Name: ______Date: ______Block:______
BELLRINGER
1. Read this passage and answer the question that follows it.
"What am I going to do now?" wondered Natalie as she stood beside her car. She was parked in the lot outside the grocery store where she worked as a cashier. She had been in a rush because she overslept, and now her keys were locked inside her car. Her shift would start in ten minutes. "At least I didn't leave the engine running!" Natalie laughed to herself.
From what point of view is this passage told?
A. first-person limited
B. second-person
C. third-person omniscient
D. first-person omniscient
2. A Christmas Carol (excerpt) by Charles Dickens
The Phantom slowly, gravely, silently approached. When it came, Scrooge bent down upon his knee; for in the very air through which this Spirit moved it seemed to scatter gloom and mystery. It was shrouded in a deep black garment, which concealed its head, its face, its form, and left nothing of it visible save one outstretched hand. But for this it would have been difficult to detach its figure from the night, and separate it from the darkness by which it was surrounded. He felt that it was tall and stately when it came beside him, and that its mysterious presence filled him with a solemn dread. He knew no more, for the Spirit neither spoke nor moved.
"I am in the presence of the Ghost of Christmas Yet To Come?" said Scrooge. The Spirit answered not, but pointed onward with its hand. "You are about to show me shadows of the things that have not happened, but will happen in the time before us," Scrooge pursued. "Is that so, Spirit?" The upper portion of the garment was contracted for an instant in its folds, as if the Spirit had inclined its head. That was the only answer he received.
Although well used to ghostly company by this time, Scrooge feared the silent shape so much that his legs trembled beneath him, and he found that he could hardly stand when he prepared to follow it. The Spirit paused a moment, as observing his condition, and giving him time to recover. But Scrooge was all the worse for this. It thrilled him with a vague uncertain horror, to know that behind the dusky shroud, there were ghostly eyes intently fixed upon him, while he, though he stretched his own to the utmost, could see nothing but a spectral hand and one great heap of black.
"Ghost of the Future!'' he exclaimed, "I fear you more than any spectre I have seen. But as I know your purpose is to do me good, and as I hope to live to be another man from what I was, I am prepared to bear you company, and do it with a thankful heart. Will you not speak to me?" It gave him no reply. The hand was pointed straight before them. "Lead on!" said Scrooge. "Lead on! The night is waning fast, and it is precious time to me, I know. Lead on, Spirit!"
The passage is written using _____ point-of-view.
A. first person
B. third person limited
C. third person omniscient
D. third person objective
3. An Excerpt from Huckleberry Finn by Mark Twain
Now the way that the book winds up is this: Tom and me found the money that the robbers hid in the cave, and it made us rich. We got six thousand dollars apiece – all gold. It was an awful sight of money when it was piled up. Well, Judge Thatcher he took it and put it out at interest, and it fetched us a dollar a day apiece all the year round – more than a body could tell what to do with. The Widow Douglas she took me for her son, and allowed she would sivilize me; but it was rough living in the house all the time, considering how dismal regular and decent the widow was in all her ways; and so when I couldn't stand it no longer I lit out. I got into my old rags and my sugar-hogshead again, and was free and satisfied. But Tom Sawyer he hunted me up and said he was going to start a band of robbers, and I might join if I would go back to the widow and be respectable. So I went back.
What effect does Twain's use of the first person point of view have on the reader?
A. The reader knows everything, some things that Huck doesn't even know.
B. The reader finds it easier to understand because it is told by a child.
C. The reader relates to Huck because the action is seen through Huck's eyes.
D. The reader thinks that he or she is the main character because of the use of "I" and "me".
4. Waiting for a Donor
Jamie has a deep, throaty laugh and an upbeat attitude. She had once worked full time and loved to throw parties. Now she cares for her 88-year-old mother, reads mysteries, collects decorative cat plates, and waits for a stranger to see her plea on the Internet and offer her a kidney. She has been on the national organ transplant list awaiting a kidney since 2000.
Jamie's odds are almost too frightening to contemplate. Almost 100,000 people, about 70,000 of them need kidneys, are awaiting organs from deceased donors. Last year, about 10,000 patients received new kidneys.
Jamie has been through the route of checking with relatives to see who can become a donor. No one related to her is a good prospect for the operation. Therefore, Jamie is now dependent on the results of the internet site. She had to post her blood type, a brief personal history, and a heartfelt plea.
Knowing the truth that the need for organs is growing at five times the rate of donations, Jamie is leaving no stone unturned in her pursuit of life and health. Some people accuse her of jumping ahead of others on the organ donor list when someone is moved by her internet plea. Others fear that this type of communication will lead to people buying and selling organs.
No matter the criticism, Jamie said, "If there is even a tiny chance I can find a Good Samaritan online, I want that chance."
Jamie is willing to investigate any options to get a kidney because ______.
A. she is aware of the urgency of her situation and the scarcity of donors
B. she does not care whose feelings she has to hurt to reach her goal
C. she is accustomed to other people taking care of her health needs
D. she feels that her health situation is urgent and completely hopeless
Name: ______Date: ______Block:______
EXIT TICKET
1. Who Are You from Alice's Adventures in Wonderland by Lewis Carroll
The Caterpillar and Alice looked at each other for some time in silence: at last the Caterpillar took the hookah out of its mouth, and addressed her in a languid, sleepy voice. "Who are YOU?" said the Caterpillar. This was not an encouraging opening for a conversation. Alice replied, rather shyly, "I--I hardly know, sir, just at present-- at least I know who I WAS when I got up this morning, but I think I must have been changed several times since then."
"What do you mean by that?' said the Caterpillar sternly. "Explain yourself!" "I can't explain MYSELF, I'm afraid, sir," said Alice, "because I'm not myself, you see." "I don't see," said the Caterpillar. "I'm afraid I can't put it more clearly," Alice replied very politely, "for I can't understand it myself to begin with; and being so many different sizes in a day is very confusing." "It isn't," said the Caterpillar. "Well, perhaps you haven't found it so yet," said Alice; "but when you have to turn into a chrysalis--you will some day, you know--and then after that into a butterfly, I should think you'll feel it a little queer, won't you?' "Not a bit," said the Caterpillar. "Well, perhaps your feelings may be different," said Alice; "all I know is, it would feel very queer to ME."
"You!" said the Caterpillar contemptuously. `Who are YOU?' Which brought them back again to the beginning of the conversation.
The dialogue provides insight into the type of person that Alice is.
How might Alice be described?
A. She is very polite and formal.
B. She is disagreeable and argumentative.
C. She is highly unstable and easily dominated.
D. She is impolite and informal.
2. What is the basic attitude of the Caterpillar throughout the passage?
A. He admits that Wonderland is a strange place and warns Alice to be careful.
B. He sympathizes with Alice's many problems but cannot do anything to help her.
C. No matter what Alice says, he believes everything is perfectly normal.
3. from The American (edited) by Henry James
On a brilliant day in May, in the year 1868, a gentleman was reclining at his ease on the great circular divan which at that period occupied the centre of the Salon Carre, in the Museum of the Louvre. This commodious ottoman has since been removed, to the extreme regret of all weak-kneed lovers of the fine arts. But the gentleman in question had taken serene possession of its softest spot, and, with his head thrown back and his legs outstretched, was staring at Murillo's beautiful moon-borne Madonna in profound enjoyment of his posture. He had removed his hat, and flung down beside him a little red guide-book and an opera-glass. The day was warm; he was heated with walking, and he repeatedly passed his handkerchief over his forehead with a somewhat wearied gesture. And yet he was evidently not a man to whom fatigue was familiar. Long, lean, and muscular, he suggested the sort of vigor that is commonly known as "toughness." But his exertions on this particular day had been of an unwonted sort, and he had performed great physical feats which left him less jaded than his tranquil stroll through the Louvre. He had looked out all the pictures to which an asterisk was affixed in those formidable pages of fine print in his Badeker. His attention had been strained and his eyes dazzled, and he had sat down with an aesthetic headache. He had looked, moreover, not only at all the pictures, but at all the copies that were going forward around them, in the hands of those innumerable young women in irreproachable toilets who devote themselves, in France, to the propagation of masterpieces. If the truth must be told, he had often admired the copy much more than the original. His physiognomy would have sufficiently indicated that he was a shrewd and capable fellow, and in truth he had often sat up all night over a bristling bundle of accounts, and heard the cock crow without a yawn. But Raphael and Titian and Rubens were a new kind of arithmetic, and they inspired our friend, for the first time in his life, with a vague self-mistrust.
An observer with anything of an eye for national types would have had no difficulty in determining the local origin of this undeveloped connoisseur. Indeed, such an observer might have felt a certain humorous relish of the almost ideal completeness with which he filled out the national mould. The gentleman on the divan was a powerful specimen of an American. But he was not only a fine American; he was in the first place, physically, a fine man. He appeared to possess that kind of health and strength which, when found in perfection, are the most impressive -- the physical capital which the owner does nothing to "keep up."
In the excerpt above, James introduces the title character, Christopher Newman, to the reader.
Based on the details provided by the author, what is true about Newman?
A. He spends a great deal of time in museums.
B. He is not as physically strong as he appears.
C. His appearance of strength and health hide a weak intellect.
D. He is more familiar with the business world than the art world.
4. Read this passage and answer the question that follows it.
Troy couldn't believe what he was hearing. His boss was actually promoting him to manager after only eight weeks on the job. He was the youngest employee at Sam and Dan's Burgers. He had just finished his junior year of high school when he got the job, and now he was about to be made a manager. There was only one problem: His boss needed him to work during the day, and that was impossible since Troy was still in school.
"I can't do it," he said after thinking for a few minutes.
When Troy tries to decide what to do, that is an example of what kind of conflict?
A. man versus himself
B. man versus man
C. man versus nature
D. man versus machine