Macomb Collaborative

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1 Macomb Collaborative Grade 7 - Unit #1 Appendix 1. Prompt [ Day 1] 2. Peer Editing [Days 2 and 3] 3. Review of Writing [Days 2 and 3] 4. Rubric [Days 2 and 3] 5a-b. Genre: Mystery and Student Bookmark [Day 6] 6. Elements of Story [Day 7] 7a-f. Mystery Notebook Model [Day 7] 8a. Blank Clue page [Day 8] 8b. Clue pages and Example [Day 8] 9. Vocabulary Strategy [Day 10] 10. Procedure for Think Aloud [Day 10] 11a. Focus Question #1 [Day 10] 11b. Focus Question Rubric [Days 10, 11, 13, 14, and 15] 12. Focus Question #2 [Day 11] 13. Focus Question #3 [Day 13] 14. Focus Question #4 [Day 14] 15. Focus Question #5 [Day 15] 16. Five Criteria for a Mystery [Day 16] 17a-i. "The Monkey's Paw" [Day 19] 18. Focus Question #6 and Checklist [Days 19 and 20] 19. Response Rubric [Days 19 and 20]

2 Directions: Everyone has to solve problems in life. People solve problems in different ways, and often learn important lessons from solving problems. Examples of problems you might have to solve are getting along with parents or other family members, getting along with friends, finding and keeping a job, and deciding whether or not to smoke, etc. Write about the theme: solving a problem Do one of the following: Write about a time when you or someone you know solved a problem. OR Explain what you learned from solving a problem. OR Tell why it is important to have cooperation when trying to solving a problem. OR Write about the theme in your own way. You may use examples from real life, from what you read or watch, or from your imagination. Your writing will be read by interested adults. Use the paper provided for notes, freewriting, outlining, clustering, or writing your rough draft. If you need to make a correction, cross out the error and write the correction above or next to it. You should give careful thought to revision (rethinking ideas) and proofreading (correcting spelling, capitalization, and punctuation). Use the checklist provided to help improve your writing. (Optional: You may use a dictionary, thesaurus, spelling book and/or grammar book.) Appendix #1

3 Peer Editing Is the central idea or point of the writing clear? Is the central idea or point supported by important and relevant details, examples, and/or anecdotes? Does the writing begin with an interesting and engaging lead, continue with a middle that supports and develops the point, and an end that summarizes the point? Is the writing interesting with engaging words and different sentence lengths and types? What do I, as the listener, think is good about the writing? Do I have questions and/or suggestions for the writer? Appendix #2

4 Review of Writing: Publishing Final Copy DIRECTIONS: Now you will be doing three things: revising your paper (which means to rethink your ideas); polishing your paper (which means to edit and proofread); and recopying your paper as neatly as possible. Use the following checklist as you revise and edit the writing that you have done. When you are finished revising, you must make a final copy of your paper. Then, proofread your final copy to make sure that all of your revisions have been made. CHECKLIST FOR REVISION: 1. Do I have a clear central idea that connects to the topic? 2. Do I stay focused on my central idea? 3. Do I support my central ideas with important and relevant details/examples? 4. Do I need to take out details/examples that DO NOT support my central idea? 5. Is my writing organized and complete, with a clear beginning, middle, and end? 6. Do I use a variety of interesting words, phrases, and/or sentences? CHECKLIST FOR EDITING 7. Have I checked and corrected my spelling to help readers understand my writing? 8. Have I checked and corrected my punctuation and capitalization to help readers understand my writing? CHECKLIST FOR PROOFREADING: 9. Is everything in my final copy just the way I want it? Reread your writing. You should cross out or erase any errors you make. You will have as much time as your need. Appendix #3

5 Rubric Writing from Knowledge and Experience Characteristics Content and Ideas Organization Style and Voice Conventions The writing is exceptionally clear, and focused. Ideas and content are thoroughly developed with relevant details and examples where appropriate. The writer s control over organization and the connections between ideas move the reader smoothly and naturally through the text. The writer shows a mature command of language including precise word choice that results in a compelling piece of writing. Tight control over language use and mastery of writing conventions contribute to the effect of the response. The writing is clear, and focused. Ideas and content are well developed with relevant details and examples where appropriate. The writer s control over organization and the connections between ideas effectively move the reader through the text. The writer shows a command of language including precise word choice. The language is well controlled, and occasional lapses in writing conventions are hardly noticeable. The writing is generally clear and focused. Ideas and content are developed with relevant details and examples where appropriate, although there may be some unevenness. The response is generally coherent, and its organization is functional. The writer s command of language, including word choice, supports meaning. Lapses in writing conventions are not distracting. The writing is somewhat clear and focused. Ideas and content are developed with limited or partially successful use of examples and details. There may be evidence of an organizational structure, but it may be artificial or ineffective. Vocabulary may be basic. Not ratable if: a) off topic b) illegible c) written in language other than English d) blank/refused to respond Incomplete mastery of over writing conventions and language use may interfere with meaning some of the time. The writing is only occasionally clear and focused. Ideas and content are underdeveloped. There may be little evidence of organizational structure. Vocabulary may be limited. Limited control over writing conventions may make the writing difficult to understand. The writing is generally unclear and unfocused. Ideas and content are not developed or connected. There may be no noticeable organizational structure. Lack of control over writing conventions may make the writing difficult to understand. Appendix #4 MC7 #1 Appendix Macomb Intermediate School District 2004

6 Genre: Mystery Mysteries like other narratives have the same elements: characters in settings with problems, attempts to solve problems or events, resolution and lessons or themes. Mystery is a form of realistic fiction, but with a vital change of emphasis: everything in a mystery revolves around a puzzle or an unusual problem to solve. It asks the question: Who did it? How did they do it? and Why? (adapted from Tara McCarthy. Teaching Genre, Scholastic, 1996) Mystery Definition: A narrative in which the chief element is usually a crime around which the plot is built. (from Harris, et al. The Literacy Dictionary, IRA, 1995) Popular fictional narratives with plots revolving around puzzling or frightening situations that create and even exploit a sense of uncertainty, suspense, or fear in the reader or audience. (from Murfin, et al. The Bedford Glossary of Critical and Literary Terms, Bedford/St. Martin s, 2003) Purpose: To entertain To involve the reader in the excitement and suspense of the problem/mystery Form and Features: Mood is dark, dreary, mysterious, and often scary. For example, most mysteries open on dark and stormy nights with lightning, thunder, wolves or dogs howling, and eerie music playing. Suspense, the crucial component in a mystery is created through the use of the following: - Foreshadowing is the inclusion of clues throughout the story provide the reader with information that will lead to the solution of the mystery - Red Herrings are clues that are placed in the mystery to throw the reader off track and lead the reader away from the mystery s solution. - Cliffhanger chapter endings use great suspense to compel the reader to read further into the story. The conflict in a mystery is a crime, a puzzle or a secret. The plot of a mystery revolves around a crime or crimes that sleuths or detectives try to solve through gathering and analyzing clues. Clues can be fingerprints, letters, notes or secret codes. Clues can be discovered by listening carefully to other character dialogue or watching the other characters actions carefully. Appendix #5a

7 Mystery Bookmark Mystery Bookmark Mystery Bookmark Revolves around a crime, a puzzle, or an unusual problem to solve Revolves around a crime, a puzzle, or an unusual problem to solve Revolves around a crime, a puzzle, or an unusual problem to solve Name: Name: Name: Title: Title: Title: List the page number and a brief reminder of the genre characteristics you find as you read. Detectives try to solve crimes through gathering and analyzing clues. List the page number and a brief reminder of the genre characteristics you find as you read. Detectives try to solve crimes through gathering and analyzing clues. List the page number and a brief reminder of the genre characteristics you find as you read. Detectives try to solve crimes through gathering and analyzing clues. p. p. p. p. p. p. p. p. p. p. p. p. Mood is dark, mysterious and often, scary Mood is dark, mysterious and often, scary Mood is dark, mysterious and often, scary p. p. p. p. p. p. p. p. p. p. p. p. Common features: Foreshadowing, Red Herrings and Cliffhanger chapter endings Common features: Foreshadowing, Red Herrings and Cliffhanger chapter endings Common features: Foreshadowing, Red Herrings and Cliffhanger chapter endings p. p. p. p. p. p. p. p. p. p. p. p. Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved. Copyright 2005, MacombISD All Rights Reserved. Appendix 5b

8 The elements of a story include: Characters - Who is in the story? Elements of Story Setting - When and where does the story take place? Problem - What problem does the main character have or what does the main character want? Conflict - What is the struggle between two opposing forces in the plot? Events - What does the main character do to solve his/her problem or get what he/she wants? Resolution - How is the problem solved? OR How does the main character learn to deal with the problem? Theme(s)/Lesson(s) - So What? What lesson or message is the author trying to get across? Appendix #6

9 Mystery Notebook Model Barney Northrup Sydelle Pulaski Sandy McSouthers Otis Amber Appendix #7a

10 Mystery Notebook Model Grace Wexler Angela Wexler Turtle Wexler Jake Wexler Appendix #7b

11 Mystery Notebook Model Mr. Hoo Madame Hoo Doug Hoo Flora Baumbach Appendix #7c

12 Mystery Notebook Model Theo Theodorakis Mr. Theodorakis Chris Theodorakis Mrs. Theodorakis Appendix #7d

13 Mystery Notebook Model J.J. Ford E.J. Plum Denton Deere Crow Appendix #7e

14 Mystery Notebook Model Sidney Sikes Julian R. Eastman Sam Westing Appendix #7f

15 Blank Clue Page Page Number Clues/Important Information Connection to the mystery Appendix #8a

16 Clue Pages and Example Page Number Clues/Important Information Connection to the mystery 7 " kids hardly got the front door before they came tearing out." Are those kids part of this game? Appendix #8b

17 Vocabulary In Context Strategy Learning vocabulary in context is much more powerful and effective. Students understand the words better, will remember them, and will more often recognize the word and its meaning when next encountered. This is a simple vocabulary strategy that only involves dictionary work as a last resort. Procedures: Assign or let students choose partners. Display the vocabulary words with page numbers. Tell students in partners to: 1. find each listed word, 2. read the sentences (context) around the word, then try to figure out what the word means, 3. check their definitions with the dictionary (if necessary), 4. jot down their working definition in their own words, and 5. also write down why this word is important to the selection. Encourage students to begin to keep a personal dictionary of new words that they might use in conversation and in writing. Appendix #9

18 Think Aloud Procedure Making Thinking Public The Literacy Dictionary (Harris and Hodges, 1995, IRA) defines a think aloud as 1. oral verbalization, 2. in literacy instruction - a metacognitive technique or strategy in which the teacher verbalizes aloud while reading a selection orally, thus modeling the process of comprehension (Davey, 1983). Put another way, a think aloud is making thinking public. A teacher models what an expert would be thinking as s/he were reading, visualizing, listening; or preparing to write, speak or visually represent. The goal of thinking aloud is to graphically show students what they might do to understand what they are reading, viewing or listening to, as well as, plan for writing or speaking. Following is an example of a think aloud for figuring out the meaning of an unfamiliar word in context: It s important while we read to be able to figure out the meaning of an unfamiliar word. When I come to a word I don t know the meaning of, I read the words and sentences around that word to try to figure out what the word might mean. The other day I was reading this great mystery, The Westing Game by Ellen Raskin. I read the following paragraph with lots of challenging words: Sam Westing was not murdered, but one of his heirs was guilty guilty of some offense against a relentless man. And that heir was in danger. From his grave Westing would stalk his enemy and through his heirs he would wreak his revenge. It was a paragraph about Sam Westing who had just died and left a challenge behind to find his killer(s). I knew most of the words. I knew relentless meant that Sam Westing never gave up until he got what he wanted. I knew that stalk his enemy meant that even after death, Sam Westing would somehow go after and find his enemy. But I wasn t sure what wreak his revenge meant. I knew that revenge meant Sam Westing would get even with his enemy, so I figured that wreak must be a stronger way to say, get his revenge. I ve heard the word wreak before, and now I ll keep it in my mind and may be able to use it in writing sometime. I will know it when I see it in print. Appendix #10

19 Focus Question #1 What is the Westing Game? Answer Plan What to do 1. Have students in pairs record all clues on a large sheet of butcher paper. 2. Share and display answers. Clues: Chris and Dr. Deere: FOR/PLAIN/GRAIN/SHED Turtle and Flora: SEA/MT/AM/O Grace and Mr. Hoo: FRUITED/PURPLE/WAVES/FOR/SEA Doug and Theo: HIS/N/ON(NO)/TO/THEE/FOR Sandy and Judge Ford: SKIES/AM/SHINING/BROTHER Angela and Sydelle: GOOD/GRACE/FROM/HOOD/SPACIOUS Bertha Crow and Otis: Not given Teacher note: Some students may realize that these are words from America the Beautiful. Possible Answer: Sam Westing has challenged the characters (8 pairs) to find his murderer and fortune. Appendix #11a

20 Macomb ELA Genre Units: Focus Question Rubric 3 (complete) 2 (partial) 1 (minimal) Traits: Content Answers question Uses relevant details from text to support answer Stays on topic Answer is relevant with many details and examples. Answer is relevant but has few details to support or explain the answer. Answers question with misinterpretation. Little or no relevance to text or question. Ideas and content are not developed or connected. Organization Restatement (Beginning) Details in support (Middle) Conclusion (End) Student restates the question in his/her own words. Details support point. Response is written in a logical sequence that makes connections. Student restates the question in the answer. Events are retold in a somewhat disconnected structure. Students answer either yes, no, or I agree without reference to the question. Writing lacks sequence. Style/Voice Uses quotes to support, Concludes with prediction characters feelings, opinions, etc Word choice is precise. Uses quotes effectively. Conclusion engages the reader. Vocabulary is basic. May use quotations, but reference is unclear. Conclusion is partially successful. Vocabulary is limited. Quotations are not used. The conclusion is ineffective or does not exist. Conventions/Presentation Writing is neat. Uses proper conventions Presentation makes the writing inviting. Writing shows control over conventions. Writing is readable. Errors in conventions do not distract from meaning. Writing may not be legible. Errors in conventions distract from meaning. Appendix 11b

21 Focus Question #2 Using your clues, who do you predict is Sam Westing s killer? Answer Plan - What to do 1. Write a sentence giving your answer. 2. Write a few sentences giving supporting details for your position. 3. Use at least one quote from the novel to support your position. 4. Conclude with a sentence prediction what will happen next. Possible Answer: (1) After reviewing my clues, I think Mr. Hoo is Sam Westing s killer. (2) He didn t like Sam Westing and called him a louse at the will reading. (3) Sam Westing, the louse, has cheated him again. Whoever killed him deserves a medal. (pg. 34) Later, Judge Ford discovers that Mr. Hoo blames Westing for stealing his idea for a disposable paper diaper. This idea was likely worth millions and might lead him to kill Westing. He s smart enough as an inventor to pull it off. Also, despite saying he didn t steal it, Mr. Hoo mysteriously had Sydelle s notebook. After Sydelle accuses him of stealing, a bomb goes off in Mr. Hoo s restaurant hurting her. (4) I think another bomb will go off so that Mr. Hoo can reduce his competition and get back the money he lost because Westing stole his idea. Appendix #12

22 Focus Question #3 How has the Westing Game become more serious and dangerous? How might this change the outcome of the mystery? Answer Plan - What to do 1. Restate the question 2. Give details to show how has it changed 3. Predict how this change may affect the solution of the mystery. Possible Answer: Give examples of dangers. Appendix #13

23 Focus Question #4 Make your prediction-who is the killer? Provide evidence Answer Plan - What to do 1. Restate and answer question 2. State evidence 3. Rebut other positions Possible Answer: (1) I predict the murderer was Sandy McSouthers. (2)He was the only person who Judge Ford did not research heavily. He had a grudge against Westing for firing him after he worked at the paper mill for so long. Because of that, he does not have money to support his family. (3) I do not think Crow is the killer. I think she is a red herring because she seems too obvious as the one who always dresses in black. I doubt if the Wexlers are murderers because Angela just wanted attention, Grace is too concerned about position, Jake sticks to minor crime, and Turtle may be a brat, but I don t think she would murder someone. Appendix #14

24 Focus Question #5 Retell what happened in Chapters Detail important events and the solution. Answer Plan: What to do: 1. Detail important events and clues. 2. Give solution. Possible Answer: (1) Turtle used the directions west, north, and south, in determining the identities. (2) The fourth has east in it. Sandy and Windkoppel were the same person. Appendix #15

25 Five Criteria for a Mystery Mood Suspense Red herring Realistic characters and setting Clues that lead to the solution Appendix #16

26 The Monkey s Paw W. W. Jacobs WITHOUT, THE NIGHT was cold and wet, but in the small parlor of Lakesnam Villa the blinds were drawn and the fire burned brightly. Father and son were at chess, the former, who possessed ideas about the game involving radical changes, putting his king into such sharp and unnecessary perils that it even provoked comment from the whitehaired old lady knitting placidly by the fire. "Hark at the wind," said Mr. White, who, having seen a fatal mistake after it was too late, was amiably desirous of preventing his son from seeing it. "I'm listening," said the latter, grimly surveying the board as he stretched out his hand. "Check." "I should hardly think that he'd come tonight," said his father, with his hand poised over the board. "Mate," replied the son. "That's the worst of living so far out," bawled Mr. White, with sudden and unlooked-for violence; "of all the beastly, slushy, out-of-the-way places to live in, this is the worst. Pathway's a bog, and the road's a torrent. I don't know what people are thinking about. I suppose because only two houses on the road are let, they think it doesn't matter." "Never mind, dear," said his wife soothingly; "perhaps you'll win the next one." Mr. White looked up sharply, just in time to intercept a knowing glance between mother and son. The words died away on his lips, and he hid a guilty grin in his thin grey beard. "There he is," said Herbert White, as the gate banged too loudly and heavy footsteps came toward the door. The old man rose with hospitable haste, and opening the door, was heard condoling with the new arrival. The new arrival also condoled with himself, so that Mrs. White said, "Tut, tut!" and coughed gently as her husband entered the room, followed by a tall, burly man, beady of eye and rubicund of visage. "Sergeant Major Morris," he said, introducing him. The sergeant major shook hands, and taking the proffered seat by the fire, watched contentedly while his host got out whisky and tumblers and stood a small copper kettle on the fire. At the third glass his eyes got brighter, and he began to talk, the little family circle regarding with eager interest this visitor from distant parts, as he squared his broad shoulders in the chair and spoke of strange scenes and doughty deeds, of wars and plagues and strange peoples. Appendix #17a

27 "Twenty-one years of it," said Mr. White, nodding at his wife and son. "When he went away he was a slip of a youth in the warehouse. Now look at him." "He don't look to have taken much harm," said Mrs. White politely. "I'd like to go to India myself," said the old man, "just to look round a bit, you know." "Better where you are," said the sergeant major, shaking his head. He put down the empty glass, and sighing softly, shook it again. "I should like to see those old temples and fakirs and jugglers," said the old man. "What was that you started telling me the other day about a monkey's paw or something, Morris?" "Nothing," said the soldier hastily. "Leastways, nothing worth hearing." "Monkey's paw?" said Mrs. White curiously. "Well, it's just a bit of what you might call magic, perhaps," said the sergeant major offhandedly. His three listeners leaned forward eagerly. The visitor absentmindedly put his empty glass to his lips and then set it down again. His host filled it for him. "To look at," said the sergeant major, fumbling in his pocket, "it's just an ordinary little paw, dried to a mummy." He took something out of his pocket and proffered it. Mrs. White drew back with a grimace, but her son, taking it, examined it curiously. "And what is there special about it?" inquired Mr. White, as he took it from his son, and having examined it, placed it upon the table. "It had a spell put on it by an old fakir," said the sergeant major, "a very holy man. He wanted to show that fate ruled people's lives, and that those who interfered with it did so to their sorrow. He put a spell on it so that three separate men could each have three wishes from it." His manner was so impressive that his hearers were conscious that their light laughter jarred somewhat. "Well, why don't you have three, sir?" said Herbert White cleverly. The soldier regarded him in the way that middle age is wont to regard presumptuous youth. "I have," he said quietly, and his blotchy face whitened. "And did you really have the three wishes granted?" asked Mrs. White. "I did," said the sergeant major, and his glass tapped against his strong teeth. "And has anybody else wished?" inquired the old lady. Appendix #17b

28 "The first man had his three wishes, yes," was the reply. "I don't know what the first two were, but the third was for death. That's how I got the paw." His tones were so grave that a hush fell upon the group. "If you've had your three wishes, it's no good to you now, then, Morris," said the old man at last. "What do you keep it for?" The soldier shook his head. "Fancy, I suppose," he said slowly. "I did have some idea of selling it, but I don't think I will. It has caused enough mischief already. Besides, people won't buy. They think it's a fairy tale, some of them, and those who do think anything of it want to try it first and pay me afterward." "If you could have another three wishes," said the old man, eyeing him keenly, "would you have them?" "I don't know," said the other. "I don't know." He took the paw, and dangling it between his front finger and thumb, suddenly threw it upon the fire. White, with a slight cry, stooped down and snatched it off. "Better let it burn," said the soldier solemnly. "If you don't want it, Morris," said the old man, "give it to me." "I won't," said his friend doggedly. "I threw it on the fire. If you keep it, don't blame me for what happens. Pitch it on the fire again, like a sensible man." The other shook his head and examined his new possession closely. "How do you do it?" he inquired. "Hold it up in your right hand and wish aloud," said the sergeant major, "but I warn you of the consequences." "Sounds like the Arabian Nights," said Mrs. White, as she rose and began to set the supper. Don't you think you might wish for four pairs of hands for me?" Her husband drew the talisman from his pocket and then all three burst into laughter as the sergeant major, with a look of alarm on his face, caught him by the arm. "If you must wish," he said gruffly, "wish for something sensible." Mr. White dropped it back into his pocket, and placing chairs, motioned his friend to the table. In the business of supper the talisman was partly forgotten, and afterward the three sat listening in an enthralled fashion to a second installment of the soldier's adventures in India. Appendix #17c

29 "If the tale about the monkey's paw is not more truthful than those he has been telling us," said Herbert, as the door closed behind their guest, just in time for him to catch the last train, "we shan't make much out of it." "Did you give him anything for it, Father?" inquired Mrs. White, regarding her husband closely. "A trifle," said he, coloring slightly. "He didn't want it, but I made him take it. And he pressed me again to throw it away." "Likely," said Herbert, with pretended horror. "Why, we're going to be rich, and famous, and happy. Wish to be an emperor, Father, to begin with; then you can't be henpecked." He darted around the table, pursued by the maligned Mrs. White armed with an antimacassar. Mr. White took the paw from his pocket and eyed it dubiously. "I don't know what to wish for, and that's a fact," he said slowly. "It seems to me I've got all I want." "If you only cleared the house, you'd be quite happy, wouldn't you?" said Herbert, with his hand on his shoulder. "Well, wish for two hundred pounds then; that'll just do it." His father, smiling shamefacedly at his own credulity, held up the talisman, as his son, with a solemn face somewhat marred by a wink at his mother, sat down at the piano and struck a few impressive chords. "I wish for two hundred pounds," said the old man distinctly. A fine crash from the piano greeted the words, interrupted by a shuddering cry from the old man. His wife and son ran toward him. "It moved," he cried, with a glance of disgust at the object as it lay on the floor. "As I wished, it twisted in my hand like a snake." "Well, I don't see the money," said his son, as he picked it up and placed it on the table, "and I bet I never shall." "It must have been your fancy, Father," said his wife, regarding him anxiously. He shook his head. "Never mind, though; there's no harm done, but it gave me a shock all the same." They sat down by the fire again while the two men finished their pipes. Outside, the wind was higher than ever, and the old man started nervously at the sound of a door banging upstairs. A silence unusual and depressing settled upon all three, which lasted until the old couple rose to retire for the night. Appendix #17d

30 "I expect you'll find the cash tied up in a big bag in the middle of your bed," said Herbert, as he bade them good night, "and something horrible squatting up on top of the wardrobe watching you as you pocket your ill-gotten gains." IN THE BRIGHTNESS of the wintry sun next morning as it streamed over the breakfast table, Herbert laughed at his fears. There was an air of prosaic wholesomeness about the room which it had lacked on the previous night, and the dirty, shriveled little paw was pitched on the sideboard with a carelessness which betokened no great belief in its virtues. "I suppose all old soldiers are the same," said Mrs. White. "The idea of our listening to such nonsense! How could wishes be granted in these days? And if they could, how could two hundred pounds hurt you, Father?" "Might drop on his head from the sky," said the frivolous Herbert. "Morris said the things happened so naturally," said his father, "that you might, if you so wished, attribute it to coincidence." "Well, don't break into the money before I come back," said Herbert, as he rose from the table. "I'm afraid it'll turn you into a mean, avaricious man, and we shall have to disown you." His mother laughed, and following him to the door, watched him down the road, and returning to the breakfast table, was very happy at the expense of her husband's credulity. All of which did not prevent her from scurrying to the door at the postman's knock, nor prevent her from referring somewhat shortly to retired sergeant majors of bibulous habits, when she found that the post brought a tailor's bill. "Herbert will have some more of his funny remarks, I expect, when he comes home," she said, as they sat at dinner. "I daresay," said Mr. White, pouring himself out some beer; "but for all that, the thing moved in my hand; that I'll swear to." "You thought it did," said the old lady soothingly. "I say it did," replied the other. "There was no thought about it; I had just-- What's the matter?" His wife made no reply. She was watching the mysterious movements of a man outside, who, peering in an undecided fashion at the house, appeared to be trying to make up his mind to enter. In mental connection with the two hundred pounds, she noticed that the stranger was well dressed and wore a silk hat of glossy newness. Three times he paused at the gate, and then walked on again. The fourth time he stood with his hand upon it, and then with sudden resolution flung it open and walked up the path. Mrs. White at the same moment placed her hands behind her, and hurriedly unfastening the strings of her apron, put that useful article of apparel beneath the cushion of her chair. Appendix #17e

31 She brought the stranger, who seemed ill at ease, into the room. He gazed furtively at Mrs. White, and listened in a preoccupied fashion as the old lady apologized for the appearance of the room, and her husband's coat, a garment which he usually reserved for the garden. She then waited as patiently as her sex would permit for him to broach his business, but he was at first strangely silent. "I--was asked to call," he said at last, and stooped and picked a piece of cotton from his trousers. "I come from Maw and Meggins." The old lady started. "Is anything the matter?" she asked breathlessly. "Has anything happened to Herbert? What is it? What is it?" Her husband interposed. "There, there, Mother," he said hastily. "Sit down, and don't jump to conclusions. You've not brought bad news, I'm sure, sir," and he eyed the other wistfully. "I'm sorry--" began the visitor. "Is he hurt?" demanded the mother. The visitor bowed in assent. "Badly hurt," he said quietly, "but he is not in any pain." "Oh, thank God!" said the old woman, clasping her hands. "Thank God for that! Thank--" She broke off suddenly as the sinister meaning of the assurance dawned upon her and she saw the awful confirmation of her fears in the other's averted face. She caught her breath, and turning to her slower-witted husband, laid her trembling old hand upon his. There was a long silence. "He was caught in the machinery," said the visitor at length, in a low voice. "Caught in the machinery," repeated Mr. White, in a dazed fashion, "yes." He sat staring blankly out at the window, and taking his wife's hand between his own, pressed it as he had been wont to do in their old courting days nearly forty years before. "He was the only one left to us," he said, turning gently to the visitor. "It is hard." The other coughed, and rising, walked slowly to the window. "The firm wished me to convey their sincere sympathy with you in your great loss," he said, without looking around. "I beg that you will understand I am only their servant and merely obeying orders." There was no reply; the old woman's face was white, her eyes staring, and her breath inaudible; on the husband's face was a look such as his friend the sergeant might have carried into his first action. Appendix #17f

32 "I was to say that Maw and Meggins disclaim all responsibility," continued the other. "They admit no liability at all, but in consideration of your son's services they wish to present you with a certain sum as compensation." Mr. White dropped his wife's hand, and rising to his feet, gazed with a look of horror at his visitor. His dry lips shaped the words, "How much?" "Two hundred pounds," was the answer. Unconscious of his wife's shriek, the old man smiled faintly, put out his hands like a sightless man, and dropped, a senseless heap, to the floor. IN THE HUGE NEW cemetery, some two miles distant, the old people buried their dead, and came back to a house steeped in shadow and silence. It was all over so quickly that at first they could hardly realize it, and remained in a state of expectation, as though of something else to happen--something else which was to lighten this load, too heavy for old hearts to bear. But the days passed, and expectation gave place to resignation--the hopeless resignation of the old, sometimes miscalled apathy. Sometimes they hardly exchanged a word, for now they had nothing to talk about, and their days were long to weariness. It was about a week after that that the old man, waking suddenly in the night, stretched out his hand and found himself alone. The room was in darkness, and the sound of subdued weeping came from the window. He raised himself in bed and listened. "Come back," he said tenderly. "You will be cold." "It is colder for my son," said the old woman, and wept afresh. The sound of her sobs died away on his ears. The bed was warm, and his eyes heavy with sleep. He dozed fitfully, and then slept until a sudden cry from his wife awoke him with a start. "The monkey's paw!" she cried wildly. "The monkey's paw!" He started up in alarm. "Where? Where is it? What's the matter?" She came stumbling across the room toward him. "I want it," she said quietly. "You've not destroyed it?" "It's in the parlor, on the bracket," he replied, marveling. "Why?" She cried and laughed together, and bending over, kissed his cheek. "I only just thought of it," she said hysterically. "Why didn't I think of it before? Why didn't you think of it?" "Think of what?" he questioned. "The other two wishes," she replied rapidly. "We've only had one." "Was not that enough?" he demanded fiercely. Appendix #17g

33 "No," she cried triumphantly; "we'll have one more. Go down and get it quickly, and wish our boy alive again." The man sat up in bed and flung the bedclothes from his quaking limbs. "Good God, you are mad!" he cried, aghast. "Get it," she panted; "get it quickly, and wish-- Oh, my boy, my boy!" Her husband struck a match and lit the candle. "Get back to bed," he said unsteadily. "You don't know what you are saying." "We had the first wish granted," said the old woman feverishly; "why not the second?" "A coincidence," stammered the old man. "Go and get it and wish," cried the old woman, and dragged him toward the door. He went down in the darkness, and felt his way to the parlor, and then to the mantelpiece. The talisman was in its place, and a horrible fear that the unspoken wish might bring his mutilated son before him ere he could escape from the room seized upon him, and he caught his breath as he found that he had lost the direction of the door. His brow cold with sweat, he felt his way around the table, and groped along the wall until he found himself in the small passage with the unwholesome thing in his hand. Even his wife's face seemed changed as he entered the room. It was white and expectant, and to his fears seemed to have an unnatural look upon it. He was afraid of her. "Wish!" she cried, in a strong voice. "It is foolish and wicked," he faltered. "Wish!" repeated his wife. He raised his hand. "I wish my son alive again." The talisman fell to the floor, and he regarded it shudderingly. Then he sank trembling into a chair as the old woman, with burning eyes, walked to the window and raised the blind. He sat until he was chilled with the cold, glancing occasionally at the figure of the old woman peering through the window. The candle end, which had burned below the rim of the china candlestick, was throwing pulsating shadows on the ceiling and walls, until, with a flicker larger than the rest, it expired. The old man, with an unspeakable sense of relief at the failure of the talisman, crept back to his bed, and a minute or two afterward the old woman came silently and apathetically beside him. Neither spoke, but both lay silently listening to the ticking of the clock. Appendix #17h

34 A stair creaked, and a squeaky mouse scurried noisily through the wall. The darkness was oppressive, and after lying for some time screwing up his courage, the husband took the box of matches, and striking one, went downstairs for a candle. At the foot of the stairs the match went out, and he paused to strike another, and at the same moment a knock, so quiet and stealthy as to be scarcely audible, sounded on the front door. The matches fell from his hand. He stood motionless, his breath suspended until the knock was repeated. Then he turned and fled swiftly back to his room, and closed the door behind him. A third knock sounded through the house. "What's that?" cried the old woman, starting up. "A rat," said the old man, in shaking tones, "a rat. It passed me on the stairs." His wife sat up in bed listening. A loud knock resounded through the house. "It's Herbert!" she screamed. "It's Herbert!" She ran to the door, but her husband was before her, and catching her by the arm, held her tightly. "What are you going to do?" he whispered hoarsely. "It's my boy; it's Herbert!" she cried, struggling mechanically. "I forgot it was two miles away. What are you holding me for? Let go. I must open the door." "For God's sake don't let it in," cried the old man, trembling. "You're afraid of your own son," she cried, struggling. "Let me go. I'm coming, Herbert; I'm coming." There was another knock, and another. The old woman with a sudden wrench broke free and ran from the room. Her husband followed to the landing, and called after her appealingly as she hurried downstairs. He heard the chain rattle back and the bottom bolt drawn slowly and stiffly from the socket. Then the old woman's voice, strained and panting, "The bolt," she cried loudly. "Come down. I can't reach it." But her husband was on his hands and knees groping wildly on the floor in search of the paw. If he could only find it before the thing outside got in. A perfect fusillade of knocks reverberated through the house, and he heard the scraping of a chair as his wife put it down in the passage against the door. He heard the creaking of the bolt as it came slowly back, and at the same moment, he found the monkey's paw, and frantically breathed his third and last wish. The knocking ceased suddenly, although the echoes of it were still in the house. He heard the chair drawn back and the door opened. A cold wind rushed up the staircase, and a long, loud wail of disappointment and misery from his wife gave him courage to run down to her side, and then to the gate beyond. The streetlamp flickering opposite shone on a quiet and deserted road. Appendix #17i

35 Focus Question #6 Some people would say that both The Westing Game and The Monkey s Paw are good examples of mystery. Do you agree? Yes or No? Explain your answer using specific details and examples from The Westing Game and The Monkey s Paw, as well as, the definition and features of mystery, to support your position. Use the following checklist as you write and review your response: CHECKLIST FOR REVISION: Do I take a position and clearly answer the question I was asked? Do I support my answer with examples and details from both of the selections? Is my writing organized and complete? Appendix #18

36 Response Rubric DRAFT 5/30/02 Michigan Educational Assessment Program Integrated English Language Arts Assessment MS HS Rubric Writing in Response to Reading 6 The student effectively synthesizes and applies key ideas, generalizations, and principles from within each reading selection to support a position in response to the scenario question and makes a clear connection between the reading selections. The position and connection are thoroughly developed through the use of appropriate examples and details. There are no misconceptions about the reading selections. There are strong relationships among ideas. Mastery of language use and writing conventions contributes to the effect of the response. 5 The student makes meaningful use of key ideas from within each reading selection to support a position in response to the scenario question and makes a clear connection between the reading selections. The position and connection are well developed through the use of appropriate examples and details. Minor misconceptions may be present. Relationships among ideas are clear to the reader. The language is controlled, and occasional lapses in writing conventions are hardly noticeable. 4 The student makes adequate use of ideas from within each reading selection to support a position in response to the scenario question and makes a connection between the reading selections. This position and connections are supported by examples and details. Minor misconceptions may be present. Language use is correct. Lapses in writing conventions are not distracting. 3 The student make adequate use of ideas from one reading selection OR makes partially successful use of ideas from both reading selections to support a position in response to the scenario question. The position is developed with limited use of examples and details. Misconceptions may indicate only a partial understanding of the reading selections. Language use is correct but limited. Incomplete mastery over writing conventions may interfere with meaning some of the time. 2 The student makes partially successful use of ideas from one reading selection OR minimal use of ideas from both reading selections to support a position in response to the scenario question. The position is underdeveloped. Major misconceptions may indicate minimal understanding of the reading selections. Limited mastery over writing conventions may make the writing difficult to understand. 1 The student does not take a position on the scenario question but makes at least minimal use of ideas from one or both of the reading selections to respond to the scenario question or theme OR minimally uses ideas from only one of the reading selections to support a position in response to the scenario question. Ideas are not developed and may be unclear. Major misconceptions may indicate a lack of understanding of the reading selections. Lack of mastery over writing conventions may make the writing difficult to understand. Not ratable if: a retells/references the reading selections with no connection to the scenario question or theme b off topic c illegible/written in a language other than English d blank/refused to respond e responds to the scenario question with no reference to either of the reading selections Appendix #19