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FINAL!

II. Identification: 2% x 15 = 30% 
1. There was a woman who was beautiful, who started with all the advantages, yet she had no luck. She married for love, and the love turned to dust. She had bonny children, yet she felt they had been thrust upon her, and she could not love them. They looked at her coldly, as if they were finding fault with her. And hurriedly she felt she must cover up some fault in herself. Yet what it was that she must cover up she never knew. Nevertheless, when her children were present, she always felt the centre of her heart go hard. This troubled her, and in her manner she was all the more gentle and anxious for her children, as if she loved them very much. Only she herself knew that at the centre of her heart was a hard little place that could not feel love, no, not for anybody. Everybody else said of her: "She is such a good mother. She adores her children." Only she herself, and her children themselves, knew it was not so. They read it in each other's eyes.

Identify the name of the woman.

2. "I thought when Uncle Oscar said filthy lucker, it meant money." 
"Filthy lucre does mean money," said the mother. "But it's lucre, not luck." 
"Oh!" said the boy. "Then what is luck, mother?" 
"It's what causes you to have money. If you're lucky you have money. That's why it's better to be born lucky than rich. If you're rich, you may lose your money. But if you're lucky, you will always get more money." 
"Oh! Will you? And is father not lucky?" 
"Very unlucky, I should say," she said bitterly. 
The boy watched her with unsure eyes. 
"Why?" he asked. 
"I don't know. Nobody ever knows why one person is lucky and another unlucky." 
"Don't they? Nobody at all? Does nobody know?" 
"Perhaps God. But He never tells."

The boy has the extended conversation with his mother about luck. What kind of effect did this on the boy and why?

3. "I never told you, mother, that if I can ride my horse, and get there, then I'm absolutely sure - oh, absolutely! Mother, did I ever tell you? I am lucky!" 
"No, you never did," said his mother. 
But the boy died in the night.

In your opinion, what or who is responsible for the boy’s death?

4. Softly, in the dusk, a woman is singing to me; 
Taking me back down the vista of years, till I see 
A child sitting under the piano, in the boom of the tingling strings 
And pressing the small, poised feet of a mother who smiles as she sings. 

In spite of myself, the insidious mastery of song 
Betrays me back, till the heart of me weeps to belong 
To the old Sunday evenings at home, with winter outside 
And hymns in the cozy parlor, the tinkling piano our guide. 

So now it is vain for the singer to burst into clamor 
With the great black piano appassionato. The glamour 
Of childish days is upon me, my manhood is cast 
Down in the flood of remembrance, I weep like a child for the past.
“_____” (the title) is a poem about the power of memory and about the often disillusioning disjunction between the remembered experience of childhood and the realities of adult life. The poem is nostalgic without being sentimental; that is, it captures the power of one’s experiences as a child without ignoring the facts that one’s adult memories are selective and one’s perceptions and perspective as a child are severely limited by lack of experience, ignorance, and innocence. The theme in of the poem is a common one in much of Lawrence’s writing, from short stories such as “The Rocking-Horse Winner” to novels such as Sons and Lovers. 
5. Everything about her had two sides to it, one for home and one for anywhere that was not home: her walk, which could be childlike and bobbing, or languid enough to make anyone think she was hearing music in her head; her mouth, which was pale and smirking most of the time, but bright and pink on these evenings out; her laugh, which was cynical and drawling at home . . . but high-pitched and nervous anywhere else . . .

This quotation appears near the beginning of the story and explains the two-sidedness of _____ (the heroine’s name). At home, she appears childish, but away from home, she strives to appear sexy, mature, and seductive. For the most part, her two sides seem to exist in harmony. She argues with her mother and sister at home, but otherwise her transition from child to woman and back again seems to happen effortlessly. However, the fact that she has two sides rather than one stable, fully developed personality highlights the awkward, fearful stage she is in as an adolescent. 

6. She cried out, she cried for her mother, she felt her breath start jerking back and forth in her lungs as if it were something Arnold Friend was stabbing her with again and again with no tenderness.

Joyce Carol Oates does not state explicitly that Arnold has raped the female protagonist. A few lines later, it seems that Arnold is at the door again, once more trying to get her to come outside. In these lines, a literal reading reveals that it is her breath that is stabbing her lungs. Nothing in “Where Are You Going . . .” is black or white—is Arnold a dream, a demon, or a psychopath?

7. She and that girl and occasionally another girl went out several times a week, and the rest of the time Connie spent around the house—it was summer vacation—getting in her mother s way and thinking, dreaming about the boys she met. But all the boys fell back and dissolved into a single face that was not even a face but an idea, a feeling, mixed up with the urgent insistent pounding of the music and the humid night air of _____. Connie's mother kept dragging her back to the daylight by finding things for her to do or saying suddenly, 'What's this about the Pettinger girl?"

The month stands for the significance of the beginning of the long, boring, and loose summer vacation for a school girl. What is it?
8. "Stop gawking at yourself. Who are you? You think you're so pretty?" she would say…"Why don't you keep your room clean like your sister? How've you got your hair fixed—what the hell stinks? Hair spray? You don't see your sister using that junk."
Identify the speaker of the above passage?

9. The carnations in his coat were drooping with the cold, he noticed, their red glory all over. It occurred to him that all the flowers he had seen in the glass cases that first night must have gone the same way, long before this. It was only one splendid breath they had, in spite of their brave mockery at the winter outside the glass; and it was a losing game in the end, it seemed, this revolt against the homilies by which the world is run. Paul took one of the blossoms carefully from his coat and scooped a little hole in the snow, where he covered it up. Then he dozed awhile, from his weak condition, seemingly insensible to the cold.

What is the significance of the carnation as a symbol?

10. The sound of an approaching train awoke him, and he started to his feet, remembering only his resolution, and afraid lest he should be too late. He stood watching the approaching locomotive, his teeth chattering, his lips drawn away from them in a frightened smile; 
once or twice he glanced nervously sidewise, as though he were being watched. When the right moment came, he jumped. As he fell, the folly of his haste occurred to him with merciless clearness, the vastness of what he had left undone. There flashed through his brain, clearer than ever before, the blue of Adriatic water, the yellow of Algerian sands.

What is the significance of the train in “Paul’s Case?”

11. As for Paul, he ran down the hill whistling the "Soldiers' Chorus" from Faust, looking wildly behind him now and then to see whether some of his teachers were not there to writhe under his lightheartedness. As it was now late in the afternoon and Paul was on duty that evening as usher at _____ (A) Madison Square Garden (B) Carnegie Hall (C) Chinese Theatre (D) Detroit Rock City, he decided that he would not go home to supper.

This place seems to be a source of pleasure for Paul. In "Paul's Case," art and music are just as likely to lead you down the wrong path as any other teenage rebellion.

12. With a clamor of bells that set the swallows soaring, the Festival of _____ came to the city Omelas, bright-towered by the sea. The rigging of the boats in harbor sparkled with flags. In the streets between houses with red roofs and painted walls, between old moss-grown gardens and under avenues of trees, past great parks and public buildings, processions moved. Some were decorous: old people in long stiff robes of mauve and grey, grave master workmen, quiet, merry women carrying their babies and chatting as they walked. In other streets the music beat faster, a shimmering of gong and tambourine, and the people went dancing, the procession was a dance.

What festival are they celebrating?

13. Night falls; the traveler must pass down village streets, between the houses with yellow-lit windows, and on out into the darkness of the fields. Each alone, they go west or north, towards the mountains. They go on. They leave Omelas, they walk ahead into the darkness, and they do not come back. The place they go towards is a place even less imaginable to most of us than the city of happiness. I cannot describe it at all. It is possible that it does not exist. But they seem to know where they are going, the ones who walk away from Omelas.

This is the ending scene of the story. In your opinion, why do they leave and where are they heading for?

14. His mind was crowded with memories; memories of the knowledge that had come to them when they closed in on the struggling pig, knowledge that they had outwitted a living thing, imposed their will upon it, taken away its life like a long satisfying drink.

This quotation, also from Chapter 4 of Lord of the Flies, explores _____’s (name of the antagonist) mental state in the aftermath of killing his first pig, another milestone in the boys’ decline into savage behavior. He exults in the kill and is unable to think about anything else because his mind is “crowded with memories” of the hunt. His obsession with hunting is due to the satisfaction it provides his primal instincts and has nothing to do with contributing to the common good.

15. _____ wept for the end of innocence, the darkness of man’s heart, and the fall through the air of a true, wise friend called Piggy.

These lines from the end of Chapter 12 occur near the close of the novel, after the boys encounter the naval officer, who appears as if out of nowhere to save them. When the protagonist sees the officer, his sudden realization that he is safe and will be returned to civilization plunges him into a reflective despair. The rescue is not a moment of unequivocal joy, for he realizes that, although he is saved from death on the island, he will never be the same. He has lost his innocence and learned about the evil that lurks within all human beings.
    

III. Essay: 25% x 2 = 50% 
Choose TWO of the following questions, and organize your thoughts in 5 simple steps: an introduction paragraph that begins with a hypothesis invites three supporting paragraphs starting with individual topic sentences and ends up with a short conclusion that briefly re-emphasizes the previous discussion without additional information. Narrow your focus. Build out your thesis and paragraphs. Vanquish the dreaded blank sheet of paper. Find the perfect quote and thought-starters that help you develop your own point of view to float your boat. 

1. "The Rocking-Horse Winner" is a short story by D. H. Lawrence. What is ironic about the 
title?
2. What does Arnold Friend’s jalopy symbolize in "Where Are You Going, Where Have You 
Been?" is a frequently anthologized short story written by Joyce Carol Oates ?
3. Willa Cather wrote "Paul's Case" with very few dramatic incidents. Most of the story is told 
without any description of action. Why might that be?
4. The city of Omelas is the primary focus of the narrative: in the story, Omelas is a utopian 
city of happiness and delight, whose inhabitants are smart and cultured. Everything about Omelas is pleasing, except for the city's one atrocity: the good fortune of Omelas requires that a single unfortunate child be kept in perpetual filth, darkness and misery, and that all her citizens should be told of this upon coming of age. After being exposed to the truth, most of the people of Omelas are initially shocked and disgusted, but are ultimately able to come to terms with the fact and resolve to live their lives in such a manner as to make the suffering of the unfortunate child worth it. Why do so many people let the child suffer? Discuss this issue with the ideas of the free will.
5. Discuss the themes of Lord of the Flies at an allegorical level.