maudie deigned” serves primarily to (A) praise Mayella’s attempt at beauty (B) stress the exacting standards of Miss Maudie (C) draw a positive comparison between Mayella and Miss Maudie (D) reinforce the value of the flowers (E) comment on the bravery of Mayella’s attempt at beautifying the cabin


58. The purpose of the paragraph beginning “Nobody was quite sure” is to (A) hint at the excessive number of children in the Ewell family (B) imply that the Ewells received help at least twice a year (C) reinforce the filth and fertility of the Ewells (D) emphasize that nobody ever went by without wondering about the Ewells (E) reveal the total lack of interaction between the Ewells and the townspeople 59. The description of the Negro settlement acts as (A) reinforcement of the general poverty of the area (B) a contrast to that of the Ewells’ property and lifestyle (C) a revelation of the plight of the Negroes (D) a clue as to the racial strife in Maycomb (E) a condemnation of segregation in the South 60. The sentence beginning “All the little man . . .” implies that (A) Mr. Ewell was sensitive about his small stature (B) everything about Mr. Ewell made him better than his neighbors (C) despite his poverty, Mr. Ewell was always clean (D) Mr. Ewell’s sole point of superiority in life was his race (E) Mr. Ewell’s neighbors respected him for his many possessions


Passage 9, Questions 61-67. Read the passage from Chapter 20 which begins at the beginning of the chapter and ends “Reverend Sykes had saved our seats” (pages 267-269) carefully before you choose your answers. 61. The sentence beginning “‘Come on round here’” in relation to the first phrase of the next sentence

seems (A) foreboding (B) hyperbolic (C) repetitive (D) symbolic (E) reflective 62. Scout’s unfinished sentences (“‘Then you pretend . . .’”; ‘“I didn’t mean to be–’”) reflect her (A) inability to articulate her ideas (B) astonishment at Mr. Raymond’s politeness (C) confusion between reality and her assumptions (D) anger at being proven wrong (E) shyness in dealing with strangers 63. Mr. Raymond’s explanation of his behavior reveals his I. self-assurance II. sensitivity III. self-centeredness (A) I only (B) II only (C) III only (D) I and II only (E) I, II, and III 64. Mr. Raymond realizes that people prefer to (A) believe the worst of other people (B) condemn those who flout social norms (C) believe unacceptable behavior is a result of drunkenness (D) forgive social rebels rather than drunks (E) gossip about others’ moral weakness rather than try to help them 65. Mr. Raymond tells Scout and Dill his deepest secret because (A) he does not care what they think (B) they will not tell other adults (C) children tend to be more accepting than adults (D) he knows they expect the truth from him (E) their flight from the courtroom proved their innocence


66. The syntax of the passage is remarkable for its numerous I. incomplete sentences II. queries III. ellipses (A) I only (B) II only (C) I and II only (D) I and III only (E) I, II, and III 67. In the paragraph which begins “Which reminded me,” in referring to Mr. Raymond, the narrator

employs a(n) (A) oxymoron (B) allusion (C) metaphor (D) metonymy (E) synecdoche


Passage 10, Questions 68-75. Read the passage from Chapter 20 which begins “‘She was white’” and ends at the conclusion of the chapter (pages 272-275) carefully before you choose your answers. 68. The primary purpose of the second paragraph is to (A) establish what happened to Mayella that led to the trial (B) stress Mr. Ewell’s respectability and law-abiding qualities (C) question the severity of Mayella’s injuries (D) remind the jurors that Tom is right-handed and handicapped (E) reiterate that all witnesses had been under oath 69. As used in the third paragraph, “unmitigated temerity” can best be interpreted as (A) absolute stupidity (B) austere forwardness (C) gross impudence (D) pure rashness (E) consummate crudeness 70. The antecedent for “their” at the end of the third paragraph is (A) our women (B) the witnesses (C) Negro men (D) all Negroes (E) you gentlemen 71. The primary purpose of the first four paragraphs is to (A) recap the primary evidence placed before the jury (B) direct the jurors’ minds toward the racial impact of their decision (C) challenge the validity of the physical evidence presented (D) induce the jurors to forget that Tom Robinson is black (E) undermine any sympathy for, or belief in, the Ewells and their testimony 72. The paragraph beginning “One more thing” employs all of the following rhetorical devices EXCEPT (A) name calling (B) repetition (C) personal pronouns (D) syllogism (E) balanced sentences 73. The implied purpose of the paragraph beginning “‘But there is . . .’” is to (A) induce the jurors to treat Tom Robinson as an equal (B) remind the jurors of the importance of Rockefeller and Einstein (C) stress the perfection of the judicial system in the U.S. (D) underline to the jurors that the worth of the Ewells is equal to their own (E) appeal to the jurors’ sense of patriotism and history


74. The paragraph beginning “‘I’m no idealist’” employs which rhetorical device(s)? I. parallelism II. ethical appeal III. logical appeal IV. personal tone (A) I and IV only (B) III and IV only (C) I, II, and IV only (D) I, III, and IV only (E) I, II, III, and IV 75. In the sentence beginning “‘In the name of God, believe him . . . ,’” the antecedent of “him” is (A) Tom Robinson (B) Jem (C) Atticus (D) Ewell (E) God


Passage 11, Questions 76-83. Read the passage from Chapter 26 which begins “The idea was profound” and ends “‘Time for arithmetic, children’” (pages 327-329) carefully before you choose your answers. 76. The first sentence implies that Maycomb (A) works on a superficial intellectual level (B) has difficulty implementing enlightened concepts (C) is eminently hostile to deep thought (D) resists change of any sort that requires thinking (E) is incapable of instituting thoughtful progress 77. It can be inferred from the first paragraph that (A) the teacher treated all the children in a condescending manner (B) the school limited the reading choices of its students (C) the town children resented the rural children (D) the rural children felt inferior to the town children (E) the school had a shortage of textbooks 78. In the second paragraph, the phrase “a hundred years old in his knowledge” can best be interpreted to

mean that Little Chuck Little (A) has had to work so hard that he has had no childhood (B) has aged early due to backbreaking labor on a dairy farm (C) seems senile to the other children due to his illiteracy (D) is too old to still be going to school (E) is a rural child with extensive agricultural wisdom 79. All of the following are evident from Cecil’s report EXCEPT (A) Cecil’s diction is somewhat limited (B) Miss Gates is very critical of Cecil’s report (C) Cecil has a basic grasp of the import and content of the report (D) Cecil is both polite and self-assured (E) Miss Gates tries to improve Cecil’s oral presentation abilities 80. In the phrase “seizing an opportunity to make education dynamic,” the narrator’s tone is (A) lightly humorous (B) darkly satirical (C) simply factual (D) deeply sardonic (E) somewhat dubious


81. Given the content of the novel, the statement “over here we don’t believe in persecuting anybody” is I. factual II. ironic III. sensitive (A) I only (B) II only (C) III only (D) I and II only (E) I, II, and III 82. Miss Gates’s comments about Jews are (A) sarcastic (B) unemotional (C) sardonic (D) factual (E) biased 83. Cecil’s query in the second to last paragraph implies (A) arrogance (B) intellectual curiosity (C) rhetorical skill (D) prejudice (E) insight


Passage 12, Questions 84-91. Read the passage from Chapter 31 which begins “‘You can pet him, Mr. Arthur’” and ends “ . . . except possibly algebra” (pages 372-374) carefully before you choose your answers. 84. The first paragraph indicates which of the following? I. the narrator’s understanding of Jem and Mr. Arthur II. Mr. Arthur’s reticence III. Jem’s latent coldness (A) I only (B) II only (C) III only (D) I and II only (E) I and III only 85. The narrator’s comment “I would never lead him home” implies that she (A) feels an adult should be able to go home alone (B) knows that Mr. Arthur is only trying to make her feel important (C) is scornful of Mr. Arthur’s total lack of self-sufficiency (D) is embarrassed to be seen in public leading an adult around (E) is aware of the need to preserve Mr. Arthur’s dignity in public 86. In the sentence beginning “He had to stoop,” “accommodate” can best be defined as (A) assist (B) oblige (C) coordinate with (D) defer to (E) aid 87. In the paragraph beginning “We came to the street light,” the narration is characterized by (A) trepidation (B) disorientation (C) introspection (D) anticipation (E) sentimentality 88. Although the narrator says “We had given him nothing,” she later contradicts this by using the words (A) “his children” (B) “stand in his shoes” (C) “our neighbor” (D) “the children raced each other to him” (E) “I felt very old”


89. The part of the passage beginning with “It was daytime” and ending with “children needed him” is different from the rest of the passage in that it

I. contains more elaborate syntax II. represents a different point of view III. is based on conjecture (A) I only (B) II only (C) III only (D) I and II only (E) II and III only 90. In the next to last paragraph, “Just standing. . . was enough” implies that (A) there was no need to understand Boo (B) Boo never walked around; he only stood on his porch (C) being on the porch was as close as the narrator wished to come (D) the narrator now understood Boo (E) seeing Boo once was enough for the narrator 91. In the last paragraph, the clause “I felt very old” (A) is supported by specific details in the paragraph (B) is proven by the narrator’s thoughts and actions in the paragraph (C) is contradicted by the narrator’s thoughts and actions in the paragraph (D) summarizes the details of the paragraph (E) serves as a transition to the last part of the paragraph


Free-Response Questions


Question 1

(Suggested time–40 minutes)

Read the passage from Chapter 2 of To Kill a Mockingbird which begins at the opening of the chapter and ends “‘ . . . until you’re in the third grade’” (pages 20-24). Explain how the author uses diction, syntax, and narrative techniques to convey her attitude about educational institutions.


Question 2


Note to teachers and students: On the English Literature and Composition Exam, students are given an open free-response question and a list of possible works from which to choose in answering the question. For the purposes of applied practice in class, the question given here was written with To Kill a Mockingbird in mind. However, the question could be applied to numerous literary works. It is important for students to understand that, on the actual exam, a student’s choice would not be restricted to a given work. In many novels, there is a character who appears rarely but who is often referred to by other characters and who helps to develop a theme in the novel. Pick a character in To Kill a Mockingbird who fits this description, and explain how the character serves to develop a theme.


Question 3


In To Kill a Mockingbird, Atticus says, “You never really know a man until you stand in his shoes and walk around in them.” Using your own reading, observation, and experience to support your position, defend, challenge, or qualify Atticus’ assertion.


Question 4


Read the passage from Chapter 24 of To Kill a Mockingbird which begins “Mrs. Merriweather faced Mrs. Farrow” and ends “‘when he doesn’t know for sure it’s so’” (pages 310-314). Explain the author’s attitude toward racism and religion, and analyze how the author uses the resources of language to convince the reader that this attitude is justified.


Question 5


Note to teachers and students: On the English Literature and Composition Exam, students are given an open free-response question and a list of possible works from which to choose in answering the question. For the purposes of applied practice in class, the question given here was written with To Kill a Mockingbird in mind. However, the question could be applied to numerous literary works. It is important for students to understand that, on the actual exam, a student’s choice would not be restricted to a given work. Some authors use children as characters to enable readers to view certain aspects of society in a different way. Discuss how Harper Lee uses children in To Kill a Mockingbird to encourage readers to evaluate some aspects of society from a new perspective.


Question 6


In To Kill a Mockingbird, Atticus states, “our courts are the great levelers, and in our courts all men are created equal.” Using evidence from To Kill a Mockingbird, other novels, and your own observations and experience, defend, challenge, or qualify Atticus’ statement.


Answer Key and Explanations

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ANSWER KEY FOR TO KILL A MOCKINGBIRD 1. D 26. D 51. D 76. B 2. A 27. C 52. E 77. D 3. C 28. D 53. D 78. E 4. E 29. E 54. B 79. B 5. C 30. A 55. D 80. A 6. A 31. C 56. C 81. B 7. E 32. E 57. B 82. E 8. A 33. B 58. E 83. D 9. B 34. A 59. B 84. D 10. C 35. D 60. D 85. E 11. D 36. E 61. A 86. B 12. B 37. A 62. C 87. C 13. E 38. C 63. D 88. A 14. B 39. B 64. C 89. E 15. E 40. D 65. C 90. D 16. D 41. C 66. E 91. C 17. B 42. A 67. C 18. E 43. E 68. D 19. C 44. B 69. D 20. C 45. B 70. B 21. A 46. A 71. E 22. D 47. E 72. D 23. B 48. C 73. A 24. E 49. D 74. E 25. A 50. B 75. A


Multiple-Choice Answer Explanations


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ANSWER EXPLANATIONS PASSAGE 1

1. (D) informal. With the narrator being a preteen girl, the passage’s diction is primarily simple, and the details discussed are those of daily life in a Southern town as seen through a child’s eyes. 2. (A) prosaic. The prosaic (commonplace and daily) tone is achieved through the use of such wording as “tired old town,” “bony mules,” “calling distance,” and the details of common, daily life. 3. (C) concrete details. The easygoing mood of a small town is created through the presentation of details: “streets turned to slop,” “bony mules . . . flicked flies,” “she squinted,” “he played with us,” “three doors to the south.” 4. (E) Calpurnia. In the passage, the father is mentioned only briefly, but the narrator discusses Calpurnia in an entire paragraph which clearly depicts her as the “mother figure” in the narrator’s life– “ordering,” “asking,” “calling,” and disciplining–since the mother died when the narrator was two. 5. (C) contrast Calpurnia’s behavior to the father’s. The phrase “something else again” comes directly after the sentence describing the father’s behavior with his children, so the “something else” sets up the contrast between the previous description of the father and the description of Calpurnia which follows. 6. (A) dispassionate. The details of the mother’s death are simply reported, and the narrator clearly states “I never felt her absence” and “I did not miss her.” This is understandable since the narrator was only two years old when her mother died. 7. (E) I, II, and III. Simplistic diction is evident throughout the passage with very few complicated words (“mainly,” “clearly,” “lived,” “satisfactory”). The very few complex words, such as “inhabited” and “entity” stand out because of their rarity. The choice of details is clearly what a child would focus on: muddy streets, animals (“mule,” “black dog”), and matters of discipline and behavior. The explanation of why Calpurnia “always won,” why Jem would stop playing “in the middle of the game,” and “summertime boundaries” all reflect a child’s thinking.

68 ©1998 by Applied Practice, Ltd., Dallas, TX. All rights reserved.Spiral-bound teacher pages may not be shared or reproduced.

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8. (A) his mental limitations. The only mention of mental ability is the “can’t pass the first grade,” but that is explained to be a result of missing months of school in the spring to help tend the family’s crops rather than a result of inadequate mental ability. Family loyalty is evident in that Walter accepts having to miss school to help the family, and poverty is also evident since the family cannot afford to hire a field hand. The references to “field” and “help Papa with the choppin’” point to the father being a farmer. His use of “Mr. Finch” shows Walter’s politeness. 9. (B) admonishment. Atticus is warning (admonishing) Scout not to continue her line of questioning about how Walter’s family paid the doctor to deliver Walter’s sibling since this highlights Walter’s poverty. It is not disapproval or anger because Atticus knows that Scout’s question is innocent curiosity rather than an intent to embarrass. 10. (C) tactfulness. The manner in which Calpurnia speaks to Scout once they are in the kitchen shows her power and lack of subservience, tentativeness, or insecurity. The fact that Calpurnia “requested” (rather than ordered) Scout to leave the table and come to the kitchen shows that Calpurnia was preserving both Scout’s and Walter’s dignity and preventing a scene. 11. (D) I and III only. The existence of a class system is evident in “Don’t matter who they are” and “Yo’ folks might be better’n the Cunninghams . . . .” Calpurnia’s stress on good manners is evident in her lecture on treating company politely and her insistence that Scout must either “act fit to eat at the table” or eat in the kitchen by herself. There is no mention of racial matters. 12. (B) understands the rudeness of her prior behavior. Because Scout says she is “thankful” that she “was spared the humiliation of facing them again,” the reader knows Scout is now aware of how inappropriate her behavior was. “Thankful” rules out her having been “humiliated” or “hurt” by Calpurnia’s words. “Grateful” is too positive for Scout’s feelings. The verbal reprimand was Scout’s real “punishment” rather than the “stinging smack” that was delivered almost as an afterthought. 13. (E) II and III only. The syntax and diction of the narration are always in standard English, as is the dialogue of Atticus. Both Scout and Calpurnia often lapse into non-standard English. Scout says, “‘He ain’t company,’” and Calpurnia says, “‘like you was’” and “‘don’t count for nothin’.’” 14. (B) Calpurnia is loving and educated. Since Calpurnia taught Scout to read and write, Calpurnia is obviously educated. Calpurnia’s love is shown in both the time she spent with Scout teaching her and in Scout’s comment that Calpurnia would “be sorry” if Scout died. Scout is simply being childish, not serious, in threatening to drown herself. Calpurnia’s mild response, “‘Hush your fussin’’” and Scout’s acknowledgment of what Calpurnia has taught her show there is no serious strife between the two.


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15. (E) need for Calpurnia’s affection. The fact that Scout is concerned about to whom Calpurnia shows the most affection (Scout or Jem) and her threat to “drown myself” to make Calpurnia sorry both show that Scout desires Calpurnia’s love.


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16. (D) humorous. The tying of the Rosetta Stone, the changing of seasons, and weather aberrations to children’s behavior is humorous overstatement and shows lack of information and lack of knowledge. 17. (B) Jem and the narrator had misbehaved. The sentence states that misbehavior of children causes weather change and then goes on to say “Jem and I were burdened with guilt.” Thus, the narrator implies admission to their misbehavior. The fact that the winter was unusually cold is clearly stated, not implied. 18. (E) “sensitive” and “feeling.” Atticus was sensitive about how his children’s behavior might offend others, thus the stern look around his newspaper at the mention of Mr. Arthur. Jem “had a notion” with “no firm basis,” thus a feeling that Atticus knew about their playacting of Mr. Arthur’s life. 19. (C) I and II only. The exclamation marks– “Atticus! Please do something–!’” show exclamatory sentences. Hyperbole is evident in “‘The world’s endin’,’” an obvious exaggeration. There is no ellipsis. 20. (C) honesty. Atticus admits his lack of experience with snow and his inability to predict the weather, but he is confident enough to offer his best guess based on knowledge and limited experience. 21. (A) paradox. Burning is associated with heat, not with its opposite, cold. 22. (D) snow. Mr. Avery has said the snow was caused by “‘bad children like you,’” and both Jem and Scout see the snow as a wonderful present or “reward.” 23. (B) humorous acceptance. The references to Eula May as being the “leading telephone operator” who was “entrusted” with little duties shows humor without criticism. Despite Mr. Avery’s comment about “bad children,” the narrator simply refers twice to his tying the weather, and everything else, to the Rosetta Stone, a humorous idea, and the narrator laughs at the idea of their “sins” being rewarded with snow.


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24. (E) hint that every family in the area had a similar story. “Usual” means “common,” “typical,” “average,” and “expected,” thus implying that every family’s house had such a legend. 25. (A) priggish. Most young boys would not request booksacks and dress clothes for Christmas presents, things associated with “prim and proper” behavior and with study and tradition rather than fun. 26. (D) I and II only. “The best I can” implies a defensive, guilty response for perceived shortcomings. The “Sister” and the exclamation mark show that Atticus is responding emotionally to his sister’s criticism of his childrearing. However, this exchange falls far short of a fight, and there is no evidence that this criticism occurs on a regular basis. 27. (C) the narration. The aunt’s disapproval is revealed through the narration in relation to Scout’s apparel and behavior and where she was seated at dinner. The aunt has no dialogue; the only dialogue is between Scout and Francis regarding presents. 28. (D) responds logically to her aunt’s points. When the aunt tells Scout to wear a dress, Scout says she could not play in a dress. To the instruction to be a “ray of sunshine,” Scout responds that dress should not restrict her from being a “ray.” There is no indication of bitterness in her responses, nor are the responses shy, rude, or indicative of agreement. 29. (E) I, II, and III. Conjecture is present in “I often wondered.” “ . . . get up and throw something?” is rhetorical. The statement “ . . . after all, I ate at home . . .” is definitely a logical argument. 30. (A) soften Atticus’ rejection of Scout’s appeal. Atticus refuses to side with Scout about where she sits, but his comment about Aunt Alexandra not understanding girls implies that the aunt’s rejection is not personal and that he thinks Scout is right. Thus, his response softens his rejection of Scout’s appeal, but he falls short of actually approving of his sister’s stance.


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31. (C) reflect the youthfulness of the narrator. “Nearly fifty” means that Atticus is in his late forties, an age that would not fit with “feeble,” except in the eyes of a child. Scout, of course, sees “fifty” as explaining or reinforcing the idea of “feeble,” but a reader sees it as revealing the young age of the narrator. 32. (E) disappointment. It is obvious the narrator loves her father and wants to brag about him (“My father”) but is unhappy that he is older than her friends’ fathers. 33. (B) to elaborate. The first sentence is a flat statement: “Our father didn’t do anything.” The second and third sentences give details of the things that he did not do. 34. (A) willingness to play tackle with Jem. The phrase “these attributes” refers to all the qualities of Atticus that have been mentioned previously: his age– “nearly fifty,” the fact that “he worked in an office” and “wore glasses” while he “sat in the livingroom and read.” Although Atticus did play keep-away with Jem, Atticus refused to play tackle, saying, “‘I’m too old for that, son.’” 35. (D) Atticus understands boys with rifles. Atticus clearly does not enjoy guns, however, by allowing his children to have rifles he acknowledges that others do enjoy guns. His statement “‘I know you’ll go after birds’” reflects his understanding of boys’ desire to challenge themselves with moving targets rather than just stationary “tin cans.” Although he allows Jem to shoot bluejays and not mockingbirds, he does not actively advocate killing bluejays; he only allows it because he knows and accepts that boys will shoot at birds. 36. (E) I, II, and III. “‘Not being wheeled around yet, am I?’” reveals Miss Maudie’s sense of humor, while “‘I’m too old to keep it up–maybe you’re right’” reveals acceptance of the limitations of her age. Also, her first reply, “‘I don’t call fifty very old,’” is delivered “tartly,” which implies a little testiness about Scout’s comment. 37. (A) mentioning such a thing showed that there was little else Atticus could do. Since “everyone” can play a Jew’s harp, even mentioning such a thing in a list of accomplishments is embarrassing and implies that there is not much Atticus can do, at least in Scout’s eyes. The fact that everyone can play it is not what Scout is ashamed of; she is ashamed that this ability would be mentioned as one of Atticus’ primary accomplishments.


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38. (C) depict an alteration in the brother-sister relationship. The comment that the “change had come about in a matter of weeks” and “Overnight, it seemed” puts the focus on the altering of the relationship. This is reinforced by the statement that Jem had earlier been “grateful” for Scout’s company. There is not really criticism of Jem, only bewilderment on Scout’s part. She is not isolated or lonely since she still has her father and Calpurnia, and in seeking advice from Calpurnia rather than fighting with Jem, Scout shows some maturity in her response to Jem’s changing into a teenager. 39. (B) adult standards. The two examples given for Jem’s “alien set of values” are his telling Scout what to do (adult to child) and telling her to act “right” and like a girl. Both ideas were previously voiced by Aunt Alexandra, an adult. 40. (D) learned that cooking required some ability. Since Calpurnia was in the kitchen while Scout was watching her, it is safe to assume that Calpurnia was preparing food. Probably, Scout had assumed the food “just appeared” on the table; now, she actually sees the work and knowledge involved in cooking; thus, she now recognizes that there is “some skill involved in being a girl.” 41. (C) Dill would not be there in the summer to play with her. Scout says, “but summer was Dill,” and in the earlier part of the passage she mentioned how Jem is pulling away from her. These two together imply Scout had been counting on Dill for a playmate, and now that hope is being taken away from her. 42. (A) is antithetical to the first clause. The first clause implies that Dill is “routine” or ordinary. The second clause says life without him is “unbearable,” which implies that he is important and essential. Thus, the two ideas are opposites. 43. (E) reveal the childlike quality of the narrator’s crush on Dill. Scout’s statement that “I stayed miserable for two days” after saying life was “unbearable” shows the fleeting nature of Scout’s unhappiness; what she feels is a crush rather than true love. The child’s vision of two days as being a long time emphasizes Scout’s youthful view of life. 44. (B) metaphor. “To scrape a few barnacles off the ship of state” compares the government to a ship. 45. (B) tedious. The image of a student writing (working) while “chained to a desk” implies that Atticus’ work is boring or tedious, something one would wish to escape.


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46. (A) behavior and effort. Scout defines “Fine Folks” as people “who did the best they could with the sense they had.” This implies effort on their part to reach their greatest potential, no matter how limited that might be. 47. (E) mocks Aunt Alexandra’s view. To say the Ewells are technically “fine folks” according to Aunt Alexandra’s definition, when they are also referred to as a “tribe” (primitive/savage) and referred to as living behind “the dump” and being on “welfare,” is to make fun of the aunt’s definition of “fine folk.” 48. (C) satirical. The clue to the satire lies in the word choice: “awkwardly inland,” “dawn of history,” “pig trails,” “bold stroke” “totally devoid of interest,” etc. This diction pokes fun at the idea of “fine” folks tied to the land. 49. (D) generous. Sinkfield is self-serving and avaricious when he sells ammunition to both Indians and settlers since they shoot at each other. He is directly called “nimble-witted,” so he is cunning. He is also directly called bold when his actions are described as “a bold stroke.” The “five quarts of shinny” that he “gives” to the surveyors for themselves and the governor is a bribe to get what he wants rather than an act of generosity. 50. (B) getting the surveyors to designate his tavern as the county center. The sentence directly following mention of “Sinkfield’s maneuver” begins “He placed the young town too far away . . . .” He had manipulated, maneuvered, the surveyors and the Governor to make his land the center, or seat, of the county. 51. (D) explains the paradox in the previous sentence. The prior sentence, “ . . . economic ruin forced the town to grow,” is paradoxical since “ruin” is the opposite of growth. Growing inward is usually considered a negative growth, so the negative/positive paradox is explained. 52. (E) generalized familial traits based on observations. The “older citizens” had “lived side by side” and “were utterly predictable.” This implies years of observations of families. The list of “Minds His Own Business,” “Morbid,” “Truth Is Not in,” “Walk Like That” is a list of traits and behaviors rather than morals or economics. There is no real criticism of these behaviors, just simple statements of a general nature.


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53. (D) beyond hope of help from any source. The paragraph implies that they are on welfare when it says “they lived as guests of the county.” It also implies that both truant officers and health offers have tried, unsuccessfully, to improve the Ewells’ situation. It specifically states that neither economic prosperity nor depression has an impact on the way they live. Their problems are blamed on laziness. 54. (B) disparaging. The depiction of the Ewells’ filthy living conditions, their lack of effort to improve their lives, and their refusal to stay in school to better themselves while gladly taking welfare are all highly critical. Sympathy is lacking, as are forgiveness and objectivity. Although there is perhaps some humor evident in the description of the yard as a “playhouse of an insane child,” the overall tone is judgmental and critical. 55. (D) adjectives. The description of the ramshackle surroundings is developed through adjectives such as “insane,” “rusty,” “snaggle-tooth,” “dirty,” “discarded,” “old,” “worn-out,” and “scrawny.” 56. (C) an anomaly given their setting. The bright, cheerful-looking, carefully tended geraniums are an unexpected, abnormal sight in the Ewells’ filthy, unkempt yard. They are not expensive or valued, since Miss Maudie would not allow such common blooms in her garden. The chipped slop jars are junk. The energy expended by Mayella does produce the blooms and beauty. It would seem the flowers are treated better than the “dirty-faced occupants of the cabin.” 57. (B) stress the exacting standards of Miss Maudie. The word “deign” implies that Miss Maudie has very high requirements for her flowers and that she would not lower herself to tending to common geraniums. Thus, the phrase does not praise Mayella’s attempts and even implies that Miss Maudie might scoff at geraniums being carefully tended. 58. (E) reveal the total lack of interaction between the Ewells and the townspeople. The paragraph clearly states that the Ewells are only viewed in passing; no one stops to visit, and no one knows how many children there are because no one ever visits the family. Having six to nine children is not commented on as excessive (for that time period it was not). People visited the dump and the Negro settlement, but they did not visit the Ewells. 59. (B) a contrast to that of the Ewells’ property and lifestyle. The description of the cabins as “neat and snug,” the “doorways glowing amber,” and the “delicious smells” are all very positive. The neatness and warmth and good food are in direct contrast to the disorderly, dirty conditions of the Ewells. The contrast is further emphasized by the last part of the passage: “vanished when we rode back past the Ewell residence.”


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60. (D) Mr. Ewell’s sole point of superiority in life was his race. Mr. Ewell’s nearest neighbors were in the “Negro settlement,” so the statement “All . . . that made him any better . . . was that . . . his skin was white” is obviously a racial statement. The “if his skin was scrubbed with lye soap” implies his lack of cleanliness.


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61. (A) foreboding. The summons, combined with the next sentence stating that Mr. Raymond “was an evil man” and the phrase “accepted reluctantly,” all hint at possible danger in approaching him. It seems the narrator follows Dill in order to protect him from possible danger. 62. (C) confusion between reality and her assumptions. Since Scout was expecting danger from “the evil man” and had assumed his “paper sack with straws” contained a bottle of whiskey, she is confused when she finds out the sack hides only a Coca-Cola and that Mr. Raymond is kind and honest, not evil and drunken. 63. (D) I and II only. Mr. Raymond is self-assured enough not to care what people think about him and sensitive enough to people’s feelings to give them “an excuse” for what they see as inexcusable behavior so that they will not be too shocked by his lifestyle. If he were self-centered (a negative term), he would just say “the hell with ‘em.” 64. (C) believe unacceptable behavior is a result of drunkenness. “It helps folks if they can latch onto a reason . . . folks can say [he’s] in the clutches of whiskey . . . He can’t help himself.” All this says people understand drunken behavior and are more willing to accept it than to accept that a white man chooses a black woman for a wife. Because Mr. Raymond realizes this, he pretends to be a drunkard. 65. (C) children tend to be more accepting than adults. When Scout asks why Mr. Raymond is honest with them, he states, “Because you’re children and you can understand it.” There is no direct support for the other answer choices. 66. (E) I, II, and III. There are four incomplete sentences indicated by trailing off in a dash and ten questions (queries). The “Cry about . . .” sentences are ellipses, with “I won’t” or “He won’t” being omitted from the construction. 67. (C) metaphor. The “Between two fires . . .” is a metaphor, the fires being Mr. Raymond and the court. The other figurative language is not present.


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68. (D) remind the jurors that Tom is right-handed and handicapped. The second paragraph focuses on the fact that Mayella was “beaten savagely” by someone who is left-handed, as Mr. Ewell is, and stresses that Tom Robinson is right-handed and has only one good hand (right); thus, he is handicapped. 69. (D) pure rashness. Tom’s response was completely unplanned. He had blurted out his true feelings of sympathy for Mayella without thinking through how the white audience would respond to a black man who “dared” express “sympathy” for a white woman, thus implying that she was worse off than he was. This was complete rashness on Tom’s part. 70. (B) the witnesses. The beginning of the long sentence is “The witnesses . . . have presented,” and the sentence then includes their assumptions. 71. (E) undermine any sympathy for, or belief in, the Ewells and their testimony. The negative references to “minds of their caliber” (small), “which we know . . . is a lie,” “she did something unspeakable,” “she broke” (the code) are all very negative. Atticus never mentions what might be the impact of the jurors’ decision. The recap of physical evidence is only in one of the four paragraphs, and he repeatedly mentions Tom’s race, rather than ignoring it. 72. (D) syllogism. There is no syllogism. “The Yankees” is name calling, given the Southern setting. Repetition is seen with “some”; the personal pronouns “our,” “you,” “I,” “we” are used throughout the passage. There are many balanced sentences: “some are smarter, some are . . . ,” and the sentences beginning “But there is . . . ,” “It can be . . . ,” “Our courts have . . . .” 73. (A) induce the jurors to treat Tom Robinson as an equal. The word “equal” is used five times in this paragraph. The preceding paragraph stresses the ways people are not equal in ability, so the shift to the “equal” in this paragraph which focuses on the judicial system is to stress that a belief in racial equality is needed for a fair trial for Tom Robinson. 74. (E) I, II, III, and IV. Parallelism is evident in “a court is . . . ,” “a jury is . . .” and in “review . . .,” “come to . . .,” “restore . . .”An ethical appeal is shown in the use of such words as “integrity” and “name of God.” The logical appeal is in the statements that “A court is only as sound as its jury . . . a jury is only as sound as the men . . . .” The personal tone comes from the use of the pronouns “our,” “I’m,” “me,” “I,” and “you.” 75. (A) Tom Robinson. Since Atticus is arguing that Tom told the truth on the stand while the prosecution is arguing that Tom lied, Atticus’ final plea to the jurors is that they believe Tom.


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76. (B) has difficulty implementing enlightened concepts. Since the sentence says the town had problems “as usual” getting a “profound” “idea” to work in reality, the best rewording of the terms in the sentence is “enlightened concept” and “implement.” There is no mention of “progress” or “change” or “hostility.” Choice A is close but does not deal with the idea of trying to do something intellectual. 77. (D) the rural children felt inferior to the town children. “Convincing the bus children more deeply that the town children got all the attention anyway” clearly implies that the children who ride a bus from their farms to school feel ignored. Miss Gates’s negative response to their rural paper and the long list of country activities that the teachers discourage all explain why the rural students would feel inferior. 78. (E) is a rural child with extensive agricultural wisdom. In context, the words “one hundred years old in his knowledge” mean the wisdom of age and experience, and “cows and their habits” implies farming/agriculture since Little Chuck Little is one of the rural bus children. He has read his article, so he is not illiterate, and there is no mention of “dairy” or hard work. 79. (B) Miss Gates is very critical of Cecil’s report. Miss Gates’s comment of “Very good, Cecil” negates the idea of her being very critical of the report. Cecil’s limited diction is evident in his substitution of “prosecuting” for “persecuting.” His manners are shown in “Yes ma’am,” and his self-assurance in that he does not let his stumbles bother him (“well anyway”) when Miss Gates corrects and questions him. He does show understanding of the article by explaining, fairly accurately, what Hitler was doing to the Jews. 80. (A) lightly humorous. The word “seizing” is a bit exaggerated for “taking,” as is “dynamic” for “interesting” or “relevant.” Given Scout’s negative view of school, she is obviously poking a little fun at the educational system. 81. (B) II only. Given the trial of Tom Robinson, the belittling of the rural students, and even Cecil’s question about Jews being “white,” the statement “we don’t believe in persecuting anybody” is totally contradictory to fact and therefore ironic. It also shows insensitivity to the real persecution of and prejudice against black people. 82. (E) biased. Miss Gates shows positive bias in her statement that “There are no better people in the world.” The rest of her statements are, however, based on fact if somewhat subjective (“most terrible stories in history”). 83. (D) prejudice. “ . . . ain’t no cause to persecute ’em. They’re white, ain’t they?” implies that Cecil would understand persecution if the Jews were black. Thus, his question clearly reflects his prejudice.


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84. (D) I and II only. The narrator, reading Mr. Arthur’s body language, knows that he wants to touch Jem to assure himself that Jem is okay, so she tells him, “You can pet him.” Her comment “if he was awake, though, he wouldn’t let you” shows her understanding of Jem’s new step into male adulthood that would not allow him to accept a pat on the head. Mr. Arthur’s shyness is shown when he still hesitates until Scout urges, “Go ahead.” Jem is not depicted as cold or unemotional, only as exiting childhood and entering adulthood. 85. (E) is aware of the need to preserve Mr. Arthur’s dignity in public. The narrator’s comment about Miss Crawford watching shows that Scout is concerned about what others might think of Mr. Arthur being led like a child. Scout wants to have the world see a “gentleman,” not a helplessly shy man. 86. (B) oblige. Since Mr. Arthur was acceding to Scout’s wish, “oblige” is the best definition. 87. (C) introspection. The repetition of “I wonder” shows thought about what had transpired in the past, but in an objective, deliberate way without sentimentality, trepidation, anticipation, or any disorientation. 88. (A) “his children.” “His children’s heart break . . . and Boo’s children needed him” shows that Scout is willing to see herself and Jem as belonging to Boo (Mr. Arthur), which indicates that Scout has given him both her affection and membership in her family. 89. (E) II and III only. The passage relates the events of the novel as Boo might have seen them from the window of his house; thus, it is based on conjecture because Scout does not know if Boo actually saw all the events mentioned. The passage also represents a different perspective since it is related from Boo’s point of view rather than Scout’s. There is no substantial difference in the sentence structure. 90. (D) the narrator now understood Boo. The comment by Scout is tied to Atticus’ statement about how to “know a man” and follows her speculative passage about how Boo had viewed the world and “his children.” This shows that Scout comprehends how Boo’s life had been focused on the children he watched and how this focus led to his protective care for them, a deep understanding for a child. 91. (C) is contradicted by the narrator’s thoughts and actions in the paragraph. “Very old” implies maturity, but everything that follows is very childlike: “looking cross-eyed,” looking forward to making her brother mad about missing out on seeing Boo, and thinking she has “not much else left . . . to learn, except possibly algebra.”


Free-Response Scoring Guide


GENERAL SCORING GUIDE FOR FREE-RESPONSE ESSAYS When grading the essay, it is important to remember the time limits under which students are working and to grade as for an in-class essay rather than an outside-of-class paper. Essays should be graded holistically; however, an essay that is full of grammatical or mechanical errors should not be scored higher than a 2. Essays on the Advanced Placement tests are scored on a system of 1 to 9, with 9 being the highest score possible. 9 These essays are exceptionally well written, show unusual insight into the topic, are very

well organized, and support assertions with appropriate examples. They remain focused on all aspects of the topic and present a unique writer’s voice.

8 These essays are very well written, show clear understanding of and focus on the topic,

are well organized, and usually support assertions with appropriate examples. They focus on all aspects of the topic and show a writer’s voice. They may have a few mechanical errors, but only very minor ones.

7-6 These essays are well written, show an understanding of the topic, and remain focused on

almost all aspects of it. A few assertions may lack specific examples, but the argument is clearly made. The writer’s voice is somewhat less mature than that of an 8-9 essay, but it is still evident. There may be a few errors in mechanics, but only minor ones.

5 These essays are for the most part well written, and usually remain focused on the topic,

but they fail to deal with all aspects of the topic. The assertions that are made may be somewhat vague in relation to the topic or a bit superficial in nature. The supporting examples may be missing occasionally or not well related to the topic. There seems to be some evidence of a writer’s voice, but not one of a unique nature. These essays are usually characterized by some minor errors in mechanics.

4-3 These essays have some problems with organization and coherence, tend to wander from

the topic in places, and deal only with one or two aspects of the topic, or with all aspects in only a superficial manner. The assertions that are made are too general in nature and are often unsupported by relevant examples. The writing demonstrates weak control of mechanics, and a writer’s voice is lacking or inconsistent.

2 These essays fail to focus on the topic clearly, stray repeatedly from the topic, or simply

restate the topic without any analysis. There is poor organization and focus in the writing, and the few assertions are generally unsupported. The writing is characterized by errors in mechanics and grammar.

1 These essays fail to deal with the topic, lack organization and coherence, and/or contain

many distracting mechanical and grammatical errors.


For a complete list including new titles and other Applied Practice curriculum,

visit www.appliedpractice.com

Applied Practice resource guides for AP* English are also available for these literary selections:

American Speeches Selections World Speeches Selections Contemporary Nonfiction Selections Nonfiction Selections Contemporary Poetry Selections Poetry Selections Mastering Nonfiction with Documentation Satire Selections Mastering Synthesis

Fiction and Nonfiction Titles 1984 Invisible Man Across Five Aprils Jane Eyre Adventures of Huckleberry Finn Julius Caesar The Adventures of Tom Sawyer The Kite Runner Angela’s Ashes Life of Pi Animal Dreams Lord of the Flies Animal Farm Macbeth As I Lay Dying The Mayor of Casterbridge The Awakening A Midsummer Night’s Dream Beloved The Miracle Worker Beowulf Moby Dick Bless Me, Ultima Much Ado About Nothing Brave New World The Narrative of the Life of Frederick Selections from The Canterbury Tales Douglass The Call of the Wild Night The Catcher in the Rye The Odyssey The Count of Monte Cristo The Oedipus Trilogy Crime and Punishment Of Mice and Men The Crucible Othello Cry, the Beloved Country The Outsiders Death of a Salesman The Pearl The Diary of Anne Frank The Poisonwood Bible Ethan Frome A Portrait of the Artist as a Young Man Fahrenheit 451 Pride and Prejudice A Farewell to Arms Roll of Thunder, Hear My Cry Frankenstein Romeo and Juliet The Giver The Scarlet Letter The Grapes of Wrath The Secret Life of Bees Great Expectations A Separate Peace The Great Gatsby A Tale of Two Cities Gulliver’s Travels Tess of the d’Urbervilles Hamlet Their Eyes Were Watching God Heart of Darkness Things Fall Apart The Hobbit The Things They Carried Holes To Kill a Mockingbird The House on Mango Street Twelfth Night The Iliad The Watsons Go to Birmingham The Importance of Being Earnest Where the Red Fern Grows In Cold Blood Wuthering Heights

Applied Practice in · STRATEGIES FOR MULTIPLE-CHOICE QUESTIONS Below are some suggestions for...

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